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.

[Theodore Alexandre]

"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.

[Kerstin Zielke]

It doesn't make sense to fire the production crew of the Office. There is no sense in harming innocent people in order to achieve a result. To me, it makes the networks look even worse because this is an irrational and immature response. It's like kicking the cat. You know, the dad is upset so he takes it out on the mom, who takes it out on the kid who takes it out on his sister who has no one to take it out on so she kicks the cat.

In regards to the comment about finding "other" work. Having been unemployed for the past 5 months as a recent college grad, the search for work isn't about finding work, but finding work that is meaningful and enjoyable. I have done various temp jobs to make ends meet. But I wanted to shoot myself in doing them because it wasn't fulfilling. It takes a while to find decent employment- even for the jobs that one would settle for that is in the realm of one's qualifications.

What makes it harder for the writers, is that they aren't properly being compensated for what they do best. Not everyone can write. It is a lot harder than what you think. Although I do agree that writing has gone downhill for quite some times- probably because the decent writers have left due to improper pay. Not being paid what you are worth is insult to injury. The people who make the big bucks aren't the creatives, but the pretty faces. Without the creatives, there would be no need for the talent. It is the writers that make or break show biz and they need to be properly rewarded.

[NYC Indy]

I have never in my life seen such a group of individuals. Only in LA . The writers need to get back to work and if they don't the studios should hire scabs . There are plenty of good writers out there that would love to have a chance. Have you seen the crap on TV this season ? My nephew could have come up with better ideas and scripts. There are only two sophomore standouts in this years class of '07 , Pushing Daisies and Moonlight. Can the rest !!

The strike will most likely kill both shows.

[StudioBratt]

As the daughter of a Key Grip & Studio Hair Stylist and the wife of another Key Grip, I myself also being an employee of one of the major studios involved......have already felt the impact of the strike first hand. I am appalled that some of the writers in the above posting would even suggest that the rest of us go and find other employment elsewhere. What gives you the right to discount the feelings of the others affected by this strike? If you would take a moment to reread the original letter you would realize that we are all in support of the WGA; however we are asking that they acknowledge the blow the line employees and GET BACK TO NEGOTATIONS before it's too late and we all lose what we have worked so hard to gain. Not once in any of the postings did anyone ever suggest to you that if you don't like what is being offered to you, you might want to get out of the business yourself and take up writing children’s books. I personally find some of your words offensive and your attitude toward the rest of us narcissistic. We are all living, breathing, hard working human beings with families and homes just like you.

[susan]

quit whining. part of belonging to a union, be it autoworkers or - God forbid - the *specially annoited* poorly paid (?) writers is the choice of striking for better conditions. those of you in "THE Industry" are a bunch of whiners. you chose your profession, joined the union, gladly accepted those low wages and know what goes on when a strike is called - no paycheck. file unemployment, beg your union to help prevent foreclosure, or go get a job somewhere else for $10/hour then, there's plenty of work at WalMart, Taco Bell and elsewhere.

[Dagger]

Every post I read from a writer is an attack at the studio system or a below the line worker who explained how he was being laid off because of this strike. The comments by the writers and utter arrogance in which they attack those who have a different opinion might explain the lack of coverage you guys have been complaining about. The writers are just not likeable.They get on their high horse and preach there would be nothing without them. So great burn it all down .
The WGA needs to own up to their actions and get back to the table they never should have got up from,but they won't. They are going cry and moan as the DGA steps in and resolves their contract and then they will blame the poor deal they get on the DGA jusy like they have for the last 19 for what happen in 1988. This is a very pathetic display of leadership at best.

[Writer/ young mom]

I'm a WGA writer and I thank and feel empathy for any crew member who the studios crap on to scare us out of standing up for ourselves (which is what they want). We only voted for this strike as a last resort. We did not want it either.

I make a living, but I am not rich. And I'm sure if you added up my pay per hour, you'd prefer your job. One thing to consider in every false figure you hear about a writer's salary, is that after taxes and agency, attrny, manager commission (all of which you have to have to get hired), it's half.

I had a good last few years (I'm just starting my career). I made $120,000, which means I took home $60,000. And I have the lovely LA cost of living. I'm not complaining, but if one of those projects goes on generates 100 million in profit for someone else, as the author creater of that work, I deserve a tiny slice of that pie.

And walking on the picket has taught me, I'd happily walk with any other union in the future. And I plan to.

By the way, the LAPD rally numbers yesterday were 5000 people. Not 3500 the Times reported in order to bend to the movie ad revenue they depend on from the companies we are striking against.

No wonder I cancelled my subscription.

[Tina]

I'm sorry, "Wall St. is now deeply vested in entertainment"? No one outside of LA cares at all about this. It is only relevant to people who watch television. The rest of us care infinitely more about the plummeting dollar and the fact that the US has lost its place as a manufacturing center. The entertainment industry is nice and entertaining and all, but it is about 1/1000th of anything that matters in the global economy. Good luck with the strike. It doesn't matter a damn.

[Mel]

I wish all these people would quit their b****ing. It is a cyclical relationship, without one piece of the puzzle the movies and the TV shows do not get made. And yes, the below the line suports the writers, most agree that the studios are a glutonous entity without any appreciation for creativity and hardwork. And writers are entitled to compensation for their work. But I believe all that Dale was saying is lets remember that many more will be hurt by this strike not just the writers. For instance, the PA's who make sure the writer's have the right flavor popsicle don't benefit from any residual or health insurance benefits.

[Erin Maher]

For all the people upset with the WGA for not negotiating: the WGA leadership has repeatedly expressed its eagerness to get back to the table. The producers are the ones who are refusing to negotiate. Nick Counter has reportedly said he will not talk further with the WGA and that his plan is to wait for the DGA talks. Pressure needs to be brought to bear on the producers side, and blame needs to stop being directed at the WGA leadership for the stall in talks.

[surf]

"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?"

Honestly, I don't think the rest of America cares. Bottom line for most people: You made the choice to work in the "entertainment industry". The other 99% of America says "Get a real job". I don't think anyone feels sorry for Hollywood or the "entertainment industry" in general.

