Over the next days, I'd like to float several suggestions for moving the WGA-AMPTP strike talks out of the axis of paralysis they're in now. I'm not presuming to act like a know-it-all. But like any journalist covering the business of Hollywood I spend all day talking to very smart people (as well as a lot of mouthbreathers) who make up all facets of the entertainment business, and what I'm about to write reflects their expert opinion and analysis which I can't just ignore. I'll update this thread of thought throughout the evening (because I have many different points to cover), plus my Day 3 strike notes:
It was oldtime movie mogul Louis B. Mayer who thought Hollywood a bizarre business because "the assets all go home at night". On the other hand, only a handful of industries can boast assets who double as cultural icons. I've been hearing from a cross-section of entertainment power players that a new paradigm needs to emerge out of the wreckage of these pre-strike AMPTP/WGA negotiations. Call them actors and directors and writers, call them showrunners and hyphenates, call them by the umbrella term "mogul artists," these are the 25 to 30 Hollywood icons who have incredible leverage in this town because of their big and small screen personas. They use that clout for their careers, and philanthropy, and social causes and political candidates. But they rarely use it for the greater good of the business of Hollywood. (If they did, they'd start by relieving everyone of having to endure a mind-numbing Academy Awards broadcast year in and year out. But I digress...)
By contrast, the moguls huddle regularly on industry issues like financial syndication, ratings and piracy and compete but also compromise with one another because lawsuits entail the airing of everyone's dirty laundry. But the only time I've ever heard of Hollywood CEOs caving on a major negotiation is when they get in the same room with a Steven Spielberg, or a Tom Hanks, or an Adam Sandler, or a Judd Apatow, or a Shonda Rhimes, or a J.J. Abrams, or an Akiva Goldsman. There's just something so needy within the Hollywood moguls' psyche that they want to be liked and respected by the creatives they in turn like and respect. (I assume this is why these businessmen make TV and movies instead of toothpaste and mattresses.) Therefore, any professional, personal and even psychological pressure put by these top-of-the-heap artists on the studio and network bosses could make all the difference in the guild contract talks being held now and in the very near future. Some of that is going on, but not enough.
Sure, Hollywood loves to make fun of agents. But I've received countless calls in recent days from partners in the tenpercenteries panicked that their companies can't survive a prolonged walkout. This is especially true of the so-called "second-tier" agencies. One of those toppers told me he'd been thinking of retiring anyway, but now he's filled with angst that his company's doors may have to shut permanently. So because they have so much at stake, I say, "Bring On The Agents".
For crissakes, these people negotiate for a living on behalf of clients like the writers. And they're licensed by the state. And they make multi-million dollar deals based on their word. They could, under the auspices of their Association of Talent Agents, mediate this dispute. Look, I respect these guys. I have confidence that they could work out a proposed settlement lickety-split which at least could provide the basis for bargaining. What everyone's forgetting here is that one of the reasons Lew Wasserman could solve Hollywood labor strife was because he was an agent long before he became a studio mogul. I say put the board of the ATA and the major moguls together, sideline Nick Counter and Patric Verrone (who rightly or wrongly are increasingly viewed by the other side as the problem, not the solution, because of personality issues), and let the negotiating truly begin over lunch at The Grill and golf at Riviera Country Club.
Today, the media keep asking me how long I think the strike will last. So I'll say it here. For all the reasons I've already reported, both sides in this fight are further apart than they have ever been, and that’s saying a lot. Both sides believe they have fresh and ample reasons not to go back into negotiations anytime soon or even backchannel. They claim they can’t trust the other side enough to talk about scheduling new AMPTP/WGA negotiations much less trying private talks. But backchannelling has been the only successful way labor strife in Hollywood has been settled in the past.
So now I'll bottom-line this: Really smart people have told me that if this walkout doesn't settle in the next few weeks, say, by December 15th, then there may not be an incentive for the moguls to settle it until June when the Screen Actors Guild contract expires. As for the Director’s Guild, whose contract is up next June as well but will settle it sooner, everyone expects the DGA to fold like pup tents: no shocker there. In film, the studios prepared for this labor action starting two years ago. But I broke the news pre-strike that the Big Media and Hollywood CEOs viewed this TV season as a total loss and welcomed the walkout as an automatic "do-over" that would allow them to regroup and then refashion their business models. At the same time, the writers guild two years ago began to draw a line in the sand on New Media and Internet which they're etching deeper with every turn on the picket line. I'm not passing judgment on whether either of these positions is right or wrong. But I am saying that this is a horrific situation. Yes, it is.
Ah, Nikki. Ever the optimist.
Comment by TV Showrunner — November 7, 2007 @ 4:32 pm
Where’s Hollywood’s favorite son? No, not Tom Hanks, the Governator!
He’s the only one with the clout, the pro-busines and pro-talent reputation, and the power to solve this.
His office said today they don’t want to get involved. Tell him as a voter you will not vote for him ever again if he keeps that stance and that you want him involved right now!
If you’re a California resident and a voter, fax his office at — (916)445-4633 — and tell him to get off his butt and back to Hollywood so all his old friends can get back to work.
Comment by Mr. Wants a Good Deal — November 7, 2007 @ 4:32 pm
A couple of reactions to this piece, Nikki. First, I think the moguls tend to hate agents even worse than they hate the talent. Second, I’m all in favor of Nick Counter being removed from the negotations. But why sideline Patric Verrone? Patric is not the WGA’s chief negotiator.
Comment by Tom — November 7, 2007 @ 4:35 pm
I agree. Bring on the agents.
Comment by Anonymous — November 7, 2007 @ 4:39 pm
Can anybody in here explain the outcome and impact of the SAG-ATA negotiations of 2002?
Comment by Kris — November 7, 2007 @ 4:40 pm
When I heard about the events of Sunday last (thank you Nikki) I’d hoped that Moonves and Chernin would be so pissed off at the incredible betrayal of THEIR trust that they would “go medieval” on the AMPTP, not that they were in collusion or otherwise faking out the WGA. (And next time you use a phrase like “go medieval,” remember that it was made up by a screenwriter.) How much egg is on the moguls’ faces? Wouldn’t simple ego force them to rein Counter and company in? Don’t they have any pride? So what the hell. Bring on the agents. And if that doesn’t work, maybe a tactical nuke would get someone’s attention.
Comment by kat — November 7, 2007 @ 4:42 pm
Bring on the agents, the politicians, and anyone both sides trust to bring cooler heads to the room. Nikki, I appreciate your focus on SOLVING this problem.
That being said, one thing I constantly hear from the mogul side, is that it’s “too soon” to fight over the internet revenues because their revenue models haven’t been figured out. That’s kind of a tough sell, but not completely without merit.
So why not compromise with that a little? Do a three year contract that steps up the residual rates every year as they “figure it out”. Because I think we all know that they will.
So why not make the concession of giving them the .3 they are offering for year one of the contract. Second year, it steps up to a larger number that both can agree upon (maybe .8, or something). The third year, it settles on the number the WGA would probably take as a middle number to their 2.5 starting offer…maybe 1.1?
Look, I know I have no business suggesting negotiation tactics or numbers because I’m a nobody. Let the smart people figure out the real deal. But doing something like this would let both sides save face, and let both side claim victory.
Just a humble suggestion that I hope to god other people have made other places.
Comment by Jimmy — November 7, 2007 @ 4:42 pm
Nikki
I am astonished by your post.
Don’t you hear the writers? Anyone in the WGA is entitled to a living wage from the studios regardless of whether they have any talent or merit. Do you know that the majority of the WGA makes less than $20k a year? Yes it may be that they suck, or are just old and annoying (Hi Carl Gottlieb!) but each and every one of them should be hired and making money. We are doing it for them. Never mind the market forces. Never mind reality. This is for the future. This is for Joe at Astro Burger who one day can write the next MANIMAL for NBC. This is for the 19 cents due Ken Levine. Sure- dozens of hardworking peons have already been fired this week under suspended deals. But we don’t care. We’re writers dammit and personal hygiene and other people don’t matter. What matters is making sure even the untalented among us get respected!
Comment by Bouncng Castle — November 7, 2007 @ 4:43 pm
does any other writer feel like a pawn in a very pissy chess game? chanting stupid chants while walking in circles like elephants at the circus is ridiculous. the teamsters have better chants. i am a writer who wants to support my union but i really hate feeling like i’ve been manipulated and coerced, and that’s exactly how i feel. the main issue is new media, but let’s be honest, how many of the wga writers are really going to benefit from this? it’s shocking to me to see how easy it is for my brethren to get worked up into a frenzy over abstract, intangible issues. we all know that people who have talent and work hard make money in this town. period. have we all been coerced by peer pressure? afterall, they do say hollywood is just like high school…
Comment by circus elephant — November 7, 2007 @ 4:44 pm
Agents don’t negotiate on behalf of their clients; they negotiate on behalf of the people that PAY their clients. They want to keep making money, so they serve the studios and production companies first.
Comment by Fight Da Powah — November 7, 2007 @ 4:45 pm
Just got off the picket line at Sony. Still a good turnout and the energy is up. I think the newness of all this is still propping us up. I’m not sure what will happen as this drags on. The odd thing is that nobody seems to be anticipating anything other than more walking on the line. The first day there was a lot of speculation and some optimism but that talk is almost all gone. What I am starting to see is the attitude that “we” can beat “them”. As we start to march with the same folks (and most of us are meeting our fellow writers for the first time) it starts to feel like the strike actually could carry some weight. Or maybe that’s just my impression. Regardless, I think this strike is going to hurt a lot of people, but most of the writers feel like it’s the right thing to do right now.
Comment by tired feet — November 7, 2007 @ 4:45 pm
Excellent idea, Nikki. I was having this exact same conversation today on the picket line. The only problem is…it makes way too much sense. They’ll never go for it.
Comment by A-Dub — November 7, 2007 @ 4:45 pm
I’m shocked that they can’t just “agree to disagree” and keep everyone working until a new contract is settled. Once settled, why not just pay retroactively to 11/1 when an agreement is reached. It seems too much like greed and ego are taking over right now, when the other 99% are the ones who need to keep their jobs and families in tact. Both parties would get more support without killing the business and the local economies in the short term.
Comment by RR — November 7, 2007 @ 4:49 pm
I am a tv agent. I would be happy to work on this. If empowered, I am sure a deal could be made. Remember, artists pay agents 10% to provide a buffer between talent and studios … now we see why that’s important.
Comment by tvagent72 — November 7, 2007 @ 4:49 pm
Guild members need to pressure their union leaders to make the effort to get back to the bargaining table and pick up where they left off - no matter how betrayed they feel! With the exception of a few writers who can really ride out the strike until June, noone WANTS to strike! Writers come to the picket lines, sign their names, then leave after twenty minutes! United front my ass! The leadership of the studios are constantly in question - well I am a writer and questioning OUR leadership! Get back to the bargaining tables already!
