RSS 2.0The WGA Strike…Is On
As both a film buff and aspiring screenwriter, I have been watching the developments in the Hollywood strike talks, specifically the WGA/writer’s strike, which as of Monday, November 5th, is official. Hopefully it won’t be as long as the 1988 strike, which affected several TV shows and awards programs.
The damage here, however, is more noted because of all the various cable and alternate channels have shows, unlike twenty years ago when it was, in North America, the big three. For the moment, Hollywood theatrical films will not be affected, as whatever is currently in pre-production film wise is going to happen, unless a studio pulls the plug on such projects (I’m still hoping for a downsize in the JLA film, for example), and, if choice in films does become scarce, the other kinds of films unaffected are : documentaries, foriegn and if by some snafu, another Open Water type film comes along (meaning clever low budget and no A list actors).
It should also be said that nobody has stopped reading stockpiled scripts, nor will it stop writers from writing. They simply cannot sell the scripts, nor can they do it for hire/employment. But it will be the television shows in the US and Canada that will get hit the most.
According to Variety:
“When we asked if they would ‘stop the clock’ for the purpose of delaying the strike to allow negotiations to continue, they refused,” said AMPTP president Nick Counter. “We made an attempt at meeting them in a number of their key areas including Internet streaming and jurisdiction in New Media. Ultimately, the guild was unwilling to compromise on most of their major demands. It is unfortunate that they choose to take this irresponsible action.”
No new talks were scheduled. And the abrupt ending to Sunday’s talks — which had sparked a small wave of optimism that a strike might be averted — may deepen resentment against the WGA.
For its part, the WGA announced after negotiations cratered that it had withdrawn its proposal to double DVD residuals during the session. Counter had insisted last week that the DVD demand was a stumbling block to making a deal.
Additionally, the WGA said, the AMPTP still insisted on no jurisdiction for most of new media writing; no economic proposal for the part of new media writing that would be covered; Internet downloads at the DVD rate; no residual for streaming video of theatrical product; and a “promotional” proposal that allows re-use of movies and TV shows on any platform with no residual; and a “window” of free reuse on the Internet….
For studios and networks, the key area for bending would most likely take place in new-media residuals and new-media jurisdiction. The WGA is seeking 2.5% in new-media residuals and TV minimums for work in made-for-new media; the Alliance of Motion Picture & Television Producers is asking for the status quo.
WGA West president Patric Verrone emailed members Sunday, urging them to hit the picket lines.
“Pickets will be the most visible and effective part of the strike in the next few weeks,” he said. “They make us visible in a way that is outside the AMPTP’s control. They deter and often prevent scabs from taking our jobs. They disrupt production, especially when members of other unions honor our line. But most importantly, a large turnout of pickets demonstrates visibly and irrefutably to the AMPTP that we are serious about getting a substantive, fair deal.”
While I think there is a fair argument to be made on both sides, the way I see it is that I have to back the WGA on this even though I’m not an official member. If anything I write one day that gets turned into a film, it will be the WGA that has my back. I may not agree with how some things are handled (even some members seem to echo this, as it mentions in the article) I am also aware that they are not just looking out for current members, but also the possible new members down the road. I also have to admit, if I was there, I’d most likely support the picket line, even if I wasn’t a member.
What are your thoughts on this?
Darren Seeley (184 posts)Fave directors include David Lynch, David Cronenberg, Michael Mann, Anique Faqua, Walter Hill, John Carpenter, John Woo and James Cameron. An aspiring screenwriter, I wrote several spec scripts (platform: Final Draft) that I occasionally submit to contests, Inktip, and workshop through peer review sites like Triggerstreet and Zoetrope. I have attended The Austin Film Festival and Heart Of Screenwriters Conference in 2001 and 2002. CoP marks my third go around as an internet film reviewer of sorts. My previous film hub haunts were 'Dark Universe' and, most notably, 'The Projector Booth'. Location: MI,USA.
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