[papa bear]

Fireboy: having worked as a grip, I can tell you that just about anyone who isn't physically disabled can work as a grip. It's true. It's why their union is almost more exclusionary than ours (the WGA) is.
Being a writer and having taught writing classes, I can tell you that just about anyone can write. Are you really telling me it takes a special talent to rip off a headline from the NYT and crank out an espisode of Law & Order between 3 people? I can tell you it does not.

Theodore: poor baby. You have to pay for an agent, lawyer and business manager?!??! If you need all three of those things, you are already making far more money per script than a grip will make in an entire season. There is no reason to have more than an agent if you are just starting out. I was writing for 6 years before I even thought of getting more than an agent. Oh and for those out there not familiar with Hollywood, my first script was optioned at around $100K and bought for $365K. It took me about 1 month to write. How poor do I sound to you? Minus the 10% for my agent and taxes and I was still taking home more than $280K for 1 month's work. Again, how poor do I sound to you?
Oh and don't bring up the time and a half and meal penalties grips get. You know as well as I that TV shows RARELY go into overtime and you also know meal penalties somehow find a way of being magically 'lost' for those people. You also KNOW that they bust their a$$ doing the heavy lifting and are one accident away from having to live off SSI for the rest of their lives. Stop sounding like you are worse off sitting back in the writer's room launching paper airplanes at your buddies.
Listen, I think the producers should pay us royalties for internet usage. However, don't cite that '$100 million in 5 seasons' stuff. You know that is 'GROSS' revenue. You also know that there are 20 whack-o's a year who sue these shows. If you think we should foot that bill as well then yeah, let's share some more. Or how about we get a larger percentage of the gross revenues but don't get paid unless the film/tv show is profitable. Would you like that arrangement? That's what most producers go through; as I have begun learning the hard way whilst transitioning into a more produceorial role.
Believe me, the writers have a pretty envious position where we are compensated no matter if the show bombs or not.

I am embarrassed that we let negotiations get so acrimonious that we put innocent people out on the street. Lets get back in the room and swallow our pride a bit if we have to. All we are doing is screwing over 100's of people far less fortunate than us. If we have to take 1 cent rather than 2 cents for internet usage so be it. I'd rather be working and not screwing a bunch of people far less fortunate than me over.

[John McNulty]

StudioBratt nailed it. I'm a WGA writer. I've worked as a coordinator for eleven years, until recently. If you're a writer and haven't worked on a set, this might come as a shock to you, but mutual respect is the name of the game. That should not change during a strike.

We'd ALL like to get back to work. Just ask yourself what'll it take to get the studios to sit down and negotiate (fairly) -- and then do it.

[AC]

Why do people think writers don't realize others working in this industry will be hurt by the strike? This is patently obvious. But what do you want the writers to do, cry? We're all taking a huge hit -- above and below the line. Why are some of you telling the WGA to get back to the negotiating table? WE NEVER LEFT. The producers are the ones who left the negotiating table. Get your facts straight.

A lot of people on this thread are getting their backs up, but whether you're a writer or below the line, we're all in the same boat. We're out of work and it sucks. Some of you might say below the liners didn't choose to be out of work and that's the difference, but this is a false distinction. Writers are fighting for essential compensation. The future is here. If we don't resolve this new media thing today we will not be able to survive tomorrow. That's the reality. And if we make no residuals tomorrow, what happens to below the line pension and health? It's eviscerated.

I am a writer and have nothing but respect for all the collaborators who help bring our projects to life. I survive paycheck to paycheck writing for a show and out of that I have to pay living expenses, student loans, medical bilIs I incurred before I managed to get health benefits. The moment I found out it was likely we would strike, I went out and got another job. Tutoring. Finances will be tight, but it's what I have to do. I don't think it's insulting to suggest folks who need the income look for other work. It doesn't "discount" anyone's "feelings." It acknowledges reality.

To those wanting me to apologize for the burden I'm causing -- not gonna happen. I refuse to apologize for fighting for a fair wage. I'm proud of my union and proud we stood up to these bastards. I fully agree that the WGA needs to reach out to IATSE and see how we can mutually support one another. And if and when other unions decide to strike, I will find out what I can do to support. Let's try to respect each other and stop carping. That's what the PTB want so they can divide and conquer.

[Dave]

I'm sick and tired of hearing the writers claim that "this strike was a last resort and no one wanted it, etc". The truth is, its been widely reported that the entire WGA who was at the strike vote cheered (yes cheered!) when the announcement came that they were striking. Yes, that really sounds like you guys hated to do this. Then, when negotiations were actually in progress and moving forward, you couldn't wait another day for your precious strike. And don't tell me all about the producers' evil plots and that the progress was just false, the fact is you could have waited another day. What would have been the harm in that? People are at the table in LA actively negotiating in LA and the people in NYC go on strike? Ridiculous, and you all truly don't care who else is hurt by your actions. I've heard over and over about how the goal is "to create as much pain as possible" in order to get what you want. Well guess what, most if not all of that pain is being felt by people who have no control over the situaion. Mission accomplished....

[Thomas]

I am not a writer. I'm not part of the entertainment industry; I'm a 22 year old Kmart employee from Australia.

But I am just one of many people who wholeheartedly support the strike in their efforts to obtain a fair deal on residuals for new media. I agree that new media is going to become the way of the future - you just look around and see how society is changing as technology develops. Less than ten years ago, we didn't have things like iPods or programs such as iTunes. But times are changing rapidly and with new technology comes the ability to sell and market products and material in much more diverse ways than have ever been done before. It is only just that anyone who is involved in making an episode of a show or a film gets residuals for their work - especially in the instance of shows such as The Office, which the majority of people I know personally in the United States rely on iTunes to see, as real life demands simply do not give them the time to sit down every week at the designated time slot and watch the show.

I feel it should also be enforced that the WGA have said several times already that they are more than willing to negotiate; it is the AMPTP who are stalling the negotiations. And as long as they refuse to come to the table, as long as the networks are engaging in these immature tactics such as laying off entire production crews and initiating lawsuits against showrunners for essentially standing up for what they believe is right, there is not going to be an end to this strike.

