Free Updates
Navigation
Categories
| November, 2009 (2) |
| October, 2009 (8) |
| September, 2009 (16) |
| August, 2009 (10) |
| July, 2009 (11) |
| June, 2009 (14) |
| May, 2009 (17) |
| April, 2009 (8) |
| March, 2009 (13) |
| February, 2009 (16) |
| January, 2009 (15) |
| December, 2008 (14) |
| November, 2008 (16) |
| October, 2008 (20) |
| September, 2008 (14) |
| August, 2008 (15) |
| July, 2008 (13) |
| June, 2008 (7) |
| May, 2008 (10) |
| April, 2008 (13) |
| March, 2008 (16) |
| February, 2008 (22) |
| January, 2008 (42) |
| December, 2007 (24) |
| November, 2007 (40) |
| October, 2007 (1) |
Search
Archives
| | Sun | Mon | Tue | Wed | Thu | Fri | Sat |
|---|
| 25 | 26 | 27 | 28 | 29 | 30 | 31 | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | | 8 | 9 | 10 | 11 | 12 | 13 | 14 | | 15 | 16 | 17 | 18 | 19 | 20 | 21 | | 22 | 23 | 24 | 25 | 26 | 27 | 28 | | 29 | 30 | 1 | 2 | 3 | 4 | 5 |
Blogroll
|
 Friday, August 21, 2009
WGA/Bullying Update - I get put in my place (thankfully)
Posted by Chad
Thanks to "WGA Writer," who posted the following response in the comment section of yesterday's post...
"So it was okay for him to cross a picket line and take a WGA writer's
job (Daytime is a WGA covered area) while they were on strike? That's
called being a scab and it will bar you from admission in any union
anywhere."
My response: WGA Writer, you are totally right-- and thanks for the
bitch-slap (although it wasn't really a bitch-slap-- you were pretty
nice).
We talked about this last night at the Guild, and the general point of
debate was: while the guy is certainly a scab and should be barred from
the WGA, did he really need to be publicly outted? Since he's NOT a
member, and wasn't breaking rules that pertain to him, it's one thing
to say, "Okay, fine-- you can never join our organization"; it's
another to shame him in public. Couldn't his name just go quietly on a
list of people who are barred? Some people felt the public shaming of a non-member was unnecessary... others felt it gave the WGA some balls.
Industry Updates | Interesting Talking Points | The Writers Strike 2007
Friday, August 21, 2009 12:59:40 PM (GMT Daylight Time, UTC+01:00) 
|
|
Thursday, August 20, 2009
Is the WGA Bullying Non-Members?
Posted by Chad
Hey, folks--
At long last, I am finally back to civilization, after 8 days of no Internet access or cell service, which was-- strangely-- AWESOME!
So first of all-- thank you to everyone who has emailed over the last week... I promise I'll get to your messages, questions, and posts asap. In the mean time, an interesting topic I wanted to talk about...
I came home to find an email debate going on between some of my writer-friends. Last week, the WGAW (Writers Guild of America, West) Board of Directors sent out a guild-wide email publicly outting three writers who had violated the union's strike rules last year.
As the email states, "the Board of Directors [is authorized] to adopt Strike Rules that members are required to follow in the event of a work stoppage. The purpose of these rules is to enable the Guild to achieve the best possible contract for writers. The Constitution also establishes disciplinary procedures under which any member accused of violating the Constitution or the Strike Rules is afforded a due process hearing before a Trial Committee consisting of five rank-and-file WGAW members."
The email goes on to explain that three writers violated these rules, and it identifies two of them by name:
One is Jon Maas, a WGA member who worked on a one-hour pilot during the strike and was fined "a fine equal to 110% of the compensation Mr. Maas received for writing the pilot teleplay."
The other is David Hensley, a non-member who "was found guilty of writing and submitting scripts to a struck company for a daytime serial. As a penalty, the Board ordered that he be permanently barred from membership in the Guild."
My friends were debating the ethics of publicly outing these writers. Did it smack of HUAC-era vindictiveness? Some said yes; others said no, explaining the importance of unity amongst writers fighting for fair and equal treatment.
I'm torn, but here-- for me-- is a slightly different issue, and where I think the Guild is behaving wrongly and thuggishly. (And I say this as a huge supporter of most unions, especially the Writers Guild. In fact, I'll be there tonight for a meeting on organizing reality...)
David Hensley is not a member. He does not pay dues to the organization of the Writers Guild. So he shouldn't be held accountable, or be punished, for breaking their rules. The Guild should have no right to punish someone who's not part of their organization.
Now, the argument against that is that writers must stick together and support each other, especially in times of crisis, and if Hensley ever WANTS to be part of the Guild, he needs to play by their mandates.
Okay, sure, maybe-- I get that, in the happy world of theory... but the Guild can'd demand support and obedience from people who A) don't pay dues, and B) don't receive the Guild's support in return. It would be one thing if Hensley were a former member who had quit the union (like Robert Rodriguez and the DGA)... or a member who had gone fi-core (like George Clooney)... but it's another thing entirely to punish, threaten, or intimidate non-members who are simply trying to feed their families. (It seems, to be honest, to be much closer to the intimidation and blacklisting of which the WGA was accused by the studios during last year's strike... and to which the WGA took particular offense. After all, they're the organization where the historic Hollywood blacklisting most hits home.)
I'm no expert in union laws and politics, but it seems to me that if the Guild wants support from writers who are non-members, it should make them members.
It wouldn't be hard for the Guild to say to daytime writers like Hensley, or reality and game show writers, or non-union animation writers...
"We know we don't have jurisdiction over your genres, but we're willing to offer you membership into the Guild. You can pay dues like other members... and receive full membership benefits (health insurance, access to resources, etc.)... but you'll have to give up all your non-union work. Or you can choose NOT to join the Guild and continue doing your non-union work... but you'll receive no support, protection, or benefits from us."
This seems just to me. And mutually beneficial.
And while I'm a big supporter of the Guild, punishing and banning non-members for trying to make a living doing what they do-- writing-- doesn't seem like the behavior of an organization claiming to stick up for the little guys, writers, an often dumped-on group of Hollywood artists. In fact, it seems like behavior I'd expect from the other guys: the bullies. I fully believe in supporting the Guild and writers of all stripes. But this is not support; it's discouragement, oppression, and an abuse of power. The Guild is better than this... or should be.
Industry Updates | Interesting Talking Points | The Writers Strike 2007
Thursday, August 20, 2009 10:25:34 PM (GMT Daylight Time, UTC+01:00)
|
|
Friday, February 27, 2009
A Special Message from the WGA
Posted by Chad
Hey, everyone-- David Young, Executive Director of the Writers Guild West, just sent this email to members. It's got some great updates and information on what's happened in the months since last year's writers strike... thought you'd find it interesting and informative (also, it copies and pastes funny, so my apologies for the weird layout...  |
 |
| |
February 27, 2009 |
 |
|
|
|
| |
| |
| |
Dear WGAW Member:
One
year ago this week an overwhelming majority of the WGA membership voted
in favor of ratifying a new three-year contract. Today there is a
concerted effort underway by the AMPTP and some in the press to
minimize the success of our strike, calling it “unnecessary” and
“self-destructive.” I’d like to set the record straight.
Our current contract was the result of a months-long effort to
negotiate in good faith with the companies, who unfortunately forced us
into a 100-day strike. The struggle was marked by a high degree of
unity among writers — television and screen, broadcast and cable,
blockbusters and indie film. Thousands of you marched, picketed and
blogged, and won the solidarity and support of union members, fans and
the general public, in the US and around the world.
We didn’t achieve everything we wanted – we never do – but we achieved
our most important objectives, something we hadn’t done for decades.
Over the past 20-plus years the companies have tried to use every
important development in the industry – be it distribution technology or reuse method –
to weaken our strategic and financial position. A difficult strike in
1985 led to a rollback on home video. This has never been corrected and
has cost writers about $1.5 billion in lost residual income. We could
not get global jurisdiction of scripted programming on basic cable, and
to this day we are still fighting with the companies to cover many
cable shows. Genres like reality and animation, where the WGA lacks
coverage, have grown into a large portion of the worldwide market and
are now significant areas of non-Guild production.
This difficult history has tended to diminish the power of writers,
both economically and creatively, as control of the industry has
concentrated in the hands of a few AMPTP companies who bargain hard and
bargain together. And the other Hollywood guilds and unions have
suffered the same fate.
All this set the stage for our negotiations in 2007. After 20 years of
being told, misleadingly, that the studios would give us our fair share
once any new market developed, writers decided to take a stand for what
they deserved. While the studios demanded that we choose between a
meaningless “study” of New Media or the gutting of our livelihoods
through profit-based residuals, our Negotiating Committee stuck to
three fundamental goals:
- Jurisdiction over original New Media production
- Good residuals for reuse of traditional TV and film product on the Internet: "If they get paid, we get paid"
- Access to New Media contracts as well as language requiring fair market value for related party transactions
In
the end, we got all three. Below is a comparison of the AMPTP positions
on key issues on two dates: the day we struck and the day we made the
deal. Keep in mind that when the AMPTP broke off negotiations with us
on December 7th they had made virtually no changes to their November
4th offer. There is no doubt the AMPTP knew the importance of these
issues, and they incurred real pain in a fruitless attempt to apply
their formulas of the past 20 years to new media.
Key Contract Terms Before and After the Strike
|
November 4 AMPTP offer
|
February 9 final deal |
| Internet ad-supported streaming – in the first year of the life of a television program |
Free for 6 weeks; 1.2% of producer’s gross thereafter (equal to 0.24% of distributor’s gross) |
Free for 17 or 24
days; 3% of applicable minimum; switches for network prime time in the
third year of the contract to 2% of distributor’s gross |
| Internet ad-supported streaming – after the first year of the life of a program |
1.2% of producer’s gross
|
2.0% of distributor’s gross |
| Internet ad-supported streaming feature films |
No residual offered = zero |
1.2% of distributor's gross
|
| Electronic Sell-Through (Download to Own) |
DVD rates (0.3% and 0.36% of distributor’s gross)
|
0.65% and 0.7% of
distributor’s gross (though the companies are now reneging on covering
library product with these negotiated rates) |
| Internet Download Rentals |
1.2% of distributor’s gross |
1.2% of distributor’s gross |
Fair Market Value test
|
Same as 2001 contract |
Enhanced test for related-party transactions |
| Inspection of New Media Deals and Activity reports |
None |
Rights for quarterly inspections of unredacted company records |
| Promotional use in new media |
Free, however they define it, including ad-supported streaming of complete programs |
Clips only are free and only with clearly promotional purpose |
| Made-for-New-Media |
Jurisdiction over
dramatic forms only if derived from MBA-covered scripted programs;
excludes original, comedy-variety, serials, etc. |
Jurisdiction over
all New Media programs; terms and conditions applied to all but the
lowest-budgeted productions, only when done by non-professional writers |
| Creator’s rights (“Separated” Rights) |
None |
TV Separated Rights adapted to New Media |
As the companies begin producing original product for the Internet,
they must provide coverage for WGA members or non-members who are
working on projects with significant budgets. If made-for New Media
replaces old media or the companies try to use it as a “pilot sandbox,”
it’s covered.
The victory of jurisdiction over New Media was hard fought because the
companies had hoped to keep that production non-Guild. While original
New Media content is still in the early stages of development, the
establishment of WGA jurisdiction is essential. The most important
battles in American labor history, including the famous GM sit-down
strike of 1937, were over this issue: jurisdiction. We won this battle.
On reuse, the residuals formulas we negotiated will allow writers to
benefit in the expansion of new media as a secondary market for
television and feature films. Our agreement allows the companies to
experiment with different forms of content delivery, but not at the
expense of writers.
We also won the right to inspect the New Media deals the companies are
making, including distribution statements and usage data. Transactions
between related companies must meet the fair market value standard of
reasonableness. These are important tools for the enforcement of our
agreement and for understanding the companies’ evolving business
models. This is a significant inroad into the companies’ self-dealing,
ever.
Now, does this mean that the strike created huge, immediate gains for
writers? Of course not. We knew and the companies knew we were fighting
for the future, for the day when the Internet replaces TV and dominates
media consumption. Writers fought to avoid a repetition of recent
history wherein we are told to wait to get our share until the new
business model develops, then that share never comes. Everything we’ve
seen since, be it Joss Whedon’s online hit Dr. Horrible’s Sing-Along Blog,
the decision by CBS to purchase CNET for 1.8 billion dollars, or
Fox/NBC’s hulu.com, tells us that we were right and that the companies
know it.
Furthermore, we improved the DGA deal in significant ways:
- The
DGA won EST at 0.65 and 0.7% only for movies and TV first released in
2008. The WGA won EST at 0.65% and 0.7% for our entire library of
product – although the companies are trying to renege on this, forcing
us to seek arbitration.
- The
DGA won only a small raise in the third year of streaming. The WGA, for
the first time ever, won a formula by which the writer will be paid 2%
of Distributors Gross in the third year of streaming.
- The
DGA sunsetted all New Media provisions in their contract. WGA accepted
no such sunset clause – we don’t want to start from zero in these hard
fought areas when we go back to the bargaining table in 2011.
- In the final two days of negotiations WGA won protection of our separated rights in New Media.
In early 2007 WGAW President Patric Verrone and I sat down with Ron Moore, developer of Battlestar Galactica, who told us that this negotiation was simple. He wrote:
In
my opinion, nothing is as important as the issues surrounding digital
delivery of content. Nothing. In the not so distant future, literally
every piece of work ever done by the Guild will be available
digitally. The systems and methods of delivery will vary and change,
but the central truth is that all our work is going to be converted to
ones and zeroes and sent to the consumer. We have to have a very
clear, very solid method of tracking and being compensated for any and
all work that is delivered in this way, whether it was originally
created for TV or film or directly for digital distribution. To me, it
is a strike issue.
He
was right. These were strike issues. Whatever their differences, our
members knew he was right. We struck over these issues and won.
There is important work left to be done in future negotiations. There
are windows to be closed in streaming, and budget thresholds for
jurisdiction in original New Media to be eliminated. Nor can we just
sit back and watch the checks roll in. The companies have been
incredibly slow in reporting and paying on New Media, and we are
already filing claims and taking other steps to enforce our agreement.
2008 was a tough year for everybody. The strike meant a quarter of lost
earnings, and then the economy went into a severe recession followed
quickly by a collapse in the financial markets. These events have
caused hardship and loss of income for many people, and writers are no
exception. But these difficulties don’t change the fact that writers
together achieved gains that will stand the test of time.
Next time we very much hope there will be no need to strike. We believe
we’ve earned a large measure of new respect from the companies and that
next time both sides can bargain successfully without a strike. We will
reach out to industry leaders and company CEOs and make every effort to
reach a fair and reasonable agreement. But make no mistake: should the
companies choose to test us, we’ll be prepared, again. Unfortunately –
and responsibility for this sits squarely on the shoulders of the
companies –
it seems every important advance made by entertainment unions,
including pension and health, credits, residuals and jurisdiction over
New Media, has required a strike by either the WGA or SAG. We salute
SAG’s current effort to resist the AMPTP pushing their expiration date
back to June of 2012. The AMPTP is determined to continue their
time-tested strategy of “divide and conquer”. We are determined to end
that practice by building the unity of the entertainment unions on the
basis of our common interests. We are doing everything we possibly can
to hasten the day when, like the companies, multiple entertainment
unions can sit down and bargain as one.
Finally, I would like to thank all our members and all those friends
and members of other unions who stood in solidarity with us. They
helped give us the strength to persevere through the months of
sacrifice and struggle. It was a historic event, one that will not be
soon forgotten, and we can all feel proud of our great effort and
achievement.
David Young
WGAW Executive Director
|
|
| |
|
|
|
 |
 |
Digital Media and Web Series | Industry Updates | The Writers Strike 2007 | Writing TV
Friday, February 27, 2009 8:50:20 PM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, September 02, 2008
A Message from the Writers Guild
Posted by Chad
Hey, everyone-- Just wanted to post this email sent this evening from Writers Guild presidents Patric Verrone and Michael Winship. They say some interesting things about the post-strike world of new media and online entertainment, as well as their stance on the current standoff between studios and the Screen Actors Guild...
Dear Fellow Members,
It's Labor Day and, in a year during which we have created a stronger working relationship between the Guilds and reestablished our place in the American labor movement, we'd like to update you on some of the achievements of the past few months and the challenges of the months to come.
Following the strike, most of us expected that the gains we made in new media coverage would take time to justify the sacrifices, but they already are bearing fruit. Webisodes based on such existing TV series as The Office, Heroes, and Californication are now being written under the new MBA contract and writers working under the PBS contract now are receiving payment for Internet reuse. Original content being created under Guild contracts includes some of the most successful projects, like Joss Whedon's Dr. Horrible's Sing-Along Blog, and the most anticipated, including Seth MacFarlane's Cavalcade of Cartoon Comedy.
As business models quickly evolve, it's imperative that writers, who are fast becoming important entrepreneurs in new media, involve the Writers Guilds in making their deals. We can guide and work with you to negotiate appropriate compensation, separated rights, credits, reuse, and other provisions in addition to the benefits already guaranteed by the MBA.
While devoting time and energy to organizing new media, we have focused as well on traditional media as well, especially genres over which our coverage is incomplete. New signatories include Chocolate News, Lewis Black's The Root of All Evil, and The Bob Saget Roast at Comedy Central, as well as the first broadcast game show contract with Mark Burnett for Are You Smarter Than a Fifth Grader? We also have a game show deal with FremantleMedia for Match Game, but that company remains an organizing target following our much-publicized American Idol Truth Tour. The Tour, in alliance with the Teamsters, has brought to light the unacceptable working conditions suffered by writers and other workers in reality TV.
Contract enforcement remains a top priority and writers, working with the staffs of the Guilds, must be the main force in instigating (Instigating violations sounds funny), investigating, and pursuing violations. Although the new MBA increases access to information, difficulties already are appearing. Blaming "technology problems," the conglomerates are failing to make the correct payments due on streaming and downloads. Even more appalling, AMPTP reps now claim that our agreement doubling the DVD formula on EST downloads only applies to movies and TV shows released after the end of the strike. Needless to say, we are challenging the companies aggressively and will take all actions necessary to protect and collect what we won as a result of the strike.
This Labor Day we also recognize the alliances we have built with other unions that supported us during our strike and with which we continue to work to achieve our mutual goals. Mention was made of our alliance with the Teamsters, especially Hollywood Local 399, during the recent American Idol Truth Tour; we look forward to further developing and improving relations with the rest of the labor movement, including the IATSE, to whose new international president Matt Loeb we extend our congratulations and best wishes.
The union that deserves our profound gratitude and attention right now is the one that supported us so strongly during our struggle, the Screen Actors Guild. During its ongoing negotiations, SAG regularly has been criticized for trying to improve on the deal that we made in February. Such criticism is unfounded. We didn't win everything in new media that we eventually will. SAG is well within its rights to improve on our gains. For example, we grudgingly agreed to certain budget levels for original new media productions, but SAG is right to demand coverage for all new media projects, regardless of budget, and we very much hope they achieve it. The suggestion that companies need budget breaks in order to experiment in a new medium rings false. Experimentation is too often a euphemism for "nonunion." We agreed in our deal to make initial compensation completely negotiable precisely to give producers all the flexibility they need in these new markets. They don't need to develop another non-union business model.
Naturally, we hope the SAG negotiations successfully end soon. But we reject the notion that SAG must follow any predetermined bargaining pattern. We worked hard to inform our members about the benefits and limits of pattern bargaining. Unions need to support each other when pattern bargaining is used as an excuse not to address a union's legitimate concerns. We stand behind SAG and its efforts to represent its members' interests, and we urge the AMPTP to return to the bargaining table.
Thanks for your attention. We will continue to keep you apprised of developments, challenges, and opportunities. We encourage you to do the same.
Best,
Patric M. Verrone
President, WGAW
Michael Winship
President, WGAE
Industry Updates | The Writers Strike 2007
Tuesday, September 02, 2008 3:16:51 AM (GMT Daylight Time, UTC+01:00)
|
|
Wednesday, August 27, 2008
Speaking of the Writers Strike...
Posted by Chad
Industry Updates | The Writers Strike 2007
Wednesday, August 27, 2008 5:36:09 AM (GMT Daylight Time, UTC+01:00)
|
|
Tuesday, August 26, 2008
The Writers Strike: 6 Months Later...
Posted by Chad
Hey, everyone-- it's been six months since the end of the 100-day writers strike that shut down Hollywood for almost four months in 2007 and 2008... and we're still feeling the effects. Pilot and development season has been revamped (at least for now), networks and studios have fewer projects in development, and the Screen Actors Guild is now waging its own (losing) battle for rights and compensation in digital media. Yesteday, Variety ran this interesting article looking back at the strike and the months since it ended. Pretty interesting... take a look... http://www.variety.com/article/VR1117991065.html?categoryid=1066&cs=1
Industry Updates | The Writers Strike 2007
Tuesday, August 26, 2008 6:47:52 PM (GMT Daylight Time, UTC+01:00)
|
|
Wednesday, February 27, 2008
The WGA Ratifies Its New Deal
Posted by chad
Hey, screenwriters-- Half an hour ago, the Writers Guild of America announced that membership had voted to ratify the new AMPTP contract, putting an official end to the tumult and negotiations that had caused the 100-day writers strike. Here's the official email from the WGA... "To Our Fellow Members:
Today, it is our pleasure to inform you that members of the Writers Guilds of America, East and West, have voted to ratify the MBA contract with 93.6% approval. With a total of 4,060 votes cast, the tally was 3,802 to 258. These numbers reaffirm the tremendous level of support and commitment our membership has continuously demonstrated over these last few crucial months.
We are also pleased to report that the trustees of our health fund voted yesterday to follow the recommendation in our strike settlement agreement to provide additional coverage and an extension of the earnings cycle for a full quarter (three months) to participants who would otherwise lose health coverage following an earnings cycle that included all or a portion of the strike period. Participants whose health coverage is paid for by points will only be charged points if they have ten or more points as of April 1, 2008.
As we close this chapter in our union's history, what we together have accomplished should not be underestimated. The 2008 MBA establishes a beachhead on the Internet and in new media that will guarantee our share of a potentially vast and bountiful future. Writers already are working on new media projects under this agreement and residuals must now be paid for streaming and downloads of our library of films and TV shows.
Language in the contract will allow us to monitor and audit these new technologies and new business models, but it will take vigilance on the part of our membership to make sure that original Internet writing is done under a WGA contract and with appropriate terms and conditions.
The same sort of vigilance will be needed to assist members of SAG and AFTRA. They are about to go through a similar process to the one we experienced. Their support of our cause was invaluable. We must use all our efforts and experience to support them as well. Further gains that they can achieve will have an immediate, positive effect on our contract.
We must take our newfound spirit and unity and use it to move our two unions forward. We look to the future and our newly revitalized member engagement to reaffirm writers as the first among equals in the most collaborative art form in history. As the last few weeks proved once and for all, we are all in this together.
Best,
Patric M. Verrone
President, WGAW
Michael Winship
President, WGAE"
Industry Updates | The Writers Strike 2007
Wednesday, February 27, 2008 1:33:27 AM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, February 19, 2008
VIDEO OF THE DAY: Harlan Ellison on Getting Paid as a Writer (oh my God-- I love this!)
