Meet the Writing Partners

John August beat you to the punch. In any case, congrats!

We sort of timed it out, actually. John and I now pick out each other’s clothes too.

This is hugely awesome news! It must be exciting for all of you to be able to write an original idea rather than another sequel (nothing wrong with sequels, just…you know).

Here’s hoping this is the first of many more such deals. I’m certainly pulling for you all.

Strange timing… I was just talking with a business partner about your Writopia post, which I’d found by dumb luck about a week ago.

So allow me to be among the first to congratulate you for getting the deal done! I’m hoping some really original films result from all your hard work… and that audiences respond to it by making you and Fox very wealthy!!

Congrats, Craig! To you and the rest of the gang. Looking forward to your projects.

Tina

Congratulations to everyone involved.

I remember when I first heard about this and assumed it was as a Hollywood urban legend. It’s fantastic to see it come together.

Best news I’ve heard all day.

Congrats, Ethan

Congratulations to everyone involved.

I remember when I first heard about this and assumed it was a Hollywood urban legend. It’s fantastic to see it come together.

Best news I’ve heard all day.

Congrats, Ethan

As a spectator and aspiring screenwriter :

Congratulations !

Well done!

It’s an exceptional group of creatives you’ve assembled there, and I am really eager to see what you’ll unleash on the world. :)

And next time John is out shopping for your clothes, beg him to stop picking those crotchless panties for you. They make you sweat and are very uncomfortable.

Congrats to all involved.

Question: what do you think this means to writers who aren’t involved in the deal? For instance, does this make it more difficult for non-deal writers to make a deal with Fox, in the short term at least? Will other writers now feel they should form a similar group?

YAAAAAAAAAAAAAY!

Very, very cool! I hope it works out even better than you’ve planned.

Y’all should get coonskin hats — I bet Derek has a closetful.

Very cool. Congratulations.

My heart you for. When leave Pakistan, you friend my will be! We are writer together!

This is HUGE for all writers! What a giant step in the right direction, one that enormously contributes positively to how the writer is regarded.

Thank you. Thank you. Thank you.

And, congratulations.

Mazel Tov! Congrats! Well done! How gratifying it must be to see all of your hard work on this come to fruition, as well as seeing your prior writing work rewarded with this kind of faith from a studio.

Best of luck!

Brother Mazin testified: “….For a few years, I’ve been preaching a philosophy, a religion. The tune is simple. Screenwriters should be filmmaking partners with their studios….”

And blessed be, the theatrical side of the business finally learned something that the TV side has known all along.

Mazel tov to one and all.

One question: In the cases of the writers involved, does the Unwritten Rule still apply to cooperative, that in the aggregate, the deal must be at the studio furthest from where you live?

Here’s a follow-up to David L.’s very interesting question:

What does this mean for us “baby writers” who are enjoying our first blush of favorable attention on spec scripts around town? As a group, our advantage has always been that we’re a relatively cheap date (in a non-floozy kind of way).

Now that you A-listers have lowered your up-front price, should I be worried that the majors will no longer want to go out with me? Is this like the school jocks deciding that they want to run the chess club, too? Or should I just relax, take another hit off my inhaler, and sit down? ;-)

You mind if I, respectfully, ask a few questions? 1) As far as I know, the majority of your group (and this is true of the Wells group, too) doesn’t write original scripts. You’re all extraordinarily talented and, I’m certain, perfectly capable of writing great original stuff. What’s more, you have enough socked away in the bank to take a few months off and write a spec or two if you want—but generally speaking your group hasn’t done this. It’s a great deal for anyone writing original scripts, but my question is: have you really been yearning to write original material all these years but hesitated pending a really insanely lucrative deal? 2) At the same time, given the current studio environment with its emphasis on “branded” material—comics, remakes, sequels, etc.—do you really think there’s going to be a serious payoff from untested original material (I hope I’m wrong here; I hate the direction in which the studios are headed)? 3) And finally, what do you think this type of deal means for the (currently on-hold) WGA negotiations? It seems to me these deals have the potential to weaken the WGA by splintering the established A-list writers with all their clout from the rest of the rank and file.

Funny, Steven, I was thinking the opposite with regards to the WGA negotiations. I was thinking a deal like this would strengthen the guild in negotiaions. The WGA could use it as an additional argument that the studios clearly see how important the writers are if they’re willing to give them this deal. But I don’t know much about the negotiations and could be wrong.

