Writer and actors on STRIKE. Most main stream TV and Movies come to a stand still

[kook10]

One of the big issues is the short term contracts writers now sign to be part of the writers room. Most shows use them now. I will use NCIS as an example. One of the writers for that show gave an interview, where he had a 8 week contract to write for the show but he saw some of his ideas appear over 15 episodes. Some shows still pay per script but more and more use the writer rooms with short term contracts.

The contracts usually only lay out minimum guarantees, but often go beyond it. There are different scale rates depending on how long of a guarantee is given. The longer you go, the lower the rate. The breaks are Week-to-Week/6 Wks(which is same as week to week)/14 Wks/20 Wks/40 Wks. Often in the mini rooms they are engaged at the highest rate because they don't know how long they'll go (or how productive they'll be). For the most junior writers (Staff Writers) that 8 weeks would be roughly $40k. For Writer/Producers, it would be $80k and up. (8 weeks sounds like an engagement only to get 1-2 scripts and a season outline.)

I haven't heard of anybody only getting paid per script for TV, unless it is just the first episode of something that was written on spec?

The WGA has a clear credit determination procedure, so who gets paid for scripts isn't really up to the studios. One of the new things supposedly already agreed to is that Staff Writers will now get script payments. To date, everyone in the writers rooms except for Staff Writers got paid for script fees. For them, it was considered a work-for-hire. That was part of the agreement. now it is assumed that even the little guys will get script fees if they write them @~$42k per for network prime time.

 

[Jumptheshark]

The contracts usually only lay out minimum guarantees, but often go beyond it. There are different scale rates depending on how long of a guarantee is given. The longer you go, the lower the rate. The breaks are Week-to-Week/6 Wks(which is same as week to week)/14 Wks/20 Wks/40 Wks. Often in the mini rooms they are engaged at the highest rate because they don't know how long they'll go (or how productive they'll be). For the most junior writers (Staff Writers) that 8 weeks would be roughly $40k. For Writer/Producers, it would be $80k and up. (8 weeks sounds like an engagement only to get 1-2 scripts and a season outline.)

I haven't heard of anybody only getting paid per script for TV, unless it is just the first episode of something that was written on spec?

The WGA has a clear credit determination procedure, so who gets paid for scripts isn't really up to the studios. One of the new things supposedly already agreed to is that Staff Writers will now get script payments. To date, everyone in the writers rooms except for Staff Writers got paid for script fees. For them, it was considered a work-for-hire. That was part of the agreement. now it is assumed that even the little guys will get script fees if they write them @~$42k per for network prime time.

for years it payment per script. This was before the writer rooms were created. Writer rooms were created to prevent writers from working on multiple shows at the same time.

As for who gets credit for scripts--I suggest you look at aaron sorkin on the west wing and how he pissed off so many writers by how he handled the show. This was one reason why NBC sacked him(there were a lot)

 

[kook10]

for years it payment per script. This was before the writer rooms were created. Writer rooms were created to prevent writers from working on multiple shows at the same time.

As for who gets credit for scripts--I suggest you look at aaron sorkin on the west wing and how he pissed off so many writers by how he handled the show. This was one reason why NBC sacked him(there were a lot)

You mean in the 70s?

Sure there is internal politics to the script crediting within the room, but that isn't a studio/writers script issue. That is a toxic showrunner and an issue with the wga itself.

 

[Jussi]

 

[Jussi]

Kris Carr, who is a SAG member, said on John Campea's podcast that it's very likely that SAG will begin their strike on the 13th.

 

[Jussi]

Ryan Murphy, With 3 Shows in Production, Threatens to Sue Writers Guild Strike Captain (Exclusive)

A WGA leadership memo notes the threatened litigation prompted showrunner Warren Leight to step back from captaining duties and also implored members: "Our foe in this fight is not other members, it is the AMPTP. If we turn on each other, the AMPTP wins."

www.hollywoodreporter.com

 

[BostonBob]

Just finished a ZOOM meeting with my BG Agency and the word is things here in Vancouver will stay really quiet until mid-August at the earliest. They seem pretty confident that it will be extremely busy from that point until at least January or February 2025. But I have a bad feeling that for me this will be 2020 all over again - back then I was working as Vincent D'Onofrio's Stand-In on this film called " The Unforgivable " and had about 45 days left on that show until COVID hit and everything screeched to a stop. I also had a bunch of work lined up starting in May ( including a nice 9 day acting job as a lawyer on this film with Timothy Olyphant ) which never happened. Unfortunately once the COVID restrictions finally lifted a lot of the work that I had lined up ( including the Olyphant project ) either stayed in LA for filming due to all the Quarantine Restrictions on anybody coming into Canada or else just got scrapped all together.

