No Sense of Growing Accord

How does a neutral observer square “more WGA progress” and “things are looking very good” (posted two days ago by the WGA-friendly Nikki Finke) with Michael Ceiply‘s 1.31 N.Y. Times report about Phil Alden Robinson‘s United Hollywood 1.29 post saying the DGA deal is wrong for the WGA and calling for a toughened bargaining position?
I’m not getting a conciliatory let’s-build-upon-the-DGA deal, things-are-starting- to-coalesce vibe at all. (Consider also this Alan Rosenberg/Doug Allen letter to SAG membership letter.) Feels like the same-old digging in the heels. Ceiply concludes with a paragraph that says that Robinson and Jeff Hermanson, the writers√ɬ¢√¢‚Äö¬¨√¢‚Äû¬¢ strike coordinator, recently met with Academy chiefs “to hear their case for allowing the Oscar ceremony to proceed without interference by strikers. The guild officials told academy leaders they believed the strike might be settled by 2.24, when the ceremony is scheduled for broadcast by ABC. If not, they said the ceremony would be picketed.”

11 thoughts on “No Sense of Growing Accord

  1. MASON on said:

    Simple.
    The moderates who make up the negotiating committee and much of the board want to make a deal and very soon — even if it isn’t a great one. But Verrone and Young and guys like Robinson are willing to strike until at least August if it just means there’s a small chance at getting a better deal. So the moderates are leaking one thing to the press, while the hard-liners are leaking another.

  2. The WGA will hopefully not let themselves get sweet-talked into a waiver for the Oscars because as soon as the Best Picture Oscar’s presented…
    Gut-check time. And I’ll wait till August if the I look at the ratification and go “Yeah, that was worth it.” So, they better take the bird in the hand, or know what in the hell they’re doing.
    Yup, gut-check time, Bolsheviks. Time to be men — businessmen. Stop playing checkers with politically correct waivers and play some war-chess with a bloodlust for victory.
    WWMOD — What Would Michael Ovitz Do!!? Not WWPALLSTBD? — What Would Pansy-Ass, Little Lefty, Sensitive-Type, Bolsheviks Do?

  3. “What Would Pansy-Ass, Little Lefty, Sensitive-Type, Bolsheviks Do?”
    Isn’t that the same thing as saying ‘What Would Jesus Do’?
    You love throwing around that Bolshevik comparison, don’t you? It’s like you’re trying to stir up a debate with all of the 96 year old Russians reading this site.

  4. if this thing goes to August (and I’m not saying it will), a lot of unfavorable things could result… i.e. vindictive, bottom-line studios could totally re-align how TV staffing/development is done, resulting in significantly less open writing slots, there could also be a weakening of the union by defecting writers — both high-up and rank-and-file, otusourcing of writer jobs to UK or Canada, then there could also be hangover acrimony between various guilds — and even film development slates could be re-vamped as well as whittled down by studio execs with nothing else to do, again resulting in less open writing assignments… I could be wrong, but what seems obvious is everybody needs to think their actions/beliefs thru and have wise, deliberate foresight…

  5. Oh, please Bents, play that somewhere else. The words change, the goals remain the same –
    Bolshevism, Communism, Enviromentalism — same thing — all about the state taking power and getting young, militant feminists in the sack.

  6. The likely source of the ‘we’re just about there’ rumors is the AMPTP, and the good news is… it actually does mean we’re just about there. Only here’s the scoop: it’s not the ‘there’ the AMPTP would like us all to get to. The latest tactics are a sign of growing desperation on the AMPTP side of the fence. From the writers’ point of view, this is the fun part.

    The WGA currently has enormous leverage in these negotiations (the Oscars, declining stock values, the next television season and advertiser give-backs are all elements that favor the writers), and Verrone and his crew are doing a good job with that leverage. This being business, I don’t know why anyone would expect the studios to make it easy — and I’m glad that the WGA leadership isn’t susceptible to the panic some internet posters are feeling about this being a particularly damaging strike to the writers who are out on the picket lines. Nobody likes being out of work (duh!), but there’s plenty of money in the strike fund and the overwhelming majority of the WGA membership remains solidly on the side of continuing the strike until they get a deal that’s worth what they’ve paid for it. This is a key point in the guild’s history, it’s a fight worth fighting, and the writers are on track to win significant gains in this negotiation.

    To people who view this as some sort of cataclysm, I’ve got to say: this is what fights are like. You sacrifice. You stay committed. You do what it takes to win.

  7. >but there’s plenty of money in the strike fund
    This strike involves a hell of a lot more people than just writers. My livelihood is directly dependent on the WGA functioning, and nobody is handing me any money from any strike fund.
    I think it’s a sign of how completely dysfunctional this industry is that the producers and writers can’t goddamn grow up and work their problems out. It’s shameful, really.

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