A grip's view of the strike

Excerpts from an e-mail from Dale Alexander, a key grip on NBC's "The Office":

"Our show was shut down and we were all laid off this week. I've been watching the news since the WGA strike was announced and I have yet to see any coverage dedicated to the effect that this strike will have on the below the line employees.

"I respect the WGA's position. They probably do deserve a larger percentage of profit participation, but a lengthy strike will affect more than just the writers and studios. On my show we had 14 writers. There were also 2 cameramen, 2 camera assistants, 4 hair stylists, 4 makeup artists, 7 wardrobe people, 4 grips, 4 electricians,  2 craft service,  4 props people, 6 construction, 1 medic, 3 art department, 5 set dressers, 3 sound men, 3 stand-ins, 2 set PAs, 4 assistant directors, 1 DGA trainee, 1 unit manager, 6 production office personnel, 3 casting people, 4 writers assistants, 1 script supervisor, 2 editors, 2 editors assistants, 3 post production personnel, 1 facilities manager, 8 drivers,  2 location managers,  3 accountants, 4 caterers and a producer who's not a writer. All 102 of us are now out of work.

"I have been in the motion picture business for 33 years and have survived three major strikes. None of which have been by any of the below the line unions. During the 1988 WGA strike many of my friends lost their homes, cars and even spouses. Many actors are publicly backing the writers, some have even said that they would find a way to help pay bills for the striking writers. When the networks run out of new shows and they air repeats the writers will be paid residuals. The lowest paid writer in television makes roughly twice the salary than the below the line crewmember makes. Everyone should be paid their fair share, but does it have to be at the expense of the other 90% of the crewmembers. Nobody ever recoups from a strike, lost wages are just that, lost.

"We all know that the strike will be resolved. Eventually both sides will return to the bargaining table and make a deal. The only uncertainty is how many of our houses, livelihoods, college educations and retirement funds will pay for it."

--Maria Elena Fernandez

Comments

[MorbidlyAmused]

I find it impressive, sad, and hilarious that there are actors planning to help writers pay bills. The writers are the main people *choosing* not to work. Now, I don't mean to say the writers will have an easy time of things; rather, I think it would be far more appropriate for the financial sympathy of those actors to first be with those people who have not chosen to stop working, but must do so anyway at the risk of losing their homes and so forth. The more affluent writers would do well to show concrete support to the crews in the same fashion.

[Fireboy]

What do grips do, anyway? Can't anybody do that? What's the big deal?

I'm certain that those words spoken in Mr. Alexander's presence would draw a fierce reaction. And yet, that's the attitude he is asking writers to take from the multinational corporations that are behind this trouble. He should check this weeks comments by Bob Iger, Sumner Redstone and Peter Chernin. They insist that they are all in a terrific position to weather this strike, because, really - what writers do isn't that important to our business. This attitude will make its way to Mr. Alexander sooner rather than later. This is about union busting Mr. Alexander and for all the damage you are worried about now, it will be nothing compared to what you will suffer when these men come to you and ask that your health benefits be rolled back. It's interesting that Mr. Alexander, who depends on the talents of writers and actors to provide him with employment would be asking them to lay down and just be quiet. We are on the front line fighting for you, Mr. Alexander, whether you want to deal with that or not.

[The Duke]

Amen, brother, amen.

[theodorealexandre]

"The lowest paid writer in television makes roughly twice..."

By what metric?

Writers, including staff writers have to pay out agencies, lawyers and frequently business managers, which can frequently total 30%, and then pay taxes. Writers are never paid hourly, yet often have to put in 80 hours weeks, and the majority of the positions you mention above are _not_ salaried and in fact get overtime, double time and meal penalties as part of their collective bargaining agreements.

Factor in to that that writers on the CW and MyNetworkTV are still subject to "netlet" lowered rates and then factor that writers for those network do not see residuals at all after the first repeat airing of their episode. Zero. Despite working for companies that are owned or part owned by the biggest media conglomerates in the world.

The net effect (no pun intended) is that many staff writers at the low end of the totem pole likely clear not much more than the minimum wage when figured hourly after taxes and representation.

Even if that figure is $10/hr or $15/hr, is that OK?

On a show that a network spends $20 million a season putting on the air?

