The Farmer And The Cowman

Well said, Craig.

Have you considered becoming a writer? ;)

Craig, the big cat looks like he is strangling the little cat.

“Craig, the big cat looks like he is strangling the little cat.”

Getting along one way or another, dammit! Hahahaha

Thanks Craig. I appreciate your thoughts. I have plans on joining the picket lines when my show goes down.

You had me until you wrote that “screenwriting is a rarer talent …”

Your olive branch approach is a welcomed perspective of film and television production being a collaborative art. But then you had to ruin it—give rise to the belief that screenwriters think they are more talented then the production crew—by saying screenwriting is a rarer talent then—fill in the blank.

Your prose needs a rewrite.

As an editor of some bullshit Reality Tv show said to me, “Thanks, to you stupid-ass writers, I’m more in demand now than ever…I hope you stay on strike forever.”

See? We’re not pissing everybody off. Some folks love us writers.

Your point is well taken, they’ll be plenty of time for in-fighting after we get a contract we can live with.

We’re in a mess and have to stick together, but we also have to figure out how negotiations will resume before Thanksgiving rather nine months later, as the trades are starting to project.

I don’t know how that happens when both sides have dug in and there’s so much poison in the air. This doesn’t feel like a labor strike, but a sociological war.

We need a peacemaker to step in and craft a treaty in the form of a new contract. Right now, there are no candidates on the horizon, but I’m hoping sanity will prevail in a not very sane business.

Governor Schwarzenegger’s office has stated that he will not intervene since a federal mediator is already involved. Perhaps we should blanket his website with requests that he step in and put out another fire that’s spreading across this state.

It’s a key part of my job to deal with ALL the people involved in any production, from the person who wrote the script to the person who plays the lead role to the person who puts the bagels on the crafty table. I have found it best to treat everyone the same - with the same level of respect and decency that I would want to be treated. Sometimes this works better than others. But that’s just a reflection of there being jerks everywhere in all walks of life. And there are also decent people everywhere. I always hope for the latter.

Nikki Finke is posting some very interesting opinions on her site, but I wonder how much of it is true and how much of it is one side’s perception of what was happening. After the last bit of rumor got tossed to me as fact, I am hesitant to rely on her account without corroboration from somewhere else.

I should also note that a corroborated source at the lot has shown that Raleigh Hollywood is attempting to put a new policy in place that will affect picketers. Basically, they’re telling all the cast and crews of the productions there to go through the Clinton Street gate whenever there are picketers present. They are also going to mandate that the picketers only work the Clinton Street gate - meaning that all cast and crew, including the drivers, would need to come in and out through that gate and cross the picket line if they did so during picketing hours. At the same time, they are going to say that the picketers cannot work the Van Ness gate, in order to allow UPS and other delivery trucks to enter the lot, as those drivers will not cross a picket line to make deliveries. According to the Raleigh people, they can do this legally. I’m not sure if this is really the case. Does anyone know?

I’ll take some of the responsibility for starting, then fanning the flames on this one. I felt it was important to voice that the BTL and other Guilds are with the WGA on this. But, we also stand fairly united in that we expected to see a more impressive, passionate attempt to shut the town down.

Those of us that are of the other Guilds or BTL don’t know the WGA strategy. We don’t pretend to know. But, since we are all in the same fight against “The Man” (now, in June of 2008, or in a couple years), the consensus from those of us on the outside is that a great show of force would push the AMPTP back to the bargaining table.

We’re all going to sacrifice, some more than others. WGA members are out now. IA and Teamsters and DGA and SAG are soon to follow. By Christmas, the only guys and gals working may be those video techs on unscripted crap. We just want to see the WGA force the issue and not play the waiting game. We don’t want to see you out for another 22 weeks any more than you do.

If your negcom is correct and the AMPTP is not playing fair, then turn it back around. Shut ‘em down.

Again, not professing to know the nuances of the WGA strategy. But, felt it’s important to voice the consensus while the numbers in support are still in your favor.

Meant to write “than” instead of “then”. We all need to rewrite.

Cheers.

Today, a man in a Mercedes was briefly delayed at a Sunset Gower gate. As he drove past the group of picketers who had momentarily blocked his entrance, he rolled down his window and said, “I’m an actor. I’m with you, assholes.”

I still haven’t had an answer to a question I asked earlier… Are only TV shows being picketed or are movies, as well?

Well said, Craig.

Does anyone know for certain whether the British Writers are getting a 5.6% rate on internet dowloads?

I say we hug it out, bitches… and chokehold the producers and studio fuckers into submission.

Just an FYI — UPS trucks and other delivery trucks, including teamsters, are crossing our picket line at Culver City studios all day long. One teamster says “sorry” and shakes our hand on the way out after making a delivery (he seems like a genuinely torn guy), but he crosses nonetheless. Also, carpenters come across the line all day and this is hard for me as I am the son of a Union Carpenter and a proud member of the WGA. We are striking for the Guild, but I honestly know in my heart that we are striking for EACH and EVERY Union worker … if the Conglomerates can bully and take money from those that write the content, then next it will be those that direct the content, and those that find the locations where the content is filmed, and those that deliver materials for the production of the content. Union is Union … we are all fighting to make sure global corporations do not set things up so that we work hard and barely make a living — trust me, that is their goal — I am a writer, but also an attorney — I used to represent big corporations - the last thing they care about is you — so we have to care about each other. Arguing with, and not supporting, each other only hurts all of us. Teamsters, Actors, Directors — support and respect the picket lines because when you do you are supporting and respecting yourself, your own union, your livelihood and your family. And writers, the next time the teamsters pick up signs (or actors or any other union in a country that is currently trying to drive unions from existence) you sure and hell better step away from whatever you are doing and march in solidarity. I’ll repeat what I said earlier — it is something my old man taught me and he is a proud member of the United Brotherhood of Carpenters and Joiners of America — Union is Union. Very simple. Very true. Now if you’ll excuse me I need to rest — I walked 8 1/4 miles today with a sign in my hand, did the same thing yesterday, and will do the same thing the day after that until all of our livelihoods are protected. (ps - I wore a pedometer, so the mileage is accurate - so one benefit of picketing is you get healthier)

FWIW word has been getting out to ease off on inconveniencing people trying to get in— apparently a fight nearly broke out at Gower this morning- and that followed some nutcase literally running over a picketer yesterday.

Word is circulating that we don’t do ourselves any favors by pissing off below-the-line folks just trying to get to work. Actually there was a guy going to each gaggle of writers, making that very point. I got the feeling some people realized they were being overly aggressive and are trying to make amends.

As the # of picketers drops off (an eventuality) and people get a little more of an idea of what they’re doing, I think (and hope) they won’t be pissing off people who would otherwise be sympathetic. Hopefully this will help ease the kinds of tension Craig’s talking about.

Strategically— I’m seeing different tactics used at different studios. Gower seems to be about covering all gates (encouraging Teamsters not to cross?) all the way ‘round, whereas Paramount had plenty of unpicketed entrances (with trucks rollin’ on through) and was focusing mostly on the two high-profile Melrose entrances. The side gates were completely unpicketed, at least around 1:30 today.

