As expected, the Writers Guild of America (WGA) strike is now shutting down TV shows and halting the start of production on several movies. As such, the “below-the-line” folks, the shooters, grips, gaffers, sound, make-up, caterers and more, are now out of work. But now, Screen Actors Guild members are getting letters that they’re services are no longer needed.
Who were the most prominent cast members to receive such letters? Why those on Battlestar Galactica, which is about to premiere its final season in the coming year. What will happen to this show, and others, like Bionic Woman? Plus, there are rumblings that the WGA leadership and studios heads and the AMPTP (Alliance of Motion Picture and Television Producers) may be re-opening negotiations very soon.
I’ll explain after the jump.
First, let me briefly touch upon what’s happening with negotiations re-opening, perhaps as early as the Monday after Thanksgiving (November 26, 2007). All that’s know is that the AMPTP and WGA are going to try and hash things out again. Great news! Let’s get this strike over with, before too many of the below-the-liners are out of work, and we’re suffering from reality shows like “So I Married My Dog” or something (on Fox).
Okay, so what’s this about actors’ contracts being suspended over the strike? Well, apparently, the studios behind shows like Bionic Woman and Battlestar Galactica (NBC Universal/Sci Fi) are sending special letters that say their contracts are suspended in such a way that the actors won’t be able to find work elsewhere until the strike is settled.
This is called force majeure, which allows the studios to do this in the event of something like a strike. You can be assured the actors are upset, and are looking to SAG to help them figure this out, if it’s a breach of contract. If that happens, will the actors be free to seek work elsewhere, even after the strike is over? Does that mean the handful of BSG episodes already shot and ready to air, be it for the final season? Let’s hope not!
(Other NBC Universal show affected by this include 30 Rock and The Office.)
Let’s turn our attention to movies that we here at Screen Rant, and our readers, love and are looking forward to. Because of the writers strike, several movies, whose scripts were delivered before the deadline when contracts expired, still have scripts that aren’t up to snuff (who wants to have a bunch of crappy movies coming out?).
These include: Transformers 2, the Da Vinci Code sequel Angels and Demons, and possibly even Justice League (that’s okay by me–I hate the idea of a Bale/Routh-less JL movie). Even the Fantastic Voyage remake that was being rushed is now out.
Though I am happy that an X-Files sequel is coming out (sorry, Vic, but I’m pumped), rushed into production because of the strike, I don’t really want to see movies with half-baked scripts. So even if we have to wait an extra year or two, when the strike is over and scripts are being re-written to be good, that’s fine by me.
So, let’s hope the strike ends soon with the studios and writers going back to the table on November 26. I know a lot of writers are frustrated, because they were made to write, not walk the picket line. So, fingers crossed this can get resolved ASAP.
Source: ComingSoon.net, afp.google.com/ Hat tip: Deadline Hollywood Daily
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Yup. Get it resolved ASAP.
While I have to admit that I think the idea of an industry wide strike that includes writers, directors, and actors could be entertaining, I too would like to see this this strike end. However, only if the writers feel they’re getting a fair deal. If that means big name movies like Transformers 2 or Bond 22, get shelved, that’s fine with me.
TF2 especially.
It’s a bit ironic that Paul Haggis got paid a reported $4=5 million to write Bond 22 from Sony; he handed it in on time (before the contracts expiration deadline) and then he started striking against Sony. Oh, well…
heath
Heath,
First, great write up! It seems that the Star Trek film has already been affected by this, with Abrams coming up with ideas on the set that he can’t inject into the script due to the strike.
I too, hope this whole thing is settled soon!
Vic
I know the writers aren’t making a fortune but it seems to me that they were paid for what they did under the agreement that they had with the studios at the time they did the work. I have a hard time giving these guys any sympathy. The studios have all of the risk (including hiring writers that may or may not be crap). I don’t blame the studios at all, they are in business to make a profit and along with that comes all of the risks. The writers are only a portion of the overall finished product. The writers aren’t out front taking the credit for the lousy shows that are produced and then dumped because they are garbage. Factor in that the writers, who are protected by the WGA, while all of the support staff on the shows (lighting, grips, etc) are also out off work and not protected, it makes their position seem even more ridiculous. If the writers are claiming a portion of residuals because their work is replayed in whatever medium, shouldn’t the blue collar crews working the shows be afforded the same thing? And last but not least, the stars of these shows walking the line with the writers is about the most hypocritical thing I have seen ever. Hey writers, you want to know where a huge chunk of your money is? Ask the actors walking the line next to you.
