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.

So Craig shouldn’t use his own website to address a schism appearing on his website?

Strikes me that’s exactly the place TO do it…

Shoulda left it in the comments? Maybe. But I don’t think there’s anything to fear from opening the debate out a little - for the sake of addressing the many who read but don’t post, who may not even read the comments but have turned the issues over in their own heads.

Anyone who bases their journalism on a single blog entry without any further research shouldn’t be doing their job - ISN’T doing their job - and is far more deserving of scorn than the writer who responded to a debate going on in situ.

Josh:

I’m not a self-styled voice of the guild. You’ve styled me as such.

Secondly, I enjoy your catch-22’s. I can’t eliminate dissent, because “it would get out there.”

Really?

And then what would happen?

Would I get beaten up? Killed? Lose my job?

You continually fail to understand that because I make no money off of this site (and here’s one good reason why…guys like you who presume malice at every opportunity), there is absolutely no down side if people stop coming here.

I don’t advertise. I don’t ask anyone to come. I never have.

But you keep coming.

No gun to your head or nothin’.

I think you have to accept the fact that I allow and even promote dissent on this website BECAUSE I VALUE IT.

The thought that not every single choice I make is motivate by pure evil must be killing you.

�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.

Shutting down production by enforcing your picket line isn’t a hostile act against the other unions. It’s a demonstration of union solidarity. Must-work clauses can easily be enforced against individual workers who honor a picket line out of conscience, but are much harder to enforce if the vast majority of the workers in a given union honor the line en masse, especially if they can use the strong enforcement of the picket line as cover. And the other unions would be grateful for a show of solidarity that let them know that the WGA wants a strike as effective — and therefore as short — as possible, one that will accrue some respect for labor that will reflect onto the other unions as well.

When the other unions go out on strike, I bet they’d be grateful and happy if the WGA writers honored their lines — must-work clause be damned.

As for any allies on the other side — producers sympathetic to the WGA — I’d say that they ought to understand better than anyone the value of strong strike action. If this wasn’t the time for “shoving it in their face” (whether they are sympathetic producers or btother unions), seems that calling a strike was premature — as opposed to putting up informational pickets.

This is a kinder, gentler strike that one’s I’m used to.

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

This’d be analagous if I were both a SAG commercial actor and a union commercial director (if there is such a thing), and, when the SAG commercial strike were called, I continued to direct those same commercials. Directing those commercials would certainly not help the SAG commercial actors’ cause, and might be especially hurtful if I’d declared (on multiple occaisions) that I declared myself a commercial actor, first and foremost. As I recall, you’ve made just such a declaration about yourself, as pertains the writing profession. Have you changed your mind, Craig?

“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.”

That’s a mischaracterization. Here’s the talk: “everyone belonging to OUR union should stop doing work that helps our negotiation adversaries while OUR union is on strike.” It’s good enough for James L. Brooks. Is it not good enough for you, Craig?

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

You lose your bet. You actually lose it by a longshot, as I participated in sympathy picketing with the grocery workers twice a week. Further, I got voluntarily arrested with the hotel workers on Century Blvd. last year, in sympathy with their struggle to bargain collectively. So there that is.

That said, I don’t really know how my union bonafides became an issue here (unlike you, I’m not a former WGA officeholder, nor am I regularly interviewed and quoted as some sort of defacto voice of the Guild membership), but there it is.

“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.”

Again, have you changed your mind about being a writer, first and foremost? Is the Writers Guild of America, at the end of it all, simply another guild to you, one of multiple guilds to whom who have “sworn to show the same loyalty and obedience”? If so, that’d totally okay, and there’s nothing inherently wrong with it. I’d just encourage you, Craig, to simply declare that here and now, and also, perhaps, to rename your blog.

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

I hope you are faced with that choice, Craig, as it appears you need to be confronted with the reality of that choice, one which you are, make no mistake, already making. Craig, whether you physically cross a picket line while directing or not, be clear with yourself: you, while being a member of a union on strike, are doing work for the company being struck, which harms the bargaining leverage of the union (your union) doing the striking. Yes, you swore to do that work, and are legally bound to do it. Well, so have the showrunners (whether they be “PRODUCERS” or as “DIRECTORS”). The showrunners made one choice, you made a different one. Know that you did, and know that it was your choice.

“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.”

Steve Carrell has a union job too. He’s got a valid union contract. What did he choose to do? Something very helpful to the writers’ cause… and he’s not even a former WGA officeholder, nor is he regularly interviewed and quoted as some sort of defacto voice of the Guild membership, nor does he declare himself to be a writer first and foremost, nor does he have a blog about the writing life. I’d assumed the above were true about you. Was I mistaken?

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

I’m no saint, and I don’t purport to be one. I’m a striking writer who asks my fellow strking writers to do all that they possibly can to apply pressure to the studios, so that this strike ends rapidly, and at terms favorable to the Guild. Many of my fellow writers have done so. A few have not. I wish, Craig, that you were one of the former. And you still could be. At present, however, you are one of the latter, and that’s too bad.

Patrick Meighan Culver City, CA

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.

That used to be the definition of a strike. USED to be, before labor unions went into a tailspin — or is that a death spiral?

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.

Now would be a good time, if you’re willing, to tell your other union that you can’t follow their order to work at the same time that you’re on strike. It would be especially effective if you could persuade a majority of the DGA to make the same commitment. I know that it violates legally binding contracts, but if there is a time for that kind of civil disobedience, a strike is that time… isn’t it?

You’re creating a mountain out of a mole hill. Get out there on the picket lines. Your impression is wrong.

I haven’t checked this blog in a while because I saw that it was quickly becoming irrelevant as soon as the strike hit.

I said it before when I called it tired and you disagreed. Looks I saw the writing on the wall.

Your comments have degenerated into bickering and nonsense almost completely detached from reality.

Then you write this provocative post saying writers are better than other people. I live in a neighborhood with showrunners, A.D.s, directors, prop masters, etc. We don’t all see eye to eye, but this is a union town, and we’re all in this together. We adults now that and can live with different opinions.

You’re quickly becoming irrevelant. You’re now the guy who’s sitting in the wings, crossing picket lines (metaphorically) on your film, waiting to say “I told you so.”

I want to add that you made your choice to support the struck companies and you will always be remembered as that guy.

The guy who created a platform for himself, the took his stand against his own union. You could have been a hero like some of the showrunners, but, instead you are an outcast.

Even if the strike doesn’t go our way, that’s not going to change.

A key issue in the future relationship between the producers and writers is the verification of gross income (for eventual internet residuals and payments). Everyone jokes about “Hollywood Accounting”, but it is no joke.

Can someone tell me what our friends at the IRS seem to be ignoring, while the honchos pretend to be losing money on every project under the sun?

I strongly agree with one comment posted on this site about the main goal of the producers and studios is to HIDE THE MONEY. If they can hide the money from the omnipresent IRS, they can sure as hell hide it from writers, actors, and directors.

No solution will work (regardless of how large a chunk writers finally achieve) until this decades old scamming called “Hollywood Accounting” becomes as clear as glass.

Oregon Writer

It would be nice if we could all band together, but unfortunately, writers do generally have an elitist attitude. A writer on my show lives 3 houses from me. I introduced myself to him a few weeks ago, and has he once taken the initiative to say “Hi neighbor” at work? Nope, he doesn’t even see me even though we have crossed paths many times. My supervisor is an old hand at pickets and protests. She had to drive through the lines at Universal several times yesterday and said the picketers were awful. They talked amongst themselves, and never tried to engage anyone driving through the gates in a “Hey, support us” kind of way. They just kept up their “better than anyone else” attitude the whole time. When I left work before 5 pm, driving through one of the main gates of Universal, there were no picketers. Wow, first banker’s hours for the picket line, and then you can’t even stay until 5? Not very impressive for a group of people who have basically destroyed the show I’m working on.

Craig,

Asking Patrick if he supported the SAG commercial strike is disingenous. Patrick isn’t also a member of SAG. You are a member of both the DGA and the WGA, in fact, as you may recall, you were a board member of the WGA.

Steve Carell walked off the set of the Office. I don’t remember Steve being on the board of the WGA. Even Ellen didn’t show up for a day. Start there, Craig, don’t show up for one day. One day. You think you’d be replaced for a one-day protest? Wow, then you must have just barely gotten the gig in the first place.

Also, how can you have the audacity to say you haven’t had to cross a picket line yet? Because you pull in at 5:30 AM before we’re out there, you think that working all day long while we’re picketing out front doesn’t count as crossing a picket line, because you then peek out your window and make sure we’re all gone before you leave for the night? Wow, that is self-delusional.

And if your set is not on a lot that’s being picketed, then tell us where it is. Or are you against WGA members picketing where they have the right to picket.

I know, I know, you’re honoring your obligations, most moral mortal on Earth. You are such a beacon of ethical light in these troubled times. I’m waiting for the Mazin Institute of Ethics to open its doors.

I�m a striking writer who asks my fellow strking writers to do all that they possibly can to apply pressure to the studios, so that this strike ends rapidly, and at terms favorable to the Guild.

The thing that confuses me — yes, I am still confused — as a wannabe member of the WGA is why members of the WGA would NOT want to do all they possibly can to apply pressure to the studios, so that this strike ends rapidly, and at terms favorable to the Guild. A strike effective enough to be short is in everyone’s interest — WGA, AMPTP, the other unions, the public. Bargaining for economic terms ought not to be viewed as a clash of Titans for industry supremacy, but a business transaction (production companies negotiate contracts with suppliers all the time). Applying all of the available tools of leverage — including stopping the work of other unions sooner than later — should not be construed as something motivated by animus but by economic necessity.

Why and how am I wrong about this? Why does it seem obvious to me when others find it controversial or “militant”?

Someone please enlighten me.

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.>/blockquote>

Josh, I honestly appreciate that. So far, I haven’t had to cross any lines. I hope to God it doesn’t happen. And if there are picketers anywhere near where I’m shooting, I’ll try my best to ferry craft service out to them.

I’m assuming you’re a member of a union — if so, I have a serious question for you.

If the WGA pickets on your show were more diligent about enforcing their picket lines and gave your union a pretext for ordering its members not to cross, would you view that as a hostile tactic directed at you and your union, or as a valid strike tactic intended to show some labor credibility and solidarity?

In other words, would an effective effort by the WGA to shut your show down right away make you feel ill-used by the WGA, or would you feel that the WGA was finally joining ranks with its fellow unions?

“And if your set is not on a lot that�s being picketed, then tell us where it is. Or are you against WGA members picketing where they have the right to picket.”

That’s a great idea. Craig, as a WGA member (and former WGA officer), you should tell your Guild bretheren where that film is shooting, so that Guild picketers can be sent there.

That information would be of great value to the WGA, a union that you have declared allegiance to in the past, and to your fellow practitioners of the craft after which this blog is named. Perhaps your allegiances have changed, however. Which is fine, too. But, if they have, could you please let your fellow writers know, and perhaps let your blog title reflect that change?

Thanks.

Patrick Meighan Culver City, CA

Veronica, I’m sorry the writers on your show are assholes. It worries me to hear people say things like:

Not very impressive for a group of people who have basically destroyed the show I’m working on.

Do you see this strike as a situation caused and created by writers alone?

Beyond that,(and this may be premature, but…)I keep thinking about what Joss Whedon and one of my radical thinking friends have to say about the prospect of looking beyond the AMPTP.

Maybe, should the strike continue at length and the SAG and DGA follow suit, new media can help sustain writers, actors and directors and give the current purse string companies in the AMPTP something to worry about.

Perhaps, the sticking point could be a shelter in the storm or even another way to approach an inevitable, very viable, direction, entirely. If the AMPTP can’t figure out how to compensate, find companies that can (or, on a smaller scale, get it firsthand).

There are several upon several forward looking companies with money to throw at such ventures - internet, cell phone, iPod content and the like - written, performed and directed for companies so far outside the industry and its conventions it couldn’t possibly breach strike rules and ethics (?). Shit, maybe the guilds could actually get together and sponsor/coordinate such things and will then know how these mysterious new media revenues work, since the other guys are flummoxed by the extra money in their pockets.

Opportunity works in strange ways, sometimes, and opportunity that doesn’t include the AMPTP may be the leverage needed to bring about a fair deal.

Yes, I’m naive. I admit. But, not realizing something can’t be done, often proves it can be done.

Craig -

With all do respect. Not to recognize that from the press POV you have become a defacto go-too spokesperson for writers is disengenuous and naive.

You know better. We know better.

For those of us who don’t always agree with you, it’s slightly unnerving to see you quoted over and over as the only WGA member voice in many articles/ radio shows.

You didn’t create it, but you certainly use it.

So please, at least be honest about that. Cause I know you’re a real smart guy.

On a more positive note, one cool thing about picketing is meeting all the other writers, getting different back stories, etc. To paraphrase someone else ‘my legs hurt, but my heart feels good.’

Craig and Ted,

What do you think of Eisner’s comments in the Reporter today?

He has a point, yes? Wouldn’t the Guild’s case for an improved downloading/internet deal be more compelling if you could actually point to a mountain of money the studios have already made, and then point to your pittance?

Given that you know you’re going to have to fight for an improved share anyway, why not wait until that share is really worth something? In a sense, to get what you want, you have to ‘shame’ the AMPTP into giving it to you, right?

If no one’s really making money downloading/streaming TV and movies right now, what’s the shame in not wanting to cut you in?

If it wasn’t making money, they wouldn’t be doing it. There doesn’t need to be a mountain of money. If a penny exchanges hands, the writers are entitled to a piece of it.

there are approx. 580 Loc. Mgrs. And assistants in local 399. my understanding is there are 8000 or so members of the Wgaw. We seem to be the rare birds. An assessment you’d no doubt share after attending one of our meetings.

just for the record.

Observing your lines….

120 do you ever leave your house? cuold you possibly be more ignorant to the ways of business? youtube was losing assloads of money until google bought them, and no one has shown google is making any money of that venture. of course their stock shot up higher in value then what they paid to buy it so it was a good move.

What Eisner said as reported in THR:

“For a writer to give up today’s money for a nonexistent piece of the future — they should do it in three years, shouldn’t be doing it now — they are misguided they should not have gone on the strike. I’ve seen stupid strikes, I’ve seen less stupid strikes, and this strike is just a stupid strike.”

The former Disney boss, now founder of the Tornante Co., suggested that studios had embarked on a “harlot’s parade” over the past few years when they had talked up the potential of digital revenues to a point when they could not back down.

Writers, he said, were striking for a piece of “a nonexistent (revenue) flow.”

I disagree with Eisner on several grounds:

1) The media companies have a good idea of what money is in the pipeline from new media. Eisner makes reference to that fact in his “harlot’s parade” comment: the studios are investing in new media precisely because they’ve done business studies and forecasts of the potential revenue and anticipate good odds of making back those investments.

2) “A piece of a non-existent revenue flow” ought to be easy for the AMPTP companies to give up. If the WGA is asking for a percentage of zero, then that means zero cost to the companies. Their reluctance to offer anything there means they expect the revenue flow to be significantly above zero sometime in the near- to intermediate-term.

3) The WGA would be making a significant mistake if they deferred it for three years without any commitment from AMPTP. This is the time to set a stake in the ground to mark new media as territory for the WGA to claim rights. Rather than “we’ll revisit whether to give you anything three years from now,” the WGA should offer “We’ll take X percent now and see if it needs to be raised in three years.”

Doesn’t that make sense to you?

Wow! When I first found this site, I thought the bickering was amusing, mostly because it was simply harmless arguing between colleagues. What I see now is one of the reasons I, and many others, find unions so distasteful. The hate just seems to be so pervasive that many union members don’t seem to want to contain it to the people they are striking against, but to anyone they perceive is not behaving in a way they don’t feel is completely supportive of their cause. It reminds me far too much of Bush’s quote “Either you are with us, or you’re with the terrorists” that tore your country apart and caused so much backlash against the US internationally. Changing the name to `freedom fries’ was one of the saddest, yet unintentionally hilarious things I have ever seen.

Craig is doing what he feels is right. Maybe you disagree. He’s certainly not alone. When you attack him and others, it reflects extremely badly on the guild you are so proud to represent. How is that helpful?

Anon 122,

You’s dumb.

“Wouldn�t the Guild�s case for an improved downloading/internet deal be more compelling if you could actually point to a mountain of money the studios have already made, and then point to your pittance?”

As I understand it, this was the argument that the Guild swallowed in ‘85, when the subject was VHS residuals. No one was making any money, so what was the harm in taking a lousy percentage of nothing? We could always try to increase it later.

It was a mistake that cost the writers, probably, hundreds of millions of dollars, as home video (and DVD) became ultra-lucractive. And, of course, no increase ever came.

“Given that you know you�re going to have to fight for an improved share anyway, why not wait until that share is really worth something? In a sense, to get what you want, you have to �shame� the AMPTP into giving it to you, right?”

Naw. The Alliance will never give anything because they’ve been shamed into doing so, and they never have. The Alliance only gives anything because the economic cost of not doing so outweighs the economic cost of doing so. That’s the purpose of a strike: to do economic damage to the employer and force it to give concessions its workers so that the economic damage the employer is suffering will cease.

The studios will never make financial concessions out of fairness. They’ll only do it if they feel that they are forced to. It’s our job to make them feel that way.

Patrick Meighan Culver City, CA

Must-read article in Forbes magazine’s online edition: Why the Writers Must Win”

Excerpts:

When 12,000 Hollywood writers traded pencils for picket signs this week, they took a huge risk. Even riskier: not striking. Losing to the studios now could doom their union as television gives way to the Internet.

Hollywood writers want compensation for work on new media platforms like the Web—the central fight in three-plus months of acrimonious negotiations with the studios and networks. But as scripted television sheds viewers and work jurisdiction to other genres (like reality) and media (like the Web), they continue to lose leverage at the bargaining table. That’s a harrowing prospect for a union that’s already been fighting for nearly two decades to overturn a stingy VHS/DVD residual formula negotiated in 1985.

The way Jonathan Handel, an entertainment industry attorney with TroyGould in Los Angeles and a former associate counsel for the Writers Guild, sees it, the stakes are huge: “If the guild does not succeed in cutting an effective deal, it loses leverage, stature and will suffer continued erosion,” he says.

Stuart,

“�A piece of a non-existent revenue flow� ought to be easy for the AMPTP companies to give up. If the WGA is asking for a percentage of zero, then that means zero cost to the companies. Their reluctance to offer anything there means they expect the revenue flow to be significantly above zero sometime in the near- to intermediate-term.”

That sounds right to me.

You�s dumb.

I have to believe you are able to debate on a higher level than that.

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. Posted by: SusanC at November 7, 2007 8:02 AM

I swear Susan you really are a moron.

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

Graig means when the OTHER guild went on strike, did he support it by stop writing.

My god you are thick.

Stuart,

Actually, I was using another word from the mission statement this time round:”…information…” Just spreading some knowledge.

You can debate me if you want…

Anon 122 -

youtube was profitable when it was purchased by google. It was just commonly assumed that is was not.

http://www.pbs.org/cringely/pulpit/2006/pulpit20061013001021.html

Not that this has any relevance whatsoever on the current discussion at all.

The writers are fighting a losing battle. What they don’t know is they can and will be replaced. There are plenty of non working writers who would jump at the chance of gainful employment and not cry and whine about not getting there share of 12 cents. The TV audience is eroding anyway which means that no one is buying what you are selling anymore.

From post #133: “and not cry and whine about not getting there share of 12 cents.”

Marco:

Tell you what. Until you learn the difference between “there” and “their” I’m not going to worry about you replacing me.

Peace!

Guys, in my opinion, the Writers should NOT settle for a lousy 1% on Internet downloads, and here’s why:

“Dear Travis,

Thanks very much for your enquiery, the WGGB does receive 5.6% royalties for video and dvd (also called the multi-media royalty). If you have any further questions, please don’t hesitate to email or call. I hope this has been of some help.

Regards, Erik Pohl Admin Assistant The Writers Guild of Great Britain 0207 833 0777 admin@writersguild.org.uk”

130:

To answer yours and Craig’s question: had I been a member of the SAG commercial actors union and a member of the WGA in 2000 when the SAG commercial actors went on strike, I would not have gone to work writing commercials while my union, SAG, was on strike trying to impede the production of commercials.

Patrick Meighan Culver City, CA

“Marco:

Tell you what. Until you learn the difference between �there� and �their� I�m not going to worry about you replacing me.

Peace!”

Too funny.