AYAAW

Assistant AD - that is called a dual gate system. I know a little bit about it, let me do more research. I had wondered if the studios would try to employ that, it is something that I dealt with when I worked in construction. The thing is that, ina dual gate system, one gate is “uncontaminated” (meaning only activities not affected by the striking union would be used) and the other gate is “contaminated” (meaning that only the parties offending the union would use it).

Studios don’t dictate where strikers can strike, the union does. The union would dictate that strikers can strike any gate where the grievance is valid — in this case, in my non-legal opinion, that would appear to be ALL gates.

Let me do a little digging, see if I can find out more.

Working AD, I’m amazed that you can treat all those people equally. Frankly, I’d be giving most of my love to the bagel guy.

Craig…you’re starting to sound like Patric. “The big bad AMPTP?” Talk about the farmer and the cowman…well if it wasn’t for the AMPTP…above and below the line wouldn’t we working because there wouldn’t be any money to make the movie. Never piss on the money, Craig, never piss on the money.

By the time this is settled, the New Media will be fighting over is Vulcan mindmelds.

Craig,

Kind of off topic, sorry. I don’t think I understand the role of a hyphenate in a feature sense during a Strike. Could you explain it to me, please? The reason I ask is that someone pointed out this line in Shawn Ryan’s email, and it got me thinking about feature writer-directors/writer-producers:

“I will not go into the office and I will not do any work at home. I will be on the picket line or I will be working with the Negotiating Committee. I will not have an avid sent to my house, or to a new office so that I can do work on my show and act as if it is all right because I’m not crossing any picket lines.” — Shawn Ryan

Sorry if this has been asked and answered elsewhere — if so, could you (or someone) refer me to it, so I can understand a little better?

Thanks.

Here is a link to an instance where the dual gate system was used which expands on my explanation:

http://www.constructionweblinks.com/Resources/IndustryReportsNewsletters/Jul03_2006/cont.html

J.J. Abrams starts directing “Star Trek” tomorrow. He won’t be performing writing duties, despite a co-writing credit, and no one is questioning his loyalty to the WGA. To do so would be unfair, especially since he employs writers through his company and treats them well. (I know this first hand.)

If he were to refuse to direct a movie because of a strike by the other union he’s a member of, he would no doubt be the brunt of a studio’s wrath.

To imply that a director shouldn’t fulfill their obligation to direct a greenlit movie not only isn’t fair, it’s invariably asked by people who don’t wear both hats.

For the record, I was answering Priva’s question.

WE ARE ALL IN THIS TOGETHER!

Get used to the four hours. By next week, it’ll be nuthin’! Be prepared to weather the storm. If six months of bad create 20 years of not-fucking-awful, then it’s worth it.

Below the liners, we love you, please back us up. It does affect everyone. I don’t want anyone losing their jobs, but keep the anger at them, not us. If we infight, we are all weaker and that’s what they want. The stronger WE ALL ARE, the quicker everyone gets back to work.

And Steve Carrell rules. And set a NOBLE example for the rest of his actors to follow. And I can’t wait to see the showrunners rally tomorrow.

And thanks UTA agents for delivering cookies to us (CAA, William Morris, Endeavor, ICM, where were ya?).

And WGA, GET BACK TO THE BARGAINING! They’re pricks, but who cares - keep trying to make the deal.

PS - During the last Actors Strike, my husband was an AD and the work dried up, basically forcing him out of the business. But we never once thought “fuck those selfish actors.” I really don’t understand the logic of not wanting someone to stand up for themselves.

I gave bad information. I found this at findlaw:

[The worker] knows that once a picket line is established, his Business Agents and other Union officials are legally gagged and handcuffed from giving advice pertaining to that job. They can only tell him if the Picket Line is authorized.

Also, the system is known as the “reserved gate” system - not just “dual gate” - it is typically used when a union has a grievance against a subcontractor working a union job. The General contractor has the option of creating multiple gates and the picketed subcontractor uses only designated gates and only those designated gates can be picketed.

I still don’t see how the studios think that will work for them.

We need a peacemaker to step in and craft a treaty in the form of a new contract. Right now, there are no candidates on the horizon, but I�m hoping sanity will prevail in a not very sane business.

What’s Bill Clinton up to these days?

okay, one last thing on two-gate system, then I’ll quit:

This blurb is all over the web at multiple union websites:

GOOD UNION MEMBERS RESPECT PICKET LINES.

A good union member is extremely careful when confronted with a picket line situation.

WHEN A PICKET LINE IS ESTABLISHED on a job where he is working:

1. He LEAVES. He DOES NOT TALK — JUST LEAVES

2. He READS the PICKET SIGN as he leaves.

3. He DOES NOT hang around near the job.

4. He knows that ONCE A PICKET LINE IS ESTABLISHED, his Business Agents and other union officials are legally gagged and handcuffed from giving advice pertaining to THAT JOB. They can only tell him if the Picket Line is AUTHORIZED.

5. HE DOES NOT ALLOW HIMSELF to be drawn into conversations with ANYONE at the jobsite.

A GOOD UNION MEMBER KNOWS HIS RIGHTS

A. He has the right not to work behind ANY Picket Line.

B. He has the right to decide for himself whether to walk off a job being picked.

C. He understands that his trade may be under attack next.

D. He knows that a two gate system means a PICKET LINE and he has the RIGHT NOT TO WORK, no matter how many gates the employer sets up.

Thanks for adressing this Craig. A bit late for me tho, as after seeing posts by “Anonymous Because It’s Offered” “Suzbays” and “me” reminded me that there’s great people who truly have a world view and understand more than most. I’m not going to be bothered by the few weee pricks on here anymore. Monday was my year anniversary chasing my bliss out here. I had hoped to head back to the Dairy State (great, forgot that’s a touchy subject here in Cali-fine, you make more dairy but we won the PR war) for one of the holidays to see my family. That’s not in the cards anymore; I don’t begrudge anyone that. I’m sure I’m not the only one, but after I get these last two weeks in, I can join you on that line. Hell, I’m bred for this weather.

We are all in this together. It reminds me of the frog giving a scorpion a ride across a river… safe in the knowledge he is vital to the other’s life and without him, the other will die. In the middle of the river, the scorpion stings the frog. As the fatal poison sinks in, the frog says “But you will die too! Why did you sting me?” “Because” says the scorpion. “I’m a scorpion.”

From Variety:

�gIn the past two days, Shonda Rhimes (�gGrey�fs Anatomy,�h �gPrivate Practice�h) and Shawn Ryan (�gThe Shield,�h �gThe Unit�h) have come out publicly with statements declaring they won�ft help wrap up episodes in the works. It�fs a change from the pre-strike conventional wisdom that such showrunners would stay on the job.

�gI absolutely believed that I would edit our episodes,�h Rhimes wrote in an email widely circulated late Monday. �gUntil a thought hit me: how can I walk a picket line and then continue to essentially work? How am I supposed to look at myself in the mirror or look at my child years from now and know that I did not have the courage of my convictions to stand up and put myself more at risk than anyone else?�h

Okay Craig, so now people are doing what you said they would never do. That means it�fs time for you to step up to the plate and walk off the set of your movie. If you really love the WGA as much as you claim to, you will do this to help save our union from destruction.