Posted by chad
Thanks to Kate at FishbowlLA for finding this video, but OH MY GOD-- IT'S INCREDIBLE. A quick bit of backstory... yesterday, UnitedHollywood.com posted a recently-written-- and fairly pissed off-- response to the WGA-AMPTP deal by sci-fi guru Harlan Ellison. I don't necessarily agree with him, but his passion is AWESOME. Even more awesome is this video from Dreams With Sharp Teeth, a documentary about Ellison himself... maybe you've seen this... and granted, it's a little late now, considering the strike is over and the deal's done-- but if this doesn't make you stand up and go, "Yeah, fight the man!"... well, I don't know what will. It also makes me want to go read more Harlan Ellison. HARLAN ELLISON: PAY THE WRITER
Fun Stuff | The Writers Strike 2007
Tuesday, February 19, 2008 6:19:24 PM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, February 13, 2008
IT'S OFFICIAL: THE STRIKE IS OVER
Posted by chad
Industry Updates | The Writers Strike 2007
Wednesday, February 13, 2008 7:19:56 AM (GMT Standard Time, UTC+00:00)
|
|
Sunday, February 10, 2008
Strike To End By Wednesday?
Posted by chad
Hey, everyone-- the latest update: the WGA West Board of Directors and the WGA East Council will meet tomorrow and officially recommend the new WGA/ AMPTP deal. This recommendation will start an speeded-up two-day voting process for the entire WGA membership. Work will not resume until the membership votes to ratify the contract... which they're expected to do based on the postive responses at Saturday's membership meetings. Click here for for Variety's full report.
Industry Updates | The Writers Strike 2007
Sunday, February 10, 2008 7:22:55 AM (GMT Standard Time, UTC+00:00)
|
|
Saturday, February 09, 2008
Interesting Perspectives on the WGA/AMPTP Deal
Posted by chad
Industry Updates | The Writers Strike 2007
Saturday, February 09, 2008 11:29:03 PM (GMT Standard Time, UTC+00:00)
|
|
BREAKING NEWS: WGA Deal Inked!
Posted by chad
Hey, screenwriters-- After an all-night negotiating session, haggling over deals, the WGA and AMPTP have set in ink their new deal. The deal is very similar to the deal finalized by the Directors Guild last month, although it does have some impressive gains in the areas of residuals, separated rights, etc. This deal has not yet been approved by WGA membership, which received the deal via email at 3:00 a.m. from Guild presidents Patric Verrone and Michael Winship, but membership on both coasts will meet today to discuss. If membership response is in favor of the contract, the WGA West Board of Directors and WGA East Council will vote tomorrow on whether or not to officially recommend this deal. If this vote passes-- presumably pre-determined by membership's support-- the strike will be called off immediately, allowing work to resume and the industry to get back to normal. The deal won't be officially ratified, however, until WGA membership holds their official vote... a process that usually takes about ten days. Here's everything you need to know about the new deal, including the deal itself... THE DEAL: Click BELOW to read the text of the new WGA/AMPTP deal. WGAdeal (020908).pdf (140.36 KB)Cliick HERE to read the letter from WGA presidents Michael Winship and Patric Verrone. MEMBERSHIP MEETINGS: Here's info on today's two WGA meetings: New York Los AngelesCrowne Plaza Hotel, Times Square Shrine Auditorium Broadway Ballroom 665 W. Jefferson Blvd. 1606 Broadway (Broadway & 49th Street) REPORTAGE: Here's a list of top news sources and how they're reporting the deal... Variety
The Hollywood Reporter
Deadline Hollywood Daily
New York Times
The L.A. Times
The Huffington Post
Industry Updates | The Writers Strike 2007
Saturday, February 09, 2008 5:11:09 PM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, February 05, 2008
READER POLL: Should the WGA take the AMPTP deal currently on the table?
Posted by chad
So it's true... after exactly three months of striking, the WGA may finally have an acceptable offer from the AMPTP. Although we don't know the exact terms, the proposed contract supposedly improves the residual rates for online streaming as proposed in last month's DGA deal... it doubles the download residual rate... and secures guild jurisdiction over online content. The Writers Guild has agreed that as soon as it has an acceptable deal, it'll call off the strike. But is the current deal good enough? No one knows... and that's what's leading to heated controversy throughout Hollywood. Many people are clamoring that the WGA needs to take the deal as is; the studios have been fairly vocal that they won't give any more, and the strike has already wreaked enough damage on thousands of families. Others insist the WGA must hold out until it gets the deal it wants. The writers aren't asking for anything unfair or unreasonable, they claim; they deserve to get the benefits and compensation they deserve. Still others simply want to give the WGA time to make its decision on its own... free from the pressures and persuasions of agents, producers, execs, and journalists all weighing in. The soonest that decksion could come is this weekend... but it may take much longer. And if the WGA takes too long, it could jeopardize the Academy Awards, this year's pilot season, and the May Upfront presentations. (In order to save pilot season, say the studios, a deal must be in place by February 15... and if there's no pilot season, there probably won't be any May Upfronts. The Oscars fall on February 24.) So everyone's asking... WHAT'S A GUILD TO DO?One thing, however, is for sure... whatever happens will affect not only the TV and film writers in Hollywood, but every writer in the country-- novelists, journalists, playwrights-- who's current;y writing (or may someday write) something that could be used on television. So what's your take?...
Fun Stuff | The Writers Strike 2007
Tuesday, February 05, 2008 10:16:28 PM (GMT Standard Time, UTC+00:00)
|
|
Sunday, February 03, 2008
THE WGA Deal Gets Closer?
Posted by chad
Still no official contract announcement from the WGA or AMPTP, but the L.A. Times published this story this morning, offering more hope that a deal could be imminent. Very imminent. Then, just over an hour ago, the WGA sent this email to members: "To Our Fellow Members,
While fully mindful of the continuing media blackout, we write you to address the rumors and reports that undoubtedly you have been hearing.
The facts: we are still in talks and do not yet have a contract. When and if a tentative agreement is reached, the first thing we will do is alert our membership with an e-mail message. Until then, please disregard rumors about either the existence of an agreement or its terms.
Until we have reached an agreement with the AMPTP, it is essential that we continue to show our resolve, solidarity, and strength.
Picketing will resume on Monday. Our leverage at the bargaining table is directly affected by your commitment to our cause. Please continue to show your support on the line. We are all in this together.
Best,
Patric M. Verrone
President, WGAW
Michael Winship
President, WGAE"
UPDATE: Hey, screenwriters-- I'll be traveling tomorrow, with no access to the internet. So not only will I not be able to post any updates or developments on the strike front, but you'll probably here the latest news before I do. But I should be back in the loop tomorrow night or Tuesday, so stay tuned. Also, we've got some great stuff coming up, including more interviews with Hollywood's top writers and producers... Oscar chatter... and more writing tips, advice, and exercises...
Industry Updates | The Writers Strike 2007
Sunday, February 03, 2008 9:04:15 PM (GMT Standard Time, UTC+00:00)
|
|
Saturday, February 02, 2008
BREAKING NEWS: WGA Deal Almost Here??!
Posted by chad
Industry Updates | The Writers Strike 2007
Saturday, February 02, 2008 9:12:51 PM (GMT Standard Time, UTC+00:00)
|
|
A "Suck-Salute" In Honor Of... CANADA
Posted by chad
Hey, screenwriters— Every once in a while, I like to take a few moments to pay tribute to someone who’s done something so lame, so asinine, so irrefutably SUCKY that they deserve their own reward. I call this honor a “Suck-Salute,” and I am pleased to announce today's very special winner… CANADA. Earlier this week, CBS announced it had picked up thirteen episodes of Flashpoint, a new scripted drama about a Strategic Response Team, an elite squad of cops trained to rescue hostages, disarm bombs, fight gangs, and all other kinds of cool cop stuff. What made this announcement so unusual, however… was that Hollywood's TV writers were (and still are, obviously) in the middle of a strike. And without writers, where could CBS have possibly bought this show? Directors don’t create and write TV shows. Neither do actors. Or production designers. Or construction foremen. The answer, it turned out, was relatively simple: Canada. Flashpoint is a Canadian show, written and produced entirely by Canadian writers, producers, and crews at CTV, Canada’s largest television network. Then, this morning, NBC and ABC announced that they, too, were picking up Canadian shows: two more dramas— The Listener and The Border—and a comedy, Sophie.Which means that while American writers are striking on the streets, shutting off the content stream to U.S. networks and studios in order to receive fair compensation for the work they produce, Canadian writers have turned around and sold those same companies their work… for less money. There’s only one word for behavior like that: douchey. (Yeah, I said it. It’s crass, it’s disgusting, it’s probably offensive. But it fits. And it’s French.) Now, the Writers Guild of Canada has already come out and said that none of these shows are “struck work,” meaning none are owned by companies targeted by the striking WGA. And they’re right. But after the incredible support the WGA has received from England and Australia, it’s a bit disappointing—and by “disappointing” I mean “nauseating”—to get stabbed in the back by our “friends” up north. Especially after we have given Canada millions of dollars in production from the countless TV shows and movies we shoot each year in places like Toronto and Vancouver. TV shows and movies that could’ve been shot on U.S. soil, but aren’t, thanks to better tax incentives above the border. I’ve never seen any of the shows acquired in these new deals. They may be good. They may be brilliant. They may be better than Seinfeld, CSI and I Love Lucy all rolled into one. I do know this, however: these shows’ writers and producers are spineless cowards who should be ashamed of their behavior. "Canada is ready for the big time,” Stephen Waddell, national executive director of ACTRA, Canada's actors union, told The Hollywood Reporter this morning. “If you look at the (Canadian) programs that are being produced now, they're interesting, they're innovative, they bring a new perspective." Really? Really, Canada? Because I believe if you were truly ready for the big time, you wouldn’t be leeching off your friends and fellow writers who are fighting for a fair deal that will—eventually and ultimately—benefit you (and all writers) as well. But if your idea of the “big time” is taking whatever desperate shot at American audiences you can get… while your friends and colleagues are fighting for their livelihood… then you’re right—you’re ready for the big time. A DISCLAIMER: This Suck-Salute is not necessarily intended for all of Canada… mainly just the gutless folks working at CTV, CBC, and the other companies involved with these shows. But to the rest of Canada, and especially Canadian writers, I will say this: this is your country. These are your companies, designed to entertain you, that are behaving like this. Americans, Brits, Mexicans, Germans, Africans, Russians, or Spaniards aren’t the ones watching your networks and studios’ shows… generating ad dollars… putting food on your writers and producers’ tables. You are. So if you at all find this behavior despicable, if you at all believe that America’s striking screenwriters aren’t just fighting for their rights and respect, but for the rights and respect of writers and artists everywhere, then it’s your responsibility to let these companies know it. So write a letter. Organize a strike support rally. Send a letter of support to the striking WGA at UnitedHollywood.com. Post something here! But don’t just sit there. This is your fight as well as ours. And your countrymen have betrayed you.
Industry Updates | The Writers Strike 2007
Saturday, February 02, 2008 3:27:34 AM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, January 30, 2008
TEACHING THURSDAYS: Learn From Hollywood's Best Comedy Writers-- This Thursday, Jan. 31
Posted by chad
Hey, guys-- If you're in LA, this is an incredible opportunity to meet and learn from some of the best TV and film writers working today... The WGA has declared every Thursday during the writers strike " Teaching Thursday," meaning that each Thursday, picketing writers from different genres meet at the Warner Brothers Lot ( 4000 Warner Blvd., Burbank, CA 91505), Gate 2, to discuss the craft and process of what they do: structure, character, style, you name it! This Thursday-- tomorrow!-- is multi-camera comedy day, and you'll have the chance to learn and talk about sitcom-writing with the staffs of The Big Bang Theory, The War At Home, and others! Here's the scoop... WHERE: Warner Brothers 4000 Warner Blvd., Gate 2 Burbank, CA 91505 WHEN: Thursday, January 31 9 a.m. - 12 p.m.
Events Activities and Things To Do | The Writers Strike 2007
Wednesday, January 30, 2008 6:49:10 PM (GMT Standard Time, UTC+00:00)
|
|
Sunday, January 27, 2008
Listen to My Interview Online!
Posted by chad
Hey, guys-- After posting my interview with podiobook producer and executive Mark Yoshimoto Nemcoff a few days ago, Mark interviewed me on the phone for his writing website, Word Sushi. We talked for a while about the current state of the WGA writers strike, the future of the film and TV industry, how technology is changing distribution for filmmakers and writers across the world, etc. Click HERE to listen to the interview!
Fun Stuff | The Writers Strike 2007
Sunday, January 27, 2008 11:33:06 PM (GMT Standard Time, UTC+00:00)
|
|
Saturday, January 19, 2008
Calling All Reality TV Writers!
Posted by chad
Hey, screenwriters--
Regardless of how the strike pans out, the WGA is working hard to protect the rights and livelihoods of TV's reality writers. If you can attend, here's info on a meeting tomorrow morning to help bring reality writers under the juristication of the Writers Guild...
WGA ORGANIZING COMMITTEE: ACTION MEETING ALERT!: Open meeting for ALL reality, game show and nonfiction writers (you don't have to be WGA to attend) WHEN: Saturday, January 19th @ 11am-1pm WHERE: WGA Headquarters 7000 West Third Street Los Angeles, CA 90048 (Underground parking in WGA garage – enter on Blackburn Street) At this meeting, you will hear important information such as: • Statement of support from WGA leadership • Recent committee activity • How to file wage claims against non-signatory production companies • “Reality On The Line” picket week • How you can get involved Please RSVP to jpope@wga.org to secure parking and lunch. This meeting is for ALL writers-- you do not have to be a WGA member to attend! Please spread the word to anyone who wants to learn more about this critical campaign to win industry-standard benefits for all writers.
Events Activities and Things To Do | The Writers Strike 2007
Saturday, January 19, 2008 2:24:41 AM (GMT Standard Time, UTC+00:00)
|
|
Friday, January 18, 2008
The DGA Deal... What's It Mean?
Posted by chad
Hey, screenwriters-- So: the DGA signed its deal with the AMPTP last night, and Hollywood is abuzz with what it means for directors, writers, actors, the strike, and the future of Hollywood. Of course, the actual language of the contract itself has yet to be put together, so right now, all the speculation is just that... speculation. A lot of people's questions and confusions will be cleared up and clarified once the actual document is released. I had initially planned on detailing each of the contract's points here and discussing what each of them potentiall means. But the truth is-- there are a TON of sites and commentators out there already chatting and analyzing, and they're all probably smarter than I am. So rather than make you trudge through my own thoughts, I thought I'd link to some of the better articles out there and read for yourself. But just to get you started, I'll say this: the Directors Guild negotiated seven main points... • Increases in wages, residuals, and healthcare. • Jurisdiction over online content based on pre-existing shows and movies • Jurisdiction over original online content (as long as it costs over $300,000) • Residuals for electronic sell-throughs (downloads, video-on-demand, etc.) • Compensation for ad-supported streams of movies and TV shows • A sunset clause stating all this can be revisited when the contract expires again in three years I think the DGA made great progress on some of these points. They got jurisdiction over new media, which is terrific, and I even think the residual compensation for streaming is fair (up to $1200 for the first year, which doesn't seem like a lot, but I actually think is decent when taking into account the amount of revenue generated from streams versus revenue from traditional TV and movies). Anyway, I'll be back shortly with more great tips and writing advice. Coming up in the next few days... • We'll hear from Tracy Grant, a writer on ABC Family's drama, Lincoln Heights, about surviving your first year a TV writers room • We'll talk to Chelsea Lately producer Brad Wollack about breaking in and writing for talk shows • Plus, we'll have some great new resources and tools for screenwriters and film/TV fans across the country. But first, here are some great informative pieces about the DGA/AMPTP deal, along with varying opinions of what it means (and I'll add others as I find them)...
United Hollywood: "First Glance at the Deal Summary"The L.A. TimesNew York Times: "In Tentative Deal, Directors Send Message"The Huffington Post: "The Directors Guild Deal: Good or Bad? First Analysis," by Jonathan TasiniVariety: "Industry Reacts to DGA Deal"And most importantly... THE NEGOTIATING TABLE
Industry Updates | The Writers Strike 2007
Friday, January 18, 2008 9:16:23 PM (GMT Standard Time, UTC+00:00)
|
|
Thursday, January 17, 2008
BREAKING NEWS: THE DGA SIGNS A DEAL!
Posted by chad
Hey, screenwriters-- It was announced less than two hours ago that the DGA signed an agreement with the AMPTP. Although the terms of that deal haven't been announced, all eyes are now on the WGA's response. Will they accept the terms of the DGA's deal? Is the DGA deal fair for both writers and actors? Will the AMPTP return to the bargaining table? It should be a rollercoaster to watch these answers play out over the next few hours, days, and weeks... but no one knows much for now. Still, The Wall Street Journal has a pretty good spur-of-the-moment piece about it... click here...
Industry Updates | The Writers Strike 2007
Thursday, January 17, 2008 10:26:34 PM (GMT Standard Time, UTC+00:00)
|
|
More WGA Side Deals... and Are Studios Breaking the Law When They "Force Majeure" Their TV Writers?
Posted by chad
Hey, everyone-- This email is hot of the press from the WGA... and a really interesting read... To Our Fellow Members,
As you know, since the conglomerates walked away from the bargaining table on December 7, we have adopted the strategy of negotiating independent agreements with select companies. We believe this will accomplish several things. First, it demonstrates the reasonableness of our proposals and sets a marker for the industry; second, it puts writers (and others) back to work; third, it creates competitive pressure on the companies that have refused to negotiate and rewards companies that are willing to make a fair deal for writers; and finally, it makes clear to all that the WGA is ready, able and willing to negotiate a reasonable agreement that puts everyone back to work.
This strategy has been successful in bringing important companies to the table. We now have deals in place with Worldwide Pants (producer of The Late Show with Dave Letterman and The Late Late Show with Craig Ferguson), United Artists, The Weinstein Company, and Media Rights Capital. Today we have more independent agreements on which to report. On Monday, we signed Spyglass Entertainment, yet another significant independent feature film producer and distributor. Yesterday we made an agreement with Doug Liman's Jackson Bites. This company is funded by non-Hollywood investors and intends to develop high-end original programming for distribution on new media. It involves serious money for made-for Internet projects that the conglomerates told us in bargaining couldn't be done under a Guild agreement.
The Jackson Bites deal, like the Media Rights Capital deal of earlier in the week, gives writers of new media content all the benefits and protections that WGA writers have come to expect. It includes all the proposals which were on the table when the conglomerates walked away on December 7. The deal has minimum script fees for web content (as short as one minute in length), pension and heath contributions, separated rights (if the material is used in another medium), and revenue-based residuals. It's another exciting example of the possibilities opened up by the Internet for writers, as well as further indication that our contract is fair and affordable. We expect more such deals that shift the paradigm to a new business model for a new generation of content providers.
We'd also like to respond to the news from earlier this week of studio deals that were terminated with a force majeure letter. We believe there may be a legal case to be made on behalf of certain of the writers who received these letters. As we previously reported to you, the Guilds are actively pursuing NLRB charges against the AMPTP, alleging that the companies' decision to leave the bargaining table on December 7 was an unlawful refusal to bargain. We have asked the NLRB to seek an injunction ordering the companies back to the table. We are also taking the position that the companies’ unlawful actions have transformed our work stoppage into what is called an “unfair labor practice strike.” If our position is sustained by the NLRB, one consequence would be to entitle a striking writer to reinstatement after the strike, even if the employer had attempted to terminate the writer’s individual contract.
Any members who received termination letters should send copies of the letter and the agreements being terminated to the WGAW's General Counsel, Tony Segall... All communications and material will be treated as privileged and confidential.
Finally, there has been much conjecture about a forthcoming deal between the Directors Guild of America and the AMPTP. As of this moment, we do not know if a deal will be reached, when it will be reached, or what the terms will be. If and when the DGA reaches agreement with the AMPTP, the terms of the deal will be carefully analyzed and evaluated by WGA staff, the Negotiating Committee, the WGAW Board of Directors and WGAE Council. We will work with the full membership of both Guilds to discuss our strategies for our own negotiations and contract goals and how they may be affected by such a deal.
For over a month we have been urging the conglomerates to return to the table and bargain in good faith. They have chosen to negotiate with the DGA instead. When those negotiations are finished, whatever the outcome, the AMPTP will have to return to the process of bargaining with the WGAs. We ask for your patience as this process unfolds.
As our struggle continues, we remain impressed by and appreciative of the perseverance and fortitude of our membership. We are all in this together.
Best,
Patric M. Verrone
President, WGA West
Michael Winship
President, WGA East
Industry Updates | The Writers Strike 2007
Thursday, January 17, 2008 7:32:34 PM (GMT Standard Time, UTC+00:00)
|
|
READERS POLL: Should the Writers Guild Accept the DGA's Deal with the AMPTP?
Posted by chad
Today marks Day 74 of the Writers Strike... and the sixth day of the Directors Guild's negotiations with the AMPTP. All of Hollywood is watching with baited breath to see if the DGA closes a deal... and many people believe that if they do, their contract could serve as a template to restart the Writers Guild's stalled negotiations. This could be a good thing... if the DGA makes a deal that's agreeable to the Writers Guild. But it could also be a bad thing. If the DGA makes a deal that's not agreeable to the writers, the WGA could feel pressure from all sides-- and from within-- to accept it anyway, simply to end the strike. Plus, the AMPTP could issue a "take-it-or-leave-it" ultimatum; if they have an deal with one guild, they could say, they're not going to give more to another guild. And as Variety reports in today's issue, if the WGA balks-- or refuses to accept the DGA's terms-- it could fracture the Guild, reportedly already rife with internal tension. Some writers want the WGA to readily accept the DGA's terms in order to end the strike; others want the Guild to keep fighting for writers' rights, even if it means prolonging the work stoppage. Still others are urging the Guild to review the DGA's contract, and-- if it's a fair starting point-- use it as a starting point for new negotiations, taking the time to try and negotiate a similar deal for writers. Although no one knows how this will play out, the industry is abuzz with rumors that the DGA's deal is imminent... which means the Writers Guild may soon have to make some tough decisions. So what do you all think? Should the Writers Guild accept the DGA's contract with the AMPTP? Should they hold out for their own principles? Should they consult the Screen Actors Guild, which has been supportive of the WGA and has its own contract negotiations coming up in June? Let us know what you think in the readers poll below!...
