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So uh...Hollywood Writer's Strike anyone?

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xsarien said:
There have GOT to be better Disney targets in the bay area than the one that sells overpriced tchotchkes to unsuspecting tourists and frantic parents (seriously, do you think the employees inside are going to be able to do anything other than get slightly annoyed?). I seem to recall a certain studio over in Emeryville that's part of the Mousehaus...
I don't decide where to picket, I just show up. As for Pixar, animation is not covered by the WGA and in any case who would notice if anybody picketed on the weekend outside Pixar, which is kinda in the middle of nowhere? I suspect the Disney store was selected because Union Square on a holiday shopping weekend guarantees a ton of exposure to the passing public and provides something more interesting for the media to cover.
 
Future said:
Bullshit. All star casts are jack shit without quality writing. If your logic was anywhere close to being correct, then pretty much any media with good actors is guaranteed to sell well.

Writers are just as responsible for what makes people want to rewatch programs (buy on dvd or iTunes) then the actors and producers that put the ensemble together. They deserve a cut of the pie. They already get residuals for reruns on tv, what sense does it make to not get them from a diferent style of rerun on different media. This is just a case of production studios finding a way to make even more money for themselves and leaving everyone else out.


To a degree, you're right: You have to have the content in order for the eye candy to deliver it to the masses.

But that's where we've got a problem.

How many times has a show failed, even though reviewers were giving it RAVE reviews on how well written it was, how great the actors were, but it still failed? But you take a poorly written/acted show, but put in some eye candy (re: Good lookin' folks) and it does FAR better. Or the times that the "pretty people" who can act, were able to take mediocre scripts and turn it into gold?

The facts are this: Writers put the words into the actors and actresses mouths. This is known to us. But unless you can look the part and talk the part, the best well written 1/3 of the element is meaningless. You can take average material and put it in the hands of pretty people, who can act averagely, but it can do well. The same cannot be said if the best stuff is given to the ugliest and most untalented people.
 
Dilemma for Golden Globes as strike persists

By Steven Zeitchik

NEW YORK (Hollywood Reporter) - The Golden Globes could become a forum for celebrities to speak out against the TV networks and studios if the Hollywood writers strike is not settled by the January 13 ceremony.

The Hollywood Foreign Press Assn. (HFPA), which will unveil nominees early on Thursday, is hoping the Writers Guild of America (WGA) will grant it a waiver to employ union members to compose sparkling one-liners for one of the biggest nights on the industry calendar.

If the WGA rejects the appeal, many nominees might choose to stay at home for the NBC broadcast, and viewers might in turn choose another channel.

So the HFPA is considering pitching the show to talent as a platform to stand in solidarity with writers -- a move that could turn the podium and red carpet at the Beverly Hilton into a de facto picket line.

The HFPA, of course, is hoping for a full waiver that would allow the Globes to go on as normal. An HFPA official said he couldn't comment on nonwaiver plans, saying only, "We are exploring all possibilities." A spokesman for Dick Clark Prods., which is producing the broadcast, declined comment.

The group would need to be careful, making sure its pitches don't appear insensitive to the WGA or the strike. And, even with the speak-for-the-strike incentive, many actors might not feel uncomfortable participating in a ceremony broadcast on a network targeted by striking writers.

And NBC might not feel comfortable allowing itself to be bashed by celebrities. The network declined comment on the matter.

Without a designated host and with few scripted tributes and monologues, the Globes relies less on writing than other awards shows. Most experts believe a Globes could be staged that didn't feel substantially different from a typical broadcast -- providing that talent

A talent-light show's effect on viewership could be significant. The 1980 Emmy Awards, which also was affected by a writers strike, suffered a 30% slide in viewership.

Reuters/Hollywood Reporter

http://www.reuters.com/article/industryNews/idUSN1216232920071213

There's even a suggestion out there that the show could be canceled, though I'm not sure they'll go that far. Still, could be interesting.
 
DiatribeEQ said:
How many times has a show failed, even though reviewers were giving it RAVE reviews on how well written it was, how great the actors were, but it still failed? But you take a poorly written/acted show, but put in some eye candy (re: Good lookin' folks) and it does FAR better.
This is a pretty stupid generalization. It can and does go both ways. Well-written shows can succeed because of writing. Poorly written shows can fail despite attractive cast members. A project doesn't have to have great writing to succeed, but it doesn't have to have great directing or acting either.
 
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Gary Whitta said:
I don't decide where to picket, I just show up. As for Pixar, animation is not covered by the WGA and in any case who would notice if anybody picketed on the weekend outside Pixar, which is kinda in the middle of nowhere? I suspect the Disney store was selected because Union Square on a holiday shopping weekend guarantees a ton of exposure to the passing public and provides something more interesting for the media to cover.