On a show that gets them $100 million in revenue over a four or five season run?

[annonymous]

Please don't forget all the people that work in post production. Picture editors, assistants. The sound crew (dialoge, adr, sound effects, foley, background editors). Plus re-record mixers, recordist, adr and foley mixers, foley artists etc, etc, etc. The list is MUCH bigger than you mentioned. This will affect many people that will be losing wages,,, Hopefully this strike ends soon and the writers get their fare share.

[Hollywood=Delusion]

They make crap these days anyway...Near all scripted media isn't worth airing. Fire them all and rehire actual TALENT as needed. If they are true artists they'll work for the love of creating; not for financial reward. Produce less, but of higher quality.

[MJ]

I think it's Ms. Fernandez. I appreciated her insight. I hope all return to work soon.

[vwelborn]

To the people sad because they got laid off....where is the savings you should have in the bank to prepare for such instances when you are left without a paycheck? Having a position in your field, working with a union represented conglomerate, you should have been prepared for a work stoppage if the union was not able to get concessions. The middle-class is disappearing in the US because nobody seems to have sympathy for what unions are trying to accomplish....a fair living wage and worker rights and benefits. If everyone demanded these few items there would be a lot less poverty in this country! Stand with them and the benefits will come.

[Editdroid]

As an Editor on an hour long drama who is about to be laid off, I take great exception to the tenor of Fireboy's posting. None of us below-the-liners are begrudging the writer's their due. We are however a bit peeved about the writer's attitudes towards those of us who stand to lose the most while gaining nothing in return. I've heard the writers like Fireboy say that they are on the front line fighting for us, but the truth of the matter is only writers,actors and directors benefit from residuals, the main contention of the strike. It's very easy for Fireboy to say that the studios are going to come after our benefits next, but the truth of the matter is that after this strike is settled what the studios are going to do is to try to take money away from those below the line to pay for the costs of the strike and for whatever gains the writers get. What I've not heard from any of the writers or showrunners is a simple " We're sorry you crew members are going to have to suffer during this strike, it's something that 's really important for us, and we'll have your backs when this is settled." So Fireboy it may make your feel good to say the writer's are fightiing for all of us but really it's just a cop out to assuage your guilt over the true hardships you are causing the many crewmembers who work hard to make your words come to life.

[sidelined]

This is not meant unkindly, but what have below the line unions earned for themselves in terms of benefits and clout by being the "good child"? Do the studis appreciate you any more for not striking? Perhaps you should strike to get what you want. SAG and WGA have gotten their benefits by fighting for them. The Teamsters are a prime example of this. Sometimes you have to fight.

And realistically, the above line people are driving the industry. Again, not meant unkindly; that's a fact.

[domerlaw]

I feel for you, Dale, but it's not like entertainment industry jobs are well-known for their stability. You happen to work on a successful show that's had a long run. Plenty of your colleagues and union brothers and sisters (I assume you're in the IATSE, right?) are also out of work a lot of the time too. When it comes time for you to renegotiate your contract and the studios no longer want to pay you overtime or meal penalties, will you be screwing the actors and writers when you strike?

Theodore Alexandre is right. When all is said and done, you're not making a hell of a lot less than some of the writers on your show. And I sure hope that when it comes time for you to demand fair compensation, they don't react the same way you are.

"No one ever recoups from a strike." No one has recommended to you, I guess, that you collect unemployment or, god forbid, seek other work. That's what a lot of the actors you work with did when they were out of work. Or is it beneath you to temp?

[withheld]

I am a writer and exec. producer. The strike is indeed, terribly sad. The strike will cause hardship to countless writers and below the line people. It's not a decision anyone made lightly. It's terrible that below the line people will lose their jobs and stability, but this is a fight that must be fought. And please remember, there would be no job to be lost if writers had not written the shows that provided the jobs in the first place. Writers are the only ones who start with nothing. Every single other entity that works on a show in any creative capacity shows up after the writer has done his work... after the writer has set the template that, in the best scenario, provides years of work to hundreds of people. The business is changing quickly. We only want to be allowed to participate in its success with a deal that fairly compensates us for our work when it is shown on multiple platforms. We want a quick end to this terrible strike so that we can get back to work providing more jobs and making more show families that can work and play together for years to come.

