I've heard rumors that the studios might wait until the SAG contract is set to expire so they can "kill two birds w/one stone" and not give SAG a chance to say, "Well you gave the WGA X so we want X+Y". Has anyone else heard this?

Honestly, I think if they wait that long, then the other unions (IATSE and others) will be putting a lot of pressure on the writers to settle. That's just too many months of not having work for people to go on. But, you're smart by having a rainy day fund. Sometimes that's simply hard for people to do especially in LA where the cost of living is through the roof.

Wayne

My friend's ex-girlfriend's parents bought her a 2 bedroom condo in West Hollywood. $750,000...cash.

It's funny, another friend makes $2000 a week and struggles in L.A. WOW!

heath

Wow! Is the cost of living in LA really that high? What drives it? Property/rental prices or is everything expensive? I had the impression that most things were quite affordable in the States (certainly food, cars, petrol and equipment are).

I think California counts as it's own country. :D

"To whom much is given, much is expected" as the old saying goes. The corollary being, "From whom much is expected, much SHOULD BE GIVEN".

It will become more apparent as the strike goes on, just how important writers are to the foundation of the industry. If the writers don't work, NOBODY does... should certainly illustrate how valuable their efforts are, and how they should be accomodated. No one thinks twice about paying studio 'heads' millions in severance compensation, but hesitate to give writers a bump, or even a PIECE of residuals in some circumstances.

I absolutely feel for Charles and other crew members, though we might benefit by seeing/hearing more from him on the forum! (His insights and opinions are always valuable.) And I certainly do hope that the whole thing is settled amicably and soon.

And living in California is damned expensive. Especially L.A or San Francisco. We are in the process of moving from San Mateo, to Foster City... and took a look at some 'starter' homes for $800,000... Not much and a 'handyman's dream'. We're still renting.

Real Estate is outrageously high, Gas prices are the highest in the U.S., rents are also high... food is a little higher than other parts of the country, but eating out is typicaly fifty percent higher than elsewhere. Services are also about fifty percent higer.

We had a big housing boom (my condo went from $70,000 to $250,000 back to $175,000), and homes are still expensive. A ranch-style house here in West Palm Beach, FL goes for around $300,000 on 1/4 acre. In Los Gatos, near Silicon Valley, it would go for 1.25 million.

heath

NYC is pretty pricey; I saw a story on the news two weeks ago that you need $200,000 a year to *get by.*

heath

My friend's ex-girlfriend's parents bought her a 2 bedroom condo in West Hollywood. $750,000...cash.

It's funny, another friend makes $2000 a week and struggles in L.A. WOW!

heath

How many weeks a year does your friend work? W/a roommate to split living expenses I've made $25k/yr before taxes and still had money after monthly expenses to squirrel away in the bank. Was I living the high life? Not anywhere close, but I was never left wanting at the end of the month either.

LA is a very expensive place to live, and I'm not making assumptions about your friends Heath, but some people aren't very good at managing money. I have friends here that pretty much go paycheck to paycheck, or have massive CC debt, and they still buy iPhones, big DVD collections, and PS3's/Xbox360's. And now w/the strike some are in real danger of going from "barely getting by" to "in over their heads" and they really have no one to blame but themselves.


-A

Andrew, unfortunately that is indeed the case with many people in our industry. There is a tendency towards "toys". Below-the-line salaries can vary widely, from a low such as Heath suggested to a really handsome amount at the top of the pile (especially if you rent gear as well as labor), but quite a few live beyond their means and have little tucked away for a "rainy day". We don't have much literal rain this season, but the metaphoric storm is settling in around us.

That's the case, for sure. I had to re-think after I read your post. Because another friend is doing better with $1,000 a week. But I think that's typical all over the place.

Okay, we're WAY off topic. I hear CBS news writers, who are unionized, are voting to strike tomorrow or so.

http://www.deadlinehollywooddaily.com/cbs-newsroom-strike-vote-known-monday/

I wonder, since most news writers don't get paid big bucks like major screen and TV writers do, how long they'd be willing to go without a check...

heath

Maybe I don't go to the right places, but I haven't found dining out or even grocery shopping to really be more expensive in Los Angeles than any other big city.

Real estate is nuts, but many of the other costs didn't seem too far out-of-line to a Texan like me.

Honestly, I think if they wait that long, then the other unions (IATSE and others) will be putting a lot of pressure on the writers to settle.

It think if the strike lasts into next year, there will be a lot of internal pressure to settle, as well.

Especially if the DGA swoops in and makes a deal before the end of the year like some people think they will.