Comment by EGOLESS — November 7, 2007 @ 4:51 pm
I believe that everyone (especially the writers) would like this strike to be over. I think it’s time for the AMPTP/WGA to return to the bargaining table and truly work towards an equitable resolution. As dvds, and even television (as we know it) fall into obsolescence, it’s important to give the WGA a percentage of the internet/new media pie.
Comment by Cij — November 7, 2007 @ 4:53 pm
I remain hopeful that the fact of having to address the utter destruction of a huge economy will drive the producers and the writers together, averting a complete catastrophe for the thousands of families who will be thrown into chaos were the strike to go on as long as next June. The CEOs, though wildly disconnected from the realities of American life (Mr Redstone et al hardly strike me as having a sense of the “American street”). They might balk at the inefficency of having a disgusted consumer base, already adrift and feckless about watching stuff we all make, while having to endure the probes into their role in recreating Grapes of Wrath under the palm trees. Even the producers I talk to wonder if Nick Counter is suited to this task. Nuanced, he is not, and credulous, the WGA is, or was. After last weekends’ typical sounding cluster-fuck, the sound of the ticking clock started to seem more like the sound of a heart racing before an infarction. So now the big question is this: Is there a single statesman or woman in this country (forget this business) able to force both sides to search for common ground? Because something’s gotta give. The endgame being played here is like the Bosnia-fication of the film and televisoon industry. We are supposed to be civilized people. Even that premise is debateable today.
Comment by Robbie Baitz — November 7, 2007 @ 4:54 pm
Good lord. It’ll be a blood bath.
Comment by Anonymous — November 7, 2007 @ 4:54 pm
Putting both Verrone and Counter on the side allows for (hopefully) a tempered negotiation. Nikki’s got a great idea.
Whether hated or loved, who cares? Let’s face it. What’s a negotiation in Hollywood without an agent involved?
It’s like trying to shoot a picture without actors. Come on, people!
NEGOTIATE ALREADY!!!!!
Comment by Anonymous — November 7, 2007 @ 4:57 pm
In response to Tom “…I think the moguls tend to hate agents even worse than they hate the talent.”
Who cares about love and hate? This is a negotiation. As one of the “Veteran Agents” who survived the strike of ‘88 I say let me do my job!..
Thanks, Nikki.
Comment by Veteran Agent — November 7, 2007 @ 4:58 pm
To Tired Feet.
You have never been more correct. This will hurt a lot of people. Just not the ones you want. It’ll be crew people. People like me. In another few days, everyone will be picketing in front of boarded up studios, everyone inside laid off. Good work.
Comment by Julius Fort — November 7, 2007 @ 5:08 pm
I agree. This schoolyard brawl must come to an end immediately… The Agents could be the answer. Why not give them a shot? The fact that there are no negotiatons going on right now is… shameful. This is not a game. Pride must be put aside. Careers and livelihoods are at stake.
If it is not settled by Dec. 15th then “there may not be an incentive for the moguls to settle until June when the Screen Actors Guild contract expires.” This is outrageous!!! What more incentive do they need? Decent, hardworking people are going to lose their jobs, possibly their homes! The entire town will be crippled. Do they have no compassion? No humanity? Is there anyone in America that can side with these myopic, cold-hearted “moguls.” With a position as intractable and unreasonable as theirs, is it any wonder that they are not engendering any sympathy with Hollywood (except Variety) - and with any level-headed American following this story?
I have been reading Nikki’s work regularly for the last week and still do not understand what the “moguls” want. Do they really just want the writers to get nothing for the internet? Really? Are they that “stupid” - as Eisner so eloquently put it. The writers have been reasonable and fair. Maybe the studios look at what has happened in the music industry and are running scared. Is that it? The big bad “moguls” are afraid of the interenet. Perhaps it’s simply unbridled avarious and greed. If that’s the case… then it is the AMPTP and the studios that need to go away… Bust the corporations, not the union!
Comment by dante d'po — November 7, 2007 @ 5:10 pm
Robbie, I think you’re on to something. Senator Obama was fast off the mark with his support for the WGA. Maybe he could step in and lend a hand to the negotiations. It’d be good practice for dealing with internationalsquabbles and he’d look like a hero. What’s Jimmy Carter doing right now?
Comment by kat — November 7, 2007 @ 5:11 pm
I was at the Showrunners gathering today at the Disney gate. They all seemed both unified to wait this out but many of them were very shocked and a bit dismayed suspension letters were already sent out from the Studios. It’s hard to know how long this will last but I’ve never seen a group so galvanized. We’ll see who crosses the line first.
Comment by DJC — November 7, 2007 @ 5:13 pm
Although I agree that the Moguls hate agents more than they do the talent, the suggestion has a lot of merit simply because it would show the extent of the economic disaster that this strike is about to inflict, if it hasn’t already. The Moguls are so completely out of line and everyone knows it. Their pettiness and arrogance (as well as their inability to actually build a coherent and solid business plan for media distribution of the very near future)is almost unbelievable, if it weren’t true. In truth, agents have as much to lose in this fight - not once, but twice once the SAG strike starts - and despite the fact that they most often the butt of some very funny jokes, Agents and the agencies are a very large part of this economy. Theirs is a vested an interest in resolving this fight as any of ours. They are part of the economy. And they are professional negotiators.
Comment by JimBo — November 7, 2007 @ 5:16 pm
If this strike lasts until June, the Guild will fracture. Perhaps irreparably.
The sad truth is this: as writers, we don’t have much power. Sure, we can shut down some shows but is that really going to force these massive, diversified conglomerates to buckle? Don’t forget, we’re negotiating against the likes of Rupert Murdoch.
What’s particularly distressing is that as this strike continues, many of our fellow writers’ expectations will increase proportionately. In other words, if we wait until June, then the deal we get better be pretty fuckin’ great.
Unfortunately, that’s not the way these things work. The reality is that we’re gonna most likely get the same shitty deal in June that we would’ve gotten this week.
We work in a business. While we may be artists, we work for businessmen and, for them, we are a commodity that’s bought and sold. I don’t begrudge them this either. In fact, I cringe every time I read some post about the greed and ruthlessness of the producers. Sadly, they’re doing their jobs. This is what they do. They are making what they consider to be sound business decisions.
Are we?
Was this strike a good business decision or was it an emotional reaction to what we perceived to be a lack of respect?
I know that for me and my family, striking was a very tough business decision. I would rather have continued to work as the contract was negotiated.
I applaud Shawn Ryan for “giving up” working on The Unit, The Oaks and on the final ep of The Shield. You know what, though? Those are just fuckin’ television shows. I’m giving up my mortgage and things that my family needs to survive.
Comment by PowerRanger — November 7, 2007 @ 5:16 pm
One would hope common sense would prevail and Nikki’s hypothetical would be the most logical way for a quick end. Unfortunately, the brass on both sides (while each making great points) are so entrenched that logic and common sense are out the window and are going to make this strike reminiscent of the NHL work stoppage of 2005 in which no one really truly wins.
Again, I’m just a stupid college student and could be wrong.
P.S.: Nikki, keep up the excellent work!
Comment by Entertainment Studies Major — November 7, 2007 @ 5:17 pm
Comment by Anonymous — November 7, 2007 @ 5:19 pm
“Big Media and Hollywood CEOs viewed this TV season as a total loss and welcomed the walkout as an automatic “do-over” that would allow them to regroup and then refashion their business models”
I believe this is the bottom line and it’s been used in other industries and businesses prior to this situation.
What’s the answer..?
Pressure. And more of the same. And honest hard facts laid out for everyone to see. No more slipping the DVD issue off the table. The final line in the sand must cover ALL existing medias and future medias so there are no end-runs by attorneys with too much time on their hands or hands in someone’s back pocket.
Hmm… I thinks it’s time to watch “The Player” again…
Comment by pb — November 7, 2007 @ 5:23 pm
Certainly it would nice to get the sides back together to negotiate. But Nikki, based on your reporting about events of Sunday night, it doesn’t sound like the producers are willing to negotiate right now. So what good would it do to have agents mediating with only one side that’s willing to give anything?
Comment by Hammer God — November 7, 2007 @ 5:23 pm
And now, a poem (rearranged and based on an Etheridge Night poem of the same title)
FEELING FUCKED-UP
Fuck love, fuck hate
Fuck the WGA, AMPTP, and the strike
Fuck moguls and studios and private jets
Fuck writers, agents, producers, actors, showrunners
Fuck Nick Counter and Patrick Verrone
Fuck YouTube
Fuck Steve Jobs, iTunes, Bill Gates
Fuck Hollywood and Rockefeller Center
Fuck Jay Leno and God and Malcom and Allah
Fuck Arnold Schwarzenegger, Lew Wasserman, CAA,
Fuck God Jesus and Hillary and Obama and George W.
Fuck Starbucks, Krispy Creme and Variety
Fuck the palm trees and the sunsets and the fires
Fuck money and backchannel talks and the industry and the whole muhfuckin’ thing
All I want now is my 3-year WGA contract back
So my writerly soul can sing
Comment by Wallace Stevens — November 7, 2007 @ 5:24 pm
For the posts that lash out at the writers with “thanks a lot” and such, you should be lashing out at the studios and the networks - THEY are the ones who won’t give an inch - we have tried - we have compromised, we took off important proposals from the tables - we do not want this strike - we do not do this lightly. So get mad at the moguls who won’t dare bend. But let’s be honest, aside from crew people, most of the writers will also be economically destroyed by a long strike - there are many big time producers and showrunners who can ride it out, but many of us - like me - have small kids and I even have a wife who is seriously ill - so after two, three months, I really will be in big trouble. That’s why WHILE WE ARE STRIKING, we don’t care what it takes - get back to the bargaining table, Mr. Verrone.
Comment by skoonix — November 7, 2007 @ 5:25 pm
AMPTP keeps claiming it’s too soon for internet revenues?
Keep telling yourself that…
From Nov./05.
http://slate.com/id/2129003
Comment by Wilson B. — November 7, 2007 @ 5:30 pm
I agree that the agents should be brought on board to help with the negotiations, although that would present its own set of problems, wouldn’t it? Specifically, WHICH agents would do the negotiating? Anyone who would let Jeff Berg negotiate on his behalf would have to be asking for career suicide. And you couldn’t just say “the partners,” because Endeavor has as many partners as UTA has agent trainees. But it does seem like if you got the heads of the top 8 agencies to threaten to withhold the services of ALL of their clients, then you could essentially put a stranglehold on the “moguls” since they would have virtually no one left with whom to produce content. On a final note, it’s easy to view the “moguls” as the face of corporate america and therefore the “bad guys,” but don’t forget that even the moguls answer to the shareholders, who really don’t grasp the issues and probably don’t care because they’re so disconnected from everything.