We await your decision.

Could someone tell me if a writer had a written script, then secured independent financing, would she be in violation of WGA rules if she produced and directed it herself during the course of the strike?

Thanks.

JP Wolff

Not to give too much away, but I’m pretty sure Cowman is one of the main characters in Craig’s new movie. Anyway, that would explain the tagline: “You will believe a man can lactate!”

Re: the Reserved Gate system, maybe an example would help. At NBC-UNI, there’s a child care center that’s on the lot but has nothing to do with the studio and its operations. It would be unfair for anyone going to/from the child care center to be faced with picketers, so the studio “reserves” a gate for non-studio operations. It’s agreed (though I don’t know how it’s enforced) that only non-studio-related people and vehicles can pass through that gate, and in return that gate is not subjected to picketing.

Very interesting question, JpW, and one I’m scratching my head over as well. Can a writer secure indie financing (and does domestic or foreign money matter?) in a production that wouldn’t be subject to the Guild’s jurisdiction (that is, with a non-struck production entity) and still make the movie? What if the writer is Guild? What if the writer is non-Guild?

Can a Guild writer take a job with a BBC show? Can a non-Guild writer? What if that show ends up airing on US TV? What if the indie movie is sold and distributed in the US?

Does anyone have any thoughts, especially educated ones?

From Kim Masters at Slate.com:

http://www.slate.com/id/2176909/fr/flyout

A lot more of the same with some interesting, seemingly fair insights.

JP,

“Could someone tell me if a writer had a written script, then secured independent financing, would she be in violation of WGA rules if she produced and directed it herself during the course of the strike?”

I was in this situation, so I’ll give you the first hand deal:

Assuming you’re a Guild writer, then the company financing your film has to be (or become) a Guild signatory to be able to utilize your screenplay.

You cannot write on that script until the strike is over.

Technically, you can still direct the movie, provided you don’t do any more writing on it, but then you’re in that gray area that guys like Shaun Ryan - on one side - and Craig - on the other - find themselves in.

My film hadn’t started production yet, so the decision to refrain from moving ahead until the strike is over is an easier one than it would have been had we been in the middle of production. Every day, I become more convinced I know what my decision would be, but I can’t totally knock someone who chooses to go the other way.

Craig,

Seriously, man. You have to do some reconsidering here for a while. This blog is a focal point for the folks who read it, but in terms of the actual world, it’s barely a whisper. So when you start addressing issues that have arisen here - as in, a couple folks claiming to be below the line attacking a couple writers - and act like they’re REAL issues in the real world, you’re providing fodder for a PR machine that’s eager to get anything it can get.

No idea if we’ll be reading about the schism between above and below the line workers in any papers or Nikki Finke tomorrow, but I hope we won’t because out there, support is strong across the board for what we’re doing.

Do not confuse this blog with the real world, because there are people who will take advantage of that and use it to try to hurt us. There are people who will cite the stupid, petty and ignorant shit that goes on here as though it’s representative of anything except what’s happening on Craig Mazin’s blog.

The number of working location scouts vs. the number of working screenwirters is not necessarily due to the more rarified abititiy it takes to get the job done…it is more a matter of supply and demand. As one of several hundred working Location Managers in Los Angeles, I know from personal experience that on any given film there may be anywhere from 5 to 25 scouts or more working to find the perfect location(s) needed for up to a hundred separate locations per project. If each script written required 25 or more full time writers, there would be more of you I am sure. Telling us your talent is more rare and special than ours is probably not the best way to garner support especially as historically none of the unions have recieved that same support from the WGA (which I am sure will not be the case in the future). I have refused to cross the picket lines thus far as I believe we must all stand together as much as possible….but I think your sentiments could have been more tactfully phrased. That said, I truly do support your fight as do many of my peers and hope this ends quickly.

My Dad taught me the same thing — solidarity is what makes labor strong.

Karen, thanks for your information regarding the “reserved gate” system of attempting to contain picket lines. It seems to me that the studios are going to try to use this to allow UPS trucks and other delivery services onto the lots. I had thought the point of the picket lines, beyond the informational one, was to effectively stop all line-observing crews and services from entering the property.

When I heard that there was some dissatisfaction at Raleigh Hollywood due to UPS trucks not making deliveries, I commented that “Well, this is what happens during a strike. This is not business as usual and it shouldn’t be.” But the position of the people there, including producers, is that the picketers don’t have the legal right to be present at all the gates, particularly if the lot creates a “contaminated gate” as you put it, where the cast and crew would be compelled to cross a picket line in order to enter or leave the backlot. I told the person I talked to that he should be prepared for the fact that the picketers would not be very likely to obediently walk over to one gate while the trucks were going in and out through another. I suppose the argument could be made that you give them a chance to honor that condition (that all trucks and crew and cast go through the picketed gate) and then after you can prove that crew and crew vehicles are using the other gates, you go back to picketing all of them again. (In other words, showing proof of bad faith and all that) But there is a possibility that this may turn into a police matter and then a court battle. Hopefully it doesn’t come to that - that would be a distraction.

There is also apparently a lot of fear about the pickets extending to the early AM hours to keep the trucks from leaving for locations or to encourage the crews not to report. I maintain that 6AM-6PM would be more effective in timing, and that 5AM-6PM would be especially effective on Mondays and Tuesdays. For those people, including myself, who will not cross picket lines, this would make for a very different story than the current one.

Karen, the note about what a Good Union Member would do is wonderful, but it doesn’t reflect the onerous “no strike” clause, nor does it reflect things like the DGA’s stated instruction to its members to cross the picket lines if necessary to go to work. I totally agree with its sentiments that once you see the picket line go up, the very act of working behind the lines becomes far nastier - which would explain the queasiness I’ve been dealing with since the first line went up on Monday at 9A. But again, simply leaving my job without talking to anyone is an irresponsible act, especially in the AD department. The Good Union Member statements are very pithy, but they are not completely correct. My own guild has told me not only that I must report for any work call, but that I do NOT have the right to choose not to work on a studio that is being struck. The only option I have is to choose to leave the show, with basically a week before we’re shut down anyway.

I should also note that the Teamsters’ “conscience clause” does not shield them from being fired for refusing to cross the line. What it does is allow the fired driver to sue the company and eventually win on that point in court. But that would be a long way out, and in the meantime, the driver would still be unemployed.

Never piss on the money, Craig, never piss on the money.

If the negotiation is kept to the issue of money, no one has to feel pissed on. It ought to be strictly business, and no hard feelings. But that’s not what seems to be happening this year.

Considering that I covered more than 7500 scripts in my (way too many) years as a script reader, I can accurately say that writing a good script (good being the operative word) is so rare, so unusual, and so completely shot-in-the-dark that yes, good screenwriting is a very very very rare talent indeed, and yes, it’s far more rare than being a good location scout. What percentage of location scouts are good at their jobs? Eighty, ninety percent? I think Josh Olson is a great writer, top of the line. Dancing Sideways? Angels & Outlaws (or, previously, Life is a Hoss)? Last Train to Creation? They’re very solid scripts all of them, and I would look forward to reading one of Josh’s pieces every time they crossed my desk. He was one of a handful, a scant few I could count on as being actually, truly good. SML, you’re in there too. Diseased and Hanna are both really strong scripts.