It is of course incredibly unfortunate that there will be innocent bystanders who will be hurt by this - but it's an unfortunate sideeffect of the situation. Had there been any other alternative to striking, the WGA would have taken it; in the end, the only option was to strike.

My sympathies do go out to those such as Dale and the many other industry employees who are not directly involved but will be directly affected by this industrial action - this is not going to be easy and people are thinking of you guys especially. Perhaps you are right in one regard in that there has been little coverage of how the strike affects those below the writing staff - I can only hope at the end of the day that the consequences of these layoffs will only add to the pressure on the AMPTP to return to the table and negotiate a fair and equitable deal for all writers.

[Katie]

Tina writes: "The rest of us care infinitely more about the plummeting dollar and the fact that the US has lost its place as a manufacturing center."

That's EXACTLY why this strike and strong unions matter. It's the 1930s all over again...

Consider: Hollywood writers are college-educated professionals in an industry with some of the most inflated incomes on earth--yet even they can't make what they're worth. What does that portend for the rest of us?

My sympathies to everyone, above and below the line. I had friends suffer in the 1988 strike and I'd hoped never to see anything like it again.

[james]

you are all doing a great job on the show, I hope this gets resolved soon.
good luck

[SoundGuy]

I'm not sure why this is hard for critics of below the line workers to understand, but in addition to losing their jobs every time the writers or actors or directors go on strike, what is less understood that there are certain of these professions that (like mine) that require a great deal of education (formal or self-taught) and a great deal of money to perform. Unless you want an industry full of freshmen, strikes like these rob below the line people of the financial momentum to continue to be professionals at it, and thus, rob the entire industry of qualified personnel. You think the writing sucks on TV right now? Just wait until the camera work and editorial work and sound work sucks on a show that's perhaps even written well, and you'll still end up hating the show! I'm a sound editor, and I have a master's degree in music composition, and hundreds of thousands of dollars worth of gear, sound effects, and construction in sound proofing a studio, without which you can't do what I do. Same is true for editors and colorists, and vfx people and lots of other technical professions. It's not an option to get another job because I've got a very specific skill that narrows my options outside this industry. Maybe I could go work at Starbucks, but that won't pay for one piece of gear I've got (which I have to update every 3-5 years just to keep remotely current), much less my mortgage and my kids food and clothes. Post production people get paid less and less to do the same job (and in less time) because when the studios pay above the line people more, in the end they take it from our livelihood.

I don't blame the writers at all. They deserve everything they're asking for. I blame the studios. But most below the liners I know are very ambivalent about this strike. In the end, what we want from the above the liners is please, remember us. Volutarily stick up for us when we renegotiate contracts, like we're forced to do when you renegotiate contracts. We sacrifice alot for you every time you demand more from the studios, and don't always feel like you treat us with much respect afterwards. Without you, I can't use my hard earned skills and pay for expensive gear, and without me, you'll never have anything but words on a page your wrote on your laptop. Not exactly a major equipment expense.

So, no pressure or anything, but if I don't get back to work soon, I'll have to sell my house in a crappy market (because nobody gives home loans to out of work entertainment professionals), sell my gear, my studio and everything else and you'll get some noobie to edit your picture, or your sound, and it will look and sound like crap and people will hate your show because of it anyway.

[Kalessin]

I can't believe the stark greed in evidence on these comments. Why should actors, writers or anyone else get paid repeatedly for work they did years ago? If you sell your work to the studio, it should belong to the studio and the fee charged should reflect that. All this talk of residuals is nonsense.

As a graphic designer, I get paid to produce a piece of work and I don't expect to get paid every time the project is re-printed, any more than I expect to keep paying the guy who cleans my windows for as long as they remain clean.

Finally, perhaps Fireboy would be so good as to explain exactly how the key grips et al will benefit from this strike?

[Wardrobe Lady]

Okay Dale Alexander, it shouldn’t come as a surprise to you that crew members are the lowest in the entertainment biz hierarchy. It’s sad but true.
It is of course frustrating that all of you below the line workers are once again left unaccredited. But that’s how it’s always been since the entertainment big bang. And when you find yourself signing up for a career on the “back stage lots” of Hollywood you should always keep this in mind.
No writers strike or little cry for help is going to change that. If you want to see a change you will have to start yourself (which is a common knowledge in any given circumstance).
In the end: Without writers, no show. No show; no talents needed. No actors, no filming. No filming; no set needed. No set needed; no props managers needed. And so on and so on and every one as important as the next. It is almost the circle of entertainment life.
There are no “Key-grip Emmy’s” and no such thing as a “Best Gaffer Oscar”. As much as you do deserve it.
What do you get? You get to work in an outstanding work place. Hopefully you get to learn from the greats. And hopefully you get the honor to be a part of an amazing production such as The Office.
If and when the job goes AWOL or when you feel that your existence as a crewmember becomes insignificant to others and you find yourself back at the bargaining table, let’s hope that the writers have your back too.
Good luck, I sincerely hope that the damage will be minor and that soon you will be able to go back to work to the job you must love (otherwise you would have chosen another steadier career)

[ATG]

I'm not a member of any of the Unions (although, I hope, someday to be a part of the WGA!), I support ANY Union's decision to strike in order to improve their working conditions! And I hope that hearing a bit more about the hardships the BTL crew are facing, WGA members will join the BTL union activities, should they need to strike in the future.

Best of luck to you all (Strikers and Non-strikers)

[Ray]

I think it's pretty hilarious that all these rich studio execs, not wanting to give the writers a share of the pie, are all big libs...donating millions of dollars to Hillary's campaign, right now, I'm sure. Pretending they care about the "little people" in this country. They're all a bunch of hypocrites. Doesn't surprise me one bit though.

That's not say I'm sympathize much with the writers. As a previous poster wrote, no one outside of Hollywood cares about this. Pretty much everthing on tv is junk. Besides sports, I only watch two shows on network tv. And while I will miss them during this strike, I'm certainly not going to lose any sleep over it. Does anyone ever go into writing thinking it will be a lucrative career anyway?