Comment by agentyungbuck — November 7, 2007 @ 5:33 pm
We are only at Day 3, yet many of us already understand why a strike should have been the last option — we had far more leverage with the threat, which is why some progress was being made on Sunday. Now that we’ve fired our most powerful weapon, we are at the mercy of the studios and look how that is going. “24″ was just cancelled for the season in a press release. Those lost jobs are not coming back anytime soon.
It’s great that the “showrunners” are unified, but most of them have been working under seven figure overalls and, unless they are complete spendthrifts, they should be able to weather the storm for quite some time. But — they are a distinct minority in the WGA and in all of Hollywood for that matter. The rest of us are going to be suffering very soon. Unfortunately, many of the writers are naive and I fear that the Writer’s Guild and its members are going to be crushed unless something is done soon. I was not surprised to hear that many showrunners were “shocked and dismayed” their deals were suspended — they, like many others, have underestimated our adversary.
On a related note, a friend of mine is a very successful entrepreneur. He believes that no wise businessperson would “give away a piece of a business before understanding what the business is.”
With that in mind, it seems clear that the solution to the internet issue can only be interim at this point, until that business is better understood. We need to start thinking more creatively about solving this — simply lobbing absolute numbers at one another is not going to get this done anytime soon.
I implore the forward thinking leaders of our community to get back to bargaining at once. And I don’t think Nick Counter or Patric Verrone or David Young can be counted in that group at this point.
Comment by already disgruntled — November 7, 2007 @ 5:35 pm
To the real writers — clearly a number of these ‘disgruntled writers’ are bogus. The studios hire people to enter chat rooms and hype their movies as regular film goers (not rumor, fact), of course they’re going to employ a similar tactic with us. The derogatory way they describe the striking experience is a dead give away — some lame PR flak’s idea of how to sew dissention.
Comment by writer — November 7, 2007 @ 5:40 pm
Unfortunately, it seems the AMPTP wanted a Strike all along. They never responded to the WGA core issues presented 6 months ago up until the bitter end and obviously played a “let’s see their hand” by duping the WGA with a false offer on Sunday which they reneged on. In short, they never really negotiated what is a very simple deal which would keep this town running and their profits humming.
Okay, so, they (AMPTP) can now use “force majeure” to clean house but that seems like a pretty lame strategy… they can clean house anytime they want to. And the TV season was a do-over anyway? What’s the point of that, simply cancel shows and spitball new one’s onto the market, so that really doesn’t hold water either…
So what does this leave? IMO, only a stategy to break unions and weaken their resolve and eventually their bargaining position. This is pure cold greed. Now this stategy it seems has backfired as the Unions are now stronger and gaining more support by the hour.. plus now the AMPTP has been tipped their own hand to SAG, so it won’t get any easier from this point on.
If anyone is to blame, it has to be Counter and the AMPTP… Why? because they never negotiated in good faith with WGA.. ever. Now I hope Counter is getting his passport in order and drawing cold stares throughout every fancy restaurant in town because he is indeed the bad guy here… he shut it down.
So, “Say good Night to the Bad Guy”. Counter has to be removed, he poisoned this town and is turning Public Opinion against the egg faced Moguls.
Other Notes: Don’t expect the Governator to get involved and if he did, it would be to help the Moguls, same as some well noted Ex-Presidents who fly out here every other Month to scoop up coin from the Moguls.
Comment by PJ — November 7, 2007 @ 5:43 pm
Was on the line today doling out granola bars with several of my clients at Warners, Paramount and Disney (during the United Showrunners portion)…by the way the tacos were excellent…
To a person everyone involved are WAITING for the agents to come riding in on their not-so white horse to bring these hot-headed people together. This is why studios have biz affairs execs, and talent have agents, we know how to negotiate without ego…PERIOD.
I’ve spoken to several agents both in and out of the agency I work at, and to a man (and woman) we feel we could solve this thing in a matter of hours.
Verrone and Counter (especially Counter) need to step aside and let the lawyers and agents take it from here. Hell, let’s get Ari Gold in a room with these guys, he’ll have them not only working with each other, but paying him a lofty commission as well.
Get this done before the holiday, and let’s not have a worrysome Xmas and Chanukah.
Comment by Agentatanotheragency — November 7, 2007 @ 5:43 pm
Bounce, castle, bounce!
Nobody’s saying writers have to be hired. Neither are they saying they have to be talented, in the sense that they can write clear, effective sentences. They’re saying that, if they are hired they should get paid according to the contribution they make to the bottom line. If Joe down at the Astroburger (who would not wear that funny hat and flip those burgers for free, either) can write the MANIMAL episode people want to watch, the producers will hire him — they have to. “Talent” in entertainment writing means one can put on the page whatever causes a lot of viewers to watch something no one really needs to watch nor is forced to watch. This is a special talent not guaranteed to anyone based on class, wealth, looks or intelligence. Looking good, smelling good, being able to write strong English prose (which you seem to be capable of and, who knows, you might even be attractive) have nothing to do with gluing eyes to the screen which is the business. Try to be practical here.
Comment by CM — November 7, 2007 @ 5:44 pm
Re: length of strike = better deal - The NHL was out for a whole season and the players got a worse deal than the last one that was offered before the work stoppage.
What is most troubling to me is that it’s the IATSE crew members who are going to get hit the hardest in this. We don’t have any residuals or profit participation. Just an hourly wage. Although I understand the principal, it’s seems the writers are a little too . . . . giddy about their enthusiastic movement. It may be fun to cause a scene and get cookies and pizzas delivered by movie stars but in the meantime I am at home looking at my meager bank account and getting really freaked out. I hope calmer heads prevail and soon.
Comment by IATSE crew — November 7, 2007 @ 5:46 pm
Thank God this won’t affect the new Star Wars TV series.
Lucasfilm is non-union:)
Comment by Joe Cool — November 7, 2007 @ 5:50 pm
can you name an agent or agents who have the depth of knowledge and sense of the community that could carry the torch for the writers. not sure their is such a person alive and able to handle such a “huge problem” in this day and age of the agency business.
Comment by kkdsfhdsfhdskhfkdjshfasa — November 7, 2007 @ 5:55 pm
to those of you venomous, uninformed, hysterics (Bouncing Castle, Julius Fort, etc) who keep railing incoherently against writers, your anger is misplaced and should be directed at AMPTP - don’t scapegoat the writers. It’s the “moguls” raking in obscene salaries, and even more obscene salaries when they fail. It’s the “moguls” (and movie stars - another group towards whom you can direct your jealous anger over inflated salaries) whose mansions in Malibu were ablaze as that other irrational commenter/shill irrelevantly pointed out. Most importantly, it’s the AMPTP who caused the strike, the job losses. Lastly, it is truly unfortunate for those who lose jobs, but direct your anger to the correct source of the loss - AMPTP. And, also to those who blame writers for their job loss, perhaps you should select a more stable industry in which to work. One thing Hollywood is not is stable - shows fail, shows are canceled, films go into turnaround, unions strike. Don’t take jobs that are subject to union strikes. You want to work in Hollywood and benefit from the positives - you can’t have it both ways.
Comment by ExecGroup — November 7, 2007 @ 5:56 pm
Well said Nikki. Bravado and a positive attitude is wonderful, but people have to remember, these negotiations will set a precedent for SAG and that might be the most frightening thing to the studios. They are entrenched in that fear.
And I’m sorry, but someone has to step forward and work to resolution. So, let the WGA extend an olive branch by bringing in the agents to help.
And stop stomping your feet and calling each other names, both sides!! This is not an intelligent way to run a negotiation.
I also agree with the comments that if it goes into December, it will go to next summer and I too believe it will break the Union. You want to talk about the future? Well, the future WGA members can’t afford that.
Be smart, both sides, not obstinant.
Comment by Joe — November 7, 2007 @ 5:56 pm
What are we writers doing right now about Showrunners who scab? Why aren’t we outing these folks for siding with the studios? IT IS HAPPENING.
It’s time to name names and circle the wagons against these folks. We need a forum where folks can report on showrunners crossing lines.
Comment by trumbombo — November 7, 2007 @ 6:00 pm
Bravo to Nikki for exploring solutions. Agent intervention is intriguing at face value. However, agents don’t commission residuals. Except for the few agents who grasp the bigger picture and who are true to their role as client advocates, agents won’t be motivated to fight for something they don’t commission.
Comment by Anonymous Agent — November 7, 2007 @ 6:00 pm
I’m under the impression that the companies’ goal here is to eliminate residuals. If that’s true, then they have no reason to negotiate any kind of compromise on internet revenue. They want to starve us until we cave completely. And if the film side has been preparing for this for 2 years, and the tv side considers this season a rebuilding year, then I think we may be completely screwed.
Comment by Anonymous — November 7, 2007 @ 6:19 pm
I think we all have to come to some serious real world conclusions here.
There will be no significant residuals coming from the Internet.
Why? Because Google, Facebook, Myspace, Yahoo, and Youtube don’t pay (if any) significant residuals on the internet. AND THEY NEVER WILL. NBC.com, ABC.com, CBS.com… who even goes to these websites… they are not going to saddle themselves with a whole bunch residuals that other websites are never going to have.
Not to mention that there are infinite amounts of ways to get our content for free, and new ways are being developed daily. Forget “The Office”… I just saw a perfectly good streaming copy of “American Gangster” the other day, BEFORE the movie came out. The one clicks (Megaupload, Zshare) have arrived and they are coming for you.
So we were angry about the bad deal on DVDs, and because we’re mad about that, we went all out for some revenue stream that no one’s figured out yet.
Everything is going to the internet. listen and listen closely. THE INTERNET IS NOT OUR FRIEND. We just hastened the inevitable.
We doubled down on a pair of twos. And the whole time, the studios saw our cards.
Comment by Annoyed — November 7, 2007 @ 6:21 pm
It’s a nice thought but the flaw in the logic is the idea that agents could agree amongst themselves who could/should/would lead and who follow. It would take until June for the various big dogs in town to battle that threshold question out, then maybe the survivors could start trying to settle this thing.
This strike will have to be settled the old fashioned way, those who started it will have to find a way to finish it.
Comment by But I love agents — November 7, 2007 @ 6:25 pm
PowerRanger:
I categorically believe that despite the fact that of course there are strong emotions involved, this was a business decision. The part that’s hard to take is that it may not involve you or I recouping all the money we lose in this thing. It is for now, and it is also for the future. The now may lose some.
The reason it is a business decision can be best explained by this guy:
http://www.youtube.com/watch?v=beMNePzqpzQ&
Comment by Mike — November 7, 2007 @ 6:32 pm
Don’t blame the writer for standing up for residuals. It’s what determines IATSE’S health care. We really are all in this together.