Shane, I’m not sure you actually understand the reason the residuals are so important to writers. The people working the blue collar jobs you refer to can probably move from one show to another when shows are in production, and are better able to be assured of finding work. The writers, however, only have the money they earn from their scripts.
This isn’t much different from writers like me, those who write books and short stories. They get paid a fee for the work when they turn it in or sell it, but they can’t always be assured of selling another one. As such, they’re more reliant on the getting a percentage of the continuing income from their work. After all, writers getting millions for a script is probably not the normal situation in Hollywood.
As for where most of the money is going, I’d bet it’s actually going into the pockets of the studio executives more than it’s going to most of the actors and directors.
Well I would say that if you (not you in particular) are looking for a job in a creative field such as writing, art, acting, or whatever then you should probably expect to have another job until you are established in the field. One of my dreams is to make a living writing comics, but you know what? I have a family and I don’t care to risk not being able to feed them because I can’t find work in my dream job. So instead I work in insurance, not as glamorous as writing for a living but I have my house and I am able to put food on the table. Most writers would agree that writing for any medium is a dream job, meaning a job they love to do and always hoped to be able to get paid for. Not many people write because they can’t find work doing something else. If the writers are struggling to eat between jobs, nothing is stopping them from finding work doing something else to fill in. My dad was a roofer and in the winter in Ohio, not much roofing gets done. When he couldn’t find work roofing, he did other things to fill in. He also never got paid residuals from the homeowners he worked for if the roof didn’t leak. This argument that because it is a creative medium the writers deserve some kind of special treatment is garbage and also demeaning to all of us that have normal jobs. Again, it all comes down to risk. The studios have the most to lose from the venture (movies, tv shows, etc.), the writers get paid for the scripts they are commissioned to write regardless of whether or not the show does well.
You might have an argument to make if writers worked on a strictly work-for-hire basis, like roofers. Not all of them do, however, and even those that do still have certain rights. Based on a number of things I’ve read, they don’t just hand over the copyright to the script to the studio when they finish, but instead they retain the ownership of that copyright, and the studio merely has the rights to use the script. The writer, therefore, is entitled to a certain percentage of whatever profit is derived from his work, work that he still owns.
Now, I’m not a lawyer, so I don’t know all the ins and outs of how this works, but it seems to me that the writer’s ownership rights to the script are not nullified just because the script has been produced and the studio owns the final copyright on the filmed work. That completed work is based on the original script. There may be trademark based limitations regarding what the writer can do with the script, but the script is, as I understand it, still his.
In contrast, the roofer does not actually own the roof he made. The roof is not going to be shown as a means of making money, and the roof does not have copyright protection. Therein lies the difference.
As for writers getting other jobs, I can speak from personal experience when I say that it’s not always that easy. I’ve had a nice run where I was able to make a living as a writer, but circumstances change: unforeseen expenses arise, costs go up, royalty payments go down, etc…. Suddenly, my income is no longer enough, and I go out to look for a job. Except, my previous employment record isn’t exactly stellar, and my potential options are limited for a variety of reasons. How many employers are going to take a chance on me? In my experience so far, zero. And I’ve just about run out of options. Obviously, something is stopping me from finding a job to fill in. Now this is not to say that all writers are going to find themselves this kind of situation if they need supplemental income, but, obviously, that’s not an unheard of situation.
As for my dream job, I’d not say that being a writer actually qualifies. Unfortunately, my dream job doesn’t actually exist, and certain elements of it might be considered illegal.
I respect your well stated opinion Flamestrike, I just disagree with it.
We need to get these writers back in the saddles man. I don’t want Heroes season 2 to end prematurely
What we really need is to hope that Monday’s negotiations will be a success before the economic impact is felt world-wide (and it will).
heath
Without picking a side im sure everyone here can agree that EVERYONE loses during a strike.
Casts, crews, producers and studios lose the money; the fans lose our favorite shows. I thought something was up on last Tuesday’s Reaper (not the one from 11/20, but 11/13) when they didn’t show a preview for a new episode. Instead, they did a mini-clip show ad, if you will.
Reaper’s in repeats with two Tuesdays left in Sweeps. I guess that’s it for my new favorite show.
heath
So where are we on this? Haven’t seen a new post despite reading that Nikki Finke said that it looks like an agreement has been reached and it will be over soon.
Vic
No idea what’s going on, except everyone seems to be on their best behavior. GREAT! Let’s end the strike NOW!
heath