John August

Strike

Post-strike update

Projects, Shazam, Strike, The Remnants

Last night I went out for beers with my picketing team from the Van Ness gate. I hadn’t spoken with any of them since the end of the strike, so it was nice to catch up, and see them in clothes not specifically chosen for walking in the cold.

Remarkably, it was the first conversation I’d had about the strike in over a week. After three months of talking (and blogging) about nothing other than the AMPTP, the NegComm and picketing schedules, it’s surprising how completely the strike has vanished off the radar.

With the official contract ratification results due today, it feels like a good time to take stock of where various projects have ended up in a post-strike universe.

The web series
—

We’re finishing editing on the [web pilot](http://johnaugust.com/archives/2008/seeing-other-people) I shot at the start of the month. Once it’s done, the financiers will go off and look for distribution and advertising partners. If we can find the right combination, we’ll aim to shoot a block of episodes this summer.

Shazam!
—

I spent the weekend barricaded at the Disney Grand Californian working on the next draft of Shazam! I’d gotten the studio and producer notes just before the strike, so this was my first chance to address them. It was great having a three-month break from the script, because it meant I could look at it with fresh eyes.

There are some web reports out of WonderCon about a possible title change to something longer and more Harry Potter-ish. Nothing’s decided yet. Obviously, one of the challenges with the property is that an audience will automatically assume that the hero’s name is Shazam, when it’s not. ((Shazam is the wizard who bestows his powers; the guy in the cape is Captain Marvel. For legal reasons, the movie can’t be called Captain Marvel.))

Dreamworks project
—

When the strike began, I was halfway through the first draft of an unannounced project for Dreamworks, with a major star and director involved. Without being too specific, Something Happened unrelated to the strike which made it very unlikely that our movie could (or should) get made. So one of the first conversations I had after the strike was with the producer and director to figure out whether or not to proceed. After about 15 phone calls, many involving agents and executives, the decision was made to kill the project.

It was the right choice. While it’s hard to walk away from 55 pages, finishing the next 55 while almost certain that they could never be filmed would be even more dispiriting. As I write this, it’s not clear whether I’ll segue into a different project for the studio, or just write them a check for the money they’ve already paid me. Either way, I feel better getting to work on a script that is much likelier to become a movie.

Heroes: Origins
—

My hunch is that this [spin-off series](http://johnaugust.com/archives/2007/heroes-origins) will stay in the [deep-freeze](http://johnaugust.com/archives/2007/no-heroes) for a while, maybe never to be thawed out. Tim Kring has said in interviews that the priority is getting next season’s plotline (“Villains”) ready for launch, as it should be. If Origins is resurrected at some point, I’d be happy to direct my episode.

Back to work

Strike

The vote passed, with 92.5% of members calling to end the strike. Tomorrow, it’s back to the word factory.

Voting today was my last chance to see some of the WGA staffers I’ve gotten to know during the strike. Some were hired on just to manage specific areas (like picketing), and will be laid off in the next few weeks. I had the chance to thank a big group of them for their tireless work at a meeting two weeks ago, but for the folks I missed: thanks. Your devotion to a fight that won’t directly benefit you was remarkable. I’m sure there is a political campaign out there eager for your expertise.

The extra two days have been something of a blessing, allowing for a gentle re-entry to industry madness. There haven’t been any studio folks on my phone sheet yet, but there were several crucial what’s-still-standing conversations with agent and producer-types. I have no idea what movie I’ll be writing tomorrow afternoon. It’s a strange but exciting time.

The vote

Strike

The vote to lift the restraining order, thus ending the strike, occurs tomorrow from 2-6 p.m. at the [WGA Theatre in Beverly Hills](http://wga.org/subpage_member.aspx?id=2768), and in New York at the [Crown Plaza Hotel](http://www.wgaeast.org/), 4-7 p.m.

Obviously, you have to be a voting WGA member in order to cast a ballot. I’m looking forward to it as a small act of closure.

If you don’t feel like trekking over, you can vote by proxy with [this form](http://www.wga.org/contract_07/proxy-2008.pdf), which can be faxed in. I’m doing a proxy vote for one friend, but please don’t list me. If you’re voting yes, Patric Verrone is a much better choice. If you’re voting no, well, Jake Hollywood will be happy to have company.

The meeting

Strike

Last night’s meeting at the Shrine was packed. It started late, because of parking challenges. Most of my picket line crew was out sick. And as I took a seat next to a fellow USC’er, I had a brief moment of panic: I spotted a woman with an LED pin which kept scrolling, “IT’S NOT OVER YET!!!”

While the woman’s pin was technically correct — the vote to end the strike will be counted Tuesday night — I hope she reprogrammed the message during the 2.5 hour meeting. “WE WON!!!” might be a choice. “WE ACHIEVED MEANINGFUL PROGRESS IN KEY AREAS RELATED TO NEW MEDIA” would be more honest. But that probably wouldn’t scroll as well.

The focus of the meeting was to read through and explain the four-page deal summary. To their credit, the guys on stage did a good job explaining the victories and the concessions, and the logic in ending up where we did. They called it the best contract in 30 years, while pointing out its obvious gaps. Was it kind of dull? Yeah. But I was happy to be bored.

One of the most important areas the new contract defends is separated rights, which I suspect will not be well explained in mainstream news reports about the deal. So here’s my very brief recap.

Remember a couple of months ago, when I explained [Why writers get residuals](http://johnaugust.com/archives/2007/why-writers-get-residuals)? In it, I described the weird legal judo writers and studios do to assign copyright and authorship to the corporation rather than the creator. Well, there are certain rights that the writer has traditionally been able to keep in this arrangement. For example, turning a TV series into a feature film. Or using a character created in one show (Frasier Crane, in Cheers) as the basis of a new show (Frasier).

The new contract needed to establish that even if work is created for the internet (rather than TV or features), the same principles of separated rights apply. If a webisode becomes the basis of a new TV show, that’s separated rights. It’s a unique, writer-only issue that doesn’t have a parallel in the DGA or SAG deals. There are loopholes and potential issues, but the framework is now in place.

I went to the meeting dreading the open mic format, but the first few questions from the floor proved to be explanatory rather than inflammatory. For example, in contract terms, “dramatic programs” isn’t a genre, but rather a means of distinguishing scripted programs from other formats. (Thus, a sitcom is a dramatic program.)

There are some writers who don’t like the deal, and intend to vote against it. But the vast majority of people in the room, and online, have already reprogrammed their internal LED displays in preparation for the post-strike period.