The point is, if we take a deal so shitty right now, it means the union is over anyway. And everyone else is next b/c they’ll establish internet as entirely non-union (which in short time will be defacto synonomous with TV). So, eventually, all the jobs you’re complaining the writers are killing now, are going to be gone anyway. I know tempers are high, but aim your ire where it belongs.
Have you ever seen the shitiest, non union job on any set? It’s a PA and those kids (i did too) work their asses off for usually less than minimum wage by the time you break down the hours. The reward is they eventually move up to union gigs. But that will be all off us if there are no unions left and you sure as shit won’t be able to afford your mortage then.
It sucks (I’m a writer, pregnant with my first kid - you think I’m not scared about money), but it’s everyone’s fight.
But yes, BACK TO THE TABLE. Even if the AMPTP won’t show, the WGA should be there everyday - “Hi, we’re here to negotiate.” Day one, Day two, day three….however long it takes.
But at the end of the day how canr the WGA negotiate with itself!!! Hence the strike.
Comment by optomistic still — November 7, 2007 @ 6:40 pm
If we really want to see this handled quickly — and who doesn’t — what really needs to occur is a staggered “sick out” by prominent directors and actors in film and television currently in production. That would hit the companies in the wallet by slowing down all production immediately and hopefully at least bring the parties back to the table. I’m talking about Jolie, Pitt, Roberts, Clooney, Spielberg, whoever.
It’d be nice to see some of those bigwigs who travel the world in the name of their liberal causes actually putting their money where their mouth is. I’d love to see them step in to help bring an end to a situation crippling the very people that help make their riches possible.
Every one talks about the effects of the strike on the “little guy”. Of course, against monoliths like Viacom, Disney, et al, we all look like the little guy. May be asking too much, though.
Comment by Sickout — November 7, 2007 @ 6:48 pm
PowerRanger: Have some balls. Haven’t you seen Braveheart? Freedom!!!! Just because the producers are bastards and that they don’t fight fair doesn’t mean it isn’t worth the fight. Our demands are extremely modest. Why can’t people blame these businesses for being ruthless? Just because you expect it of them doesn’t make it any less ruthless. And how do you know the WGA will fracture? As long as we all stick together and make sure these very modest demands are met, the writers, including you and your family, will be fine.
Comment by Mad as Hell — November 7, 2007 @ 6:49 pm
Wow, Egoless, as a guild member you should be reporting the douche bag writers (if it’s true) leaving the picket line after 20 minutes. I would. We need to police each other and stay strong. I commute an hour and a half every day to walk the picket line for 4-5 hours.
To those of you who don’t think it’s worth your while, you’re being incredibly short-sighted. I’m a working writer, striking a successful show and sacrificing a lot. A lot. I can’t afford to be out of work until June like most of you. So get your asses to the picket line and walk proud. Make a few connections. Remember why it’s great to be in a guild that has given us and our ‘ancestors’ so much.
Comment by Matty — November 7, 2007 @ 6:54 pm
I appreciate Nikki’s hard work on this, since nobody at the LA or NY Times seems to have the slightest interest in doing any actual reporting… but this notion she has that the studios welcomed the strike as a “do-over” makes absolutely no sense. Every season the networks put on new shows, and every season some (or a lot) of them fail. This season is no different.
Since when did multi-billion-dollar industries just decide to stop putting out product for half-a-year or more while they “regroup?” It’s just nonsense put out by the Companies and I’m surprised she’s buying.
That said, the agent idea isn’t bad. Or how about Al Gore, since apparently the Bill Clinton Coming to the Rescue rumor of yesterday has come to nothing.
Comment by Jake — November 7, 2007 @ 6:55 pm
Yeah but doesn’t every know that agents have no hearts and are only interested in cashing the checks? Though you’d think that them missing out on 10% of their clients’ earnings for God knows how long would get them a little worried. But Chris Lockhart at William Morris doesn’t seem to have a worry in the world based on what he’s dribbling on about on Done Deal today. According to him, it’s not his job to interfere and he has better things to do than save the industry from itself.
Comment by Shane — November 7, 2007 @ 6:59 pm
Wow “already disgruntled.” You sound “already co-opted.”
Comment by Mike — November 7, 2007 @ 7:02 pm
Dear Bouncg Castle.
What the ever living fuck are you talking about and why does any of this bother you so much?
Comment by Ted Striker — November 7, 2007 @ 7:03 pm
Hey “Writer”,
“sew dissention”?
And you’re calling out other people on this board as phony writers?
That’s the funniest shit I’ve read all day.
Thanks.
Comment by PowerRanger — November 7, 2007 @ 7:03 pm
Have to agree with “already disgruntled”– what pissed me off is not the strike, but the fact that negotiations, even if they were still at a standstill, couldn’t have been pushed back for one bloody week to try to hash something, anything out. Now, it’s just a contest to see which side has the biggest dick. And a LOT of us are getting thrown under the wheels in the process.
Again, I totally support the Writer’s Guild in regards to their goals (though they have completely dropped the ball — until the last week or so — crystallizing what those goals are in a simple and concise message), but this situation calls for diplomacy, not a scorched-earth policy.
As Nikki put it the other day to both sides: Stop being pussies and get back to the table.
Comment by Average Joe — November 7, 2007 @ 7:11 pm
I think the real “swindle” is that Verrone/Young thought they had the upper hand with the studios to strike now — am I the only one who realized this new tv season was a total bust? Was I the only one reading the weak reviews… scanning the dismal ratings… trying to get through the yawn-filled new shows. They couldn’t even get a juicy soap right (i.e. “The Darlings”). Can you see five seasons of any of these new shows… Pushing Daisies (style over substance), Private Practice (top notch actors in search of a compelling, okay any, story), Bionic Woman (dark & boring & totally unrelatable for women - wh should have been the target auds).
If I were the studio, I’d totally want a do-over too. And ya know what — in all these cases except, perhaps, Daisies, it is the writer’s fault. I read the pilots and felt the same way when I saw the final product.
WGA should have waited for SAG’s contract to be up and most importantly, they should have known their enemy. In fact, that’s the main job of a producer — anticipating the other side and be ready for anything.
Are we ready for anything? Sigh –
Comment by Yet Another Frustrated Writer — November 7, 2007 @ 7:13 pm
Whose show was “already disgruntled” working on? I’m guessing: none.
Imagine what the post would’ve argued if this were SAG. Let me try: “It’s great that the ‘leadership’ are unified, but these people haven’t made serious coin in 30 years. And they just gave up the one thing …” Blah, blah, blah.
As for “Wallace Stevens,” the real Wallace Stevens kept his day job in the insurance business. And he didn’t sound like a bad Def Comedy entrant.
Comment by Just sayin' — November 7, 2007 @ 7:19 pm
Disheartening to go out there each day with no talks scheduled. There are rumblings in the line. Unless talks start, it might be strike the strike.
Comment by gagsscribe — November 7, 2007 @ 7:23 pm
Yes the internet issue could be interm, but the studios and networks are already making a tidy profit and you writers should get every cent you can grab.
Comment by Jessy S. — November 7, 2007 @ 7:27 pm
Please stop publishing backchannel talks, Nikki. You’re fucking everything up.
Comment by stopitnikki — November 7, 2007 @ 7:29 pm
“On a related note, a friend of mine is a very successful entrepreneur. He believes that no wise businessperson would “give away a piece of a business before understanding what the business is.””
We’re not asking for the AMPTP to ‘give away’ a piece of the internet.
We are asking them to *pay* us for the work we do, that they put on the internet, with a piece of the internet. And until we get that payment, we will deny the AMPTP our work.
Although, “already disgruntled,” I love the Freudian slip there - payment to writers equals a “giveaway.” Because, of course, our work is worth nothing.
Here’s hoping two things happen: first, Fox’s shiteous all-reality spring schedule crashes and burns (and by my thinking it might as well have the name ‘Hindenburg’ painted on the side); and second, that the networks that aren’t leveraged to the hilt in reality wise up to the fact that they have more to lose in this strike than the dickless wonders of Pico Blvd, and force a settlement at the table or even negotiate interim deals.
Comment by Norm A. Rae — November 7, 2007 @ 7:30 pm
If the studios are resorting to posting here, then they REALLY worse off than I figured.
Emailed an friend that’s an exec at a network. He was worried—worried this would go a long time (which he was hearing), worried that he would lose his job, which he loved (and he’s really one of the good ones—loves writers, loves artists, protects them at every turn.)
This is bad for everybody–except the cabal of overfed, overpampered guys at the very top.
This isn’t a pissing contest. But I will say, it is about more than just the issue at hand.
It is about respect.
There are only so many times you will let someone f*ck with you before you stand up for yourself–or run.
I joined the Guild over ten years ago. I was 15 when the 88 strike went down–too young to really get what it was about. I was a member when Wells rolls over in 2001 (and asshat Dick Wolf was caving WORSE than him) and I was pissed.
You can only suffer the quiet and lately not so quiet indignities we’ve slapped with for long…before you get a hankering to slap back. After the revelations of what really went down on Sunday, the double-dealing in bad faith…for me? That slap was the one that I will remember. Because after that, I was ready for war.
I was Scarface, last reel.
I am not rich. I do ok, but if the strike goes past a few months, I will need to find other employment outside of writing for the first time in ten years.
And I’m ok with that.
This is bigger than me.
The real story is that this isn’t just about the money. It’s about respect.
I won’t back down.
Comment by slk writer — November 7, 2007 @ 7:31 pm
Maybe we can get this information to the AMPTP because
apparently they have no access to this data — the internet being
“too new” and all.
Advertisers are well on the way to spend $21.4 billion on the Internet in 2007, says eMarketer’s new online ad spending report. By 2011, spending on advertisements online is expected to reach $42 billion.
One big trend is that the nation’s largest advertisers are shifting more of their budgets from traditional media to the Internet, according to eMarketer’s calculations.
– Among Advertising Age’s “100 Leading National Advertisers,” 69 of them allocated a smaller share of their total ad budgets toward the four traditional measured media — TV, radio, newspapers and magazines — in 2006 than they did in 2005.
– More than half, 58 of those same advertisers, decreased their spending share going to the four traditional and increased the share going to the Internet.
— Combined, the 100 top advertisers spent nearly $230 million less on the Traditional Four media in 2006 compared with 2005, while boosting their Internet ad spending by $558 million.
Comment by Research Their Lies — November 7, 2007 @ 7:34 pm
I know the moguls probably wanted a strike so they could write-off all the shows/deals they wanted to get rid of but aren’t they, longterm, hastening their own demise? Last time there was a strike, networks lost 10% of their audience. This time, there are so many other viewing options and electronic media. How many will disappear this time? Even more important, if the internet’s the future, doesn’t that mean that content is what it’s all about since it’s now pretty easy to deliver it? Why can’t show runners and production companies simply create their own content and put it directly on the net themselves as a few are already beginning to do? Couldn’t they get financing from venture capitalists or from selling advertising or selling the downloads? Who needs the middleman anymore? On a separate note, thanks, Nikki, for being THE source for all this. I’ve been following about seven blogs and/or websites, but yours is the best by far!!