Travis,

The Britons have a great tradition of respect for their writers. There’s also very little money in U.K. entertainment, so respect can be afforded.

Anon 130:

Reading comprehension wasn’t your strong suit in school, was it?

You wrote: “Graig means when the OTHER guild went on strike, did he support it by stop writing.”

Susan’s point was that Craig was trying to make an analogy between his working during the strike today and Patrick’s working during the SAG strike in 2000.

Craig’s choosing to abide by his director’s contract during a strike by the WGA (of which Craig is a member) is not analogous to Patrick’s choosing to abide by his writer’s contract during a strike by SAG (of which Patrick is not a member).

Who’s the thick-headed one now?

Re : non existent revenue flow.

The studios are charging ad revenues for streaming shows on the internet.

And those replays are already gutting the residual system. (See : Lost)

And #133 - In 88, the scabs got reported to the Guild. And you know who a lot of those writers got reported by? The Producers…

Proving producers have even less respect for scabs than Guild writers do.

Travis (135),

I write for British TV, mostly the BBC. I used to always fantasise about taking a crack at US TV until I started to see the picture emerging from this strike.

Okay, so we’re paid per script rather than being on staff but we don’t have to face half the nonsense WGA members seem to. I’ve not once had to chase up payment on repeats or residuals.

I read some of the earnings for writers on staff on US shows(not the showrunners) and I’m appalled. An average working TV writer in the UK on say a soap (the steadiest gig) is easy looking at $120,000 a year in a so-so year. A good year $200,000. A good few clear close to $500,000. You can defer some of that for your pension and the residuals are generous. And British TV, by and large, is a pile of shit. You only see the cream so you won’t realise that.

That the AMPTP won’t pony up a tiny cut for the quality of work like The Shield, House, and Grey’s Anatomy, is beyond stupid. Watching this strike from where I am, I just don’t get it. PAY THE WRITERS THEIR FAIR FUCKING SHARE!

“As I understand it, this was the argument that the Guild swallowed in �85, when the subject was VHS residuals. No one was making any money, so what was the harm in taking a lousy percentage of nothing? We could always try to increase it later.”

Not really. We had already set the rate by 1985. By then, we were already trying to make it higher (by arguing that we should get our percentage of the distributors’ gross rather than the producers’ gross).

One of the things to remember is that in the early days of home video, the studios outsourced a good bit of the distribution rather than setting up their own companies and distributing on home video themselves. So when it came time to ask for a percentage, it actually made sense to ask for a percentage of what the signatory producers were getting (just like now, we don’t get residuals based on the suggested retail price).

It was only later when the studios brought home video distribution in-house that the percentage became ridiculous. We were in arbitration over it when 1985 rolled around. For some reason, we agreed to give up arbitration and accept the lower definition (apparently there was a fear we’d lose the arbitration. There was also internal Guild pressure to get a contract/settle the brief strike, which I’m sure played a role of some sort).

Not that I say we should accept a rate with the idea we’ll increase it later. We won’t, but I honestly don’t think that was what the people who agreed to the first percentage were thinking, either.

I’m sure some old timer will be able to correct whatever mistakes I’ve made in this before-my-time rehash.

Craig�s choosing to abide by his director�s contract during a strike by the WGA (of which Craig is a member) is not analogous to Patrick�s choosing to abide by his writer�s contract during a strike by SAG (of which Patrick is not a member).

Who�s the thick-headed one now? Posted by: So what if I choose anonymity at November 7, 2007 11:12 AM

Really? So when he asked about the supermarket strike you think he believed in his mind that Partick could have also being a cashier?

so no, I’m not the thick-headed one. you are.

SML 138,

That’s not quite true. While there isn’t the feature market, TV writers can be well paid (see my previous post). You also have to factor in that medical insurance isn’t an issue. The ‘middle class’ TV scribes certainly do pretty well. For those who’re really ambitious there’s always the States and writers like Tom Stoppard, Bill Nicholson and Richard Curtis don’t seem to be short of offers or income.

The difference is mostly cultural. A state funded organisation like the BBC perhaps doesn’t have the commercial imperative to screw writers in the same way the studios do. Keeping writers happy is generally seen as being good for everyone involved.

“Marco:

Tell you what. Until you learn the difference between �there� and �their� I�m not going to worry about you replacing me.

Peace!”

Well, let’s see.

Maybe Marco isn’t a writer. Maybe he’s a grip. Maybe Marco’s first language isn’t English.

Or maybe… he’s the writer that will take your job for the Internet.

Trust me, his mispelled word won’t show on the dialogue.

Here we go again. Being condescending. You couldn’t stop even if you tried.

Anon 122 - I wasn’t referring to YouTube in my post. I was thinking of the 5 Mazda commercials one sees while watching an episode of “Heroes” on NBC.com.

Mazda: “Hey, mind if we throw some commercials in with your streaming content?”

NBC: “Sure. And don’t even think about paying us. Your commercials are better than some of our programming.”

From the WGA Strike rules regarding non-members:

(boldfacing is mine)

13. Rules pertaining to non-members The Guild does not have the authority to discipline non-members for strike breaking and/or scab writing. However, the Guild can and will bar that writer from future Guild membership. This policy has been strictly enforced in the past and has resulted in convincing many would-be strike breakers to refrain from seriously harming the Guild and its members during a strike. Therefore, it is important for you to report to the Guild the name of any non-member whom you believe has performed any writing services for a struck company and as much information as possible about the non-member’s services.

I was at the AMPTP website earlier, and clicked on their WGA strike FAQ… and my jaw dropped when I read….

How do I apply for “Financial Core” membership if I am not currently a member of the WGA? If you are not currently a member of the WGA, then you do not have to do anything to apply for financial core membership during a strike. You may simply choose to work, and the WGA will have no right to fine or discipline you. When the strike is over, you may have to pay the same periodic dues and initiation fees as full members of the WGA in order to continue working. When the strike does end, we will provide further information on how to tender those dues and fees, for those who choose to work as financial core members at that time.

So, what’s the deal? Bait?

Mr Mazin,

You recently published a post entitled “Where I stand”.

At the moment that doesn’t seem to be anywhere near a picket line.

Now, I understand you’re directing a film, but don’t you break for lunch? It’d be nice if you went out and picketed for half an hour or an hour I think, and maybe that’d deflect some of the crap you’re getting.

We have a saying over here: “All mouth and trousers”. Don’t let that apply to you.

Anon 145 - You misspelled “misspelled.”

Anon 145 - You misspelled �misspelled.�

so?

Actually, I was using another word from the mission statement this time round:��information�� Just spreading some knowledge.

You can debate me if you want�

I thought the mission statement of this thread was:

We�ve got the big bad AMPTP out there as a common enemy. Let�s not turn on each other. Not right now.

How does calling a fellow union laborer “dumb” help with that mission?

Don’t wish to debate you — I would rather focus get getting everyone here to realize we (even us aspiring writers) are all in the same boat and should be pulling the oars in the same direction and on both sides of that boat (above the line and below the line).

Are you on board with the mission, or do you just want to collect accolades for debating brilliance?

Fighting,

I wasn’t trying to knock the U.K. system. I think it’s fantastic. The fact that you’re not staffed is very interesting.

The way I see it (and I�m including features in my POV):

The U.S. system is like a lottery and sees writing as an “anybody can win” profession, which is disrespectful, but leads to large cash rewards.

The U.K. system sees writing as a specialized profession, respects it, and pays evenly and accordingly.

So, what�s the deal? Bait?

Yes. Bait.

Let’s hope that people are not dumb enough to take the bait. Any new writer who scabs is going to have to deal with other union people after the strike, people who won’t tend to be helpful or understanding of the new writer’s letting his powerful desire to break in induce him to undercut the unions.

And yes, I think being a scab is dumb.

Well, congrats, Craig, they aren’t fighting amongst themselves. They’re back to fighting about your DGA duties!

A couple of things:

1) And I’m just throwing this out there because I don’t know if it’s doable or not. But what about 13 day strikes, work, then another 13 week strike? My understanding is most Force Majeure clauses need 14 days to pass before being activated. If the point (as some have suggested of the AMPTP) is to house clean unprofitable deals, wouldn’t this prevent them from doing so?

I’m just trying to think outside the box here.

2) Does anyone know roughly how many people are at Sunset/Gower? When they meal break? I’m thinking of buying a couple of large pizzas and bringing them over, as I think they are the nearest to me. I can’t afford to go hog wild, but do you think 5 would be enough?

3) Someone posted on the previous thread that Patric confirmed that two studio heads tried to backdoor a deal for DVD residuals to come off table for real negotiation on Internet, which the AMPTP backed out of. Is that really true?

114 Stuart, I am a Costumer with IATSE, and would be fired if I chose to strike. I seriously doubt the WGA could come up with a valid reason for IATSE to strike. I believe the writers should get what they are asking for. My problem is with the timing. TV production is slowly coming to a halt. The writers will not impact the industry in the way they had wanted at this time. If they had waited for SAG and the DGA, how much more powerful would that have been. Hollywood would have been shut down instantly.

I don’t know why so many of you are ragging on Craig for showing up for work he is contractually obligated to do. He has chosen what he believes is the right thing to do, and I (for one) have to respect that. These decisions don’t come easy.

Also, consider this — he’s pro-strike and he is on the inside. That perspective might prove useful. I hate this phrase but “there’s more than one way to skin a cat.” Let him be.

The quote of the day, from the United Hollywood blog:

Additionally, I’ve been told that Steve Carell informed NBC he is unable to report to work because he is suffering from “enlarged balls.”

But farmers and cowmen don’t need each other.

I’m off to second shift picketing.

I think these discussions make Steve Carell’s actions all the more heroic. He didn’t politicize or send pizza out to the troops. The man ignored NBC’s apparent threats, didn’t show up to the set of “The Office” and refused to cross the WGA picket line.

His entire cast showing solidarity means they’re truly writer/actors.

Why are other comments going through and I’ve had three held for moderation?

If the WGA waited for SAG and DGA, there would be a lot of material stockpiled.

The DGA will do an early deal anyway (because they’re dumb)

And a summer strike has a lot less teeth than doing it at this time.

The WGA made the right call.

Stuart,

“How does calling a fellow union laborer �dumb� help with that mission?”

Was that you? My apologies, but you left your name anonymous and, well, you wrote this:

“�do you ever leave your house? Could (sic) you possibly be more ignorant to the ways of business?”

Actually, reading it again, I take back my apology.

Anonymous Because It’s Offered:

Good for you for your second shift. Quite clearly, you are the better man.

And, hey, thanks for being dismissive of what I thought was a nice gesture.

p.s. I’m not a writer.

Brian,

“1) And I�m just throwing this out there because I don�t know if it�s doable or not. But what about 13 day strikes, work, then another 13 week strike? My understanding is most Force Majeure clauses need 14 days to pass before being activated. If the point (as some have suggested of the AMPTP) is to house clean unprofitable deals, wouldn�t this prevent them from doing so?”

Steven Palmer (57) posted a similar idea to this and they’re both really interesting.

Keep it up.

Peter N:

If I happen to be anywhere near a picket line during my half-hour of lunch, I just might do that.

On the other hand, I’m not motivated specifically to “deflect crap.” I’m never going to make some people happy.

Okay, so here’s what I don’t get. Why is the WGA so terrible at PR? Yes, the “Office” YouTube video is cute. But as other commenters here and at Nikki’s site have noted, the WGA is getting killed in the PR war. Yes, we see lots of posts from fans that they support the writers, and the pickets are getting a lot of honks.

But what’s out there in the mainstream media? Besides the occasional “yes, the writers deserve more money,” we get the Starbucks digs, $200,000 average yearly income, and so on. Allessandra Stanley’s NY Times article today is a particularly snarky and egregious example.

I’m not a PR guy - I’m a (DGA aspirant) director, and the writing partner of a member of the WGA - but God, I want to walk into WGAw and offer my utterly inexperienced services to Verrone & co.

1) You’re professional writers, right? Craft your press releases. Have two versions ready if you’re in talks that can be quickly tailored and gotten out there immediately depending on the result. Use punchlines — the MSM loves those as little soundbites they can use in their 30-second reports.

2) Again, someone I think in one of Nikki’s threads mentioned this — counter the “gathering of millionaires” quip with one of your own, about the paydays of Chernin, Iger, et al. There’s great fodder there, comparing their yearly take-homes to 13,000 writers asking for 8 cents instead of 4 cents. And for God’s sake officially correct the $200K yearly income canard.

3) The idea that “the two sides are so mad they’re not going to go near the bargaining table for a while” is ridiculous. In part for the media, but more importantly for its membership and for all of those non-WGA industry workers who are going to lose jobs and income as a result of the strike, the WGA needs to demonstrate that it’s ready and willing to be at the table NOW. Put Marc Cherry and the rest of the NegCom in a conference room with the other side of the table empty. Have the news media get some video and print shots. Do it every day. Even if it’s not actually going to get the AMPTP back to the table, it’s showing the people whose support the WGA desperately needs - the other industry guilds and the WGA membership - that they are ready to talk, because these people’s livelihoods are important to them, and it’s the AMPTP that’s unwilling to show up.

Someone else in another comment thread said “it’s not about PR,” that stuff like this is pointless. That the producers won’t come back to the table unless the current balance of power shifts against them. I’d counter (pun intended) that it’s all about PR, because perception of the strike - by the media, by the membership, by the other guilds, by the general public - is precisely what will shift the current balance of power.

If the WGA can start doing stuff like this, I gotta think that as the strike goes on it will strengthen and unify the membership and the support of the other guilds, it will improve how the WGA is portrayed in the media, and the AMPTP can then only be seen as increasingly isolated, greedy, and the clear “bad guys” in the situation. And the balance of power begins to tip.

A little idealistic, I realize, but some of this seems like a no-brainer to go ahead and start doing. No?

Oh, 143… you so silly… or ignorant

Really? So when he asked about the supermarket strike you think he believed in his mind that Patrick could have also being a cashier? Posted by: Anonymous at November 7, 2007 11:26 AM

No, I don’t think that… that’s the POINT.

The situations Craig was describing (Patrick working during the SAG strike or shopping at supermarkets being picketed) is not analogous to Craig’s choosing to work during the strike while he’s a member of the WGA.

If, say, Patrick was a member of SAG or a member of the UFCW then the anaology would be apt. But since he’s not, it’s a false one.

Patrick wasn’t questioning Craig’s crossing of a picket line, he was questioning Craig’s crossing of the picket line as a member of the WGA.

Do you see the distinction now? Or do we have to go through a grade school introduction on the concept of an analogy?

161: Not so sure that the summer strike has so much less teeth that it’s better to sacrifice unity.

If the talk shows go down in the summer and SAG members aren’t out promoting summer films, the movie side gets hit too. All the stuff being prepped for the fall isn’t getting prepped — so no pilots and the lucrative returning hits all end up getting replaced with the reality shows that were so bad that they couldn’t even beat out the worst of the normal crop. Striking now won’t have a big impact for a few weeks either, so that’s not that different from the summer.

That said, a 13 day strike now like Brian McCabe said, followed by a full summer strike might have the biggest impact. In addition to the disruption already caused, the tremendous support the WGA has from showrunners and actors serves as a clear demonstration to the AMPTP.

Patrick Meighan:

I’m afraid I can’t beat you in the “who wants to sacrifice more for their union” fight…

…except I’ll leave you with this.

You’re going to be abiding by the strike rules during this strike.

I am going to be abiding by the strike rules during this strike.

So regardless of intentions and well wishes and promises, we’re both doing the same damned thing.

Maybe you might want to reconsider your position, which is coming off as holier-than-thou.

If not, that’s fair. I sleep well at night either way.

I’ve been walking lines and getting nuthin but support from grips, electricians and the like. I don’t know who is posting here, but that’s not my real world experience. Also, some unions are more naturally aligned than others, they have similar challenges and rewards. SAG has been out in force, both famous actors taking stands, like Steve Carrell and Julia Louis Dreyfus - even herself helping shut down the Desperate Housewives set - but hundreds of lesser known working actors “whose show’s we’re tanking”. They don’t seem to mind. They’re sending us props.

I’ve always wondered why the WGA didn’t consider the extra materials on DVDs to be part of their juridiction. Also, the materials written for the studios’ websites could be part of the WGA contract as well—did the Guild not ever think about claiming those areas?

The Guild’s flubbing of the reality writers’ organizing makes me wonder if they can really handle getting a decent deal for new media now. I understand that I’m sort of mixing apples and oranges, but it seems logical that the WGA should be looking for ways to find more people who could be eligible for membership and more work that could be included in a union contract.

Also, I’m curious about how many people on the picket lines are actually active voting members? Some of the people quoted in the press, like the NYT, haven’t had a guild job for over 10 years.

he was questioning Craig’s crossing of the picket line as a member of the WGA.

I want to correct his, because I’m sure I’m just days away from being labelled a scab at this rate.

I HAVE NOT CROSSED A SINGLE PICKET LINE.

I HAVE NOT BROKEN A SINGLE WGA STRIKE RULE.

Just wanted to be clear about that, because I care too much about all of this to fall prey to the same rumor mill that had Kring quitting his show, etc. etc.

I have an ethical dilemma going on and would appreciate advice. What would you do if you were an assistant to a producer who is a member of the writer’s guild who is right now currently rewriting another writer’s script, who is presently honoring the strike, as well as continuing to incorporate studio notes that he was given yesterday?

I, too, am off to picket now. And I, too, want to laud Steve Carrell for heroically honoring the WGA’s industry-wide shutdown by refusing to show up for work… this despite the fact that (like our blog host) he has a union job and a valid union contract, and even though (unlike our blog host) he’s not a member of the WGA.

If everyone, including this blog’s host, would follow Steve Carrell’s example, the studios would rapidly endure more suffering than they currently are, and feel even more incentivized to strike a deal rapidly, and at terms favorable to the WGA (and, via precedent, terms favorable to the other Hollywood guilds and unions, including the DGA, to which this blog’s host feels identical loyalty).

Patrick Meighan Culver City, CA

Not in PR 166 - Surely, you’re not suggesting that WGA members write press releases without a contract! (j/k, and yeah, I know - don’t call you Shirley.)

On the serious side, though, can the media be trusted to present the WGA position objectively? Don’t the studios and the media have some of the same parents?

Patrick, Steve Carell IS a member of the WGA. He co-wrote “The Forty Year Old Virgin” as well as episodes of “The Office.”

You might not be aware that he’s a Guild member because the guy isn’t a grandstander in general.

Part of the PR problem with the media is that, from what I’ve seen, many modern journalists (for various reason) don’t do the type of fact-checking and digging around that were once mandatory expectations for being called journalists. If one wants their side of the story out there, especially when one is dealing with an adversary who knows how to work the media-machine, one must work extra hard to reverse those innuendos and slippery untruths.

The idea of having the WGA negotiation team waiting in a conference room somewhere is excellent. The mainstream media might not pick it up right away, but a webcam streaming the interior of the conference room and posted live on the WGA site will get some attention from the press and bloggers. Once upon a time, I was the office manager for a small professional organization that survived on its government contracts. The government agencies took their sweet time about getting us our payments so, instead of yammering after them on the phone for two weeks, I learned to take an afternoon off and just camp in their lobby, which would get us the check by the end of the day. The WGA NegCom visibly standing by might move things along…

Anon Assist (173),

Report him.

“I HAVE NOT CROSSED A SINGLE PICKET LINE.”

Craig, the only reason you HAVE NOT CROSSED A SINGLE PICKET LINE is because your fellow writers do not know where you are shooting, and you refuse to inform us.

As such, your status as a non-picket-line crosser, in this case, is not one of ethics, but one of circumstance. Congrats. Now how ‘bout telling us where your shoot is, and what time is call time, so that you can put your ethics where your mouth is?

As to “holier-than-thou,” I’m exactly as holy as the almost-12,000 other writers doing everything within their power to apply pressure to the studios. It’s a very, very, very large group… not exclusive or pure whatsoever. Sadly, however, that group does not currently include you. I truly wish it did.

As to how you’re sleeping, given your greath wealth (as self-described), I’m sure you’ve got a big-ol’ comfy bed and are getting your winks. Congrats on that, too.

Patrick Meighan Culver City, CA

I agree with SML, #178. What your producer is doing is a slap in the face. Not just the WGA, but everyone who has so much on the line here. What an awful coward.

PMCCCA:

No, you’re a special kind of saint, better than I, better than JJ Abrams (starts shooting on Star Trek next week, I believe), better than Stephen Sommers (starts shooting GI Joe soon), etc. etc.