But they’re the exception. I’d guess that of the working writers I read, fully two thirds of them were absolute crap.

So yeah, good screenwriting is far more rare than, say, good location scouting. I’d honestly say that isn’t speaking ill of location scouts — that’s speaking ill of screenwriters.

re # 38,

yup. craig is being played yet again. for a guy who went to princeton he sure is a sucker.

I don�t know how that happens when both sides have dug in and there�s so much poison in the air. This doesn�t feel like a labor strike, but a sociological war.

The AMPTP coins the money, the WGA wants more of it. It ought to be as simple as that — everyone in business understands that the two sides in an economic negotiation are vying for the most favorable cut of the money, and no one is really insulted when the guy across the table asks for more — or offers less.

What this year’s negotiations seem to include is a lot of emotional baggage. I fear that people on both sides will resist making concessions for fear of “losing face” and looking weak after talking tough.

How is it that just about every big-time director, hyphenate and actor has refused to cross the picket line, and yet a former board member who professes his love for his Guild like a schoolgirl is still crossing the line to work? And to add insult to injury, he defends his immorality by invoking the moral necessity of honoring his obligation to the people who lied, cheated and reneged on their deal with the Guild on Sunday.

What a naive, self-centered, delusional man.

Writers are gentle souls.

I saw a lot of “brook trout looks” out there yesterday and today, a term my high school football coach applied to any player gazing across the line of scrimmage with wide, soft eyes of doubt and apprehension at a coiled opponent ready to unload. While I’ve never met a successful writer who’s lazy, I know plenty who skirt confrontation like a visiting in-law.

And a strike is a direct confrontation, not an awareness rally.

A certain amount of nervousness and disorganization is to be expected at first (How many have ever done this before?). But while spirited chants and honking horns are good for morale, isn’t the whole point of a picket line to disrupt operations? I’m not saying lie down in front of a cube truck (yet), but don’t scatter at the first impatient wave out the driver’s window either. You’re supposed to be in the way, that’s the point.

Also, wear sturdy shoes — mine are motorcycle boots with treads by Goodyear. As the weeks pass, expletives shouted from luxury cars (#11) will roll less easily off your aching backs, and the replacement cost on a Xenon headlight bulb is an instructive example of the writer’s adage: action reveals character better than words.

Hey post 46, I couldn’t agree with you more. Even Ellen stayed away from her show for a day. That’s more than Mr. Mazin did.

He talks about what he would have done if he were president of the Guild. First of all, nobody wanted him as president. Second, it seems based on his action this week that his first priority as president of the Writers Guild would have been to cross his own picket line to direct his movie.

Like someone said the other day, he loves the WGA and Andrea Yates loved her kids.

Considering….

Wow.

Thanks, dude. Or dudette. As the case may be.

Not what I expect to run across here….

46 & 48
Wow, day two of the strike and already the cannibalism has set in — like the Donner Party, but the feasting is coming before the cold or starvation.

A GOOD UNION MEMBER KNOWS HIS RIGHTS

A. He has the right not to work behind ANY Picket Line.

B. He has the right to decide for himself whether to walk off a job being picketed.

C. He understands that his trade may be under attack next.

D. He knows that a two gate system means a PICKET LINE and he has the RIGHT NOT TO WORK, no matter how many gates the employer sets up.

What gums up the works is the must-work clauses in so many Hollywood union contracts. Messes up A, B and D above.

But point C ought to be reiterated at every turn. It’s the reason why other unions should support the WGA in every possible way during this strike. And it’s the reason why the WGA’s members should support the other unions when they strike.

Anyone know what lot Craig is shooting his movie on?

Since I spent my morning being a spotter at an unpicketed gate, I asked a lot of questions about the dual gate system and got a lot of good answers.

I know that the paperwork was filed by lawyers yesterday and given/served to the guild.

As far as I know it only pertains to lots that are not directly run by struck companies.

Basically, the guild would be in legal trouble if, once these papers are served, the picketers hinder third party traffic. So all gates but one are off limits.

If they get caught letting someone they shouldn’t through the unpicketed gates OR simply do not verify each and every person of vehicle entering OR leaving, the gate becomes “contaminated” and the guild is free to picket there.

So at 9:00 I find this out and am a bit chagrined that the only gate we can picket is on a side street with almost no public traffic. And I do like the honking.

Anyway, a couple of us are assigned to be “spotters” at a side gate to make sure the rules are observed.

And once everyone started to get the picture re: dual gates, they were very serious and professional about it. There was much consulting with the powers that be and they ended up putting out cones so no one would accidentally drive through.

As much as I’d like to report otherwise, the security personnel were great. We spent time talking to people all up and down their food chain, including the security company owner. Really good people.

And they turned away every single person that tried to get through there except people that actually worked for the lot itself. They made every other vehicle or pedestrian go back to the picketed gate.

There were people that were furious, there were people that were annoyed. Most heartbreaking were people that were very sweet and really, really didn’t want to cross the picket line. Meaning people like assistants or whatnot that really have no choice.

One fedex truck and one armored car left by that entrance, but none entered. But they were allowed.

A side benefit was that there was a small auxiliary structure across the street off the lot, that we “caught” using Universal trucks to unload set pieces and things for Las Vegas. After an incident report, picketers were brought over to picket that off lot building and at least two trucks wouldn’t cross it and parked on the side of the road and got yelled at on their cell phones for awhile, then eventually drove off without crossing the picket line.

They were good guys in a tough spot and I greatly appreciate what they did.

And I was REALLY skeptical about the dual gate thing, and still am, big picture. But less so after seeing how eager the security people were to follow the rules.

Anyhow, that was my experience. Since I’d never heard of it, maybe that helps explain it.

And I’d like to add that as much as I understand everybody that’s going all FIS*T, I think it’s important to remember who we are striking and who we want to inconvenience.

I think he’s filming on the lot of shuddupayouface.

I’d like to know how many writer-directors have walked off set, as opposed to writer-producers.

Considering,

I wonder if I could guess who you are… hmmm…

You’ve brought a tear to my eye.

Yours gratefully,

Seth Lochhead

To the moguls who are reading this (because I hear that you are),

The new Lew Wasserman is not John Wells, it is our own beloved Craig Mazin. Think about it, he’s not viewed as a Judas by the membership the way that Wells is, or at least he’s not yet. If you read this regularly, Mr. Mogul, you have to know that while Craig professes loyalty to us, he falls to your side more often. Furthermore, he’s already shown that he can be easily manipulated by you without all that much effort on your part. And perhaps most importantly, he has the megalomania and messiah complex required for the role. So give him a call. You can find him on the set of his movie. On your side of the picket line. Working.

You’re welcome.

After reading Nikki Finke’s account of the Sunday talks, I gotta wonder if the studios are torching the fields then salting the ashes.

It might be worthwhile thinking about long run strategy. Strategically, strike to the death and cause maximum pain aren’t the smart choices, because the studios have such deep pockets. The smart choice is to cause the maximum ratio of damage to the AMPTP as compared to WGA members — i.e. bend don’t break — or a sort of guerilla tactics.

