Why did it take no TV to make me stop watching shit TV?
I can't speak for everyone on the planet, but... I am not in the sole control of my TV, or my TIVO.
On any given day, there's movies on there I don't like, Oprah's I'd rather get eye cancer than watch... and then Cashmere Mafia, which makes feel very serial killer-y. I really need an hour of women telling me that they have a place in the workplace? Really? What is this, 1955?
I like it better on Madmen when it's done in context and nobody's trying to convince you it's a comedy.
But in the dry spell that has been the wrtier's strike, I have discovered Weeds, Battlestar Galactica, The Sarah Conner Chronicles (Nerd!), Breaking Bad, Mad Men, and I absorb Grey's Anatomy like a sponge.
All of them: Scripted.
Don't get me wrong. There are some reality shows I like: I like the end of American Idol, I enjoy Celebrity Apprentice, and I can find myself absorbed in Amazing Race, provided the people in it aren't all complete tools.
But the shows that get my loyalty... are the ones that are written. With stories. And characters. And plot lines.
Everybody talks about this strike sending people screaming to the internet. But I think there's something else happening too: It's sending them screaming to DVD box sets and netflix.
I think you're going to find that people are seeking out good TV. And for all we know, that's good news for shows like 30 Rock, shows that are on the bubble that people are finding for the first time...
...and will return to when they're back on the air, brand new.
Foolishly optimistic, I know. But a boy can hope.
Showing posts with label WGA Strike. Show all posts
Showing posts with label WGA Strike. Show all posts
Sunday, January 27, 2008
Sunday, January 20, 2008
I'm thinking it's time we get together again.
Personally, I don't think this strike is going to wind down as quickly as everybody else would like it to, because right now... the writers have all the fiscal leverage.
They might not have the PR leverage, since the DGA took a deal that is still being analyzed...
...but with the Oscars coming, TV viewing down and Wall Street starting to realize that greed is the driving force for locking the writers out of their fair share, not smart business decisions...
...pressure is mounting.
At the same time, I think we - animation writers - script writers and board writers - have a unique and singular opportunity to discuss what WE want, and how this strike and the sacrifices that were made for the gains that are coming (regardless of size) - can be used to change our situations for the better.
Regardless of how.
In the next few weeks I'll be figuring out the where's and the whens of the next get together. It'll probably be Burbank - that's the center of existence for all three studios. But aside from drinking and commiserating, I'd like to put a little bit of a "think tank" on it as well...
Anybody got a better suggestion for a place to get together besides Gordon Biersch?
I'm thinking:
Castaways
The Outside Area at French 75 Bistro
The Blue Room (but they don't take credit cards. Bleh)
I'm open to suggestions about where, and what this one should be about.
But I'm also about to start watching football, and the Packers are one game away from a Superbowl trip, so my Sunday priorities are my Sunday priorities.
Stay linked. :)
They might not have the PR leverage, since the DGA took a deal that is still being analyzed...
...but with the Oscars coming, TV viewing down and Wall Street starting to realize that greed is the driving force for locking the writers out of their fair share, not smart business decisions...
...pressure is mounting.
At the same time, I think we - animation writers - script writers and board writers - have a unique and singular opportunity to discuss what WE want, and how this strike and the sacrifices that were made for the gains that are coming (regardless of size) - can be used to change our situations for the better.
Regardless of how.
In the next few weeks I'll be figuring out the where's and the whens of the next get together. It'll probably be Burbank - that's the center of existence for all three studios. But aside from drinking and commiserating, I'd like to put a little bit of a "think tank" on it as well...
Anybody got a better suggestion for a place to get together besides Gordon Biersch?
I'm thinking:
Castaways
The Outside Area at French 75 Bistro
The Blue Room (but they don't take credit cards. Bleh)
I'm open to suggestions about where, and what this one should be about.
But I'm also about to start watching football, and the Packers are one game away from a Superbowl trip, so my Sunday priorities are my Sunday priorities.
Stay linked. :)
Saturday, January 19, 2008
Barguments over the strike
So, I live up in the Valencia/Stevenson Ranch area.
This is, I think it's safe to say, where successful but not mega-rich people in the entertainment industry live. The below the line folks who are doing well on a week to week basis, or, for the sake of arguments, animation show runners who have been doing animation show running for nearly a decade.
I like it here. I could use a few more decent restaurants, but the "Claim Jumper Buffalo Chicken Tenders" are pretty good.
But... I am outnumbered here - more above the line than below, more IATSE than WGA, more people affected by the strike than people striking.
There are a couple of places I hang out, and invariably, when somebody hears I am a writer, the discussion goes one of two ways:
Sometimes it's: "How are you handling the strike?" And I have to be honest, that aside from the time I put in striking with, or working with, the WGA... it's not hitting me. I work in animation, and animation writers are not on strike... at least the ones who aren't covered by the WGA. Our shows continue, if we're not prime time.
But mostly it's: We don't like you. You're killing us." And this is the reaction I get more than not. And I always - ALWAYS - engage those people in a discussion. Because yes - to the hair stylist and the production person that I talked to over the past week - I get it. You're jobs are either on the bubble or drying up, and your life is on the line. And I don't think there's a single writer on the face of the Earth that isn't sorry for that.