Comment by WGAE member — November 7, 2007 @ 7:35 pm
The truth is we just don’t have much power to wield right now. This strike was an ill-conceived adventure on the part of the WGA leadership, who wanted to show the AMPTP they had jumbo-sized balls, and didn’t think much beyond that. They thought now was the best time to strike. If there’s one thing (and there is only one thing) that John Wells did right, it was to keep negotiating past the term of the last contract. Verrone should have done the same thing. Finish the season out, then wait for SAG. It would have been just as effective, if not more so, to have the networks announce their new falls seasons in May, only to have WGA and SAG strike together in June before a single frame could be shot. But now we’re locked in to an unwinnable battle that’s really between two swinging dicks, Verrone and Counter. As it is, I bet we STILL have to wait til June for SAGs help. What a mess.
Comment by Irritated — November 7, 2007 @ 7:36 pm
watching that YouTube video makes me realise this may go on a while, and the guy is right about the use of adverts in the streams, a stand does need to be made, and the writers should make this stand now.
Comment by wamdue (TV viewer) — November 7, 2007 @ 7:51 pm
Um, Joe Cool…catch up to what is going on.
I am covering this show, and they are staffing this show with guild writers. Lucas has said nothing is moving forward on this series until the WGA strike is settled.
Comment by agentatanotheragency — November 7, 2007 @ 7:53 pm
Hello, Michael Ovitz…
Comment by Outlandish Suggestion — November 7, 2007 @ 8:00 pm
agentatanotheragency - agents negotiate without ego? that’s funny and i’m an agent. your posting itself is bursting with ego and self-congratulation. it’s possible there exists an agent who could effect a resolution, but do NOT bring in the lawyers .. it’s lawyers of all stripes who cause strife, inefficiency, misery, and PROTRACTED battles .. besides no lawyer so much as belches without charging for it
Comment by agentatthisagency — November 7, 2007 @ 8:01 pm
My husband is an IATSE member (20+ yrs)and works on a drama series that only has one script left. After that script is shot, it’s lights out. No more work. No more income.
We are very worried. I am terrified. We have a house, bills, responsibilities, property taxes to pay, etc. I thank god we don’t have children to support or other family members for that matter.
If this continues, we will struggle. We could loose our house. And like so many others, we could be ruined. I’m not religious, but I pray these issues are resolved so that we all can sleep and not feel like we’re on the constant verge of vomiting.
Comment by cfl — November 7, 2007 @ 8:02 pm
Let’s keep it simple, people.
If ANY money comes in from the use of our work, we should get a cut. We are not talking about “profit” participation, but a percentage of REVENUE. I don’t care if new media is ever considered profitableor not.
We are not being fully paid for our work, and will not go back to work ’til we do.
Comment by Dennis Wilson — November 7, 2007 @ 8:03 pm
Even if the moguls thought this season “was a do-over,” the real impact hits them in the spring, when they go to New York and have to tell all of their advertisers that the fall line up will include no new or returning sitcoms or scripted dramas. Advertisers will not pay for five nights a week of Dancing with the Stars and America’s Biggest Douche Bag. Writers have leverage. The moguls need us to get back to work.
If that wasn’t the case, why were so many development execs clamoring to get in as many projects as possible by 10/31? They’re desperate and trying to make the best out of a bad situation. (True, for all of us, but don’t think they don’t have things to lose.)
No, the shills on this board have it wrong. The guild still has strength. The longer we’re out of work, the more the moguls sacrifice not only this television season, but next television season as well. Stay strong. (We need a fancy colored rubber band to put around our wrists. I’m thinking red with the slogan: “write strong.” Just me?) Okay, we can punch that.
Comment by matt — November 7, 2007 @ 8:03 pm
If we had waited until SAG’s contract was up, they’d have filmed shows over the April/May/June hiatus and had a whole season of television ready to go.
Yet Another Frustrated Writer… please.
Comment by Mike — November 7, 2007 @ 8:07 pm
Whoa Whoa Whoa.
First of all, the WGA refused to negotiate for many many many months in hopes of bringing the negotiation so close to the expiration. Verrone was elected on a platform of striking - and would not have had it any other way. Let us not forget that.
Second, all of the arguments about 4 cents of this, and X% of internet revenue that all ignore the one thing that’s missing … pre vs. post breakeven. The writers did get paid for their actual services up front - with no risk. Production does well, production does poorly - doesn’t matter - the writer gets his/her money. Same with residuals … profit or loss, they get paid. Studio bears 100% of the risk. I wonder if the WGA would be willing to take their DVD moneys or Internet percentage or ANYTHING on a post-break-even basis. Of course the WGA would not, but if you are looking for a fair solution - that’s it.
Comment by Letsnotforget Thereare2sides — November 7, 2007 @ 8:14 pm
“Writers come to the picket lines, sign their names, then leave after twenty minutes!”
I agree that someone should start a site where these people are outed. Especially “big name” writers who can’t be bothered to stick it out for four hours a day. I’m an out of work staff writer who has no job, no residuals, and no unemployment checks anymore. As soon as I got my “big break” my show was canceled and then we go on strike. And yet I am out there walking in circles every day with only left over Halloween candy as my nourishment.
And whoever mentioned the showrunners who are crossing, they too should be outed.
Comment by One Time Sitcom Writer — November 7, 2007 @ 8:17 pm
This was being handed out at FOX today. It’s the negotiation in a nutshell.
INT. WGA OFFICE, BARGAINING TABLE. 2007 — DAY
A stone-faced Nick Counter sits across from Patrick Verrone.
NICK COUNTER: Well Patrick, it’s been quite a profitable few decades for us producers. That whole DVD thing really took off. We made Billions! Remember that time all those consumers bought DVD players just so they could watch the first Matrix on DVD. That was awesome. And now with downloads and pay-per view…whew! The futures so bright, we gotta wear shades!
PATRICK VERRONE: Wow, I didn’t expect you to be so…honest. Thanks. So, with all this success, what kind of a raise were you guys thinking about?
NICK COUNTER: Get ready to be excited…less.
PATRICK VERRONE: Less? Less than even the .3% residual on DVDs?
NICK COUNTER: Did I stutter? Less! We never should have given you that! My bosses could have flown 22 more private jet flights if we hadn’t given you that .3%. Damn our generosity!
PATRICK VERRONE: But shouldn’t success be rewarded?
NICK COUNTER: Who told you that - Alf? Piss off. You’re a winey bitch. If you don’t like it, you can strike.
PATRICK VERRONE: What are you trying to do?
NICK COUNTER: Suck it, writers. We don’t have to talk to you!
Nick flips Patrick ‘the bird’ and storms out of the room.
Comment by matt — November 7, 2007 @ 8:19 pm
How much money do the studios really need for themselves? And after the fires in California and the weakened American dollar and collapsing real-estate do they are in no position to stall work (which brings in money and keeps the state active and fiscally stable) and sacrifice future revenues over something like a percent of the profit? Studios don’t care, they want to make as much money for as little as humanly possible. Those in charge of these negoiations are probably the most useless individuals around. They don’t want to solve the problem they’re just waiting to see which side will cave in first to “win”.
Comment by sara — November 7, 2007 @ 8:22 pm
Hilarious bit about the strike by the staff of The Office:
http://www.youtube.com/watch?v=b6hqP0c0_gw
Comment by Hilarious — November 7, 2007 @ 8:30 pm
The truth is we just don’t have much power to wield right now. This strike was an ill-conceived adventure on the part of the WGA leadership, who wanted to show the AMPTP they had jumbo-sized balls, and didn’t think much beyond that. They thought now was the best time to strike. If there’s one thing (and there is only one thing) that John Wells did right, it was to keep negotiating past the term of the last contract. Verrone should have done the same thing. Finish the season out, then wait for SAG. It would have been just as effective, if not more so, to have the networks announce their new falls seasons in May, only to have WGA and SAG strike together in June before a single frame could be shot. But now we’re locked in to an unwinnable battle that’s really between two swinging dicks, Verrone and Counter. As it is, I bet we STILL have to wait til June for SAGs help. What a mess.
Comment by loyal wga guy — November 7, 2007 @ 8:30 pm
Nikki,
Great site!
How about union members allowing their agents to commission all new residuals terms and fees that the agents negotiate? That’s something that WOULD entice agents to step in and settle the impass.
And it would entice agents to get the best deal for union members and reduce the conflict of interest fact that agencies also represent producers who are AMPTP members.
Comment by negotiating agent — November 7, 2007 @ 8:32 pm
It’s too bad that we can’t just circumvent the moguls and go where the real money is now — Dubai. If the industry found another revenue stream and bypassed the current meglomaniac structure, the moguls would be singing a much different tune.
Comment by Jim — November 7, 2007 @ 8:44 pm
Just my three cents here…
But it was my impression that the “do over” discussed here had more to do with the fiscal structuring of the industry in regards to all fees, front and back plus residuals than “doing over” the season of existing TV shows. I could be wrong. But if so… then I’ll bluff and raise my offer to four cents. Heck, let’s go to a 15 cents for every ten dollars spent on product and let SAG and the DGA get the same.
If the powers that be can wipe the slate, just think of what any new deals would look like. Residuals? Ancient history. Flat rate, take it or leave it. Showrunners could well go the way of the Dodo Bird. Who really knows? It can be very scary working without a net.
The impact is being felt first in the TV industry, but film is going to get hit too. From top to bottom. From the PAs, Grips, and all the various suppliers to the industry and related services.
And this isn’t exactly a blind-side hit. This drop-dead date has been on the tail end of the contract for a long time and as usual, nothing was really done, at least publicly to prevent this situation. Rather like a student that crams the night before finals, then bombs and blames the system.
Quite frankly I think the very last entity that should be involved in this process is the government – on any level. They are the same folks that brought us the DMW. And if any organization totally falls apart under the sheer weight of its overhead, it’s the government.
This is a private business matter. If someone that used to be in government gets involved as a mediator without a political agenda, well… I’ll believe that when I see it.
And pertaining to what the public in general thinks about writers and creative people in general, I offer this dialogue from “Young Shakespeare in Love”…
“Who’s that?” as Shakespeare is noticed on the stage during rehearsal.
“Nobody, the author.”
pb
Comment by pb — November 7, 2007 @ 8:45 pm
Nikki (and all),
The studios have never, ever conceded a cent to any union or guild because it was sweet-talked into doing so. Nor have the studios ever conceded a cent because the right highly-respected mediator brokered the talks. Nor have the studios ever conceded a cent because they (and the Guild) were “locked in a room together until they finally came up with a deal.” Every concession ever won from the studios (by any guild or union, ever) came because said guild(s) inflicted economic harm upon the studios (or threatened to do same), until such time as said studios decided that the financial cost of withholding the concession was greater than the financial cost of granting it.