If most members could withstand a 2-4 month strike, then it might work best to go 2 or 3 months, then cancel the strike, but don’t sign a deal. Go back to work without a contract. This leaves the WGA able to go out with SAG in the summer, who will certainly want a strike too if the WGA isn’t given a fair deal.

I’d imagine there’d be a strong chance of a lockout, but a lockout throws the responsibility for the town being out of work wholly on the AMPTP. Also, is there a standard cutoff time for force majeure? If you end the strike just prior to that, then the studios lose more money and it forces them to make the hard choice of whether or not they want to throw more money away by enforcing a lockout.

If the WGA just continues to work without a contract, then the studios never have stability — and are thus always vulnerable to more strike damage.


Finally, even if forced to accept an unfavorable contract, by returning to work prior to suffering damage that’s too severe, the WGA membership can build up its strength for the next contract renegotiation. The AMPTP likely doesn’t fully appreciate how good it was for their business to have 20 years go by without a strike. If it can be made clear to them that the temporary benefit they get by squeezing a bad contract out of the unions this time will only plunge them into a recurring cycle of 3-4 month strikes every 4 years, then the unions can show that they can cause significantly more damage than they suffer.

Anyway, just some thoughts.

47 and others - I disagree with the myopic view that disruption is the only way to “win” this strike.

A writer’s strike is a bit different from most other strikes.

In our case, disruption helps, of course, and shutting productions down will really force the issue… but what will win a writer’s strike is ultimately not having writers.

When people talk about making things as hard as possible on teamsters or other drivers or workers, I think they are not thinking it all the way through. You are risking doing more harm than good.

At the very least it is not as simple as people make it out to be.

I don’t mind the way we are starting this strike. I don’t mind flashing teamsters the peace sign as they reluctantly cross the line.

And I’ll bet you that as the strike heats up and we shift gears into shutting productions down in earnest - that guy I had sympathy for is going to help us more than the guy people stood in front of glaring.

Everybody needs to calm down a little and realize this isn’t ending tomorrow. We aren’t forced to decide how to strike forever right now.

The first step is letting the studios know that WE are prepared for and supportive of the strike.

The allies are fantastic and helpful and appreciated, but people need to worry more about just sending the message that we’re not giving in. That’s more important RIGHT NOW than causing collateral damage or trying to force teamsters to choose immediately.

We don’t need to be militant, we need to be resolved.

That may change. Until then, I’m flashing the teamsters a sympathetic grimace and a peace sign.

*People talking about shutting down the 405 and whatnot are a joke. What the hell does Murdoch care about the 405? We aren’t state workers. Pissing the public off profits us nothing.

Craig, the big cat looks like he is strangling the little cat.

Am I the only one who can only see the silhouette of the lamp?

• Ted

I�fd like to know how many writer-directors have walked off set, as opposed to writer-producers. Posted by: Tired out

Tired out, but no not tired out from walking four hours a day in a tight little oval the way the rest of us did.

Grow a spine, sad sack.

A writer�s strike is a bit different from most other strikes.

In our case, disruption helps, of course, and shutting productions down will really force the issue� but what will win a writer�s strike is ultimately not having writers.

I’m sorry, I’m confused. How and why is a writers’ strike different from other strikes?

What is the purpose of denying the AMPTP companies your services as writers if not to force them to shut down production?

And if shutting down productions will really force the issue, what do you gain from delay? Certainly delay costs your members employment, and they bear that cost from Day One of the strike. What would be the strategic justification for cushioning the companies from their share of the cost during the initial days — or weeks — of the strike?

And why would any members of other unions be offended if the WGA simply enforced its picket lines? If and when those other unions strike, wouldn’t they expect the WGA members to honor their lines?

How and why is a writers’ strike different from other strikes?

A writer�s strike is a bit different from most other strikes.

In our case, disruption helps, of course, and shutting productions down will really force the issue� but what will win a writer�s strike is ultimately not having writers.

I’m sorry, I’m confused. How and why is a writers’ strike different from other strikes?

What is the purpose of denying the AMPTP companies your services as writers if not to force them to shut down production?

And if shutting down productions will really force the issue, what do you gain from delay? Certainly delay costs your members employment, and they bear that cost from Day One of the strike. What would be the strategic justification for cushioning the companies from their share of the cost during the initial days — or weeks — of the strike?

And why would any members of other unions be offended if the WGA simply enforced its picket lines? If and when those other unions strike, wouldn’t they expect the WGA members to honor their lines?

How and why is a writers’ strike different from other strikes?

“I�m sorry, I�m confused. How and why is a writers� strike different from other strikes?”

I’m sorry you are confused. It seems pretty straightforward. You don’t see how our strike is different from, say, transit workers or grocer’s or auto workers?

They are all the same to you? Every case identical and with the same needs and concerns?

Come on, Stuart.

How long a list of things do you want?

For one thing, the difficulty of replacing is all over the map. The complexity of firing and replacing is much higher than most.

People may not, unfortunately, know the difference between bus drivers, but they know the difference between Family Guy and Quincy reruns.

For another, most strikes are about very clearly defined paramaters, cost of living increase, maybe health benefits. Our issues are incredibly complex and non-linear.

For another, we often provide both a service AND a product.

For another, a great deal of us wear more than one hat.

A strike is a complex issue. People need to stop simplifying it into comfortable, familiar boxes.

As to your other questions, not only have I answered them over and over in other threads, they are even answered in the post you responded to.

But, so you don’t have to scroll up too much…

“What is the purpose of denying the AMPTP companies your services as writers if not to force them to shut down production?”

You don’t see any distinction in HOW we shut production down? And that not writing does the job, too? There are a lot of tactics in a strike, you don’t need to keep restating your one idea over and over as if it is the only answer. It isn’t.

“And if shutting down productions will really force the issue, what do you gain from delay?”

Allies. Why is that so hard for you to grasp? People keep answering you and you keep ignoring their answer and restating your tired premise.

You want to force everyone across the Rubicon right out of the gate in some misguided idea that doing so will get a solution tomorrow. It won’t. Give our allies a chance. No need to shove it in their face within 48 hours. Be smart, be cool.

“Am I the only one who can only see the silhouette of the lamp?”

Using Ted�s question as a springboard� is anybody seeing Chinese characters popping up in place of apostrophes and commas? And if so, and you can read Chinese characters, does it actually translate to apostrophe and comma? That would be wicked cool.

Real Writer: I walked off set. No income for my family, and I’m NOT someone with a big bunch of dough. I appreciate everybody’s sacrifice on behalf of the strike.

However, I do NOT appreciate all the people who have no dog in this fight who insist upon criticizing the writers and the tactics of the guild.

And those same people who are so adamant about giving advice to the guild. Leave us alone. Go find another blog to spout on.

I’m a writer and a union man.
I’m proud to take collective action.

The studos and networks want to say that it is merely for “promotional” reasons when they put tv on the internet. But that’s simply not true. Otherwise the studios and networks wouldn’t sell all those ads on the downloaded shows.

Soon we’ll all be watching tv on our large computers in our living room. That’s what this strike is about. And it affects the livelihood of actors, directors, and crews.

My deepest appreciation and compassion goes out to the crew of the show i work for, the caterers, the actors, and everyone who is employed by the shows that are shut down.