When we shot my film last year, my DP and gaffer came in from NYC. We went to lunch and each had a beer, talking about the shoot, etc. The total bill for burgers and beer was $40, including tip. The DP then said going out to a regular restaurant in NYC would've been double for TWO people.

When my wife, friend, his wife and I went out for Japanese hibatchi, our total bill was $40, including sushi, lobster/shrimp, beers and more, in South Carolina. Down here in West Palm Beach, it's $100 for two people!

It's all relative to rent costs for the restaurant, etc.

Heath

ps-A lot of people think that'll happen with the DGA--make a deal. If SAG strikes, though, it'll get a bad reaction by the public. Just like when sports stars have gone on strike, it has always ended up bad, PR-wise.

Heath

Maybe I'm an optimist, but I don't think the studios will let all this go until July and allow the actors to go on strike (the actors can't strike until then). One way or another, I think it will all be settled before then.

Comedy is how those of us who realize the crisis that the current system has put us in stay sane. Nuff said. =D

C

It's only been within the past few months that the Daily Show and Colbert Report writers were covered under a WGA contract.

Cable shows aren't necessarily automatically covered by a WGA contract, and, until recently, the Comedy Central shows were not.

It's only been within the past few months that the Daily Show and Colbert Report writers were covered under a WGA contract.
Timing is everything...

I hope that this is resolved soon for everybody concerned. (And I hope the writers get some concessions.)

BTW, Eisner blames Steve Jobs for this "stupid strike."

http://www.news.com/8301-13577_3-9812703-36.html?part=rss&subj=news&tag=2547-1_3-0-20

David Letterman is a class act, paying his employees while they're shut down due to the writers strike.

http://www.deadlinehollywooddaily.com/letterman-confirms-hes-paying-his-staff/

heath

That is really cool for Dave to do.


-A

I'm going to have a follow-up article talking about how Hollywood is basically "shutting down," and not just for Thanksgiving. Plus, negotiations to re-open Monday the 26th??

heath

There are reports that the whole staff at SNL got the sack.
http://www.foxnews.com/story/0,2933,312073,00.html

Here's also a neat blog that is collecting a list of all the people that lost their jobs because of the strike.

http://getbackinthatroom.blogspot.com/

Here's my new article at Screen Rant, updating the strike:

http://screenrant.com/archives/hollywood-shutting-down-plus-n-1164.html

Hollywood is "shutting down," with films stalling before production, and cast and crew on such shows as Battlestar Galactica are getting "lay off" notices. Plus, negotiations FINALLY re-opening? LET'S HOPE SO!

heath

Change is always painful. I feel for anyone out of work, I too have been struggling to make a living in this bomb first, pay later world we live in. But TV is awful for the most part. Hollywood movies are awful for the most part. Trying to get even a little distribution for independent filmmakers is a joke. I would rather get less money and work for the rest of my life than have to compete for the golden ring of Hollywood to make anything at all. Of the films I have enjoyed over the years, most were low budget productions, free from the tired old formulas, big "stars", and fast food advertising. If Hollywood and TV producers only want money, and more every year, I can only see good coming from big change in the way we make and watch.
Just some thoughts,
Jon

Change is always painful. I feel for anyone out of work, I too have been struggling to make a living in this bomb first, pay later world we live in. But TV is awful for the most part. Hollywood movies are awful for the most part...

I'm glad you wrote this. I feel the same way. The stuff being put out today...for the most part... is seriously disappointing.

Hopefully, some good will come out of this and some new blood is added to the system that refuses to be status quo.

I'm glad you wrote this. I feel the same way. The stuff being put out today...for the most part... is seriously disappointing.

Hopefully, some good will come out of this and some new blood is added to the system that refuses to be status quo.

Keep in mind, though, that it's not so much the writers and other creatives who are responsible for the disappointing output from Hollywood ... their output is controlled and dictated in large part (if not completely) by the studio and company executives. So if some good comes out of the strike, it will hopefully result in more creative control being vested in the writers, rather than the executives.

But that's probably too much to hope for, since the executives think they are the creative geniuses in Hollywood, and the writers are just there to do the grunt work.

"How come Hollywood produces so much crap? Is it just bad writing?" A friend of mine asked.

Well, aside from the point that I don't think it's ALL crap, most people don't understand the 'creative collaborative process' that goes into getting a script made.

Sure, if your Goldman, or Towne your scripts are going to go through fairly intact... (Or at least with YOU getting the re-write.)