Correct, I will not tell you where my shoot is. Correct, I will not tell you what my call time is. I want to finish my movie. Thanks. I hope that circumstance doesn’t force me into a difficult decision. Until that time, I’m not going to hasten a choice I’d rather not be forced to make.

Maybe one day when you’re actually in my shoes, I’ll enjoy your wisdom and moral stance. Right now, you’re just talkin’, pal.

Finally, I ain’t that rich.

Oh, and lastly, thank you for spreading unity and brotherhood amongst us writers. You make one hell of a Morality Cop.

Creeeeeeeepy, Patrick.

I HAVE NOT CROSSED A SINGLE PICKET LINE. Posted by: Craig Mazin at November 7, 2007 12:23 PM

My apologies, Craig, for misrepresenting.

The clarification, however, makes your example even less analogous.

“I�m exactly as holy as the almost-12,000 other writers doing everything within their power to apply pressure to the studios.”

We should have done that sooner. Just think of how much more difficult it would be for the studios had we not worked so hard to give them enough written material to continue on without us for a while.

We should have quit writing a long time ago.Or at least not rushed and worked so hard to deliver before the strike was scheduled to start.

Just think of how much better a deal we could have gotten had we not given them so many scripts.

What use would a stockpile of scripts be if there are no actors to perform in them?

Craig:

I’ve been an avid reader of this blog for some time now, and I appreciate your industry knowledge and insights — but with all due respect, I think PCCCA has a point. And calling him creepy is a bit childish…I’ve come to expect better from you.

Respectfully…disappointed.

I must agree strongly with #166. OK, fine, he’s my writing partner. But still:

His third comment - that we must present and PUBLICIZE a daily, unshakeable presence at the negotiating table, waiting patiently round-the-clock for the studios to return - is almost unassailable in its righteousness. Not only would this send the right message the general public but - perhaps even more importantly - to the crew members, fellow writers, and other artists and professionals that this work stoppage is hurting so tangibly.

I support my union 100%. We were right to go on strike. But I am not flush with savings. I sell things here and there. I most certainly do not make $200,000 per year.

And of much greater importance to me and my writing partner, more than any other factor, is to see my union leadership insisting on the continuance of negotiations WITH THE VERY SAME URGENCY that they are (quite rightfully) utilizing to maintain maximum vigilance on the picket lines.

One without the other does not cut it. This discrepancy is precisely why we are being treated derisively by the mainstream media. It smacks of a WGA with savings accounts far out of step with the vendors whose we have - righteously - obliterated.

Showing the AMPTP our desperation - not mere willingness, but full-on desperation - to continue negotiations is not - NOT! - the same as showing weakness on our most crucial issue.

We must inflict maximum pain at the same time we negotiate with maximum urgency.

Correcting typo in #186, fifth graf, final sentence:

“whose PAYCHECKS we have - righteously - obliterated.”

“What use would a stockpile of scripts be if there are no actors to perform in them?”

But that gets back to the point that we want other people to violate their contracts to help us but we weren’t willing to violate our own contract to help ourselves.

Was that you? My apologies, but you left your name anonymous and, well, you wrote this:

I don’t post anonymously. You’re quoting another member of the forum who, I gather, is a member of a brother union who is very nervous about what this strike will mean for his personal situation. The kind of person you want to empathize with, to reason with, to get onto your side.

I guess it’s not about getting folks working together for the same goal, is it? Or maybe you’re cranky from spending the last 2 days on the picket lines. You are WGA, right?

I sure wish more of the posts here were focusing on creative ways to bring pressure on the Producers - instead of bickering about who’s sacrificing more.

Anyone want to spitball?

What if WGA writers start taking their scripts to British Production companies en masse for the 5.6% rate?

I think FreMantle (I know, I know, but it’s an example) is a UK based company…there must be others around.

BAFTA has an office here somewhere - on Melrose, I think.

Let’s play America’s favorite new game:

WHERE’S CRAIG?

Come on, SOMEONE has to know where he’s shooting. Post it here, so we can set up a picket line, which would be legitimate and which we have the right to do, right Craig?

Craig is all for the strike, unless we legitimately picket HIS location!!! That’s hysterical.

Wow, that’s a great call, Travis. How about Canadian production companies?

I also think your writing partner has some good ideas for intensifying the campaign on the PR front. He (she?) is right: media-shaped public perception is another tool of leverage, and it’s incumbent on the WGA to feed its story to the media the way it wants rather than wait for reporters to do shoe-leather reporting.

As for demonstrating desperation to negotiate: don’t let them see you sweat. I agree that continuous images of the WGA negotiating committee waiting for the AMPTP committee to show up is a great tool — especially with a “Nightline” clock counting the elapsed hours — and it should be presented as a solid, serious commitment of the WGA to negotiate a way to agreement. It doesn’t require a display of desperation, just one of calm, unshakeable resolve to stand steadfast until the AMPTP returns to the bargaining table in good faith.

What do people hear about the DGA cutting an early deal? Is it the DGA’s intention once again to get a sweet heart deal by setting a precedent that screws the writers? Is there any economic reason for the DGA to wait and let the writers set precedent?

Craig said: “I want to correct his, because I�m sure I�m just days away from being labelled a scab at this rate.

I HAVE NOT CROSSED A SINGLE PICKET LINE.”

Dude, for all intents and purposes you are WORSE than a scab. A scab crosses a legally permissible picket line, you’re PREVENTING a legally permissible picket line from being set up.

So let’s look at what we have going on here: a former board member of the WGA, who professes his love for the WGA over his love for the DGA, and who yet has now stated publicly that he will not permit the WGA to set up a legitimate picket line at his location. This is nuts!

Does anyone know if Craig can be kicked out of the WGA for this? At a minimum, the WGA should start an investigation if he still refuses to reveal his shooting location.

It’s amazing how quickly Craig went from being a voice for writers to being completely irrelevant.

Craig, you’re not part of what’s happening anymore. You’re not involved in the strike in any way, so any observations you have are going to be about as valid as Nikki Finke’s, or even less.

You’re not on the picket line, and you’re not involved in negotiations. All you have left is posting rumors, and since the picket lines are full of people who are at least as well connected as you, the only people you’re providing these to are non-writers, or non-industry types.

It’s amazing out there. The unity that developed almost instantly would shake many of your convictions about the Guild and this strike. But you don’t know anything about it.

Maybe you could just give us screenwriting tips until all this passes, because you’re not doing much right now that’s of use to anyone.

114 Stuart, I am a Costumer with IATSE, and would be fired if I chose to strike. I seriously doubt the WGA could come up with a valid reason for IATSE to strike. I believe the writers should get what they are asking for. My problem is with the timing. TV production is slowly coming to a halt. The writers will not impact the industry in the way they had wanted at this time. If they had waited for SAG and the DGA, how much more powerful would that have been. Hollywood would have been shut down instantly.

Unity and solidarity are the greatest weapons unions have… which is management insisted so many contracts include must-work clauses. It would be a wonderful thing if everyone on your production — all the non-WGA union personel — were able to decide en masse to refuse to cross the line. But when management can pick off workers one by one for not crossing, they hold the upper hand.

As for going out with DGA and SAG, would it have been possible for all three guilds to forge a solid pact to go out together and stay out together?

Screenwriter Diablo Cody, currently enjoying praise for the upcoming film “Juno,” has declined to attend an on the lot screening at Fox that would have featured a Q&A afterwards.

This is a momentous time in Ms. Cody’s career, so her giving up some of the gravy this fickle town is currently serving her should be noted.

Stuart 197 I had a similar thought. Since all of the unions involved can ultimately be affected, you’d think they’d have something contractual in place to protect themselves and back each other up in the event of a strike by any one of them.

I think at the picket lines, when the cars come rolling in, you should provide a whole new meaning to “writers block”.

The DGA isn’t impacted by internet residuals the same way as the other guilds, so I’m not sure what they would do. But SAG and the WGA have pretty much the exact same goals this time around — so I think a joint walk-out when SAG’s contract expires would have been completely do-able.

An issue we can work harder on is drawing actors and writers that are not in the guilds to the picket lines. This is an ideal opportunity (one I would have killed for early on) for writers and actors that don’t have connections to spend quality time with professional actors and writers in the guilds. The picket line is a great social occasion - they can talk about their work, pick people’s brains, make important friends (do actors realize the opportunity they have? To hang out with 100 showrunners?) - and we, the striking writers, get solidarity, company and the opportunity to provide the personal touch to kill scabbing before it starts. I am posting something on a few of the screenwriting boards “Done Deal”, “TwoAdverbs” etc. inviting them out. Any working, connected writers open to “mentor” a young non-WGA writer on the lines?

I’m going to try posting this, again, without the block quotes and two of the three links, but I gotta say, having typed it 3x, it’s lost its shine for me. :|

Eisner said revenue from new media is a nonexistent piece of the future? The same Eisner who is an investor in Veoh, a streaming video site, which includes all the major networks and also the same Eisner who just acquired a studio for producing web videos?

The general consensus is that the studios aren’t concerned about the features side at the moment. What can be done to make them concerned? I’m no legal expert, but are there any grounds here for an injunction to prevent films from being released until a new contract is in place? Maybe films in which the writers are taking a piece of the back end? Not sure if there’s any validity to that argument - just throwing it out there to spark ideas.

“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.”

We go nuts at Warner Bros for people to honk and we ALWAYS respond when they do. But some lines do seem rather quiet, and really, what’s the point of that? So drive past Warner Bros and you’ll get some positive horn reinforcement!!!

Screenwriter Diablo Cody, currently enjoying praise for the upcoming film �Juno,� has declined to attend an on the lot screening at Fox that would have featured a Q&A afterwards.

This is a momentous time in Ms. Cody�s career, so her giving up some of the gravy this fickle town is currently serving her should be noted.

At least she has giving lapdances to fall back on.

Just to be clear, my question wasn’t whether it would be desirable to go out with SAG and DGA, but whether the ties between the guilds are strong enough and deep enough that all three could mutually trust one another to stay out until all three got acceptable contracts. Certainly the legal language in existing contracts works against this kind of solidarity by including must-work clauses.

Outraged:

You wrote:

Dude, for all intents and purposes you are WORSE than a scab. A scab crosses a legally permissible picket line, you�re PREVENTING a legally permissible picket line from being set up.

Heh. Now I’m “worse than a scab.”

Good. By tomorrow, I will be the antiChrist.

Your accusation is absurd, untrue and bizarrely unfair. I’m not preventing ANYTHING from being set up. I’m just not publicizing where I’m shooting, because I would really really really PREFER to not have to cross a line. Dig?

But if the WGA pickets my production, I will do nothing to hinder them in any way. Duh.

For what it’s worth, I’ve been in constant touch with my strike captain, we see eye-to-eye on this, and that’s enough for me.

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

It may be that this is a picture of a big cat snuggling his souvenir severed kitten head.

Just a thought.

This just in! 4 out of 5 doctors reveal THEY are the reason there is a writers strike. The statement issued from the doctors’ camp simply states, “Sorry”. Said doctors, in charge of the overall health of TV and Film Moguls has revealed the Moguls’ shocking secret. The Moguls respond violently and in some cases fatally to “fairness”. The doctors (not to be confused with Patrick Dempsey-actor) siting their Hippocratic oath, have advised the Moguls to avoid fairness at any cost lest death ensue. The 5th doctor, a Dr. Kevorkian, has advised the Moguls to seek fairness in the writers negotiations.

I have to say, this whole bit of going after Craig for daring to fulfill his contractual DGA obligations feels a little bit vindicative.

He is a writer and a director. He is not writing, therefore fulfilling his duties as a striking writer. He is directing, therefore satisfying his contract as a director. If he walks off the set, he’s just making the problem that much worse, not better.

And the guy here who wants to devote time and resources to setting up a line just outside Craig’s shoot- way to see the big picture, man. Why don’t you focus on the real enemies here and not the people you’re perceiving as such. Who exactly does going on a witch hunt help?

Focus.

We have a goal here. Or at least I do.

And it has nothing to do with screwing with Craig Mazin just for the hell of it.

Please don’t take this the wrong way — I mean it pragmatically, not cynically.

The words ‘fair,’ ‘unfair’ and ‘fairness’ have only two useful purposes in a labor dispute:

1) As a way to prey upon the guilt of the other side.

2) As a way to spin the negotiations in the media for maximum public sympathy.

Despite the use of ‘unfair’ as a term of art in labor disputes, the objective of a negotiation ought not to be fairness. It ought to be getting the most you can get out of the other guy. If that ends up being truly unfair, the other guy won’t make the deal. If the other guy makes the deal, then by definition he chose to do so because it was better for him than no deal.

It’s not immoral or amoral to set fairness aside as an explicit negotiating objective. Rather, it’s a recognition that a voluntary agreement between parties is always fair to some degree.

So instead of expecting or demanding that the AMPTP deal with the WGA fairly, the WGA should focus on finding and working every lever of bargaining power it can find and using that to persuade the AMPTP to yield as much as possible at the bargaining table.

Reality check here folks — feature directors are going to continue directing pre-strike locked scripts. Oh, and guess what, all those btl crew that just got let go cause their tv show went dark… guess where they’re gonna be looking for work? That’s right, on the bunch of features that are set to go in the next few months.

Now I believe this is Craig’s first shot at directing and he’s in the middle of a shoot, it is ridiculous for people to suggest for him to give this up. If you want to get upset, get upset at a Spielberg who’s in prep on a new film — now, he’s not in the middle of anything and he could easily take a stand and hold up production until the strike is resolved. A Spielberg would make a huge difference. No offense Craig, but… you know where I’m going. Good luck on your film — we can all use a laugh.

P.S. Still don’t know why I can’t get my paragraphs to break…

p.p.s. looks like the formating is back to working, had probs yesterday…

do you guys even have a estimate of how much money is being “stolen” from you? it might help us BTLers support your cause.

Stuart, add the word ‘respect’ to your list of words that are massive red herrings in a labor dispute.

Respect is measured only one way — money. Forget about who’s dissing whom. Keep your eye on the prize, and stop taking everything personally.

You guys who are attacking Craig either need to report him or shut the fuck up. You want to win the PR campaign, stop doing shit like that. You’re coming across as whiny morality police and making your union look really bad. I’m assuming that’s not your intention.

Craig has commented on this issue several times, and if he was actually breaking any WGA laws then you might have a case against him. He’s doing what he believes is right. Perhaps you disagree, but it’s opinion, that’s all. Unless your name is Jiminy and you’re an inch tall, I suggest you make sure your own conscience is clear, not anyone else’s.

Ive been to quite a few entertainment websites that have been reporting on the strike, and, for the most part, people seem to be siding with the writers, but those that aren’t generally say two things. The first is that writers make lots of money and don’t need anymore and the second this is that they are whiny. Well, the first should be easily disputed, but for some reason the WGA is not addressing this. Why? It would be quite simple, in my opinion, to release some actual stats that would refute some that are out there, but they don’t do that.

As for being whiny, after reading posts here, I can’t really dispute this point. Whether Craig stops showing up for work or not is not going to win or lose the war, or the PR campaign.

Last time I checked, your beef was with the studios. Some of you want to make it with everyone else. Bad idea.

We know all the scripted tv will be down soon anyway, so why isn’t there a more concentrated effort on striking movies? This isn’t in reference to Craig’s movie… I really am curious.

It’s all good Stuart. I’m a PA and next Friday I’m being let go. I’m being affected by giant forces outside my control. I stupidly got sucked into the debate that lead to Craig having to make this specific post. I forgot my own advice, make the decisions I have to make and leave the others to theirs. My decision is to take what life is giving me and laugh somehow, because regardless of me laughin’ or cryin’ that trains a-comin’.

Craig,

“Yes, it�s clear that you don�t understand.”

I don’t understand why you’re so angry with Priya. She was honestly asking you a question. I realize you feel piled on at this point, but really, she was only asking a question!

“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.”

If you have a problem with this, take it up with the WGA. Honestly, there are PRODUCING FEES on TeeVee shows. It’s funny that you are all bent about this but then down below, you claim showrunners are managers who work for The Man. Yes, showrunners ARE managers, but they are first ad foremost, writers. So you would ask somebody in a managerial capacity to declare all their earnings as if they were accrued in a writing capacity?

You worked in TeeVee, right? So how can you not get this?

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

Yes you do. And you have every right to continue to do that, as long as you’re respecting the strike of the other Guild. Which you are. But let me ask you — and you may not have the answer unless you’re faced with it — would you cross a WGA picket line to direct your film? And if you are faced with this, can I film it?

I truly understand that the Guilds are different, and fully support your decision. To me, it seems rather cut and dried. You’re not crossing a picket line. But when we’re talking about showrunners, we’re talking about hyphenates who write AND produce. A showrunner doesn’t have to cross a picket line to do his producing duties. A lot of that can be done off-site. But EVERY SHOWRUNNER (with a few shady exceptions, unfortunately) has agreed to comply with the strike and will not be fulfilling their producing duties. Many of these folks are producers, supervising producers, consulting producers and co-executive producers who have been threatened with lawsuits. But others are executive producers, showrunners and/or creators. THEY HAVE WALKED OFF THEIR SHOWS.

Regardless of how pissed you are that they aren’t paying the dues you’re paying, these guys are making an impossibly difficult decision. So let’s honor that, shall we? Let’s honor the fact that Shawn Ryan is walking away from the LAST episode of The Shield, that Shonda Rhimes is walking away from TWO shows, that Joss Whedon is walking away from his return to TeeVee.

The difference between a TeeVee showrunner and a screenwriter is that a showrunner hires writers. A screenwriter sees other writers as competition.

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

I know this was directed at Patrick but I for one did NOT shop at Ralphs or Vons during the strike.

“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.”

What you’re doing is not what a producer does, but showrunners aren’t independent producers. They have deals with the studios. Deals that, fairly soon, will be null and void. Yep, they’re giving up their deals to honor the strike. They are not giving in to blackmail.

“Shawn Ryan and Shonda Rhimes are PRODUCING their shows.

They hire and fire writers.

They�re MANAGEMENT.”

They’re management who should pay dues on their producing fees?

“If management wishes to rebel against their brethren, I�m all for it.”

They are first members of the WGA and don’t at ALL consider themselves as rebelling against their “brethren.” That’s just stupid, and shows you don’t understand the TeeVee situation. Look at the statements from Shawn Ryan and Greg Daniels, then get back to me.

I think the problem, Craig, is that people are frustrated that you have somehow become Strike Central when you aren’t even involved in it at all. You haven’t walked a picket line, you haven’t talked to people. This strike isn’t a hardship on you. But you are somehow the go-to guy for strike information. So when you lecture people on the strike, people who are actually in the thick of it are gonna get a little hot.

You’re directing your movie, fulfilling your obligation to the DGA. Just ignore the bullshit about that. People are going to deliberately misunderstand you so they can stay angry. But your position on the strike is, to me, irrelevant. Anyone who’s not out there supporting the cause doesn’t really have a dog in this hunt.

It’s a sad day when a former board member and WGA presidential wannabe (or wantedtabe) offers less support for his WGA brethren than Steve Carell or Sandra Oh or even Ellen.

But wait, I’m sure Craig is about to give us a lecture about how immoral Steve and Sandra and Ellen are for supporting us.

So catty! Juno is a damn script that turned into a gem of flick. Diablo is clearly talented.

Though, I’m less interested in her boycot. I want her walking the picket with the rest of us.

As for Craig finishing his film in (2? 3 weeks?). He’ll have plenty of time to picket then. And we’ll need him.

Except Ellen went back to work today.

By all means continue to bash a man from the shadows, Outraged. Really effective.

Okay, enough already! It’s getting old. Of course, there are many of us who would love Craig to walk off his movie. It would be nice if his actors would walk off the movie, too. But, it doesn’t sound like it will happen, so can we move on? It seems to me that there could be more productive things to be discussing. I come here to this site because my husband got laid off (a crew member) due to the strike and you know what? I’m not mad. We had to pull out of escrow and will cancel our holiday plans, but I will stand with you all because I believe in your cause.

But, let’s face it. If this strike drags on for another month then we are all faced with the reality that no one will be working again until next season. That is nine long months away people. So, quit the name calling and back stabbing and get down to the nitty gritty. Show America that writers are more than the wimpy, whiny, pasty, socially backwards people that the media portrays. You don’t make $200,000 a year? Then what the hell are doing whining about stupid crap on this blog? Get out there and make some PR happen. There are millions of fans that would like to know how to help. Get out there and tell them to boycott downloads - and for that matter- tv until this strike is over.

