Joss Whedon on the writer’s strike and professionBooks and Writing, television, movies — by TDavid @ 4:29 am PST
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I’ve waited to weigh in on the writer’s strike mainly because I hoped it would be settled right away, that both parties would reach an acceptable deal and that it would be a minor entertainment speed bump. It’s dragging into week four now, the holidays are looming and TV shows already shot from completed scripts are running out. If something good is going to happen, the next couple weeks of negotiations are critical.
Readers already know I’m pro-writer and if they don’t, they’ll learn quickly from past posts like Another Sweatshop Blog Emerges. Those who have been writing in the blog format for any length of time and consistency fully realize it’s work. And for any kind of legal work, I strongly support fair, reasonable pay.
Writers, by and large, are not paid fairly. Sure, there are exceptions and please spare naming them in the comments. Stephen King is more than fairly compensated. Dean Koontz makes good money. Danielle Steele isn’t suffering. Once you break through like these writers have, and huge kudos to them for doing so, being compensated fairly for each project is no longer an issue.
To better understand the disequity the star on the silver screen (think Brad Pitt, Angelina Jolie, Jennifer Aniston) making millions for what essentially is a few months work versus a writer making significantly less who spent at a minimum the same amount of time and probably much more. Actors aren’t brain surgeons and writers aren’t the also largely underpaid nurses. Once you factor in disparity in residual income from creative works and the current dispute: web income, one can better comprehend why writers are striking.
Joss Whedon, the man behind Buffy the Vampire Slayer, Serenity and other fine works writes eloquently:
It’s always hard. Not just dealing with obtuse, intrusive studio execs, temperamental stars and family-prohibiting hours. Those are producer issues as much as anything else. Not just trying to get your first script sold, or seen, or finished, when nobody around believes you can/will/should… the ACT of writing is hard. When Buffy was flowing at its flowingest, David Greenwalt used to turn to me at some point during every torturous story-breaking session and say “Why is it still hard? When do we just get to be good at it?” I’ll only bore you with one theory: because every good story needs to be completely personal (so there are no guidelines) and completely universal (so it’s all been done). It’s just never simple.
History of writer strikes
Mark Evanier has a good piece detailing the history of Writers Guild of America (WGA):
It’s always been like this, right down to the producers’ rhetoric and the suggestions that they can live well without us. That’s what they were saying back in 1933 when ten top crafters of movie scripts agreed to organize. Immediately and predictably, the studios resisted … In 1951, the Guild began to represent the writers of that newfangled thing called television … The strike of 1960 - which lasted 151 days, making it the longest strike in Hollywood until the Writers Guild later bettered its own record - was the one that secured a pension plan as well as residual payments when a movie was run on television … It wasn’t until a threatened strike in ‘77 that we began receiving [TV residuals] in perpetuity … In 1981, there was a three-month WGA strike to establish compensation in the then-new markets of “pay TV” and home video … The strike of [1988] year lasted 22 weeks - one day longer than the strike of ‘60. [In 2007] the burgeoning import of Internet delivery and other new technologies meant that we had to take a stand. There are too many dollars at stake for us not to establish our place at the table.
I’m hoping this gets settled much sooner than the 151 day strike of 1960. When it comes to episodic television, even though we haven’t had TV in our home for over 500 days, we eventually watch TV as it trickles down to DVD format and/or appears (legally) on the web. This situation could suck worse for those who pay to have cable or satellite and need to endure a steady diet of unscripted TV and game shows.
To play devil’s advocate, this could have more people making the move like our family: canceling TV altogether. As big a fan of internet video as I am, the general population isn’t ready for crappy, pixelated web video to replace episodic television.
When will the strike end?
A deal will get done. I think it most likely happens in the next couple weeks before Christmas. If not, then this could drag on like 1960 because the sense of urgency and compassion for writers will begin to deteriorate when the holidays pass. Not from me, I’m with the writers all the way. Give them a fair, reasonable deal.
Which side of the strike are you on?
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Here’s something you might enjoy related to the topic. I was pissed initially when I saw a quote from this that had Africa and writer’s strike in the same paragraph….but after reading the whole piece, I think it makes more sense….though as actresses go…..this is one that I would not be sad to lose - I think she is the most annoying part of The Office.
http://mindyephron.blogspot.com/2007/11/why-i-strike.html
Comment by Matt Wardlaw — November 28, 2007 @ 12:24 pm PST
Thanks for sharing, Matt.
Comment by TDavid — November 28, 2007 @ 9:45 pm PST
This strike is self-defeating, as most strikes are - especially the longer it continues. Members pay union leadership to bargain for them, and get the best deals they can from management. When the membership must leave their work stations to walk the picket line, union leadership has failed. The strike position is the last option, and now there aren’t any options left. Negotiating wiht the potentiality of a strike is a position of strength -walking a picket line for weeks/months is not. Nobody is irreplacable. PATCO learned this lesson quite well. The position of strength, the position that builds relationships, and keeps the enterprise itself running is that which negotiates while the membership keeps working. It’s a stunning hubris that these folks think that they are not replacable. There are many writers out there not in this union who’d love the opportunity to work in hollywood. If this strike continues they may get their chance. I hope this strike is quickly resolved because, as a writer, I support writers and understand how difficult the work of quality and creative writing truly is. Union leadership should go back to the table, end the strike, and let folks earn their livings while leadership tries to get the best arrangement they can get. Broken agreements, cancelled productions, and shattered professional and personal relationships is no way to run a business. If others follow Carson Daly and cross the picket line, writers might find themselves with a totally unacceptable result: unemployment. And what will the membership say to the union leadership then?