But the trouble is, a writer who writes on 'spec'... that is, creating a script on speculation that it will be good enough to picked up, is really in a bind as far as creative controll goes. Typically, he will have to give up even the 'first re-write' or even whole stories rights, and accept the credit, "Story by" while someone else gets "Screenplay by" after all the rewriting is done.

What starts out as a 'great, solid script, based on an exciting premise', gets bought. Then 're-written' to add a little 'punch', then the re-write has a different flavor, and the producer doesn't like the 'political angle' so it gets re-written again. Then the star doesn't like the way the romance develops, so there's another re-write. Then the studio HATES the ending, so it's re-written again. Then there's the 'brilliant moments of improv' that the director and actors throw in on the set... (Might be brilliant, might not).

So... the trick is to write a script SO GOOD, SO STRONG, SO SOLID in the first place... that after everybody else has chopped it up, watered it down, re-arranged it and taken all the 'edge off', it's still as good as your average pizza, and gets 'consumned'.

Sad, but true.

I think every part of production suffers from the same process Richard. Maybe more so when it comes to writing? It would be better to have other options than the current systems so good stuff could get through and published, one way or another and more people get to work at it. I am a graphic designer as well as a filmmaker so I know all to well what the 'creative collaborative process' can do to a good idea. Personally I would love to make 1 or 2 low budget (<1mil) every year than have to go through all the processes to maybe get to make one film in my lifetime. But hey, this is going way off subject, sorry people.
Jon

More strike woes... the CBS News writers, producers and editors voted to strike as well.

http://www.reuters.com/article/televisionNews/idUSN1950928120071119

http://www.deadlinehollywooddaily.com/dare-we-hope-a-deal-has-been-struck/

I have heard December 7 without an explanation. If so, that would make sense if it ends in 2 weeks.

heath

If there was a framework for a deal, then it shouldn't take two weeks to hammer out the details. If there's not a framework for a deal (and I don't think there is), then there's no way to know how long it could take to get to a deal.

Word on the street has it resolving somewhere in mid-December. The prevailing rumor is that the framework is indeed in place, but the details may take some dragging out.

I just had my last scheduled day today, on "Ugly Betty". Thus I am now officially out of work until things resolve, unless something unexpected pops up (some potential features in the pipeline, but competition will be fierce). It felt strange to say goodbye to everyone on set since we don't know when we will be coming back to work...

Well, here's some good vibes out to the AMPTP and WGA to strike a deal, so everyone can get back to work soon. Of course, by mid-December, the holidays will be upon us soon after.

Heath

I've heard both encouraging and discouraging things from people close to the situation.

Generally speaking, it sounded like both sides were ready to negotiate rather than getting stuck on ego trips or politics, but it didn't sound like a deal that would be acceptable to the WGA was going to be anywhere near easy.

Leading me to believe that there wasn't a true framework for a deal (unless you consider getting rid of the ego trips and politics and getting down to negotiating on the key issues to be a framework for a deal).

I think it's going to hurt the WGA more than the studios. The studios are owned by bigger companies, like GE, etc., so they can weather a storm like this better than they could in 1988.

At some point, other unions, like the Teamsters, may put pressure on both parties to resolve it. Otherwise, the money is going to run out fast!

Heath

Have you seen the "speechless" series of digital shorts that some writers/directors made with prominent actors to support the WGA?

George Hickenlooper, one of the makers, said they were all shot with a Sony HDV camera using natural lighting.

He didn't specify which cam, though they look like they were shot in 24p to me, so at first I thought it must be the V1.

But then I caught a glimpse of George in the Holly Hunter spot and it looks like a Z1.

Any thoughts as to what camera they're using? The results look terrific. I'd also love to know how they encoded these for the web.

Here's the Holly Hunter spot:

http://www.deadlinehollywooddaily.com/speechless-episode-1-holly-hunter/

Camera is a bit dark to tell. I'd guess it could even be a Cannon.

Writer's aren't happy with the first offer...
http://www.nytimes.com/2007/11/29/business/media/30writers.html?hp

From today's Wall Street Journal. Looks like there's no end in sight unfortunately...

http://online.wsj.com/article/SB119724683127218815.html?mod=yahoo_hs&ru=yahoo

Hopes for an early resolution of the strike, which enters its sixth week today, were dashed late Friday after officials from the Alliance of Motion Picture and Television Producers, which negotiates on behalf of the studios, broke off talks with the Writers Guild of America at a Los Angeles hotel. The breakdown came amid signs of rancor and finger-pointing that suggested growing distrust between the two sides.

And, essentially, no new episodes of our favorite shows, since show runners went on strike, too.

heath

The networks were able to finish whatever shows they had scripts for even after the showrunners walked out.