But also invariably, when I talk to them, I point out that for every penny the WGA negotiates for, the other unions also get. IATSE, for example, will make 4.5 cents for every penny the WGA manages to get. It's pattern bargaining. For the WGA's sacrifices, despite IATSE's lousy support, they win. As does every other union. We were the first union to have to fight the digital download battle. If it wasn't the WGA, it would have been SAG.
And if it wasn't the WGA, the DGA deal would have been a big, steaming pile of ass, as opposed to what seems to be a pretty good starting point for a renewing of talks.
And I get that writers are paid more than most. But that' s because - in prime time and in animation sometime - they created it. They created the show, or created the episode. It started with them.
When a person creates a new drug, or invents something like the artificial heart, nobody begrudges them getting a big cut of the profits. But because writing is considered a "fun" job, the fact that writers are fighting for what they believe is their fair share is considered greedy.
Nobody gets mad at the person who invented the cell phone because not anybody can invent a cell phone. But everybody - on some level - can write. Either a letter. Or a blog. Or a note. Consequently, it doesn't feel important.
As a writer - as somebody who tries to create things that become television shows - I get that I have a blessed life. I get that I'm one of a small group of people who will ever come up with an idea, get the chance to develop an idea, and then get it on the air. It's fun, but it's not easy.
But that idea - IF IT SELLS - employs people. It creates jobs. From producers, to writers, to actors, to caterers, to make up people, to electricians, and more. That is a fortunate byproduct to the fact that I'm trying to create something I'm passionate about.
Any writer that tells you they write to create jobs is a liar. But any writer that doesn't understand that their work is putting food on people's tables is a dick. This strike falls in the middle of those two concepts.
The pyramid STARTS with the creation of the idea, and it widens out to include hundreds of people. But then, the people making the most money off the show - the studios or networks - seemingly want to marginalize and be greedbags to the very people who started that employment train in the first place.
I explain that - and I take the time to point out that writers aren't looking for pity. All I'm saying is, they do not deserve scorn.
Friday, January 18, 2008
DGA deal - not horrible, but not great. Thoughts
Fact Sheet
DGA Tentative Agreement — January 17, 2008
Wage Increases
* Compensation for all categories except directors of network prime time dramatic programs and daytime serials increases by 3.5%, each year of the contract.
* Compensation for directors of network prime time dramatic programs and daytime serials increases by 3%, each year of the contract.
* Outsized increase in director’s compensation on high budget basic cable dramatic programs for series in the second and subsequent seasons:
o For ½ hour programs: 12% increase in daily rate and increase in guaranteed number of days to 7 days.
+ Results in show rate increasing from $9,009 to $11,760.
o For 1-hour programs: 12% increase in daily rate and increase in guaranteed number of days to 14 days.
+ Results in show rate increasing from $18,010 to $23,520.
Residual Increases
* Residual bases increase by 3.5%, each year of the contract, except for reruns in network prime time.
* Residuals for reruns in network prime time increase by 3%, each year of the contract.
Also not bad, if you ask me. This actually helps non-prime time (IE basic cable WGA writers) more than prime time writers.
New Media
Jurisdiction over:
* All new media content that is derivative of product already covered under current contracts.
* Original content:
o All original content above $15,000/minute or $300,000/program or $500,000/series, whichever is lowest.
o Original content below the threshold will be covered when a DGA member is employed in the production.
* Increases rate paid on feature films by 80% to .65% above 50,000 units downloaded
o Below 50,000 breakpoint: rate will be paid at the current rates of .30% until worldwide gross receipts reach $1 million and .36% thereafter.
Lets be honest about what it means to us. All of these raises are awesome, but if IATSE doesn't do something to compensate us - script and story writers - for the gains that they'll probably receive from the DGA bargaining... it doesn't mean dick to us.
If this sticks, and it doesn't stick to us, it will be incumbent upon all animation writers to fight to see a cut of the monies that their shows create. Because if you think about how much a Spongebob or Fairly oddparent streams - if you think about how much they're downloaded... we won't see ANY of that if it's not covered.
DGA Tentative Agreement — January 17, 2008
Wage Increases
* Compensation for all categories except directors of network prime time dramatic programs and daytime serials increases by 3.5%, each year of the contract.
* Compensation for directors of network prime time dramatic programs and daytime serials increases by 3%, each year of the contract.
* Outsized increase in director’s compensation on high budget basic cable dramatic programs for series in the second and subsequent seasons:
o For ½ hour programs: 12% increase in daily rate and increase in guaranteed number of days to 7 days.
This feels good. It's a substantial raise. If it transfers to scripts, it will mean some sort of pay increase for writers who make "salary PLUS script"
+ Results in show rate increasing from $9,009 to $11,760.
o For 1-hour programs: 12% increase in daily rate and increase in guaranteed number of days to 14 days.
+ Results in show rate increasing from $18,010 to $23,520.
Residual Increases
* Residual bases increase by 3.5%, each year of the contract, except for reruns in network prime time.
* Residuals for reruns in network prime time increase by 3%, each year of the contract.
Also not bad, if you ask me. This actually helps non-prime time (IE basic cable WGA writers) more than prime time writers.