[Erin Maher]

It is not correct that "only writers, actors and directors benefit" from residuals. Many below-the-line workers have pensions and health insurance that are funded by residuals. If residuals go away, which is what the producers would like to have happen, the below-the-liners will lose those benefits as well.

As for the person who said writers should work for the love of creating, not the financial rewards.... right. Because writers magically don't have to eat, pay rent or wear clothes.

[maryl]

Amen to the people standing up to the wimp staffers who want the union to capitulate. Their weakness and shortsightedness hurts all workers. The refusal to pay Net residuals is appalling. Saying that the union should give in is ridiculous. Why not hold the studios accountable? It doesn't take miuch intelligence to see that they are the problem. It does take some guts to come out and say it. The 2 staffers who posted here both seem to want full surrender. That reveals the problem with American workers today. They got comfortable. They went soft. They turned stupid. They neutered unions. And now they're easy pickins' for the robber barons. If you want to be losers, that's fine. Don't cheerlead against people who refuse to be doormats.

[Christine]

As a nonunion AC whose eventual goal is to join 600, I respect Mr. Alexander for releasing a well-written and cohesive statement for the below the line workers in the industry. It may be true that many writers don't make the money some claim they do, but they almost certainly make more than even the most distinguished of crew members.

It's also true that part of a union's responsibility is to set fair working standards for its members, but the argument that perhaps crews should also be fighting seems irrelevent; after all, what do we get from these new media promotions? That's not the issue at hand for concerned crew members--the priority is to provide well for themselves and quite often their dependent family members in an industry when during "peaceful" times the job market is volatile enough.

The suggestion that crews should take a lesson from actor colleagues and find other work is incongruous; it's largely understood that aside from the minority of successful working actors, most actors must work second and third jobs in order to support themselves. Working as a crew member is not necessarily a dream, it's a career, and it's implicit that those working on union network shows are very well established, most likely with decades of experience (as Mr. Alexander undoubtedly has).

Mr. Alexander is completely justified in submitting an opinion that is reasonably shared by a large portion of crew members, who arguably (and statistically) form the backbone of the entertainment industry. I only hope to have the honor of working with someone as distinguished and experienced as he one day--and also, no, not just "anyone" can do what he does. One of a key grip's many duties is to oversee the safety of every person on set, an intimidating task in itself and one regarded more highly with every additional year of experience.

[Kevin]

And now the whining begins.

Were I more conservative in nature, I might accuse this blog of providing aid and comfort to the enemy. I mean, this person is begrudging the writers their right to royalties, while not being critical of the companies refusing to allow them. As a "below-the-line" worker, to stick it to a fellow worker while in no way blaming the executives shows a lack of comprehension of how and why unions strike.

Of course it is sad people lose their jobs. I know nearly half of the Tonight Show staff, and I don't wish unemployment on any of them. I also know what a sweet gig it is... it sure beats digging a ditch for a living.

Realizing "Studio 60" was not a much-loved show, I must mention one of my favorite lines spoken by Matthew Perry's character: "I hate Los Angeles just like everybody else, but I have to work here because in any other part of the country I'm unemployable." I knew so many people in Hollywood with that attitude. It was an attitude I used to share... that was seven years and seven non-industry related jobs ago. There are jobs for these people outside of Hollywood. This strike wasn't a surprise... those affected had time to prepare, whether that meant saving money or seeking temporary employment elsewhere. I feel sorry for them. I don't want them to lose their jobs. But, to use an old chestnut, it is only show business. While we're at it, we can retire the cliche "The show must go on." It really mustn't.

Good luck to the writers. Good luck to the unemployed workers. To those unemployed, take a day or two to wallow in self-pity, get rip-roaring drunk, then sober up, shower, and go get your ass a job until the situation resolves itself. Otherwise you are the "Hollywood elite" the rest of the nation thinks you are, and I know you are better than that.

[Editdroid]

As one of the "wimp staffers" referred to in earlier post, I want it made clear that no where did I imply that the WGA should capitulate. My partner happens to be a writer and has been walking the line this entire week, so I am well aware of the issues.

Most below the line crew members support the writers intentions. We know that the Studios did not go into this negotiation looking to compromise. I personally was impressed that the WGA was willing to forgo DVD residuals to strike a deal for new media and thought the AMPTP showed its true colors when it refused to negotiate further.