[AverageJoe]

Not being in the entertainment biz, I have a question because I just don't get it: If I were an engineer at an auto maker and assisted/led in the design of a wildly successful new vehicle, would I be entitled to some percentage of each car sold- or variants of that design that become other models? That's what this sounds like to me when applied to an auto worker and would think that concept would be laughed out of existence. This just sounds like some social plan to redistribute wealth and penalize big corporations for too much profit. I doubt that you'd be interested in giving back a percentage to these same studios if they lose money...

[Leigh Mortensen]

It's a shame that so many people will be hurt by the AMPTP's refusal to negotiate in a reasonable manner. Please, AMPTP, keep pretending that you don't understand that the future if the entertainment industry is going to be completely dominated by the internet. It will give us something to laugh about while our favorite shows are off the air.

[Nope]

Will someone think of the Execs??? Those private jets dont buy themselves.

[E]

While it is unfortunate that so many crewmembers will experience irreparable harm from this strike, it is necessary to consider what is at stake. Business negotiations have never been about any measure of "fairness" but instead have always centered around a dispute about how indispensable a certain sector of employees actually are. Judging by how quickly many crewmembers have been thrown to the curb, it is safe to assume the industry views this sector as easily replaceable. By the way the producers have reacted to the WGA's demands, it is also apparent that their long term business strategy is to break the writer's union, and also make writers disposable. I fail to see how asking the WGA to sacrifice their financial imperative helps the crewmembers at all. Unless their work is somehow, in the future, appraised by the industry under a more positive light, crewmembers' livelihoods will always remain out of their hands. This makes them no different than scores of factory workers across the country that have seen their entire industries leave the country. The writers, are of course, desperately trying to avoid this fate. Their chances for success are still very much uncertain. However, what are the chances of crewmember's work ever being valued if the studios discount the creative input writers provide that creates jobs for not only actors but also crewmembers?

[Donny Cruce]

NBC stands to lose a lot in public relations by making such a move.
With all the choices available in television today - we have great choice. I choose to watch certain NBC shows because they were good.

Now I choose to stop watching NBC altogether because their move was bad.
I love choice.

[Me]

I wonder if any of these folks get residuals for their work like the writers are striking for.

[Dave Berry]

The strike has happened because negotiations failed repeatedly - what other option is there?

Carry on getting screwed?

[Adam B]

Oh poor writers. Woe is you because you aren't getting paid enough. You should be thankful you have a job.

Look what kind of grief you are causing for the rest of those who are lower on the food chain than you.

There are so many people in this world who can barely afford their next dinner. And you want residual income from digital media? Get real, get a life and get on your knees to thank the Lord you afren't starving in some third world country.

BTW, reality TV is going to put you all out of a job anyway because you spend more time worrying about increasing your wages than you do on creating good quality, wholesome and valuable content.

[cvxcxcbxzc]

Unions should be outlawed. They are the biggest racket ever.

[edhead]

>>If they are true artists they'll work for the love of creating; not for financial reward.<<
this is the kind of idiotic recycled mythology that lets society exploit artists any time it wants to.

[domerlawyer]

So, let me get this straight: suggesting that a person who has been laid-off can find work during the strike to help make ends meet is ignoring their feelings? People who voluntarily took jobs in a volatile industry (regardless of whether they have decades of experience) shouldn't have to temp because it's "not fulfilling?" As a non-profit lawyer who works with immigrants and refugees, please excuse me while I cry a river. Literally millions of people in this country and around the world work at jobs that aren't exactly their first choice because they have mouths to feed and bills to pay. I have clients who were nuclear scientists, college professors, and lawyers in their home countries who wash dishes and clean toilets here in the U.S. Why? Because at least here they have the opportunity to do what they wish and join with others to demand fair working conditions.

Having had two parents laid off at various times in my childhood because of strikes in other parts of their industries, I know how much it sucks. But they sucked it up and did what they had to do for their family because they knew that when the time came for them to renegotiate, someone else would have to take a hit.

[Darnell Washington]

The ride on the gravy train is over. Just look at how much fat / overhead there is in television production. Assistant to chef. Assistant to chef's assistant. Shoelace tier. C'mon!!!!

Wake up, get competitive, bring value to your organization, stay current, excel at what you do. Every other industry has been shaken by globalization and competition -- automakers, toy manufacturers, IT workers -- now it's time for the entertainment industry. This is bigger than the WGA. The music and recording industries are realizing that the golden days of easy money are behind them.

Adapt or die.

[Orphan Bob]

So, didn't these writers (read: union) know the terms and conditions BEFORE signing on with whomever? What if I was your mortgage company... and decided you weren't paying me enough. Surely, contracts can't be dropped at a whim (from one side). What would these writers do if the union was just dropped? Ahhh yes... we can always use more phone sanitizers. Then, perhaps, we could colonize another planet and send them in the first wave.

[hsvdan]

I've been following this blog with morbid fascination. One point that has yet to be discussed is what the general population thinks of the REASONS for the strike. Many polls have shown popular support for the WGA but when you drill down to the reasons (“We want a share!”) you get a different read. I’m a Software Engineer with a large defense firm and I get paid a good salary. With the exception of an occasional bonus and 401-K input that’s all I get; I don’t expect or demand a share of the profits from my employer. Would the WGA be willing to give some of their salary back if they worked on a loser show??? Think about it. Why do you deserve a share of the proceeds when almost ALL other professions in the “real” world don’t work under that paradigm?

[Malachi]

As a twenty year member of IATSE, I do not hold the WGA responsible for IATSE members losing thir jobs and financial security.
I hold the AMPTP respnsible. I hold them responsible for refusing to negotiate, and causing the strike. They are choosing this situation, they are creating these circumstances for the crews, they are reaping the financial benefits from laying off the work force in Hollywood.

Why would I hold another union responsible for the actions of management?

My only wish would be that the next time it comes time to negotiate our contract, we demand that our union refuse to sign any deal with a no strike clause in it.