We’re all in this together. TV and movies are collaborative. Anyone who has worked on set knows that, and also knows the kind of bonds that develop in production.

People who don’t know what this kind of work entails need to read and learn, not offer suggestions.

My family is suffering because of this.
But i know we’re not alone.

Everybody please read # 57 — I was wondering that myself. We actors are striking this summer if we don’t get a decent deal, and so are the other unions — all the problems with the WGA contract are shared by us all. So if we can limit the damage to US until we all go out together, that’s a real uber-union, no? See you on the picket line. I got orthotics today. This isn’t your father’s strike.

John 63,

Amen brother.

Re: Considering…NUMBER 43- You can read. Can you write? Everybody’s a critic. Ass.

Eve thanks for pointing this out.

Steven 57,

Very smart.

I would suggest one amendment: the timing of when we come off the line should sink up to a week or two before the TV season becomes a complete write off. We�ll work without a contract, get TV season back on its feet, and then pull it again. We could do this for the whole season, right up till June when SAG’s contract is up.

Everybody READ 57.

Jack M,

Amen brother. I hope this ends quickly and with positive results. I think it could happen if the AMPTP is willing to talk.

I know David Young is (from Variety):

“I think both sides want to continue negotiations,” WGA West exec director David Young said Monday. “We are not getting a divorce.”

And Patric Veronne (Hollywood reporter):

“So could the talks quickly get back on track? “We look forward to it, as soon as they have proposals for us on the issues we have been trying to talk about since July,” Verrone said.”

Both of these excerpts came from articles that have been replaced by Nikki Finke-type fear mongering. Ignore the fear stuff. They�re just trying to sell papers.

Stay positive, my man. I’ve been overly, harshly critical of the WGA on these boards, but my faith in them has grown exponentially. Cool heads will prevail. Veronne and Young seem to have two cool heads.

In answer to Travis (13), yes under both the BBC and PACT agreements with the WGGB, writers receive 5.6% of Gross Receipts. If you go to www.writersguild.org.uk you can click on Rates and Agreements and from there you can look at the relevant contracts.

The BBC has many faults but one thing they’re pretty good at is paying what’s owed in a timely fashion.

It’s mind boggling to me that American writers who’re producing truly international shows aren’t being given a fair shake. This strike is so obviously going to do to huge damage to American television and to a lesser extent film. For heaven’s sake just give the writers a cut and get back to increasing the size of the overall pie.

Location Team A here. Not one member has crossed a picket line. Journey on people.

a suggestion to striking writers: when people honk their horns at you in support, cheer or smile or wave your signs around. i was honking my horn at some picket lines in hollywood, and the writers just seemed kinda dazed (and hey, i’d be dazed too if i’d just quit my job and some guy was honking at me). i’m just afraid it’ll give drivers the idea that they shouldn’t be honking, that they might be annoying the picket lines.

But point C ought to be reiterated at every turn. It�s the reason why other unions should support the WGA in every possible way during this strike. And it�s the reason why the WGA�s members should support the other unions when they strike.

Too bad the WGA has that silly “No strike clause”

I thought I’d throw this out for those who are concerned a prolonged strike will force them into foreclosure on their homes.

Call your mortgage holder, ask about hardship programs, explain your situation, most will work with you. They really don’t want to foreclose, they’re having too many problems in this area right now. In fact, you can negotiate with all your creditors.

And about the corporations benefitting from this strike, actually planning on it … the congloms have made mistakes in the past. There are many variables at play. Some of them, completely unpredictable.

I was pleasantly surprised to see certain presidential candidates coming out to support WGA. Of course it makes sense, they want votes.

It’s an angle writers can exploit. Write to the sympathetic candidates — California has a lot of electoral votes.

Craig,

I found this in another thread.

From Craig Mazin:

“Furthermore, I�m concerned that while the middle-class does get residuals (everyone loves that green envelope), it�s the rich guys like me who will ultimately benefit the most from increased residuals. So part of my worry about the strike is that rich showrunners and rich screenwriters have mobilized thousands of not-rich writers for an issue that happens to credit the top 10% of earners more than anyone else (because we tend to be credited more frequently).”

That was truly well put.

“Point C ought to be reiterated at every turn. It�s the reason why other unions should support the WGA in every possible way during this strike. And it�s the reason why the WGA�s members should support the other unions when they strike. Too bad the WGA has that silly �No strike clause�”

As I understand it, revoking the “No strike clause” is on the WGA’s list of demands. I don’t know if it has ever been so in the past.

As a working writer and WGA member, I agree, absolutely, that WGA members should support the other unions when they strike, because, I do believe, as is said, “We’re all in this together.”

Patrick Meighan Culver City, CA

Okay Craig, so now people are doing what you said they would never do. That means it?fs time for you to step up to the plate and walk off the set of your movie. If you really love the WGA as much as you claim to, you will do this to help save our union from destruction.

So, people aren’t doing what I said they would never do.

What I said was that no feature film director would walk off his set, because they have a valid union contract and a valid service contract.

The people you’re talking about are producers, who do not have a valid union contract, whose non-existent union has not ordered them to continue working, and who do not direct features, which are stand-alone, one-time productions.

It’s not even close to being the same thing.

Grey’s Anatomy will not go away. The crew will not be dumped.

So I, like every other feature director working, will not walk off my set and will not abandon my crew.

See J.J. Abrams, who starts directing this week, I believe.

Anonymous Because It’s Offered:

“To imply that a director shouldn�t fulfill their obligation to direct a greenlit movie not only isn�t fair, it�s invariably asked by people who don�t wear both hats.”

I don’t wear both hats, I thought that was pretty obvious. I didn’t realize it was an unfair question (which I also thought was pretty obvious). I don’t know a lot of things (which is also pretty obvious). This is an informative site. I had a question, which I thought I’d asked pretty nicely, because, you know, I don’t know how it works. I implied nothing. I just truly didn’t know the answer, so I asked.

I’m still not entirely sure I understand the difference is between feature hyphenates and TV hyphenates during Strike time. I understand that JJ Abrams was out there picketing with the LOST writers. Since he’s got a feature in the works, is it a whole different ball game, RE: the Strike?

Thanks for any answers.

Sincerely,

Josh:

I think you’re in love with me or something.

I find it fascinating that someone who comments on my blog with zero filter, zero lack of concern for other’s feelings, a highly reduced level of civility and a palpable need to stir up shit is now lecturing me on the importance of restraint.

If Nikki Finke reads my blog (she appears to) and misinterprets or conflagrates, so be it. That’s not my problem. I don’t live my life according to how I might be misunderstood. If I am, I’ll do my best to clarify.

I would think the fact that I provide guys like you a forum to bitch and moan about every single word I write ought to be enough of a show of good faith and consideration for criticism, alternative points of view and my general appreciation for the value of dissent.

No matter how intemperate it may be.

Craig,

I’m not calling you a bad person, and I’m not attacking, and I realize that ultimately, we have to make our own personal decisions on these things.

That said, as a striking Guild member, I do wish that you would follow the example of nearly every show-runner in this industry and halt all work of any sort on your current production: the film you’re directing.