I have read your blog many times and enjoyed it. I always thought you believed in the solidarity of the WGAw. Now, I see you’re undercutting our collective bargaining position. I’m very disappointed that you were co-opted by more branded writers. This is a benefit for you, but not for the other members of the WGAw who don’t have the name recognition that the rest of group you joined has. I’m sure you have a way of justifying this. As I said, I’ve read your blog and I know you can weave an intelligent argument to defend your position. But it will now fall on deaf ears for those other guild members who see this for what it is. Can you imagine union workers in other unions negotiating a separate deal for themselves? They would no longer be part of the union.

I think it’s a mistake to use this deal as an excuse to hate these particular writers any less than you might already have hated them.

Interpreter, I am far from well-versed in WGA or industry speak in general, so you’ll have to explain to me how writers asserting a writer’s rightful place in the process is bad. You’ll have to explain to me how this negotiated deal differs, with regard to the union, from any other single writer negotiating an X number of movies for Acme production company. Does that not happen every day? It’s not a rhetorical question. I really don’t know, but am under the impression that it’s true.

I see the “partnering in production” aspect as trailblazing where the WGA has yet to go, where they may be more able to go, now that the road is being paved. And, even if they don’t, it will hopefully help make the practice more and more common.

I also think, boldly perhaps, that it will be beneficial for the quality of movies in general to have the writer more involved.

Interpreter:

“Can you imagine union workers in other unions negotiating a separate deal for themselves?”

Every screenwriter negotiates a separate deal for his or herself on every single project. Some are able to command better terms than others. There is nothing unfair about that — or do you believe that no writer should earn a cent over WGA minimums?

“Can you imagine union workers in other unions negotiating a separate deal for themselves?”

Yes. For example, SAG and DGA. Tom Cruise co-owns and co-runs a studio, and he’s still a SAG member. Spielberg is a co-owner of DreamWorks, and he’s a DGA member. Obviously those are much bigger conflicts than anything represented by this deal.

As other people pointed out, every time you sell a script you are negotiating a separate deal. The MBA serves is the MINIMUM required elements for a deal. Are you saying that writer should treat it as the maximum terms they can ask for? Doing anything else hurts the rest of the union?

wow, congrats! for the screenwriting population, I’m sure this is really great news, as you’ll finally be able to use your imaginations rather than rehashing old stories from comic books or novels or whatever. but I think this is great news for the movie-watching public too, because, as a member of that elite group, I can honestly say I’m sick to death of sequels. Hopefully some fresh ideas will change the face of the motion-picture industry, if that’s not asking too much. ;)

Craig,

CONGRATUFUCKIN’LATIONS!

Congratulations on the new endeavor, and I think I should tell you:

I wanna be the first solo female writer in the Partnership…and not just serving coffee. :)

Watch for me.

Sounds great. Do you worry that the “can’t be rewritten” aspect of the deal will hurt you guys in terms of landing top directors (assuming you don’t direct the scripts yourselves, of course)?

Fucking A. You guys did it.

CONGRATS!

Thanks for those comments on my original post.

Please don’t get so upset with a differing point of view.

Of course, this is a step forward… For those writers. And that’s great. Maybe, it will “trickle” down, but I doubt it. Nothing trickled down from the other writers who cut the Sony and Warner Brothers deal on their own.

Take a step back and look at the whole picture. Including other unions. Not just the DGA and SAG. What makes them strong or weak is whether they have solidarity regarding issues. I can’t say whether Tom Cruise’s deal helped other SAG actors or the SAG itself by raising the bar and “trickling” down.

I accept that all members negotiate their own contracts. I was just hoping that these writers would have asked for these “new” benefits for everyone at the negotiating table.

In terms of some of the specific responses. Yes, I wish there were more things that the WGAw negotiated for, so every contract was not a battle on every front. I don’t believe everyone should get minimum, but, I do believe the guild should standardize some other issues such as number of drafts for the first writer. Anyone who’s dealt with Paramount in the last few years knows of their penchant for one or two draft deals.

I am not against “some getting better terms than others.” But the idea of the guild is for all to get better terms. That the floor goes up from everyone. Creative partnering with the studio would be great for every WGAw writer.

Well, it’s no steel cage match but best of luck. So, is this what was going on in the “invite-only” section?

interpreter - deals like this are revolutionary because they give elite writers parity with elite actors and elite directors. elite actors like tom cruise already have cherry deals commensurate with their worth. these writers are striving for that. and that is, in fact, a step forward for all writers.

really really great stuff.

