comment #1

MASON says ...

Hilarious. That's so not a WGA member.

comment #2

MASON says ...

Or at least one who knows what he's talking about. The DGA stronger than the WGA? That's priceless.

comment #3

christian says ...

Writers are not scared. They always stand up first. There's a reason for this.

comment #4

MASON says ...

No, I think writers are very scared. No one WANTS to strike. But right now at least, they have no choice because of what the AMTMP is proposing. Hopefully things will change and soon.

comment #5

christian says ...

That's my point. Even if confronted with looming lack of work, writers step up because they must and many are used to being on the edge of work...

comment #6

MASON says ...

Got it. At the end of the day, I think a strike will be avoided. The AMPTP will agree their "get rid of residuals" stance is nonsense -- one they only gave in anger after their initial proposal was rejected -- and both sides will start talking. In the end, the WGA won't get much -- except when compared to the last negotiation.

comment #7

Andrew says ...

I'm not a writer, just someone working their way up the Hollywood ladder, but I've been visiting Craig Mazin's site to get a writer's perspective about the negotiations. The comments section is full of other writer's perspectives. And yeah that statement above, does not sound like a writer.

www.artfulwriter.com

comment #8

Devin Faraci says ...

I was talking to a writer/director last night who said he's sure the WGA is striking on Nov 1 and that he's not busting his ass on his next script as a result.

comment #9

gruver1 says ...

Wells to Doubting Thomases: Like it or not, the above thoughts were voiced this morning by a smart, seasoned, card-carrying WGA member.

comment #10

bachelorcool says ...

Back in the 80's when I was working as a writer in Hollywood I once attended a WGA meeting at the Palladium. Thrilled at the idea of seeing all these people who did the same thing as me, my Capra moment was soon shattered at the realisation they spent most of their time slagging each other off, usually with reference to who was bald or who was fat. Since then, due to lack of sales, my WGA status has been whittled down to the suburbs of Emeritus, despite having had (my only) feature film made some 9 years ago. Residuals may have been minimal due to the film going straight-to-video, but by receiving them at least I still felt I belonged to something that represented me and my craft, and for that reason the WGA will still have my support, bald, fat or otherwise.

comment #11

frankbooth says ...

"A lot of these guys kind of enjoy going out on the picket line and meeting people. Let's get some coffee, I know this producer who might like your script, we should kick this around."

Hmmm. I need to watch Catch Me if You Can again.

comment #12

Jay T. says ...

People do forget about television, where the writers hold all of the power... and deadlines will catch up quickly and a lot of money can/will be lost by airing nothing but re-runs.

comment #13

corey3rd says ...

TV won't notice the strike because by the time it matters, it's American Idol time.

comment #14

pm123 says ...

As a card-carrying WGA member, those words quoted by Wells sound VERY true. The WGA is nothing compared to the DGA. Nobody rushes out to see the latest David Koepp movie - they rush out to see the latest Spielberg movie. Writers have more power in TV, true enough, but that is disappearing fast, as executives have recently figured out how to make shows themselves and pretend like they're "not written." The producers should be worried - as the person pointed out, most WGA members are NOT working at any given time, so let the strike begin! David Koepp may have to postpone redoing his guest cottage, but it's a small price to pay for (hopefully) a little respect from the town.

comment #15

WinslowLeachtheComposer says ...

What's more likely, in my opinion, is the studios said "They want residuals for the internet?", let's see how this grabs 'em?: How 'bout no residuals at all?! It's the grand-slam of all-time low-ball offers. Then when they take that (nonsense) off the table and we're back at square one they can call it "progress."

comment #16

Rothchild says ...

You forgot something important Wells: "Like it or not, the above thoughts were voiced this morning by a smart, seasoned, card-carrying, self-loathing WGA member."

comment #17

MASON says ...

-- The WGA is nothing compared to the DGA. Nobody rushes out to see the latest David Koepp movie - they rush out to see the latest Spielberg movie. Writers have more power in TV, true enough, but that is disappearing fast, as executives have recently figured out how to make shows themselves and pretend like they're "not written." --

The DGA has far fewer members and... well, how many directors matter? 15 tops? And most of those top 15 want to work with top writers -- the smart ones aren't going to be happy that their go to writer can't fix a script because they're on strike.

And I disagree -- writers have never had more power in TV. This is the golden age of television and audiences are demanding and rewarding solid scripted programming. Sure, reality shows are here to stay but more new ones than not are failing. And there's no repeat business in reality TV. Hell, even a low-rated show like Friday Nights Light is making folks money because of it's popularity on DVD.

Just my two cents.

comment #18

Chicago48 says ...

I would like to be sympathetic to the writers getting residuals for internet sales, DVDs, TV reruns, etc., but as a consumer sitting on the sidelines watching this and a some-time internet reviewer, I don't understand how writers feel qualified to get residuals. When you write a piece, that's it, it's over. You sell it for the highest price, you invest your money and pray another good piece comes out your brain.

Why should writers (and actors) get residual for work they were basically commissioned to do?

A producer puts up his money, upfront takes a gamble, he owns the whole property, he should get a residual for the gamble. Each writer should have their own separate contract negotiated.

Maybe I'm off here and it will set off a firestorm of hate email, but that's just the way I feel.

comment #19

Hickenlooper says ...

I am a member of the DGA and WGA and the reality is this: there is an incredible hubris on the part of the studios right now regarding writers. I know a lot of studio folks and the feeling among many of the higher ups is almost like that wonderful Peter Gallagher character in 'The Player' - that the studios don't really need writers, that these movies make themselves. This perception I feel is very real and has been real for sometime. Just look at the lack of respect writers are given most of the time. The irony is that in the end the script is EVERYTHING. The studios may feel the the WGA is weak and that writers are a useless annoyance, but the REALITY is that when the WGA does strike, and it will strike, the perception will quickly correct itself with reality and the studios will find themselves fucked in a major way. The perception is one thing. The reality is another. The WGA has a hell of a lot more power than the studios and pundits give it credit for... Unless you believe everything falls off the truck and that movies make themselves.

comment #20

Howlingman says ...

Chicago48 -- yes, a producer or studio may put up the money, but a lot of what they negotiate with the talent, is back-end points in lieu of a bigger upfront fee. Producers will always nickel and dime you with the promise of bonuses down the line -- "yeah, you take a hit now but you're getting points so don't complain." I have received residuals in the past, but certainly not on everything I've worked on, credited or otherwise, and was always thankful to get a decent enough fee to work, because I knew with accounting being what it is, the liklihood of any residuals was far from a forgone conclusion.

So, if the producers want to cut residuals, fine, just aagree to pay more up front and everyone will be happy. Right? Hmm ... don't think so.

comment #21

christian says ...

Hickenlooper nails it. Not to mention all the writing done for free just to insure a project moves forward. Ask Harlan Ellison about these matters and you'll get a proper response.

But wasn't it the great Goldwyn who said "Writers are the most important people in Hollywood. Just never let them find out."

comment #22

corey3rd says ...

The studios/distributors also like to screw the producers on their cash, too. This is a business that's all about screwing the other guy out of their fair share.

It comes down to one little fact - if the money is flowing, share the wealth. Do you really think that if the writers get screwed, the savings will be passed along to the consumer? It's not like we get cheaper tickets to see a video projected film vs. a 35mm print.