Much as I wish it were otherwise, putting Counter and Verrone on the sideline will do nothing to stop this impasse, and neither will shipping in Bill Clinton, or Ari Emmanual, or anyone else. The only thing that will stop it is:
a) us writers forsaking our demand for a residual payment whenever our content is streamed or sold online, or
b) the studios determining that the strike is costing them more money than it would cost to accede to our demand for a residual payment whenever our content is streamed or sold online.
From what I’ve seen with my own eyes on the picket lines, I really don’t think that a) will ever happen, ever. We writers are in it for the long haul, I promise you. So that leaves b).
And if we want b) to occur as soon as possible, it’s incumbent upon all of us to cause absolutely as much financial harm to the Alliance as is humanly possible (within legal bounds, of course).
That’s how this strike will end.
Patrick Meighan
Culver City, CA
Comment by Patrick Meighan — November 7, 2007 @ 8:57 pm
Can someone…anyone…refute what “Annoyed” wrote at 6:21pm? I’ve read that post three times now, and it sends chills up my spine every time. Why? Because in my gut, I’m worried that he or she might be absolutely right. When my niece and nephew want to watch something on line (which they do all the time) they don’t pay a red cent for it. They go to file sharing websites and watch it for free. I’ve explained to them that what they’re doing is the same as watching bootleg dvd’s, but they have a hard time giving a shit. They just wanna watch what they wanna watch, and they aren’t going to pay unless they have to. I doubt my niece and nephew are much different than any other kids out there. In fact, I would bet that most kids are doing the exact same thing.
I believe in our cause in principle, I really do. I want us to get our fair share. I’ve been out there picketing every day, and I will continue to until this thing is over. But I just want someone to tell me why “Annoyed” is dead wrong, because that post gave me a sick feeling and I can’t shake it.
Comment by A-Dub — November 7, 2007 @ 8:57 pm
Whose show was “already disgruntled” working on? I’m guessing: none.
Imagine what the post would’ve argued if this were SAG. Let me try: “It’s great that the ‘leadership’ are unified, but these people haven’t made serious coin in 30 years. And they just gave up the one thing …” Blah, blah, blah.
As for “Wallace Stevens,” the real Wallace Stevens kept his day job in the insurance business. And he didn’t sound like a bad Def Comedy entrant.
Comment by Just sayin’
Hey ‘Just Sayin’
Thanks for your incomprehsible reply. As a matter of fact, I have been steadily working for the past two decades and am lifetime vested in the health and pension plans and own a house in a very desirable section of beverly hills, which I purchased with earnings from writing and producing some of the top shows in television. So yes, I have a lot on the line here. I resent your implication to the contrary, and would be happy to debate you on the facts if you can refrain from the pussy-ass, ad hominem wisecracks.
Comment by already disgruntled — November 7, 2007 @ 9:09 pm
Whoever gets the final negotations going, don’t let American writers
become (or should I say remain?) a laughingstock in comparison to
their European cousins: British writers get 5.6% royalties.
So don’t settle for point-shitty or even 1% residuals, Writers.
Below is the exact response I got from the Writers Guild of Great Britain
to my question about what they make off of internet downloads:
“Thanks very much for your enquiery, the WGGB does receive 5.6% royalties for video and dvd (also called the multi-media royalty). If you have any further questions, please don’t hesitate to email or call. I hope this has been of some help.
Regards,
Erik Pohl
Admin Assistant
The Writers Guild of Great Britain
0207 833 0777
admin@writersguild.org.uk“
Comment by Travis Fields — November 7, 2007 @ 9:18 pm
Isn’t it a little troubling that after only three days we’re all FIGHTING amongst ourselves?? Even if only here, it feels like there should be a little more solidarity–not only among writers, but among any humans who AREN’T board members of the giant conglomerates. (The only thing I can say about “bouncing castle”; they’re usually filled with bilious four year olds, aren’t they?)
One thing I would urge everyone to think about: this is MUCH, much bigger than film, tv, or the entertainment business at large. This is but one part of a huge, concerted effort by white men in suits to corporatize everything in this country (Blackwater, anyone?), concentrate the wealth in the hands of the few, decimate unions across the board, get rid of any and all government regulation (hello climate change!) and wipe out the “middle class” as we know it, leaving only a vast underclass of worker bees to do their bidding. And maybe their laundry.
Writers, UAW, nurses–it doesn’t really matter who the union members are; we need to stand up for workers’ rights and prove that a vibrant, vocal opposition to the capitalist tools still exists in this country. Let’s give that more than three days, shall we?
Comment by new2this — November 7, 2007 @ 9:19 pm
Letsnotforget Thereare2sides said:
“I wonder if the WGA would be willing to take their DVD moneys or Internet percentage or ANYTHING on a post-break-even basis. Of course the WGA would not, but if you are looking for a fair solution - that’s it.”
Hmm, post-break-even. You mean like Winston Groom on the “unprofitable” Forrest Gump after the published grosses surpassed $600 million.
Or Art Buchwald on “Coming To America,” after $350 million in revenues were determined to produce 0 net profit by Paramount’s accountants?
Is that the kind of “fair solution” you had in mind?
Comment by DLW — November 7, 2007 @ 9:24 pm
Is it true that writers can pay and buy their way out of picketing?
Comment by anonymous — November 7, 2007 @ 9:37 pm
I think you forgot the Law of Unintended Consequences, which always comes in to play when one takes very extremes measures, which this certainly is. One is, as a non-writing H’wood worker, I can tell you WGA members that, flat-out, notwithstanding rich TV stars bringing you donuts and pizza on the line, the vast majority of us feel a seething fury at you for wrecking this havoc on us all. That will not be a pleasant thing to live with, nor will it ebb anytime soon. Very few blame the (much caricatured here) “greedy moguls”…you struck, they didn’t lock you out, and writers are always payed huge sums more than most of us (I won’t go as low as to comment on the general quality of the work you’re overpaid for…)
Comment by willie xy — November 7, 2007 @ 9:37 pm
The issues surrounding this strike are already being aired in the Court of Public Opinion. Has anyone thought of throwing it out to … the audience? If audiences can be mobilized to save a beloved television show, might they not also be mobilized to pressure both sides into returning to the bargaining table? The AMPTP has been masterful in its manipulation of public perception of the issues, painting the writers as greedy people who really should be grateful for the money they earn and not holding out both hands for more. It might be deliciously ironic if an Internet campaign/viral marketing campaign using new media were responsible for an outcry from the public demanding that both parties get to work on getting writers back to work. Go subversive. Get inventive. Pin down opinion leaders on their thoughts regarding the impasse. The WGA is apparently putting together a site for actors to express their solidarity, but why stop there? What does Nelson Mandela think of it all? What’s Jeff Gordon’s take on the whole deal? Does Salman Rushdie have an opinion? Has the pope weighed in? There are people who would sit up and take notice if someone outside the entertainment industry suggested that this whole strike is about real-world pocket book issues and not whether someone can afford to buy Kobe beef rather than top sirloin. There’s almost no one in America who hasn’t been exploited in a job at some point in life. Remind people of what that’s like. Give them a reason to get involved in participatory democracy. These are the people who buy the tickets (or don’t) and who tune in (or don’t). Why not get them involved?
Comment by kat — November 7, 2007 @ 9:40 pm
holy crap, there are a lot of astroturfing AMPTA sockpuppets out tonight!
how about we post our real names so you can check our credits?
Comment by John Brownlow — November 7, 2007 @ 9:41 pm
It seems to me that the WGA can strike for a very long time… there are three categories of writing we can create…
1. the uber-rich have a lot savings writer;
2. the working writer (paycheck to paycheck);
3. and the can’t-make-a-living-writing writer.
the writers that are truly *suffering* from the strike are #2… #1 has saving and and #3 has some other means of making a living (or else they were never making a living and its all the same to them)..
it seems likely to me that #2 is a minority of the WGA membership.. I think I saw a statistic that over half of the WGA didn’t sell anything in the last year…
that is a LOT of votes that are currently not having ANY change in their income due to the strike…
something to think about when guessing how long the WGA can last.
Comment by robd — November 7, 2007 @ 9:50 pm
I am not an optimist, and in keeping with that view, I see clouds ahead as dark as Storck Riesen chocalate candies. (Aren’t those things delicious? Not sure why I’m thinking of them.)
However, I still don’t see this going to June. Please - people who have been in the biz longer than I have, people with cooler heads - tell me that this is going to wind down before then.
Isn’t TV on thin enough ice as it is? Are the suits really going to hold out that long and risk losing even more viewers? And wouldn’t a stand-off of a few months start to scare the DGA and SAG into early negotiation mode to get some kinda movement, even if it’s not ideal for us?
Please tell me I am not more of an optimist than I thought.
Comment by GetDownOnIt — November 7, 2007 @ 9:51 pm
Studios have power, but so do writers. We’re at war, so suck it up and do some laps (I’ve seen you dudes. You need it) or you don’t deserve your residuals. Or the free cookies and pizza. Especially those who voted for this. Really? After three days you’re cracking? You deserve less than scale on your next project for that, you self-laothing, no sack having twits.
As far as attacking Verrone, he alone didn’t call the strike. We have a whole board. Remember that. But I’m happy to let him take a powder on negs if it gets things done.
Staying strong and staying at the table is how this ends before Christmas. And quit bitchin about your feet - this ain’t Pakistan.
Comment by Girl scribe still walking — November 7, 2007 @ 9:54 pm
a-dub:
don’t worry. the problem of piracy exists. and always will. but itunes is making money hand-over-fist for both apple and the artists. even though people can easily pirate that music.
piracy cuts into the profits made by everyone. but it doesn’t NEGATE the profits. there is still a lot of money at stake even with piracy.
Comment by no worris — November 7, 2007 @ 9:59 pm
Please allow me a minor vent in the midst of more important topics…
I’m a writer who has been out on the picket line every day. I am also guilty (and according to some of you I should be “outed”) of staying only for one hour or so. Look, if I could stay and do the 4 hour shifts I would, but for me it’s completely unrealistic. I have little kids that need to be schlepped to and from school, appointments, etc. and I’ve let go of some of my childcare to save $ because of this strike. Hell, I’ve even brought my pre-schooler to the picket line and made him walk with me. I feel, frankly, that I’m doing and giving the best I can with the constraints of family (where I am the primary caregiver).
So, just a polite reminder… try to remember that when you bash some of us who aren’t “doing” as much as you are.
Comment by gottatakecareoffamilyfirst — November 7, 2007 @ 10:11 pm
The real story behind the story is Nikki Finke herself. She will go down as part of this strike history. What a fascinating and rapid ascension into the public awareness and reliance. Well-deserved.
And far more interesting than any of this other crap.
Settle it already, WGA.