Fun Stuff | The Writers Strike 2007
Thursday, January 17, 2008 9:14:24 AM (GMT Standard Time, UTC+00:00)
|
|
Sunday, January 13, 2008
Murder Unscripted
Posted by chad
Hey, guys-- For our strike video of the weekend, check out this video starring Chris Noth, BD Wong, Eric Bogosian, Dean Winters, Kate Erbie, Peter Gerety, and Zeljko Ivanek-- hilarious! And exactly what'll happen in a world without writers... MURDER UNSCRIPTED
Fun Stuff | The Writers Strike 2007
Sunday, January 13, 2008 8:47:07 AM (GMT Standard Time, UTC+00:00)
|
|
Saturday, January 12, 2008
ABC Fires Nearly 30 Writers (and I think this is a good thing)
Posted by chad
Hey, screenwriters-- Just wanted to weigh in on a piece of interesting news that broke yesterday afternoon. As you may have read, ABC became the first studio yesterday to axe nearly thirty overall deals. Obviously, this is a horrible thing for the writers involved and their families; these people were effectively fired at a time when there are no other jobs to be found (and trust me-- they don't get severance packages). NOT FUN. But, ironically, looking at the big picture, I think this is a really good thing. Here's why... Overall deals are massive deals studios make with writers and producers in order to have exclusive access to anything they write. It means a company says to a writer or producer, "we believe in you so much, we're going to pay you X number of dollars, over X number of years, in exchange for owning anything you create." Most overalls are $1-2 million per year and go to established writers with proven track records. Thus signing an overall deal is often the holy grail of TV writing. ABC, for instance, has (or had) deals with Gabe Sachs, who has written and produced for Just Shoot Me, What About Brian, and October Road; Larry Charles, who has written and produced for Seinfeld, Entourage, and Curb Your Enthusiasm (and directed the Borat movie); former NBC president Warren Littlefield, who's produced Keen Eddie, Love, Inc., and Do Over; and Shaun Cassidy, who has written and produced for Invasion, The Mountain, and The Agency (you may remember him as Joe Hardy from the old Hardy Boys series). Overalls last two or three years, meaning the studio agrees to pay the writer for those years, whether the writer produces anything successful or nt. So if Joe Writer signs a two-year, $3 million dollar overall with a TV studio, but writes absolutely nothing that gets on the air... the studio still pays him $3 million dollars. The only way for a studio to terminate an overall deal is through the contract's "force majeure" clause (French for "greater force"). In other words, a massive, unpredictable catastrophe that prevents the studio from being able to do normal business has to occur to allow the studio to fire someone under an overall. Maybe a tidal waves washes away the entire studio. Maybe California falls into the ocean. Or maybe a WGA writers strike shuts down the down. That's right... studios can use the writers strike to invoke force majeure and fire all (or some) of their overall deals. So ABC just fired almost thirty, including Gabe Sachs, Larry Charles, and actor Taye Diggs, who closed a producing deal after signing on last year to star in Private Practice. Warner Brothers is expected to jettison many overalls next week. Many people believe studios have wanted a strike to use force majeure clauses to get rid of pricey overalls that haven't produced quality material. Force majeure clauses usually can't be invoked until five or six weeks into the strike, so-- for studios wanting to ditch writers or producers under contract-- they need the strike to last that long. (FYI-- I don't believe any studio ever wants a work stoppage. The amount of money they've lost is far greater than what they pay their overalls. But a "side benefit" of the strike, for studios, is certainly the ability to trim their fat and get rid of unproductive deals.) But like I said, I think this is a very good sign. Here's why... It was announced earlier yesterday that the Directors Guild and the AMPTP, the organization representing the networks and studios refusing to pay writers, will begin official DGA contract negotiations today. In fact, they're probably just finishing their donuts and coffee as I write this. These contract negotiations concern many of the same issues that drove the Writers Guild to strike: namely, fair compensation for original online content and internet re-use of film and TV material. Now, as you've probably heard, the DGA has a much less contentious relationship with the AMPTP than the WGA does. They also have a history of negotiating contracts many months before they expire (their current contract runs out June 30). And if they negotiate a contract that's acceptable to both the Writers Guild and the Screen Actors Guild, which has been aggressive in supporting the striking writers, that contract could be seen as a template for the WGA and SAG contracts (SAG's contract also expires June 30; the WGA contract ran out October 31). Of course, the bad news is: the DGA has a history of negotiating contracts that aren't very writer- or actor-friendly. This isn't surprising; the DGA must tend to the needs of its own membership first, and those members have different needs than writers or actors. Still, a contract that's good for directors (and assitant directors, who comprise 40% of the DGA) may not be the best contract for actors and writers. But the good news is: the DGA has been very vocal about saying they intend to sign a deal that will be acceptable to everyone. Directors want the strike to end as much as anyone, and they realize that in order to go back to work, writers need a deal they can live with. So several days ago, the DGA and the AMPTP began unofficial talks to discuss the issues at hand. And, just like the studios and the writers, they were so far apart on key issues (mainly, internet stuff-- the big sticking point) that the DGA refused to commence official negotiations. Until yesterday. Yesterday, after days of further unofficial, backchannel negotiations, both sides announced they had made enough progress to begin negotiations immediately. In fact, DGA President Michael Apted said, "We would not enter negotiations with the AMPTP unless we were within
shouting distance of an agreement on our two most important issues:
jurisdiction for our members to work in new media and appropriate
compensation for the reuse of our work on the Internet and other new
media platforms." So how does this all add up???... Point #1: If DGA-AMPTP negotiations go well, and the resulting contract is acceptable to the actors and striking writers, it could end the strike. (Rumors swirling about Hollywood yesterday said the DGA could have their contract signed by tomorrow night. That may be pretty optimistic, but we'll see...) Point #2: Studio heads already have a pretty good idea of what the DGA contract will look like. Remember-- the DGA doesn't enter official negotiations until it feels it's already pretty close to a deal. Point #3: Once the strike is over, studios can no longer invoke force majeure clauses to get rid of expensive overalls they no longer want. Force majeure must be invoked during the strike. Point #4: Studios could have invoked force majeure clauses a month ago... but they didn't. Instead, most suspended their overalls without pay. Now, ABC suddenly announces massive firings, with Warner Brothers quick on its heels. Thus... I think ABC Studios wants to scrap its unwanted overalls before the strike is over, and it feels/senses/hopes that the DGA negotiations will be quick and productive. They also have reason to feel/sense/hope that the DGA contract will be acceptable-- or at least an acceptable starting place-- for the WGA. Meaning (at least in the eyes of ABC Studios): they feel/sense/hope that the end of the strike could be in sight. I.e.: "better take out the garbage while you still can." Of course, as with all things in this strike, nothing is predictable, and the whole saga has had more twists and turns than Deathtrap. But as we spend this weekend going to movies and watching football... and as the DGA and AMPTP sit around their conference table in their undisclosed location... and as ABC's fired writers assuage their spouses and families... it's worth asking... could the strike be coming to an end? Next week will be interesting, for sure. So keep your fingers crossed... and stay tuned...
Industry Updates | The Writers Strike 2007
Saturday, January 12, 2008 6:37:48 PM (GMT Standard Time, UTC+00:00)
|
|
Directors meeting with AMPTP tomorrow
Posted by chad
After being so far apart on key issues that they refused to begin negotiations, the Directors Guild of America and the Alliance of Motion Picture and Television Producers are sitting down tomorrow to (attempt to) formulate a new DGA- AMPTP contract. The main issues, just like in the failed Writers Guild negotiations, are compensation for both original online content and internet reuse of film and TV material. But the DGA, whose contract with the studios doesn't expire till June 30, has a history of negotiating deals months ahead of time... and the directors have been having backchannel conversations with studio heads for the last two weeks. Insiders say they wouldn't be sitting down unless they had come close to agreeing on a deal that seemed reasonable for the entire industry, actors and writers included. We'll see...
Industry Updates | The Writers Strike 2007
Saturday, January 12, 2008 2:08:06 AM (GMT Standard Time, UTC+00:00)
|
|
Friday, January 11, 2008
Robert J. Elisberg's Writers Strike Primer: FAQ
Posted by chad
Okay, this is sheer theft, but I'm posting below the text of the "Writers Strike Primer: FAQ" that Robert Elisberg posted yesterday at The Huffington Post. It's great. Normally, I'd just link to it and give Arianna the traffic, but it's so damn good I wanted to put it all up here. So in return, please go to The Huffington Post and read something. You can also check out more great pieces from Elisberg-- he's one of my favorites, and always seems to set the record straight (I've given you all the links-- it'll take two seconds). Here ya go... I hear that Patric Verrone is nuts. Is he?
No. It turns out that
Patric Verrone is quite sane. The WGA brought in doctors from the Mayo
Clinic to certify him, and they all left liking him very much,
especially the women who found him "dreamy." You and all those you hear
from are confusing him with Patrick Valona, who was considered insane
in 1843 for believing that fish created the combustible engine. Or
perhaps, you are just hearing a smear campaign started by the AMPTP
corporations, trying to create dissension within the WGA. Patric
Verrone is rational enough to have graduated magna cum laude from
Harvard, be on the law review at Boston College and teach law. Of
course, his move from that to writing cartoons did get his parents
concerned, though when he started giving them really nice gifts, they
relented. Some people think him odd because he always wears a business
suit in Hollywood, but it turns out that he just has good fashion
sense. And looks bad in t-shirts.
I hear that the WGA negotiating strategy is all wrong. Isn't it?
And you would do it differently how?
Well, er, I hear the WGA should bring in new negotiators who could make a deal. Shouldn't they?
If you brought in the Secretary General of the United Nations, even
he couldn't make a deal right now, because the AMPTP corporations have
walked away from the table. It's a well-accepted fact that it's almost
impossible to make a deal with someone who isn't there. The only known
case where this has occurred was a tribe in Kenya that
communicates by telepathy. However, it completely misunderstood the
other side, and got screwed royally, many times over. In the end, the
AMPTP corporations using their CIA contacts came in, bought the village
and threw the residents out.
I hear the WGA should never have added Animation and Reality to their demands. Wasn't that a bad thing to do?
In fact, they have always been on the table. As in "always." Even
before the strike. The AMPTP corporations never minded them then. Only
many weeks later, when they decided to try and divide the writers did
they suddenly jump up, "O'm'god, look, there are these six issues that
we hate, and two are Animation and Reality TV! We demand you remove
these, or we will never, ever continue negotiating with you at all,
ever." These are not strike issues - but they are very important to
some people. ("Some people" is defined as - "people who write Animation
and Reality TV.") But important as they are, the Writers Guild will not
strike over them. If the AMPTP corporations made a fair offer on New
Media tomorrow and left out Animation and Reality TV...the strike would
be over tomorrow. It's a non-issue.
I hear that the directors are more mature than writers, which is why the AMPTP corporations are negotiating with them?
Some people believe that third-graders are more mature than writers,
but it only appears that way because writers rarely see daylight or
other humans very often. The AMPTP corporations are negotiating with
directors because it's what they've wanted to do since Day One. You
see, directors hate striking for anything. In their entire history,
they have struck once, for five minutes. Literally. Actually, it was
more a clerical error. How far will directors go to avoid striking,
even for something worthwhile? In 1984, Gil Cates negotiated the
royalties for home video down by 80 percent, to the whopping
4 cents that artists get today. If you were the AMPTP, who would you
rather negotiate with? The WGA was a nuisance that had to be tolerated
until the directors were finally available. But now, writers have
created so much attention about New Media that even the DGA knows it
can get something good, if it tries.
I hear that all writers are rich. Aren't they?
You probably hear this from AMPTP corporate CEOs who make $25
million a year, right? Boy, do I wish you were right about this one.
Alas, half the WGA writers in any given year earn no income writing,
which tends to defeat the purpose of richdom. The median income of WGA
members is about $62,000. But then, the median income between me and
Peter Chernin of News Corp., who earned $34 million last year, is just
over $17 million. The handful of writers at the very top of their
profession are rich. The handful of people at the very top of any profession
are rich. The 97% of other writers, they fall into the, "Okay, who
ordered the tuna fish sandwich? You owe..." category.
I hear that the studios and networks say they don't make any money from the Internet. Why should they pay writers for it?
Studios and networks also say they don't make any money from TV and
movies. According to studios and networks, they all went bankrupt 24
years ago and have been completely out of business since 1987. CBS
today makes athletic shoes. Paramount runs a chain of muffler shops.
Neither, they say, make a profit. By the way, if you had wandered
through the recent Consumer Electronics Show, you would have understood
how massive a galvanizing profit these companies (and countless other
companies) make from the Internet - right now. It's dizzying. Moreover,
if you really want to scare AMPTP companies, say this to them: "I hear
you make even more money from "metadata" than almost anything." They'll
quickly turn and run. Simply, metadata is the data embedded in New
Media. Companies make huge money selling their metadata. (The amount is
technically known as "oodles." ) Let's put it this way - how do you
think Google became a multi-billion dollar company with a product line
they give away for free. Selling metadata. When figuring profit from
New Media and the Internet, it counts. No profit from the Internet. Ha,
good one.
I hear the AMPTP corporations wanted a strike. Is that true?
If they did, I wouldn't suggest that they promote the fact. There are,
of course, some financial advantages to a company during a strike. For
instance, they save a lot on parking attendants. Also, they get to fire
people and call it "belt tightening." And can drop the really bad deals
they made. On the downside, they have to give back several billion
dollars in ad revenue to their advertisers because ratings go down. The
optimist calls this a wash. The pessimist calls it taking a bath.
Either way, they get soaked.
I hear that when...
Sorry, let me interrupt you a moment. You seem to hear really wrong
things. Here's a rule of thumb. If you "hear" something, assume it's
wrong. If you have a relative who works in the entertainment industry,
and he or she tells you something they've heard, assume it's wrong. If
you read it in an online blog or column from someone who "heard"
something from a reliable source, assume it's wrong. At a certain
point, when there is actual news, you will know.
Why do writers deserve residuals? Didn't former MCA head Lew
Wasserman once say he wished he got a dollar every time he flushed his
toilet?
If Lew Wasserman could have gotten 10 million people to watch him
flush his toilet, he would have deserved that dollar. You misunderstand
what residuals are. Residuals are not a bonus. Residuals are delayed
compensation for promised income. Here's what that means - a script has
a high value, but companies cannot pay that amount up front, it's too
expensive. So, they reach a contractual agreement with writers: we'll
pay you much less than your script is worth so that we can make the
show, and then if it's successful and gets shown again and we make
additional money, you'll get a small percentage of that, to make up for
what you didn't get paid at the beginning. And both sides agree to
that. Contractually. People grasp that novelists get paid each time a
book they created is sold, that playwrights get paid each time the
drama they created is performed, that recording artists get paid each
time the CD they created is sold - it's the same for TV and film
writers.
No offense, but you make me sick. Why should anyone in the entertainment industry support the WGA striking?
No offense taken. Okay, here's the deal: the AMPTP corporations
offered writers zero for original New Media content, zero for New Media
streaming, and zero for New Media downloading. Where do you think all
future content will go? Good guess! Zero would destroy the Writers
Guild, and it would set the pattern for bargaining with the actors and
directors. Which would destroy them, as well. And for all other unions
- who think they don't have a stake in this - their health and pension
benefits are directly determined by what the residual rates
are. ("Residuals," remember them?) So, the more writers get for
residuals, the higher health and pension are for everyone. Yes, writers
are annoying and strike all the time, but every time they strike, it
benefits everyone. Most of the benefits you now enjoy, it's because the annoying writers struck for them.
Wow, sorry about the "You make me sick" crack. Why didn't you say this before?
We forgot.
I think TV and movies stink, so I'm glad writers are on strike. Why should I care?
You shouldn't. Read a book. Read a newspaper. Play some hoops. Keep
in mind, if you don't like what a network is showing, it was a studio
executive who decided what should be put on - and then, without any
creative experience, sent notes to the writers telling them how to
change it. For those of you who actually watch TV and movies, and have
obviously found things you like - isn't it nice that there are writers
who are able to overcome the hurdles and turn out such enjoyable,
involving, funny, dramatic stories? But ultimately...y'know, you have
your own lives to lead. Care about whatever you want that's important
to you. That's America. This happens to be important to writers. And to
actors. And whoever works in Hollywood, which is perhaps America's
biggest, most influential export to the world, America's public face to
every corner of the globe. It's your choice if you want to support
America, the land of the free, the home of the brave, from sea to
shining sea.
Do you know Jessica Alba?
No.
The Writers Strike 2007
Friday, January 11, 2008 6:09:01 PM (GMT Standard Time, UTC+00:00)
|
|
Thursday, January 10, 2008
Scabbed Over...
Posted by chad
The Writers Strike 2007
Thursday, January 10, 2008 9:51:34 PM (GMT Standard Time, UTC+00:00)
|
|
Support the Writers Strike, Go To Prom
Posted by chad
Hey, everyone-- this is hilarious... As you know, NBC has had to cancel the Golden Globes this weekend because they refuse to make a reasonable deal with the Writers Guild... meaning the Guild was planning on picketing the Globes, and-- since the actors support the writers in their quest for a fair deal with the TV and movie studios-- all the TV and movie stars refuse to cross the writers' picket line. And as if the writers are the ones acting like a-holes, NBC President Ben Silverman (you know-- the guy who's developing a TV series version of Robinson Crusoe) actually said this to E!'s Ryan Seacrest yesterday... "Sadly, it feels like the nerdiest, ugliest, meanest kids in the high
school are trying to cancel the prom. But NBC wants to try to keep that
prom alive." I'm not sure which is more idiotic... that he thinks the writers are to blame for this, or that he just called writers "the nerdiest, ugliest, meanest kids in high school." Not that any of this should be surprising: Silverman's jackass media blunders have landed him in hot water before... like when he hired Isaiah Washington only heartbeats after the actor was fired from Grey's Anatomy for making homophobic comments... or when he claimed he had nothing to do with ousting former NBC president Kevin Reilly-- a man who helped make Silverman a successful producer by standing behind Silverman's then-ailing comedy, The Office-- a claim so spineless it prompted ABC President Steve McPherson to tell Silverman to " be a man." ANYWAY... to celebrate the PR genius that is Ben Silverman, the Writers Guild is hosting-- you guessed it-- a prom at Ben Silverman High School (aka "B.S. H.S.") (aka "NBC Studios"). Here's the scoop... BENJAMIN SILVERMAN HIGH WINTER PROMWhen: Thursday, January 17th from 11am-2pm Where: BS High School (located at 3000 West Alameda in Burbank - often referred to as NBC Studios) Dress: Prom Formal And to raise money for the Industry Support Fund, you can buy a Ben Silverman High School T-Shirt just like the one below!... 
Events Activities and Things To Do | Fun Stuff | The Writers Strike 2007
Thursday, January 10, 2008 8:44:11 PM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, January 08, 2008
Enter the 1st Annual United Hollywood Short Film Contest!
Posted by chad
After the tremendous response to United Hollywood's FairDeal4Writers video contest, United Hollywood has expanded the competition into the 1st Annual United Hollywood Short Film Contest, open to any aspiring writer, director, or filmmaker. Winners will receive an autographed strike poster from Hollywood's top writers, producers, directors, and actors, as well a new package of Final Draft screenwriting software. Here's a short message from judge Marti Noxon (Executive Producer/Showrunner: Buffy the Vampire Slayer, Private Practice), as well as the blurb from FairDeal4Writers.com. For more information, visit UnitedHollywood.com or FairDeal4Writers.com...
Recently, United Hollywood announced the FairDeal4Writeres video
contest. Response has been great, but so much has happened in the last
several weeks that we’ve decided to make it an annual event.
United Hollywood is proud to announce that the FairDeal4Writers
contest has become the first Annual United Hollywood Short Film Contest.
We’re still looking for videos on how to get the Moguls to make a
fair deal, but we’ve expanded the scope of the contest. You can now
choose to make a film on any WGA contract issues that inspires you. If
you’re not sure what the issues are check out our blog spot www.unitedhollywood.com. Be innovative and find an aspect of the negotiations that strikes you.
Keep in mind that we’re not looking for you to talk to the camera
and tell us how you would end the strike. Videos should be
cinematically creative. Our theme for this years’ contest is still a
FairDeal4Writers.
Videos can be no longer than four minutes. They can be any genre
(comedy, drama, mockumaentary, commercial, whatever!). All videos must
contain the phrase “fighting for the future,” and the last line of the
video must be “We’re all on the same page.”
The winner of the contest will receive an authentic WGA strike poster
with over 175 signatures by writers, actors, actresses and directors
who autographed it while on the picket line and a copy of FINAL DRAFT.
“You have a story to tell. Use Final Draft to write it.”
Events Activities and Things To Do | Fun Stuff | The Writers Strike 2007
Tuesday, January 08, 2008 8:00:37 PM (GMT Standard Time, UTC+00:00)
|
|
Golden Globes Cancelled
Posted by chad
Thanks to the Screen Actors Guild's Friday announcement that actors and movie stars would not be crossing Writers Guild picket lines to attend this weekend's Golden Globes awards ceremony, NBC has yanked the telecast. The network will instead air a block of Globes-related programming, including a live telecast of a decidedly not star-studded press conference, where winners will be announced. Here's the HFPA's official press release... RECIPIENTS OF “THE 65th ANNUAL GOLDEN GLOBE AWARDS” TO BE ANNOUNCED AT BEVERLY HILTON PRESS CONFERENCE ON JANUARY 13th
HOLLYWOOD, CA, January 7, 2008 – The Hollywood Foreign Press
Association today announced that the recipients of Golden Globe Awards
in 25 categories will be revealed during an hour-long HFPA press
conference at The Beverly Hilton to be covered live by NBC News
beginning at 6:00 pm PST on January 13. “The 65th Annual Golden Globe
Awards” NBC telecast and champagne dinner in The Beverly Hilton’s
International Ballroom is officially cancelled.
“We are all very disappointed that our traditional awards ceremony will
not take place this year and that millions of viewers worldwide will be
deprived of seeing many of their favorite stars celebrating 2007’s
outstanding achievements in motion pictures and television,” said Jorge
Camara, President of The Hollywood Foreign Press Association. “We take
some comfort, however, in knowing that this year’s Golden Globe Award
recipients will be announced on the date originally scheduled.”
Industry Updates | The Writers Strike 2007
Tuesday, January 08, 2008 12:48:03 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, January 07, 2008
The AMPTP Can't Handle The Truth
Posted by chad
Hot off the press from the WGA... To Our Fellow Members,
For our first joint communication of 2008, we are pleased to report very good news. This morning, United Artists signed an independent agreement. This company, now co-owned by Paula Wagner and Tom Cruise, has been legendary for its collaborative and cooperative relationships with writers and the talent community, so it is only fitting that it be the first film studio to make an agreement with us.
This agreement is virtually identical to the agreement signed by David Letterman's Worldwide Pants (posted at: http://www.wga.org/contract_07/wwp_exec.pdf). It features all the proposals we were preparing to make when the conglomerates left the bargaining table a month ago. Those proposals include appropriate minimums and residuals for new media (whether streamed or downloaded, as well as original made-for content), along with basic cable and pay-TV increases, feature animation and reality TV coverage, union solidarity language, and important enforcement, auditing, and arbitration considerations.
We expect this deal to encourage other companies, especially large employers, to seek and reach agreements with us. As those deals are announced, we will report them immediately to you. In the meantime, let us maintain our picket line presence and the pressure that it places on the conglomerates. We look forward to more e-mails like this one in the near future.
Best,
Patric M. Verrone
President, WGAW
Michael Winship
President, WGAE
Industry Updates | The Writers Strike 2007
Monday, January 07, 2008 10:47:18 PM (GMT Standard Time, UTC+00:00)
|
|
Sunday, January 06, 2008
READERS POLL: Do WGA Side-Deals Help or Hurt the Writers Strike?
Posted by chad
As you know, it was announced today that Tom Cruise and Paula Wagner’s film studio, United Artists, has closed a deal with the WGA, agreeing to all the striking screenwriters’ proposals and allowing them to begin hiring writers and producing movies. This is the second side-deal the WGA has made, following last week’s deal with David Letterman’s production company, Worldwide Pants.
But the reactions of Hollywood and writers across the country seem to be mixed!
Some people champion the development, applauding both the WGA and these production companies for making deals outside the AMPTP. They hope similar deals are soon to follow.
Others criticize these deals, predicting they’ll lead to the division of the Writers Guild, the disintegration of the writers’ power, and—ultimately—the loss of everything the WGA is fighting for. If some union screenwriters go back to work, they say, other will become resentful… why should some WGA members be allowed to work and others not? The WGA’s power, they argue, lies only in sheer unity: nobody works until everybody works.
Writers Digest wants to know your opinion. Take our poll... or post your thoughts below!
