"The Screen Actors Guild Codified Basic and Television Agreements covering television programs and motion pictures expire tonight at midnight. Work will continue and all SAG members should report to work and to audition for new work past the expiration date until further notice from the Guild."
Now here's another quote from the AMPTP:
"Our industry is now in a de facto strike, with film production virtually shut down and television production now seriously threatened. In an effort to put everyone back to work, the AMPTP today presented SAG our final offer - a comprehensive proposal worth more than $250 million in additional compensation to SAG members, with significant economic gains and groundbreaking new media rights for all performers."
Can someone tell me what the hell is going on? How can both sides be so completely unconnected that one claims there's a de facto strike, and the other tells its members to go to work. I know this is all good and fun for SAG and the AMPTP, but some of us would like to sleep at night, knowing we'll have a job in the morning.
As someone who makes his living in the entertainment industry, i have been one of the many hard-working people that were hit by the strike, but were not particularly a writer or a mogul. The majority of us supported the WGA, and the incredible victory of a union over enormous corporate interests in the United States, especially in the current political climate, is not lost on us.
However, there is no way of describing the incredible relief i felt this week when I witnessed a spot of normalcy return to my workday as people go back to work.
This is my humble tribute and expression of joy as I finally rid myself of my hairy defiance.
The Professional Shaving of a 3 month Strike-Beard
The DGA is beginning its negotiations with the AMPTP and once more the Internet becomes the sticking point, Steve Jobs announces internet deals with studios, the music industry reject a DRM free iTunes, and seals its doom, Alf has a blog. there's no denying it, the internets has reached Hollywood.
To add to the mayhem,awards season has plunked smack-dab into the middle of a strike-ridden tinsel town, and regardless of whether the shows go on or not, the screeners are out. Every year the studios send out hundreds of screeners to SAG , WGA, AAMPAS, and several other union and academy voting members to insure that the voting members have a chance to view their wares.
Sweeney Todd, No Country for Old men, Thee Will be Blood, Eastern Promises, Juno, and many more have been made available to the Hollywood community on an honor basis, with the tacit understanding that we all make our money this way, so its best not to pirate the screeners. Naturally, people would rather have the immediate personal gratification of a pirated disk than consider the effects on their industry at large. So every year, it is the unspoken reality that everyone plays "Trade the Screeners" with industry peers at all levels. But truly, what ARE the effects of a few dozen pirated screeners running rampant and (Gasp!) on the Internets?
For a few years now, my friends have heard me touting the superiority of the Disney business model over that of most major studios for having long ago included piracy as a component of the what drives the profit margins up or down. On the opposite side we are watching the obliteration of the music industry through their inability to deal with the dissemination of their product by the public. In a world where a kid in Hong Kong can produce a CG Optimus Prime, while the Transformers movie is a year away from beginning production, and DJ Danger Mouse creates a hit by remixing Beatles tracks on the grey album, how is the industry to survive the spread of ideas and intellectual property?
Admittedly, I am biased. I am a leftist and a blogger, with more "Stolen" images on my site than i care to admit to. Even then, i feel very strongly that the entertainment industry should heed the warnings of the music industry, and with as much respect to the late Jack Valenti as possible, adapt their business models to include the inevitable proliferation of material around the world, and to view the use of their material by third parties as a potential source of new materials rather than theft.
Heady stuff, huh?
To better understand the issue, I am posting the following three vids.
The first is a very basic explanation by Matt Mason (The Pirate's Dillema) on how youth culture has basically reinvented capitalism. He opens the doors to an exciting creative world that uses cool judgement to differentiate between "Good" and "Bad" piracy and utilizes the "good" as tracking tools for strong memes or the even more exciting notion of new ideas.
The second two are a history of the dissemination of ideas and how they can be compared to the case of the PIRATE BAY in Sweden, and to a certain extent a warning that there is no way to really prosecute, or stall piracy. Both very informational in regards to the trends which we are facing.
After watching these and pondering the huge implications, as an industry professional ask yourself "Do we fight pirates, or learn from them?" There is only one answer that can secure the future of this industry, and its best to understand it now before it passes you by.
**** I feel strongly enough about this that I would like to encourage my friends in the industry to pass this on. If you make your living off of entertainment and have not seen these movies and are familiarizing yourself with the subject matter, you are doing so at your own risk.
I have been running the scenarios over and over in my head as to what may happen, or what will bring an end to this tedious and harmful labor dispute. I came up with this theory last month, and the more people I run it by, the more I am convinced that I may be right... unfortunately.