Perhaqps IATSE might take a page from WGA's handbook and fight for a contract that doesn't push us further back every time they negotiate.

[malachi]

By the way, Lawrence Sher,
I was at the rally to with my hand written "IATSE member supports the WGA", sign.
I was looking for you too. Glad to find out I wasn't the only one there !

[Stagehand 01]

The writers do deserve their fair share. There is not a debate there. But what's fair about the minority (yes, that's writers, actors, producers) above the line deciding for the majority below the line who works and who doesn't? Nothing. What's criminal about no negotiations during the entire first week of the strike? Everything. Get in a room and figure it out. And stop pretending you are martyrs standing up for us all. You are making the decision for everyone that we all must suffer. Get in a room and figure it out. Now.

DO NOT TRUST ABOVE THE LINE, THEY ARE NOT AND NEVER WILL LOOK OUT FOR YOU.

Sincerely, Below The Liner

[Nunez]

Come on guys, NBCs just going Green.

[imbleep]

Question. Why are the writers picketing outside of locations of shows that they've already been paid for? If they've gotten paid for their work on such projects then shouldn't they allow the crews the same courtesy? The story changes when the scripts are done by scab writers.

[Joe Viewer]

It seems to me that the best way to get this settled quickly is to come to me, your average viewer. I have a great deal of respect for the industry and appreciate every person who plays a role, regardless if it's the producer, lead actor, or PA on their first day of the job. I would never begrudge a writer their fair due, and I certainly don't feel they're asking for an unreasonable deal. The problem is that those they're fighting against have deep pockets and the only way to affect any sort of attitude change is to come to me and ask me to turn off my TV and stop clicking on the internet content. Sadly, the message I am hearing these days is how the "evil writers" are taking away my favorite TV shows. Well, I say go ahead. Take them all off the air. My choice is to hold out for a resolution to this issue and hopefully a happier, more cohesive industry in the future. In the meantime, I'm going to turn off my TV and go read a good book.

[Bobby]

Tina is correct. America can live without the vapid shows spewing out of our televisions featuring slightly retarded but physically attractive people who ultimately contribute nothing positive to this world.

Unfortunately, the real victims here are the normal folks who do the "grunt" work to support their families, undoubtedly treated poorly on a regular basis by the celebrities that the media love to deify. These are the people who truly deserve more than what they're getting.

[The Truth]

Nobody cares.

Stop your whining.

Find another job.

You and your "skill-set" are easily replaceable.

It was about time that your living the high life came to an end.

Get some perspective in life. It's now always about you.

If you are truly talented, you can always get re-hired.

God Bless.

[Hylas Ipsum]

As a former KeyGrip / DollyGrip (from Texas):

http://www.taftp.com/

I feel for you all.
But ... this is a necessary evil. I know you're not wealthy.
These situations come with the territory, it sucks, get out there and make some noise.
We got tanked (screwed, blued and tattooed) in '98 by a little known Governor named, George Bush - he didn't like "Hollywood".
I lost everything.
This to, shall pass.
Get thyself to your IATSE chapter:

http://www.iatse-intl.org/home.html

hylas

[The American Audience Responds]

The American viewing audience doesn't care about your strike. Television as a form of entertainment if over. We don't have respect for your cause or concerns. Don't expect us to care. Our 21st Century Information Society has the attention span of a squirrel. We shall simply turn-off the television, move on to something actually interesting, and never return. Mark my words: Your choice to go on strike will be the beginning of the end of television as a form of entertainment in America. Viewership numbers will never return to their pre-strike numbers. The strikers are wagering that media corporations will bow to them when the episode well runs dry. When a skateboarding dog captures more interest than the highest rated union written television show in history, your industry is done. Viewer created content is the immediate future. Your strike serves as the opportunity for the audience to turn our backs on you forever. We won't miss you. We have already forgotten about you and moved on.

[Michael]

"The middle-class is disappearing in the US because nobody seems to have sympathy for what unions are trying to accomplish"

For what unions are trying to accomplish? You mean living as a parasite off of the people they force into membership and creating issues that could be better resolved in other ways in order to maintain an excuse for existence?

Yes, the middle class is "disappearing" because conglomerates won't pay a little more money to a select group of people. It's not disappearing because unions drove wage and benefit costs through the roof, making affected industries unable to compete as a result and spurring the wholesale movement of jobs to nations with *vastly* lower employment costs. No, *that* doesn't have anything at all to do with it.

[MTK]

If there's one thing evident across these varied comments, from those inside and outside the entertainment industry, it's this: Decades pass, and still everybody hates the screenwriter.

Writers for film and TV deserve to be paid in gold for what horrible things they put up with - the changes and the critiques, the backstabbing and the idea-stealing - from studios, producers, and other writers, even when they ARE working. It's a masochistic position to be in. But if writing is the only thing you feel you can truly do well, then what kind of a solution is it, really, to say "Well, I can't get the treatment I'm asking for, so I'll just keep on taking this crap as is!"

I ask those outside the industry to look at it this way: You have chosen a company to work for. You feel you work hard at your job. You see your bosses getting richer and richer for your hard work. You believe you deserve a raise. They say no. Now, a lot of jobs are not unionized these days, so you have no right to strike. So if you can't find another job that pays you what you want, you just have to sit there and feel miserable while your bosses get richer and richer. Or quit the job you love doing and try something new - something you may not be good at. Something you may be too old to begin at the entry level. Do you think those are good solutions? Would you be happy if you had to do that? Right, neither would the writers. Being in a union allows them to strike to get what they want.

If there's any real crime in this country, it's that there's not a union for EVERY type of job. So many wealthy executives are already screwing over the hard-working people who have made their company successful and getting away with it. If anything, I suspect many of these WGA-bashers are simply envious because they, union-less themselves, are powerless to fight when they get the short end of the stick.

[unity or else]

To the below-the-liners scolding the WGA about getting back to the table: we never left. The AMPTP walked away and has refused to resume negotiating. Surely they would if we totally capitulated. That would put IA members back to work immediately but at what cost? This strike isn't really about getting more for WGA members or even a "fair share," the popular but misleading slogan.