Fun Stuff | The Writers Strike 2007
Sunday, January 06, 2008 1:42:01 AM (GMT Standard Time, UTC+00:00)
|
|
Saturday, January 05, 2008
BREAKING NEWS: United Artists Closes Deal With WGA!
Posted by chad
In what could be the first major victory for the the Writers Guild of America, United Artists-- the independent movie studio started by Charlie Chaplin, Mary Pickford, D.W. Griffith, and Douglas Fairbanks as an "F.U." to the studio system, and now run by Tom Cruise and Paula Wagner-- has closed a deal with the WGA... agreeing to all the writers' requests: new media residuals, jurisdiction over animation and reality TV, everything! Check out the full story at Nikki Finke's Deadline Hollywood Daily. The deal basically mirrors the deal signed last week by David Letterman's Worldwide Pants, but this is a much bigger deal. First of all, while Letterman gave the writers all the backend and internet residuals they wanted, talk shows like Late Night With David Letterman and Late Late Night With Craig Ferguson don't have much backend or a huge online presence, so yeah-- it's great that Letterman agreed, but there's not much value to his agreements. Secondly, David Letterman is a WGA member, so it's not a huge shocker that he'd make a deal. But United Artists' agreement represents the first time non-WGA members-- and a producer of major movies-- has agreed to the WGA's proposals. This totally validates the reasonability of what the WGA is asking for. It also gives United Artists a huge leg up over the other studios, as the company can now begin hiring WGA writers and producing movies... while the rest of the studios are stuck in the mud, refusing to give in to the WGA's reasonable requests and remaining unable to make TV shows or movies. Supposedly, the other studios are furious that United Artists and MGM, with whom UA is partnered. And any time studio chiefs are pissed off... that's a good thing. To read the actual Worldwide Pants deal in its entirety, which is basically the same as the United Artists deal, click below... WorldwidePantsDeal.pdf (12.94 KB)
Industry Updates | The Writers Strike 2007
Saturday, January 05, 2008 9:56:01 PM (GMT Standard Time, UTC+00:00)
|
|
Thursday, January 03, 2008
Write and Own Your Own Show at StrikeTV!
Posted by chad
Hey, writers-- wanna create, write, and OWN your own show? Here's your chance... Last week, the Writers Guild announced the formation of StrikeTV, an ad-supported online "TV channel" boasting all original content written, directed, and produced by professional screenwriters, directors, and producers. Which-- frankly-- is more than the networks and studios have right now. Proceeds from the ad money generated by StrikeTV goes toward the Writers Guild Foundation's Industry Support Fund, which helps union diretors, actors, and below-the-line workers keep food on their tables during the strike. But unlike the networks and studios, StrikeTV allows the writers, creators, and producers of its shows to maintain ownership of their own content... meaning if your show becomes a hit-- no one profits but you! StrikeTV is holding a seminar entitled "StrikeTV: Adventures in New Media," this Saturday, January 9, at 1:00 p.m. at the WGA theater (135 S. Doheny Dr.
BH 90211). The first half will be devoted to speakers and discussions about
the emerging world of digital media, as well as how writers can maintain
ownership and become financial partners in their own content. The second half focuses on actual physical production.
For more information about the seminar or StrikeTV in general, check out StrikeTV's official MySpace page!
Events Activities and Things To Do | The Writers Strike 2007
Thursday, January 03, 2008 8:35:48 PM (GMT Standard Time, UTC+00:00)
|
|
You Gotta Fight For Your Right To Late Night
Posted by chad
Hey, everyone-- Fans In Support of the WGA Strike, an online group of fans backing and fighting for the striking TV and film writers, is calling on all fans of late night TV to get on the phone and voice your frustration to GE/NBC heads Jeff Immelt & Jeff Zucker and Disney heads Bob Iger and Anne Sweeney. As you may know, David Letterman's Worldwide Pants has struck its own deal with the WGA, allowing them to return to CBS's air tonight with their writing staffs intact. NBC and ABC, however, still refuse to make a deal, forcing their late night talk shows back on the air tonight... with no writers. So here's the latest post from Fans In Support of the WGA Strike... help the writers end the strike and get your favorite shows back on the air!
Action Item For The Week: Call NBC, GE, Disney & ABC To Support Jimmy, Conan & Jay Personally
Greetings my fellow WGA supporters! Did everyone have a decent Hannukah/Christmas/Kwanzaa/winter holiday? Was New Year's good and relaxing for you? I
hope so because it's time for us to go back to work so we can get other
writers (and their shows production teams) back on their jobs already. The
action item for the week for the LJ community is to call NBC, ABC and
also GE and Disney and express our displeasure at the untenable
position they have put Conan and Jay and Jimmy Kimmel into. We can all
agree to support Jay and Conan and Jimmy as WGA writers, heck it was
great of them to be putting out so much of their own money to support
the non writing staffs for as long as they did (Conan, Jay & Jimmy
who tried to hide this from the media, nice guy that he is) and showing
up on the picket lines of LA (Jay & his head writer Joe Medeiros on
the picket lines)  or doing appearances on their staff's unofficial show blogs (Conan and all kinds of videos on http://www.latenightunderground.com, especially one entitled 'Strike Beard' )
So
please call the following numbers between 9am and 5pm Eastern time (9am
- 5pm Pacific for ABC & Disney) and leave messages for the 2 Jeffs
as well as Anne Sweeney & Bob Iger letting them know that you
support Conan and Jay and Jimmy as WGA writers but are displeased that
they have been forced back to work without their writers and that you
would feel more comfortable watching their shows and buying the
products and services that are running advertising spots (not to
mention buying GE and Disney products and services) if only they would
make fair deals with the WGA writers just like Worldwide Pants did for
David Letterman's show and Craig Ferguson's (whose shows you feel good
about watching and whose sponsors products and services you will
strongly consider buying)
You can and leave the usual name,
gender, age range (for example at 38 I fall into the highly sought
after 18-49 and 25-44 age groups), an approximate range for your
household income (they especially love to hear from people whose
household income is $75,000 or more a year, so if you fit that
description, say so!), your closest NBC or ABC affiliate (station call
letters and number or the city and state it is located in), and city
and state where you live.
If you also support other shows on
NBC/USA/SciFi/Bravo or the ABC/ABC Family/Disney networks feel free to
mention those shows in your call as well.
GE
Jeffrey Immelt, President (the last name is pronounced 'eye-melt')
3135 Easton Turnpike
Fairfield CT 06828-0001
Phone 203-373-2211
Fax 203-373-3131
NBC
Jeff Zucker (last name rhymes with 'Tucker')
Phone 1-212-664-4444
Fax 1-212-703-8533
Disney and ABC
Robert Iger President & CEO of Disney (last name pronounced 'eye-grrr')
Anne Sweeney, President of ABC, ABC Family, & Disney Networks
Phone 1-818-560-1000 for the general line
1-818-560-6929
for Mr Iger's office (that will teach the operators for the general
line not to hang up on me 3 times in a row although I'm still calling
the FCC to complain about that)
Happy dialing!
Events Activities and Things To Do | The Writers Strike 2007
Thursday, January 03, 2008 12:53:33 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, December 31, 2007
Get Cool Writer-y Stuff (produced scripts, autographed photos, etc.)!
Posted by chad
To raise awareness for the plight of the striking film and TV writers, Fans4Writers, a website and organization of TV and film lovers, is launching a creative ad campaign: filling the skies over Pasadena with skywriting messages during Tuesday's Rose Bowl game. And to help raise money for the skywriting (their goal is $6,500), they're hosting a silent auction... auctioning off tons of terrific TV, film, and screenwriting paraphernalia like produced Battlestar Galactica scripts and autographed photos. You can check it out, bid on items, or just donate money to the cause by clicking here!
Events Activities and Things To Do | The Writers Strike 2007
Monday, December 31, 2007 6:32:58 AM (GMT Standard Time, UTC+00:00)
|
|
Saturday, December 29, 2007
Letterman Makes WGA Deal!
Posted by chad
HOT OFF THE PRESS... Less than an hour ago, the Writers Guild announced that they have closed a deal with Worldwide Pants, David Letterman's production company, which owns both The Late Show with David Letterman and The Late Late Show with Craig Ferguson, allowing both shows to return to the air next week... with writers! This is incredible news for writers, actors, below-the-line workers, and TV fans alike. You can read the full story in The New York Times, and check out the WGA's announcement, in its entirety, below... "To Our Fellow Members, We are writing to let you know that have reached a contract with David Letterman's Worldwide Pants production company that puts his show and The Late Late Show with Craig Ferguson back on the air with Guild writers. This agreement is a positive step forward in our effort to reach an industry-wide contract. While we know that these deals put only a small number of writers back to work, three strategic imperatives have led us to conclude that this deal, and similar potential deals, are beneficial to our overall negotiating efforts. First, the AMPTP has not yet been a productive avenue for an agreement. As a result, we are seeking deals with individual signatories. The Worldwide Pants deal is the first. We hope it will encourage other companies, especially large employers, to seek and reach agreements with us. Companies who have a WGA deal and Guild writers will have a clear advantage. Companies that do not will increasingly find themselves at a competitive disadvantage. Indeed, such a disadvantage could cost competing networks tens of millions in refunds to advertisers. Second, this is a full and binding agreement. Worldwide Pants is agreeing to the full MBA, including the new media proposals we have been unable to make progress on at the big bargaining table. This demonstrates the integrity and affordability of our proposals. There are no shortcuts in this deal. Worldwide Pants has accepted the very same proposals that the Guild was prepared to present to the media conglomerates when they walked out of negotiations on December 7. Finally, while our preference is an industry-wide deal, we will take partial steps if those will lead to the complete deal. We regret that all of us cannot yet return to work. We especially regret that other late night writers cannot return to work along with the Worldwide Pants employees. But the conclusion of your leadership is that getting some writers back to work under the Guild’s proposed terms speeds up the return to work of all writers. Side-by-side with this agreement, and any others that we reach, are our ongoing strike strategies. In the case of late-night shows, our strike pressure will be intense and essential in directing political and SAG-member guests to Letterman and Ferguson rather than to struck talk shows. At this time, picket lines at venues such as NBC (both Burbank and Rockefeller Center), The Daily Show, The Colbert Report, and the Golden Globes are essential. Outreach to advertisers and investors will intensify in the days ahead and writers will continue to develop new media content itself to advance our position. We must continue to push on all fronts to remind the conglomerates each and every day that we are committed to a fair deal for writers and the industry. Best, Patric M. Verrone President, WGAW Michael Winship President, WGAE"
Industry Updates | The Writers Strike 2007
Saturday, December 29, 2007 1:39:24 AM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, December 26, 2007
WGA Video Contest!
Posted by Chad
Christmas may not be over yet... at least not for all you aspiring screenwriters and filmmakers. In the wake of Nikki Finke's grim pre-Christmas reportage, UnitedHollywood.com, the official blog of the Writers Guild strike, is sponsoring FairDeal4Writers, an online video contest for writers, directors, and producers across America.
All you have to do is shoot a four-minute (or less) video showing how you would get the AMPTP to make a fair deal. Videos can be in any genre: comedy, drama, mockumentary... even a "commercial." It must contain the phrase “fighting for the future,” and the last line of the video must be “We’re all on the same page.”
The winner will receive an authentic WGA strike poster with over 150 autographs of writers, actors, actresses and directors who signed it while on the picket line.
To enter the contest, simply upload your video to YouTube, then email the contest at videos@FairDeal4Writers.com. The contest ends January 20th, the winner will be announced January 28th.
Also, here's Oscar-winning screenwriter Paul Haggis (Crash, The Black Donnellys) with more information...
Events Activities and Things To Do | Fun Stuff | The Writers Strike 2007
Wednesday, December 26, 2007 8:27:42 PM (GMT Standard Time, UTC+00:00)
|
|
Thursday, December 20, 2007
A "Script Notes" X-mas Miracle
Posted by chad
Okay, so it's not really a "miracle" per se... unless by "miracle" you mean "funny YouTube video," but as a "Farewell 2007"/Christmas/Hanukkah/Kwanzaa gift, here's a brand-new, hot-off-the-press WGA strike video. Enjoy it... and watch it slowly-- this will probably be my last post of the year, so it needs to last you a few days... but "Script Notes" will be back in full force next month-- bringing you all the latest info on the writers strike, important screenwriting news, and lots of great writing tips and advice. Have a terrific holiday!
Fun Stuff | The Writers Strike 2007
Thursday, December 20, 2007 7:44:06 AM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, December 19, 2007
Save Jon Stewart!
Posted by chad
Miss The Daily Show because the studios walked away from the negotiating table in the midst of the writers strike? Want the Daily Show writers-- and writers of all your other TV shows-- to get paid fairly so you don't have to sit around watching reruns of Nightline and The Singing Bee for the next eight months? Well, take a stand!
MoveOn.org has launched its own petition to bring back The Daily Show... as well as all the other shows which have gone dark because the studios don't want to pay their writers. Click here to sign the petition, which will be sent to studio executives in an effort to convince them to share a tiny piece of the $170 million they're making from airing shows online. (And just to be clear... that $170 million is being made off shows written by writers... none of whom make a dime when the studios show their work online.)
Events Activities and Things To Do | The Writers Strike 2007
Wednesday, December 19, 2007 7:26:39 AM (GMT Standard Time, UTC+00:00)
|
|
Thursday, December 13, 2007
The AMPTP: So Sexy When They're Angry
Posted by chad
The Writers Strike 2007
Thursday, December 13, 2007 12:05:08 AM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, December 12, 2007
The AMPTP May Be Rich... but They Don't ROCK!
Posted by chad
Marti Noxon, Dawn Prestwich, Nicole Yorkin,
and the United Showrunner Committee
cordially invite you to attend
WRITE AID
A Benefit Concert to Provide Assistance
to Industry Employees Affected by the WGA Strike
Performers currently scheduled:
Eddie Izzard
Lewis Black
Patton Oswalt
Sarah Silverman
&
Tenacious D
(featuring Jack Black & Kyle Gass)
ONE NIGHT ONLY!
FRIDAY, DECEMBER 14th at 8 p.m.
ROYCE HALL at UCLA
Tickets - $75 per person
Tickets can be purchased
By visiting
www.UCLALive.org
Or calling
(310) 825-2101
Or by contacting
Ticketmaster
Tickets also available in person at the UCLA Central Ticket Office
Southwest corner of the James West Alumni Center
And at
All Ticketmaster Outlets
Write Aid is presented by members of the Writers Guild of America West, the Screen Actors Guild and West Beth Entertainment.
The idea originated with the United Showrunners Committee who wanted a way to reach out to the Industry community during the strike. Dawn and Nicole, Executive Producers of "The Riches" approached star Eddie Izzard. "I wanted to help because the WGA struggle is in the same area as the SAG struggle will be in a few months time." Izzard said. "We will also be negotiating over Internet residuals, so doing the benefit seemed like a good way of helping out and showing solidarity."
"A small group of writers and performers came together recently in the hopes of reconfirming our solidarity, as well as raising spirits and money as the Holidays fast approach," explains Marti Noxon, Executive Producer and Showrunner of the series Private Practice.
For 30 years WestBeth Entertainment, led by President Arnold Engelman, has produced critically acclaimed work in live entertainment. Productions have included the sold-out national tours of Eddie Izzard's Dress to Kill, Circle and Sexie; Billy Connolly's Too Old to Die Young (North American Tour); Lewis Black's Nothing's Sacred (Lincoln Center, Carnegie Hall) and Red, White and Screwed (NY City Center); The Family Guy Live (NY, Los Angeles, Chicago) and Wigfield featuring Stephen Colbert, Amy Sedaris and Paul Dinello (Off-Broadway, National Tour); WestBeth recently produced Margaret Cho's The Sensuous Woman in New York and Eric Idle's play What About Dick? in Los Angeles.
Events Activities and Things To Do | The Writers Strike 2007
Wednesday, December 12, 2007 9:45:29 PM (GMT Standard Time, UTC+00:00)
|
|
If You Can't Strike Away Your Troubles... Drink 'Em Away
Posted by chad
Props to Nikki Finke's Deadline Hollywood Daily for posting this awesome WGA-supporting drink recipe...
The
drink created by screenwriter Nian Aster was first offered at “The
Backstage Bar” then “La Campanile,” “M Bar” and “Chan Dara,” with
discounted rates and menus for Writers Guild members. "Cinespace” on
Hollywood Boulevard is hosting a complementary evening Wednesday for
striking writers with free beer, shots, and Striking Writer
Martinis. Here’s the recipe:
The Striking Writer Martini
2 oz vodka "to fortify against the cold Strike Winter"
2 oz cranberry juice "as the writers are seeing red"
1 oz sweet and sour mix "they’re grateful for solidarity in this bitter struggle"
4 drops vanilla (or use vanilla vodka) "to symbolize the 4 cent raise they asked for"
"There’s no cherry in this drink, as writers aren’t getting a piece of
the pie. Garnish with a half a redvine, as they hope to be back on the
set soon."
Fun Stuff | The Writers Strike 2007
Wednesday, December 12, 2007 12:02:09 AM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, December 11, 2007
Patrick Goldstein Breaks It Down: Why the Studios Won't Budge
Posted by chad
The Writers Strike 2007
Tuesday, December 11, 2007 7:02:23 PM (GMT Standard Time, UTC+00:00)
|
|
Is the AMPTP Illegal... or Just Unethical?
Posted by chad
Here's a link to a terrific article posted last week on The Huffington Post by commentator Robert J. Elisberg. In it, Elisberg makes a pretty convincing case for why the AMPTP's negotiating position may not be just unethical and unfair, but downright illegal. Here's a little preview, but you should read the entire article...
"The AMPTP is like if General Motors, Ford, Daimler-Chrysler, Toyota,
Honda and Nissan all got together, decided the terms they would offer
employees, and then negotiated as a single body against one isolated
division of U.S. auto workers at a time. Divide and conquer. Take it or
leave it.
It's not that it would be massively illegal. It's that it would be
unconscionable. No one in the aghast free world would stand for it.
Even Luddites who wished it wasn't illegal understand why it's
unacceptable.
Or imagine if all the tobacco companies got together. What if they
hid research about nicotine, and then...oh, wait, they did. And they
all got hauled before Congress.
Competitors are not allowed to negotiate together, to even confer
together. It's called collusion. When baseball owners merely created an
"information bank" for offers being made to free agent players, they
were fined $280 million. Two competitors cannot talk with one another
if there's just a hint of agreement. Imagine ALL competitors in an
industry getting together to set ALL wages and ALL labor conditions. It doesn't happen. Anywhere. Not "anywhere in the U.S." Anywhere in the free world.
Except Hollywood."
The Writers Strike 2007
Tuesday, December 11, 2007 8:46:43 AM (GMT Standard Time, UTC+00:00)
|
|
Strike Website of the Day
Posted by chad
Fun Stuff | The Writers Strike 2007
Tuesday, December 11, 2007 7:42:00 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, December 10, 2007
Nick Counter Wins a Screenwriting Oscar (seriously)
Posted by chad
Okay, not seriously. But he deserves one, and I intend to lobby to adapt Oscar nomination rules to include people who haven’t actually written a screenplay. Because no matter who’s nominated for this year’s Best Original Screenplay Oscars, none will have written a second act break as dramatic as the one Nick Counter, the AMPTP’s bombastic head negotiator, handed the Writers Guild Friday afternoon. After eight days of negotiations, just as it looked like the WGA-AMPTP bartering process might actually be taking hold, Counter ended Day 32 of the writers strike by offering the WGA a crushing take-it-or-leave it proposal/ultimatum, culminating with the statement “that when the WGA sends me a letter confirming that [their] six proposals (I’ll get to them in a minute) are withdrawn, the AMPTP will schedule another negotiation session with the WGA.” In effect, Counter is saying that until the Writers Guild meets six deal-breaking demands, the AMPTP refuses to negotiate further. I won’t give you a play-by-play of Friday’s events, because Nikki Finke does a bang-up job at Deadline Hollywood Daily, but the AMPTP’s demands are basically a complete revocation of everything writers are requesting, including: payment for original online content, fair residuals for online reuse of movies and TV shows, and guild coverage for reality and animation. And while the WGA is willing to negotiate on most of these points, the AMPTP refuses to even discuss them. As we all know, the “second act break” is the point in every movie when all is lost for the story’s hero. It’s when E.T. dies. Or Harry and Sally sleep together and things get weird. Or Ben and Alison break up in Knocked Up. Or the AMPTP walks away from the bargaining table, chucking all their progress and leaving the WGA with nothing but a ridiculously crappy deal. In other words: all is lost. But all is not lost. Because this is the moment where our hero—Elliott, Harry, Ben—refuses to give up, regroups, and surges forward to win the day. So first of all—congrats to Nick Counter (as well as Peter Chernin, Barry Meyer, Les Moonves, and the rest of the AMPTP). You may like to spit on the writers, but at least you’ve learned a bit about screenwriting. (And don’t worry, Nick, et al—we know you don’t really like to spit on the writers, but if you don’t at least pretend to have bigger balls than the people giving you your movies and shows, you won’t be able to justify your bloated multi-million dollar salaries to shareholders keeping you in power. We understand. It’s a game. But you’re gonna lose.) However, Nick, like all screenwriters—even Oscar nominess—you need to learn to deal with notes. So here are some thoughts on how to punch-up this little drama you’re writing… NOTE #1: IT’S PREDICTABLE. I know you think your eleventh hour sucker-punch was a soul-crushing ambush, but it might’ve been more soul-crushing and more ambush-y if it hadn’t been predicted verbatim by everyone from Nikki Finke to John Aboud to Tom Schulman. THE FIX: Why not discuss, revamp, and come back with a reasonable proposal? No one will see that coming, and you won’t have blown your wad by giving away what’s coming. As we all know—sloppy plotting only reflects poorly on the writer (in this case, you guys). NOTE #2: THE VILLAIN NEEDS TO BE SMARTER. The story’s villain should always be smarter than the hero, or it never feels like the hero is fighting a formidable foe. Sure, this villain is a collective of multi-billion dollar studios with the ability to crush careers. But we’ve all spent the last eight years watching this exact same drama play out in the music industry… and the music industry lost. Big-time. So it’s hard to believe the AMPTP, with its “titans of business” like Bob Iger and Jeff Zucker, is all that smart or powerful when it insists on following in the footsteps of a business destroyed by its own hubris and short-sightedness. I mean, surely Bob Wright and Pat Weaver would never suggest using a strategy that just decimated an entire industry. But apparently, most of the guys on the AMPTP haven’t read the news since 1996. Or heard of iTunes. Or Radiohead. They’re still shopping for CD’s and wondering why they get disconnected signals whenever they call their music divisions. THE FIX: If the AMPTP isn’t smart enough to avoid the mistakes of its predecessors, at least give us a beat where they explain how this is different from the music industry. Because right now, they look like a bunch of old white guys who think the internet’s a fad. NOTE #3: TAKE YOUR OWN ADVICE AND LISTEN TO THE FOCUS GROUPS. For years, Hollywood network and studio heads have based pilot-pickups and movie cuts on the opinions of focus groups composed of the general public. But the general public has announced, loudly and clearly, that they’re on the side of the writers. Not only are most of Americans against the AMPTP, but the AMPTP can’t even articulate what it is they’re holding out for. In other words, Nick—the villain’s motivation is unclear and audiences are responding negatively. THE FIX: A hundred million Elvis fans can’t be wrong… and neither are two-thirds of the country. But like George W. Bush—who, ironically, most of the studio heads have donated millions of dollars against—the AMPTP doesn’t think the public’s opinion matters. But guess what, Nick and friends?... The same people who are telling you to quit acting like schmucks are the same people who told you Viva Laughlin sucked. In other words: quit acting like schmucks—you’re not fooling anyone. Anyway, while Nick Counter may have concocted the best second act break of the year, he seems to have forgotten one important fact... The second-act break ain't the end of the movie.
