If that turns out to be the case, perhaps the 80th Academy Awards should be rescheduled. Wouldn’t JON LEIBOWITZ be violating the work stoppage by even writing his own material?

That the cause is just is falling to the wayside of their rhetoric and foolish behavior. The WGA has even gone so far as to tell those on picket lines to not bring high end food, as if that in any way can be construed as anything but a flexing of muscle. The pressure being put on those who serve dual roles on productions is also outside of their boundaries, and an outright abuse of power and union pressure.

Meanwhile people like Jon Stewart(who while I am not sure if is a current member was at least at one time, and a strong supporter of socialist worker politics) talk big yet the chances of him and people like him putting in the 20 hours of week on the line the guild has stated as a requirement is slim to none.

The WGA is taking things too far and conducting themselves in a manner that only serves to hurt their cause and their members, and it needs to be realized before permanent damage is caused.

(I am not a member of the WGA nor any similar organization, but am an aspiring writer who has had technical writings(mostly related to the video game industry) published and fully understand the perspective and issues of the WGA.)

Meanwhile back to the issue at hand, I don’t really care about the Oscars right now, but Canadian writers can be flown in to write the show though they may not want to do so. Also, to avoid legal issues, could the ceremony be moved to Las Vegas. Maybe hold it at the MGM Grand, but I wonder if the local Teamsters there would like that to happen.

On other note, Nikki please find out what will happen to NBC’s The Office this week. I understand that a few writers double as actors there and any appearance by BJ Novak (like as scheduled next week), would cause major headaches for NBC.

It’s pretty much a matter of fact right now that digital downloads/streaming video is not making more than a few million dollars per year across all studios. If we signed a contract now that would increased incrementally every 10, 25 or 50 million dollars it would help the studios cover the costs of bombs and more fairly distribute the profits from hits.

When NBC comes right out and says they are making 15 mil a year across every show on iTunes (and movies studios are barely braking 10 mil across all films), then the Studios will have plenty of time to figure out their business models before they end up having to pay the 25 or 50 mil residual levels. It could be 10 years before a single title breaks 50 million in digital sales.

And then everyone seems to be ignoring the piracy that is creeping up on Hollywood and already destroying the music industry. I might just print out the latest movies on piratesbay and take them outside to the picket lines on Monday and see if the writers realize that keeping the Studios from building a workable digital business model only results in their works being stolen by an ever growing tech savvy audience with faster and faster internet connections.

Eventually entire movie libraries will be posted on the pirated sites. Just wait if this goes long enough it won’t be cable that the audience jumps to, it will be download entire seasons of South Park and download high quality HD-DVD rips on supernova.org

Mike S, I wish a compromise like yours were even on the table, but Nick Counter has made it clear that the internet is and ever shall remain simply another form of home video release, and will never be subject to residual payments, period. The AMPTP clearly has the extreme position here. I know we all like to think in life that both sides of an argument have a point, but it’s really different here, it really is.

Not to nitpick, but AMPTP isn’t saying that the internet “will never be subject to residual payments.” It’s offering an unacceptably low payment formula, and at present, refusing to negotiate on other issues unless we accept it.

But at some point– which I wish had been three months ago, which is why I still question the WGA’s refusal to begin this whole process earlier– both sides will begin bargaining in earnest. And at that point, I hope that there are creative solutions on the table (such as the first season new media residual discount I suggested above) rather than haggling over a straight percentage. Because 1) I think it’s actually fairer and more growth-promoting, and 2) If negotiations center on a straight percentage, I think, sadly, we’re in for a longer strike than necessary, and we’ll end up with a number much closer to .3% (the current AMPTP position) than 2.5% (the current WGA position)

Comment by multi-hyphenate — November 2, 2007 @ 10:16 am

You mean like those phantom future, 20 billion dollar-a-year DVD sales that were lurking out there in the ether after the ‘88 strike? Y’know, the residuals we were screwed out of. Ever hear of “Fool me once….”?

Cable has had ‘time to grow.’ Where’s the pay bump for that?

DVD has had ‘time to grow.’ Where’s the pay bump for that?

The truth the writers know is, what you get at the ground floor is what you get forever. That’s why we’re asking for a percentage. If they make money, we’ll make money. Two cents off an ITUNES download will not break the business model.

Internet replay is already killing residuals for some shows. LOST does not repeat prime time. Those writers never see residuals. Instead they see their entire episodes rebroadcast online, for ‘promotional’ purposes. With imbedded advertising. And also sold on ITUNES. LOST today, every other show tomorrow. And we know it.

Your suggestion would make way too much sense. Residuals are the most convoluted, and in this day and age, anarchic process invented. As you correctly point out, all of these new media outlets will only continue to fragment and multiply. Let Writers make more upfront and participate in the net profits (like producers). Leave the distribution and sales up to the owners… which is not easy in this bittorrent era…

Vem