However, my point is only that the arrogance being shown by most writers is appalling and insulting to the many crew members who work damn hard to bring these writers words to life. We don't want to hear "without our words there would be nothing," because without the rest of us your words would never make it to the screen. Film and television are collaborative endeavors in case you didn't notice. We also don't want to hear about how noble youwriters are for striking for the rest of us, because you''re not, you are striking for yourselves.

To all you writers out there, please remember that we below the line folks are losing our jobs (and yes I know that there are no guarantees in our profession . . .but most of us count on being able to move from one job to another and with a strike there are no new jobs to move on to). And when we mention this fact, it's not because we are against you, it's because we want you to acknowledge that your actions affect many more people besides yourselves. We support you in your goals and want you to get a fair deal . We only hope that when this is over you have the courtesy to thank us for the hardships we will have endured so that you could get the contract that you desire.

[Michael Snyder]

As a former member of IATSE local 80 (14 years) and NABET local 531 ( 11 years) before that, let me tell how this is going to go.
The studio execs have bad their Ben Hogan’s packed and their vacations planned around this action for months. The absolutely do not want an early "solution" to this mess. They've a batch of programming in the can and now they've just shaved a huge amount of BTL cost. (below the line) All they have to do to realize an increased stock dividend is go golfing.
Since Wall St. is now deeply vested in entertainment you can be sure there will be no negotiations, much less a solution until the last quarter’s report hits the books and they can take their profits on their stock. If the stock continues to climb (because Wall St. thinks gutting a company is a good idea) the strike will continue.
Now if (I said if) the Writer’s issues are resolved before summer, then the DGA contract comes up for renewal and the same issues will be on the table… Again… (can I get a , ta-ta ?) And the studios will once again do their best to bust that union too.
Meanwhile, back at the ranch there’s over 25,000 grips, gaffers, and the plethora of skilled crafts-persons losing everything they’ve worked to re-coop sense the last strike shut down production. Come time for the IATSE’s contract to be negotiated all of these people will have been out of work for nearly a year. Do you really think they’ll get a raise? Do you really think there will be a single Writer or Director actively supporting the crafts-persons who bring their “vision” to reality?
When I got into the film biz in ’78 I was earning $25.00 per hour. When I left it in 2003 I was earning $28.08 per hour as I listened to Producers whine about how much the crew cost. That’s a twelve cent a year raise! Wow! That’s why I got my Contractors License.

[Dale Alexander]

I think some of you are misunderstanding my letter. If you read the beginning of the 2nd paragraph I state that I respect the position of the WGA. I do know that residuals go into all the I.A. pension and retirement plans and benefit all of us. I do not disagree with their demands but I do think that while they are striking there is no reason not to be sitting at the negotiation tables. This is no way meant to belittle the writer’s demands but to come to a quick end before many are hurt by a lengthy strike.
And where in my letter did anyone read anything about union busting. I have been a member of Local 80 since 1974 and have made a very decent living from it. I believe all our unions and guilds are necessary and important to help keep all sides protected and in line.
I would like to see the WGA’s demands met and I hope it is done quickly with the least amount of damage.

[Lawrence Sher]

I think some of the responses on this post speak to the real potential problem of a protracted strike and the in fighting that will begin and that the studios are hoping for. Speaking as a 10yr IATSE 600 member, I am fully in support of the WGA strike and those that might follow from SAG as well as the issue is monumental to the future of this industry. I also respect and understand, Mr. Alexanders feeling that the WGA has chosen to forget and minimize the IASTE Locals in this strike. Now more than ever, we as a collective working in this industry need to stick together. The more we do, the sooner this will be over. I hope that Fireboy's attitude towards the people that work side by side him helping brings his word to the screen is not a pervasive one amongst other WGA members - if so, we are all in trouble. I went to the rally yesterday at FOX to show my support for the strke and was dismayed that not only were there no premade signs for IATSE supporters but my one homemade sign was the only one in the sea of people. I recognize how difficult this is for everyone right now, but I hope more IATSE members see the worth of this strike beyond the writers and I hope more WGA members reach out to IATSE members and respect our place in this industry. Stay strong, stay united and lets get back to the table.