And neither is this. Like all second-act breaks, this one feels shitty when you’re in the middle of it. But like Elliott, Harry, and Ben… the heroes of this story will prevail. Even if Nick Counter gets his Oscar.
The Writers Strike 2007
Monday, December 10, 2007 7:38:46 AM (GMT Standard Time, UTC+00:00)
|
|
Friday, December 07, 2007
The WGA Throws Down the Gauntlet
Posted by chad
Hot off the email press from the WGA... Dear Fellow Members,
Before we head into negotiations this morning, we want to give you an update on where we stand.
On Tuesday, after the companies had requested a four-day break so they could work on their proposals, we returned to the bargaining table. We presented a counter proposal to their streaming proposal of November 29. They presented no new proposals. On Wednesday, the AMPTP again had no new proposals, but they did have detailed questions about our streaming counter proposal and other aspects of our overall proposals – and from the give and take of those discussions, we felt that they might finally be ready to engage in serious bargaining. They told us they would have new proposals for us Thursday. On Thursday, we met at 10am, and they told us their new proposals would be ready shortly. At 5pm, they told us their proposals still weren’t ready, that they would be working on them late into the night, and that we should come back this morning at 10am. The fact that we saw everyone from the AMPTP leave the building by 6:45pm is not a promising sign, but we will be at the table at 10am this morning, ready to receive their new proposal.
We’d like to address some of the disturbing rumors and back channel communications we’ve been hearing. For one, we’ve heard that one or more of the companies are prepared to throw away the spring and fall TV season, plus features, and prolong the strike. Aside from the devastating effect this would have on the unions, workers, and their families in this industry, it would certainly explain the AMPTP’s refusal to put any new proposals, even a bad one, on the table. Also, highly placed executives have been telling some of our writers that the companies are preparing to abruptly cut off negotiations. They say the companies plan to accuse the WGA of stalling and being unwilling to negotiate, and that the companies will use that as an excuse to walk out.
The Writers Guilds of America, West and East are going on record now that any such claims are absolutely untrue. We have been at the negotiating table every day, willing to bargain. Furthermore, we hereby challenge the AMPTP to negotiate in good faith, day and night, through the Christmas and New Year’s holidays – whatever is necessary – to get this done and get the town back to work. The Writers Guilds will remain at the table every day, for as long as it takes, to make a fair deal.
Thank you for your patience, support, and solidarity through these difficult times. Please come to the Fremantle rally today. We remain all in this together.
Patric M. Verrone
President
Writers Guild of America, West
Michael Winship
President
Industry Updates | The Writers Strike 2007
Friday, December 07, 2007 8:20:20 PM (GMT Standard Time, UTC+00:00)
|
|
A Reality Check for the AMPTP
Posted by chad
For those of you not interested in battling demons with Spike and Faith (see the Buffy post below), help the Writers Guild send a message to the AMPTP when they picket this afternoon outside Fremantle, one of the world's largest suppliers of high-end reality fare. Fremantle makes millions of dollars off shows like American Idol, The Price Is Right, Family Feud, Temptation, The Next Great American Band, Farmer Wants A Wife, and America's Got Talent. All of these shows use writers... and none of the writers get health insurance, residuals, pension contributions, or proper credits. So join the WGA for this afternoon's Reality & Game Show Rally and Informational Picket at... WHERE: FremantleMedia North America, 4000 W. Alameda Blvd (1 block east of
Pass Avenue), Burbank. WHEN: 12:00 pm – 2:00 pm Speakers scheduled to appear include: WGAW President Patric M. Verrone, SAG member/actress Alfre Woodard, and writers Aaron Solomon and Kai Bowe. Tenacious D. (Jack Black and Kyle Gass) will also perform live.
Events Activities and Things To Do | The Writers Strike 2007
Friday, December 07, 2007 10:01:17 AM (GMT Standard Time, UTC+00:00)
|
|
The Writers Strike Hits Sunnydale!
Posted by chad
(For those of you who have no idea where-- or what-- Sunnydale is, trust me: this post is not for you. For those of you who know that Buffy the Vampire Slayer is quite probably the greatest show in the history of television, read on...) Buffy and her friends are pissed... the AMPTP has risen out of the Hellmouth, and it's going to take more than a stake in the heart to kill them. Or at least get them to cough up some freakin' internet residuals. So the Scooby Gang, and a bunch of their writers, are joining the picket line at FOX, and they need your help. If you're a Buffy, Angel, or Firefly fan... come to Mutant Enemy this day at the FOX lot... and help strike down the biggest bad since the Mayor. Or Glory. Or Adam. Here's the scoop from tomorrow's strike captain at Fans4Writers.com Coming to Mutant Enemy Day? (At last count, between 150-200 of you said you are! Click here to add your name to the list.) Here's what you need to know. Date: Friday, December 7 Time: 10 a.m. to 2 p.m. Location: FOX STUDIOS, 10201 W Pico Blvd, Los Angeles, CA 90064 ( MAP) Meeting Point:
We'll meet in the parking lot of the Cheviot Hills Recreation Center,
across the street from the Fox studios, then head over as a group at 10
a.m. This will cut down on the number of trips we need to make across
the intersection and allow us to get organized before hitting the
picket line.  Parking: Extremely limited! Public transportation
is recommended, if at all possible. If you must drive, the Cheviot
Hills Recreational Center parking lot -- off of Motor Avenue -- is
walkable to the Fox lot. public transit for the LA area http://www.metro.net/default.aspOther things to keep in mind:- Please check in with the fan strike captain (that'd be me ... look for the hat!) when you arrive. I'll get you set up with a picket sign and supplies to customize it if you like.
- We will have water available for everyone. Please stay hydrated!
- You'll be doing a lot of walking (albeit in a fairly small area) so make sure to wear comfortable shoes.
- Wear sunscreen!
- Restrooms are available in the Cheviot Hills Rec Center across the street, and at the Century City Mall, about 1/2 mile away.
- Stay
on public areas (i.e., sidewalks) and off private areas (i.e, the
studio itself), and make sure you're allowing enough room for people to
walk by you on the sidewalk.
- Stay safe. Stay out of the street!
Finally, while I KNOW this won't be an issue, I have to say it anyway. This is a picket line, not a convention.
This will be a unique opportunity for us all to interact with Joss and
the rest of the Mutant Enemy folks, and while you should feel
comfortable approaching them and talking to them, and generally being
yourself, it's not a great time for asking for autographs, etc. Remember, we're there to support them!ME folks who have confirmed will be attending: Tim
Minear, Steve DeKnight, Rebecca Kirshner, David Fury, Jane Espenson,
Ben Edlund, Marti Noxon, Amy Acker, Nathan Fillion, Summer Glau, Eliza
Dushku, Felicia Day, Juliet Landau, Tomy Lenk, Morena Baccarin, one or
both of the Feldman twins and, of course, Joss. also, possibly in attendance: Doug Petrie, Amber Benson, Adam Busch and Brian K. Vaughn. ME day shirts can be purchased http://www.zazzle.com/mutant_enemy_fandemic_day_t_shirt-235324359038372345 and http://www.cafepress.com/bixmeday.192290226there will be a canned food drive http://www.fans4writers.com/forum/index.php?topic=408.0 please contact orangepenguino or visit the thread for more details there will be a picnic afterwards http://www.fans4writers.com/forum/index.php?topic=437.0 as well as a midnight serenity screening (the picnic will not last until midnight tho, so plan accordingly) http://www.fans4writers.com/forum/index.php?topic=502.0there will be LOTS of people with cameras of all kinds, we have a flickr group http://www.flickr.com/groups/fans4writers/pool/ or http://www.flickr.com/groups/mutantenemyday/
and request that you post your pics there (in addition to wherever else
you post) so we can share with folks not attending (and one site to
point them to makes it much easier) For more info on what to expect when lending your feet to the picket line, see our new Picketing FAQ. For those of you not able to attend, we will be doing a live update throughout the day on our twitter feed www.twitter.com/fans4writers so stay tuned!
Events Activities and Things To Do | The Writers Strike 2007
Friday, December 07, 2007 9:54:47 AM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, December 05, 2007
HOT OFF THE PRESS: WGA Proposal Update
Posted by chad
The following letter, explaining the WGA's recent counter-proposal to the AMPTP, was emailed about 15 minutes ago... To Our Fellow Members:
Yesterday, the WGAW and WGAE presented to the AMPTP a response to its proposal on streaming television programs.
We accepted the framework in their proposal of last Thursday for a fixed residual in the first year.
But rather than basing the residual for the entire first year on a small percentage of the applicable minimum, we proposed that the fixed residual be paid on a higher percentage of applicable minimum for each 100,000 streams per quarter.
This is a readily ascertainable number. In fact, the companies are already keeping records of streams for their advertisers. Both the advertisers and the companies are already using these numbers as the basis for their business model.
We believe these formulas will protect the writer even if all television reuse migrates to new media. This is our real goal – we simply want to make sure that writers keep up if reuse moves to the Internet. If new media reuse turns out to be additive, both partners will benefit.
After the first year, following the companies’ proposal, reuse is paid on a percentage formula. We held to our proposal that the appropriate rate for that payment is 2.5% of distributor’s gross and the same rate should also apply to streaming of theatrical motion pictures.
Finally, we modified our position to move closer to the companies on determining fair market value and ensuring our ability to obtain documents to enforce these revenue-based residual formulas.
Our fixed residual proposal is based on thorough analysis. To reach our formula, we looked at the value to writers under existing fixed television residuals and blended those residuals to the scale of new media. Our proposal protects the interests of both parties.
We look forward to the AMPTP’s response as we continue to pursue a discussion of all the issues important to writers.
We also recommend an article from today's Wall Street Journal entitled, "Cracks in Producers' United Front" found here. Thank you for your continuing involvement and resolve as this process moves forward. We are all in this together.
Best,
Patric M. Verrone
President, WGAW
Michael Winship
President, WGAE
Industry Updates | The Writers Strike 2007
Wednesday, December 05, 2007 9:16:29 PM (GMT Standard Time, UTC+00:00)
|
|
Hate Carson Daly
Posted by chad
(Note: the title of this blog is not " I Hate Carson Daly" or " So-and-So Hates Carson Daly." It's " Hate Carson Daly," an imperative sentence-- a direct command. I'm telling you: hate Carson Daly. Please.) Last week, NBC talk show host Carson Daly not only became the only late-night talk show host to cross the picket line to restart his show, he actually sent out an email setting up a phone hotline for a select group of scabs to secretly call in jokes. In the email, which was posted on The Smoking Gun, Daly said he'd been getting “A TON of my friends and family... calling me, leaving messages,
offering their help with jokes because they know that I don't have any
writers working and hosting a latenight show without them will be
nearly impossible for me." (You're right, Carson-- it is impossible... that's the whole point. You're supposed to be helping us make the studios see that.) And when he received a public lashing for re-starting his show, Daly responded by saying, "I feel I have supported my four Guild writers and their strike by
suspending production for a month... While I continue to
support their cause, I can't, in all good conscience, stand by and let
that happen to the vast majority of my loyal staff and crew." (FYI, Carson-- your friends Jay Leno, Dave Letterman, and Conan O'Brien also have loyal staff and crew... and they're paying them themselves during the strike. Also, going back to work does not constitute "supporting their cause.") But finally, the writers (and anyone who's ever wondered why the hell Carson Daly even has a TV show) have their revenge!23/6, the snarky news site that boasts itself as having "some of the news, most of the time," has started it's own phone hotline: for all your jokes about Carson Daly. The best calls will then be compiled into an audio file which the 23/6 folks will post on the site. So... interested in bashing America's least recognizable talk show host, a guy who apparently got his own show simply because he once banged Tara Reid? Here's the number: (866) 236-1977Pass it on. Tell your friends. Support the writers. And if you don't hate Carson Daly for being a scab, or spitting on the writers, (or sleeping with Tara Reid-- which, let's be honest, is probably more dangerous and less socially acceptable than crossing the picket line), hate him for running down an innocent striker in an SUV.
Events Activities and Things To Do | Fun Stuff | The Writers Strike 2007
Wednesday, December 05, 2007 5:48:07 PM (GMT Standard Time, UTC+00:00)
|
|
Back in the Saddle?
Posted by chad
Well, the AMPTP and WGA were back at the table yesterday, and-- to Hollywood's surprise-- they actually got along. No one expected them to be cordial, especially after the Writers Guild blasted the studios for last Thursday's lame attempt at a proposal. According to the Guild, the AMPTP's suggestion that they'll give writers a $130 million pay raise over the next three years is bogus... the actual math adds up to only $32 million. And like kids caught with their hands in the cookie jar, the AMPTP had no defense, refusing to show the writers the math used to arrive at that $130 million. So the WGA decided to show the AMPTP how it was done... arriving with their own proposal, which suggests a tiered re-use plan for streaming movies and TV shows online, as well as a detailed analysis of both proposals. Although studio chiefs didn't dismiss the proposal, CBS CEO Les Moonves said he's not "terribly optimistic" that the strike's end is around the corner. Meanwhile, John Bowman, the head negotiator for the WGA, emailed the following message to writers late yesterday: "Rumors, half-truths, and misinformation about what is actually happening at the bargaining table fly across the internet, are posted on blogs, passed across picket lines like a game of telephone, and appear in stories and advertisements in the trade papers.
So, to clarify exactly where we are, we have prepared a report and analysis... here’s a brief summary:
The latest WGA proposal would cost the companies $151 million over three years. It is reasonable, serious, and easily affordable. For instance, it would cost Sony only $1.68 million per year. Paramount and CBS would each pay only $4.66 million per year. MGM would pay only $320,000 per year.
The AMPTP claims its proposal would give us $130 million over three years. Our analysis – and again, please visit the website to see for yourself – tells us their offer is worth only $32 million. But if you factor in the companies’ regressive proposal on “promotional use” (streaming TV shows and feature films in their entirety for free) writers could potentially lose $100 million in income over the course of this contract.
So while we don’t see how their proposal adds up to anywhere near $130 million, we greet their public willingness to make such an offer with real interest. If the AMPTP is serious about this figure, the WGA is confident we are closer to a deal than anyone has suggested, and we are hopeful that the companies will respond positively to our proposal, which is a serious, reasonable, and affordable attempt to bridge the gap between us."
The Writers Strike 2007
Wednesday, December 05, 2007 8:42:18 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, December 03, 2007
Picket Updates
Posted by chad
Strike negotiations don't resume until tomorrow, but that doesn't mean it's time to slack off the picketing. In fact, in the wake of the "non-proposal" offered up by the AMPTP Thursday night, it's even more important for the writers to stay strong, maintain solidarity, and hold tight on the picket lines. Picketing will resume at all the studios this morning, and picketers will be joined by members of the Writers Guild Board of Directors, as well as the Negotiating Committee, who will be on hand to answer questions and discuss the battle plan. In other news... just because the writers are striking doesn't mean they can't have fun. If you're a single writer, and looking for that other special-single-writer-someone, join the strikers for singles picket line party today at Paramount's Bronson gate. (Even if you're not a writer, they need all the bodies they can get... and you can interpret that however you want to...)
Events Activities and Things To Do | The Writers Strike 2007
Monday, December 03, 2007 7:12:06 AM (GMT Standard Time, UTC+00:00)
|
|
Sunday, December 02, 2007
Exorcised
Posted by chad
On Tuesday morning, November 27, the striking horror writers of the WGA performed a dangerous exorcism outside the gates of Warner Brothers, hoping to rid the studio-- and its fellow AMPTP members-- of the demons that had possessed it. For several terrifying minutes, they performed one of the most ancient and deadly rites in the world. This is the only surviving record of what happened. (Not true. There's more on YouTube. But they're long and kinda boring and not worth putting here.) EXORCISM: THE BATTLE AGAINST WARNER BROTHERS
Fun Stuff | The Writers Strike 2007
Sunday, December 02, 2007 5:42:37 PM (GMT Standard Time, UTC+00:00)
|
|
Saturday, December 01, 2007
The Truth You May Not Have Heard
Posted by chad
There's been a lot of news over the past two days concerning the AMPTP's late-Thursday proposal to the Writers Guild. But not all is as it seems, and it's important to remember that the press and media are equal-- and often unwitting-- pawns and players in this bizarre political battle. So last night, WGA board members Nick Kazan, Howard Rodman, Phil Robinson, and Tom Schulman issued the following Q&A report to WGA members. It answers a lot of questions in people's minds... "Fellow members:
There are a lot of rumors and questions floating around, and we’d like to address them.
HAVE NEGOTIATIONS BROKEN DOWN? No.
DID OUR NEGOTIATING COMMITTEE ASK FOR A BREAK? No.
THEN WHY THE FOUR DAY BREAK? On Thursday, the studios and networks gave us some of their proposals, and said they needed more time to fashion the rest. Therefore talks were scheduled to resume on Tuesday.
THE COMPANIES SAY THEY ARE OFFERING US IS A $130 MILLION INCREASE. THE GUILD CALLS IT A ROLLBACK. WHY THE DISPARITY? The companies have still not explained how they arrived at their $130 million figure, but we can certainly explain how this is a rollback.
OKAY. SO HOW IS THEIR MADE-FOR-INTERNET PROPOSAL A ROLLBACK? Currently, the writer of a 30-minute prime-time TV show makes almost $21,000. The conglomerates are proposing that if that writer wrote the same show for the Internet, his or her initial compensation would be $2,600. That’s a rollback of 88%.
SO WHAT’S THEIR OFFER ON INTERNET RERUNS? Currently, the writer of a half-hour television episode makes about $11,600 when his or her episode is first re-run on TV. The companies are proposing that if that same episode is rerun instead on the Internet, they will pay the whopping total of $139 for unlimited reruns for one year--and nothing at all if it only streams for six weeks. About a third of all TV series are now being rerun only on the Internet. This amounts to an immediate 98.8% rollback. And it gets worse. If they decide to call a show “promotional,” they don’t have to pay us anything. It’s a “freepeat.”
WOW. AND WHAT ABOUT FEATURES? Are you sitting down? The companies want to be able to stream any and all feature films in their entirety, supported by advertising dollars, and pay the writers nothing. Zip.
Nada. Bupkus. A 100% rollback.
GIVEN ALL THIS, HOW IN THE WORLD DID THE COMPANIES COME UP WITH THE 130 MILLION DOLLAR FIGURE? Our question exactly. It’s definitely not a three-year number. As near as we can figure, their proposal might net us that total around the year 2107.
YOU HAVEN’T SAID ANYTHING NEW ABOUT DOWNLOADS. Neither have they. We are hoping that they will address this essential issue by Tuesday. Stay tuned.
In solidarity,
Nick Kazan
Howard A. Rodman
Phil Robinson
Tom Schulman
(for the Board of Directors)"
Industry Updates | The Writers Strike 2007
Saturday, December 01, 2007 5:23:37 PM (GMT Standard Time, UTC+00:00)
|
|
Friday, November 30, 2007
WGA UPDATE
Posted by chad
In the wake of the AMPTP's announcement that they've offered the writers a new and fair deal, the WGA sent members this email at 6:39 tonight... "After four days of bargaining with the AMPTP, we are writing to let you know that, though we are still at the table, the press blackout has been lifted.
Our inability to communicate with our members has left a vacuum of information that has been filled with rumors, both well intentioned and deceptive.
Among the rumors was the assertion that the AMPTP had a groundbreaking proposal that would make this negotiation a "done deal." In fact, for the first three days of this week, the companies presented in essence their November 4 package with not an iota of movement on any of the issues that matter to writers.
Thursday morning, the first new proposal was finally presented to us. It dealt only with streaming and made-for-Internet jurisdiction, and it amounts to a massive rollback.
For streaming television episodes, the companies proposed a residual structure of a single fixed payment of less than $250 for a year's reuse of an hour-long program (compared to over $20,000 payable for a network rerun). For theatrical product they are offering no residuals whatsoever for streaming.
For made-for-Internet material, they offered minimums that would allow a studio to produce up to a 15 minute episode of network-derived web content for a script fee of $1300. They continued to refuse to grant jurisdiction over original content for the Internet.
In their new proposal, they made absolutely no move on the download formula (which they propose to pay at the DVD rate), and continue to assert that they can deem any reuse "promotional," and pay no residual (even if they replay the entire film or TV episode and even if they make money).
The AMPTP says it will have additional proposals to make but, as of Thursday evening, they have not been presented to us. We are scheduled to meet with them again on Tuesday.
In the meantime, we felt it was essential to update you accurately on where negotiations stand. On Wednesday we presented a comprehensive economic justification for our proposals. Our entire package would cost this industry $151 million over three years. That's a little over a 3% increase in writer earnings each year, while company revenues are projected to grow at a rate of 10%. We are falling behind.
For Sony, this entire deal would cost $1.68 million per year. For Disney $6.25 million. Paramount and CBS would each pay about $4.66 million, Warner about $11.2 million, Fox $6.04 million, and NBC/Universal $7.44 million. MGM would pay $320,000 and the entire universe of remaining companies would assume the remainder of about $8.3 million per year. As we've stated repeatedly, our proposals are more than reasonable and the companies have no excuse for denying it.
The AMPTP's intractability is dispiriting news but it must also be motivating. Any movement on the part of these multinational conglomerates has been the result of the collective action of our membership, with the support of SAG, other unions, supportive politicians, and the general public. We must fight on, returning to the lines on Monday in force to make it clear that we will not back down, that we will not accept a bad deal, and that we are all in this together.
Best,
Patric M. Verrone
President, WGAW"
Industry Updates | The Writers Strike 2007
Friday, November 30, 2007 2:56:28 AM (GMT Standard Time, UTC+00:00)
|
|
BREAKTHROUGH! (hopefully)
Posted by chad
Surprising everyone, most of all the Writers Guild, the AMPTP ended today's WGA negotiating session by presenting the WGA with a proposal addressing the writers' key issues of online streaming, downloads, and original internet content. The writers have now asked for five days to review the proposal, resuming discussions next Tuesday, December 4. Nikki Finke, as always, has the full story at Deadline Hollywood Daily, but here's the official release from the AMPTP... LOS ANGELES, November 29, 2007 - "The AMPTP
today unveiled a New Economic Partnership to the WGA, which includes
groundbreaking moves in several areas of new media, including
streaming, content made for new media and programming delivered over
digital broadcast channels.
The entire value of the New Economic Partnership will
deliver more than $130 million in additional compensation above and
beyond the more than $1.3 billion writers already receive each year.
In response, the WGA has asked for time to study the proposals. While
we were prepared to continue discussions, we respect and understand the
WGA's desire to review the proposals. We look forward resuming talks
on Tuesday, December 4.
We continue to believe that there is common ground to be
found between the two sides, and that our proposal for a New Economic
Partnership offers the best chance to find it."
Industry Updates | The Writers Strike 2007
Friday, November 30, 2007 1:30:01 AM (GMT Standard Time, UTC+00:00)
|
|
Thursday, November 29, 2007
READER QUESTION: Will movies be affected by the strike?