This strike is about the AMPTP companies shifting more and more of the work onto UNCOVERED platforms, like internet streaming. They want to provide ZERO compensation for a vaguely different version of something for which we used to be compensated. This is nothing less than STEALTH UNION BUSTING. It's quiet and sneaky but it is an effort to REDUCE UNION COVERAGE as the mediums change.

Does anyone in IA honestly believe that if they succeed at this there won't be a trickle down effect? IA Local 1 just walked out on Broadway yesterday. Where are the cries for all the actors and writers and ancillary businesses that will be affected? Tough times call for tough measures and we all better get off the Nick Counter Kool-Aid and get each others' backs before these increasingly large and powerful companies roll over all of us.

When my WGA picketing shift is over tomorrow I'm going to head over to Broadway and walk with IA Local 1 in a show of support because either we are going to stand together or perish one selfish action at a time.

[Katie]

Apparently, some of you are completely unfamiliar with the concept of royalties--which is why we have copyrights and patents. Two of you just floored me, given how important royalties can be to your fields.

First, to the graphic artist: I don't know why you're having a career that apparently only includes work-for-hire contracts, but you might be able to negotiate for multiple-use payments, depending on the client. Check out, if you're not a member, the Graphic Artists Guild: http://www.gag.org/

As to the engineer, when you hear the writers talk about "residuals," think: patent royalties. And if you really are working at a place that doesn't give stock options or any kind of employee revenue sharing, you might wanna see a headhunter...

To both of you and anyone else who condemns the writers as "greedy." Maybe a better question is: Why do you let yourselves get screwed?

[Anthony]

Who cares. When these people lose their jobs to other, cheaper working people in India and China - then come crying to the rest of us.

[Jon Robinson]

I wrote about this very aspect in my last blog entry. This is one of the most disheartening aspects of the whole strike. We as a society are always swayed by the spectacular, but somehow we always seem to forget about the little guy. Please read my blog, and post your comments, as I would love to hear others thoughts.

http://robincon.com/nowwhat/2007/11/08/strike-that/

Jon

[jodie]

I have been in support of the WGA strike and really feel for the below the line workers as well without any of you we wouldn't have anything to enjoy aside from the books I read.

I think that a majority of Americans that don't think that Holllywood is a "real world" job is wrong. You have a college education!!! What I think that they are missunderstanding is that they see the WGA strike is a whin fest, yet I'd love to hear them talk to those who have lost their jobs with major corporate jobs, factories, steel plants, car factories and the list can go on. This is a strike no matter what and there are some people that do make just as much money in those industrial jobs as these writers!!!

Let's not forget who just went on strike on Broadway.

To those who keep saying that someone else will come along and replace the writer how about you step up and try to write a show and see if you can even make it to the third script (can you write for a show such as Heroes or Lost get real) not only that but spend 1 day with the production crew and see how hard it is. Do not forget that it takes years for anyone in Hollywood or Broadway to get at least 1 hit show or film and never be able to do so again. i'm trying to write a play do I think it will ever make it who knows. As for "reality tv" yes I do watch a couple of them but overall it is crap. (sorry to anyone who works on them but atleast you are trying to make it worthy to watch) The only reason why we have as much as we do now (reality shows)if anyone can remember when the WGA almost striked a few years back before the fall season started.

Now once again to those who could care less about Hollywood I'm willing to bet every little dime that I hardly have on me that you watch tv on some sort of level, rent or go the the theater to watch movies. You need to just walk away from it all then because you have no right to say anything as you have spent your money on the industry. Because when you think about it further this will at some point effect the advertisers if people are not watching and that buisness that you work for won't be making as much money.

Also, for those that are telling the WGA to stop complaining. You "real world" workers say in 20-30 years when you are old enough to just about retire but yet want to work just a couple more years $20.00 says you will be asked to leave your job so they can hire someone young and at a cheaper cost because you the older person are causing your company too much money. What did you do to fight for the right to not have that happen????

As a just about to be college graduate after spending 4 years away from it and then going back to get my B.A in Mass Communication-Focus in Broadcasting right now making under $5,000 year as I look for jobs. The attitude I've seen from those in "real world" jobs I don't think I would want to work for your company who knows what attitude you'll have when you have to make budget cuts, and people are out of a job.

Anyway, good luck to everyone that is involved I look forward to when my favorite shows get back on the air after the first runs are fininshed. To those that work on Lost, Heroes, House, The Office fantastic work, and if anyone had worked on Frasier in the past thank you for all the laughs.

[Nick]

Fireboy asked: hat do grips do, anyway? Can't anybody do that? What's the big deal?

Nick answered: Withount grips there would be no shows for you to sit on your fat tush and watch...

Not just any body can walk in and say "hey, i wana be a grip".

NO.

it takes time, you have to get accepted in, it takes strength and smarts...

so to answer your STUPID question...

not just any one can be a grip...

[Proud Producer]

First things first, I strongly believe that people need to be paid fair wages based on their actual value and demand for their services. If someone is worth $200,000 or more, then they should be paid accordingly. It's simple supply and demand.

After that is where I think some people become misguided. Regardless of what selfishness Americans are accustomed to, they do not have the right to extort money after a "work-for-hire" job is completed. When you purchase a house, do you continue to pay medical benefits for the architect or the painters? If you decide to rent that house, do you share the profits with the landscapers or the roofers? No, because their jobs were completed and they were paid for their efforts in full.

Who and what are they actually striking for? Not the lower paid staff writers or the "reality" writers.

Writers, actors and directors should only receive residuals if they actually are the creators or co-owners of the project. The WGA actually differentiates a "created by" title from the standard "written by" title. Creators or investors/owners should be the only people allowed to benefit from profits. Everyone else is a "work-for-hire." Successful projects boost the resumes, salaries, and frequency of work for all of the project's employees.

Despite what they think or say - actors, writers and directors are not the only "talented" people attached to a project. Every member of the feature film or television program is essential for the final delivery. (Just as a cement mixer or dry wall installer are both essential to the house's construction and completion.)

