Poached from the TAG blog... thoughts?

From Steve H:

The Indecision is Over
... Let the employment begin!

Kevin beat me to the punch with this, but I post the news anyway:

After five weeks of negotiations, we have accepted employment as writers for Sit Down, Shut Up! under a new contract.
Though the program will be produced under the jurisdiction of IATSE Local 839, The Animation Guild (TAG), we have achieved Writers Guild of America (WGA) parity in key areas such as auditable residuals, new media, script fees, merchandising rights as well as a guarantee that these gains apply not only to ourselves but also to all future writers on the show.
We thank the WGA for its guidance and support during this process. We believe we’ve made a statement to the studios how important the standards of the WGA are to working writers. All animation writing -- television and features -- should be covered by the WGA.
This contract is a compromise: an improvement over the standard TAG terms we were initially offered, but not full WGA coverage. Compromises are never easy nor satisfying, always less comforting than a clear victory. We know that this is part of an ongoing struggle.
Reaching a deal will allow this program to move forward, providing jobs for many writers, animators, actors and production staff. Not every writer originally offered employment on Sit Down, Shut Up! has decided whether to return, and we understand and respect whatever decision they make. We remain hopeful that all animation writing will one day be covered by a WGA contract ...
As we say, negotiations are about leverage and momentum. It appears that nobody came away from this totally satisfied, but I'm happy that the writers made a deal that's acceptable to them. And I'm pleased ... no, delighted ... that a lot of folks are going to have work for a while.

Congratulations to everybody.

Posted by Steve Hulett at 7:36 PM
2 comments:

Kevin Koch said...
Wow, I'm amazed at the viciousness (and ignoranance) of the comments coming from fellow writers over at Deadline Hollywood Daily. The "Dirty Nine"?!? Ugly and uncalled for.
Wednesday, July 16, 2008 10:25:00 PM

FROM ME:
Agreed.

We can go back and forth on IATSE/TAG/WGA whatever until we're blue in the face, but minimums are minimums and you get what you negotiate.

These writers were in the middle of their own post-strike strike... What did they think was going to happen when they let go of their fight for prime time animation?

At the same time, I think TAG has a responsibility now to take what these writers negotiated and use it as a springboard to raise incomes across the board for TAG writers.

This was the last battle of the strike, and even though they weren't trying to, they won a victory for IATSE animation writers.

Will our union do something with that?

Apparently there ARE residuals on my work, and they cover more than just me.

...and I feel better knowing that.

(Here comes math. I prepare to be corrected.)

So... apparently, when I write a half hour script, and am paid $7500... management kicks in about $1750 per script into health care. Which means that as an IATSE covered union type, you get full health care for $3500 per year.

Good health care probably costs 5 times that.

What makes up the difference? You guessed it: Residuals that go to the union, not me.

So, going back to the root of all this - the "Greater Good" comment:

How do feel about the fact that freelancers, and people who work on daily call, and short-term employees that work on my productions get covered because of these residuals? Better than I would knowing that money was simply not being collected.

It doesn't mean I'm thrilled with all aspects of TAG, but it does give me some small peace of mind to know that monies being raised on my work, work which COULD NOT have existed without others working on (or fixing, depending on who's leading the discussion), does something for them as well.

Other writers reading this? Kevin? Steve H? Obligatory Angry anonymous guy? Am I right in my numbers?

And if so, why the hell didn't somebody say so 48 comments ago? :)

Obama as a metaphor

Nothing kicks the debate up to 11 like a talk about residuals, huh?

To Steve (and others): As I said, here and there, some of my venom has less venom right now, for a few reasons.

On a larger scale - I know that the 9 scripts I wrote the first season of Yin Yang Yo probably chunked enough hours into the pension to help cover the insurance of 7 additional workers. Not writers, workers.

Seriously, if that's how the hours work, I have to assume IA gets paid on my work and when I go "over" on my hours, that money goes somewhere.

And now I have to think - as a human being, as a person... as someone who makes money in a business that takes so many other people to make happen... is that bad? Am I going to be annoyed about that?

It's an election year. This year, I am voting AGAINST pocket book issues and voting for Barack Obama. (As long as we're mixing apples and oranges). Why? Personal reasons... but voting for Barack WILL affect my pocket book. My taxes WILL go up.

And I wonder: How is that different from my work in IA? Everybody talks about universal health care - that shit's gotta be paid for. Well, I think it's safe to say that at 7500 per six month period, IA health care is pretty much socialized medicine, and pretty much universal. You work in animation, chances are you're going to get it. You work for IA, chances are you're going to get it.