Comment by Dan — November 30, 2007 @ 11:07 am PST
On “Nobody is irreplaceable” — I disagree, Dan. How many Joss Whedon’s are there? There’s one. How many Stephen King’s? Danielle Steele? How many of you and me? While I understand you are with the writers, it is these kind of statements that start unions for groups of workers when frankly I don’t think unions are that necessary in most cases. One might be able to get people to type out storylines, but the good writers are not so easily replaced just like good framers in the construction business or good plumbers. Jennifer Aniston can command the money she does on the silver screen because of writers and her talent, not only her talent.
The web has already presented writers with an opportunity to establish themselves around the traditional workflow, just look at the music business and what artists are starting to wake up and realize. The internet can level the playing field with publishers.
Maybe it’s time for these entertainment unions to bust up and Hollywood to have to get its talent from other pools?
Comment by TDavid — November 30, 2007 @ 12:20 pm PST
TDavid,
Thank you for your response. Sounds like we are essentially in agreement. Remember PATCO, those highly trained Air Traffic Controllers? Reagan broke that union, despite the common understanding that they would be difficult to replace. Sounds like you are advocating the end of WGA. I am not advocating it, I am just suggesting that this may very well be the result of this strike if it is not concluded rapidly. Even with highly marketable writers like those you mention, those folks are not irreplaceable. Being “difficult to work with” in Hollywood has well-known results, yes? Regardless of their importance, unless at the very top tier, folks who are “difficult to work with” will simply not get any work. Remember Shawn Young? Is there another Shawn Young? No. Was she beautiful and talented? Yes. Is she irreplaceable? Of course she is, as an individual. But there are many, many actresses who are beautiful and talented. But, according to her own recent magazine interviews she is not working much now as she got a perhaps inaccurate reputation for “being tough to work with”. There may be a place for and value of the WGA, but if they break the very enterprises that they purport to support then they will certainly have made themselves “difficult to work with” with all the attendant results that that reputation brings. I love writers, but I hate writer hubris.
Dan
Comment by Dan — November 30, 2007 @ 12:49 pm PST
Dan, you added a qualifier: “unless at the very top tier,” — that’s my point, those who break through at that level are not replaceable. Technically can any person’s position be replaced? Yes, absolutely. But without their name in the credits, what do you have? A script penned by whom? Writers should see this strike as the calling card to get their own gig together and make their own careers.
The web is a great equalizer for those brave enough to put both feet in and see what they can make of it.
Comment by TDavid — November 30, 2007 @ 1:10 pm PST
And BTW, I’m not advocating the WGA be disbanded, I’m simply presenting that as one possible scenario going forward. Writers join these unions, yes? From what I understand that you pretty much can’t be an actor in a Hollywood movie without joining SAG which is complete BS, if true.
There were a lot more reasons in the past to have unions in Hollywood than there are now. There are more free market opportunities with the web and lots of freelancing gigs. You can even self-publish the next great American novel without spending much money (Lulu). Yeah, you might not have the advertising and promotion budget as the big publishing houses, but there are numerousways to reach a large audience with minimal capital.
My advice to writers out of work is use this experience for next time. Don’t be caught in this exact situation ever again. Start building your own publishing network. Start now and it will be a lot easier 5, 10, 20 or 30 years from now.
Comment by TDavid — November 30, 2007 @ 1:16 pm PST
TDavid,
It was just posted on the web that NBC has fired the entire writing staff of SNL.
http://www.foxnews.com/story/0,2933,312073,00.html
This is bad for the staff, of course, and very bad for the Guild. With Carson Daly breaking ranks and now this move from SNL, the Guild is in serious trouble. Now, if SNL hires independents and is successful, the Guild will be seen as superfluous and difficult. One could readily see a lockout of this union if this strike continues for a lengthy time. This could break the union itself. This is why this strike is foolish and self-defeating, in my opinion. I agree with you that folks in the creative world must take this moment to think of alternatives just as some music folks are now promoting and selling their music outside of the major labels. The internet is in a sense the great equalizer. The web runs on content. The web’s foundation is writers. The internet is the greatest opportunity for writers since the printing press. I hope that the Guild goes back to the table, and ends the strike soon. Writing is difficult enough.
Dan
Comment by Dan — November 30, 2007 @ 1:36 pm PST
Quick addition:
I should have said “recently” rather than “just” in my post about SNL. Sorry about that.
8^>
Dan
Comment by Dan — November 30, 2007 @ 1:44 pm PST
I think without doubt they are entitled to fair pay. It’s the same old adage of the few at the top getting millions and the average joe down bottom, getting pennies.
I hope it goes well for “The Little FEllas”.
Comment by Tony Warne — December 1, 2007 @ 5:26 pm PST
Tony,
No offense but I think you miss my point. Pay that is considered below the desired amount is better by far than no pay. Ask the folks at NBC/Jay Leno, SNL. For every writer gig in Hollywood there are 150 independents who would be delighted to take those spots for less pay. Why are these WGA folks so incredibly naive. I’m completely amazed by this strike. If it continues, I’ll wager that the WGA will find locked doors greeting them when they go for their next writing situation and the union will be busted. The point is not at all about “fair wages”, the point is about retaining a writer’s union that is viable. The longer the strike continues, the more likely that management will move to break the union. Folks on the picket line ought to appreciate what they have, go back to work, and negotiate for a better situation. Not to understand this is folly.
Dan
Comment by dan — December 2, 2007 @ 3:12 pm PST
I suppose its hard to truly appreciate unless you are involved, but I do feel that eventually , one has to say “enough is enough”! The pay is insufficient, I would rather not work than be forced to recieve renummeration that is not adequate.
I can however see and appreciate your point.
I guess that it boils down to “ones’ cut off point”.
The most important point is that the door for negotiation be open….on both sides…..a long drawn out fight is not going to help anyone.
Comment by Tony Warne — December 2, 2007 @ 10:11 pm PST