Posted by chad
All of us, whether we're in L.A. or not, have felt the impact of the writers strike over the past few weeks. Every evening when we turn on the TV and are confronted with reruns or reality shows or big gaping holes where The Office of The Tonight Show or David Letterman used to be, we're reminded of what's happening on the street of New York and L.A. But yesterday, loyal reader Ellen asked a good question: what about movies? We haven't heard as much about them, and we certainly haven't yet seen the strike's impact at the box offices. Here's Ellen's message... "Chad, Random question...If the strike continues, how will the movie business
be affected? In the absence on new television shows, is it possible
that more viewers will head to the theater in the coming weeks/months?
Does the big screen have a place in this debate?"Great question, Ellen. Here are my thoughts... Unless this strike lasts for many months, it's unlikely its affect will be felt by normal movie-goers across America. Unlike TV shows, screenplays are often written long before they're shot... and they can even sit on the shelf without aging. In othe words, studios currently have plenty of scripts just waiting to be filmed as actual movies-- scripts that have already been written-- so while writers may not be giving studios new scripts to film, the studios certainly aren't hurting for material. (In fact, some movies are also filmed several months before they're released, so many features that are to be released next year have already been made.) Television, however, has to put a mini-movie on the air every week, so TV writers are constantly pumping out new scripts. Basically, a TV show's writing staff must churn out a script a week in order to make sure they can produce an episode a week. So when TV writers stop working, the studios and networks are suddenly left with no scripts to go out and shoot. So this strike will have to last a long time before the studios begin to feel a lack of scripts. Basically, the strike has to outlast the studios' reserve of unfilmed scripts. How the strike WILL affect movies, however, is in their promotional attempts. Without late-night talk shows like Jay Leno and David Letterman, studios and actors have lost one of their most critical platforms for promoting upcoming movies. So while movies studios may not feel a lack of scripts-- yet-- they certainly feel the loss of promotional muscle. Studios also like to promote movies by putting trailers in the commercial breaks of primetime scripted shows like E.R. and Criminal Minds... so if fewer people are watching those primetime shows, fewer people are seeing trailers and learning about the movies. Movie studios will also feel the burn because-- while they do have already-written scripts-- they have no one to rewrite those scripts if need be. Just this week, Brad Pitt dropped out of a Universal movie called State of Play, because he felt the script needed a rewrite... but Universal didn't want to wait till the end of the strike to have the writer fix it. Universal's movie execs simply wanted to get the movie into production so they could release it on schedule-- even though Pitt felt it could be better. Rather than star in what he felt was a half-baked script, Pitt vacated the picture. (Rumor has it Russell Crowe may be taking his place.) So there may be a dip in quality of some of the movies you see coming out, although scripts being shot right now won't be released for months, so it'll be a while before that happens. As for people going to the movies instead of watching television-- great question, and-- to be honest-- I dunno. Maybe. But I think people tend to watch TV because they can do it in the comfort of their own home, or keep it on the background, and going to the movies requires checking the schedule, leaving the house, driving, parking, spending money, etc. It's a very different experience. I think the more likely outcome is that people will move away from the networks that show scripted shows that depend on writers-- ABC, NBC, CBS, FOX, CW-- and spend more time with quality non-scripted programming like Top Chef or Project Runway on cable networks like BRAVO, A&E, etc. Many people also think the writers strike may give a boost to the internet... that without new shows on TV, people will start downloading shows, watching streams, or seeking out original series online like Clark & Michael or Coastal Dreams. I'm not so sure, honestly, that that will be a massive result of the strike, because just like movies are a different experience than television, so is watching the internet. Watching a 15-minute episode of Sanctuary isn't the same as watching an hour of Desperate Housewives, and propping yourself in front of the computer isn't the same as relaxing on the couch. People may spend more time working or playing on their computers because there's less to watch on TV, but I don't think the internet is quite ready to replace television as our dominant form of in-home entertainment, strike or not. Someday it'll happen... but we're not quite there. Anyway-- to wrap up, while the movie execs and moguls are certainly sweating a bit as they watch the strike play out, and the strike is definitely giving them headaches, I don't think you-- the average viewer going to the movies on a Friday night-- will notice much of a change unless the strike goes on for several months. And let's all hope it doesn't.
The Writers Strike 2007
Thursday, November 29, 2007 10:17:16 PM (GMT Standard Time, UTC+00:00)
|
|
The Funniest Strike Video Yet
Posted by chad
From Bob Kushell at Samantha Who?, you gotta see this...
THE STRIKE, YOUR MARRIAGE, AND YOU
The Writers Strike 2007
Thursday, November 29, 2007 4:56:28 PM (GMT Standard Time, UTC+00:00)
|
|
Pay It Forward
Posted by chad
Hey, writers-- It's payback time. Or pay-forward time. Or whatever. The 1.9 million members of the Service Employees International Union (SEIU)-- janitors, public employees, security guards, healthcare workers, etc..-- have been incredibly supportive of the writers strike, including paying for billboards and joining us in marching. NOW THEY NEED OUR HELP. Please join them for a solidatity march tomorrow morning in downtown L.A. Here's the scoop... WHEN: Thursday, Nov. 29th, 11 a.m. WHERE: 1247 W. 7th Street (7th & Bixel St) - Los Angeles, CA (downtown) Meet at 7th and Bixel at 11:00, when busses will take everyone to the southeast corner of 5th & Flower (Library Park). The rally/march is from 11:45 - 1 p.m.
Events Activities and Things To Do | The Writers Strike 2007
Thursday, November 29, 2007 2:42:48 AM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, November 27, 2007
WGA East Rally
Posted by chad
Calling all east coast writers! The writers guild has no intention of slacking off simply due to a few positive rumors about the WGA/AMPTP negotiations. To show its strength, the Writers Guild East will be holding a rally this afternoon (Tuesday). If you're in the Big Apple show your support by joining the striking writers at noon in Washington Square Park...
Events Activities and Things To Do | The Writers Strike 2007
Tuesday, November 27, 2007 6:42:49 AM (GMT Standard Time, UTC+00:00)
|
|
Strike Update!
Posted by chad
According to Nikki Finke's Deadline Hollywood Daily, Hollywood's most reliable source for strike news and updates, Monday's WGA/AMPTP negotiations went remarkably well. I don't want to repeat the entire post here (but you can click here to check it out), so here are some optimistic highlights to whet your appetite...
• "It was very
productive, very level-headed, and it seemed as though the producers
came ready to bargain. Reasonableness
ruled the day."
• "Over the course of the session, the producers addressed every
single issue, and the writers listened and kept getting up to caucus."
• "They
basically went through all the proposals on the table: what they'd
already agreed upon, and where they needed to go from here. Tomorrow, they really start advancing the ball
forward."
• "Today, they spent time on old business.
Tomorrow, they handle new business -- and that's where the rubber can
really meet the road." Of course, while much of Hollywood has been awash in a wave of hope and optimism, it's important to remember: it ain't over till the fat lady sings, and in this case, the fat lady is Rupert Murdoch, Jeff Immelt, Jeff Bewkes, Bob Iger, Sumner Redstone, and Les Moonves. John Aboud sums it up best when, in his latest blog post at UnitedHollywood.com, he warms us not to "book the back room at El Coyote" just quite yet. Stay tuned for more updates...
Industry Updates | The Writers Strike 2007
Tuesday, November 27, 2007 6:20:22 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, November 26, 2007
Strike Video/Pump-You-Up Song of the Day...
Posted by chad
The Writers Strike 2007
Monday, November 26, 2007 10:25:01 PM (GMT Standard Time, UTC+00:00)
|
|
GUEST PERSPECTIVE: Footsoldiers on the Frontlines
Posted by chad
Over the last three weeks, we've seen a lot of familiar (and famous) faces walking the picket lines and supporting the writers: Sandra Oh, Steve Carell, Alyson Hannigan, Paul Haggis, Jesse Jackson, Katherine Heigl, Alicia Keyes, Greg Daniels, Tina Fey. And while it's great to see the A-listers out there fighting the good fight, the truth is: most of the people on the frontlines aren't top-shelf writers, producers, and showrunners. Many are normal, middle-class writers fighting to put food on their families' tables. But even more are struggling writers who don't work regularly, who live paycheck to paycheck, and for whom losing even one of two months of work can be disastrous to a hopeful career. These are the people we rarely hear from. Their lives aren't glamourous. They don't live in million-dollar houses or condos (most don't own homes at all). Their agents aren't calling every twenty minutes. They're still pounding the pavement, hoping for a break. And while the outcome streak may not affect them immediately, they're still there-- side by side with the big-guns-- fighting for the rights of writers everywhere. Today's guest perspective comes from screenwriter Charlie Stickney. You probably haven't heard of him... yet... but when the strike's over, and you get that next residual check, you can give him a bit of thanks... GUEST PERSEPCTIVE: "NED SAYS NO" Heart racing, the alarm jolted me awake. Five A.M. W-why? What would possess me to set the alarm for… oh right, time to go walk the line. I threw on my good jeans – only one hole in the knee – and stumbled down to my wife’s 87 Nissan (my car doesn’t run anymore, but that’s a sad story best left for a guest blog on Car Talk) and motored over to Fox. I grabbed a picket sign and started marching. The crisp 58 degrees made me shiver, my LA acclimated skin betraying my New England roots. One of my fellow marchers muttered out loud the question that I’m sure was going through all of our collective heads - Why are we putting ourselves through all this? For me, the answer is simple, I’m a screenwriter, a WGA member and I’m on strike. Oh the strike, it’s quickly becoming a four letter word around town. The AMPTP would have you view the (insert favorite explicit adjective) strike as a battle between the billionaires and the millionaires. Why? Public relations. Because it’s hard for most people to have sympathy for someone fighting to be able to afford a summer home in the Hamptons, or make sure that their 10 year-old can get unlimited texting on his 8 gig iphone. The baseball strike of '94 made it abundantly clear, no one likes to hear rich people whining regardless of how just their struggles are. Well, I’m a working writer and as it turns out, no matter how much my wife wishes it were the case, I’m not rich. I’m not a billionaire, I’m not a millionaire, or even *sigh* a thousandaire. Not through lack of trying mind you, but regardless of what you’ve seen WRITTEN (subtle, no?) in the movies, it’s not always that easy. I wrote a feature that was set up with an independent film company in Europe. They convinced my manager that they had the money to go into production in about a month… that was two years ago. Unfortunately for me the commencement of payment coincides with, surprise, surprise, the commencement of shooting. I worked in children’s programming where I created an animated series that’s been and still is shown all over the world. But unlike regular television where this would have netted me a small fortune, most daytime animation isn’t covered by the Writers Guild, thus doesn’t pay any of those magic residuals everyone’s fighting for. I even worked with one of the struck AMPTP companies. A script I wrote was optioned and developed by Sony through Revolution Studios. Then Revolution hired another writer to develop it further. And then another. By the time the final draft was turned in, the script was unrecognizable, unproducible, and Revolution was spiraling out of business. The truth is it’s really, REALLY tough to make it as a writer in Hollywood. It’s also just as true that I haven’t had healthcare in two years… that I’ve made less than $10,000 writing in the past eighteen months... and that I have had to take time off of my part time job just to walk the line. I want this strike to be over as much as anyone. A month before the strike I met with an A-list director, in a meeting set up by an A-list producer with the intention of the two of them packaging a script I wrote and taking it one of the studios for an A-list deal with an A-sized budget. While not a lock, in the biz this is about as sure as a thing gets. But it was all put on hold until the strike resolves. And if the strike goes on for too long, who knows if the director or producer will still be interested in the project, or when I’ll ever get a chance like this again. Still I feel the same now as when I voted for the strike, we need to see this through. And the truth is seeing it through is tough. I’m a writer without a nest-egg. I have a part time job that barely pays the bills. And these residuals that I’m fighting for, I may never get even if we win the strike. See most screenwriters make the bulk of their living doing uncredited rewrites of other people’s scripts for studios. Getting your own script made is the dream, but that rarely happens. And unless you get credited on a script that’s produced you don’t qualify for dime-one in residuals. So why am I out here walking the line? Why am I not sitting at home working on a spec that I can hopefully sell once the strike resolves? Why am I not letting the “millionaire” TV writers who stand to benefit most directly from the strike do the heavy lifting? Well, because of people like Ned. Let’s go back to 6AM this morning, when I was shivering and doubting myself. A tow truck with a gray BMW SUV perched on the back pulled up to the Fox’s delivery gate. A hand-lettered slogan on the side of the cab read “Ned Never Says No.” Turns out “never” meant except for that morning. See the driver (I’m gonna call him Ned) wouldn’t cross the line. He parked his truck on Pico and sat in the turning lane for over two hours. Inside the lot I’m sure some executive was fuming that his BMW wasn’t delivered on time. Perhaps he called the company that Ned worked for and demanded Ned get fired. Maybe Ned lost his job later that afternoon. (I hope not) I’ll never know… the only thing I’m sure of is that Ned understands unions. He understands how important solidarity is and what it means not to cross the line. He knows that when we show a united front, that even the giant corporations behind the studios get nervous. The truth is while Ned isn’t going to be affected by the outcome of the strike, he put his job on the line for it. And while I may or may not ever make money from internet downloads, they definitely won’t help Ned put his kids through college. The only real question that I should have been pondering pre-sunrise was if Ned and the many teamsters like him are willing to stand up for us, how can we not stand up for ourselves? So over this Thanksgiving weekend, I am grateful that the sides have agreed to meet again. I’m hopeful that we will be able to come to some quick accord and that everyone can get back to work. But mostly I’m thankful for Ned who’s shown me that we’re all in this fight together. And if Ned’s willing to say no, how could any of us ever say yes. Charlie can be found most mornings walking the line. He hopes that when (yes, when) this resolves, the writers don’t forget all the teamsters who have stood with us. And, if they ever need our help, that we remember solidarity over the solitary life of a writer.
Guest Perspectives | The Writers Strike 2007
Monday, November 26, 2007 7:02:53 PM (GMT Standard Time, UTC+00:00)
|
|
The End is Near (hopefully) (and now that I've said it, I've jinxed everything, so it doesn't really matter)
Posted by chad
According to Nikki Finke's latest blog post, the AMPTP and WGA are inches away from closing a deal! Although it probably won't finalize today, and everything could still fall apart, the two sides are reportedly "basically done." Get the full report here.
Industry Updates | The Writers Strike 2007
Monday, November 26, 2007 6:36:29 PM (GMT Standard Time, UTC+00:00)
|
|
The Beginning of the End?
Posted by chad
Well, no one thought it would happen this early, but for the first time in over three weeks, the Writers Guild and the AMPTP are heading back to the negotiating table tomorrow to resume talks about the writers' expired contract. While the agreement to resume talks is certainly a good sign, does this mean we're in the home stretch? Honestly, I have no idea, and anyone who tells you they know is either lying or their name is Nick Counter... in which case they're definitely lying. But most people seem to feel the strike will still drag on for a few weeks. After all, while neither side wants the work stoppage to last forever, the TV studios can certainly use this to activate force majeur clauses in their overall deals, flushing deals with producers and pods who haven't been productive. Here's a link to an article in tomorrow's Variety about a poll finding that while most of Hollywood is rooting for the writers, many people also believe we're looking at another 1-2 months... and most believe the strike will also be resolved in favor of the omnipotent media conglomerates. Earlier this evening, WGA President Patric Verrone sent an email to WGA members urging "continued dedication to our daily picketing schedule. In consultation with our strike captains, and pursuant to fewer TV and film projects in production, we are reducing the minimum hours of member strike support from 20 hours to 12 hours a week, starting tomorrow. Scheduled picketing of studios will take place from Mondays through Thursdays with Fridays reserved for meetings and other special events. The new hours for each location are available here." Unlike the first round of negotiations, which was heavily covered by the press, both sides have agreed to a complete media blackout so negotiations can carry on fairly and privately. Stay tuned... more tomorrow...
Industry Updates | The Writers Strike 2007
Monday, November 26, 2007 7:31:02 AM (GMT Standard Time, UTC+00:00)
|
|
Friday, November 23, 2007
Erase the Strike!
Posted by chad
Okay, forgive the corny headline, but you can help erase the strike, or at least show your support of the writers, by sending boxes of pencils to the heads of the six media conglomerates refusing to pay the writers (CBS, NBC/GE, ABC/Disney, FOX/NewsCorp., Warner Brothers, Viacom). Just like sending peanuts to Jericho and Tabasco Sauce to Roswell, fans and writers are bombarding top execs at these companies with pencils... a symbol of the fact that writers are literally "putting down their pencils" until they're paid their rightful money. (And if you wanna stay green, don't worry-- the pencils are environmentally friendly, made by California Cedar Products, which uses sustainably harvested wood instead of deforesting. You can buy your pencils at UnitedHollywood.com, or simply buy your own and send them to any of the following addresses: Leslie Moonves, President, CEO CBS Corporation 51 West 52nd Street New York, NY 10019 www.cbscorporation.com Jeffrey Immelt, CEO General Electric (NBC/Universal) 100 Universal City Plaza Universal City, CA 91608 www.nbcuni.com Rupert Murdoch, Chairman, CEO News Corporation (Fox) 1211 Avenue of the Americas 8th floor New York, NY 10036 www.newscorp.com Jeffrey L. Bewkes, President, COO Time Warner Inc. (Warner Brothers) 1 Time Warner Center New York, NY 10019 www.timewarner.com Robert Iger, President, CEO Walt Disney Company 500 South Buena Vista Street Burbank, CA 91521 corporate.disney.go.com Sumner Redstone, Chairman Viacom 1515 Broadway New York, NY 10036 www.viacom.com
Events Activities and Things To Do | The Writers Strike 2007
Friday, November 23, 2007 4:56:15 PM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, November 21, 2007
Leslie Moonves is David Lee Roth (hey, somebody had to say it)
Posted by chad
I’ve never stood atop Mount Everest… or snowboarded Davos… or hiked the Grand Canyon. But I know this: none of them can surpass the thrill of standing in pitch blackness, surrounded by 20,000 roaring fans, as the opening chords of Van Halen’s “You Really Got Me” rip through the Staples Center. In fact, the only thing that can surpass that is spending the next two hours screaming your ass off as the world’s greatest rock band tears through every David Lee Roth-era hit you can possibly imagine: “Ain’t Talkin’ ‘Bout Love,” “Unchained,” “Panama,” “Mean Streets,” “Jump,” "Little Guitars," "Somebody Get Me A Doctor," etc. For those of you haven’t bought tickets yet: Van Halen is on tour this summer, reunited with original frontman David Lee Roth. Which may not seem like a big deal, but for those of us who have spent the last twenty-three years going to every Van Halen concert and VH-related event possible—including all Sammy Hagar shows—this is HUGE. Even if you don’t spent several hours a week lurking on Van Halen fan sites and chat rooms (not that I do, I’m just saying… if you do… and I don’t… there’s nothing wrong with it), the legend of the Van Halen-DLR breakup is legendary. Depending on whom you believe—the guys of Van Halen (guitarist Eddie Van Halen, drummer Alex Van Halen, and former bassist Michael Anthony) or Roth himself—Dave was either unjustly fired or quit like a child. But regardless of which side you’re on, one thing is indisputable: both sides spent the next two decades hurling insults at each other and swearing they would never get back together. Until this summer. When, through an unexplainable twist of fate (God must be a Van Halen fan), the guys suddenly patched things up and announced a world tour. And tonight, Van Halen and David Lee Roth rocked the shit out of their hometown for the first time since 1984. (Of course, it wasn’t the full original lineup since bassist Michael Anthony was replaced by Eddie’s sixteen-year-old son, Wolfie, due to Anthony’s enduring friendship with ex-second lead singer Sammy Hagar.) But wait—I hear you asking: what the hell does this have to do with writing? Well, here’s what: David Lee Roth and Van Halen had—quite possibly—the most acrimonious split in the history of break-ups. They made Brad and Jen look like Tony Blair and George Bush, and the Shiites and Sunnis look like the Huxtables. But as I was standing in Staples Center tonight, making myself hoarse in the midst of “Unchained,” it suddenly occurred to me… if Van Halen and David Lee Roth can patch things up, c ertainly the Writers Guild and the AMPTP can come to some sort of agreement. I mean, whatever animosity exists between those groups… it’s nothing compared to what VH and Roth had for the last twenty years. And the more I thought about it, the more I realized: if studios would just stop and read a chapter of Van Halen history, they might wisen up and end this thing already. In fact, the Van Halen-David Lee Roth saga is a pretty good metaphor for the writers strike. Here’s how it works (and I’m banking on the hope that you know a little about the VH-DLR split)… Eddie Van Halen, the greatest guitarist in the history of rock, is the writers, the creative genius responsible for churning out brilliant material. David Lee Roth is the networks and studios. Dave can’t make anything great on his own—as evidenced by his post-Van Halen solo career—but he’s a master of marketing and showmanship. He did an outstanding job of launching Van Halen into the spotlight, and while Eddie has always been the band’s heart and soul, it’s arguable that VH never would’ve found an audience without Dave guiding the way. Then, one day in 1984, Dave decided he didn’t need Eddie. He figured he was the one doing all the flashy publicity—leaping off drum risers and flying on bungee cords—and he could make it on his own. And, to a certain degree, he was right. Dave’s onstage (and offstage) antics brought millions of fans to VH’s shows. But it was Eddie who kept them returning. Because as any marketer knows, flashy moves are entertaining for only so long; eventually audiences needs something with substance, something they can relate to. That’s where Eddie came in. Like Mozart and Copland and Lennon, he’s always been less about pyrotechnics and more about making music that moves people. Sure, it may move you to rock out and air guitar, but so what? Is banging your head any lower of an artistic response than dancing a waltz or a tango? (In fact, it's probably higher. I've tried waltzing and tangoing, and I'd rather shut my windows and crank a little "Hot For Teacher" any day.) So Dave spent the next twenty-three years trying to entertain people without… well… doing anything entertaining. Just as networks and studios think they can maintain audiences with shoddy stunts and slapdash reality shows, Dave tried everything from covering Van Halen songs in a Las Vegas lounge act to replacing Howard Stern with a virtually un-listenable radio show. But ultimately, Dave realized, simply acting entertaining isn’t enough… people need real art. Whether it’s Shakespeare’s Hamlet or Magritte’s Golconda or Eddie Van Halen’s “Jamie’s Cryin’” or NBC’s Friday Night Lights, audiences want entertainment that speaks to them, reflects their lives, and makes them emote in an honest way. So Dave came back. It took over twenty years to learn the lesson, but he came back. And the studios should learn something from that. After all, without David Lee Roth, Eddie is still the world’s greatest guitar god; Van Halen sold more records with Sammy Hagar than Dave ever dreamt of, and Sammy ain’t half the showman Dave is. Dave, meanwhile, couldn’t give away his last album, Strummin’ With the Devil (all bluegrass covers of Van Halen songs). Likewise, the writers will survive without the networks. Like post-DLR Van Halen, they may need to change their style a bit, but they’ll keep writing: novels, plays, articles, short stories, indie films, web content. But without writers, networks and studios are screwed. They’re simply marketers with nothing to market… David Lee Roth with nothing to strut about. So studios, if you’re reading this: throw on some Women and Children First and wisen up. Otherwise, you’ll find yourselves selling dimebags of pot in Central Park and becoming a New York paramedic with a receding hairline. (For those of you not familiar with the lower points of Dave’s non-Van Halen career… those are them. Although in all fairness, the man looked great tonight…) Oh—and to round out the metaphor… Drummer Alex Van Halen is the actors, the guy who stands by Eddie because he knows that without the creative genius, he no longer has a job. Ousted bassist and singer Michael Anthony and Sammy Hagar are Tom Short and IATSE. No one’s sure why they don’t get along with Eddie/the writers, but they don’t. Some day they’ll make amends and all tour together. And Wolfie?... Wolfie is clearly Juan Carlos Gonzalez, the young federal mediator brought in to fix things as quickly as possible. You barely notice he’s there, but it’s more fun to watch the others anyway.