Comment by madewithseeds — November 7, 2007 @ 10:21 pm
If anything of late is going to put some fear in the AMPTP, it’s Herskovitz’s op-ed piece in the LA Times today.
http://www.latimes.com/news/printedition/asection/la-oe-herskovitz7nov07,1,6072340.story?ctrack=5&cset=true
As a screenwriter with only limited experience in television and a background in theater and playing it bands, it strikes me that this entire split between the Writers Guilds and the AMPTP really boils down to one issue: intellectual property rights.
In music, if you write a song, you get paid for it. Forget file swapping and all that crap — which is ubiquitous in all forms of music, tv and film — if someone buys the song YOU WROTE, regardless of who sings it, you still get paid having imagined it, created it and put it down in some repeatable form. Unlike actors, directors, editors and everyone else, we CREATE the material. When someone profits off our intellectual ideas, we should be compensated. Isn’t that what we’re asking for?
Of late, I’ve been wondering if maybe we’re not thinking far enough outside the box. All this talk of percentages and fees, etc. is predicated on the fact that when a writer sells his or her work, the writer gives up the copyright to that material. Seriously, why the fuck do we do that? “Well, that’s the way it’s always been done, ever since the studio system,” is the answer that I keep getting.
Has anyone read The Dramatists Guild of America’s “Author’s Bill of Rights?”
http://www.dramatistsguild.com/content.aspx?id=bill_rights
In theater, the writer owns the words — every last one of them! Let’s put that on the table. The studios can buy the rights to our words for a couple of years. They can pay us less up front. But when the movie’s a huge hit five years later on DVD, well, they’ll just have to renegotiate on our terms. They can pay us a whole lot less for our TV shows the first season; but if they decide they want to re-up, it’s going to cost them. Isn’t that how a fair-market works?
As for the issue of respect, seriously, no one respects anyone in this town. Everyone second guesses everyone. Everyone thinks they could do it better. And everyone is trying to get as much as they can for as little as possible. I don’t need to be respected by the studios. I need to be allowed to work and paid fairly for what I do. If I can’t have that, I might as well walk a picket line. Or make fries at In-and-Out, which I’ll be doing in February if this isn’t resolved.
Comment by Ed H. — November 7, 2007 @ 10:34 pm
Agents appear to have as much at stake here as the rest… If we as clients encourage our representation to try and find a civil way into a now dormant negotiation process, that along with picketing would be proactive. Furthermore, it would show solidarity as a town.
If the producers want the strike, there’s nothing we can do but unmask their motives… unmasking it, best case scenario, may create dissent in their ranks…
Comment by altoon — November 7, 2007 @ 10:36 pm
I doubt that the studios are reluctant to negotiate on new media b/c they don’t have an established model; but even if that’s true, why not negotiate a rate with the writers now and then lower the rate next time? It’s not like there isn’t a precedent for *that*.
Comment by suzbays — November 7, 2007 @ 10:36 pm
This blog has been invaluable this past week, but I have a suggestion for its organization: Whenever updates are added to posts, could they be put at the bottom of the post with a bolded “UPDATE” label and a date or time? e.g. UPDATE 9:05pm: yadda. This way I can know which information is new and when it was added without having to reread several posts worth of information.
Thanks for all your fantastic reporting and insight!
Comment by addicted to f5 — November 7, 2007 @ 10:37 pm
CM-
Thanks for clarifying, but the writers are on strike for all writers. By the way did you know the average writer is NOT a millionaire and makes like $20,000 a year? And this strike is for them, for their future. Do you expect Eric Roth to subsist on $2m a script, three a year? HOW DARE YOU SIR. That man needs the extra money that residuals give him. Remember, there is no test to be in the WGA. Sell a sentence to Universal, you HAVE to join. It is they for whom we fight. Those people who lost their jobs today- dozens of them- they are just collateral damage. As Execgroup pointed out, find a more stable job. Like writing which is an entitlement! Because we are fighting for the next generation!
And speaking of ExecGroup, I am all with you man. Blame the Studios. I saw them all picketing today. They were the ones that went on strike and selfishly cost people their jobs. They were the ones that couldn’t wait Sunday night to go out and strike. Poor Amy Pascal her tootsies must hurt. Fuck Les Moonves, right, because he went on strike and caused all the assitants to be fired. I am with you. It is THEIR fault - they went on strike. Uh huh.
Ted Striker, you of course resort to profanity like the low paid, future writer you must be. The first defense of the ignorant and all! Why does it bother me? It bothers me when Ken Mok doesn’t pay his writers a living wage- do you think those models can actually talk themselves? And Twiggy? Puleese! It bothers me because these issues are important. Reality show writers. Dvd residuals. Internet money. People like the screenwriters NEED more money dammit and they better get it- or else the studios will be made to cry! No more pizza for you, Ted!
Comment by Bouncing Castle — November 7, 2007 @ 10:50 pm
I have to echo addicted to f5 comments, sometimes with your writing style and how you rework pieces it is sometimes hard to know what information is new and what is just old news in a new place.
Comment by MATT P — November 7, 2007 @ 10:52 pm
A-Dub — I felt the same way after reading Annoyed’s post, and kept scanning comments to see if anyone responded. Only you…and me, thus far. Does everyone have their head in the sand here? Until someone devises a way to prevent free downloads on file sharing sites, this is all a moot point. Because these sites don’t care one whit about writers, their agents, their studios, contacts, resids, et al. — nor ever will. Annoyed’s right, who goes to CBS.com, anyway?
However, the argument in favor of writers, if this offers any comfort, lies in the iTunes model, where people pay $2 (or whatever) for their favorite tv downloads. Here is where writers should be able to legitimately collect something.
Otherwise, Anooyed’s right, people won’t go to self-promoting network sites. They’ll head straight for free downloads at their bookmarked file sharing sites, of which there seem to be new ones popping up all the time. And these places could give a shit about our biz.
Comment by zagyzebra — November 7, 2007 @ 10:57 pm
….So, just a polite reminder… try to remember that when you bash some of us who aren’t “doing” as much as you are….
Why did you put “doing” in quotes? You are not DOING as much as those of us who are putting in our time. Quotes or not.
I have two kids. One in preschool and one in third grade. I make it work.
You have to drop your kids off at school? Picket after. Not a preschool day? Bring your kids. Get writer friends or sympathetic people to watch them. Email the guild and ask them what else you can do…phone calls, emails, printing/writing flyers.
Having kids is NOT an excuse not to pull your share. If anything they are a big reason for you to do everything you can to end this strike as quickly as possible.
It’s hard. It sucks. But it’s your (for lack of a better word) duty.
Comment by WGAmom — November 7, 2007 @ 11:04 pm
There is one big difference from the last strike in 1988. The Internet. Brother, has it changed since then. No 300 baud screaming modems – no green monitors, no dot matrix printers. What a tool the Internet has become in all so many ways. And it’s easy to see how evil doers use the net to set things in motion and how fast and easy it is to organize a large group of people and get them all stirred up. Consider just how fast a rumor or falsehood can whoosh around the world these days along with all the bad email jokes. It’s rather like that old game “Telephone.” What goes in one end isn’t always what comes out the other. Consider that is what you read. Remember that old grain of salt.
Yet oddly enough, one of the key issues that’s being fought over here is the place of further revenues via the net! And there will be revenues online, as has been pointed out, even with piracy. It’ll be a friggin’ river of revenues! Guess who wants to control it all? Build the dams, control the waterways? Oh yeah…
From what I have read via this wonderful forum, there are some interesting points being expressed and in turn exposed to a larger audience, an audience that is raptly bound to this particular reality show, like it or not.
One point made here about the UK writers and their 5.6% should be the real goal to meet. It can be done. It works. Perhaps not that same percentage, but something very realistic. Forget the pennies. Get it right. Go for the bronze. The gold is everyone back at work and where everyone wins. The silver is the product that is crafted and shared with the intended audiences.
One approach at this time that could really force things to progress is for both SAG and the DGA to get ahead of their upcoming contracts and present a united front and resolve these issues in a timely and professional manner.
And I believe there really is an Oz.
pb
PS A big tip of the hat to Nikki for keeping this river of information flowing!
Comment by pb — November 7, 2007 @ 11:04 pm
gottatakecareoffamilyfirst - I think my last post might have been a tad harsh….
Let me say this….ANY mother of small kids who still walks the picket lines is doing a HELL of a job. A superhuman job.
Your post just got me on a day when I walked the lines with a woman who must have been 6-7 months pregnant and she was there the entire 4 hours. Never sat down. I saw moms with infants. Moms with young kids. All doing their share.
Then I had friends who were finding any excuse not to do it. (kids being a favorite) and it made me angry.
I know how much free time us mothers get (slim to none) and the fact that you are willing to fill it with walking in circles is doing a lot and you are appreciated.
Comment by WGAmom — November 7, 2007 @ 11:21 pm
So many out of work crew members, i am hurting for you.
Comment by hj — November 7, 2007 @ 11:25 pm
As far as 20 minute strikers go, they are out there. But I’ve also seen top tier writers going well past their four-hour shift. (Even though he does have a seven figure paycheck for a Bond Film waiting for him.) So I think it’s a grab-bag in terms of obligation. Remember, for a lot of writers this is a totally new experience. And for many, especially feature writers who spend much of their time in a cave, it’s a social experience, something rather foreign to them. There are also many who aren’t in the guild at all, just unproduced writers wishing to lend support. I personally think we (card-carriers) should all be out there. If you grab the benefits of the guild and if you profit from the power of union then you should support it. No matter what your views on managment are.
Comment by tired feet — November 7, 2007 @ 11:49 pm
travis fields…
nice to know about brit writers–but be aware that the nets have been going to england to troll for british writers to see them through the strike. (whether in current or development i don’t know, but there it is.) if the british writers are in a good place with their residuals, i’d just like to say to them: please guv’nor, don’t cross the pond to scab…
Comment by new2this — November 7, 2007 @ 11:49 pm
zagyzebra —
i responded to a-dub already above you, you must have missed it.
the bottom line is that piracy just isn’t the issue. there is still a ton of money on the line even though piracy exists. itunes music is proof of that.
Comment by robd — November 8, 2007 @ 12:06 am
There are a great deal of fake, coerced or just planted comments on this thread. This is classic union-busting action in the time of a strike.
Realize that the studios have been trying to undermine union resolve and this is one of the most effective ways: make us believe our side is weaker than it really is.
We’ve been writing films about these activities all the way back to the ’30’s. The tactics haven’t changed on management’s side, just the arena.
Comment by anotherWGAmember — November 8, 2007 @ 1:13 am
Let’s most definitely NOT start a site where writers “out” other writers who they feel are not putting in enough time or who leave their shift early.
Of all the organizations in this country, the Writers Guild of America should be the very last to ever call for and implement what you’re calling for, a blacklist. I understand people’s frustrations but the enemy is not your fellow writer but those who refuse to negotiate in good faith and settle this situation– the heads of the studios.
