But ill for who, when it will start REALLY blowing and how long it will blow, is anybody's guess.
Nobody wants a strike.
But everybody wants a union they believe will fight for all them.
In the Writer's Guild, I am a writer. In 839, I'm a "story person." In one guild, I get residuals, ownership, protection...
...and in the other, I get what I negotiate for. That being said, I am compensated well, and have no complaints. I have a generous employer that respects what I do and pays accordingly.
But the job I do that's covered in 839, is the exact same job I do for the WGA. And quite frankly, I find that baffling.
So on November 2nd, or December, or whatever it is... whenever the strike happens, if it happens...
...every animation writer - storyboard or script - should take a peek and see what the WGA is doing, and whether they accomplish their goals or not.
It affects all of us.
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If animation writers were WGA, it would benefit a few writers on some of the bigger budget productions, who would get royalty $, "Developed for TV by" $$, & "created by" $$$. However, the added expense of WGA scripts would convince some producers that they would be better off writing their scripts in Canada, or anywhere else they can get a buy out - same as they do with animation, voice acting, etc.
Don't think producers haven't already tried the Canada writing thing. They have, a few times, and it failed.
Animation writers need to be represented by a union that understands our needs.
If they can find Canadian writers who can write hit-worthy scripts that bring the ratings, let 'em. They can't, judging from the Canadian cartoons I've seen. The bottom line is: Nick and Disney and CN air the fuck out of our scripts and we deserve residuals --something Steve Hulett will never get us. Why should he care about us? We're only 8% of the Animation Guild's membership. Until we walk out en masse into the loving arms of the WGA, we're just gnats flying around his ass. I'm willing to do it any time, giant weekly salary be damned.
Screw Steve Hulett and his thug boss Tom Short. Those guys don't give a fuck about animation writers.
Why can't the animation writers get organized outside of the 839 and walk away. I am tired of scrambling to get union scripts for benefits. The artists tend to be on the job how much longer than writers? Months right?
Screw Steve Hulett and his thug boss Tom Short. Those guys don't give a fuck about animation writers.
Speak for yourself. And I promise not to speak for Tom Short.
Once upon a time… Steve Hulett encouraged the writers of 839 to join the negotiating committee if they wanted residuals. The writers did just that, but their demands upset thug Tom “don’t-fuck-with-me-or-I’ll-put-my-cigarette-out-on-your-flesh” Short, who had to fly in from Thugsville with his thug goons to put a stop to it. When things heated up between the writers and thug bully Short, Steve slunk out of the room to “make photocopies”. Don’t get me wrong, I am pro union – I’m just not pro bad union.
I know this is way late for this comment to be noticed, but Steve M.'s quote is a little inaccurate. It should be:
In one guild (the WGA), I MIGHT get residuals, ownership, protection . . . and in the other, I get better health benefits, excellent pension benefits, and whatever else I negotiate for.
Do you really think TV animation writing under a WGA contract, outside of FOX primetime, is going to get residuals? If you do, you might ask the president of the WGA if his writing gig on "Class of 3000," done under a WGA contract, go him residuals.
I know it pains people to think about the reality of TV animation production and the typical TV animation budgets, but the WGA has more chance of getting you guaranteed call girls (which god knows most of you need) than residuals in animation.
Sorry, that should have been "got him residuals."
Well, actually I do think I'd see something in residuals if I was in the WGA and not TAG. I see $$ on royalties for songs I've done in animation.
And yes, I'll take the call girls too!
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