I don't expect this strike to be over till August or September for the following reasons listed in hypothetical chronological order
1. The studios plan to allow force majeure clauses to be enacted. Dec. -Jan
2. Once so many contracts are in need of renegotiation it would be in their best interest to skip a costly pilot season altogether, and cancel the Network's shitty programming choices and "dead weight" programs. Feb-Mar
3. By skipping pilot season they can use the growing the desperation within the industry to try and put more pressure on the writers, and try to use the Oscars as a way to turn popular support against the WGA. Mar-Apr
4. It is then in the best interest of the writers not to give in, but rather have the added clout of a DGA/ SAG strike. Apr-Jun
5. It will optimistically take the Studios 2 months to negotiate with 3 striking unions. July-Aug..Sept?
The only caveat is the seeming willingness of the AMPTP to negotiate with the DGA as if THEY were the voice of reason, and the WGA's demands were lunatic. Considering that all three Unions are basically negotiating the same issues, the possibility of a DGA deal underlies the basic personality conflicts that have escalated this stupid stupid strike. What the hell? If there's enough money to go around, spread the friggin wealth, and let's get back to work!
*** The opinions expressed in this blog do not represent the opinions of my employers or my clients, so don't take it out on them.
Proving that the Writer's demands aren't crazy, World wide Pants has penned a deal that allows both Craig ferguson and Dave Letterman's venerable Top 10 list was delivered on air by 10 of the real-life striking writers who picket almost daily with the Letterman scribes. Here it is:
Top 10 Demands of the Striking Writers 10. The Daily Show's Tim Carvell: "Complimentary tote bag with next insulting contract offer." 9. The Colbert Report's Laura Kraft: "No rollbacks in health benefits, so I can treat the hypothermia I caught on the picket lines." 8. Soap writer Melissa Salmons: "Full salary and benefits for my imaginary writing partner, Lester." 7. Law & Order: Criminal Intent's Warren Leight: "Members of the AMPTP must explain what the hell AMPTP stands for." 6. The Colbert Report's Jay Katsir: "No disciplinary action taken against any writer caught having inappropriate relationship with a copier." 5. The Daily Show's Steve Bodow: "I’d like a date with a woman." 4. Writer/director Nora Ephron: "Hazard pay for breaking up fights on The View." 3. Law & Order's Gina Gionfriddo: "I’m no accountant, but instead of us getting 4 cents for a $20 DVD, how about we get $20 for a 4-cent DVD?" 2. Late Night's Chris Albers: "I don’t have a joke – I just want to remind everyone that we’re on strike, so none of us are responsible for this lame list." 1. Writer Alan Zwiebel: "Producers must immediately remove their heads from their asses."
Whenever the issue of residuals comes up, some on the other side of the bargaining table like to start talking toilets. Specifically, they just love to trot out a quip allegedy made by the late studio mogul Lew Wasserman which goes something like this: "I don't pay the plumber everytime I flush my toilet."
Nice try. But if the plumber had set it up so Mr. Wasserman's toilet spit out a thousand bucks everytime he flushed, you can bet your ass that plumber would have been beating down the door looking for his cut.
"Watch this clip and if you still do not understand why the WGA is striking -- with the full support of actors and teamsters, little old ladies and dogs all over the world -- then it is hopeless." -Jon Baitz
I find it difficult to explain just how important this stirke is. The issues being negotiated right now by the writer's guild have reprocussions that will shape the industry for years to come. It affects actors, writers, agents, MANAGERS, crew members, publicists, everyone, and the WGA had the unenviable task of being up to bat first.
Originally, the WGA was set to strike in June, along side with the actor's guild (SAG). To avert the effect of a total work stoppage, the studios began stockpiling scripts. In retaliation, and to avoid a completely useless work stoppage, the WGA after consulting with its sister Unions, moved the strike up to November. And here we are. What lunatic demands have gotten us here? What sort of horrific pay-raise are the writers demanding, that they dare put the income of so many of us in Jeopardy? I'll let them explain.
The Hollywood of today is run by Major Corporations, SONY, AOL/TIME/WARNER, NBC UNIVERSAL, VIACOM, all huge comnglomerates with their fingers in many different pies. Under the Bush administration, Huge companies have thrived in an astoundingly irresponsible atmosphere where the difference between the haves and have nots is at its greatest since the Depression. It is not a coincidence that ALL the leading Democratic Presidential Candidates have come forward in support of the writers.
"I support the Writers Guild’s pursuit of a fair contract that pays them for their work in all mediums. I hope the producers and writers will return to the bargaining table to work out an equitable contract that keeps our entertainment industry strong and recognizes the contributions writers make to the success of the industry." - Hillary Clinton
"I stand with the writers. The Guild's demand is a test of whether media corporations are going to give writers a fair share of the wealth their work creates or continue concentrating profits in the hands of their executives. I urge the producers to work with the writers so that everyone can get back to work." - Barack Obama
"The striking Writers Guild members are fighting an important battle to protect their creative rights. These writers deserve to be compensated fairly for their work, and I commend their courage in standing up to big media conglomerates. As someone who has walked picket lines with workers all across America and as a strong believer in collective bargaining, I hope that both sides are able to quickly reach a just settlement.” - John Edwards
The Democratic Party's history of protecting the disadvantaged minority over the intrerests of Big Business speaks for itself, as does the silence of the GOP.