I don’t, personally, understand the qualitative difference between a tv writer-producer saying, “The Alliance will get no more work from me, including casting, editing, notes, etc., until a Guild contract is signed” (as almost every showrunner has now declared) and a feature writer-director saying, “The Alliance will get no more work from me, including direction, until a Guild contract is signed” (as you have not yet declared).

The former group is helpful to the Guild’s cause, by causing financial hardship to the Alliance, thus, hopefully, increasing its incentive to settle rapidly, and at terms advantageous to the Guild. The latter group could be just as helpful to the Guild’s cause, and in the same way… if only it would step up and do likewise.

I’m asking you, from someone who loves the WGA, to someone who loves the WGA: do like the showrunners, Craig. Please. Walk away from your production.

Patrick Meighan Culver City, CA

If Craig walks from his directing gig, he will be immediately replaced. So Craig walking from his job as a director would be a pointless exercise that would only serve to harm him more than he is already being harmed by striking as a writer.

The showrunners will not be replaced. Their shows will stop. That has a point.

“Grey�s Anatomy will not go away. The crew will not be dumped. So I, like every other feature director working, will not walk off my set and will not abandon my crew.”

Almost every showrunner has walked off their respective sets… not just showrunners for hits (like Grey’s Anatomy), but showrunners for not-so-big-hits and even misses. It’s possible, or even likely, that many of those latter shows will “go away”, and their crews will “be dumped”, as a result of the interruption caused by their showrunners “walk(ing) off (their) set”s.

I’m quite sure that the crews of every tv show (including hits like Grey’s Anatomy) prolly feel “abandon”ed by their showrunners’ choice to “walk off (their) sets”… putting said crews in the position of scrambling for work weeks earlier than they’d planned. I feel for those crews, and I recognize that it was prolly an agonizing choice for those showrunners, but I’m so very grateful to the showrunners for making that tough choice, as it increased the Guild’s bargaining leverage… in the same way that you would, Craig, if you were to make the same choice.

Bottom line, Craig: the showrunners all still have contractual responsibilities to fulfill on their respective jobs, and, by and large, they’re currently refusing to do so, even if it causes hardship to their respective crews, because they want to give the Guild negotiators the maximum possible leverage with which to strike a quick and fair deal with the Alliance. You, similarly, still have contractual responsibilities to fulfill on your job, and you’re opting to fulfill them, which is a good deal for your crew, no question, but also a good deal for your studio (and the Alliance), as it gives them needed product and decreases it’s/their incentive to strike a quick and fair deal with the Alliance.

I recognize it’s a tough decision, and, again, I’m not calling you names or thinking you’re a bad person or something. But as a WGA member, I do request that you reconsider your decision, Craig. Please, do as the showrunners did: walk away from your contratual obligation and give the WGA that much additional leverage.

Patrick Meighan Culver City, CA

Okay, I think this is the point I don’t understand — and I’m positive it’s on this site somewhere, but can’t find it at this early hour. If someone could explain it to this idiot, I’d really appreciate it (note: “this idiot” means me).

What has the DGA said about support of the strike? What are the repercussions if a feature writer-director walks off to support the WGA? I understand that the studio will replace the director, which would, you know, suck for the writer-director. Am I correct in assuming that the crew of that shoot would remain safe?

Sorry, I truly and honestly don’t understand.

Respectfully,

“If Craig walks from his directing gig, he will be immediately replaced. So Craig walking from his job as a director would be a pointless exercise that would only serve to harm him more than he is already being harmed by striking as a writer.”

We’re all being harmed. And as Craig has pointed out in various threads, he’s quite financially capable of absorbing the harm.

That said, assuming what you describe above would come to pass, Craig’s replacement would certainly be worse at directing Craig’s movie than Craig would. I’m sure we all agree to that. So the product would suffer, and the studio’s financial take would suffer as well.

Is that, in and of itself, a big knife to the Alliance’s heart? Would it bring the Alliance to its knees? No, and no. But small injuries, inflicted by many of us, is what causes cumulative damage to the Alliance, incentivizing them to strike a deal with us more rapidly, and at terms advantageous to the Guild.

My individual choice, as an individual writer, to walk away from my individual writing job at “Family Guy” on Monday is also not a big knife to the Alliance’s heart. But when that choice is made by many (which is to say all) writers, the small injuries accumulate, and cause pain to the Alliance, and incentivizes it to strike a deal with us more rapidly, and at terms advantageous to the Guild.

Again: Small injuries, inflicted by many of us, causing cumulative damage to the Alliance.

Patrick Meighan Culver City, CA

p.s.: Also, assuming what you describe above would come to pass, Craig needn’t worry about harming his crew (i.e.: “The crew will not be dumped”). The only people harmed would be Craig (who can afford it, he says), and the studio by virtue of having an inferior product to exploit… and that, of course, is the whole point of the strike: to deny the Alliance high-quality product to exploit, causing them financial pain, which will incentivize them (etc.)…

In any event, which is it? Would Craig’s walking away be an unnoticable hiccup in the film’s production? Or would Craig’s walking away be tantamount to shutting the film down, forcing the crew members from their jobs? Both can’t be true.

Patrick: IMO the only way to injure the Alliance, even a small injury, is to stop production. Craig’s leaving would not stop production, it would only mean a replacement. And whether that replacement is a better director or worse probably has no bearing on how much money the movie ends up bringing in.

A showrunner stopping his/her duties is another story — even if the showrunner is eventually replaced (seems unlikely in the majority of cases), the production stoppage is immediate and timed to inflict damage during a crucial TV production period.

I just don’t see Craig leaving his directing gig as having any effect whatsoever except to damage his ability to be a writer-director in the future, and gosh knows we (writers) need more guys with that kind of power.

(With all that said, I sincerely thank you for your sacrifice, Patrick.)

Patrick wondered:

I don’t, personally, understand the qualitative difference between a tv writer-producer saying, “The Alliance will get no more work from me, including casting, editing, notes, etc., until a Guild contract is signed” (as almost every showrunner has now declared) and a feature writer-director saying, “The Alliance will get no more work from me, including direction, until a Guild contract is signed” (as you have not yet declared).

Yes, it’s clear that you don’t understand.

Showrunners, those lovely people who report very little of their income to the WGA for dues purposes, are able to do so because most of their money is earned for producing.

Producing is not employment in terms of labor. It’s independent contracting. There is no labor union for producers.

Directing is labor, and I do it as part of a labor union.

So I’ll ask you this question.

Patrick Meighan of Culver City…when SAG’s commercial actors went on strike in 2000, did you stop writing?

If you did, then I will tip my hat to you sir, declare you to be morally consistent in all ways, and slink off to my set to direct…soaking in my own shame.

But I suspect you didn’t.

I suspect that for all of your “everyone doing another union’s work should stop doing that union’s work while OUR union is on strike” talk, you kept working.

I bet you shopped at Vons and Ralph’s during the grocery workers’ strike too.

I have been ordered by my other union, to whom I have sworn to show the same loyalty and obedience as that I show the WGA, to show up to work and keep working.

I haven’t crossed a picket line yet, and I hope to God I’m not faced with that choice.

Understand that every time you compare what I’m doing to what an independent PRODUCER is doing, you’re holding me to the standard of an EMPLOYER.