IA covers what - 100k people with health and benefits? I have to assume my hours help with that. So perhaps, on some of this, I have to put my ACTUAL money where my PHILOSPHICAL heart. Unlike every other union, IA is NOT a single issue union. They have writers (which I think they could do a better job servicing) but they have a lot more. Even TAG is not a single issue guild. They have writers (which I *know* they could service better).

We're part of a whole, whether we like it or not.

Which is why I'm starting to feel change needs to come from within, rather than waiting for any other union - or lack of one - to save the day.

Sit Down, Shut Up? Honestly... when it comes to my unions, I'm used to it.

So, yeah. There's this:

Writers take a stand over 'Sit Down'
Dispute highlights ongoing tension between unions

On Thursday, the writers for Sony Pictures TV's upcoming animated Fox series "Sit Down, Shut Up" walked off the show in pursuit of WGA representation.

The writers, who are members of the WGA, claimed that they were misled by Sony TV that they would be covered by the Writers Guild, while the studio had made arrangements with another union, IATSE.

The labor dispute highlights the ongoing tension between the two unions over jurisdiction in primetime animated series. The writers on all other animated Fox series, produced by 20th Century Fox TV, are represented by the WGA. (20th TV also co-produces "Sit Down," but Sony TV, which developed the comedy with studio-based writer Mitchell Hurwitz, is the lead production entity.)

Sony TV produces "Sit Down" through its animation division, Adelaide Prods.

Under IATSE, writers not only won't get new-media revenues and other terms the WGA negotiated with the studios during the strike, they also won't get paid residuals, a crucial safety net for scribes between jobs.

There's a bunch of other blah blah blah stuff in there - but it really boils down to this. The writers on this show are getting a taste of how little animation writers make under the IATSE contract. Or, to be fair, how little they make "in success." I'm sure their episodic rate was the same - it's the residuals and the back end that's lower than they're used to.

And by lower, I mean NONEXISTENT.

I'm torn here: Of course, I'm pulling for the writers, because in the end, all they're asking for is money "in success." But then, there's ambivalence, because I am not so foolish as to think it will affect anyone but these individual writers. Good for them, doesn't mean anything for the rest of us.

The WGA had a moment where they could have stood their ground for animation writers, and animation writing was one of the first things they folded on during the strike. No surprise, really. Animation writers (of my level, not of the Simpsons/Family Guy/King Of The Hill level) simply are not a large enough part of the WGA, and they weren't going to strike over us.

I get it.

Meanwhile, the same math works on IATSE. Non-writing union members call the shots. We're a small percentile (Steve? Got a number?) within the union that does represent us.

One doesn't want us. And one doesn't hear us. But they're both fighting loudly over us.

Thanks for the invite, guys, but I know you're only doing this to make the girl you love jealous. Call me when prom is over.

Who then, speaks for the animation writer?

It's been the topic of a lot of commentary:

"In order to make absolutely clear our commitment to bringing a speedy conclusion to negotiations, we have decided to withdraw our proposals on reality and animation. Our organizing efforts to achieve Guild representation in these genres for writers will continue. You will hear more about this in the next two weeks."

Me? I'm disappointed, not surprised. Forgive me if I don't clutch my heart over this.

So who represents animation writers?

Well, at least, for now, it's not the WGA. We're off the table again.

And as an animation script writer, I can say... I don't really think it'll ever be IATSE. We are a small voice in a gigantic union.

The IATSE contract is up in 18 months. Lets see how that all shakes out. Will IATSE use the WGA as a template in the same way IATSE wanted the WGA to use the DGA agreement?

Hell if I know.

If you're an animation person, and you want good representation, you're gonna have to find it, pick it, and pay for it.

For a lawyer to read your fine print and protect you.

For an agent to fight for you and you alone.

For an accountant, or a business manager, to help you save money and build your own pension.

And most importantly, for your own talent to shine bright enough that it can secure a future above minimums.

Because apparently, as of right now, I don't see a better option.

You'll notice, the guild didn't react.

A lot of people are reacting FOR the guild.

But the guild is running numbers. And the guild is rightly trying to figure out what this means for its members, not how it affects directors or what they look like in the media.

The very fact that CBS has to advertise "Big Brother 10 (or whatever)" as "Now that's good television" should say something. Maybe it is: If you're grading on a curve.

With awards shows coming and an actor's strike brewing, this is the perfect time for the WGA to make a decision as to whether this is a good deal, and negotiate from it... or to stand strong, and keep up the fight.

I don't have an opinion. I don't know the numbers.

