If he rewrites any of
Deadpool 3‘s script (including minor edits to stage directions or cutting unwanted lines), he’ll be violating the strike.
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“Every line I have in the movie I just wrote myself because in the script we had, it said, ‘Wade Wilson shows up, talks really fast.’ I was like, ‘What?! What am I supposed to do with that?’”
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Improvised dialogue is something of a grey area in terms of what the WGA qualifies as “writing.” During the 2007-08 strike, some late-night talk shows returned with fully improvised episodes, although Jay Leno earned backlash for writing monologues.
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Meanwhile, actors are still allowed to ad-lib spontaneous dialogue while filming—and on some productions, studio bosses are likely hoping that actors will pick up the slack from striking writers. But if those actors are WGA members with a writing credit, they face more scrutiny about following the strike guidelines; an issue that
improv-centric comedies struggled with during the last strike.
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Under normal circumstances, films and TV shows routinely
have a writer on set (or at least on call) to rewrite dialogue or solve narrative problems that crop up while filming. Reynold would probably be doing this kind of work, but if he supports the strike, he’ll have to bite his tongue and keep filming with zero rewrites. Scabs and strike-breakers risk being reported to the
WGA tip line and expelled from the guild.