To think that after the sacrifice of so many, the time in prison, the destroyed careers and destroyed lives, that any writer would propose a blacklist of other writers disgusts me.
Know your history. Know what people went through to get us what right we have. There are the Hollywood Ten:
* Alvah Bessie, screenwriter
* Herbert Biberman, screenwriter and director
* Lester Cole, screenwriter
* Edward Dmytryk, director
* Ring Lardner Jr., screenwriter
* John Howard Lawson, screenwriter
* Albert Maltz, screenwriter
* Samuel Ornitz, screenwriter
* Adrian Scott, producer and screenwriter
* Dalton Trumbo, screenwriter
From Ring Ladner Jr.’s obituary in the New York Times (written by By RICHARD SEVERO)…
“The House inquiry into suspected disloyalty in Hollywood left some of its victims bitter and angry that some of their colleagues, like the writer Budd Schulberg, co-operated with the committee.
One day, Mr. Lardner, accompanied by his wife, Miss Chaney, encountered Mr. Schulberg in a restaurant. Mrs. Lardner looked the other way because she did not want to talk to an informer. But Mr. Lardner took the hand of his old friend and co-worker and shook it. ”I shake hands with anybody,” he said. ”I don’t believe in blacklisting.’ “
Comment by George Glass — November 8, 2007 @ 1:19 am
**Why? Because Google, Facebook, Myspace, Yahoo, and Youtube don’t pay (if any) significant residuals on the internet. AND THEY NEVER WILL. NBC.com, ABC.com, CBS.com… who even goes to these websites… they are not going to saddle themselves with a whole bunch residuals that other websites are never going to have.**
This isn’t a fact based argument. It’s based more on emotion and anecdote. Not an accurate survey of the way business is done on the net.
Scripted shows are the one of the most popular kinds of content on Youtube. Copyrighted pop music is another. It’s been routine for the past couple of years for big media companies to force youtube to remove content owned by these companies. So of course these sites will have to comply with intellectual property regulations, or lose their most popular content.
abc.com and the other network sites sell advertising. There is a revenue stream. Everyone agrees on this.
Illegal file sharing is a separate issue. One way to deal with this, aside from the standard investigation and prosecution of thieves, is to embed print style advertising in the borders - the black portion of the screen in widescreen viewing format. You can make it very costly and time consuming to remove the ads from the borders when someone copies the file. So wherever the file goes, the advertising goes with it.
Advert free content would of course be available at a premium, after some delay. People who wanted to see what’s hot - most people, especially the young - would just see it for free with the adverts embedded.
Comment by al smitty — November 8, 2007 @ 4:08 am
To Research Their Lies: If you’re going to do the research, you need to put it in perspective. The numbers you quote on internet advertising are for all internet advertising, not for online video. The numbers probably include online video, but there is no indication of online video’s share of revenue. The dollars lost from traditional TV advertising are not being equalled with online video advertising. Most of that is going to other internet advertising. And the decline of viewers to traditional TV isn’t going directly to online viewing either. It’s going to YouTube, to online games, to video games like the Wii, etc. Bottom line: tv viewership and revenue are declining, and this strike will accelerate both.
Comment by not a writer — November 8, 2007 @ 4:12 am
You’re talking to people living in the past. The toothpaste and mattress makers own the studios and networks now.
Comment by d — November 8, 2007 @ 4:14 am
Ed H. makes a really good point. My working life was spent in library and bookselling trades and I have known my share of book authors - and the difference is that an author always holds the copyright. The rights are LICENSED to other uses, like film, TV, reprint, etc, etc, but the creator of the work is always the owner and continues to be the owner. There have been a lot of new problems with the arrival of the internet but contracts have worked to keep up. It might be a good idea for any negotiation - rather than fighting over this and that - to start with a basic principle that the writer is the owner of the work and only licenses it - then all uses after the initial delivery of the script would have to be dealt with additionally and separately.
Remember that line in Gosford Park about the ‘gift of anticipation’ - writers need a little more of that - I think ‘88 was late enough to anticipate that tech would move past video cassettes and cable - but if they didn’t a contract where they had the rights and had to license every use might help deal with new use issues.
Because I dont think the writers are in good shape right now - after disasters that force people out of the home and comfort zone there is usually a day or two of we-are-all-in-this-together before the full emotional and economic impact begins to set in.
And I live thousands of miles away in ‘Middle America’ where people are laughing at stars who make little PR donut drops on the picket lines looking so very well put together - I’m ready for my close up Mr. deMille!
Comment by Linton — November 8, 2007 @ 4:43 am
It really seems like the WGA should have waited until the SAG deadline. Look at the Trades. Talent are jumping into projects left and right. Directors of locking into movies that will start shooting before next summer. If talent stopped NOW, the Networks and studios would have to start sweating.The play here is to get SAG to jump on the lines with you. NOT a few peoplw who are on a show to bring a muffin, THEY SHOULD ALL STOP FROM SIGNING ONTO ANYTHING NEW AS OF NOW! …that or it’s going to be a long cold winter. In warfare there are things called “economy of force” and “Mass” in terms of using your troops…the WGA should have read a few books on it. This is war.
Comment by realworldpersonw — November 8, 2007 @ 5:37 am
Nikki, who should we target? What “big wig” in your opinion would have the most clout, and the most chance of getting things started again?
Comment by Pen — November 8, 2007 @ 7:14 am
This is a brilliant analysis and solution, Nikki. Thanks for the perspective.
Comment by Coryh O'Connor — November 8, 2007 @ 7:36 am
Ed H. wrote: “Unlike actors, directors, editors and everyone else, we CREATE the material. When someone profits off our intellectual ideas, we should be compensated. Isn’t that what we’re asking for?”
Attitudes like this is exactly why the bulk of the working people in this town will never truly get behind the WGA. Non-stop complaints about how you’re not respected, yet you have no respect for the people that make your words come to life. If I had 4 cents for every dvd that was sold off a script where the producer and I patched up the holes in the edit bay to make the story work, I wouldn’t have to worry about making it through this strike.
Comment by randomeditor — November 8, 2007 @ 7:51 am
I still strongly believe the studios were all too happy to let the WGA strike. This is all strategy for them. They want to let the writers feel the pinch, worry about the future and how long a strike will go on and how long folks can last without their jobs… And then they know writers will be in a position to accept a lesser deal. It creates ill will for sure, but they don’t care about ill will, they care about profits. This strike serves their purpose and while it might cost them millions this week, that’s just a drop in the ‘new media’ bucket if they can keep writers earning little to nothing on the new media side of things. Writers have to stay strong and hope this doesn’t go on until June/July of next year. But, caving is not an option here. Stay strong!
Comment by outsidelookingin — November 8, 2007 @ 8:17 am
The WGA had a gun with one bullet (the strike) and they shot themselves in the foot with it. The WGA is now irrelevant. The studios have set their sights on SAG next year. There will be no talks with the WGA. The End.
Comment by the end — November 8, 2007 @ 8:18 am
Please! No fear-mongering.
Just because the studios are owned by larger parent companies does not mean that they are somehow okay about taking a quarterly loss in one of their profit centers. The moguls who run the studios are accountable to the parent company bosses and operating under a loss is not something that they teach in business school. GE shareholders don’t really care whether writers and actors are properly paid BUT they do care whether GE is taking a loss in one of it’s companies because they can’t make a fair labor deal. And every time the shareholders turn on late night TV and have to watch a rerun they will be reminded that NBC is having trouble. We are lucky to have this visibility and are in a good position. This will take some time but it will be solved.
Stay strong. Be patient.
As JFK said, “Never negotiate out of fear but never be afraid to negotiate.”
Comment by Stay Strong Writers — November 8, 2007 @ 8:26 am
First my creds: I am not a writer, I don’t aspire to be a writer, in fact I have hated writing since high school. That being said, I am a viewer and a consumer of your product, mostly live or DVR and more recently via the internet. I thoroughly enjoy good entertainment and want an end to this conflict.
My comment: I am beyond shocked how unorganized your guild is in getting people like me to help out. I noticed a comment above talking about viewers saving shows so why can’t they help out here. THEY WOULD IF THEY KNEW HOW. There are a lot of tv boards out there, I myself am a member of a couple, where people are asking, how can I help? Why hasn’t WGA come up with a plan and advertised it.
At the very least get WGA members who cannot walk the picket line to blog and post for at least 4 hours a day. The WGA should have instructions on how to do this and where they should be directed.
My opinion: The WGA management has not been very proactive in using the new media and, thus, has lost a valuable opportunity. I suggest it get on the ball and quickly.
TV message boards include: TWOP, TVGuide, Kristin Veitch’s message board on E!Online, etc.
Comment by Chris — November 8, 2007 @ 8:30 am
I read constantly that the DGA will negotiate early and give in quickly because that’s what they’ve done historically. Sorry for the following ludicrously simplistic, naive question: is anyone from the WGA planning to contact them either formally or in a backchannel way as soon as possible? Contrary to expectations, the DGA may just see this whole thing for the fundamental cause it is - and decide to stand with us. That could really f*ck the studios’ long term plan, which is palpably ‘divide-and-rule’. Admittedly I don’t know enough about the DGA’s past behaviour and may be talking out of my ass; but surely no option should be discounted. I read a lot in the run up to this about how SAG weren’t showing solidarity - and so far they’ve been right beside us.
Comment by Schmuck with Mac — November 8, 2007 @ 8:34 am
Thought I should post this (from “Watch with Kristin” website), as it illustrates the webisode problems pretty well:
Ronald D. Moore (Battlestar Galactica): “At Battlestar, we had a very specific situation last year, dealing with webisodes, which opened my eyes to the problems. When we were approached to do Galactica webisodes, the studio’s position was they didn’t want to pay anyone to do it—they considered it promotional material. They weren’t going to pay any of the writers or the actors or the directors to do it, which we thought was crazy. We refused to do it, and eventually came to an accommodation where they said they would pay us, but then when we were almost done, they decided they weren’t going to credit anybody. They weren’t going to acknowledge anybody who wrote it. And then I refused to deliver the webisodes, and they came and took them anyway, which is their right since they own the show…but it really made me aware of these issues. I mean, my staff writer, who is the lowest man on the totem pole, they want him to do all this work for another media, not pay him for it, and then make money off of his work. Ultimately, that’s why we’re here, because that’s just wrong.”
Comment by abritabroad — November 8, 2007 @ 8:39 am
To “new2this”
The humble french journalist I am is following all this with the highest interest from the country of frogs, riots and commuter train strikes (next week, a remake of ‘95).
“be aware that the nets have been going to england to troll for british writers to see them through the strike”
I find this really interesting. Is it for tv or cinema?
Comment by Thierry Attard — November 8, 2007 @ 8:40 am
Umm…