Healthcare
* Employers continue to make health care contributions at specially negotiated rate of 8.5%, secured in the 2005 Basic Agreement to address the impact of the growing cost of health care on the DGA Plan. Provisions permitting decrease in contribution rate by employers removed.
Other Provisions
* Second Assistant Directors to manage locations in New York and Chicago.
* Establishes a wrap supervision allowance of $50/day for the Second Assistant Director who supervises wrap on local and distant locations.
* Increases incidental fees and dinner allowances for Unit Production Managers and Assistant Directors.
I dont think this helps that much.
* Employers continue to make health care contributions at specially negotiated rate of 8.5%, secured in the 2005 Basic Agreement to address the impact of the growing cost of health care on the DGA Plan. Provisions permitting decrease in contribution rate by employers removed.
Other Provisions
* Second Assistant Directors to manage locations in New York and Chicago.
* Establishes a wrap supervision allowance of $50/day for the Second Assistant Director who supervises wrap on local and distant locations.
* Increases incidental fees and dinner allowances for Unit Production Managers and Assistant Directors.
I dont think this helps that much.
New Media
Jurisdiction over:
* All new media content that is derivative of product already covered under current contracts.
This feels important. For example, if somebody does an animated something based on a live action something, it would be guild-covered. That PROBABLY covers animation, or at least, it should. I'm sure if it does, IATSE will have a cow, but perhaps it can be grandfathered in.
Moreso - this is good news for "off shoots" of TV shows. For example, if you have a live action show on TV and then start doing web based "extended viewing content," it's covered... if I'm reading this right.
* Original content:
o All original content above $15,000/minute or $300,000/program or $500,000/series, whichever is lowest.
I'm not sure what this means. The $15,000 per minute is insane. NOTHING costs $15,000 per minute on the internet. That being said, $500,000 per series is not bad.
There is a legit concern that low level projects / pilots will be created for online to see if they take, then aired on TV. But... I can't even imagine a half hour anything being created for 299K.
o Original content below the threshold will be covered when a DGA member is employed in the production.
If this works for WGA members as well, it feels like a win. For example, I'm a WGA member. If I am hired for something on the web, then all of a sudden, anything I do becomes a WGA production under those auspices. It's vague... but it could be cool.
Electronic Sell-Through (Paid Downloads)
* More than doubles the rate currently paid by the employers on television programming to .70% above 100,000 units downloaded.
Electronic Sell-Through (Paid Downloads)
* More than doubles the rate currently paid by the employers on television programming to .70% above 100,000 units downloaded.
In success, this is better. But it's still kinda low.
o Below 100,000 breakpoint: rate will be paid at the current rates of .30% until worldwide gross receipts reach $1 million and .36% thereafter.
o Below 100,000 breakpoint: rate will be paid at the current rates of .30% until worldwide gross receipts reach $1 million and .36% thereafter.
I feel like this sucks.
* Increases rate paid on feature films by 80% to .65% above 50,000 units downloaded
So if a movie sells 50K on Itunes (or anything else for that matter) the rate on movie doubles? And what does that mean for writers of the WGA? Not sure.
o Below 50,000 breakpoint: rate will be paid at the current rates of .30% until worldwide gross receipts reach $1 million and .36% thereafter.
Ick.
Distributor’s Gross
* Payments for EST will be based on distributor’s gross instead of producer’s gross, a key point in our negotiations. Distributor’s gross is the amount received by the entity responsible for distributing the film or television program on the Internet. We would not have entered the agreement on any other basis.
Distributor’s Gross
* Payments for EST will be based on distributor’s gross instead of producer’s gross, a key point in our negotiations. Distributor’s gross is the amount received by the entity responsible for distributing the film or television program on the Internet. We would not have entered the agreement on any other basis.
This is good. Producer's gross blows.
* Companies will be contractually obligated to give us access to their deals and data, enabling us to monitor this provision and prepare for our next negotiation. This access is new and unprecedented.
* Companies will be contractually obligated to give us access to their deals and data, enabling us to monitor this provision and prepare for our next negotiation. This access is new and unprecedented.
This is good. Because buckle up - the next negotiation is less than three years away.
* If the exhibitor or retailer is part \ of the producer’s corporate family, we have improved provisions for challenging any suspect transactions.
Ad-Supported Streaming:
* 17-day window (24-day window for series in their first season).
* If the exhibitor or retailer is part \ of the producer’s corporate family, we have improved provisions for challenging any suspect transactions.
Ad-Supported Streaming:
* 17-day window (24-day window for series in their first season).
A little weak. The majority of streaming would happen in the first three weeks.
* Pays 3% of the residual base, approximately $600 (for network prime time 1-hour dramas), for each 26-week period following 17-day window, within first year after initial broadcast.
* Pays 3% of the residual base, approximately $600 (for network prime time 1-hour dramas), for each 26-week period following 17-day window, within first year after initial broadcast.
This is low. WGA members made another 50% (I think) the next time a show aired. So... on a 20K check, they made 10K more. This is an offer of 10% of that. Of course, in top 10 shows, it's gonna air again.
The good news for basic cable / kids is... this is the only place where they still rerun the shit out of stuff on TV too. Weird. The deal feels like it takes care of non-prime time people better.
* Pays 2% of distributor’s gross for streaming that occurs more than one year after initial broadcast.