:lol That's half a block from me.
 
i see this going down like this

in the spring a deal will be made

roughly 20% of current writers will get axed

studios will be requiring a full season's worth of scripts before going into production

this is not to say im against the writers, i understand their cause and im fairly mutual on the issue
 
border said:
This is a pretty stupid generalization. It can and does go both ways. Well-written shows can succeed because of writing. Poorly written shows can fail despite attractive cast members. A project doesn't have to have great writing to succeed, but it doesn't have to have great directing or acting either.


Really? Explain the success of Baywatch then? Was the it the compelling storylines that drew you in each and every show?

Or was it something else?

Seriously, here's what "Joe Average" looks for when they turn a new TV show on for the 1st time:

1) Do the characters on screen appeal to me? (i.e. are they worth even LOOKING at?)

2) Is the content even anything I'm interested in? (some folks hate Crime Dramas and wouldn't watch one to save their souls. Same goes for Romantic Comedies)

3) Are the shows giving me a reason to keep watching, week after week? (i.e. Are the stories entertaining enough to keep watching?)

See where "Well written, well thought out scripts is in "Joe Average's" mind? It's not what gets them there. It can be what can *keep* them there, but until the 1st two criteria are met, your writing skills get you no where. NO WHERE.
 
GodfatherX said:
i see this going down like this

in the spring a deal will be made

roughly 20% of current writers will get axed

studios will be requiring a full season's worth of scripts before going into production

this is not to say im against the writers, i understand their cause and im fairly mutual on the issue
I don't understand your predictions. At any given time, 50% of the members of the WGA are unemployed. It's not like most writers have steady jobs, they generally get contracted on a project by project basis. 20% of them getting "axed" really doesn't make sense in that context.

And as for the studios requiring a full season's worth of scrips before production, well, studios could always do that. They choose to not order that many scrips, in order to cut costs in case the series is a dud. I'm sure the writers would be thrilled if any green lit series was guaranteed at least 22 scripts.
 
From the Reuters article:

The Hollywood Foreign Press Assn. (HFPA), which will unveil nominees early on Thursday, is hoping the Writers Guild of America (WGA) will grant it a waiver to employ union members to compose sparkling one-liners for one of the biggest nights on the industry calendar.

Why the fuck would the WGA relent in its strike to allow its writers to help with the Golden Globes? Am I missing something?
 
Yeah? Well I wrote Wikipedia.

All of it.

Nuh uh. I definitely wrote the bit about the sexual prowess of the domestic pot belly pig.




Anyway, the golden globe thing is great, I'd be much MORE likely to watch it knowing that all the stars and hosts have to make up their own lines. Sounds Hilarious. In fact, lets do all the TV shows like that, Kiefer can easily shoot the season of 24 just by getting drunk and shouting rude lymerics at 'terrorists'

Drama may suffer, but comedy would benefit greatly.
 
Ghost said:
Nuh uh. I definitely wrote the bit about the sexual prowess of the domestic pot belly pig.




Anyway, the golden globe thing is great, I'd be much MORE likely to watch it knowing that all the stars and hosts have to make up their own lines. Sounds Hilarious. In fact, lets do all the TV shows like that, Kiefer can easily shoot the season of 24 just by getting drunk and shouting rude lymerics at 'terrorists'

Drama may suffer, but comedy would benefit greatly.
Indeed, we might get something like this: http://youtube.com/watch?v=2IugKepxOyY
/viral marketer
 
All this points to just one of the many reasons why I don't watch that much TV anymore Sure, there's the occassional TV program I'll watch (mostly when it comes out on DVD), but still, when I can liken the WGA strike to the sports strikes (and my disgust for both), then it simply lessens my desire to be a part of it all.
 
Finke says the WGA will grant Letterman a waiver on Monday allowing him to return and Leno/Conan will return by Jan 7 but no deal so far.

http://www.nytimes.com/2007/12/15/business/media/15cnd-letterman.html?_r=1&ref=arts&oref=slogin

In what may be the first break in the Hollywood writers' strike, David Letterman is pursuing a deal with the Writers Guild of America that would allow his late-night show on CBS to return to the air in early January with the usual complement of material from his writers, even if the strike is still continuing.

Executives from Mr. Letterman's company said Saturday that they are hopeful they will have an interim agreement in place with the guild as early as this week. That could potentially put Mr. Letterman at an enormous advantage over most of his late-night colleagues.

Jon Stewart of Comedy Central's "Daily Show" has also been urging an interim agreement and would begin working toward getting one in place the first thing Monday morning, according to a representative. But Mr. Letterman is in a stronger position because, unlike Mr. Stewart, his show is not owned by a network but by Mr. Letterman's independent production company, World Wide Pants. (So is the show that follows it on CBS, "The Late Late Show with Craig Ferguson," which would return with writers under the proposed interim agreement.)