TheInterpreter:

I don’t see anyone “get[ting] so upset with a differing point of view.” They’re just explaining to you why they think you’re wrong. Don’t get defensive when people point out flaws in your argument.

And to think, you started out of a phone booth.

Congrats, Craig!

Interpreter:

The WGA isn’t a “labor union” like the steelworkers’ or the pilots’, where there’s an assumed uniformity of ability & earning power across the membership. There are no A-list steelworkers.

To your point: true, this might trickle down, it might not. These writers didn’t act on behalf of the guild, but on behalf of themselves. And on behalf of the writing profession — to see what benefits materialize, we’ll all have to wait awhile.

“I think it?s a mistake to use this deal as an excuse to hate these particular writers any less than you might already have hated them.”

anon — I see you’re point. Using the word “upset” was wrong on my part. I guess I felt that assuming that I hated these writers put me on the defensive. I should have said that opposing points of view shouldn’t bring personal attacks.

I think Holly has an interesting point. That this deal gives “elite” writers the kind of influence elite actors and directors have. But there is a price to be paid for that going into the negotiations. Maybe?

After actually signing up to support the possible strike, after this deal, I probably will not support a strike. One of my neighbors, another writer has been badgering me since the screenwriters dinner. I saw solidarity. He saw no solidarity but the usual divisions of A list, B list, C list.

I know some of those “new deal” writers and they’re terrific. I just wish they had used their clout to help all the writers. But this doesn’t necessarily negate the fact that a rising tide lifts all boats.

I wonder what other WGAw members think about my “opposing” point of view.

Well, first of all, I think it’s way too early to be deciding whether or not one supports a possible strike, since negotiations haven’t begun and the contract hasn’t expired.

As for what impact this deal will have on negotiations, I’m sure others will have more informed things to say, but my guess is, nil to maybe a slight benefit for the WGA. The benefit being that by giving these writers back-end deals that ezceed what the WGA would ask for in terms of residuals, Fox is implicitly undermining the AMPTP claim that giving writers increased profit participation (albeit in a different form than residuals, but amounting to the same impact on the balance sheet) would be financially unviable.

But really, I don’t think it will impact negotations one way or another much at all.

Congrats!

Breaking In is Hard to Do:

Now that you A-listers have lowered your up-front price, should I be worried that the majors will no longer want to go out with me?

No more so than otherwise. What’s been reduced is the portion of their development fund that Fox must spend in order to acquie one of our screenplays and then not make the movie. Theoretically, this leaves Fox with larger percentage of development funds to spend acquiring work from other writers.

Steven:

1) As far as I know, the majority of your group (and this is true of the Wells group, too) doesn�t write original scripts.

I think you’re confusing “original scripts” with “spec scripts.” All spec scripts are original scripts, but a script does not need to be written on spec to be original.

have you really been yearning to write original material all these years but hesitated pending a really insanely lucrative deal?

Every screenplay is original material. It’s the underlying story that can either be original to the movie, or adapted from another source. And, of course, there’s also instances where there’s source material but the story being dramatized is still original to the movie. That’s what the “Screen story by” credit means.

Having written screenplays where there’s no source material, originals where there’s source material of a non-story nature, and originals where there’s source material of a story nature, I can say: there’s not nearly as much difference in the amount of creativity and craft necessary as some people seem to believe.

2) At the same time, given the current studio environment with its emphasis on �branded� material�comics, remakes, sequels, etc.�do you really think there�s going to be a serious payoff from untested original material

Sure. So does Fox. Otherwise, why make this deal?

3) And finally, what do you think this type of deal means for the (currently on-hold) WGA negotiations?

Nothing, really.

TheInterpreter:

Can you imagine union workers in other unions negotiating a separate deal for themselves? They would no longer be part of the union.

Don’t really understand how employment under Guild jurisdiction works, huh?

-

Craig and Ted:

Congratulations!!

What, no Olson?

I think one of the best upsides for the studios is a shot a new materiel to “brand” and “franchise.”

They were in danger of running out of t.v. shows and toys to turn into movies.

Ted,

I understand how the Guild works and supported you on many issues through the years. So no need to be snide, but I guess I hit a sore spot.

I know how the WGAw works and I know how other unions work, too. My father-in-law worked for the AFL-CIO until his death, starting out as a butcher and working his way up to a V.P. in their D.C. office.