However, since the creator(s) and owner(s) of the project are the people who brought everyone together to make the project happen, they are the one's taking the largest risk and biggest financial responsibility - therefore they have every right to reap the benefits from such a risky venture. It's akin to gambling in Vegas or investing in the stock market.

If you think you should continue to receive money for doing nothing after a job is completed, than you are simply misguided, greedy and selfish.

If the WGA was actually striking over higher wages, than I, myself, would be joining them on the picket lines. I feel that in comparison to the project's demand, everyone should be paid much higher wages. Current network and film studio revenues have proven that the projects are worth far more than salaries reflect, not just for the writers, but everyone on the project - including the producers, grips, makeup artists, production assistants, etc.

The WGA and the less than 20,000 members that it represents have been misguided, selfish, and greedy. Hundreds of thousands of production people will become unemployed. Not all of those writers actually work on shows and films that earn multi-million dollar internet revenues. So, in all actuality the residuals from internet profits that they are fighting for will prove to be either minuscule or altogether hypothetical for a majority of their members. This added residual they fight for will only benefit the guild's members that are already highly paid, like the benevolent showrunners who placed the full-page ad of solidarity in the trades, and who make up a very small percentage of the less than 20,000 WGA members, and will never benefit the hundreds of thousands of production people that will be unemployed during the strike.

If sizable internet profits don't come, the WGA's long term fight for residuals will be subsidized by tapping in to the low salaries or outright layoffs of the below-the-line workers who can not afford it. It will only benefit those already highly paid writers/showrunners such as Tina Fey, Marc Cherry, James L. Brooks, etc. Those multi-millionaires are also more than willing to go on a long term strike, because they can afford it. It's like a vacation - and they can act like they're doing their good deed for a great cause. Those millionaires, um, excuse me... showrunner/writers, are using the lower paid writers to fight for more residuals that will only benefit the higher paid writers anyway.

Unions should not be blindly followed. The leader of the WGA, Patric Verrone, won't be affected by the months, if not years, of unemployment this strike he incited will spawn - he's got a staff job with benefits. He also had huge salaries on and gets substantial residuals from his previous projects like "The Tonight Show," "Rugrats," and "Futurama."

Again, I ask, who and what is the WGA actually striking for? Higher wages are far more important to the majority of the WGA's members than residuals - residuals they should be grateful that they receive at all.

Holding productions hostage in order to extort selfish demands isn't American - it's just plain criminal. "Work-for-hire" is exactly that, work for hire, not forced co-ownership. Strike for higher wages and get closer to your actual worth. Don't extort the rightful owners of projects to pay you for doing nothing beyond your completed labor.

If this WGA mentality spreads to other unions and professions, expect to pay "residuals" to everyone that partially builds or creates anything you rightfully own outright - like the apartment house you rent out, the car you resell, or the collector's plates you put on Ebay.

Think clearly about what is more important: getting paid well for an actual honest day's work; or putting hundreds of thousands of individuals in unemployment lines and their families in financial hardship for a residual you shouldn't have to begin with.

[Michael Howard]

The graphic artist and such also don't realize that pay is often times less for writers because of the possible residuals that can come later. It's like when actors take less money up front and get a percentage of the profits. They hope for the best and if it doesn't do well, they don't get much money. If the film explodes and does great, they get a much better paycheck for their gamble. Writers work and hope for as much residual pay as they can get. When a Studio is taking sneaky ways around that using the Internet and not paying the writer what he/she deserve, there's a problem.

[outside]

Stock options and revenue sharing typically do not go to middle management and under - they are reserved for the already highly paid management types. Katie must be unfamiliar with corporate America outside of California. Or LA at least.

I applaud those of you standing up for your principles, but the (apparently titled) under the line workers are regrettably being penalized for the strike. Even more unfortunate in your PR war is when some actors are pledging to help the writers pay bills - who is pledging to help the people being laid off? It certainly sounds like the BTL people make far less than a writer. Typical Hollywood - no substance, all for show.

Re: MTK. Sadly, I don't know many people who love or even like their jobs. They don't get huge raises and certainly don't get residuals or royalties for doing their job. They get a paycheck. Their option is to get a new job, find a new company, etc. More often than not, they will be doing the same type of thing and the paycheck will just have another company's name at the top and their total compensation will be changed minimally.

I hope you get what you want and it somehow manages to benefit you all, but it's truly sad it comes at the expense of hard working people whose compensation and recognition is far below that of the two sides of the strike.

Good luck to all.

[dustychance]

It seems to me that the more I read these postings the more I see people become divided between the above the line and the below the line. We all know what the difference is between the two, its the haves and have nots and this is never more evident than right now. It is as if all the crew members are the victims of the huge dragged out divorce between the writers and the producers as I am sure all of you who came from a divorce situation know. The real question is what are the writers and producers going to do while the strike continues, well thats easy, the writers will write and the producers will count there money as they always have. What will the crew members do, they will wait for the writers and producers to grow up and resolve this issue like responsible adults. How long will that take
well I am sure all of you who came from a divorce situation know. Get back to the table and resolve this be the responsible adults you make yourselves out to be or the responsible adults you put on TV.

[amir]

To hollywood=delusion who said writers should work for 'love of creating' not for financial gain.

I guess bakeries should also work for the love of baking bread and feeding people, and doctors should cure people for the benefit of humanity, not for financial gain... hmm... what do you do for a living? I'm guessing it's not something that has to do with 'thinking'.

[Back to the Future]

Sorry you YouTube-addled ninny, but you no more represent "The American Audience" than a papercup and string represents the American Way to Communicate. Sure the distribution platform is changing, but it's most likely that various forms of entertainment will continue to exist side by side on various digital boxes from desktop computers to iPods. People will more than likely use entertainment both actively (uploading their own content) and passively (downloading professionally-produced content). Scripted shows may migrate from television to the Internet, but they're not going to disappear, anymore than the switch from radio to television killed soap operas.

Study your communications history and you'll find that we've had ways for amateurs to participate before (ham radio, Super8, mimeographed stories). In fact, the same boast that user generated content was the wave of the future was the cry of DotComCrap 1.0.

