On the other hand, this all just draws attention to the fact that many big wigs choose to ignore: without writers, there would likely be no jobs for anyone in this industry.

I am a writer. I believe that the new media issue is important and that it is essential to gain traction on this issue now. I am gratified to see both sides back at the negotiationg table.

I sympathize with people who are losing jobs they cannot afford to lose. I share their plight. On the other hand, I take responsibility for my decision to work in a profession that is inherently variable. Where a strike differs from the myriad things that can slow or stall a career is that it’s easy to point the finger. It’s easier to say, “if only you guys hadn’t gone out on strike, I’d still have my job.” And technically it may be true. There are, however, larger truths. It is easier to be angry at writers than at management, but the truth is, a strike could have been averted had management agreed to a fair compensation package, something they can well afford to do. Did WGA leadership handle things as effectively as they might have? I do not know. But I do know that the AMPTP chose to fight rather than pay writers a modest sum for their work. Asking for fair compensation for our work is not greed. Refusing to provide fair compensation is. It is not the writer’s strike that is costing people their jobs. It’s the conditions that made the writers strike necessary.

It’s a shame that your friend’s job is at risk – but he’s not the only one. Pretty much every low-level or entry-level position is at risk, it doesn’t matter if it’s with a management company, talent agency, production company, studio, production office, or on set. Many of my friends have already lost their jobs and others have been forced to take pay cuts or reductions in benefits.

But even though the WGA’s strike is to blame, not a single person I know in this situation resents them; in fact, they all seem to support the WGA. Even those that have lost their jobs support the WGA (and these are non-union employees who have nothing to lose or gain from the strike). Why? Probably because they’re so used to being mistreated, unappreciated, and exploited by the industry that they too wish they could strike.

“If you want to know what a man’s like, take a good look at how he treats his inferiors, not his equals.”

But was the WGA cavalier in calling the strike? No way, though I seriously doubt they gave much consideration to the numerous entry-level jobs they put at risk. But they shouldn’t have to, they’re striking for better pay and conditions for writers, not for assistants, coordinators, interns, production assistants, or other low-level, non unionized workers. Though, it would be nice if someone did because we certainly don’t have a voice.

On the below-the-line discussion, the was posted on UnitedHollywood.com last week. Some interesting points:

MONDAY, NOVEMBER 19, 2007

Union Solidarity – We Really Are All In This Together

(The following is a post from WGA member Kevin Droney. The man made it through the ‘88 strike, and he knows his facts and figures.)

Why Production Crews Should Be Cheering On the Writers

I’ve talked with a few IA guys over the past few days, and they were generally unaware of a few things in their own contracts with the Alliance. To whit:

1) Their unions, including I.A.T.S.E., IBT Local 399, Studio Utility Employees Local 724, IBEW Local 40, Plumbers & Pipefitters Local 78, and the Plasterers & Cement Masons Local 755… ALL RECEIVE RESIDUALS. 2) These residual payments go directly into their PENSION AND HEALTH FUND. 3) RESIDUALS earned working on shows CONSTITUTE 55% OF THEIR P & H. 4) If there are funding surpluses from residuals, retirees receive a 13th and a 14th check in that year, instead of the normal twelve.

We’re talking $339 million in residual contributions to the funds in 2006, and a projected $351 million this year.

But it gets better, and this is why IATSE members should be supporting us as the Teamsters and others are. Last year, the AMPTP entered into an agreement with IATSE, which states in part:

The bargaining parties agree that if any other Union or Guild negotiates as part of its collective bargaining agreement with the AMPTP residuals on product for iPods or similar devices, the Producers will meet with the IATSE to negotiate an appropriate residual formula.

Strike captains have been passing out leaflets at the studios for a week explaining all this, and maybe in a hundred years, every production crewmember will get one. Or, if you’re on a crew, maybe you can just steer your colleagues to this site, and speed up the process.

Because here’s the thing: if residuals are NOT paid for reuse on new media, every union member in Hollywood will suffer.

And since United Hollywood is all about fact checking, please don’t hesitate to call the Motion Picture Industry Pension and Health Plans at (310) 769-0007 and ask them.

Up the Unions!

Kevin Droney WGA member

Source: http://unitedhollywood.blogspot.com/2007/11/union-solidarity-we-really-are-all-in.html

http://entertainment.timesonline.co.uk/tol/artsandentertainment/film/film_reviews/article2961708.ece

Way to set me up.

Tattaglia’s a pimp. But I never knew until that footnote…that it was August all along…

This should read as: “No disrespect to the many others that have lost their jobs due to this strike. But as I’ve said to others that are unclear as to what is at stake here”

Thank you for allowing the correction.

MB

Sure, someone may pitch an idea. But somebody else has to flesh it out on the page before that idea becomes real.

No disrespect to the many others that have lost their jobs due to this strike. But as I’ve said others that are unclear as to what is at stake her the issues at hand effect every nook and cranny of show business and should be settled to the benefit of the WGA asap. A reasonable and fair resolution will benefit all. Thankfully this may happen sooner than later.

This is truly trickle down economics at work.

I write. But most likely my contribution to the industry will be in a below the line position.

But it will be to my benefit that the WGA gets what they want and what they deserve.

A fair and equitable resolution to the issues at hand.

I’m sure he doesn’t like that below the line people are hurt by this. But it is true that a victory here, whatever that entails, will be helpful for future groups trying to negotiate for more respectful deals.

This isn’t just a strike for money now, its a strike as he said “for the next 20 years” and sacrifices will come with it.

Today, at CBS Radford, I had the pleasure of talking with Sy Rosen. He’s been around for some time, working with some of the greatest talents this business has ever seen, and it was great to meet him. He doesn’t need to walk a picket line, but yet he does because he believes in his union. I also got to talk with Geoffrey Owens (best known for his years on the Cosby show), who reminded me that our cause is also SAG’s cause. We talked about whether or not a strike, in particular a picket line, was an effective tool against the mighty AMPTP, or if something more powerful was needed. We both agreed that having a constant reminder (our walking in front of the various studio entry points) was worth it, but perhaps something more powerful could be done, say protesting at various movie theaters or calling on audiences to turn off their TVs and not go to the movies…Of course, these things would be difficult to organize, but the monetary damage to the AMPTP (who would then have to explain it all to their corporate shareholders) would really hurt their bottom line and possibly force them to re-evaluate just how penny wise and pound foolish they are. Perhaps, then and only then, the AMPTP would come to their senses.

Unlike in ‘88, this WGA means business and won’t just settle just to settle and go back to work. And, I for one believe that this strike is necessary. I just hope the collateral damage is minimal.