* Pays 2% of distributor’s gross for streaming that occurs more than one year after initial broadcast.
Again, good for our non-prime time friends. Imagine, if you will, a rerun of Hanna Montana.
Clips
* Provides the companies with limited windows where they can distribute clips of feature films and television programs in new media to promote a program. Provides for payment for all other uses in New Media.
* Provides the companies with limited windows where they can distribute clips of feature films and television programs in new media to promote a program. Provides for payment for all other uses in New Media.
Baffling. Thoughts?
Sunset Provision
* Allows both sides to revisit new media when the agreement expires.
* Allows both sides to revisit new media when the agreement expires.
Um... isn't this what happens when a contract expires anyway?
So... in conclusion:
Lets be honest about what it means to us. All of these raises are awesome, but if IATSE doesn't do something to compensate us - script and story writers - for the gains that they'll probably receive from the DGA bargaining... it doesn't mean dick to us.
If this sticks, and it doesn't stick to us, it will be incumbent upon all animation writers to fight to see a cut of the monies that their shows create. Because if you think about how much a Spongebob or Fairly oddparent streams - if you think about how much they're downloaded... we won't see ANY of that if it's not covered.
We will be forced to go deal to deal, and negotiate this stuff ourselves. The stronger, more established, more powerful show runners will be able to fight for a piece of their successes... first timers or people with lousy reps will be forced to take what they can get, and what they will get is TAG/IATSE minimums.
In my opinion.
The floor is open.
Wednesday, December 12, 2007
Much ado about animation and reality
A response to
THIS POST FROM PAUL HAGGIS
And
ANOTHER POST FROM LAETA KALOGRIDIS
"As a non-prime time/non-guild covered cartoon writer, I hope the WGA gets Feature Animation. There's no reason for it not to.
TV Animation - at least for those of us stuck within IATSE - is a dead/done deal this round (in my opinion), because the WGA can't fight for what they deserve AND wrestle IATSE/Union 839 writers into their guild at the same time.
It would be a waste of energy and a division of focus to do that. Writers have momentum and unity on their side - I hope the WGA doesn't let the AMPTP divide them over something that's basically an issue of labor law.
The studios picked our union for us - in 1940, and (in the case of Nickelodeon) in 2001 - regardless of what they might say.
But getting out of a union, or changing unions, is a much bigger fight than fighting with your union for things your union can fight for.
That being said, aiming for the things that haven't been decided yet? Reality? Feature Animation? New Media? Go for it. That's a battle that can be won.
And that's a battle for the future of all writers - day time animation, prime time animation and feature animation alike.
You guys can check out the TAG board:
http://www.animationguild.org/
Or the blog written by the TAG's rep, Steve Hewett:
http://animationguildblog.blogspot.com
...to see the union that non-prime time animation writers are working with.
It's a branch of Tommy Short's IATSE, and none of us are happy with the contentious relationship he's got with the WGA..."
THIS POST FROM PAUL HAGGIS
And
ANOTHER POST FROM LAETA KALOGRIDIS
"As a non-prime time/non-guild covered cartoon writer, I hope the WGA gets Feature Animation. There's no reason for it not to.
TV Animation - at least for those of us stuck within IATSE - is a dead/done deal this round (in my opinion), because the WGA can't fight for what they deserve AND wrestle IATSE/Union 839 writers into their guild at the same time.
It would be a waste of energy and a division of focus to do that. Writers have momentum and unity on their side - I hope the WGA doesn't let the AMPTP divide them over something that's basically an issue of labor law.
The studios picked our union for us - in 1940, and (in the case of Nickelodeon) in 2001 - regardless of what they might say.
But getting out of a union, or changing unions, is a much bigger fight than fighting with your union for things your union can fight for.
That being said, aiming for the things that haven't been decided yet? Reality? Feature Animation? New Media? Go for it. That's a battle that can be won.
And that's a battle for the future of all writers - day time animation, prime time animation and feature animation alike.
You guys can check out the TAG board:
http://www.animationguild.org/
Or the blog written by the TAG's rep, Steve Hewett:
http://animationguildblog.blogspot.com
...to see the union that non-prime time animation writers are working with.
It's a branch of Tommy Short's IATSE, and none of us are happy with the contentious relationship he's got with the WGA..."
Sunday, December 2, 2007
Sitting at the Children's table
So, a disheartening story.
There was a point where all the writers at Comedy Central walked, pushing for WGA coverage for their shows. Including animation.
Comedy Central correctly gave the Daily Show and the Colbert Report the WGA status they deserve, just like Leno, Conan, Letterman and all.
And then, at the point where it was time to push for animation? Everybody went back to work. Ta da?
If you want to know why animation writers are disheartened with the WGA - why while I enjoy the vibrant conversation, I just don't have the patience to spend time with their animation caucus, it's stuff like that. What's the point?
We all band together and then, once the popular kids get what they want (and deserve, BTW), the nerds are left out in the bleachers with their shorts hiked over their heads.
It's also ill-conceived.
In a world where residuals are going away because the second and third window is being placed on the internet, kids cartoons are RUN INTO THE GROUND, over and over again. Think about residuals on Spongebob, or Fairly Odd, for God's sake.