The news of Mr. Letterman's potential deal came at the same time the union took a new tack that could potentially throw the negotiations into procedural chaos. The writers' representatives said they planned on Monday to exercise a legal right to insist that the major studios and network production companies bargain with the guild individually rather than as a group.

In a letter sent to members on Saturday, negotiators for the Writers Guild of America East and the Writers Guild of America West said: "Each signatory employer is required to bargain with us individually if we make a legal demand that it do so. We will make this demand on Monday."

The writers' move was aimed at breaking what has been, at least in public, a united front by a small number of media conglomerates — General Electric, News Corporation, Sony, Time Warner, The Walt Disney Company, Viacom and CBS — whose entertainment units dominate the Alliance of Motion Picture and Television Producers, an industry bargaining group.

In a statement, the producers alliance immedately dismissed the move as "grasping for straws." J. Nicholas Counter III, president of the the alliance, said in an interview that his group remains the bargaining agent for each of the represented companies, whether they proceed individually or together.

The alliance "represents all the companies both individually and on a multi-employer basis," Mr. Counter said. In all, about 350 production companies are represented by the alliance, whose stance is controlled by representatives of the big corporations.

Even if forced to bargain separately — and representatives from both sides said they expected the unions' position to be challenged — the companies would remain free to deal through the alliance and would be permitted to let other companies monitor their separate talks, allowing them to remain on common ground.

Since the alliance was formed in 1982, no Hollywood union has tried to force individual bargaining across the board. But Anthony R. Segall, general counsel for the West Coast guild, pointed out that interim contracts with various companies have been reached during prior walkouts. Such contracts, said Mr. Segall, typically use "most favored nation" arrangements that promise signers final terms as at least favorable as those signed by any other company.

No agreement had been reached with Mr. Letterman's proposal as of late Saturday afternoon, according to both Mr. Segall and reprentatives of Mr. Letterman's company. Rob Burnett, the chief executive of World Wide Pants, said in a statement, "Because we are an independent production company, we are able to pursue an interim agreement with the Guild without involving CBS in that pursuit." He said the company had been seeking a separate deal with the Guild since the start of the strike, adding, "We're happy that the Guild has now adopted an approach that might make this possible."

All of television's late-night shows have been off the air for six weeks since the strike was called. The hosts have been paying the salaries of their non-writing staffs over the past several weeks.

The hosts have been debating when they might be able to return and it has been expected that at least the two chief NBC late-night stars, Jay Leno and Conan O'Brien — both of whom are the longtime ratings leaders in their time periods — would announce early Monday a plan to come back, probably on Jan. 2.

It is expected that any interim agreement with World Wide Pants would bind the company to accepting whatever terms are finally agreed to when the writers and studios settle the strike. CBS executives have been aware of Mr. Letterman’s efforts, said Chris Ender, a corporate spokesman for the network. He said in a statement that CBS respected Mr. Letterman’s attempt to secure the interim agreement but emphasized that CBS remained unified with the producers in their negotiations with the Guild.
 
It good to see Conan back, but how about Daily show/Colbert report???? can they a wavier too?

Edit: NVM forgot to read this...
Jon Stewart of Comedy Central's "Daily Show" has also been urging an interim agreement and would begin working toward getting one in place the first thing Monday morning, according to a representative
 
I'm missing something. What's in it for the WGA to give waivers for some of these shows?
 
I'm missing something. What's in it for the WGA to give waivers for some of these shows?

Well, the WGA breaking up the unity of the producer's alliance would be fucking huge and completely upset the current balance of power in this conflict, for one.
 
DiatribeEQ said:
1) Do the characters on screen appeal to me? (i.e. are they worth even LOOKING at?)

2) Is the content even anything I'm interested in? (some folks hate Crime Dramas and wouldn't watch one to save their souls. Same goes for Romantic Comedies)

3) Are the shows giving me a reason to keep watching, week after week? (i.e. Are the stories entertaining enough to keep watching?)

See where "Well written, well thought out scripts is in "Joe Average's" mind? It's not what gets them there. It can be what can *keep* them there, but until the 1st two criteria are met, your writing skills get you no where. NO WHERE.
:lol :lol :lol

You don't think the writers have anything to do with "appealing characters," "content," and "entertaining stories," of all things?

Characters are like. . . the first thing you think about when you start writing in many cases.
 
DiatribeEQ said:
1) Do the characters on screen appeal to me? (i.e. are they worth even LOOKING at?)

2) Is the content even anything I'm interested in? (some folks hate Crime Dramas and wouldn't watch one to save their souls. Same goes for Romantic Comedies)

3) Are the shows giving me a reason to keep watching, week after week? (i.e. Are the stories entertaining enough to keep watching?)

Wow, good thing the Story-makers and Content-creaters Guild of America didn't strike. Then we'd REALLY be in trouble.
 