Spend this frustration and anger on something that matters!!!

Sorry, I meant to put my name. And for what it matters, my husband went down with The Office ship and I am terribly proud of Steve Carell.

Report him. Call the WGA, they’ll direct you to the right person. We have GOT to police our own during this. Any member of the Guild not honoring the strike needs to be held accountable.

“I must agree strongly with #166. OK, fine, he�s my writing partner. But still:

His third comment - that we must present and PUBLICIZE a daily, unshakeable presence at the negotiating table, waiting patiently round-the-clock for the studios to return - is almost unassailable in its righteousness. Not only would this send the right message the general public but - perhaps even more importantly - to the crew members, fellow writers, and other artists and professionals that this work stoppage is hurting so tangibly.”

I think anyone with an idea should contact the leadership. At this point, I don’t presume to know their strategy, nor do I want to make assumptions about how their should be doing things. But call and tell them what you think. Seriously.

“I support my union 100%. We were right to go on strike. But I am not flush with savings. I sell things here and there. I most certainly do not make $200,000 per year.”

I’m right there with you. The luck train has not pulled up to my house yet. And people like us need to get the word out. I’m now going to totally contradict what I said above, only not really — our spokesmodels are the wealthy and the powerful, and it’s not helping any PR war to have Carlton Cuse complaining about not getting his residuals. It would be nice if PR would include the regular WGA members. And not just “Bob StaffWriter who has been on One Tree Hill all year.” Anyone who’s staffed on a show HAS had the luck train roll on up. But the rest of us — freelancers, idiot morons who decided to develop in a year when nothing was bought from people without deals (me), screenwriters just eking by — aren’t being represented.

I don’t care if the rest of America knows this, but it is a message that needs to get out to the shareholders of these corporations. Remember, we’re not just dealing with Moonves, Chernin and the other idiots. They have people they answer to. And perhaps, one or two of them might not be asshats.

“And, hey, thanks for being dismissive of what I thought was a nice gesture.”

Sorry, Brian. I was referring to your post which I didn’t read. I was talking about the pizzas that Drew Carey sent over to us.

You don’t have to be a writer to join us on the picket lines, BTW.

Stuart, add the word �respect� to your list of words that are massive red herrings in a labor dispute.

Respect is measured only one way � money. Forget about who�s dissing whom. Keep your eye on the prize, and stop taking everything personally.

I’ll say that you get respect from the other side in a negotiation when they feel like you’ve gotten them to yield more than they expected. They won’t necessarily be happy or feel kindly toward you, but they’ll realize that they have to treat you more as an equal than if you left money (or other money substitutes) on the table.

I used the metaphor of (forgive me) a shit sandwich in another thread. A friend once explained to me that in the shit sandwich that is life, the more bread you got, the less shit you gotta eat.

And of course, the other side is DEFINITELY going to push back as hard as it can for every penny that’s in dispute. The imperative is to keep focused on the economic dispute and the leverage you need to maximize your gains there, and not get sucked into the intangible goals of fairness and respect (not because they’re not valuable and desirable, but because they rob focus from the money prize).

If you’d like to talk about “scabbing,” I’m here watching as a producer who is both a member of the writer, screen actor and director’s guild defy the strike and continue to do rewrites on a pilot script. He says he’s acting as a producer, not a writer, since he’s addressing the studios budget concerns and not creative issues.

I made a call about it during lunch and the writer’s guild didn’t agree. I don’t feel I’m being disloyal since the asshole said he’ll probably have to lay me off next week.

See Mister Boss Man what happens when you don’t treat the office people well?

Kay Reindl, cracking eggs of wisdom. Eggs of wisdom!

Re Diablo Cody: “I’m less interested in her boycot. I want her walking the picket with the rest of us.”

There’s a picture up on Diablo’s blog of her striking at Paramount today, quite fashionably so, I might add.

Sorry to hear it, man. I hope that someday I am in a position to reciprocate the sacrifice. I am really impressed by folks like you and Natalie’s husband and the other non-WGA people who are willing to take the pain of this strike and support the writers. Let’s hope that the strike is effective enough to be relatively short.

Yep. The strike rules for hyphenates are pretty clear. Produce and direct if you must, they say, but don’t write. Since it sounds like your boss is doing his “budgetary adjustments” in Final Draft and not Excel, he’s a scab, all right.

Hey 224, A TV season? Paaalllease! Things will not be quite like that again. Think about it. If the very people who have paid tremendous amounts of money to build and keep an audience (the amptp)and in one swell poop the rid themselves of it. Doesn’t it make you think that perhaps there is more going on here than just failed negotiations.

Apology accepted. I plan to when I am no longer needed in the office. I have councilled a couple of my actors to join the pickets.

I’ll add one comment to what I said about fairness. If a PA gets laid off due to a writers’ strike, then at the point down the road when that PA and his coworkers need support, the writers had better give back to him and his. That’s another proper (in fact, indispensible) use of the concept of fairness in labor relations.

“I can feel your anger. It gives you focus. It makes you stronger.”-George Lucas, the Star Wars films, usually spoken by Ian McDiarmid

Hey, Guys! Lax24 here with some personal thoughts. And no, it is not fantastical this time. But it is about emotions.

We all get angry, once in a while. Some don’t show it; others will. Many can walk away from it for the moment; still a great deal linger with it due to some form or other. Money is the problem alot of the times; respect (or lack therof) is another form.

And sometimes, those of us that have a grievance can say the wrong thing: do the wrong act: make the decisions. We regret it, never having meant it, but there it is. In this dispute, writers want more money; they deserve it. The producers and corporations realize this, but have yet to sweeten the impending deal. It could cost both sides, and no one wants that. Yet, the WGA rightly feels to take a few days, maybe weeks, off from work to show their greivances.

But something is amiss. I do not think it deals with the attorneys of the AMPTP, not one bit. J. Nicholas Counter is on the way out, he knows this and will comply with 25 years of doing the dirty work. Still to note, he is note a corporate head; I don’t think his salary is to the levels of the big players on all fronts. So it appears that many in California and indeedthe world at large are in a quandary: deep head first to the wave of the Internet and Itunes, yet keep things safe from harm.

You see, there is a problem occuring worldwide that is troubling me, and no doubt troubling you and the people that make this industry what it is and will be. It is not business related, nor is it about class or greed or any of a number of things. It deals with a dark and saddening past that threatens the current productive present that can yield to a devastating and uncertain future.

This is the rise (again) of Anti-Semitism around the world.

Now, I know some of you will say “Lax24, I don’t see it happening. In fact many of us are Jewish.” And that is true, when related to the wheelers and dealers in this business. But go online sometime, say a Google/Youtube/Yahoo search on certain events pertaining to political issues and the like. What we will see is a rather troubling and increasing extant of Anti-Semitism rising online. And I’m not just talking Neo-Nazi websites here. I’m speaking of sites that tell people something about “find the truth here”, whatever this truth might be.

What it boils down to is, a coteroie of assumedly racist so-called Christians (or worse identifiers in my opinion) has enacted to state that every and all problems in this world are, in their words, the fault of the Jews. This is entirely not true, but there are those who beleive it as gospel. And like I said, the end result is the same, but the window dressing makes you think otherwise. Sites relating to political thought, pseudo-science, pseudo-philosophy, pseudo-history, among other advents are entirely Anti-Semitic. One thing, for example, they are prone to talk about is what I call “an opening”, which is putting up the name of name of any person; followed by stating their works or ideas. Then they mention their displeasure of it, always ending it with “because he/she is a Jew.” No explanation, just say the word and make it so.

Who are these people running these sites? Let me name names: David Duke, Curt Maynard, Mark Glenn, Eric Hufschmid, Daryl Bradford Smith, Chris Bollyn, John Kaminski, Henry Makow, Pat Buchanan, James from itszone, some rascist from “Jew Watch” (forget his name, do not want to look now), among others. What do they all have in common? Simple: they tell people they know the truth about a political event (9/11, Kennedy assasinations, international wars) with a rather feverish drumbeat of “Jews did it, Jews did it”. People, namely similar to those my age, eat this stuff up; in my mind, evoking memories of the Anti-Semitism that brought Hitler and the other fascists to power during the first half of the 20th century. These people state things which are unconsiable, hurtful, and too foulfor me to even write.

The worst thing about it is they feel that with the Internet available, they can reach the world to their needs. A disturbing trend is this claim of “Holocaust history” by the likes of David Irving, Ernst Zundel, and others. Let me call it what it is: denying the Holocaust. Literally, they deny the murders of millions of Jews, gays, handicapped, gypsies, and intellectuals in one of history’s tragic mistakes. One of these charlatans states something like “they started it, not the Nazis.” That is bullshit, and disheartening. See, that is another thing; they always write something like these persecuted asked fro this or some such. It is no the truth, at all.

With the Internet, their messages of hatred and slanted history is spreading like water. Europe (all of it) has now reached Anti-Semitic thought not seen since the fascist 30s. America is slowly turning into an intolerable country of people (namely Christian conservatives) who vitriotically hate anyone that is not them. You don’t have to take my word for it; just watch Lou Dobbs any night. In addition, racism against African-Americans has risen to levels in the Southern region that compares with the segregated 50s. Much of the conservative bloc hates Latino-Americans with a passion out of hand. Gays are treated harshly than before (see the marriage debates.) And from my stance, individuals that have conditions similar to or directly Asperger’s Syndrome are in concern of being pigeonholded into a stereotype akin to the kid from “Silent Fall.”

Los Angeles, the entertainment industry, indeed modern political and social justice would not be where it is today without the support and innovations of the Jewish people. What they have done for all of us in this life together is heroric. Yet, there are those that hate Jews for no other reason than because they are Jews: they hate their community service, their entrepeneurship, their tolerance in many fields, their history, their truth.

So then, why do I think the moguls and others feel this way? I guess, in short, this ball has been rolling since 9/11; a date of note that is ingrained upon our minds. (Now in truth, I am not sure if the truth will ever come out about that day, and what went on.) Nonetheless, as stated above, people claim that the Jews did it; as in, all of them. Preposterous on the face of it. Since then, the tone of hatred has grown darker against people who are not considered “normal”, whatever the hell that means or ever meant. With the advent of Google/Youtube, the tone is now reachable to others. The moguls and others like ourselves see thishappening, and it is bad out there. Memories can be triggered; old slights become open wounds, the wrong word or action is taken to heart. In their minds, the moguls beleive the WGA are right (tweaked in negotiations), but they feel threatened by the Anti-Semitism afoot in this world of the Internet and abroad. Guys, you should see some of the disturbing write-ups i’ve read and seen from these ingrates; beyond belief.

Unfortunately, the moguls feel puzzled why others are not taling extensively about this issue publically. I do not think they feel this Anti-Semitism from those in the communities where they work, but they , I think, are scared of this venture. It could be from past experiences, familial experiences, unnecessary criticism, among other things. They are just not certain how to do this.

Were I a leading figure for the writers, I would make a call to one of the leading moguls, initially to chat about dinner or some event goings-on. In the process, I would emphasize that whatever happens in this venture, all sides are in this together. In addition, I would state my intolerance of Anti-Semitism, and would commit to doing whatever it would take to eradicate the online threat it poses on us all. Within a while, maybe we would see each other as one in the same, business people concerned about the intolerance growing around us. We would be able to unite in our cause for social and political justice in this world with greater determination.

I know how it can feel to be pigeonholded for being whom you are. Not a day goes by when I remind myself to break the hatred and stereotypes surrounding me. In this matter, I am reminded of the film Blade Runner, a great Fancher/Peoples screenplay that is at its most profound in Rutger Hauer’s last scene. That would be the “tears in the rain” speech. Now, I am of the Sir Ridley Scott camp who insists that Harrison Ford’s character, Deckard, is a replicant. In Hauer’s performance as Roy Batty, I interpret the words as being akin to saying “don’t think we’re different. We are all in this same boat, and don’t think those that hate us will not come after you.” Of course, the film ends with Ford’s and Sean Young’s character (Rachel) in the running from those that know who they are. Writers, moguls, and all involved: you and us viewers are on the same boat. Let’s make this injustice be eradicated, now more than ever.

With deep respect to both sides,

Lax24

On Craig directing -

It’s really, really inappropriate to attack him for doing what he is contracted to do - so long as he is meeting his obligation to the guild.

The whole union could strike naked, that would be above and beyond, that would get national press, but I’m certainly not going to attack anyone for not doing it - though I might. On a warm day.

Craig walking away would be above and beyond, that would be great, he has enough money, he could do it, but he’s not that big a name, the impact would be minimal - AND the downside would be that now there would be one less writer in the director’s chair. We need writers in director’s chairs. In the long term, that’s a good thing for all of us.

That being said, there may come a time where many, many people from other guilds start to walk away. Imagine if a day was picked and the whole town did it. That would be best for everyone, the industry couldn’t sue the whole town. The guilds would never be trifled with again. If that happens, then by all means, pour all the shit you want on the few that keep working, but right now, without a whole town uprising, stepping above and beyond is a personal choice. Craig has to make his own and others should respect it.

Any Guild member currently providing writing services under a Guild contract should cease to do so for the duration of the strike.

Any member.

Any Guild contract.

That’s what I’ve done.

It’s what Marc Cherry has done and Shawn Ryan has done and John Bowman has done. Its what Howard Michael Gould has done, and Josh Olson has done and, yes, its what’s that ol’ debbil Craig Mazin has done, too.

It’s what anyone who actually cares about and is loyal to the Writers Guild has done, what anyone who is committed to the principles involved in these negotiations has done, what anyone who feels any responsiblity to their fellow members, past, present or future, has done.

And any Guild member who is continuing to provide writing servcies to a struck Company or one of its production companies or divisions is undermining this strike effort, and beneath contempt.

• Ted

Ted:

Awhile back I suggested a 13 day strike followed by a week on, then another 13 day strike to break expectations on studio side of negating contracts due to force majeure. is that feasible?

I am so sick of hearing about WGA/Producers. It is time for the below the line to picket in front of the WGA/Producers Guild Buildings. We need to unite to get the egos back to the table before we lose everything. Any thoughts?

Brian: I’m pretty sure that if we tried an on-off strategy, AMPTP would just lock us out.

On that note,Ted, how can we get the non-WGA members who want to be professional (paid) writers understand that if they write for struck companies while we WGA’rs are striking, they are very possibly selling out their future health care coverage, basic minimum guarantees, union representation and fellow members … muchless their very souls?

EVERYONE EVERYWHERE should put down their pencils.

“Okay, enough already! It�s getting old. Of course, there are many of us who would love Craig to walk off his movie. It would be nice if his actors would walk off the movie, too. But, it doesn�t sound like it will happen, so can we move on?”

I, for one, am, indeed, moving on. I’ve thought about this alot while I was walking my shift on the picket line today (Fox lot: 1-5). And what I thought was that I meant it when I said, way back when, that ultimately we have to make our own choices, here. And while I wish that Craig would’ve made a different choice (as the cast of The Office did, not to mention most every single showrunner in this town), and while I’ve done all I can to try to urge him toward that other choice, he appears committed to the choice he’s made, to the point of calling me names for daring to so urge.

So I’m off it. Forget I asked.

See you on the picket line, Craig, fellow writer, if you ever deign to join us.

Patrick Meighan Culver City, CA

I’m not referring to Craig since he’s stated he wouldn’t do any new writing on his movie, but I’ve heard of other writer-directors who feel comfortable writing new pages for their scripts during production since they feel they’re doing these updates as directors. This seems completely wrong to me. I understand these scripts were written long before the strike began, but as a WGA member, it doesn’t seem like you should do any writing whatsoever.

Depressed, my husband and I have seriously considered picketing both the WGA and AMPTP offices just to get dialog up again. We stand with the WGA, but even if it means that they have to tuck in their balls between their legs, they need to move toward negotiations. I would rather not dry my life savings up waiting for someone to blink. My hubby’s got scads of crew friends. And they can make for a rowdy crowd.

Sorry, that wwas me again…

Was that directed at my post, Ted? If so, the person I work for has justified his actions by saying that he has to keep his “pilot on track” as it will create work for people. The small studio he’s doing it for, which did manage to release a recent best picture, is telling him unless the budget cuts are made they cannot roll. So, he has taken previous drafts done by another writer, cuts and pastes them, then does trims and little rewrites that he calls “pencil tweaks” and “bridges.” He sees no shame in this because he says he “needs this pilot.”

I also think he has a big ax to grind with the guild because he’s pissed off they disrupted a location shoot of his network tv show that is on the bubble and will be going off soon. He calls most of the picketers “unemployed D-listers” but is planning to picket at Fox on Friday because it’s a chance to be “seen” and there will be lots of name writers and producers and actors there that day. He’s pissed he missed a chance to meet Judd Apatow.

Lots of us in the office check this blog, but he doesn’t so I’m not even worried about him seeing this.

Mike S:

Yeah, probably. But can they declare force majeure if they lock out?

Brian, I don’t know for sure, but I would guess ‘yes, with the possibility of expensive individual counter-suits.’ After all, technically the AMPTP is doing the locking out, but the deals are with a specific Company.

I just watched this video http://www.youtube.com/watch?v=beMNePzqpzQ and if this is the logic behind this strike. One that is bankrupting me, closing my business, and making MY employees lose their jobs. I’m going to blow my brains out. This scenario (watching an NBC show off the web) NBC lost the viewer (and their ad money) from the “over air” broadcast to the internet broadcast. why shouldnt they be able to make up the money from a banner ad? I think I’m going to throw up.

Brian McCabe:

Awhile back I suggested a 13 day strike followed by a week on, then another 13 day strike to break expectations on studio side of negating contracts due to force majeure. is that feasible?

Brian — here’s the long answer, a message I posted on WriterAction on December 28, 2005:

There might be a way that the WGA can use a lapsed “no strike” clause that could only be used in an MBA negotiation.

Background: Some years back (don’t remember the exact time), contract talks between the CWA and ABC had stalled. The CWA called a one-day blitzkrieg strike on a Monday that affected “Monday Night Football,” on the day before the Democratic National Convention was scheduled to begin. On Tuesday, the CWA workers showed up back to work.

A clever tactic, I thought. The problem was, there were employees in management positions that had come up through the union-covered jobs, who were able to fill in in order to get “Monday Night Football” on the air (not well, but they did it), and who could continue to fill in, if need be. So when the CWA workers came in on Tuesday, they found that ABC had initiated a lock-out (there were further repercussions: ABC Democratic Convention coverage was crippled, Dem. politicians, party officials and the like refused to do interviews, ABC crews were actually ushered out of events on occasions — but, ultimately, the lock-out ended and the CWA accepted the same offer they had refused about a six months earlier, with one additional term: in the future, they had to give 72 hours notice before going out on strike).

That tactic’s effectiveness was mitigated by the fact that, under most collective bargaining agreements, when union workers are promoted to management positions, they are no longer part of the bargaining unit. In essence, this gives the employer on on-hand, immediately available replacement workforce (this why CBS’ demand in the Newswriter negotiation that anyone who has the title of “producer” is removed from the bargaining unit — regardless of any other duties he/she might perform — is so onus. It’s a union-busting move, no question).

However, here’s the thing about the MBA: it covers one job only, “writer,” and that job is defined as: Someone in the employ of the Company who writes literary material under the direction or by the consent of the Company (in other words, you do not have to be hired to the position of “writer” in order to be covered under the MBA; you may hired in any position, but if you perform the duties of the job of “writer” — you’re under Guild jurisdiction). “Literary material” is likewise defined; short version: story, structure, script. Also defined are the contributions to story, structure and script that may be made by someone who does not have the job of “writer” that are excepted from MBA coverage (the “A-through-H exceptions”).

There is no way an episode of a scripted television series can be produced using just the A-through-H exceptions. Or, rather, it could be done, but it would extremely difficult, bordering on impossible, and likely turn out for shit.

Now, here’s the other thing about the MBA: unlike any other collective bargaining agreement I’ve ever heard of, employees who move up from “writer” to management positions (“producer,” “story editor,” etc) are not removed from the bargaining unit — because the bargaining unit is defined by the duties attendant to the job of “writer” that may be performed by any employee.

And what that means is: there is no on-hand, immediately available replacement workforce for WGA screen and television writers (In fact, I argue that there is no replacement workforce anywhere for WGA screen and television writers. The percentage of the general population capable of doing the job is very small; the percentage of that small percentage who aren’t already doing the job — and so aren’t already WGA members — is so small, it’s negligible).