It's a bummer - because I belong to both unions. I personally think the WGA fights harder for it's members than 839 fights for theirs... but the WGA loves to dump us out at the last minute, to lighten the load for liftoff.
Change, I think, will have to come from within.
There was a point where all the writers at Comedy Central walked, pushing for WGA coverage for their shows. Including animation.
Comedy Central correctly gave the Daily Show and the Colbert Report the WGA status they deserve, just like Leno, Conan, Letterman and all.
And then, at the point where it was time to push for animation? Everybody went back to work. Ta da?
If you want to know why animation writers are disheartened with the WGA - why while I enjoy the vibrant conversation, I just don't have the patience to spend time with their animation caucus, it's stuff like that. What's the point?
We all band together and then, once the popular kids get what they want (and deserve, BTW), the nerds are left out in the bleachers with their shorts hiked over their heads.
It's also ill-conceived.
In a world where residuals are going away because the second and third window is being placed on the internet, kids cartoons are RUN INTO THE GROUND, over and over again. Think about residuals on Spongebob, or Fairly Odd, for God's sake.
It's a bummer - because I belong to both unions. I personally think the WGA fights harder for it's members than 839 fights for theirs... but the WGA loves to dump us out at the last minute, to lighten the load for liftoff.
Change, I think, will have to come from within.
Friday, November 23, 2007
Something to think about:
From Jonathan Handel's blog over at Huffpost. To read the whole thing, click on below...
Multi-Guild Residuals -- Almost Ten Times the Fun
...but here's a little something to chew on while you're choking down your Turkey.
A four-cent per DVD increase sounds like a no-brainer. But in the world of Hollywood unions, four cents is actually almost forty cents. This is true for a simple reason: the WGA isn't the only union in town.
As it turns out, all three guild agreements (WGA, DGA and SAG), plus the IATSE agreement, have similar DVD residual formulas. Any amendment to the WGA's DVD formula will almost certainly be made to the other unions' as well. It's called pattern bargaining; the deal for one is the deal for all -- but with a twist: SAG's formula is three times as large as the WGA's, and the IA's is four and one-half times as large. (The DGA's is the same as the WGA's.) New media formulas can be expected to mirror each other across unions in the same fashion.
So, if writers get a four-cent raise, actors get an extra twelve cents. That's not because actors are three times better than writers, but because there are so many more of them on any given movie or TV program. The actors split the residual among themselves based on a formula that reflects both salary and time worked on the show. Thus, each actor's share is less than the writer(s)' share. (Writers too have to split among themselves when there's more than one writer on a project.)
The DGA raise would match the writers' -- four cents. Most of that would go to the director. Yet, 40% of the DGA membership are below-the-line workers who receive a miniscule share of DVD residuals (less than one-fifth of a penny per DVD). Doubling the formula would make little difference to them, which is one reason why DGA support for a strike over residuals is so tepid.
The IA raise would be 4.5 times the writers' -- an extra eighteen cents per DVD -- yet IA members receive no residuals directly. Instead, the residuals are used to fund the IA's health and pension plans. So, residuals matter to IA members, but in an attenuated way.
Bottom line: whatever increase the writers achieve in DVD or new media has to be multiplied by a factor 9.5 to determine what the studios will be paying out. (9.5 = 1x for the WGA, 1x for the DGA, 3x for SAG, and 4.5x for the IA. If you want to read the contract language for yourself, check out the WGA agreement (Art. 51.C.1.b), DGA agreement (Sec. 18-104), SAG agreement (Sec. 5.2.A.(2)), and IATSE agreement (Art. XXVIII(b)(2)).)\
So, somebody explain to me how the Writer's Guild of America gets 1 cent for every 4.5 cents that IA gets, and yet we, as writers, receive no residuals and (allegedly) and our pension plan is weak in comparison?Tuesday, November 20, 2007
Hey, Tommy Short.
I don't think you're a bad guy.
I think you have your own set of priorities. And, as always, one person's priorities is another person's hurdles.
But I will say: I wish you were kinder, and had more solidarity, with your brothers in the WGA. Because you have a powerful, sizeable union that could do much to help.
Me? I'm an animation writer and a live action writer, and I am torn. I will honor both of my contracts.
Me? I wish my union fought a little more stronger for our brothers in the other union. Like the Teamers.
Yeah, I get the fact that SAG and the TEAMERS support is both wonderful and conditional. But it's support.
A few days ago, writers that work under your banner decided to pitch in and buy lunch for people that AREN'T.
Writers supporting writers.
C'mon Tommy. I know, deep down, you probably have heart, ethics, fire and resolve. TAG in (pun intended) with this fight. Because you can help.
I don't know you.
But I believe in you.
You can do this. How can we help?
- Steve Marmel
IATSE/WGA/SAG/AFTRA
I think you have your own set of priorities. And, as always, one person's priorities is another person's hurdles.
But I will say: I wish you were kinder, and had more solidarity, with your brothers in the WGA. Because you have a powerful, sizeable union that could do much to help.
Me? I'm an animation writer and a live action writer, and I am torn. I will honor both of my contracts.
Me? I wish my union fought a little more stronger for our brothers in the other union. Like the Teamers.
Yeah, I get the fact that SAG and the TEAMERS support is both wonderful and conditional. But it's support.
