The recent US writers strike, led by the WGA, raises many questions that also touch other countries. How is this situation viewed here, where screenwriters across the board push for stronger rights in a sector known for its influence? EL PERIÓDICO DE CATALUNYA, part of the Prensa Ibérica group, spoke with six screenwriters to get a broad sense of the topic and asked two questions: Could something like this strike happen in Spain? Could the Hollywood action have direct or indirect effects here?
The six writers included in the survey are prominent figures in contemporary cinema and television. They include a director known for Fe de etarras and Ocho apellidos vascos who also leads a trade association that manages audiovisual copyrights; a seasoned scriptwriter recognized for works that earned national awards; another who has contributed to acclaimed feature films and created LGBT drama; a writer with experience on children’s series and feature dialogues; a writer behind notable thrillers and period pieces; and a founder of a production company with a major European series on a leading streaming platform.
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legitimate rights
Traditionally, what happens in the United States tends to echo here and in other markets after a time.
A widely respected industry voice notes that writers are rightly asserting their rights and seeking fairer benefit sharing, along with clearer rules for using artificial intelligence in script creation. The pattern seen in the US often appears later in this region, so it is prudent to monitor these demands closely. Additional concerns include credit control, as some producers are accused of misattributing creative credits, which undermines the writers’ control over their own work. Among the most pressing issues is residual income from streaming platforms, a model less common here but one that resonates with a broader struggle for ongoing compensation. The core tension remains the same: as content flows continue, writers face reduced earnings and growing precarity in their roles.
There is a perception that the same level of clout does not currently exist here as in the United States.
The writers express skepticism about the likelihood of a strike of similar scale in Spain, noting that the industry power balance is different. There is recognition that the unions representing audiovisual professionals here have less weight than their US counterparts, and that this reality shapes what is feasible in terms of collective action. Some also point to the possibility that more strategic and incremental responses could emerge rather than a complete industry shutdown.
One view stresses the need for a deeper cultural commitment to the industry. The idea is that broad awareness and robust union support would be necessary before any move toward a generalized work stoppage could gain traction. There is also a sense that a lack of readiness could jeopardize a strike’s effectiveness, given the current structure of production credits and compensation in Spain.
Our industry is unstable, even with hypothetical claims.
Writers acknowledge the fundamental differences between the American and Spanish markets, especially regarding economics. The size of the industry and the scale of film budgets in Spain are smaller, which leads to a more fragile financial environment and greater uncertainty about what a hypothetical claim could achieve. Still, there is admiration for the unity shown by American colleagues and a sense that better organization could amplify the impact of future actions in this country as well.
There is also interest in how a major market move might influence global platforms. For instance, streaming giants operate in numerous countries, and a country-by-country dispute could push platforms to adjust hiring practices or grant more production time if transparency improves. Such transparency would be welcomed for reasons beyond resolving rights disputes, including overall clarity about how content is produced and distributed.
With a market that could stall, more local projects may emerge.
The interconnection between North American and European industries is a recurring theme. It is unlikely that European writers expect to replace American talent or that more Spanish shows will flood the catalogs to take up all content. The dynamic is more about mutual dependence and strategic adjustments by platforms as they rethink global content strategies. Some pieces in the media suggest a broader debate about the model itself and the possibility of a return to earlier arrangements that balanced creator value and platform economics.
They can set important precedents for international law.
While there is no consensus, there is a sense that shifts in American negotiations could influence international norms. Some writers believe that a paralyzed market could prompt more local productions to fill gaps, while others emphasize the potential impact on cross-border data sharing and AI usage policies. A stronger stance on licensing and copying protections could emerge, along with calls to regulate how artificial intelligence is used to generate scripts or rewrite human-authored works. The association backing writers in this region has signaled clear support for fair negotiations and has urged restraint from accepting U.S. offers during ongoing talks.
It is still difficult to accept deals that devalue work.
Directly, speakers highlight that any new framework should ensure fair compensation and respect for creative labor. There is caution about the exploitation of temporary project rooms that reduce team size and time, sometimes known as mini rooms. Writers stress that compensation must align with the value of ideas and the effort involved in crafting a finished script. Even when offers are presented, money should not be treated as a secondary consideration; the value of the work itself must be acknowledged from the outset.