But now that they've blown through the scripts they had, there's nothing left to shoot and the shows have shut down.

Hello, reality TV!

heath

On the AMPTP website they have a live counter showing how much the Screenwriters are loosing per second. It's up to 105.5 million as of this writing...

"Estimated losses are based on data supplied by WGA West on initial compensation paid to its members in 2006."

It's dodgey math at best but it seems like a effective way of communicating whats at stake.

In the world of wiki's there is an interesting wikipedia page about how many episodes of all the shows that are left.
quite interesting, in so many words in about 6-8 weeks we'll be out of new content on television.

http://en.wikipedia.org/wiki/Effect_of_the_2007_Writers_Guild_of_America_strike_on_television

And how much are the studios loosing per second? If their profits exceed the payment to writers, (And they must by a great deal) Then the loss to the studios at this point must be ten times what the loss to the writers counter indicates.


Dodgy math indeed.


Writers don't COST the studios money... they MAKE THE STUDIOS money.


(The counter is more indicative of delayed payments... that money will still be paid, but at a later date.)

Although my sympathies are with the writers, I really don't have a dog in this fight. What I'm really fascinated is how cleverly the writers are using web and specifically web video to win the public over.

Example: the horror writers organized exorcism of Warner Bros.
http://www.youtube.com/watch?v=W2A3ha6N6NA

Check out this video, where fans of Joss Whedon travelled from all over the world just to picket with their hero:
http://www.youtube.com/watch?v=-Ze0orUIToM

They've even got the fans organizing a web site: www.fans4writers.com

I think it's something we can learn from, because (imho) it's one the best guerilla ad campaigns ever put together.

And how much are the studios losing per second? If their profits exceed the payment to writers, (And they must by a great deal) Then the loss to the studios at this point must be ten times what the loss to the writers counter indicates.

The studios really shouldn't be losing all that much money yet. Most of their shows are still on the air and generating advertising revenue. Movies are still going into theaters and will for some time. DVDs are still being released, etc.

When the strike started, writers stopped earning immediately, but it takes time for the studios to start to feel the pinch. In television far sooner than in film.

(The counter is more indicative of delayed payments... that money will still be paid, but at a later date.)

Not necessarily. The television writers who were on staff won't get back pay for the weeks they were on strike. There's a pretty good chance that some episodes won't be made up, either. There are also rewrites that might have been commissioned before that won't be now because of the strike because studios are more-or-less forced to go with what they have.

And that doesn't even include the fact that studios buy far more scripts than they ever make. It's not likely that the studios will buy more pitches, specs, etc. to make up for the time writers were on strike.

There's a decent bit of money that writers will never be able to get back (and, at this point, it seems unlikely that the resulting residual deal for new media will be any better than what we could've gotten had we not struck. So it's not even a matter of short-term sacrifice for long-term gain).

Well, I know some comic companies are looking for screenwriters to submit work. And I doubt the WGA would try to get in on it--it's too low paying vs. what the screenwriters and TV writers/producers are doing.

Heath

I don't really think the WGA as a whole should try and guide its members into different lines of work. The Guild really isn't designed for getting its members jobs. It's designed to set minimum standards for employment, but members get jobs on their own both inside and outside film and television.

I'd certainly write comics if any comic company wanted me to do it, but I'm not one of the A-listers or B-listers these companies are talking about hiring.

The WGA isn't guiding them, but they want to get in on the web (I think on shows that studios finance, or big production companies, like quarterlife, on MySpace and now, NBC). What I meant was, writers can write for comics now with no worries of WGA reprisals, but the web may be dicey, if they have a studio/major prod. co. backing it.

Thanks,

Heath

That's part of creating a minimum standard, though. We, as a Guild, want to cover filmed entertainment in its many forms, and Internet-related video is part of that.

There's nothing in our contract right now that would prevent any of us from writing material directly for the web. First-run web videos aren't covered by the WGA MBA, so the WGA doesn't have jurisdiction.

Just like we could write for non-Guild animated shows or movies or we could take jobs on reality shows, the stuff that isn't covered is fair game (the only complication is the strike rules, which prevent writing for a struck company even in a non-covered capacity, but it would be difficult to punish a member for doing work that isn't covered by the WGA MBA. And writing Internet-related stuff for non-struck companies would be perfectly kosher).

We can write comic books (even for DC). We could write novels. We can write television commercials. We could go to work for Rupert Murdoch at the Wall Street Journal if we could get the job simply because all of that isn't covered stuff.