And what that means is that the tactic used by the CWA — a blitzkrieg strike of short duration — could work for the WGA, particularly if it was done repeatedly.

Like all employers, the AMPTP likes stability, because it is predictable — but in the absence of stability, they still want predictability … and if a work stoppage occurs — strike or lock-out — it is because the employer has predicted the cost-benefit ratio of giving in to demands v. a work stoppage, and has determined that the work stoppage is the lesser of two evils.

But if a union could stage unpredictable work stoppages, then that would be a fairly potent weapon (or, at least, it would be a weapon that has not been seen before, and so unpredictable in its effect).

So here’s the plan:

The day the MBA expires, the WGA membership votes to authorize the leadership to call a strike — not so the WGA can go out on strike, but so it may go out on strike on a moment’s notice.

So now let’s say contract talks are dragging on, it’s the usual rigamarole, the AMPTP has put a couple of different “final offers” on the table …

… and, then, one day, writers do not show up for work, do not show up for meetings, nothing. Expected deliveries do not happen. Sure, the WGAw members who are producers and showrunners and etc. still go into the studios … but they cannot break scripts. They cannot write scripts.

A couple of days later, work resumes per normal.

A few weeks pass — same thing happens. Maybe it happens for a shorter duration, maybe a longer duration — the point is: unpredictability.

And, yes, the AMPTP may just do what ABC did, throw up its hands and declare a lock-out. But if a long-term work stoppage happens, a lock-out is better for the WGA than a strike. A work stoppage of any sort will eventually divide any union — that’s why strikes end, the membership ultimately decides working under the offer on the table is better than not working at all — but I think a locked-out membership will remain united for a longer period of time than a walked-out one.

And, yeah, it’s a strategy that may not be at all effective — but if it can be effective, then it could only be effective for a union for which there is no replacement workforce.

As far as I can see, that particular attribute is one the WGA has in spades.

(to implement this strategy, it would have been necessary to amend the WGAw and WGAE constitutions to allow for it).

• Ted

Vendor:

I’m in the same boat, but it isn’t as simple as losing audience from “over air.” Soon, there won’t be an “over air” broadcast. And the financial impact of that on writers is as bad as what we are facing.

I would really like to know what is up with the AMPTP promotional video proposal. Because this is what Dave McNary is saying was on the table on Sunday:

The AMPTP originally had insisted streaming video is a promotional tool and not subject to residuals. But by the time talks collapsed, insiders say the producers had offered resids after a one- or two-month period. The residual rate had not been hammered out but would have likely been at 1.2% of any revenues to the companies.

I don’t love 1.2%, but the overall structure of this proposal seems not unreasonable, especially if the free period is closer to one month than two. That window would pretty much correspond with the typical theatrical window of a movie during which the writer sees no residuals now, and in the current landscape of broadcast TV, there are rarely repeats within two months, so it’s the kind of model that will do what we want— replace the current percentage-of-script-fee broadcast minimum with a model that works when there are no discrete broadcasts.

But I’ve heard elsewhere that the proposal was actually much worse than this. Or am I missing something obvious about how awful a compromise this is?

(Article is at http://www.variety.com/article/VR1117975547.html?categoryid=2821&cs=1))

248 & 249 —

Probably right on it resulting in mostly a bunch of lawsuits — but here’s the clause as seen in one of my tiny options:

“Force Majeure” means any fire, flood, earthquake, or public disaster; strike, labor dispute or unrest; embargo, riot, war, insurrection or civil unrest; any act of God, any act of legally constituted authority; or any other cause beyond the Company’s control which would excuse Company’s performance as a matter of law.

I think there’d be a real question of whether a lockout counts as a “cause beyond the Company’s control.”


Also, does the AMPTP have the same sort of authority over its members as a union does? I was under the impression that the AMPTP was more of a club, with the members individually agreeing to go along with the group. I also thought that this was one of the AMPTP’s vulnerabilities, since the WGA or SAG could, in theory, sign a contract with CBS only — which would give CBS a pretty big advantage during the next sweeps.

New idea for a show (probably on Fox), lock a bunch of striking writers in a room and leave the cameras running.

Patrick Meighan: Your hostility towards Craig not withstanding (although generally well behaved) I just wanted to say “Road To Rupert” had some of the funniest dialogue I’ve heard in a long time. (The Stewie-Brian exchange about greyhounds was brilliant. I save it on my TIVO just for a quick laugh somedays.) I hope you can all get back to work soon.

Speaking of PR, here’s great way to ingratiate yourselves to the other unions: (From the L.A. Times) “This is an industry based on talent, and to break relations with the most talented people in town is not a very good business plan,” said Jeff Hermanson, assistant executive director for Writers Guild of America, West. (Emphasis mine)

And this is only day three… yikes.

Heres a question. Can writers in the WGA write for overseas companies? Like British companies, Australian companies, Asian companies.

And Vendor, its not about just a banner ad. Its about people downloading shows off iTunes. Downloading web-only episodes. Its all of that media, not just streaming content. Or so I think.

Ted @ 251

Thanks for the info! That seems like a pretty effective plan. It has the additional advantage that all the other workers in the biz can continue to pick up paychecks since it’d generally take more than three days for the studios to get around to firing people. Their only option would be a lockout — and that not only makes the AMPTP responsible for any legal repercussions, but also throws the moral weight for putting the town out of work on them.

It seems though that this strategy is available right now without even requiring a constitution re-write. Just get the very motivated WGA membership to regularly vote up SVA’s. Or, at least making the constitution change could be fast-tracked given the significant bargaining power it would entail.

Thanks, Ted.

So, it’s a conceivable strategy, just not one that can be used now. All right, thinking cap back on.

Ted, the short-strike idea is interesting, though I think for it to have any real impact, it would have to be for a week or two at a time. TV writing staffs are used to falling behind and then rushing to catch up, and it would be very very weird psychologically to fall behind and then deliberately not catch up, unless you really couldn’t catch up.

Not to mention, I can’t imagine the bickering over script fees from the couple of people on staff whose scripts get skipped over due to arbitrary scheduling, even though the show doesn’t shut down.

@252 - Soon? I’m willing to bet the last couple thousand in my bank that there is atleast another contract negotiation before there is any significant shift in viewership from broadcast to internet. My god, think about it for a second. Without the passing of Net Neutrality laws, the telecommunication companies are going to be able throttle the interwebs and never allow the bandwidth needed to replace “over air” transmissions. Of course this leads me too believe you have jumped the gun on this issue. I’m going to throw up again…

Ted —

Would that strike strategy also prevent AMPTP companies from enacting force majeure clauses on development deals?

From what I’ve read, they have to give at least four weeks notice to cancel the deals during a “force majeure event.”

But if the strike stops, say, over the weekend…haha…then the force majeure event is gone. They can no longer cancel those deals.

Strike returns Monday, they must give notice all over again. You now get another four weeks before you must suspend the strike to deactivate the clause.

Or is that not how it works?

I give Seth MacFarlane a great deal of credit for putting the entirety of his talents on the shelf during the course of this strike (thus giving the WGA that much more bargaining leverage), rather than hiding behind his status as a member of an additional guild as an excuse to continue to work for (and get paid by) WGA-struck companies.

It’s truly inspiring to me, and I think all writers should be a little grateful.

Patrick Meighan Culver City, CA

(Kay, thank you for that, but he was answering Patrick’s question, not sure if he answered mine — or if anyone did, really — I’m pretty tired from doing both shifts. See you tomorrow!)

I’m a negotiator by profession, Vendor. You have to negotiate in advance. Otherwise, you are playing catch up. And that never works.

TiVo launched in late 1999, but really didn’t make a dent into households until 2005 (indeed showed a profit for first time in 3rd qtr of ‘05). I bet you have some form of DVR. I also bet that you know a lot of people that swear by them.

Technology can move lightning fast. It’s really hard to stay in front.

I know that offers no solace(and God knows, I’m not about to bring food over considering your tendencies there), but it has to be done.

Jeff Hermonson, as the Director Of Organizing for the WGA (what is it with the WGA promoting thier organizers to ED’s?) was the brain behind the amazingly inept and ill conceived strike against “America’s Next Top Model,” in which not only did 12 story producers loose their jobs, but an entire barganing unit (reality program ‘writers’) was disqualified by the NLRB.

I have never met anyone less connected to the industry than Mr. Hermonson. His need to force oldstyle organizing strategies, that worked (at one time) with unskilled labor on to the Reality Campaign was one it’s prime downfalls. Neither the aspiring WGA members, toiling in the reality genre, nor the producers of the same responded even slightly to his leadership.

Now, he’s the assistant executive director of the WGA.

So today, while wearing my Neighborhood Lady Out For a Walk disguise, I happened upon several production trucks. My ‘hood gets lots of productions so this wasn’t surprising. I contacted a couple of strike captains I know. One gave me the phone number for strike HQ. The other told me I’d need more info to pass along. So I went back and asked some guy what show it was. He told me it was the pilot episode of blah blah. We chatted some and I left. I called the info into both the guild number and my friend. We’ll see if the intel is used to shut the show down b/c I actually got some good info with enough lead time to mobilize effectively.

But here’s the thing. As much as I want to help the WGA, and shutting down shows may help, I also feel guilty for taking info from a crew member and using it to effectively cut his paycheck out from under him and many others. That’s not an easy call to make. So anytime a hyphenate has to decide whether or not to work, I get, in a small way, how hard that choice is.

Peace.

wow… you all post fast!

My post #265 was a follow up to a quote in post #255

Yes, the ANTM organizing effort may not have had the desired results, and I don’t know how much of the blame (none? some? all?) falls on Jeff Hermanson’s head.

FWIW, Jeff Hermanson also led the very successful effort to get the Family Guy video game covered under Guild jurisdiction… helping to set a precedent for Guild coverage of video game writing. I know, because I was one of the Guild-covered writers of that video game, and I’m telling you, Jeff Hermanson called every shot perfectly on that organizing campaign.

So, I dunno, maybe he’s batting .500, or something.

Patrick Meighan Culver City, CA

Brian, I know its pointless to debate these issues. I’m grateful you didn’t just use the EVIL CORPORATION failsafe and are having an actual dialog with me. The only analogy I can think of is, I know for a fact (hopefully) that Ford will have a 2010 Mustang (Buy American!) but if I go in tomorrow and try to negotiate a price with the dealer for that model, he’s going to laugh me out of the showroom. I know you have to protect yourselves and I want you to, but I haven’t heard ANY quantitative numbers from EITHER side about what in regards to downloadable content is at stake. Just that there is a stake…somewhere. I think. There’s a stake right? God here I go again.

Patrick,

you seem really harsh on this board, bro. You’re harsher than the harshest critics. And you don’t even have accrued personal beef like others here do.

Why do you harp, Patrick? If you feel like you’re making solid points why do you need to repeat yourself and make threats?

As a response to Craig back on #172, I must again apologize for helping to further an untrue statement regarding “Heroes” and Tim Kring. I don’t believe in spreading rumors. I thought I was simply relaying a fact that was about to be in the press anyway. So I either fell prey to it (as did my source), or I helped others to do so, or both. In any case, that is not my intention here. I hope my primary contribution here has been to show the WGA members that there are sympathetic people in production. And to provide what useful information I can - NOT rumors or anything that doesn’t help.

And I will also reiterate that I have not crossed a single picket line at any time. And I will not do so. When faced with one today that consisted of the writers and producers of our show, I walked to the line, and announced to the writers that I could not pass the line, and that I would not disrespect them. What followed was one of the warmest receptions I have ever received. I must admit being moved practically to tears. At the same time, the same drivers who scoffed at me a week and a half ago were crossing the line. I have not spoken of this with them, and I will not do so, as I don’t think they’d appreciate it much. But the irony is pretty strange.

Ted,

“But if a long-term work stoppage happens, a lock-out is better for the WGA than a strike. A work stoppage of any sort will eventually divide any union � that�s why strikes end, the membership ultimately decides working under the offer on the table is better than not working at all…”

This is, personally, my biggest concern. That in the first three months, the lower class will disappear, the middle class will thin out, and the upper class’ bank accounts will start to feel the pull.

Some places are reporting a potential for a 9 month strike (to link up with SAG), but how many of us will be around by then?

Of course the AMPTP has given us little choice, but it feels like the WGA is hunkering down for the long fight. Their strike action, although fun and full of camaraderie, doesn’t seem to be causing much damage. The teamsters, it seems, aren’t respecting the picket lines. And the AMPTP is still spitting mad to the press (another game we seem to be losing).

Can we win the long fight?

Is on/off striking a realistic option (would the WGA have even thought about it) or is it just optimistic theorizing on a writer’s board (I hope it�s not)?

Craig said (in another thread):

��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).�

The longer the strike, the more likely the upper class will survive and, when they need work, they�ll cave.

I know cave is a strong word and I mean no offense, but it seems, to me, the logical, tragic conclusion to a long war.

Vendor,

I’m scared too. I had my haywire, world is falling moment yesterday. Calmer now. Not because the situation got better (it didn’t, it stayed the same), but I recognize I’m powerless in this fight. I’m not in AA, but the advice still seems sound.

Ironically enough, Hollywood does not change quickly. They don’t practice what they preach. And we seem like a strange lot to outsiders. Our business doesn’t follow as most do. But the industry has gotten to a point where there needs to be change. And we, my friend, are stuck in the middle.

I’m sorry for the losses you are incurring/about to incur. I hope the strike doesn’t break you.

Working AD - This is all new to most of us on the lines and I can tell you that the people I’m with are very grateful for as much as a honk… a gesture (that’s the wrong word - action? sacrifice?) like yours is the kind of thing we go home and call our families about. For real.

Many, if not most, of us have families across the country (or the world) that are anxious and scared and angry for us. And they are hungry for information and updates and stories. Yours is the kind of story we are eager to tell.

My brother in another state is making lists of the stars that come out, or the companies that support us. Hanson’s soda drivers giving us cases of soda, UPS drivers refusing to deliver packages, etc. He makes those lists and forwards them to everyone he knows.

I’m rambling, it’s been a long day, but the point is that any support at all is not taken for granted.

“you seem really harsh on this board, bro. You�re harsher than the harshest critics. And you don�t even have accrued personal beef like others here do. Why do you harp, Patrick? If you feel like you�re making solid points why do you need to repeat yourself and make threats?”

Well, I’ve not used profanities, and I’ve not called anyone names (a courtesy that our blog host has not reciprocated in my direction). And I’ve gone out of my way to say that I don’t think Craig is a bad person, and I even mean it. So, seriously, I don’t think I can legitimately claim any trophies for harshness. And, by the way, what in the world do you mean when you said I find it necessary to “make threats”… I’m a pacifist, dude. What threat did I make?

To answer your primary question, though: if, today, I was more adamant (or, if you prefer, “harsh”) than you’d consider seemly in urging Craig to follow the example that other WGA-affiliated, dual-guild-membership-holding writers have already set (including Steve Carrell, and my own boss, Seth MacFarlane), it’s ‘cause I think that Craig’s status (by virtue of his very popular independent blog on writing, and his well-thumbed position in the rolodexes of various media reporters) as an unofficial-but-very-prominent voice of the Guild rank-and-file bestows upon him a huge opportunity to make a statement about the seriousness with which Guild membership is taking this strike. That’s why I was so adamant in urging Craig to reconsider. ‘Cause Craig matters. He may not think he does. But he does.

But, like I said, though I may not be done personally wishing that Craig’d come to Jesus on this one, I am done hectoring him on it. He made his choice, he’s heard my arguments, he’s sticking with his choice, the world keeps on spinnin’, and we all eat our toast and jam.

See you all on the lines, guys.

Patrick Meighan Culver City, CA

Vendor - Craig here, not exactly a hawk, wrote several great entries about the issues and the reasons for a strike. Check them out if you get a chance, they might help.

But the bottom line is that there really isn’t a good argument on both sides here.

I understand your anger and your fears, I have them too. But anger at the writers is incredibly misplaced.

Let me put it this way - there isn’t an unbiased arbiter in the world that wouldn’t side with the writers in this fight. The AAMTP position is unsupportable.

There is only one question in the AAMTP negotiation room… what can they get away with. That’s it.

And you can blame the writers, but remember that they only have the misfortune of being first (not by accident, that).

Believe me, the writers would have taken any offer that was within a hundred miles of reasonable. Two hundred.

This offer was deliberately horrible.

Be mad, but at the right people.

Brian, the cover story of the next Entertainment Weekly is the writer’s strike. It shows the stars of top TV shows, including the much lauded Steve Carrel, with tape over their mouths.

Having the faces of name actors championing this cause on a consumer magazine, especially so soon, is quite a coop.

While that may not force Hollywood hardliners to schedule a negotiating session this week or next, it does give me hope that the inclusion of recognizable faces supporting this cause will keep the pressure up.

As you know, back channel conferences are continuing as we speak. We have every reason in the world to be cynical, but I’m hoping perhaps both sides will realize that taking this impasse into 2008 is akin to blowing up Nakatomi Plaza. (I reference “Die Hard” because it took place during Christmas and we’re heading into the holidays. Also, despite mayhem and destruction, it still managed a happy ending.)

The WGA collectively yelled “Yippee Kay-Yah, Mutherfucker.” Hopefully Hans Gruber of the AMPTP will realize he’s got to cut a deal before he falls off the tower as the audience cheers.

From Josh Friedman:

http://hucksblog.blogspot.com/2007/11/ext-studio-all-day.html

I’m disgusted that so many are taking pot shots at Craig for “talking the talk,” but not “walking the walk.” Read “Where I Stand” if you have any doubts about his loyalty.

I don’t know the guy, but he’s clearly conflicted. He’s pro-WGA. He supports the strike, even though he felt there were altertaives to seek peace. And, he gives everyone a chance to vent on this blog site — inlcuding allowing himself to be a target.

I’m probably stating the obvious, but it needs to be — Craig is stuck in a contractual obligation to honor his DGA duties. Some other DGA, SAG, and IA members that also carry WGA cards are also honoring the non-WGA contracts that they are currently working under. Cut the guy some slack like you are the others.

Two questions for the thread at large:

1.) Has every WGA member that voted for the strike hit the picket lines these past three days? EVERYONE OF THOSE 90+ PERCENT? No excuses, now. Where are they?

Let’s examine that: It’s time for them to all put-up or shut-up. Don’t vote for the strike unless you’re willing to put in the work to make it pay off. Don’t be like so many of the non-working SAG members who vote for a strike while they continue to work in their “regular jobs.” Show yourselves and do some of the heavy lifting! Grab a sign, lace up those tennis shoes and walk the line!

2.) Craig has said — more than once — that he’s not yet had to cross a WGA picket line. Read between the lines: Why is there no WGA picket early enough and late enough to force Craig and others to make a decision.

I know you don’t want to hear from the other locals or Guilds. But, you’re peers are urging you (not asking, urging) to increase the hours and completeness of the pickets.

We all stand together with our WGA peers. For now.

But we all want to see you get back to the table. For the good of all of us in the industry, force the issue and give this strike some teeth. It’s great that 3200 people hit the line yesterday, but where are the other 4800 west coast members? You’ve got our support but it will wane as the days turn to weeks and (God forbid) turn to months. Ride the wave. Make it count.

So you can take couple shots at me for re-opening the picket hours debate…

As a suggestion to the WGA tacticians, why not shake up the picket shifts. That is to say, instead of going from 9am - 5pm each day, why not picket from 6am - 10, then resume again from 3pm - 7pm. Maybe run different hours at different gates, forcing the studios and their operations to have to shift their strategies mid-day. Why not run one strategy at Warners, another at NBC/Univ, and a thrid at Disney — all on the same day. Keep them on their toes. Keep them guessing.

It just seems that everyone is playing too nice, trying not to step on toes.

Let me put it this way - there isn’t an unbiased arbiter in the world that wouldn’t side with the US in this fight. Iraq’s position is unsupportable.

There is only one question in Saddam’s negotiation room… what can he get away with. That’s it.

And you can blame George Bush, but remember that he only has the misfortune of being first (not by accident, that).

Believe me, the US would have taken any offer that was within a hundred miles of reasonable. Two hundred.

This offer was deliberately horrible.

Be mad, but at the right people. FIXED now do you see what I see?

Are there still back channel talks, Alan?

Heartening to hear, but after what happened Sunday, how can the WGA judge the legitimacy of the deal should it be made? It’s akin to a Monty Python skit. “You just said it.” “No, I didn’t!”