I also don' t have an opinion, because I have a weekly paycheck. I am vested, and I am affected... but I am not suffering as others are, for this cause.

Everybody wants this over quickly. But for it to be over without meaning would mean it shouldn't have happened in the first place.

The WGA can take heart in the fact that any big gains given to the DGA were a direct result of the pressure the WGA put on the AMPTP in the first place. The gains given to the DGA, that they made that deal in six days, is proof that there was merit to the WGA argument... and the AMPTP gave in on some things but gave them to the DGA as a face saving measure.

The question now becomes... is it enough for the DGA? Would it be enough for SAG?

Interesting days.

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

IATSE vs. WGA, courtesy of Deadline Hollywood Daily

Click on this for the whole story....

http://www.deadlinehollywooddaily.com/bitchslapping-between-iatse-wga-why-tom-short-is-pissed-at-verrone-et-al/
And god bless Nikki Finke.

Bitchslapping Between IATSE & WGA: Why Tom Short Is Pissed At Verrone Et Al

...But comment about the following here:

Sources tells me that Short's furious letter sent on Tuesday was prompted by a Los Angeles Times profile on Dave Young that ran the day before and one quote in particular from the WGA chief negotiator -- "Much to his delight, the 48-year-old labor leader says he himself was treated like 'a rock star' last week at a host of rallies and pickets that he orchestrated all over Los Angeles and New York."

A source close to Short tells me he objected not just to Young's choice of words, but more to Young's seeming enjoyment of his new-found notoriety while IATSE members were thrown out of work. Young, for those not in the know, is not a Hollywood writer; he has been a union organizer of garment workers, carpenters and construction laborers.

Here is what Short says specifically about Young in his latest letter: "As the motion picture and television industry looks at the possible cost of over $1 billion and the loss of hundreds of thousands of jobs, your executive director David Young is quoted in the Los Angeles Times as delighted he's being treated 'like a rock star' at rallies and says, 'I just lay back and look at the havoc I've wreaked... I'm not going to apologize for that.' This is hardly the point of view of a responsible labor leader, someone dedicated to the preservation of an industry that has supported the economies of several major cities for decades.

Short ended his letter on a somewhat concilatory note -- "it's time to put egos aside and recognize how crucial it is to get everyone back to work, before there is irreversible damage from which this industry can never recover." But it still begs the question why Short isn't also bitchslapping the AMPTP which, after all, is the side now refusing to enter back into settlement negotiations with the WGA. (For details, see my LA Weekly column, Deals, Lies & Backchannels.)

"That's a good question, a really good question," a source close to Short told me today.

Also today, Verrone wrote the following missive in response to Short's letter: "As I’m sure you know, for every four cents writers receive in theatrical residuals, directors receive four cents, actors receive 12 cents,and the members of your union receive 20 cents in contributions to their health fund. To put it simply, our fight should be your fight. We’ve received support from the Teamsters, the actors, many IATSE members, and unions throughout the world.

We animation folk are an honest lot.

So, to start the story, Jack Thomas put the "over under" at $150.

To reserve the Gordon Biersch, I had to slap my credit card down and guarantee a certain amount of boozing and dining would happen. $700 worth, to be exact. I figured, with 80 people RSVPing, that wouldn't be an issue.

But when I arrived at Biersch, they informed me there would be one check for everyone -- which put me in the position: Trust my animation brothers and sisters to chip in on appropriate levels, or raise a stink.

I trusted my kinfolk.

So the evening starts at 6:20 - I get there early to connect with the Biersch folk - and run into Stan Berkowitz and his lovely wife. Word was spread: Anything not paid for becomes the responsibility of Marmel Dynamics (My loan out company), and a small wicker basket was placed out for people to toss what they felt they drank, ate or whatever into it.

Like Church, I suppose, but with funnier people.

Here's the math.

The bill was 849.00, not counting monies paid via credit card.

I probably enjoyed about 40 bucks of food and drink, two people who work on the same floor as me at Frank G. Wells promised another 40 between the two of them, I paid $7 to the nice valet people and I picked up the tab of the nice lady from the WGA who came out to meet animation professionals.

That means I needed to pick up $742 in cash to break even. I picked up, I shit you not, $723.

The pot was off by 19 bucks. I can live with this.

So while everyone is arguing about money, and a bunch of animation professionals converged on Gordon Biersch to eat, drink and be curmudgeony... everyone was talking about residuals and strikes...

...everyone had a good time and pitched in their fair share.

I know things are more complicated than that.

But then again, maybe it's as simple as that as well.

Thanks for not sticking me with the tab, guys. See you all in three or four months.

:)

- Steve