Going Guild. Join the Guild How to become a member. Foreign Levies Find out if we have Foreign Levies for you. On the Web. Member Dashboard. Return to Dashboard My Favorites. Share this page. All movies currently in production that require the skills of active writers will halt production.
TV networks will substitute new game shows and "reality" shows that don't require professional writers. In addition, of course, there will be plenty of reruns.
A recent nationwide poll indicates that the general public strongly supports the writers, who are thought to be underpaid and unappreciated. All they do is type a bunch of words onto a piece of paper. At the Television Critics Assn. But the circumstances have radically changed since the last strike, which began in fall of and lasted days. Then, Hollywood was just entering a digital revolution that would upend old distribution models, with Netflix just starting its pivot from DVD to the internet and Hulu going live as the strike ended.
Today, the streaming revolution has accelerated to a degree few could have imagined then, creating a new golden era in TV production. NBC plans to roll out Peacock nationally by July Even L. Mayor Eric Garcetti is worried about the potential effect of a work stoppage on the city.
I hope that as models change, that people can also figure out a way to keep that production here because fighting for something better, the last thing we want to see is for that production to leave altogether. The continued spread of filming to Georgia, New York and other film hubs could lessen the economic hit of a strike on L.
As streaming takes over the traditional broadcast network TV model, studios are commissioning shorter seasons and writers also are losing out on revenue from what would have been syndication or reselling of their shows.
The question for the Writers Guild is, how are our members being compensated? How would that have helped my caterer who lost her mortgage or my greensman who had to move out of L. It was all anyone talked about: Is the DGA going to torpedo us? I reached out to a bunch of writer-directors and I invited them to my house. We called people to try to get them to sign the letter. I only had one guy who basically told me to go jump in the lake — it was John Carpenter. The DGA signed its new deal Jan.
After that, key factions within the WGA pushed aggressively for the strike to end. Both sides returned to the table in an attempt to hammer out a contract.
There were about 20 people, including a former president and a former vice president of the Guild. The DGA had just approved their contract, and people in the room who knew what they were talking about felt that the terms were the best we were going to get. We had a standing table at the Bel Air Hotel. Then we made some progress. The other side was Iger, whose best interest was in making sure the Academy Awards went off in a few weeks, and Moonves, who was looking to make a deal much earlier than anybody else.
We were at the Luxe Hotel under a press blackout. The negotiating committee was made up largely of showrunners, and the board had a slightly more proletarian, workaday-writer feel. There was a sense that some on the board might hold out for animation or DVDs. My feeling was we needed a win, and we needed to be unified. You have to win this. After days, on Feb. On Feb. It turned out to be this incredible fortuitous coincidence. We had the meeting to announce the end [of the strike], immediately followed by this party.
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