Alan,

That’s brilliant. Steve Carrel really stepped up. I hope more faces follow his lead. Where are the political celebrities? Where’s Clooney? Pitt? Where’s Bono?

A vendor - ” FIXED now do you see what I see?”

I see some disappointing things about you. Is that what you see?

If you really think the situations or the statements are analogous, then trying to talk to you is not going to be helpful.

I’m sorry your business will be hurt. You don’t have to believe it, but I am way too codependent not to be upset about it.

And I’m sorry that you feel the need to lash out at the wrong people.

But you clearly don’t want to understand, so…

Sorry, man. We really weren’t given any choice. I really hope it works out for you. I really do.

Patrick,

Thanks for the Seth MacFarlane info, especially about him holding off on SAG contracted work while we’re out on strike. It is great to hear yet the umpteenth example of a WGA member doing something that Craig said they would never ever do. I guess what Craig meant was that HE would never make an effort for the WGA, since by now dozens if not hundreds of other double-union members have done so.

Please tell Seth that yet another WGA member is grateful for his efforts.

For the love of f**k, can writers stop sniping at writers?

Y’all (or one of you with different screen names) look less supportive than Craig. It’s pathetic.

I’m guessing most of you aren’t actually other writers, but still.

Unless you know someone (like the assistant’s tip earlier… wish I knew who that was) violating strike rules, then really, start aiming guns the right direction.

In #279, Shreve said:

“Why is there no WGA picket early enough and late enough to force Craig and others to make a decision.”

Shreve: It’s because Craig will not let his WGA brethern know the super-secret location where he’s shooting his movie.

I know, hard to believe, but that’s his position.

Can you imagine if he and Ted has won and were leading the Guild? You’d have the president of the Writers Guild crossing a WGA picket line! NUTS!!!

Writers tend to be faceless, Brian and SML, so Entertainment Weekly is great… especially with people complaining that media giants control all the spin. Doesn’t matter what the article says, as beloved faces from popular TV shows says it all.

Yes, back channel talks are continuing to happen, but the big kahuna remains a formal announcement of when both sides will reconvene across a negotiating table.

Believe it or not, there is a consciousness of not destroying Christmas with labor woes. That will lead to news reports featuring shopkeepers, restaurants owners and other innocent parties all cursing the collateral damage both sides caused. Entertainment Weekly won’t matter then.

Couldn’t disagee more. The “super-sercret site” is hardly that. If you really want to know, then have one of the friendly Teamsters pull the film permit. BTW, all film permits are public record so the info is clearly out there if you take the time to get it.

But rather than taking shots at Craig, why no keep them focused on the AMPTP?

Craig said:

I HAVE NOT CROSSED A SINGLE PICKET LINE.

I HAVE NOT BROKEN A SINGLE WGA STRIKE RULE.

Hey Craig, you forgot to add:

I AM NOT A CROOK.

Kay:

My response that you referenced wasn’t to Priya, but to Patrick from Culver City.

And no, I haven’t worked in television, so if I say anything that betrays an ignorance of television…please correct me (and forgive me).

“BTW, all film permits are public record so the info is clearly out there if you take the time to get it.”

Shreve,

Just out of curiosity, where, exactly, is that information publicly available?

Patrick Meighan Culver City, CA

Hey everyone, Nikki Finke just posted that she has an exclusive that the AMPTP is dosing donuts with laxatives and leaving them at picket sites. So watch out.

I’ve heard of other writer-directors who feel comfortable writing new pages for their scripts during production since they feel they’re doing these updates as directors. This seems completely wrong to me. I understand these scripts were written long before the strike began, but as a WGA member, it doesn’t seem like you should do any writing whatsoever.

It seems completely wrong because it is completely wrong. Cutting for time, casual minor changes in dialogue, etc. (the infamous A-H exceptions) are allowable if the writer-director wasn’t employed as a writer when the strike was called.

But writing new pages?

Scabbing.

I know cave is a strong word and I mean no offense, but it seems, to me, the logical, tragic conclusion to a long war.

Why are you certain it’s the writers and not the AMPTP who will cave?

If this strike is damaging their business and costing them money — like, lost sales, like, paying overhead on facilities that aren’t producing income — then they’ll have to decide how long THEY can hold out.

What’s your assessment of the relative strength of labor compared to management in this strike? Which side is suffering most? Which is better positioned to endure a long strike without changing its bargaining positions?

Craig,

Sorry about that. Got confused. Too many comments. Long pages. Eyes tired! Also, for some weird reason, I thought you’d done TeeVee.

Now that I see you haven’t, I can make up any damn thing!

The Roxy on the Sunset Strip is providing free admittance to Writers Guild members during the strike.

WGA writers will be allowed into any shows that are not sold out by showing their membership cards.

“People forget sometimes that Los Angeles is as small; as it is big,” said Roxy owner Nic Adler. “Writers, like musicians, are here to entertain the world. We support artists here at The Roxy, that’s what we do.”

For ticket availability, call 310-278-9457.

NO WRITER ON WRITER BITCHING. PLEASE.

Sure, I wish everyone was as heroic as Carrell and Shonda Rhimes, but if some are still pulling prod duties, let them be. They’ll be on the picket soon enough and we need each other (that means you too Craig with your sweeping, statements about TV hyphenates and their lack of dues paying…so irrelevent at a time like this).

John, love your attitude. You reflect the folks I’ve been picketing with. The tighter we hang, the sooner it ends.

NO WRITER ON WRITER BITCHING. PLEASE.

Sure, I wish everyone was as heroic as Carrell and Shonda Rhimes, but if some are still pulling prod duties, let them be. They’ll be on the picket soon enough and we need each other (that means you too Craig with your sweeping, statements about TV hyphenates and their lack of dues paying…so irrelevent at a time like this).

John, love your attitude. You reflect the folks I’ve been picketing with. The tighter we hang, the sooner it ends.

Um, the AMPTP can hold out much longer than the WGA- trust me. The members of the AMPTP are small parts of massive corporations and their loses are peanuts.

I’m surprised there is not more of an effort to drive a wedge between the AMPTP member companies. Obviously, they will hold fast but how is the AMPTP not collusion on the part of the networks and studios? It would seem to fit the bill below:

http://en.wikipedia.org/wiki/Collusion

Another WGA Writer:

You got me on that one. I get tired and emotional sometimes.

Usually after reading about how I’m “WORSE THAN A SCAB” and stoopid shit like that.

But you’re right.

The whole showrunner dues thing is part of my beef about screenwriters and their representation by the WGA vis a vis TV writers…but that’s another argument for another time, and it definitely has nothing to do with what’s going on right now.

Mea culpa.

Info on permits is available at the film permit offices in cities such as Los Angeles, Santa Clarita, Santa Monica, Burbank, Culver City, Long Beach, etc. Any city that is incorporated and needs a production to file for a film permit before it can film there.

The permits contain the location to be shot, the hours filming is cleared to occur, special conditions, etc. It also ncludes the names of the Location Manager, Producer, UPM, Director, and 1st AD, as well as the studio or company involved.

And guess what happens when quarterly profits go down, and the forecast is for more of the same?

Their stock price goes down, and those enormous companies instantly bleed enormous sums of money.

Don’t forget: even Studio Heads can be - and are - Fired.

For the record, Craig…

I think three days off is making me sloppy.

This:

“Y�all (or one of you with different screen names) look less supportive than Craig. It�s pathetic.

…was not meant as a backhanded shot at you. It was just bad writing.

Over the last 24 hours I have seen and heard shots at Ellen, Eva Longoria, Jesse Jackson, etc. All people that made some effort to support us. Maybe not, as another WGA writer put it, heroic - but more than nothing.

another WGA writer - maybe we are picketing together!

Stuart,

“If this strike is damaging their business and costing them money � like, lost sales, like, paying overhead on facilities that aren�t producing income � then they�ll have to decide how long THEY can hold out.”

All these things are great and annoying to AMPTP businesses and I bet if we could ratchet up this annoyance quickly, we would have a shot at forcing the AMPTP to “cave”.

But in a long fight, we, the WGA, will lose. Why? Because the WGA represents human beings whereas the AMPTP represents Corporations. Human Beings have a short life span and when they begin to starve they begin to panic. Corporations, on the other hand, are potentially immortal. And if not immortal, their life spans are exponentially greater than any known human beings’.

One year of striking for a Corporation will be an annoyance, no doubt. But one year of striking for the WGA will be death, guaranteed.

Think about our strike as a virus. The AMPTP can ignore a minor cough without going to the Doctor to save its life. It may take a long time for that cold to become life threatening and if the AMPTP can weather the symptoms for long enough, that cold just might kill itself.

But if the AMPTP got a 24-hour flu, starts vomiting right now, verges on dehydration, it will call 911 ASAP. It�s flu might not be life threatening, but the panic will sure as hell will make the AMPTP want it to go away. It will do anything for the cure.

I think, and I am assuming from a distance, that this strike is only an annoying cough right now, when it should be a 24-hour flu.

We, the WGA, do not have the resources to be a lifetime cold that, at some point, develops into a fatal pneumonia, because, as the strike lengthens, the more of us parish (as seen by the �88 strike). And as more of us parish, the more likely the AMPTP can take some cough syrup and squash us.

I think we have the power right now. I think we�re strong and we�re righteous. But that won�t matter a year from now when the lower and middle class of writer goes extinct.

If we can learn anything from the �88 strike, it�s that TIME, even more than the AMPTP, is our enemy.

Craig,

Now I’m curious about the whole screenwriters representation by the WGA vs. TV writers representation of the WGA thing. Particularly because I was just talking to a TV writer friend who was arguing that reality writers should be paid the same as TV writers. I was surprised to hear him say since, storytellers though they may be, it really is a different skill set. For that matter, writing features is different than writing TV, but there are enough similarities that I’ve seen it as a personal choice kind of thing. So, one day when the strike is over, please explain… (or feel free to drop me a private e-mail, though I won’t be holding my breath).

Patrick,

Really glad that you think Craig should be free to make his own decisions, especially since he isn’t breaking any strike rules. After all, why should your personal morality substitute for his with regarding to the governing of his life? Glad you voiced your opinion (robust debate is good), but also glad you’re gonna give it a rest now that Craig has made it clear where he stands (i.e. you attempted to influence his decision, you failed, now moving on).

Today is my birthday

so HUG IT OUT, BITCHES!

AND I MEAN IT!

Today is my birthday

so HUG IT OUT, BITCHES!

AND I MEAN IT!

This was on the Unitedhollywood site. It is a great idea. All the hit shows have fan sites. The Office has several…

“My friend suggested every showrunner call upon the fans of each show to send in 4 pennies, representing the 4 cents the Companies won’t add to our DVD formula. (The 4 pennies would just be a symbol, but the fans would be saying, “I’m willing to support this show and the people who create it — why aren’t you?”) Millions of envelopes with 4 pennies in each envelope, sent to every network with a show that’s being shut down, along with a downloadable form with the fan’s name, imploring the network to make a deal with the writers because they love these shows so much they’re willing to chip in the 4 cents the companies seem unwilling to give the writers.

I thought it was a great grassroots campaign that could galvanize some of the writing teams & solidify their ongoing relationships with their fans.”

Natalie 310,

That’s a neat idea. Like the JERICHO peanuts. I dig it, yo.

Interesting. I always thought of corporations as entities run by human beings, and therefore susceptible to the same influences that govern all human endeavors. If you think corporations are endowed with longevity bordering on immortality, look up Webvan. If you think corporate managers don’t make all-too-human errors based on emotion and wishful thinking, look up Webvan. If you think that corporations can withstand continuous losses without any pressures from their stakeholders, look up Webvan.

Time is not on the WGA’s side because its members are individuals whose lives are put under great stresses by the strike. However, that doesn’t necessarily mean that time is on the side of the AMPTP — it faces its own set of pressures. As the strike continues, those pressures may mount (depending on the WGA’s strike strategy and how it uses it for maximum leverage).

If the strike is no more than an annoyance to the AMPTP companies, it’s not going to achieve its objectives. But it is not clear to me that the strike is a mere annoyance. Do you have any figures from the AMPTP companies on their rate of losses from the strike, both actual and projected, that enable you to say with confidence that the strike isn’t hurting them enough to induce them to settle?

Or are you simply giving into the terror of uncertainty about how the strike will affect your budding screenwriting career?

Interesting. I always thought of corporations as entities run by human beings, and therefore susceptible to the same influences that govern all human endeavors. If you think corporations are endowed with longevity bordering on immortality, look up Webvan. If you think corporate managers don’t make all-too-human errors based on emotion and wishful thinking, look up Webvan. If you think that corporations can withstand continuous losses without any pressures from their stakeholders, look up Webvan.

Time is not on the WGA’s side because its members are individuals whose lives are put under great stresses by the strike. However, that doesn’t necessarily mean that time is on the side of the AMPTP — it faces its own set of pressures. As the strike continues, those pressures may mount (depending on the WGA’s strike strategy and how it uses it for maximum leverage).

If the strike is no more than an annoyance to the AMPTP companies, it’s not going to achieve its objectives. But it is not clear to me that the strike is a mere annoyance. Do you have any figures from the AMPTP companies on their rate of losses from the strike, both actual and projected, that enable you to say with confidence that the strike isn’t hurting them enough to induce them to settle?

Or are you simply giving into the terror of uncertainty about how the strike will affect your budding screenwriting career?

Can one of you writer folks get this message to the peeps at the WGA? I really think that you guys are not using your fans enough. I have been on every blog nonstop and I see repeated posts from fans that want to help and don’t know how. And no one ever tells them- which has got to be frustrating. This could really show the AMPTP that they are hurting their viewers more than the WGA, and that is absolutely bad business.

Stuart,

If you think, “corporations as entities run by human beings, and therefore susceptible to the same influences that govern all human endeavors,” then you should read a book called The Sociopath Nextdoor. It make change your thinking.

Suz

Holy hell, it just hit me. That is how this strike is different. In ‘88, you guys didn’t have the online advantage. Now, who cares if the AMPTP owns the media? They sure as hell don’t own the internet. You have thousands of blogs and fan sites to plead your case. We are already seeing it with you YouTube videos. It has worked to educate and garner sympathize. Now it should be used to let fans know how they can help you win. I now actually feel like this strike can work.

SML,

You aren’t even in LA and on the line. No one should listen to your internet informed views nor your historical lessons from when you were 7 years old at the time of the last strike. It is getting quite old. Take a plane and get on the line or STFU.

Today is my birthday

so HUG IT OUT, BITCHES!

AND I MEAN IT!

Anonymous,

[redacted, per Olson’s request —Mazin]

Posts like the one left by the cowardly Anonymous #296 are why many people feel compelled to post anonymously here (which is dripping with irony, ain’t it?) It’s one thing to attack the actions someone outlines here - nobody, for instance, is criticizing Craig because they’ve heard he beats the crafts service lady, or because they have an inside line that his producer is actually directing the movie or some other such blather. They’re criticizing him because of what he’s SAID he’s doing here. They’re not bringing in rumor or innuendo or outright libel.

But that’s a line some people here don’t respect - including Craig, so it’s no wonder folks post anonymously. Put your name on a post here - especially one that’s critical - and you should be prepared to deal with this sort of squalid, lowlife bullshit. The Mazin Swift Boaters, I like to think of ‘em as….

Priya, points to you for posting under your real name… assuming that IS your real name.

“I have been on every blog nonstop and I see repeated posts from fans that want to help and don�t know how.”

Concerned fans should email the networks and studios, demanding that the AMPTP sit down with the writers and start negotiating a reasonable deal for DVD and new media residuals.

You can also immediately stop downloading tv shows and films from iTunes and stop watching streaming shows on network websites.

Reeaalllllllly concerned fans can send pizza to the picket lines! There is a list of picket sites and more information at wga.org.

Hope this helps.

At the Disney main gate (Alameda St.), I met a Teamster who was marching with us and waving his sign in front of each car that came in and out of the gate (and scowling, too!). This guy was hardcore; he intimidated a shitload of yuppies! When I shook his hand, he told me his name and said simply, “I don’t cross picket lines.” He also said he had walked off his job that morning in view of his supervisor (at one of the major studios) and he was told his union has a lawsuit against the studios to allow them to honor our lines without reprimand. Great guy — I wish more had his convictions.

Another WGA writer,

“NO WRITER ON WRITER BITCHING. PLEASE.”

Probably a good time to point out that at this point in time, Craig’s not a writer. If he were, he’d be in trouble.

And if criticizing someone who’s not actually involved in our strike at this point and who continues to post rumors and uninformed opinions is “writer on writer bitching,” I’m all for it.

Natalie,

This was on the Unitedhollywood site. It is a great idea. All the hit shows have fan sites. The Office has several�

�My friend suggested every showrunner call upon the fans of each show to send in 4 pennies, representing the 4 cents the Companies won�t add to our DVD formula. (The 4 pennies would just be a symbol, but the fans would be saying, �I�m willing to support this show and the people who create it � why aren�t you?�) Millions of envelopes with 4 pennies in each envelope, sent to every network with a show that�s being shut down, along with a downloadable form with the fan�s name, imploring the network to make a deal with the writers because they love these shows so much they�re willing to chip in the 4 cents the companies seem unwilling to give the writers.

I thought it was a great grassroots campaign that could galvanize some of the writing teams & solidify their ongoing relationships with their fans.�<

This is better than the idea we had day one — to actually throw four cents at each passing car.

Cooler heads prevailed.

People are ALWAYS welcome to picket anywhere you see us. And one big way people can help, IMO, is to correct the blatant errors in the press and the blogosphere. When some lady who isn’t from around here goes, “Well, my Herbert says these writers make $200,000 a year and they want MORE money. They’re greedy, lazy scum who don’t know what it’s like to have a REAL job,” it’s always nice to explain how wrong Herbert is and what’s really going on.

I always find it interesting that these folks attack the writers, but they seem to think an executive getting $20 million for being fired is fine.

Ordinarily, I wouldn’t dignify something irrelevant like your accusation with an answer but since I know Priya and she’s been an enthusiastic picketer for three days, bite me.

Okay, it just took me a solid hour to read all these comments (even skipping the snarkiest ones - and we all know which ones those are). So I hereby propose to everyone that we spend four hours picketing, for every one we spend posting and reading. Because this site tends to overemphasize the neurotic, while talking face to face with our sisters and brothers on the picket line is truly uplifting.
And posters, don’t write anything you’ve written before, please.

Exactly Kay, I know all this. I’m saying that the WGA members should get these messages out there to all the kids who don’t. Remember, the public actually votes, no sorry - pays to vote, for American Idol. Put those people who actually care to work for you.

nobody, for instance, is criticizing Craig because they�ve heard he beats the crafts service lady, or because they have an inside line that his producer is actually directing the movie or some other such blather. They�re criticizing him because of what he�s SAID he�s doing here. They�re not bringing in rumor or innuendo or outright libel.

Au contraire, my not-frere.

I was accused of preventing picketing. I was called “worse than a scab.” Ted was accused of scabbing because someone read about a deal he closed months and months ago. I’ve been accused of taking orders from Nick Counter. I was accused of being under federal investigation for stealing money from the WGA.

I’m accused of libelous crap constantly in here.

You kinda picked the wrong thing to harp on with this one.

Again.

I just deleted the comment about Priya (of course, you had to go and reprint it in your comment…what a hero you are). Still, I’ve asked people to follow the honor system right now, because I just don’t have the time to moderate this volume of comments, but you complain anyway.

You’re like a vindictive version of ELIZA.

Craig…”Casual, minor changes in dialogue” written by an WGA member during a strike? That’s scabbing no matter how many diminutive adjectives you use. I have to think you know that….

The goal is to shut down production. I really don’t understand people who aren’t following the directive. It hurts the rest of Guild and the industry. That’s why this hyphenate’s NOT doing it.

The thing that makes me the saddest in this whole strike situation is that I agree with it. But I have, as they say, crossed over. And crossed the line out of necessity. I work in reality. But that doesn’t mean I’m writing— at least not according to the WGA. And I don’t make enough to live comfortably yet, at least not according to me or any one who has a WGA contract.

I’ve worked in scripted, on a top 20 sitcom and was a casualty of the potential writer’s strike that made reality not just a flash in the pan but a mainstay of television. That being said, of course I have culpability in my situation, too. And I get that. I do plan to do both— I actually like both. There are aspects of reality that give you creative control and skills — like working on an Avid and interviewing and producing— that sitting in a room never gives you. And let me tell you, if you think you get back in post and you just lay out a story? Yeah, right. I’ve worked longer hours in reality with less perks and been happy because I’m creating a story and have control over it than I have in scripted.