The Writers Strike 2007
Wednesday, November 21, 2007 10:23:27 AM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, November 20, 2007
GUEST PERSPECTIVE: An Agent Speaks Out
Posted by chad
Hundreds of people have been affected by the strike... cameramen, grips, gaffers, assistants. But rarely weighing in on the strike and how it affects them are the agents and agencies: the slick, Armani-wearing salespeople charged with peddling writers' work to the networks and studios. Agents are in a stickier situation than most... even more than writers and executives, their livelihoods depend on schmoozing and maintaining relationships with both artists and buyers. Thus, taking either side bites the hand that feeds them. But agencies do feel the fallout. Which is why CAA agent Bryan Lourd has been instrumental in helping producers and writers get negotiations back on track. And William Morris and APA have been sending pizza, drinks, and donuts to the picket line. And Innovative was forced to lay off ten assistants last week and promises more to come (you know, because it's assistants-- not agents-- whose bloated salaries are keeping the company from skating through the strike). (Okay, that last sentence wasn't fair. The Innovative agents don't want to "skate" through the strike... they simply want to survive without reducing their own salaries or giving up the leases on their BMW's. And that would require them to take-- I don't know-- 20% salary cuts so the assistants who support them could keep their jobs. You know... like the UTA agents did so their assistants wouldn't have to starve.) It's rare to get a glimpse into the agency world, especially at such a volatile, tenuous time. But here with today's guest perspective is one of Hollywood's top literary agents-- who, at their request, shall remain totally anonymous-- to give us a peek behind the Armani curtain... IN AN AGENT'S OWN WORDS...It’s very rare in a business that requires you to have ADD, because you’re expected to do ten things at once, that you find yourself with nothing to do. Let me rephrase that – it’s not that I have “nothing to do” so much as that I am not allowed to do anything. I am a literary agent in the middle of a Writer’s Strike. At first this seemed novel – I get a break from the exhaustion of going 100mph and my clients can go hold a picket sign for a couple of days to get their much-deserved internet revenue, etc. The first week of the strike didn’t even seem so bad. I could visit clients and potential clients while they could network with showrunners and other writers. Well, we’re now in to day 16 and the bubble hath burst. Nobody thought this would be quick and easy, but I don’t think most people realized the slow torture we would all endure. After all, we’re not coal miners, or even the teamsters. We’re not a people who are used to hard labor, or even used to having to stand all day long. Writers sometimes stand on set carrying scripts. Now they’re walking back and forth in front of studio gates all day lugging picket signs. They’re not even very loud. It’s a victory if a car honks and bothers someone. This business was not designed for picketing people. Agents – well, we’re even worse. We’re bred to look polished and busy and sit in plush leather chairs and talk for a living. An analogy for the TMZ-loving set: Imagine you’re a young pop starlet/actress and all you want is a line of coke. But paparazzi are everywhere and you know that little baggie is sitting there but you just can’t do it. That’s what it’s like being a literary agent during a strike. My phone is sitting right in front of me and I’m not allowed to talk business with any executives. I can give script notes to clients (or rather, I can give them guidance on their thoughts), but I cannot make calls to people I’ve spent my entire career forging relationships with. So, what does that mean for a literary agent? BOREDOM. What am I supposed to do now that I can’t do what I was hired to do? For some people this must sound great – get paid to do nothing. It was great for a day or two, but this is my livelihood. I live and breathe to be an agent. I enjoy helping my clients set up projects and get jobs. I now wake up in the morning to do nothing… and I hate every minute of it. Let me walk you through my day so you can get a feel for the mundane… 7 a.m. – Alarm goes off. Hit snooze. 7:10 – Alarm goes off again. Check my Blackberry – the only email is from the spam filter informing me that I can resize my penis. Rethink what I am rushing into the office for and reset the alarm to go off at 8:30. 8:30 – Alarm goes off again. Hit snooze again… 3 more times. 9:00 – Finally get out of bed. Call the office “Any calls?” “Your mother and then your doctor calling to confirm your colonoscopy.” 10:00 – Debate leaving house. Is there something on TiVo I can catch before I go? The Real World. Guilt settles in and I get into the car. 10:30 – Arrive at office. Smile at valet who surely sees my sadness. 10:36 – Walk into office. Read trades… "Look at that, a full-page ad for a scab looking for work." Congratulations, IndieWriter2007@gmail.com, I’m giving you a free plug in hopes the denizens of Hollywood fill your inbox with emails bitching you out. Don’t help the studios let this go on longer!
11:00 – Call some clients because I miss them… a little. “You guys meeting good people out on the lines? Maybe tomorrow you should hit up Sony… they like you over there. Stay strong!” 12:00 p.m. – Think about what I should have for lunch for 20 minutes. It’s easy to get in everywhere since no executives are eating out. I feel bad for waiters losing money over this also. 12:20 – Check Chad Gervich’s blog. 12:40 – Check Nikki Finke’s blog. 1:00 – Leave for lunch and debate about how long the strike will go on. 2:15 – Head back into office. “Any calls?” “Your mom again. She wants to know what time you are coming over for Thanksgiving dinner.” Bang my head against desk for a few minutes. 2:18 – Start online Scrabble game and begin writing this blog. Having multiple things to do at once makes me feel better. 4:20 – The phone rings!!! Yes!!! Someone stopped toking up long enough to call!!! "Hey, uh… is there going to be a script for me to direct for that next episode of that show?" "No. Sorry. They’ll get you in as soon as they come back though." 4:22 - Bang my head on desk again for a few minutes. 4:30 – Realize I am so far ahead in Scrabble that I might as well stop playing. Debate going home. I know a bunch of studio executives have been seeing movies during the day. Maybe I should thang out in a dark theater so we can bond over having nothing to do. 5:00 – Stare at clock… 5:02 – Stare at phone… 5:02 ½ - Stare at clock… 5:03 – Stare at phone… As an agent you’re one of the busiest people in Hollywood. You’re the center of a wheel and everything is going through you. What you don’t realize is how dependent your livelihood is on other people. I desperately want the phone to ring. I need the phone to ring. I need the validation of my job to know I am doing something worthwhile. To know I am not wasting my life away. This is what I love, it’s what I live for. To sit and have no control over a situation and only hope that the people who are, or will be, talking to each other are doing everything they can to get us working again. And then it hits me... this is what it must feel like to be a writer.
Guest Perspectives | The Writers Strike 2007
Tuesday, November 20, 2007 5:09:14 PM (GMT Standard Time, UTC+00:00)
|
|
Monday, November 19, 2007
Labor Solidarity March!
Posted by Brian
Labor supporters from all walks of life will join the writers for a massive show of solidarity tomorrow. If you can be there, please make it-- this will be huge! Here's the scoop... WHEN: Tuesday, November 20, 2007 1:00 p.m. WHERE: The march begins at the corner of Hollywood Blvd. and Ivar in Hollywood
The Writers Strike 2007 | Events Activities and Things To Do
Monday, November 19, 2007 7:17:56 PM (GMT Standard Time, UTC+00:00)
|
|
Sunday, November 18, 2007
Assistants & Below-the-Line Rally!
Posted by Brian
Wanna join the fight? Tomorrow afternoon, hundreds of assistants and below-the-line employees will be joining the writers strike to show their solidarity with the writers. If you're an assistant or below-the-line worker (especially if you've been laid off because of the strike), please come show your support! If you're not an assistant or below-the-line worker, come show your support anyway... many of these employees aren't part of the WGA, but they support the writers' cause and have been the first people to lose their jobs! Here's the scoop... When: Monday, November 19. 12 p.m. - 2 p.m. Where: 20th Century Fox Studios - Main Gate 10201 W. Pico Blvd. (at Motor) Los Angeles, CA 90035
Events Activities and Things To Do | The Writers Strike 2007
Sunday, November 18, 2007 5:38:22 PM (GMT Standard Time, UTC+00:00)
|
|
Saturday, November 17, 2007
TALKS RESUME: WRITERS & PRODUCERS RETURN TO THE NEGOTIATING TABLE!
Posted by chad
After twelve contentious days of refusing to communicate or negotiate, both the WGA and the AMPTP have announced they will return to the negotiating table the week after Thanksgiving! This doesn't mean the strike will let up, but here's a message from WGA West President Patric Verrone, sent to WGA members late last night... "This evening the WGA and the AMPTP announced that we will resume negotiations on Monday, November 26. This announcement is a direct result of your efforts. It is the direct result of the hours you have spent on the picket lines, the days you've spent educating friends and colleagues, the boundless energy you've put into engaging with not only the Hollywood talent community, but people all over the country and the world. It is a direct result of your dedication to this union and to each other.
Over the past two weeks we have shown incredible resolve and resourcefulness. Every fifteen minutes someone sends me an e-mail with a new suggestion or a copy of a supportive news article or an entertaining and informative pro-writer YouTube video. Actors, local legislators, fans, and fellow members of the Hollywood workforce joined us in droves on our picketing lines this week. SAG's Alan Rosenberg and I were warmly welcomed in Washington D.C. and offered support from every member of Congress with whom we met. These developments all undoubtedly contributed to the decision to return to the table.
For 12 days I have repeated that a powerful strike means a short strike. In that time we have proven that bad news won't slow us down. Now it is equally important that we now prove that good news won't slow us down, either. We must remember that returning to the bargaining table is only a start. Our work is not done until we achieve a good contract and that is by no means assured. Accordingly, what we achieve in negotiations will be a direct result of how successfully we can keep up our determination and resolve."Although the work stoppage isn't over, both sides were making progress when talks broke down on the evening of November 4, the day before the strike started almost two weeks ago. Can they pick up where they left off? Can they move forward swiftly and decisively? Who knows. Many of these answers may depend on how vigorously writers and their supporters continue to make noise and defend the rights they deserve. One thing, however, is for sure... a major hurdle has been cleared, which means come this Thursday, we'll have something extra to be thankful for.
Industry Updates | The Writers Strike 2007
Saturday, November 17, 2007 12:57:07 PM (GMT Standard Time, UTC+00:00)
|
|
Friday, November 16, 2007
The Truth Is Out There... Maybe
Posted by chad
I'm not gonna lie. Nikki Finke's Wednesday-night posting on the ongoing feud between the Writers Guild and the stagehands' union, IATSE ( The International Alliance of Theatrical Stage Employees), made me think.
First a little background... the WGA and IATSE have long had a very public, very acrimonious relationship, and the strike-- as well as the herky-jerky negotiating process leading up to the strike-- has only exacerbated it. But in Wednesday's post, Nikki-- who, I think, has been more than fair to the writers throughout this entire ordeal, often giving voice to their perspectives when Variety and the Hollywood Reporter wouldn't-- posted an excellent play-by-play of some of the WGA/IATSE maneuvering over the past twelve months.
Basically, IATSE chief Tom Short claims that as long ago as September, 2006, he had a dinner with WGA President Patric Verone and WGA Chief Negotiator David Young in which he urged them to begin negotiations for their upcoming contract (still fourteen months away) as soon as possible. They refused, and Short left that dinner convinced they were gunning for a strike no matter what happened. Over the next several months, Short implored them to take early negotiations seriously. If they didn't, he said, they would wreak irreparable damage on the industry. His predictions-- an early glut of production, studios hording scripts-- were "prophetic." But no matter what he said, Verrone's response was, "Nonsense, that isn't going to happen." Now, understandably, with Hollywood shut down and hundreds of people out of work, Short is pissed. After spending months warning people exactly how the sky would fall... the sky has fallen. In a letter from Short to Verrone sent on Tuesday, Short comes down especially hard on David Young, the labor leader hired by the WGA to organize the strike and negotiations. Young has never worked in Hollywood or negotiated a writer-studio contract, and Short paints him as a man who finds satisfaction not just helping the underdogs he's supposedly paid to help, but in creating chaos and destruction. Short even cites a powerful Los Angeles Times piece from Monday's paper, in which Young says the strike has made him feel like a "rock star" and he likes to "lay back and look at the havoc I've wreaked. They [the studios] don't care
for the fact that I tried to build as much strength for our side as
possible. I'm not going to apologize for that." I won't regurgitate Nikki's entire piece-- she does a great job, and you should check it out here. The point is this: it made me think. It made me realize that while I do believe there are clear-cut good guys and bad guys in this thing, this is a war being waged not just with picket signs on studio sidewalks, but with words and spin and manipulation in newspapers, press releases, YouTube ads. I mean, I dunno... maybe Verrone and Young were gunning for a strike. Maybe Young's always been a movie buff and saw this as his chance to suddenly be a star-- maybe it was (quite literally) his shot at the Hollywood limelight. Maybe this whole thing could've been avoided, but certain egos orchestrated its fruition for selfish reasons. Who knows. But every day, we're bombarded with "truths" from the different sides, and it's difficult to pick out which truths are... well... "true," and which are just shaded versions of the truth. The AMPTP (Alliance of Motion Picture & Television Producers), for instance, took out full page newspaper ads yesterday claiming writers are asking for portions of ad revenue of online streaming. USA Today reported this as well. It's not true, and-- as the AMPTP points out-- studios have never shared ad revenue with with artists. Nor should they. Even in the writer-driven world of television, writers don't share in ad revenue, and the WGA knows better than to ask for it. The truth is: the WGA is asking for residuals, or re-use fees, for studios re-using writer-created content... which is exactly what writers receive in television and the AMPTP refuses to translate to the internet. (On an interesting side note, reality mogul Mark Burnett actually does get a share of CBS's ad revenue from Survivor... thanks to a contract snafu when they made his first season deal. Survivor, of course, has gone on to become a massive hit, making Burnett a far wealthier man than most other producers. Thirty-second ads in this season of Survivor were selling for $208,000 a spot, which is lower than previous years. But back to the issue at hand...) Anyway, as I said before, Nikki Finke has done an excellent job giving voice to the writers' side of this epic... while Variety and the Reporter, which get paid when networks and studios fill their pages with ads, have tended to lean more toward the media conglomerates. So both sides-- the writers and the studios-- are using the press, the internet, and sympathetic bloggers and reporters to disseminate their message and sway the industry and the public. (Although the writers seem to be doing a better job of it: according to reports from Pepperdine University and Survey USA, almost 70% of the general public support the writers; less than 10% support the media conglomerates.) So how do you know? How can you tell which side's telling the truest version of the truth, and which side is layering on spin and confusion and manipulation? Honestly?... I have no idea. I think most people tend to believe whichever side they're rooting for. In other words-- and maybe this goes for all of life, not just the writers strike-- maybe we choose the truth we want to believe. So try as we might to see the facts-- the cold, hard, absolute truth-- we're ultimately only as "absolute" as we want to be. Which doesn't diminish the sanctity of what the writers are fighting for, it’s just me wondering if-- in retrospect-- there were other ways to get what we wanted without having to strike. And that regardless of what we're fighting for, once we all get on the battlefield, we all use the same weapons. (Except the studios use them more. And in more evil ways.) (And ultimately the writers are right-- everyone knows that, or, at least, 70% of them do-- and if the WGA has been deceptive at all, it's simply because they were trying to be strategic in protecting the writers or strategizing how to win the fight...) Of course, as I write this, I can't help but wonder if I'm not sounding dangerously close to the sentiment of the GetBackInThatRoom blog I bashed the other day... the one that begins: "Who is at fault doesn't matter... fixing it does." But no-- screw it, that's still a shitty, spineless blog, and I can tell you exactly who's at fault... the studios. And anyone who doesn't see that is clearly reading the wrong propaganda. And to prove it to you, here's a hilarious video from The Daily Show writers...
The Writers Strike 2007
Friday, November 16, 2007 9:08:20 AM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, November 13, 2007
Strike Video of the Day
Posted by chad
The Writers Strike 2007
Tuesday, November 13, 2007 8:36:17 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, November 12, 2007
How To Undermine the Strike AND Look Like an Idiot
Posted by chad
For those of you monitoring the strike, there's clearly no shortage of reportage or opinions. From Nikki Finke to Variety to various petitions making their rounds through cyberspace, everyone's touched in some way and has something to say. And, for the most part, it's a fascinating whirlwind of perspectives and commentary. But there are some emails, which you may have gotten, that-- frankly-- are drivin' me nuts (and bear with me here, because I'm about to get angry)... You may have gotten some of these emails, but in the past few days, I've received numerous chain-emails from people (usually assistants at networks, studios, and actual TV shows, the first places to get hit with job cuts) advocating things like, "It no longer matters what the issues are-- innocent people are losing their jobs-- so please, writers and producers, just get back in the room and start negotiating." One letter is even attempting to gather names of all writers, executives, and crew members who have lost jobs so it can send a letter containing their names to both the studios and the WGA in hopes of "shaming" them into negotiating. The letter claims it's not interested in taking sides or discussing issues-- it just wants both sides to swallow their pride and get back to the table. (This particular letter has now actually started its own blog, GetBackInThatRoom, which actually begins with these words as its second sentence... "Who is at fault doesn't matter.") Well, to all the people starting these letters and the GetBackInThatRoom blog, I have only this to say: THESE ARE THE MOST COWARDLY, INEFFECTUAL ATTEMPTS TO JOIN THE FRAY I'VE EVER SEEN. (Not to mention... they make you, the letter-writers, look like uninformed, petulant adolescents.) First of all... these letters ignorantly assume that both sides are being equally stubborn and
refusing to go back to the negotiating table, which isn’t true. The
writers would love to go back to the negotiating table, but it’s the
studios that are refusing. So these letters are not only misinformed, they insult the very
people who are doing their best to end the strike: the writers,
the people who are on the frontlines trying to protect the assistants and everyone else losing their jobs. Secondly... both the WGA and the studios/networks know hundreds of people are losing jobs. Showing them a list of names ain't really a newsflash. In fact, both sides use that info to fuel their fire against the other side. In other words, handing the studios a list of unemployed people doesn’t shame them— it allows them to say, “Yup, it's tragic— and totally the writers’ fault. There’s nothing we can do, but thanks for proving our point. We’d love to help... yet our hands our tied.” And same for the writers. Thirdly, and this point doesn’t anger me as much as it just... what's the word?... oh, yeah-- "amuses" me (like patting the letter-writers on the head and saying, "aw, you're so cute"): If the studios could be shamed into doing something, they would have been shamed long ago. These are multi-billion dollar corporations we’re talking about. They don’t feel “shame” until something affects their bottom line. Between 1980 and 2000, NBC's parent company, G.E., laid off over 100,000 American employees... and that was while the company's stock was rising. So the notion that a list of a few hundred-- or even a few thousand-- unemployed people is going to “shame” anyone is naive and ineffectual at best... and embarrassingly ignorant at worst. It’s like watching a Chihuahua try to tackle an entire pack of German shepherds by barking at them... sad and cute, all at the same time. (This isn't to say I don't feel immense sympathy for anyone losing their job... I'm just saying that if you wanna make a point about the strike, say something that doesn't make you look like you've never read a newspaper or lived in the modern world for the last thirty years.) Lastly (and this may be the part that angers me the most), is these letters' sheer cowardice in their refusal to take a stand. There is a right side and a wrong side in this strike, and virtually everyone-- probably with the exception of Nick Counter-- knows that. To dismiss that— to treat both sides the same, as if they’re both equals and just need to come to terms, without caring about the negotiating points— is not only offensive to the people who are trying to fight for something noble— including these letter-writers' jobs-- but it’s like sending out a beacon saying, “Hey, everyone— I don’t really understand, or care to understand, the truth of the situation. I just want to sound like I have something important to say!” If you’re going to take a stand, letter-writers... TAKE A F*CKING STAND. Otherwise, get out of the way and stop looking like children. You're not helping anyone, including yourselves... and you're certainly not helping the writers who are giving up their livelihoods to protect yours. (And by the way, if you do think neither side is right or
wrong-- that this is somehow a fair fight in which both sides just need
to find some middle ground, I'd challenge you to-- at the very least-- say that in your letter... and back it up.) Again, none of this is to say I don't feel for people who have lost their jobs-- especially assistants, those at the bottom of the food chain who are innocent victims. But if you're going to make a statement, do it with some intelligence and cajones. Send a letter to the conglomerates. Send the strikers some food. Join the picket. Sign this petition to the AMPTP. We all feel the effects of this strike, and we’re all gonna feel it for weeks or months to come, and letters like these do nothing but throw wood on the fire and then run away without really saying anything. And that doesn't help anyone... especially the people who wrote them.
The Writers Strike 2007
Monday, November 12, 2007 10:54:51 PM (GMT Standard Time, UTC+00:00)
|
|
Psychology of a Strike
Posted by chad
The Writers Strike 2007
Monday, November 12, 2007 9:22:19 PM (GMT Standard Time, UTC+00:00)
|
|
New Picket Times & Locations!
Posted by Brian
Last week kicked off the first week of the Writers Guild strike, and-- as we head into Week #2-- the picketing promises to get more fierce. Here's the latest update from the WGA on picket times and locations. Please note that daily picketing shifts have changed from 9-to-5 to the following unless noted otherwise: 6AM – 10AM 10AM – 2PM The earlier times are intended to help keep the Teamsters, who often arrive early in the morning, from crossing the picket lines. For the week of November 12, please report to the following locations: CBS RADFORD STUDIOS *Picketing Shifts: 6am-3pm ONLY AT CBS RADFORD 4024 Radford Avenue Studio City, CA 91604 Meeting Point: In front of Main Gate on Radford Ave. Parking Option: Street parking around site. CBS TELEVISION CITY 7800 Beverly Blvd. Los Angeles, CA 90036 Meeting Point: Genesee Avenue Gate Parking Option: Streets North of Beverly Blvd or Grove Parking Structure DISNEY STUDIOS 500 S Buena Vista Street Burbank, California 91521 Meeting Point: Meet west of the main gate on Alameda Parking Option: Neighborhood streets east of Disney (Parkside Dr.) FOX STUDIOS 10301 W Pico Blvd Los Angeles, CA 90064 Meeting Point: Main Gate on Motor Ave. & Pico Blvd. Parking Option: On Motor Ave near Cheviot Recreation Center or Century City Mall. Cheviot Hills Recreational Center Parking Lot, off Motor Ave (LA Parks and Rec); walkable to Fox Lot. NBC BURBANK *Picketing Shifts: 9am-1pm & 1pm-5pm ONLY AT NBC BURBANK 3000 W Alameda Ave Burbank, CA Meeting Point: Under the Johnny Carson sign - in the park Parking Option: Street parking on California PROSPECT STUDIOS 4151 Prospect Ave Los Angeles, CA Meeting Point: Main Gate on Prospect Ave Parking Option: Street parking on Prospect Ave. PARAMOUNT STUDIOS / RALEIGH STUDIOS HOLLYWOOD 5555 Melrose Ave. & 5300 Melrose Ave. Los Angeles, CA 90038 Meeting Point: Windsor Gate Parking Option: Streets south of Melrose SONY PICTURES STUDIOS 10202 W. Washington Blvd Culver City, CA 90232 Meeting Point: Gate 5 – Main Gate Parking Option: Streets SW Corner of Studio (Culver & Overland). Culver City veterans park (across the Street from Sony Studios (Walking Distance) over 200 Parking spaces in Public Park Lot) UNIVERSAL STUDIOS 100 Universal City Plaza Universal City, CA 91608 Meeting Point: Meet at the Metro stop on Lankersheim & Campo de Cahuenga (NW corner) WARNER BROS. STUDIOS 4000 Warner Boulevard Burbank, CA 91522 Meeting Place: Gate 2-3 on Olive Parking Option: Street parking around studio WGAW members: If you have not been contacted before Monday morning by your Strike Captain with your confirmed shift and location, please report to a either a morning shift or afternoon shift (as noted above) at any picket line location. Make sure to sign-in upon your arrival to each picket site. If you do not now have a Strike Captain, please ask your Picket Captain to assign one to you.