A few days ago, writers that work under your banner decided to pitch in and buy lunch for people that AREN'T.
Writers supporting writers.
C'mon Tommy. I know, deep down, you probably have heart, ethics, fire and resolve. TAG in (pun intended) with this fight. Because you can help.
I don't know you.
But I believe in you.
You can do this. How can we help?
- Steve Marmel
IATSE/WGA/SAG/AFTRA
Saturday, November 10, 2007
And now, a word from... your guess is as good as mine.
Bad is bad, my friend, whether it's bad board-driven writing or bad script-driven writing. But I like how you say "one of the few places where John K. is absolutely correct," as though you disagree with him elsewhere.
Of course, If you do disagree with him, it could be because you're a Cal Arts graduate and he loves to piss all over that school. In other words: "When he dumps on you, he's right. When he dumps on me, he's a dick."
Two points on this, if I may:
1) I don't know what position you've had to "correct edit jughead's" scripts (I don't even know where to start trying to correct and/or edit that) but was it your job to do so? On a script driven show? Then, thank you. Because we're all on the same team here.
2) And of course the majority of WGA writers working in animation freely admit they would love to be writing films or other projects. They are paid more. And get residuals. And a better pension. You gonna tell me an animator wouldn't step over the face of a basic cable executive to get a shot at a feature film? Of course he or she would.
I love the math here. "A few artists" who can write just as well than the entirety of the WGA. I'm sure there are. Emphasis on "few," just as I'm sure there are a few WGA writers who can draw better than some artists. Writing is art, just as drawing is art, just as timing is art, and editing is art, in its own way.
I'm sorry you can't respect anything that you can't or won't do, but that's your bag of cats, not ours. And finally:
Anonymous said...
Of course.
Friday, November 9, 2007
In Defense of Writing For Adults
Hi. I'm Steve Marmel.
Unless you're one of the people I work for or work with, you probably don't know me... but chances are your kids might.
It's nothing creepy - I don't pose as a 13 year old girl on Myspace - I've been an animation writer for nearly ten years now, starting with the worst freelance "Batman - The Animated Series" script that was never produced, through Johnny Bravo, Fairly Oddparents and now, over at Disney on "Yin Yang Yo."
Consequently, I have a "written by" on a lot of stuff that is shown over and over and over and over again. That's probably why your kids know my name (although they probably pronounce it Marmle instead of Mar-Mel, like I was some sort of Kryptonian Jew.)
For writing animation, I get no residuals, but I knew that going into it.
As an animation writer, I am represented by a different union - Local 839 of IATSE, which stands for the International Association of Theatrical Stage Employees. I get a very nice health plan out of it, and some sort of pension, but that's it. My union, or alliance, is sort of a combination of a trade organization and Allstate. We're also not on strike.
I'm losing you, aren't I?
Okay, okay. Back to my point.
Most of what I do isn't to entertain you. So I don't expect you to care that I don't get another penny. In fact, considering how shrill Cosmo's voice is, and how often you hear him say the same lines repeated on Nickelodeon, I can only imagine that you probably think I owe you money. Fair enough.
But most of the people who are on strike are the people that DO entertain you. 24. Sopranos. Scrubs. Lost. Heroes. Shows like that, for people like you, that are interested in stories instead of watching B list celebrities skate, dance, date or lose weight. (Not a fan of reality, btw.) I'm not going to bore you with percentages, or residuals history. I'm not. I'm just going to ask you:
Don't you want to reward the people who are getting into this to entertain you? The human adult?
They're not trying to teach your kids a lesson, or babysit your child, or bring a new generation of young folk into the wonderful world of fart jokes (guilty!). These are sophisticated and smart individuals, passionate and creative souls, who do something that only a handful of people on the planet can do well.
Entertain adults.
Aren't these the people you should be supporting?
- Steve
Unless you're one of the people I work for or work with, you probably don't know me... but chances are your kids might.
It's nothing creepy - I don't pose as a 13 year old girl on Myspace - I've been an animation writer for nearly ten years now, starting with the worst freelance "Batman - The Animated Series" script that was never produced, through Johnny Bravo, Fairly Oddparents and now, over at Disney on "Yin Yang Yo."
Consequently, I have a "written by" on a lot of stuff that is shown over and over and over and over again. That's probably why your kids know my name (although they probably pronounce it Marmle instead of Mar-Mel, like I was some sort of Kryptonian Jew.)
For writing animation, I get no residuals, but I knew that going into it.
As an animation writer, I am represented by a different union - Local 839 of IATSE, which stands for the International Association of Theatrical Stage Employees. I get a very nice health plan out of it, and some sort of pension, but that's it. My union, or alliance, is sort of a combination of a trade organization and Allstate. We're also not on strike.
I'm losing you, aren't I?
Okay, okay. Back to my point.
Most of what I do isn't to entertain you. So I don't expect you to care that I don't get another penny. In fact, considering how shrill Cosmo's voice is, and how often you hear him say the same lines repeated on Nickelodeon, I can only imagine that you probably think I owe you money. Fair enough.
But most of the people who are on strike are the people that DO entertain you. 24. Sopranos. Scrubs. Lost. Heroes. Shows like that, for people like you, that are interested in stories instead of watching B list celebrities skate, dance, date or lose weight. (Not a fan of reality, btw.) I'm not going to bore you with percentages, or residuals history. I'm not. I'm just going to ask you:
Don't you want to reward the people who are getting into this to entertain you? The human adult?
