Hollywood strike immediately affects shows

Richard Alvarez · November 19th, 2007, 01:09 PM

"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.

Jon Jaschob · November 19th, 2007, 03:10 PM

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

Theodore McNeil · November 19th, 2007, 05:03 PM

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

http://www.reuters.com/article/telev...50928120071119

Theodore McNeil · November 26th, 2007, 07:34 PM

http://www.deadlinehollywooddaily.co...s-been-struck/

Heath McKnight · November 26th, 2007, 08:36 PM

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

heath

Ryan Paige · November 26th, 2007, 09:49 PM

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.

Charles Papert · November 26th, 2007, 11:20 PM

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...

Heath McKnight · November 26th, 2007, 11:25 PM

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

Ryan Paige · November 27th, 2007, 10:45 AM

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).

Heath McKnight · November 27th, 2007, 10:51 AM

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

Dave Lammey · November 27th, 2007, 11:51 AM

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.co...-holly-hunter/

Theodore McNeil · November 30th, 2007, 11:01 AM

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/bu...riters.html?hp

Boyd Ostroff · December 10th, 2007, 07:38 PM

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

http://online.wsj.com/article/SB1197...oo_hs&ru=yahoo

Quote:

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.

Heath McKnight · December 10th, 2007, 07:47 PM

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

heath

Ryan Paige · December 11th, 2007, 04:02 PM

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.

November 19th, 2007, 05:03 PM	#78
Theodore McNeil Major Player Join Date: Sep 2006 Location: Centreville, Maryland Posts: 258	More strike woes... the CBS News writers, producers and editors voted to strike as well. http://www.reuters.com/article/telev...50928120071119 __________________ http://twitter.com/tedmcneil

November 26th, 2007, 07:34 PM	#79
Theodore McNeil Major Player Join Date: Sep 2006 Location: Centreville, Maryland Posts: 258	Writer's Strike Ending in Two Weeks? http://www.deadlinehollywooddaily.co...s-been-struck/ __________________ http://twitter.com/tedmcneil

November 26th, 2007, 08:36 PM	#80
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	I have heard December 7 without an explanation. If so, that would make sense if it ends in 2 weeks. heath __________________ My Final Cut Pro X blog

November 26th, 2007, 11:20 PM	#82
Charles Papert Wrangler Join Date: Jan 2002 Location: Los Angeles, CA Posts: 6,810	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... __________________ Charles Papert www.charlespapert.com

November 26th, 2007, 11:25 PM	#83
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	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 __________________ My Final Cut Pro X blog

November 19th, 2007, 01:09 PM	#76
Richard Alvarez Inner Circle Join Date: Sep 2002 Location: San Mateo, CA Posts: 3,840	"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.

November 19th, 2007, 03:10 PM	#77
Jon Jaschob Major Player Join Date: Oct 2005 Posts: 232	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

November 26th, 2007, 09:49 PM	#81
Ryan Paige Regular Crew Join Date: Oct 2006 Location: Plano, Texas Posts: 44	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.

November 27th, 2007, 10:45 AM	#84
Ryan Paige Regular Crew Join Date: Oct 2006 Location: Plano, Texas Posts: 44	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).

November 27th, 2007, 10:51 AM	#85
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	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 __________________ My Final Cut Pro X blog

November 27th, 2007, 11:51 AM	#86
Dave Lammey Major Player Join Date: Nov 2002 Location: Simsbury, CT Posts: 247	"Speechless" spots 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.co...-holly-hunter/

November 30th, 2007, 11:01 AM	#87
Theodore McNeil Major Player Join Date: Sep 2006 Location: Centreville, Maryland Posts: 258	Writer's reject first offer... 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/bu...riters.html?hp __________________ http://twitter.com/tedmcneil

December 10th, 2007, 07:47 PM	#89
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	And, essentially, no new episodes of our favorite shows, since show runners went on strike, too. heath __________________ My Final Cut Pro X blog

December 11th, 2007, 04:02 PM	#90
Ryan Paige Regular Crew Join Date: Oct 2006 Location: Plano, Texas Posts: 44	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.