In the end we discovered: Not everyone wants to create their own stuff, and not everyone else wants to consume it. When you get that combination of someone who wants to create stuff that's good enough that everyone wants to consume it, you get...professionalism. So what happens when the top-downloaded video creators demand a cut of YouTube's profits? Starting to sound a little familiar...?

[Anonymous]

Very interesting conversation going on here. And I just want to add in a few thoughts. I work in Post, in a below the line, non-union protected position - so I'm part of the crew and will lose my job when the time comes if the strike is still going. I am married to a writer, so the loss of his wages is the loss of our wages. So even though I will lose my job as a result of the strike, I still want him to strike for our benefit. I absolutely agree that the below the line crew is getting screwed here. We will all lose our jobs while these guys duke it out, and when it's over we will not gain any compensation that helps us recover from the finances we lost during the strike. However, this is where I have to ask the other below-the-line crew members, aren't you now really pissed at the AMPTP? Because they could end this, right here, right now. They could pay the people who create the product, for the product and get all us below-the-liners back to work. But they choose to think only about their bottom line in an industry that can not be held to that business model. And if you want anyone to float loans to those who are caught in the cross fire, why not the CEOs who rake in way more than they could ever use and are directly responsible for laying us off? I understand that this strike is really screwing over the crew members, but let's lay the blame at the people who are truly making this strike happen, the AMPTP, not the WGA.

[Dave Ackerman]

May I sugest using a proofreader. Some of the comments in this thread are dificult to follow. For example, the posting by Jodie (11/11- 7:27PM) has to many errors to mention. As a college senior, her writing skills should be more advanced.

What are your rates?

Dave

[Kristin Miller]

I feel for everybody, I really do. But they all had to have known that a strike was a very real possibility, so why didn't they budget accordingly? The entire thing really porbably could have been handled better by everyone, or avoided all together. But the fact remains when you hear a rumor that there may be a strike, you save as much as you can and cut expenses as much as possible. Also, there is a fund out there that will help anyone in the entertainment business who needs assistance during this time. I don't remember what its called, but it does exist so it's not like this man can't get help if he needs it.

[Adrianne]

Wah, wah.
I would LOVE to go on strike sometimes.
But, like most workers/professionals, I don't belong to a UNION!
The rest of us have to grovel at the feet of whatever corporation we happen to work for.

[Katie]

Actually, I'm quite familiar with work outside of California and a double-check with friends on a nation-wide mailing list confirms that you can get stock options even if you're not senior management and you're not in California. And that's from real companies, not just dotcom start-ups. It may not happen for everyone, and it may not be every industry, but someone who's a software engineer like the poster I referred to should certainly have a shot at working for such a company.

Too many people accept that work is supposed to be miserable and underpaying. And yes, during those times when the economy as a whole or particular sectors are in a downturn, you may be grateful just to get a paycheck. But when times are decent, it is possible, although it may require getting an advanced degree or specialized training, to find work that is well-paying and satisfying. It is also possible to find jobs that don't pay much, but at least come with co-workers or job duties you enjoy.

If you: hate your work, hate your salary, hate your boss and hate your co-workers, short of a full-on recession or having dropped out of high school, you should be able to do better. If the economy's decent and you switch jobs and your compensation changes minimally, you either need to get more training or get better negotiation skills.

I'm not saying that in a condemning way--I'm saying don't accept that misery is inevitable. My mother had a friend who was abused by her boss and was convinced that no other job would be better. Finally, her company had lay-offs, and when she got a new job, she discovered: Wow, there actually are nice, decent bosses and friendly co-workers. But she went through 15 years of misery first because she didn't believe it could be any better. People who tell you "that's just the way it is," are not doing you any favors. Morale and benefits can vary wildly even in companies in the same sector.

[Jamie]

It's about time someone speaks up for the crews. Mr. Alexander should be congratulated.
I work in post as a pa on a major network show. I also lost my job due to this strike. I read a few of the comments on here and the one that stuck with me was when someone said "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? " Well I say to this person not everybody can be prepared for such an instance. I make a little bit over minimum wage an hour. I have to pay for my rent, which in LA is very expensive. I also have student loans to pay for. Now I do have some savings but not very much. For someone like me who is just starting out in this business it's really hard to save anything. Most of the money I make goes right back out the door to pay for all my bills. Not everybody who works in this industry is in a union. I am not and I know many other people who do what I do, and none of them are in a union. I do agree that the writers should get their fair share but I also believe that both sides shouldn't just be sitting back waiting for the other to break. I don't understand why neither side is trying to work this out. Because meanwhile there are a lot of us who can't afford to be out of work for too long.

[The Logic Po-Po]

"But what's fair about the minority (yes, that's writers, actors, producers) above the line deciding for the majority below the line who works and who doesn't?"

For the most part, the writers don't pay you. Studios and networks do. So the minority who decided whether those below the line should work or not is the AMPTP, not the writers. Let's be logical about this and direct our frustration at its proper source.

[Rex]

@Fireboy

"We are on the front line fighting for you, Mr. Alexander, whether you want to deal with that or not."

Are you fighting for pay increases for them or their lost salary too?

[Matthew]

What writer works an 80 hour week? I would love to meet him or her. I am an Asistant Production Coordinator, and I am here before the writers get in and I leave AFTER they leave. Dont give me this 80 hour work week crap. If Anyone has an 80 hour week its the crew, not the writers. By the way Coordinators and Assistnat Coordintors do not have a negotiated rate. We have a "recommended rate". When we held meeting with the Producers to discuss this many Unions sent delegates to help our cause to get an established rate and funny enough the WGA did not send one. On TV shows all below the line works for last years rate on 1st year shows and no vacation pay. How about the Writer's? Oh thats right they get the current years pay and vacation. Some Unions forbid its members from striking. It must be nice to have that option. I heard a writer walking the picket line on TV say she lives on residuals. Must be nice. Last time I checked the rest of us get zero. Im not saying you dont deserve residuals, it is an added bonus for you that the rest of us do not have. Since most of you are producers/writers next time you want a run done, and it needs to go through my office I might need a raise.