But it breaks my heart to know I’m making 10% of what I used to make and without health benefits. That people I work with who are extremely talented storytellers are doing the same. And truth be told, I do think the WGA dropped the ball.

Reality is writing. Just backwards.. And trust me, at times, I think scripted is much, much easier. A througline exists. Real people never say anything you want them to say!!! And why is it that stories don’t always pan out? Had the WGA stood behind reality, the town would have effectively shut down during this strike and everyone would have gotten what they wanted in the end.

We’re all storytellers. And the more opportunites, the more options we all have, and the more respect we give one another, the better off we all are.. Certainly, Hollywood is a business, but being a writer is a commitment to a kind of life.

Tina:

On that note,Ted, how can we get the non-WGA members who want to be professional (paid) writers understand that if they write for struck companies while we WGA’rs are striking, they are very possibly selling out their future health care coverage, basic minimum guarantees, union representation and fellow members … muchless their very souls?

The aspiring writers who have enough talent, respect for the craft and initiative to make it as professionals have enough sense of responsiblity to other writers, they won’t see the strike as an opportunity to break in.

The ones who think the absence of professional writers will make the AMPTP Companies desparate enough they’ll buy work they didn’t want before the strike and wouldn’t want after the strike aren’t a concern.

I don’t think there’s any overlap between those two groups.

But you are right: if Guild members believe its necessary to the rights of all writers to boycott the AMPTP Companies, then all writers, members or not, should honor that boycott.

• Ted

Stuart,

“Or are you simply giving into the terror of uncertainty about how the strike will affect your budding screenwriting career?”

Yes. I am. I’m very scared. And I’ve never claimed otherwise. I’m hypothesizing just like you are and the fact that I am in the lower to middle class does make my hypotheses biased. That’s a given and, if you must, go ahead, use it against me.

As for statistics, I can only point to the ‘88 strike (bear in mind I was only 7 at the time so, you know, my point is irrelevant).

500 million was lost (which I think was cumulative of both writers and AMPTP companies). The negative effects of that strike are still referenced by our respective WGA leaders. A large majority of WGA members that fought in that war are long gone. WGA careers were lost. WGA homes were sold. But even though that 500 million was a shared loss by both the AMPTP corporations and the WGA individuals, who’s still around? Who still have their studios? Who is bringing in record profits?

The ‘88 strike, from my juvenile perspective, hurt the WGA (specifically its lower and middle class) more than it hurt the corporations. Yes, the WGA as an organization still exists. But, as many have attested to in these forums, the WGA has been consistently getting weaker ever since and prior to the ‘88 strike.

The AMPTP also still exists but it�s fighting for the corporate bottom line. And although Corporations are built with human lives, those same Corporations are willing to sacrifice those lives for their bottom line.

I don’t believe the WGA (and I’m using the ‘88 strike as my reference) is cold hearted enough to kill all of its members to improve their bottom line.

a caelo usque ad centrum,

a posse ad esse

I’m not sure what your point is, SML.

If it’s that you’re scared… me too.

If it’s that we shouldn’t be striking because it didn’t work twenty years ago under different circumstances… not me too.

You say we’ve gotten continually weaker… then you want us to take a deal that would make us weaker still? Much weaker?

331 - Ut si!

John,

Read and if you still think I’m anti-strike let me know.

I don’t believe I’m anti-strike. But I am anti-long-strike (unless, of course, it’s the last resort).

OH JOSH -

You’re so adorable and full of piss & vinegar at your post adolescent age. Good on ya, lad. Fuel for the fight.

I’ve met ya and I do know you’re commited to the cause, so cool for that. And I think you’re a good writer. Like Craig, a WRITER.

Thanks Natalie for the support! Email the studios. And I deeply appreciate every SAG and other supporter who has walked the picket with me. Even the homeless dude, who asked for some snacks, then insisted on on picketing for an hour as payment. That ruled.

One thing I’ve learned, is that I will happily picket with other unions when time comes. That, and writers really are socially awkward dorks who don’t exude charisma from the sidewalk. But that’s ok - as long as you’re holding your sign and not turning in scripts, yay.

And frankly, I don’t think the WGA is in such a cataclysmic position (we’re just neurotic over thinkers by nature) b/c shows are shutting down waaaay faster than the studios bragged they would pre strike, TV ad dollars are going, and they’re shooting themselves in the foot for next fall (pilot season).

And here’s what I find odd: if they had so many stock piiled scripts, why did I get SO MUCH PRESSURE in the last month to turn in my 3 silly little mid budget flicks the first week in October? These aren’t blockbusters, and I’m no A-list writer (yet), but the studios were going apeshit for me to get stuff turned in… If they (Disney, Fox, Paramount) were that desperate for my measily crumbs, I don’t think they have that much.

All Summer, there was no panicking at my meetings - the strike was referenced in the far future. June of 08, or a touch stone for things going into production - but suddenly October happened and switch got flipped.

Another writer I picketed with told me they were here in 88, and the minute the strike ended, he sold two specs b/c they were desperate.

I just wonder…

Couple that with everything the AMPTP says tends to be literally the opposite of what they mean/ what the facts are. So, I think their cockiness may be a little overplayed. They’re powerful, for sure, but they do need writers. And I think they’re a little scared. People within the studios definitely are. I hear it.

Also, with the fires, the foreclosures, the economic impact, I think there could be greater political pressure for them to bargain. Maybe.

I know we’re risking a lot, but I think they are too. Way more than they will ever admit - even after the fact, I’m sure.

I’m just saying. Who cares how it happened, we’re at war, the cause is mighty, so let’s fight this fucker!! With our feet and at the negotiating table, of course.

G’night.

“Tu stultus es.”

John and others,

When I reference the ‘88 strike, I’m referencing its length.

Also, in another thread Brian McCabe convinced me that the major difference between the ‘88 strike and our strike is that with our strike we have short term weapons that could cut the AMPTP deep (the TV season being the most obvious). He also pointed to the teamsters’ support, which in the past few days has proven minimal (and I’m not blaming the teamsters btw) and therefore a limp weapon.

The TV threat is still there and I think it’s being worked admirably. But I wonder if the cuts couldn’t be deeper, bloodier.

Some of the theories Ted (251), Brian McCabe (154), and Steven Palmer Petersen (57) have pointed out seem to be more of an active, short, and long term strategy that I am not seeing from the WGA (albeit my POV is limited).

John and Travis,

Carpe diem…

Posts like the one left by the cowardly Anonymous #296 are why many people feel compelled to post anonymously here (which is dripping with irony, ain�t it?) It�s one thing to attack the actions someone outlines here - nobody, for instance, is criticizing Craig because they�ve heard he beats the crafts service lady, or because they have an inside line that his producer is actually directing the movie or some other such blather. They�re criticizing him because of what he�s SAID he�s doing here. They�re not bringing in rumor or innuendo or outright libel.

But that�s a line some people here don�t respect - including Craig, so it�s no wonder folks post anonymously. Put your name on a post here - especially one that�s critical - and you should be prepared to deal with this sort of squalid, lowlife bullshit. The Mazin Swift Boaters, I like to think of �em as�.

Priya, points to you for posting under your real name� assuming that IS your real name.

Craig - please delete the initial post I left which contained the offending quotation. You’re quite right, and I beg Priya’s forgiveness.

Craig,

“Au contraire, my not-frere. I was accused of preventing picketing. I was called �worse than a scab.� “

You miss the point, not surprisingly. Those things were said about you because of what you posted here. They’re criticisms based solely on the information you provided on this page. You’ve told us you’re directing during a strike. If someone chooses to interpret that, that’s one thing. But nobody has outed you as being a director during a strike.

“Ted was accused of scabbing because someone read about a deal he closed months and months ago.”

Yeah. I remember. And Ted was decent enough to thank me for standing up for him on that one. I don’t apply my standards selectively. Right is right. Wrong is wrong.

“I�ve been accused of taking orders from Nick Counter.

An opinion based solely on what people have read here. I disagree with that opinion, but I fully understand how one could arrive at it. There are days when you all you seem to do is come up with ways - no matter how picayune - to attack the Guild. I offer, as example - the infamous cartoon post of a week or so ago. Classic Mazin.

“I was accused of being under federal investigation for stealing money from the WGA.”

Some time ago. I’m clearly referring to the current situation.

Point remains - you’ve created an environment in which the posting of rumors, innuendo and outright libel is acceptable. That’s why so many people choose to post anonymously. Maybe if you stuck solely to opinion pieces, and leave rumor mongering to lesser mortals, folks would ease up on you a bit.

Josh,

You’ve used the slander of identities in your debates from past threads. You may not have always directly defended the use of slander in your arguments or even knowingly slandered an identity, but you conveniently ignored when those slanderers were supporting your cause.

Craig is guilty of the same crime.

But it doesn�t matter. That�s the price of free speech.

Josh read me instead of stupid old 341:

EDIT of 341:

Josh,

You may not have always directly defended the use of slander or knowingly used it against your opponents, but you’ve aided and abetted slander in past debates.

Craig is guilty of the same crime.

But that�s the price of free speech.

(I feel better now)

Wow. Kinda offensive. I believe I’ve not been acrimonious in any way here, but asked questions to which I didn’t know the answer.

I’m not in the WGA because I got fired from ABC/Disney before I could become eligible for it. This was something that was my own fault. And not really a conversation for here.

Not that I need to, but to set the record straight:

I did not steal jobs from anyone when I got fired as they hired a replacement immediately afterward. Sadly, that person was fired for the same reason I was. So, you know, they hired someone else directly after that.

To Josh, thanks man. Yes, it’s my real name. And no worries about reposting, I’m glad to know what was said.

To Kay, also thanks.

To Craig, also thanks for deleting it. Appreciated.

To all: I may have screwed myself out of getting into the WGA, but I will fight the good fight as long as I’m needed. Which means, I’ll be out on the line. My only hope for the person who tried to call me out with misinformation: that you’re out there, too.

Patrick Verrone is gonna be on KTLA News (Channel 5) this morn — fyi

To all: I may have screwed myself out of getting into the WGA, but I will fight the good fight as long as I’m needed. Which means, I’ll be out on the line. My only hope for the person who tried to call me out with misinformation: that you’re out there, too.

It is VERY VERY cool that you’re out there lending true support to the WGA and its members, present and future.

And I’ve no doubt the anonymous poster’s laundry is soiled incorrigibly.

On an unrelated matter, I’m in love with Dexter, so thanks for introducing us.

SML,

“You may not have always directly defended the use of slander or knowingly used it against your opponents, but you�ve aided and abetted slander in past debates.”

It’s not my web page. I’m not taking Craig to task because people cross that line here. I’m taking him to task because HE’S crossed that line, which creates an atmosphere conducive to that. I don’t police this site, nor am I responsible in any way for its content. And, frankly, as Craig has opened the door to rumor, innuendo, lies and libel, I don’t much give a shit when it comes back to hit him in the face. As John Ireland is fond of saying, reap the whirlwind!

“But that�s the price of free speech.”

Well, no, it’s not, actually. That’s why you can get sued for libel. Which, by the way, is what it is. You can’t slander someone on a web page. You can only libel them.

Anonymous —

What handle do you hide behind on the other board — you know, the place where she had the guts to publically share her experience as painful as it was for her.

If you attack her in public, I’d say you owe her a public apology.

Craig:

Some boards post users IP numbers — it’s a way to get around the anon issue.

Craig,

You wrote: “It seems completely wrong because it is completely wrong. Cutting for time, casual minor changes in dialogue, etc. (the infamous A-H exceptions) are allowable if the writer-director wasn�t employed as a writer when the strike was called.

But writing new pages?

Scabbing.”

Look at this:

http://tinyurl.com/yo74yk

Scroll down to the second comment from this hyphenate. I don’t know him personally but I’m a fan of his work and he seems like a good guy, so I’m hoping this is a misunderstanding and he doesn’t plan to actually write on his film during production.

Maybe the WGA needs to personally contact all hyphenates going into production to make sure they clearly understand all the rules.

I know Priya. And if I knew who anonymous was I’d rip out their eye and crap in the socket.

Craig��Casual, minor changes in dialogue� written by an WGA member during a strike? That�s scabbing no matter how many diminutive adjectives you use. I have to think you know that�.

No, those fall under A-H exceptions. If you’re not under employment as a writer, you may perform that work as a director or producer. Our MBA specifically exempts A-H exceptions as “not writing.”

By casual, minor changes to dialogue, I refer to things like changing the line “I didn’t mean to hit you” to “Sorry, I didn’t mean to hit you.”

Stuff like that.

Some might say that this is what happens when Jews run a business. Their greed and sheer incompetence run it right into the ground.

However as a screenwriter who is optioned yet not in the writers guild and therefore will continue to work while those in the guild are starving I can see both sides of the situations here.

Basically this is something that HAD to happen. Think about it. For years people have said that movies are getting too expensive. Not hard to believe when the likes of Tom Cruise are making one hundred million dollars per movie thanks to upfront and backend deals. Anyone making that kind of money is obscene.

And it is all coming out the pockets of the studios.

And Jim Carrey famously had a few big budget movies get cancelled at the last minute because of their costs.

Sure the moguls rake in a lot of cash which is undeserved but you must admit that the talent has never been shy of putting their hand out for exorbitant amounts either. Some like Denzel Washington never think twice about double dipping when it comes to pay or play deals with him getting a whopping forty million dollars for American Gangster because he accepted the twenty million in a play or pay deal when the movie shut down and then accepted another twenty million when the movie got back on track. This is the kind of money grabbing behavior that is the norm with these guys.

So naturally like anyone who has run into financial trouble as I am sure some on this board have in the past they have to take a serious look at their financing and start slashing unimportant things off the list.

Just as someone might have to move out of their ten bedroom home in Bel Air and move into a studio apartment in Studio City.

You have to cut costs.

And what the studios are doing is getting rid of all the deadwood. And the deadwood is production deals with people who don?t produce anything or don?t produce anything that makes a profit.

Robert Evans has a production deal at Paramount and the last movie I can remember that he actually produced was the Sharon Stone flop Sliver back in the early 1990s. The fact that Paramount has been paying his overhead all these years since then is stupid.

So I hope he gets the chop.

Likewise the play or pay deals are ridiculous. As well as the holding deals that networks have with certain actors who are sitting on their backsides at home and not even working on anything for the network.

Paging Heather Locklear.

Some movies are now budgeted at as high as three hundred and fifty million dollars. That is nothing short of disgusting. All that money for a couple of hours of entertainment when it could have gone to finding a cure for AIDS or cancer or helping the homeless or orphans.

But I digress.

If the strike does in fact last until June of next year I can assure you that the writers guild will be history. And the reason I say that is because the rank and file which makes up the majority of the WGA membership simply cannot afford to go all those months without a paycheck. They WILL scab. Or they WILL find a job outside of the industry. They?ll have to. No doubt about it. Principles might be nice. But this is Hollywood. And principles don?t feed a hungry family or keep a roof over their heads.

And we all know nobody in Hollywood has principles. It is all about the money and fuck everyone and everything else.

And the studios are hoping that the writers guild folds because they do not want to pay five million dollars for a script. Yes they will continue to pay big money for scripts from certain writers but with most movies being so terribly written I can see why they would be already starting to compile lists of non WGA writers to work with. The studios need fresh voices. And they are sick of uppity writers who complain about having tired feet after a four hour shift on the first day of a strike.

On the other side of the equation is that the writers guild seems to forget that the studios are not just the studios. They are simply one aspect of major conglomerates run by Rupert Murdoch and Co. Back in the old days when studios were their own business and not owned by others, a strike had more power. Now a strike means nothing. Especially when the studios want to get rid of all these people and deals that have sucked them dry for so long without generating an appropriate amount of profit.

All these movie stars making one hundred million dollars from one movie. All these television stars with holding deals. All these faded producers who have not produced a movie in over a decade. All these twenty million dollar play or pay deals.

This is like Miramax which was once a solid company but then overextended itself to the point that they HAD to reboot.

In my opinion every studio should run their business like Lions Gate which puts out a lot of low budget movies that end up making a lot of cash. Lions Gate is smart enough not to make the mistake of the other studios that routinely throw three hundred and fifty million dollars at some lame sequel.

Anyway when the writers guild is destroyed and all these other sideline people who suck on the studio teat to make a living are out of the way then the studios will restructure themselves and move in the non union writers or those union writers who are willing to scab. And I would expect that they will also stop paying movie stars and directors ridiculous amounts of money and start doing a Lions Gate and giving jobs to much cheaper talent. And let us not forget that there are thousands of non signatory production companies that are putting out product that the studio will be more than happy to distribute once everything they have in the can or in production at the moment is gone.

In essence this writers strike is a great opportunity for non union producers who normally would not be able to have their movies distributed because of all these huge studio epics being made. Now the studios will be buying movies off the non union filmmakers and creating careers by giving them a chance. There is a lot of talent out there. The talent is nowhere close to be only in the 310 area code.

This is a reboot that had to happen and we?re moving into a new frontier. The studios are cleaning house and those who are more trouble than they are worth are being given their papers. And those who looked down on others for years such as writers looking down at the below the line crew and the below the line crew who looked down on the above the line people are getting their just desserts.

Karma is a bitch. Change or die.

I don’t think there is any place for blatant racism like this.

I know Karma. And if I knew who anonymous was, I’d briefly consider doing the eye ripping thing for calling her a bitch.

She’s more of an acquaintance, really.

Some might say that this is what happens when Jews run a business. Their greed and sheer incompetence run it right into the ground.

Best to leave stuff like this up. I don’t want to give it any more power than it deserves.

Josh (#37)

Thanks for your reply to my earlier question. I now think the answer is to not direct or produce anything until the strike ends.

JP Wolff

Yes. I am. I�m very scared. And I�ve never claimed otherwise. I�m hypothesizing just like you are and the fact that I am in the lower to middle class does make my hypotheses biased. That�s a given and, if you must, go ahead, use it against me.

Well, guess what? EVERYBODY who’s on strike is terrified out of their wits. You’ve got gals and guys walking the line who are looking at $4,000 mortgage payments, a kid in college and two more in high school. (It’s an interesting feeling, believe me, when you look at your kid’s SAT scores and get a sinking feeling that she’s probably going to get into that prestigious private school that costs $35,000 a year.) As the film cliche goes, “if you’re not scared shitless, you’re either dead or stupid.”

So I have no intention or desire to “use your terror against you.” What I would like is if you would redirect that terror in a useful way and channel it into an intelligent resolve to support and win the strike. People who have to go into real combat, the kind with IEDs and sniper’s bullets, feel that terror but know how to use it to do the job they have to do. That doesn’t mean they always win their battles, but they know if they let terror paralyze them or fill them with self-doubt, they always lose — and may very well die. And not that rhetorical, metaphorical kind of death you keep referencing in your posts about the strike (there aren’t any Pinkerton men or company goons using bats and pipes to beat down the picketers), but the kind with honor guards and flag folding ceremonies.

If the 1988 strike was harmful to the WGA, then the proper response is to look for the new information in the current situation and devise strike strategies and tactics that will maximize the union’s leverage in THIS strike. Yes, that may require a long strike — it may require that the strike continue long enough to make the AMPTP feel enough pain to yield an acceptable offer to the WGA.

If that’s what’s required, and if the WGA rank-and-file can’t sustain it, the WGA won’t make the gains it’s demanding - that’s within the realm of possibility. But it’s not the future to assume and plan for, and it’s a damn good reason to look for ways to make the strike more effective in the short term, so that the WGA can force an acceptable offer out of the AMPTP sooner rather than later.

By the way, if this strike screws up your writing career in the short run, remember: you’re young, you’ll have plenty more chances in the future. And the value of those future chances will be a hell of a lot higher if the WGA wins a decent agreement in this strike.

Post script to #356:

Take comfort in this: the human beings who are the executives and managers and office workers in the struck companies are terrified, too. They have their mortgages and utility bills and college bills too, and they know keeping their jobs requires walking a tightrope between keeping the WGA from winning too much in the strike and keeping their studios and production companies running and generating revenue and income.

The union is powerful, if it remains united and resolute. Solidarity with and from brother unions multiplies that power. Unity, solidarity and resolve are your main weapons in this strike, and they are awesome, terrifying weapons when wielded properly.

However as a screenwriter who is optioned yet not in the writers guild and therefore will continue to work while those in the guild are starving I can see both sides of the situations here.

Really? David Duke has opened a production company?