They're not trying to teach your kids a lesson, or babysit your child, or bring a new generation of young folk into the wonderful world of fart jokes (guilty!). These are sophisticated and smart individuals, passionate and creative souls, who do something that only a handful of people on the planet can do well.
Entertain adults.
Aren't these the people you should be supporting?
- Steve
Saturday, November 3, 2007
Residuals: How I'd do it (but nobody asked)
Hey there.
Okay, so I'll start the discussion, because every time we all get together, it turns to this anyway. And while I have no control over this situation, if anybody ever asked me - or if Nicole and Matt make it into the Legion of Super Animators (The 839 board) and have some sway over the discussion - this is what I think.
There are two types of writers in animation. Story board people, and script people. There are two types of productions in animation, board based story telling and script based story telling.
With that in mind, my little math here ONLY works within an 839 production, because those are the shows where story and script changes as the show evolves. On a prime-time script driven show, I do not believe that to be the case. (Correct me if I'm wrong.)
I think the hypothetical residuals should be split 80/20, depending on the production.
On a script show - lets say Fairly Oddparents or Yin Yang Yo - the script writer does all the heavy lifting for the story telling - from premise, to outline, to three drafts of the script. Because the script is the blueprint, acting, direction, setting, and visual gags are all laid in there. At this point, a board person will tell this story... but it's already been arc'd out.
On a board show - lets say Spongebob - a writer will write a detailed outline and then off the board artist goes. Here, I would switch it - give the board artist 80 percent of an imaginary residuals, and give the person who created the story and wrote the outline 20 percent.
And in a John K world where productions don't even have keyboards because script writing is unimportant, the storyboard artist could go from premise, to board, and keep 100% of any hypothetical residuals.
How the production worked would be created by the person who created the show, which only seems fair.
There's my brain dump. Have at it.
Okay, so I'll start the discussion, because every time we all get together, it turns to this anyway. And while I have no control over this situation, if anybody ever asked me - or if Nicole and Matt make it into the Legion of Super Animators (The 839 board) and have some sway over the discussion - this is what I think.
There are two types of writers in animation. Story board people, and script people. There are two types of productions in animation, board based story telling and script based story telling.
With that in mind, my little math here ONLY works within an 839 production, because those are the shows where story and script changes as the show evolves. On a prime-time script driven show, I do not believe that to be the case. (Correct me if I'm wrong.)
I think the hypothetical residuals should be split 80/20, depending on the production.
On a script show - lets say Fairly Oddparents or Yin Yang Yo - the script writer does all the heavy lifting for the story telling - from premise, to outline, to three drafts of the script. Because the script is the blueprint, acting, direction, setting, and visual gags are all laid in there. At this point, a board person will tell this story... but it's already been arc'd out.
On a board show - lets say Spongebob - a writer will write a detailed outline and then off the board artist goes. Here, I would switch it - give the board artist 80 percent of an imaginary residuals, and give the person who created the story and wrote the outline 20 percent.
And in a John K world where productions don't even have keyboards because script writing is unimportant, the storyboard artist could go from premise, to board, and keep 100% of any hypothetical residuals.
How the production worked would be created by the person who created the show, which only seems fair.
There's my brain dump. Have at it.
Friday, November 2, 2007
Confessions of a Triplicate Mind: Day 1
So, here we are, at the beginning of what could be a long and messy strike. I say "could be," because I tend to be an optimist about stuff, and I'd like to believe that perhaps the WGA's brinkmanship will be rewarded with serious negotiations...
...but I have my doubts, because so much money is involved.
It's gone past the simple negotiations of one piece of talent, one representative, and 12 lawyers and business affairs people (slight sarcasm, yah, but you get my point) to becoming a larger debate about writers and writing.
In a world where a dog skateboarding on "You Tube" is seen more than "Viva Laughlin" on CBS, how do you define the importance of writers?
But then: The above question says more to their importance than their irrelevance, I think.
The debate isn't about the now: Now, it's all about reality shows and dance contests and all that crap that I hate. (Honesty.) It's about what happens when the pendulum swings back and suddenly, people want scripted things again in a digital age. Or if, I suppose.
It's about what ideas are worth in success, which is the frustrating part. Nobody's asking for a ridiculous amount more upfront (I think). They're asking for a little bit more in success: In success, I might point out, where everybody's making more money.
But then again, good TV is like creating a really good new medicine. A lot of money up front to create it, and then a lot of time to see if that's paid off. Look at Studio 60. The whole season is out on DVD right now, BTW. Get it, if you'd like a set of coasters with creator commentary.
So as this thing starts, I have three minds, all of which I'm trying to balance, all of them which I'm going to have to strive to remain ethical and consistent with, which won't be easy.
* The WGA mind - which supports my union, supports it's members and is proud to be part of something bigger than myself. As a friend of mine said today - others have walked this line and fought this fight for me, it's only fair that I do the same.
* My Hyphenate Mind - Which is about to executive produce my first live action, WGA covered single-cam,era idea, something that I've waited my whole career for. It's been very hard to watch this unfold at the exact same time - a little like getting a holiday gift and then realizing it came from China and it's chock full of extra lead.