If you’d take a second, you’d understand my point in its broader context. If you speak to our new union representative, he’ll explain it to you. Because you disagree with a fellow Guild member, it doesn’t mean they don’t understand how the Guild works.

I know how much you put up with at Dreamworks before you were able to receive just compensation for the millions of dollars your work brought to the studio. I know how you gave back to the community with Wordplay.

I guess I’m just disappointed that all that effort that you guys exerted didn’t go into getting better deals for all writers during this critical time. New minimums on every front, especially the creative front. After what animation writers had and have to go through, you should get it more than other writers.

It’s all about the already existing tension in the Hollywood Guilds. The every-writer-for-himself vs. every-writer-for-the-Guild.

TheInterpreter

Congrats, guys. I’m all for anything that gives writers a higher profile and more perceived value. And I think you’re all great people and wonderful writers.

I’m curious though, as to your perception of the future for writers. Do you think writer consortiums will take over the market? Or at least, the most lucrative end of the market?

I think y’all made an amazing deal, btw. I understand the concerns over the lack of solidarity in the WGA, because we really seem to be challenged in that area. A lot of WGA solidarity came out of WA when that was created, but that’s been all blown to hell. And without it, the term herding cats seems to be the catch phrase of the day.

There really does seem to be an even sharper division now between the perceived ranks/lists of writers. And it’s a shame. Well, for those of us not on the A-list, at least. We do miss having you around.

But I don’t agree that making this deal somehow precludes you from working on behalf of writers during the WGA negotiations. Maybe I’m just naive or don’t know enough of the details.

Anyway, kudos to you for taking a friendship and turning it into a multi-million dollar deal. That’s pretty impressive. Can’t wait to see who the next consortium is comprised of.

TheInterpreter:

The fact that your father-in-law worked for the AFL-CIO until his death does not translate into you understanding how employment under Guild jurisdiction works, and your posts fail to demonstrate even a cursory knowledge.

Proof? You believe that a deal that gives writers the kind of first-dollar gross participation that has previously been reserved only for actors, directors and producers … is bad for writers.

That’s just sad, really.

-

Christiana:

I don’t think these things will take over. Either they’ll sort of pop up every now and again as one-offs, or they will succeed in breaking the first dollar gross barrier for individual writers negotiating on their own, making the co-ops obsolete.

As for WGA negotiations, we’re just rank-and-file like you when it comes to negotiations. I get my updates from the same sources you do.

Every new and emerging writer should be thrilled about this great deal. I’m very happy and proud that you guys were able to make this work. Congrats! Props goes to Fox for the understanding the vision. From the bottom of my heart, thank you.

Congratulations, Craig and Ted!

This was a bittersweet announcement. While I think it’s great, it just saddens me that in your list there was only ONE woman. And for that you get a big, fat, obnoxious BOOOOOOOOOO from me!

Kinda Bummed:

Yeah, but we had two Jews, a homosexual, a bald guy, one Mexican, an Australian and…I think Ted Elliott’s part Hmong.

Congrats to Craig, Ted, and all the other writers who made this deal. I’m happy any time a writer makes a deal he or she likes.

I doubt if this will have any impact on the 2007 negotiations. But even if it does, so what? These writers have not violated the MBA, the work rules or done anything to draw criticism.

What they’re getting paid may be less than their normal quotes but it’s still well above minimum. Their gross points are the trade-off they get for that. Both sides will learn something by how it works out, though nothing that will impact 2007.

Writer solidarity is important. One way we can show it is by supporting one another in our successes. Congrats to all the writers in this deal: I hope you make bundles of money and some great movies.

Steven, thanks. But I don’t understand. You’re on the negotiating committee, and the Writing Partners deal is DESTROYING OUR UNION!!!!!

• I doubt if this will have any impact on the 2007 negotiations. But even if it does, so what? *

You’re kidding, right? You’re negotiating for these guys and you don’t care? No wonder there’s a split in the ranks.

Ted, Someone hit a sore spot, huh? No one on this thread seemed like they were against first dollar gross for writers (at least, the way I read it.) Just a few people disagreed that this benefits all writers.

No longer allowed to have other opinions without being tagged stupid?

Maybe Rubert bought this site and is turning into a one-opinion-fits-all destination.

Seriously, though, lashing out like that makes me wonder if this co-op thing is like the rich getting richer and the poor getting poorer trend. Though, I tend to agree with the person who said it’s just writing jobs are getting tight and people are scrambling to protect their down side.

Anyway, as for you guys getting more creative control, that’s great.