If You're still not convinced that the WGA should be putting the welfare of the city, the industry, and the state into such turmoil, ask yourself where do we draw the line? When exactly is it your turn to take a hit in order to stand up for what is right? This country is too accustomed to results without sacrifice. Now we are all being asked to sacrifice a little, to send a message to the business interests that control our industry that we are all equal partners in this community. We all go to the same restaurants, attend the same events, live in the same neighborhoods, and it is simply immoral to make millions off the backs of your friends and neighbors, and not distribute some of it in an equitable way. Call it nacent socialism, call it anti-capitalist, but i call it moral.
For more reading on the Strike i encourage both the readers of this blog to read the following Blogs:
Scribe Vibe A shockingly even handed blog about the strike by VARIETY
and of course
Deadline Hollywood Daily LA Weekly writer Nikki Finke's incredibly detailed, just, and thorough blog, updated with all the strike news you could ever want. I smell a pulitzer, and I aint kidding.
And now for some celebrity cameos:
From the Office
LOST and Desperate Housewives
Happy Days
*** I received this while I was writing, and I plan to attend. Please join everyone in a show of Solidarity that this city and the Studios won't soon forget:
The big strike is Friday at 10:00AM at the Fox Lot. Everyone who can, please come join us in showing our support for the WGA Strike. If you still have a job and can't get out, please try to come during your lunch break.
Remember, remember the fifth of November Writer’s Guild, anger and strike. I see no reason, why the writers this season Should not take a hike. Pat Varrone, pat, t'was his intent To disable all biz entertainment. Three score days they argu-ed. Nick Counter nearly got ahead. By God's mercy he was abate'd , The producer’s offer was much hated. So, holler boys, holler boys, Let the scribes yell. Holler boys, holler boys, give em all hell. And what to do with this time, do you think? Drink!
“I stand with the writers. The Guild’s demand is a test of whether corporate media corporations are going to give writers a fair share of the wealth their work creates or continue concentrating profits in the hands of their executives. I urge the producers to work with the writers so that everyone can get back to work.” - Barack Obama
As the WGA strike looms over Hollywood like a fire in the hills, the mind recoils in horror as the body gently sits this whole mess out, poolside with a drink. True, its difficult to imagine Marc Cherry and Patric Varrone overturning cars (Though I can easily picture Nick Counter pressure-hosing women and children). However, lest we be lulled into false security by the puffy nature of WGA membership, let us recall the strikes of yore through this pictoral stroll down Hollywood (STRIKE) Blvd.
1919 Actor's Strike
Actors' Equity joined the American Federation of Labor (AFL) and called a strike seeking recognition of the association as a labor union. The successful strike of 1919 ended the dominance of the Theatrical Syndicate, including theatre owners and producers like Abe Erlanger and his partner, Mark Klaw. Mark Klaw is credited as being the father of all draconian-sounding theater owners. The 1919 Strike also sees the very first Strike Photo Op, one of those hats is supposed to be Ethel Barrymore, who had made a comeback after beating her Laudanum adicction at age 10.
1941 Disney Animator's Strike
The bitter animators' strike of 1941 at Walt Disney Studios was a psychological turning point within the company. The strike had relatively little effect on Walt Disney's reputation with the public, who generaly could give a rat's ass about these kind of things, but damaged his standing with commies and pinkos who had heralded "jazz, porn, and the animated cartoon" as the three art forms which America had given to the world. The strike destroyed the paternalistic relation between Herr Disney and his animation staff, and cemented the studio's derogatory nickname of "the mouse factory". The strike turned violent when Disney struck his head animator with a wooden mallot, causing retaliation in the shape of an anvil dropped from the second story of the animation building. It was this strike that would ultimately cost Clara the Cow her career.
1945 Set Decorator's Strike (Holy shit! Don't fuck with decorators!)
Hollywood Black Friday is the name given, in the history of organized labor in the United States, to October 5, 1945. The WGA immediately submitted a complaint since it was not consulted on the name, and several other events had claim to the title. Regardless, on that date, a six month strike by the set decorators, represented by the Conference of Studio Unions (CSU) boiled over into a bloody riot at the gates of Warner Brothers' studios in Burbank, California. The strikes helped the passage of the Taft-Hartley Act in 1947, which was eventually replaced by the studios with the Hope-Crosby act, which was mistakenly believed to be more funny.
2000 SAG Commercial Strike
The commercials strike of 2000 was extremely gay. Some factions within SAG call it a success, asserting that it not only saved Pay-Per-Play (residuals) but it also increased cable residuals by 140% up from $1,014 to $2,460. Others suggest almost identical terms were available in negotiation without a strike, and if the actors had stopped their soliloqiues for a moment, they would have notcied. In the wake of the strike, SAG, and its sister union AFTRA, gathered evidence on over 1,500 non-members who had worked during the strike. SAG trial boards found Elizabeth Hurley and Tiger Woods guilty of performing in non-union commercials and both were fined $100,000 each, which was equal to the total box office gross of Bedazzled, and doomed TIGER!: The Musical.