* My Union 839 Mind - Which continues to produce cartoons in the midst of all this, because the cartoons I produce are not covered by the WGA. 839 is part of the IATSE which I always tend to find myself conflicted over - they represent writers, but we're 8% of their 839 (am I right?) - and we're not even called writers. We're... "Story Persons" or something like that. And you don't need to be a forensic scientist to know the divisions between writers and artists within 839 is deep indeed.
There are good things about 839 - but I also tend to find animation representation to be super limited - a small number of agents, and a limited number of talented people that are in bed with a small number of companies, which creates an "eggs in one basket" mentality that makes it very hard to push for "in success" pieces of the pie.
Everything substantial I've ever gotten in animation - outside of their Health care - has been through the effort of an agent, a lawyer, and individuals in a larger company that believed in me outside the parameters of my union minimums. And that, by the way, includes the studios I work for.
And within all of that, I have friends who are producers and directors, family, co-workers, people I work for, people who work for me... all of whom have their own individual agendas inside a million larger issues.
It's no wonder the debate has gone to brinkmanship... there are too many moving parts. Everybody has to fear the car falling apart, or nobody's gonna take it into the shop.
There's so many sides to this it sometimes feels as though my head's going to explode, but it really boils down to attempting, to the best of my ability, to act with integrity and be proud of my actions when this is all over.
It's day one.
That's where my mind is at. All three of them, actually.
How about yours?
- Steve
P.S. Sorry about the duplicate Emails. Outlook for Mac is ASS.
...but I have my doubts, because so much money is involved.
It's gone past the simple negotiations of one piece of talent, one representative, and 12 lawyers and business affairs people (slight sarcasm, yah, but you get my point) to becoming a larger debate about writers and writing.
In a world where a dog skateboarding on "You Tube" is seen more than "Viva Laughlin" on CBS, how do you define the importance of writers?
But then: The above question says more to their importance than their irrelevance, I think.
The debate isn't about the now: Now, it's all about reality shows and dance contests and all that crap that I hate. (Honesty.) It's about what happens when the pendulum swings back and suddenly, people want scripted things again in a digital age. Or if, I suppose.
It's about what ideas are worth in success, which is the frustrating part. Nobody's asking for a ridiculous amount more upfront (I think). They're asking for a little bit more in success: In success, I might point out, where everybody's making more money.
But then again, good TV is like creating a really good new medicine. A lot of money up front to create it, and then a lot of time to see if that's paid off. Look at Studio 60. The whole season is out on DVD right now, BTW. Get it, if you'd like a set of coasters with creator commentary.
So as this thing starts, I have three minds, all of which I'm trying to balance, all of them which I'm going to have to strive to remain ethical and consistent with, which won't be easy.
* The WGA mind - which supports my union, supports it's members and is proud to be part of something bigger than myself. As a friend of mine said today - others have walked this line and fought this fight for me, it's only fair that I do the same.
* My Hyphenate Mind - Which is about to executive produce my first live action, WGA covered single-cam,era idea, something that I've waited my whole career for. It's been very hard to watch this unfold at the exact same time - a little like getting a holiday gift and then realizing it came from China and it's chock full of extra lead.
* My Union 839 Mind - Which continues to produce cartoons in the midst of all this, because the cartoons I produce are not covered by the WGA. 839 is part of the IATSE which I always tend to find myself conflicted over - they represent writers, but we're 8% of their 839 (am I right?) - and we're not even called writers. We're... "Story Persons" or something like that. And you don't need to be a forensic scientist to know the divisions between writers and artists within 839 is deep indeed.
There are good things about 839 - but I also tend to find animation representation to be super limited - a small number of agents, and a limited number of talented people that are in bed with a small number of companies, which creates an "eggs in one basket" mentality that makes it very hard to push for "in success" pieces of the pie.
Everything substantial I've ever gotten in animation - outside of their Health care - has been through the effort of an agent, a lawyer, and individuals in a larger company that believed in me outside the parameters of my union minimums. And that, by the way, includes the studios I work for.
And within all of that, I have friends who are producers and directors, family, co-workers, people I work for, people who work for me... all of whom have their own individual agendas inside a million larger issues.
It's no wonder the debate has gone to brinkmanship... there are too many moving parts. Everybody has to fear the car falling apart, or nobody's gonna take it into the shop.
There's so many sides to this it sometimes feels as though my head's going to explode, but it really boils down to attempting, to the best of my ability, to act with integrity and be proud of my actions when this is all over.
It's day one.
That's where my mind is at. All three of them, actually.
How about yours?
- Steve
P.S. Sorry about the duplicate Emails. Outlook for Mac is ASS.
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most animations studios have more than a few artists whom are independent creators outside of their studio jobs and can write just as well, if not better than the jaded, tunnel visioned writers from the WGA.
the majority of WGA writers working in animation are hacks. after years of hearing most of them freely admit that they would love to be writing for films or other projects over animation, excuse me if i'm not ready to heap respect upon them. as a visual artist and creator i've had to continually correct edit these jughead's "scripts".
one of the few places where John K. is absolutely correct in his convictions is his opinions on animation 'writers'. with few exceptions, they simply don't undertsand the artform.