Trident said:
Wow, good thing the Story-makers and Content-creaters Guild of America didn't strike. Then we'd REALLY be in trouble.
I wanted to go for an answer like that in my response, but I just didn't have the skill.
 
Inflammable Slinky said:
Well, the WGA breaking up the unity of the producer's alliance would be fucking huge and completely upset the current balance of power in this conflict, for one.
That, and brining guys like Stewart/Letterman back WITH their writers almost guarantees them covering the strike in some ways, too. Any coverage they can get on TV is good.
 
Inflammable Slinky said:
Well, the WGA breaking up the unity of the producer's alliance would be fucking huge and completely upset the current balance of power in this conflict, for one.
But if the binding agreement is just that the corporations would have to agree to the eventual resolution, that doesn't stop them from continuing to fight to prevent the writers from getting higher residuals.

Maybe there's a hope that they'll have the strike, but that's all I can see as a benefit to the guild as a whole, and not just to a couple dozen specific writers.
 
Forcing individual bargaining is a pretty genius move by the writers... it really places the big companies who hold out at a disadvantage.
 
thefro said:
Forcing individual bargaining is a pretty genius move by the writers... it really places the big companies who hold out at a disadvantage.

Ironic, since the union, by design, is anti-individual bargaining:P
 
Stoney Mason said:
http://latimesblogs.latimes.com/showtracker/2007/12/leno-and-obrien.html

I think this is covered above but anyway what do people think about Leno and Conan coming back? Seems like it undermines the writers.
In a statement, O’Brien acknowledged that “[a]n unwritten version of ‘Late Night,’ though not desirable, is possible — and no one has to be fired. So, it is only after a great deal of thought that I have decided to go back on the air on January 2nd,” he said.

“I will make clear, on the program, my support for the writers,” he continued. “Of course, my show will not be as good. In fact, in moments it may very well be terrible. My sincerest hope is that all of my writers are back soon, working under a contract that provides them everything they deserve.”
A talk-show host, on the air, nearly every day, showing his support for the writers would help a great deal in getting audiences behind the writers' opinion.

Right now, a lot of support is coming just from the internet, with only a few shows off the air due to the strike (The Office and talk shows).
 
Thomper said:
Right now, a lot of support is coming just from the internet, with only a few shows off the air due to the strike (The Office and talk shows).

It's a bad time for a strike if the WGA hopes to get public support, as most people probably think that shows like The Office and House are only taking their usual winter break, as opposed to an indefinite one.
 
Thomper said:
A talk-show host, on the air, nearly every day, showing his support for the writers would help a great deal in getting audiences behind the writers' opinion.

Right now, a lot of support is coming just from the internet, with only a few shows off the air due to the strike (The Office and talk shows).
How exactly is that going to work? Conan will just do a bunch of "uncredited" writing? Surely he doesn't mean the whole show is going to be improv. . .
 
Blader5489 said:
It's a bad time for a strike if the WGA hopes to get public support, as most people probably think that shows like The Office and House are only taking their usual winter break, as opposed to an indefinite one.
That's why Conan/Leno coming back should be really helpful. The fact that Heroes ended way earlier might also have helped, and after Grey's/House/etc. remaining few episodes run out, the studios won't be able to hold out much longer. Or so I hope.

There's still some House episodes after the winter break, by the way.
 
Justin Bailey said:
How exactly is that going to work? Conan will just do a bunch of "uncredited" writing? Surely he doesn't mean the whole show is going to be improv. . .

Probably more interviews and takes, like how a radio talk show host does things.
 
Justin Bailey said:
How exactly is that going to work? Conan will just do a bunch of "uncredited" writing? Surely he doesn't mean the whole show is going to be improv. . .

The grips will now be writing the jokes. A lot of comedy on how the cameras operate now I'm guessing...
 
Justin Bailey said:
How exactly is that going to work? Conan will just do a bunch of "uncredited" writing? Surely he doesn't mean the whole show is going to be improv. . .
He could just do interviews, and while doing the interviews make jokes about how the interview is going worse because he doesn't have any writers. Or something like that, whatever.
 
Leno without writers will be a fun trainwreck to watch.
Conan, on the other hand, will be incredible to watch. I wonder if Conan's lost anything over the years - we all know he was one of the sharpest comedy writers around before he helmed his show. I assume he'll be writing himself a lot of material for when he goes back on the air.

I wonder how much this is weighing on Conan's conscience considering he used to be the one in the trenches fighting for his lifebread. I wonder if he's become a suit?
 
I don't think you'll see a constant barrage of pro-writer stuff from them, maybe a slip or two. At the end of the day, they've built careers based around themselves, at least in a public light. The last thing they'll do is admit that they're just a front for writers in a room.
 
Yeah interviews, it just seems a little sketch. Even interviews usually have some sort of scripting to them. It'll be interesting to see how he pulls it off without pissing off a bunch of people.
 
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