Events Activities and Things To Do | The Writers Strike 2007
Monday, November 12, 2007 8:02:33 AM (GMT Standard Time, UTC+00:00)
|
|
GREY'S ANATOMY PICKET CANCELLED!
Posted by Brian
For those of you who read the announcement here earlier, about the picket of the Grey's Anatomy location shoot: it's been cancelled. Stay tuned for further news and updates!
Events Activities and Things To Do | The Writers Strike 2007
Monday, November 12, 2007 5:08:31 AM (GMT Standard Time, UTC+00:00)
|
|
Friday, November 09, 2007
GUEST PERSPECTIVE: Strike Fallout... An Assistant Speaks Out
Posted by chad
The writers strike affects more than just writers and studios; it affects everyone from Hollywood's executives and corporate employees to directors and actors. But perhaps no one feels its effect more powerfully than Hollywood's crew people and assistants... the people at the bottom of the industry hierarchy struggling to eke out a living as they climb the ladder toward achieving their dreams. And as studios-- the same studios who can't cough up 2.5% of their backend to pay the workers making their products-- slash jobs and shut down shows, it's not the striking writers who feel this most potently... it's the assistants and crew people who suddenly find themselves out on the streets with no job or income. So as Script Notes continues to bring you unique voices and perspectives on all things writing-related, here's KATE BURNS, a (former) writers' production assistant on CBS's Shark, who-- along with the rest of the show's assistants and crew-- is spending today packing her desk... IN HER OWN WORDS: SHARK WRITERS PA KATE BURNS... Until this afternoon, I was the writers’ production assistant on “Shark,” the James Woods show on CBS. It was a great job for an aspiring tv writer like myself: lots of hands on experience, lots of down time for working on my own stuff, and lots of chances to build relationships with the writers on the show. Last Sunday night when the WGA went on strike, my job, as well as the jobs of the script coordinator and writers assistants on staff, was put in immediate jeopardy. I’ve known for weeks now that this strike was a distinct possibility and I’ve honed my answer to those who asked me what I planned to do should this eventuality arise to a fine point (“professional dominatrixing. fully clothed on my part. no penetration, but great tips.”) I fully support the writers, and I’ve been intellectually prepared to get behind them for a while now. The thing is, the reality of strike is harsher and its consequences far more immediate and severe than I think any of us assistants, and certainly any of the writers, fully understood. Since Monday, our suite of writers’ offices has been strangely silent. No writers puttering around, taking their shoes off as they muddle through a stickier story point, making fun of each other for any reason at all. All week, I huddled in the back office with the other writers’ assistants, joking nervously that if production couldn’t see us, they couldn’t fire us. Since we’ve been expecting it, and since we all want to be writers, we took the certainty of our layoffs in stride. Not that we’re not scared, and not that we want a strike- no one in their right mind actually wanted a strike- but we’ve accepted our lot as cheerfully as possible. When the call came from HR today relieving us of our duties, it was almost a relief- we didn’t have to continue crossing the picket lines each day, only to awkwardly field questions from anyone who realized that we were still at work. Unfortunately, writers and their assistants are not the only ones who are going to be affected by the strike. The production office and crew are all counting down the days until they too will be jobless- by Thanksgiving, for most of them- and they’re not as cheerfully resigned as we are. I don’t have a family to support or a mortgage to pay, and as an upwardly mobile writers’ assistant, I stand to benefit from an improved WGA contract. But for many production assistants, coordinators, and other crew people, the work stoppage caused by the strike is going to be a crippling blow. It comes just in time for the holidays, potentially with no end in sight. There were a few lower level production people who I spoke with who, like most of the assistants I know, live paycheck to paycheck, and are fuming mad that the WGA and AMPTP couldn’t at least have tried harder to negotiate a compromise. If the strike is drawn out indefinitely, depriving more and more people of their livelihoods, I’m worried that this resentment will grow and calcify. I believe fully in the WGA’s demands and the writers’ rights to fair payments. I will be out picketing with them tomorrow, as I have been every day since the strike began. But for the sake of my fellow assistants, of the crew of “Shark” and every other show that’s affected, for the sake of the messengers and the deli at which I used to buy bagels every morning, I fervently hope that the WGA can AMPTP can return to the negotiating table as soon as possible, and resolve this dispute in a way that’s fair not only to the writers, but also to the people who depend on them to make their living.
Guest Perspectives | The Writers Strike 2007
Friday, November 09, 2007 5:28:09 PM (GMT Standard Time, UTC+00:00)
|
|
Another Crop of Strike Videos...
Posted by chad
The Writers Strike 2007
Friday, November 09, 2007 2:52:17 PM (GMT Standard Time, UTC+00:00)
|
|
MASSIVE WRITERS RALLY - COME IF YOU CAN.. AND SPREAD THE WORD
Posted by Brian
Just issued from the Writers Guild at 8:02 tonight...
Writers Rally and Picket for Justice This week, the WGAW rocked the entertainment industry. Our strike has demonstrated our unity and our resolve to get a fair deal from the media conglomerates. Tomorrow, join thousands of your fellow writers at Fox Plaza in a major show of solidarity. Do not go to any other picket location. This will be the only picketing to be held on Friday. Speakers will include WGAW President Patric M. Verrone and Screen Actors Guild President Alan Rosenberg. Singer-activist Tom Morello (Rage Against the Machine, AudioSlave, the Nightwatchman) will open the rally with an exclusive acoustic mini-set. Parking in Century City is extremely limited. Carpool if you can. You can also park for three hours in the Westfield shopping center at no charge with a purchase. Be on time! The police are blocking Avenue of the Stars for this rally, which will begin at 10 a.m. and end at 11 a.m., to be followed by picketing on Avenue of the Stars and at the main Pico Gate. 10 a.m. to 12 Noon – Friday, Nov. 9, 2007 Fox Plaza 2121 Avenue of the Stars, Century City (between Olympic and Pico boulevards)
Events Activities and Things To Do | The Writers Strike 2007
Friday, November 09, 2007 4:13:09 AM (GMT Standard Time, UTC+00:00)
|
|
Thursday, November 08, 2007
Calling All Assistants!
Posted by Brian
All across Hollywood, assistants-- the lowest paid and hardest working folks on the industry food chain-- are losing their jobs as networks and studios lay people off thanks to the writers strike. Well, tomorrow morning, the assistants are fighting back and showing their support for the striking writers by joining the picket lines em masse. If you're an assistant, or can pass this message along to people who are, or simply want to join the fight... YOUR HELP IS NEEDED. Here's the scoop: Friday, November 9, 2007 10:00 a.m. 20th Century Fox Studios 10201 W. Pico Blvd. Los Angeles, CA 90035 Join the assistants... as they join the writers... to picket one of the oldest, largest studios in town for the rights of TV and film writers. And to receive future notices about assistant pickets, shoot an email to: strikeassistants@gmail.com
Events Activities and Things To Do | The Writers Strike 2007
Thursday, November 08, 2007 8:28:40 PM (GMT Standard Time, UTC+00:00)
|
|
READER QUESTION: Should I Cross the Picket Line?
Posted by chad
The strike is a confusing time for everyone... especially employees of the studios who may support the writers but also depend on the studios for their jobs. CBS-Paramount, Disney, Warner Brothers, NBC-Universal, and 20th Century Fox have announced they're suspending many of their pod deals with non-writing producers and production companies who aren't part of the WGA but are-- nevertheless-- feeling the consequences of the strike. 20th Century Fox announced yesterday that assistants for writers, producers, and TV shows would be let go this Friday. Most of these assistants make only a few hundred dollars a week, and while they can apply for unemployment, it will be virtually impossible for them to find other TV assistant gigs before the strike is over. I received the following email last night from a reader in Los Angeles, who I've made anonymous... "I was reading about the strike on Script Notes and wanted to ask you a
question. I am very sympathetic to the writers and hope they get a
fair contract. Basically I work for an IT group [at a studio] that deals
mainly with sales and inventory systems - nothing to do with
production. My question is: Am I doing anything wrong while
continuing to go to work, even though the writers guild is striking
against the company I work for? If so, is it the hope or expectation
of the writers that some number of employees at Paramount, Universal,
the Networks, etc, would refuse to go to work during the strike? Does
it matter that I work for a different part of the company? I really don't
want to be "crossing the picket line", but I also don't want to make an
unnecessary or career destructive gesture. Please let me know what
you think."Well, here's the scoop... No: you are not doing anything wrong. First of all, your job is not covered by the Writers Guild, so there's no requirement or expectation that you strike. HAVING SAID THAT... The writers need all the support they can get, and there are many people on those picket lines who aren't WGA members... but they refuse to cross a picket line of their volition. Many are actors and directors who will soon be in the same boat as the writers when their contract expires on June 30, 2008. So they're helping writers fight for causes that affect them as well. But the picket lines are also filled with executives, agents, and many people who don't even work in the industry-- husbands and wives of strikes, friends, associates... even people who just believe in their cause. Having been out on the picket lines, I can assure you that the writers are incredibly grateful and appreciative of anyone who joins them or shows support. But there are other ways of showing support besides jeopardizing your job to stand on the picket line. Try some of these, and I promise you'll get a warm, thankful response... • JOIN THE PICKET LINE FOR A FEW MINUTES. If you can't join the picket line all day, or for hours at a time, which is totally understandable, swing by for a few minutes in the morning... or over lunch. If you don't feel comfortable picking up a sign and walking, just stop by and talk to the writers, hear their stories, ask them questions. You'll learn a lot and meet some great people... and trust me-- there's nothing the writers need more than to spread their message to non-writers who will listen. • BRING THE WRITERS FOOD, DRINKS, COFFEE, SNACKS. You get tired and hungry out there on the picket lines, and it's a great feeling when free snacks arrive! Agencies like UTA, ICM, and APA have been great about sending cookies, pizzas, and drinks to the striking writers. I picketed at FOX yesterday, and The Shield writers provided sandwiches. My Name Is Earl bought everyone Irish coffees. It really is a great feeling to know that someone's thinking about you and caring while you're out there... especially people who don't even know you. So tomorrow on your way into work, or at lunch, swing by the picket line with a box of donuts... or some Starbucks... or a case of Coke... or some packages of Oreos. You don't even have to spend a lot. Just let them know you're thinking about them. • WEAR A WGA STRIKE T-SHIRT... OR SOMETHING RED. Red is the color of the strike, so even if you don't have a WGA strike t-shirt... wear bright red to show your solidarity. • HONK AS YOU DRIVE BY. It sounds small, I know but trust me... it's a nice feeling, when you're out there, and cars honk and show their support as they drive by. Sure, it's quick and fleeting, but we know not everyone can stop and picket... it's just good to know there's support. Ultimately, it's up to you whether or not you join the picket line. But if you can't, try some of these other ways to support the writers. Every ounce of teamwork and courage helps... and the writers will appreciate anything you do for them. Chad
Reader Questions | The Writers Strike 2007
Thursday, November 08, 2007 7:19:11 PM (GMT Standard Time, UTC+00:00)
|
|
More Great Strike Videos...
Posted by chad
The Writers Strike 2007
Thursday, November 08, 2007 6:19:44 PM (GMT Standard Time, UTC+00:00)
|
|
Wednesday, November 07, 2007
Watch These!
Posted by chad
Industry Updates | The Writers Strike 2007
Wednesday, November 07, 2007 7:58:08 PM (GMT Standard Time, UTC+00:00)
|
|
A Guest Perspective: Notes From the Picket Line
Posted by chad
The writers strike is in full swing here in Los Angeles, with hordes of picketers outside every studio and network in town, fighting for rights of screenwriters across the country. All over Hollywood, TV shows like The New Adventures of Old Christine, Back To You, 'Til Death, and Rules of Engagement have been shut down. I'll continue to give you updates and different perspectives as the days-- and probably weeks-- go on, but you can get a great play-by-play at Nikki Finke's Hollywood Deadline Daily. In the mean time, Script Notes has a special treat today... our first exclusive guest perspective! Comedy writer LESLEY WAKE WEBSTER has written on Kitchen Confidential, What I Like About You, and That 80's Show. She's currently a writer-producer on ABC's Notes From the Underbelly, and she hit the picket lines Monday afternoon. It's a unique experience out on the frontlines, so Lesley took some time to tell Script Notes what it's like in the heat of the strike... NOTES FROM THE PICKET LINE
By Lesley Wake Webster Monday, November 5, 1 PM: I showed up at Warner Brothers Studios to join the WGA picket line. Everywhere I looked, there were writers in red t-shirts holding signs of protest; it was an amazing display of solidarity. As we marched and chanted, I had the privilege to talk to writers of incredibly diverse backgrounds. I chatted with staff writers who’d just joined the guild, with showrunners who couldn’t stop worrying about their employees and with veterans who vividly remembered the 1988 strike. From these conversations, one thing became crystal clear: we have good reason to be united. Though the Writer’s Guild has over twelve thousand members, there are really only five people in the picket line, and you meet them over and over again. 1. The Class Clown• Picket line personality: Boisterous and friendly. Dances, waves to passing cars and convinces everyone to go to El Torito for margaritas afterwards. • Most likely to have been kicked out of high school, dropped out of college or booed off a stage. • Became a writer after trying to make a living by acting, bartending and/or selling childhood toys on Ebay. • Can’t believe how much fun this is. Striking is even less work than writing! 2. The Good Girl• Picket line personality: Cheerful and polite. Participates in chants, recycles everyone’s water bottles and makes sure that no one enters the crosswalk after the blinking orange hand appears. • Most likely to have been class valedictorian, editor of the yearbook or a member of “Up With People.” • Became a writer after receiving a Hello Kitty diary on her eighth birthday. After years of secretly journaling, the Good Girl shocked her parents and herself by quitting a perfectly respectable job in public relations to write for TV and film. • Can’t believe she’s actually participating in a social protest. Oh my! 3. The Sullen Outsider• Picket line personality: Aloof and slouchy. • Most likely to love Russian novels and have been forbidden to watch TV as a child. • Became a writer because it is the most important work in the world. • Can’t believe how shallow most TV shows and films are. Perhaps this strike will clear out the dead wood and create a hunger for serious, important work like his two-hundred page screenplay, Death in the Time of Genocide. 4. The Fat Guy with a Beard• Picket line personality: jovial and determined. For someone who spends most of his time sitting in front of a computer, he’s got surprising physical stamina. • Most likely to be insanely wealthy and have created your favorite movie or TV show. • Became a writer after a childhood spent indiscriminately watching TV. Can quote entire episodes of The Twilight Zone and Gilligan’s Island. • Can’t believe that the AMPTP thinks it can break the WGA. As surely as rock beats scissors, the fat guys with beards will beat the fat guys in suits. 5. The Eager Beaver• Picket line personality: Enthusiastic to a fault. Wants to meet everyone else in the picket line and know what they’ve worked on. • Most likely to be a Dungeon Master and/or a virgin. • Became a writer because, unlike in P.E., no one tried to give him a wedgie in creative writing class. • Can’t believe he just saw Joss Whedon! Lesley Wake Webster is a Good Girl and a writer on Notes from the Underbelly.
Guest Perspectives | Industry Updates | The Writers Strike 2007
Wednesday, November 07, 2007 8:32:44 AM (GMT Standard Time, UTC+00:00)
|
|
Tuesday, November 06, 2007
Correction!
Posted by chad
Kudos to the watchful readers who caught my error in yesterday's blog posting. The writers are fighting to double their DVD residual rate, but they are not trying to raise their rate from 20% to 80%. They currently get paid 0.3%... and want to get paid 0.6%. This means screenwriters get paid about 4 cents for every DVD sale of a movie they wrote... and they want to get paid 8 cents. The studios are refusing. In the latest development, however... the Writers Guild has now said it's willing to remove its DVD residuals increase altogether in exchange for residuals in digital media (downloads, streams, etc.). But the studios are not budging, refusing to give up a single cent of digital media revenue.
Industry Updates | The Writers Strike 2007
Tuesday, November 06, 2007 6:36:28 AM (GMT Standard Time, UTC+00:00)
|
|
Monday, November 05, 2007
In the Media
Posted by chad
Hey, everyone-- If you're interested in learning more about the strike, I'll be chatting live on Tucson, Arizona's 92.9 FM, The Mountain, tomorrow morning at 7 a.m. 92.9 is one of Tucson's leading rock stations, and I'll be talking with their morning hosts, Blake & Jennie. You can listen to their live stream at www.929themountain.com. Chad
Industry Updates | The Writers Strike 2007
Monday, November 05, 2007 10:24:58 PM (GMT Standard Time, UTC+00:00)
|
|
SHUTTING DOWN HOLLYWOOD: The Writers Strike... and What It Means For You
Posted by chad
Perhaps its appropriate that this week is Writers Digest's official “Script Notes” kick-off, because it coincides with what hopes to be a new era for Hollywood screenwriters. Changes beginning this week affect every working screenwriter, director, actor and producer in modern entertainment… as well as aspiring screenwriters across the country. For those of you who aren’t sure what I’m talking about… Tomorrow—Monday, November 5, 2007—marks what will most likely be the first day in almost twenty years that Hollywood’s working TV and film writers have gone on strike, shutting off the spigot of scripts that feeds Tinseltown’s creative machine. That’s right… beginning tomorrow morning, unless there's a miracle, writers all across L.A. and New York will refuse to show up at their offices, instead joining picket lines outside every major network and studio, leaving virtually every major TV show—from “Grey’s Anatomy” to “All My Children” to “The Daily Show”—with no incoming scripts to shoot. They’ll also leave every major movie studio with a stack of unfinished projects. The writers haven’t struck since 1988, when they shut down Hollywood for 22 weeks and inflicted close to $500 million of damage. So why are they upset? What’s got them so angry they’re willing to shut down the industry? And why should you care? Basically, the writers' contract with networks and studios expired last Wednesday, which means it's time for the WGA (the Writers Guild of America, the union representing all 12,000 of Hollywood's TV and film writers) to negotiate a new contract with the Alliance of Motion Picture and Television Producers (AMPTP), the organization representing Hollywood's multi-billion dollar networks and studios. And because it's time for a new contract, writers have certain points they'd like to renegotiate. After all... nothing happens in Hollywood without writers. Actors have no lines to say. Directors have no shots to compose. Studios and networks have no products to sell. Yet writers continue to get paid far less than actors, directors, and-- of course-- networks and studios raking in billions of dollars a year. There are 26 main points the WGA is attempting to negotiate, ranging from profit participation in DVD and download sales to fair working conditions in reality television. The 5 biggest of these points are: internet residuals, original online content, streaming, home video/DVD residuals, and reality TV. Here’s a quick primer on each of these issues… • INTERNET RESIDUALS. Writers want to be paid larger “residuals,” or re-use fees, for movies and TV shows sold over the internet. Networks and studios estimate they’ll make almost $350 million dollars this year by selling TV shows and movies online. But right now, if a writer writes a movie or a TV episode—whether it’s “Pirates of the Caribbean” or “CSI”—studios don't have to pay him/her anything to re-distribute it online. In some special cases, studios have been paying writers 1.2$ residual of whatever the movie/episode makes online. But that’s it: 1.2%... and not everybody gets it. The writers want to make sure everyone gets paid, and they want the payment to be 2.5%. Studios are refusing. • ORIGINAL ONLINE CONTENT. Writers also want to get paid for online content like the webisodes of “Lost” and “Battlestar Galactica,” or the mobisodes (cell phone episodes) of “24.” But studios say these pieces are merely promotional and writers should write them for free to promote the original shows. Studios have, in a few instances, paid the writers... like the $800/two minutes paid to the writers of the "Lost" mobisodes. But in other cases-- like when "The Office" writers created a whole mini-season online last summer-- studios don't pay a dime. • STREAMING. Writers want to be paid each time a studio streams a movie or TV show online… just like they’re paid when a network reruns an episode on regular television. But networks and studios claim they don’t make any money from streaming TV shows or movies… even though they charge advertisers thousands of dollars to place ads in them. • HOME VIDEO AND DVD RESIDUALS. Writers want to double their home video/DVD residuals from .3% to .6%. In other words, they'd like a raise from the 4 cents per DVD they currently make (yes, you read that right-- 4 CENTS) to 8 cents per DVD. • REALITY TV. Right now, there’s no union protecting “writers,” storytellers, and producers on reality shows… which means there are no pay minimums, no regulations on working conditions, no overtime, etc. It’s not unusual for reality workers to work 20-hour days with no overtime and no scheduled meal breaks. They also remain the lowest paid of all TV’s writers and producers… despite the fact that many primetime reality shows have profit margins far greater than those of scripted shows. Writers want to unionize reality to install fair and regulated pay scales, and decent working hours and conditions. Studios refuse, saying that paying reality writers and producers fair wages, including overtime, will make reality series too expensive to produce. Although talks have been going on for months between the WGA and the AMPTP, the AMPTP refuses to even discuss any of the WGA’s main points. Networks and studios won’t even entertain a conversation about why these issues are upsetting writers. So starting tomorrow morning, all across Hollywood, networks and studios will find themselves with no new material until they come to terms with writers’ wants. Even if you’re not a Hollywood writer, the strike and its repercussions directly affect you, your family, and friends. If you’re an aspiring writer, it’s your future and livelihood on the line; you may not be in the Guild yet, but these writers are out there fighting for you. If you’re not a writer at all... if you're just someone who enjoys movies or TV... you’ll feel the impact in your favorite kinds of entertainment. Daily shows, like talk shows and soap operas, will feel the sting first. New episodes will cease to air almost immediately. Primetime scripted shows, which have several un-shot scripts waiting to be filmed, will run out of episodes early in 2008. They’ll be replaced by news shows like “Dateline” and "20/20," as well as easy-to-produce reality shows. Movies will be able to hold out the longest, as most studios have shelves of un-filmed projects. SO GET INVOLVED! You are not a passive observer here. Whether you're someone who wants to create movies and TV shows... or simply someone who loves watching them... this fight is about protecting you, your work, and the mediums you love! Here are three great websites to help educate yourself, your friends and families... and to help you join in the fight to get writers their hard-earned rights: THE WRITERS GUILD - wga.orgUNITED HOLLYWOOD - unitedhollywood.com - This is a terrific site that gives you more info on current negotiations, negotiations of past years, and how you can show your support. NIKKI FINKE'S DEADLINE HOLLYWOOD DAILY - deadlinehollywooddaily.com/urgent-wga-strike-update-coming-up - Nikki does a wonderful job of providing almost hour-by-hour updates of what's happening inside negotiations. If a strike happens—and most people are certain it will (although hey… anything can happen in Hollywood)—I’ll also keep you updated on progress in negotiations, interesting articles and links, and what you can do to voice your support. In the mean time, thanks for reading… keep writing... and I’ll be in touch. Chad Email me at: WDScriptNotes@fwpubs.com ...or just post your comments below!
Industry Updates | The Writers Strike 2007
Monday, November 05, 2007 3:25:01 AM (GMT Standard Time, UTC+00:00)
|
|
|