Okay?

The AMPTP stands for alliance of motion picture and television PRODUCERS.

Shawn Ryan and Shonda Rhimes are PRODUCING their shows.

They hire and fire writers.

They’re MANAGEMENT.

If management wishes to rebel against their brethren, I’m all for it.

Stop thinking that the director, who is HIRED by management, is the same. It’s not. I’m in a union. I have a union job. Like every single actor on my set, I’m showing up to work under a valid union contract.

But like I said, if you put your pen down in 2000 in solidarity with SAG, I’ll really have to reconsider your saintliness.

Craig,

“I find it fascinating that someone who comments on my blog with zero filter, zero lack of concern for other�s feelings, a highly reduced level of civility and a palpable need to stir up shit is now lecturing me on the importance of restraint.”

Ah, civility and feelings. Stop it, or I’m gonna get all misty eyed.

This isn’t about civility and feelings. It’s about what the function of this blog is. It goes beyond opinions. The other day, you posted misinformation about the Warners picket lines. Last night, you start addressing the “issue” of the below the line/above the line schism, even though such a thing isn’t really happening out there. It’s as though I started talking about the issue of comedy writer/directors who are working through the strike and drama writer/directors who aren’t. No such thing is actually happening. It’s just a couple idiots blatting at each other on the internet.

But here’s the thing with you - you know EXACTLY what I’m talking about, and so do most folks who read this page (God, do they ever. Come out to the line and find out just how many). But you keep playing the disingenuous card that plays with your peanut gallery here, and that’s fine. Just know that there’s a difference between a blog full of opinions from a writer, and one from a self styled voice of the guild who also dispenses “news.”

Yes. I know. You speak for no one but yourself.

There’s a line I respect that you don’t, and that’s your right. But for all the shit I’ve posted, I’ve never gone after anything but what people write online. I’ve never posted rumors or news, and like many of is out here, I don’t particularly appreciate someone breaking “news” about our strike, especially when that person is A) wrong and B) not out here with the rest of us.

And trust me, bubba - if I were inclined to post rumors, they’d be solid, and man, would they be good.

“I would think the fact that I provide guys like you a forum to bitch and moan about every single word I write ought to be enough of a show of good faith and consideration for criticism, alternative points of view and my general appreciation for the value of dissent.”

I appreciate that you don’t yank too many posts. However, you don’t have a lot of choice in the matter. If you did, it would get out pretty quick.

PS: And while I will continue to hit my points here hard, I will also continue to say that I cannot knock your decision to stay on the set of your film. And should you find a line blockading your set, I won’t envy you.

PPS: Where’s your set today, buddy? Heh heh.

Balance is one of my favorite things.

I agree with #57. Some of the best ideas yet, but I have to wonder…

Will the AMPTP see any early capitulation by the WGA as “okay, now we got ‘em” and refuse to come back to the table? Or worse yet, treat us like the air traffic controllers and say, “nah, never mind. this season’s shot. we’ll start over with (newbie, cheap, grateful) staff writers next season”?

It’s hard to know what’s what, but it’s early yet. Until then, I’ll be out there SAGging on the picket line. :)

Craig writes:

“Patrick Meighan of Culver City�when SAG�s commercial actors went on strike in 2000, did you stop writing?”

Is Patrick a member of SAG? I’m just asking. If not it doesn’t seem to be a pertinent counterpoint to Patrick’s post.

Does the WGA have any allies hiding in the AMPTP?

And what, if anything, is this federal mediator doing to get everyone back to the table?

I don’t suppose everyone here can stop taking swipes at one another and focus on what needs to be done to get everyone back to work, but all this hostility sure is an awful lot of wasted energy and not particularly constructive.

Josh Olson: “…I don’t particularly appreciate someone breaking ”news” about our strike, especially when that person is A) wrong and B) not out here with the rest of us.”

This is an important point worth repeating. Craig may claim that he knows he’s not a spokesperson for writers, but his posts suggest he thinks otherwise. But any privileged soapbox position Craig may have had before the strike, he’s pretty much lost it now. He may not be “management,” but working (even on the order of another union) while the WGA doesn’t means that he has a vested interest in a particular outcome that is not the same as writers’ interests. He may not be AMPTP, but now he’s equally not WGA.

Worth reading this morning: Michael Winship’s contribution to Buzzflash —

http://www.buzzflash.com/articles/contributors/1422

“Why We Want Our Words’ Worth”

hey do you guys call producers the names you are calling them now at your job interviews? two-faced is sooooo hollywood.

There’s a shoot going on about four blocks from my house. I sure wish I had some picket signs.

Suz

All this ruckus about writer-directors not torpedoing their films is another argument in favor of waiting and going out arm-in-arm with SAG. No SAG, no films. No films, no conflict of interest.

SusanC and munoz,

Going back to Craig’s Patrick Meighan analogy… let’s perform a thought experiment. Let’s say that Patrick was a member of SAG during the commercial actor strike of 2000, and at the same time a member of the WGA.

Is it your position that, yes, under those conditions, Patrick should abandon all of his writing assignments the moment SAG declared its strike?

And further, suppose that the WGA ordered him and all other actor-writers to honor their writing contracts during the actors’ strike. Does that change your answer at all?

And if, after all that, you still say that he would be disloyal to SAG if he continued to write, then answer me this: is it really your position that people only owe loyalty to whatever union of theirs is on strike at that particular moment?

Just wondering.

Mr. Mazin. Just to correct your statement: “Grey�s Anatomy will not go away. The crew will not be dumped.” GA will stop production next Tuesday. Fits my definition of “going away.” Also fits my description of “dumped.” The cast will get 1/2 salaries for several weeks, then either get paid off for the season or let go of their contracts. I suspect that ABC Studios won’t want to “dump” them. And if they do? I think P. Dempsey would love to be able to do other things. And Ms. Heigl. BTW, 1/2 of $200000 is…? Per week. I know, there’s agents and taxes, so maybe $50000. Per week. I could survive for 6 months on $50000. Instead I’m getting “dumped”.

I know David Young is (from Variety):

�I think both sides want to continue negotiations,� WGA West exec director David Young said Monday. �We are not getting a divorce.�

And Patric Veronne (Hollywood reporter):

�So could the talks quickly get back on track? �We look forward to it, as soon as they have proposals for us on the issues we have been trying to talk about since July,� Verrone said.�

You notice that the dialogue from these two characters is on-the-nose, yes? These quotes are part of the spin cycle from both sides, portraying themselves as perfectly reasonable “cool heads.”

However, if you look at the run-up to the strike, it’s precisely these “cool heads” that failed to meet at the bargaining table more than a half-dozen times and postured as tough guys ready to give the other side what-for.

If cooler heads were set to prevail right now, there would be direct bargaining between the two negotiating committees. That there is not tells you that the two sides don’t feel that there is anything to gain by talking right now. For them to change their minds and favor face-to-face bargaining, they have to perceive a change in either their own situation or the other side’s that shifts the balance of power.

I don’t think any such change will be forthcoming for weeks, if not months. I don’t see what could happen before then to shift the balance of power — unless, perhaps, the union applies more muscle and shuts down more production.