Just brainstorming here, but since the AMPTP isn’t a guild, has it been considered that we could break them? Someone sort of suggested this above, but what if the NegCom went to each studio separately? “Hey, Disney: Give us an internet contract and you can have all the writers in the city working for you right now. Get back to us before Universal accepts.”

Judaism is a religion. Not a race. FYI.

Judaism is a religion. Not a race. FYI.

Judaism is a religion. Not a race. FYI.

And this is in response to… what?

BTW, despite the truth of your statement, it’s always been convenient for Jew-haters to label Jews a race in order to foment even more Jew-hate… though sometimes they’ve used the religious difference card as well. The response to your statement throughout much of the history of the last 3,000 years has been, “Religion, race, who cares? Let’s just get rid of ‘em.”

Regarding the WGA strike rules, Kevin Smith, etc:

I’m reading the WGA strike rules as found in a pdf on the WGA site. It says:

“Hyphenates The Rules prohibit hyphenates (members who are employed in dual capacities) from performing any writing services including “(a) through (h) functions.”

It’s pretty clear to me that the term hyphenate(like wrtier-director) is meant to describe that person’s services as both is considered ONE employment contract, as the parenthetical that says “dual capacities) would indicate. So, where does Kevin Smith, or anyone else get off saying, “I’m not working as a writer, just a director” and think they’re getting away with anything other than scabbing? Duh.

Susam

oy. Please forgive the many typos. I can’t even spell my own name.

Stuart, I was referring to the twat who brought up racism in regard to Jews. I’m just sick of hearing people mistakenly call Judaism a race instead of a religion. Is Buddism a race as well? Of course not. Please get it right, people.

�Religion, race, who cares? Let�s just get rid of �em.�<<

Stuart, perhaps that’s your desire but it’s not one shared by everyone. I suggest you do yourself and the rest of us a favor and shut your mouth right now.

Stuart,

“If the 1988 strike was harmful to the WGA, then the proper response is to look for the new information in the current situation and devise strike strategies and tactics that will maximize the union�s leverage in THIS strike.”

That’s what I’ve been trying to do. I’ve been criticizing what I think is the wrong strategy. A war of attrition is the wrong strategy. Especially if other options (see: Ted, Brian, and Steven) that lead to shorter wars and less deaths can be utilized.

“Yes, that may require a long strike � it may require that the strike continue long enough to make the AMPTP feel enough pain to yield an acceptable offer to the WGA.”

A long war, at least historically, will cost the WGA a large percentage of its members’ livelihoods. If it needs to be done, I’ll support it, but if it doesn’t, if livelihoods don’t need to be lost (see: Ted, Brian, and Steven), I will attempt to point it out until someone convinces me otherwise.

Josh,

It’s not libel… or slander for that matter. I used the word incorrectly.

“I don�t police this site, nor am I responsible in any way for its content.”

You are responsible for yourself and the content you provide to this site.

This is a community, like it or not. Yes, most of its citizens live in the shadows, but we have a level of responsibility to each other, through the words we use here.

When we write comments, we aren’t writing letters to Craig, we are conversing amongst ourselves. We have a responsibility to point out hateful insults (especially those pertaining to a person’s identity) and we have a responsibility when writing our own posts not to reference and legitimize hateful insults just because they come from people we agree with.

Attacking Craig, this community’s figurehead, because he�s allowed this to go on is legitimate (and a common practice through out history… “let them eat cake”). But the responsibility does not solely rest on his shoulders.

Stuart, I was referring to the twat who brought up racism in regard to Jews. I�m just sick of hearing people mistakenly call Judaism a race instead of a religion. Is Buddism a race as well? Of course not. Please get it right, people.

You mean, when I referenced David Duke? That would make ME the twat.

As a Jew, I am acutely aware that racists like David Duke want me and my children dead. I seriously doubt that would change one iota if they were educated on the difference between Judaism as religion and Jews as ethnic group. To put it more clearly, whether they think I and my children should die because we are inferior to the White race or we should die because we deny the Saviorship of the Lord Jesus Christ doesn’t much matter to me — they want me and mine dead either way.

But hey, thanks for playing.

That�s what I�ve been trying to do. I�ve been criticizing what I think is the wrong strategy. A war of attrition is the wrong strategy. Especially if other options (see: Ted, Brian, and Steven) that lead to shorter wars and less deaths can be utilized.

By definition, a strike is a war of attrition. Note that in the strategies put forth by Ted, Brian and Steven, the likely outcome after the WGA walks out the second time (after coming back in from the first 13-day strike) is that the AMPTP will short-circuit the strategy by locking the WGA out.

Be prepared for a war of attrition. Be prepared for a long strike. Show the AMPTP that you are not going to panic or succumb to your fears. And ask people around you with more experience of work stoppages how the WGA can maximize its leverage and bring the strike to a successful conclusion at the earliest practical opportunity.

I have a question to pose to those of you who insist that hyphenates not be permitted to continue in their directing, acting, or producing capacities. Don’t you think it weakens the writers’ argument that they are essential to the process (as indeed, they are), if they don’t let the absence of the written word, and solely the absence of the written word, grind the town to a halt? If the writers depend upon the stoppage of production by having actors, directors, and producers walk away from their contractual obligations, wouldn’t it have made more sense to wait for the SAG and DGA deadlines and all walked out together? Just wondering…

Didn’t PBS/KCET agree to abide by whatever contract the WGA signs? The writers on A Place of Our Own have been told they’ll go back to work in January.

And I know a number of WGA members—some of them active members—who work in reality because they got too old to get hired in scripted.

But encouraging non members to hang out and network on the picket line seems to invite ridicule. It’s like hiring replacement soldiers in the Civil War.

Don�t you think it weakens the writers� argument that they are essential to the process (as indeed, they are), if they don�t let the absence of the written word, and solely the absence of the written word, grind the town to a halt? If the writers depend upon the stoppage of production by having actors, directors, and producers walk away from their contractual obligations, wouldn�t it have made more sense to wait for the SAG and DGA deadlines and all walked out together?

Are you asking whether the writers would look stronger if they didn’t get help from the members of other guilds and unions and were able to win concessions from the AMPTP all by themselves?

If so, I suggest that adopting such a strategy would be taking a big risk of failure in order to gain the ability to say, “See? We did it ourselves!” Emotionally gratifying as that would be, it’s not worth giving up additional leverage during the strike.

The additional leverage I’m talking about is the solidarity and support of the other guilds and unions. It’s always best if you can respond to the question, “Oh, yeah? You and what army,” by pointing to a whole bunch of big, tough guys ready to fight on your side. I think it makes the writers look stronger if they can prove to the AMPTP that their fight is the fight of all the guilds and unions, and that taking on one of them means having to take on all of them.

Somehow I have the image of the final episode of Fawlty Towers, in which the guests finally get the courage — emboldened by a feisty American visitor — to tell Fawlty that, indeed, they are NOT satisfied. They present a united front against which the arrogant and self-deluded Fawlty can do nothing. Silly, I know, but still.

�Hyphenates The Rules prohibit hyphenates (members who are employed in dual capacities) from performing any writing services including �(a) through (h) functions.� It�s pretty clear to me that the term hyphenate(like wrtier-director) is meant to describe that person�s services as both is considered ONE employment contract, as the parenthetical that says �dual capacities) would indicate.

What the rule means (per the Guild) is that if you were employed as both a writer and a director at the time of the strike, you’re not able to provide a-h services.

If you weren’t employed as a writer but you were employed as a director at the time of the strike, you are able to provide a-h services.

Craig,

I get how a writer-director could still direct a movie during a strike. I don’t get how a writer-director would still write during a strike, even if he/she is functioning as a director at that time. IMHO, when a writer-director is hired, it’s in a dual capacity role. The studio is getting a two-fer which I think benefits the end product tremendously. I don’t think you could ever take the writer out of the writer-director (thus, the hyphen); so that any writing done by a writer-director is therefore being done by a writer-director.

Respectfully,

Susan

p.s., this reminds me of something one of my grad school professors pointed out. He said that arguing the Nature v. Nurture debate is pointless b/c you can never separate one from the other so you could never test for only one trait.

Small Note: I have deep concerns about giving the Studios a “one month free pass” on Internet Streaming … I would surmise (though I have no data to support and I could be wrong) that a particular episode of a show is watched online substantially more in the the first 30 days after its original airing than at any time after that. If a fan of the office has missed an episode of that show, I would say that chances are VERY high that they will “catch up” with their favorite show within 30 days. We would, I believe, in effect be giving up almost all residuals with such a formula and hence, would have walked the picket line for nothing.

I get how a writer-director could still direct a movie during a strike. I don�t get how a writer-director would still write during a strike, even if he/she is functioning as a director at that time.

Well, I don’t get it either, inasmuch as no WGA member can write during a strike, no matter what your other title is (director, producer, actor, janitor, tooth fairy).

The only grey area are the very limited A-H exceptions, which aren’t really writing at all.

But no director should be writing new scenes, for instance…unless they’re not a member of the WGA, in which case they’re scabbing.

And if they are a member of the WGA, well…they’re scabbing.

Ccraig wrote: “It seems completely wrong because it is completely wrong. Cutting for time, casual minor changes in dialogue, etc. (the infamous A-H exceptions) are allowable if the writer-director wasn�t employed as a writer when the strike was called.”

First, a comment about Directors, or anyone, not having to do rewrites during production because a script is “locked.” This is bullshit, and every working writer on the board knows this. There’s ALWAYS something, even something minor that has to be changed once production starts — that’s what the a-h rules define.

Right now I’m finishing up directing a show that was written previously by three other writers. The Producers have asked me to do a-h revisions on these scripts and the Guild has informed me that although they had permitted this in past years, THIS year’s strike rules FORBID WGA members from performing a-h functions. So I refused. This is on a show that I was NEVER hired as a writer.

Now, IMDB says Craig is the writer of his movie — so I assume he’s doing these a-h rewrites on the script HE wrote — prior to the start of production — he, a WGA member, is re-writing a WGA contract script during the strike. Forget not walking the picket line — he is in direct violation of this year’s Strike Rules.

His assertion that he’s only writing while working “as a director now” is specious. It’s not about what job you were hired for “at the time of the strike.”

It’s about the job you did. Craig wrote the script. he admits he’s rewriting it as he’s shooting. Does anyone else here think that’s a new way of skinning a cat?

It seems like Craig is doing exactly what he has defined as “completely wrong.” And if JJ is two days into his shoot and a location gets screwed and he has to address it in a rewrite — do any of you beleive he’ll just let incorrect pages be films? Please.

I’m new to this board, and pissed about two good jobs that evaporated this week. But I will not break Strike rules, mostly out of the fear of losing the benefits I labored two decades to amass. But this forum purports to give accurate information to writers. My interpretation of the Guild attorney’s explanantion to me over the phone may be incorrect.

I give Craig the respect and opportunity to clarify his particular situation. Thanks.

Re: 371 Stuart,

Thanks — I appreciate your civil reply (I’m new to this, and from what I’ve seen it’s pretty clear the Guild should be offering anger management classes during this fallow period…).

I completely understand the leverage value of solidarity among the unions — which is why I question the Guild’s decision not to wait until they could join forces with the DGA and SAG. If the expectation was that the writers themselves could not force the issue without compelling their hyphenate members to make what seems to me to be damned-if-you-do/damned-if-you-don’t decisions, and if their aim is to make it clear that “their fight is the fight of all the guilds and unions,” as you say, then that should have been the strategy from the outset, and they should have allied themselves in a forthright and direct way with their fellow guilds prior to striking. It doesn’t appear to me that the other guilds, per se, are enlisted in the fight, so much as individual members of those guilds who are willing to defy their other guilds’ “no strike” clauses. At the moment, I think the spin is that the support of some prominent hyphenates has created a peaceable kingdom of sorts, but I wonder how long that can realistically hold. And given the sniping among the writers just on this board concerning this issue of hyphenates, it seems just a matter of time before the writers themselves become their own worst enemies.

And does it worry anyone that the Guild doesn’t seem to have an exit strategy?

Anyway, thanks for your response. And thanks for reminding me about how brilliant Fawlty Towers was — I plan on watching it from beginning to end in the coming, quiet months.

PS — the cats are cute and the few typos in my post were from nervousness. Great thread. One thing we have to remember when we tell DPs, and grips and unit still photogs that we’re “striking for them, too” is that these people DON’T get residuals and as the strike draws on, we will LOSE their sympathy unless we get control of the Spin war and make our action about MORE than “residuals from DVDs” (or “a slice of the money pie” as CNN puts it.

Thanks again.

As a member of 399 and a Location Manager, I find your comments so short sighted as to be unbelievable. Because you are a writer does not place you in a position of importance that’s far superior to other crew members. If the writers want support from other unions you should think about how you describe people you want to support the writers. I for one, will cross the picket lines after reading your comments relative to location scouts/managers. If your union is so important than they can solve their own problems and don’t require the help of other unions.

Thanks � I appreciate your civil reply (I�m new to this, and from what I�ve seen it�s pretty clear the Guild should be offering anger management classes during this fallow period�).

You’re most welcome. I didn’t read anything in your post that would have triggered an uncivil reply.

As for anger management, what people really need is terror management — the reactions I see expressed as anger here are mainly spawned from fear and uncertainty. There is actually a great book that I recommend to anyone who’s having trouble sleeping, or is feeling anxious or angry or depressed from the current situation: Why Zebras Don’t Get Ulcers by Robert Sapolsky. It’s about the science of stress and our biological responses to it, from the mental and emotional to the hormonal and chemical. (The answer to the question of the title is, zebras never worry about the future — when they come under stress from a charging lion, they run, and either they escape and forget about the stress, or they don’t escape — in which case, the stress is no longer a problem.)

I don’t know enough to address the question of the timing of the strike with respect to the other guilds. At this moment in time, it’s best to put that question aside for a while anyhow and focus on your other questions: about building labor solidarity, about keeping the WGA membership strong and resolute and unified, and about developing an exit strategy so that the WGA leadership can clearly identify when the conditions are ripe for negotiations and a settlement.

THIS year’s strike rules FORBID WGA members from performing a-h functions

No, they don’t. Oh, sure, Guild members who don’t know or understand the terms of the MBA could easily misintrepret it to mean that. But what the strike rules actually say is that if members are contractually obligated to perform writing services at the time of the strike, they cannot peform A-H services, even if they are also employed in an additional capacity. However, absent any contractual obligation to perform writing services, Guild members employed in capicites other than “writer” can perform A-H services.

This is consistent with the MBA definition of “writer,” and it was confirmed by the Guild staff member listed in the Guild strike rules the as a contact for questions about the strike rules. Additional confirmation can be found in the letter the DGA sent to its members.

• Ted

Now, IMDB says Craig is the writer of his movie � so I assume he�s doing these a-h rewrites on the script HE wrote � prior to the start of production � he, a WGA member, is re-writing a WGA contract script during the strike. Forget not walking the picket line � he is in direct violation of this year�s Strike Rules.

Sigh.

For the 40th time…

Yes, I wrote the script of the movie I’m directing. Yes, I’m a member of the WGAw. No, I’m not currently EMPLOYED as a writer on the film (I wrote it, I revised it a lot, then my steps ran out and my writing employment ended). Since I’m not EMPLOYED as a writer on the film, I can do A-H exceptions as a director.

NO, A-H exceptions are not considered writing by our own contract.

YES, directors who aren’t employed as writers can do A-H exceptions.

A-H exceptions are an incredibly limited form of revisions.

No, I’m not violating the strike rules.

No, I will not violate the strike rules.

I should just copy and paste this in the comment section every six hours…

But Craig, what do you have to say about the showrunners who are refusing to do any of their producer duties while you continue to do director duties in a project you wrote? How can it be one rule for the goose and another rule for the gander? I’m not picking a fight but it doesn’t take a genius to see why people would be curious.

Craig:

As a thirty-year veteran of below-the-line labor (set lighting), I very much appreciate what you said, and how you said it. You’re quite right — the vast majority of WGA members have no clue at all what we on the crew do on set, how we do it, or how physically taxing this work is. I don’t know anybody in my age-group of grips and set lighting techs who doesn’t suffer from a wide variety of painful afflictions (bad backs, damaged shoulders, neck problems, leg, ankle, and foot damage) that come as a direct result of the physical demands of below-the-line work. Many of us (including me) have had surgery to keep us going, and it doesn’t always work — I know more than a few set lighting techs who had to leave the Industry because they could no longer endure the pain. And after age 50, what other jobs can they hope to get — “Howdy, welcome to WalMart?”

As one gaffer quipped to me: “We’re mining our bodies…” When I go in for regular chiropractic treatments, my chiropractor just shakes his head, then gets to work trying to put me back in shape. But we have no choice —these are the unavoidable costs of this type of work, costs none of us realized we’d have to pay until it was too late to make a career change. As we get older, the work only gets harder, but we can’t afford to slack off or let those who hire us know that. Otherwise, younger guys will be hired to replace us. At times, we have to do as much acting as some of camera talent — if anybody notices how much we hurt, the odds are we won’t be hired back. And don’t forget, we below-the-liners are for the most part “daily hires” — we can be let go or replaced at any time. We have no job security whatsoever, and we don’t ever see a residual check.

Like many who migrated to sit-coms late in their careers, I’ve had a hard time finding a show the last couple of years. That means I end up “day playing” — working for whoever will have me, whoever needs help on a show, piecing my work-weeks together as best I can. Lately, thathas meant working for the studio rigging gaffer, “picking it up and laying it down” — running and wrapping electrical cable for the various shows still filming on the lot. That cable is heavy — a pound per foot, and we generally rig with hundred foot rolls. When we’re rigging, that means lifting and laying out five rolls of cable for every hundred feet we run. Five hundred pounds, again and again, all day long. After the filming is done, we wrap all that cable, coiling those hundred foot, hundred pound rolls back up, then lifting them into steel tubs for transportation and storage. This is brutally hard work — and we never see a residual check.

Writing is also hard work, albeit of a different sort. Conjuring up a universe in your head, then putting it down in a readable, interesting manner is very hard work indeed. I can’t imagine enduring the stresses of trying to make a living in the dog-eat-dog arena of professional screenwrting. If our below-the-line life is uncertain, Hollywood writers walk the high wire without any sort of net below, and for that, you have my full respect. I support your struggle against the AMPTP. As far as I’m concerned, you’re right and they’re wrong — way wrong.

I can also understand why many writers — the Eloi — look at us — the Morlocks — as pack animals, brainless brutes born to do the dirty work and heavy lifting in life. We’re not. We’re human, just like you, and when by the grace of Hollywood, you write a TV show or movie that somehow survives the gantlet of “network notes” studio interference, and an egomaniacal director who considers himself an “auteur” to emerge as a really terrific show/film, nobody loves it more than we do. There’s magic in this business, every now and then. We suffer the same pain and frustrations in life as you — but we make our living doing work eventually grinds us into the dirt and leaves us for dead. That’s just the way it is.

For the first time in my career, I had to cross a picket line last week, at CBS Radford. I absolutely hated doing it — and was surprised by my own emotional response — but I had no choice. Last year, I grossed less than thirty thousand dollars in working income, and with that had to pay a first and second mortgage, plus rent on an apartment here in LA. Oh, and eat. It wasn’t easy. This year was going better — I’ve already passed last years income, and was hoping to maybe crest $40K by Dec. 31. That probably won’t happen now, but I’m not angry at the WGA. Not yet, anyway. You’re doing what you have to do. I understand and respect that, and hope you win. Just don’t delude yourselves into thinking that you’re doing this for us. You’re above the line, we’re below — it’s “Upstairs, Downstairs”, and never the twain shall meet, except every now and then at the craft service table. While you battle the AMPTP, we’ve been getting fucked for years by the IA thugs in Chicago — our “leaders” who grow fat and sleek selling the membership down the river. If you beat the AMPTP into submission — and I really hope you do — you’ll enjoy the hard-won and justly deserved fruits of victory. That victory won’t affect us in any way other than we’ll all get to go back to work. In the meantime, I’ll just have to bite my lip and cross those picket lines when I have to — when I can find work at all. I hate that it comes to this, but there’s simply no way I can afford to go on strike. Apparently you can, and for that, more power to you.

If any of you are interested in learning more about life below-the-line, stop by my blog. I can’t promise you’ll like what you read, but you might gain an added perspective on those of us who do the heavy lifting essential to bringing your visions to life on screen.

http://hollywoodjuicer.blogspot.com/

Good luck to you all. May the strike be short, and your victory complete.