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

[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)