 

[kook10]

Just finished a ZOOM meeting with my BG Agency and the word is things here in Vancouver will stay really quiet until mid-August at the earliest. They seem pretty confident that it will be extremely busy from that point until at least January or February 2025. But I have a bad feeling that for me this will be 2020 all over again - back then I was working as Vincent D'Onofrio's Stand-In on this film called " The Unforgivable " and had about 45 days left on that show until COVID hit and everything screeched to a stop. I also had a bunch of work lined up starting in May ( including a nice 9 day acting job as a lawyer on this film with Timothy Olyphant ) which never happened. Unfortunately once the COVID restrictions finally lifted a lot of the work that I had lined up ( including the Olyphant project ) either stayed in LA for filming due to all the Quarantine Restrictions on anybody coming into Canada or else just got scrapped all together.

I expect it will get busy up there. The exchange rate is favorable. LA is very tax incentive dependent, especially since budgets are going down.

 

[Jumptheshark]

I expect it will get busy up there. The exchange rate is favorable. LA is very tax incentive dependent, especially since budgets are going down.

Since the CW has pulled out things have been tight in Vancouver. Most of my friends in the industry have move to Toronto or Geogia. Vancouver is still getting stuff, but not the constant huge productions they had before.

BostonBob may disagree, but for some strange reason US politicians/ states have gone out of their way to take production away from BC. BUT leaving TO alone.

 

[NyQuil]

Oddly enough, Ottawa has become a bit of a hotbed over the last few years but only for Hallmark Christmas movies.

They filmed one on my street and another one near my office.

 

[kook10]

Since the CW has pulled out things have been tight in Vancouver. Most of my friends in the industry have move to Toronto or Geogia. Vancouver is still getting stuff, but not the constant huge productions they had before.

BostonBob may disagree, but for some strange reason US politicians/ states have gone out of their way to take production away from BC. BUT leaving TO alone.

TO is unique as a direct substitute for NYC and can accommodate a producing team/key creatives from there.

Those constant productions in GA in particular have driven the prices up. Crews won't work for scale there, so in some sense they've made themselves a little less competitive for non-franchise productions. BC is marginally cheaper than GA or TO and has a good crew base (as opposed to even cheaper locations like Puerto Rico, Calgary, Montreal, Tennessee, Carolinas) so it is still very much an attractive option. Some of the smaller incentive programs just don't have the crew to support production and you end up having travel and house people which offsets the benefit (and often makes for a real shit show too). And again, the exchange rate helps a whole lot and is considerably more favorable than the pandemic depths.

I don't think that the politicians have aimed at BC in particular, but have rather just built into their incentives special consideration for relocating shows (most often moving shows back to LA from NY or GA). The thing with CA is that its almost like a lottery to get the incentive for a new production, so usually scenarios are run for multiple locations assuming you won't get it.

 

[Jumptheshark]

TO is unique as a direct substitute for NYC and can accommodate a producing team/key creatives from there.

Those constant productions in GA in particular have driven the prices up. Crews won't work for scale there, so in some sense they've made themselves a little less competitive for non-franchise productions. BC is marginally cheaper than GA or TO and has a good crew base (as opposed to even cheaper locations like Puerto Rico, Calgary, Montreal, Tennessee, Carolinas) so it is still very much an attractive option. Some of the smaller incentive programs just don't have the crew to support production and you end up having travel and house people which offsets the benefit (and often makes for a real shit show too). And again, the exchange rate helps a whole lot and is considerably more favorable than the pandemic depths.

I don't think that the politicians have aimed at BC in particular, but have rather just built into their incentives special consideration for relocating shows (most often moving shows back to LA from NY or GA). The thing with CA is that its almost like a lottery to get the incentive for a new production, so usually scenarios are run for multiple locations assuming you won't get it.

they have aimed at BC. Obvious politics is a dangerous topic around here. The former US administration tweaked a few laws and rules and with all the mergers going on, the main one being Amazon and MGM. The merger got passed due to written agreement on where TV and movies where being filmed. New filming and not ones already in the pipeline. During the governments concern about the loss of US job, BC was brought up a lot--not TO but just BC. In late 2018 or 19, Amazon had about 10 shoots planned in BC over the next 4 years. As far as I am aware, only 2 went forward and the rest were moved. I know NETFLIX has started filming a lot in Vancouver--I think they have 7 TV shows either being shot or prepped at last count.

What I am waiting for is the official green light to a new Stargate series. There was a clause in the original contracts that due to how much money and taxbreaks the original production got, that all new stargate series were to be filmed in BC. For about 3 months, all evidence indicate that a new series is coming but part of the hold up is getting out of the old contracts and this does lead to the WGA strike. Many US productions were filmed under a "Canadian Umbrella" for production and had knock on affects for long term royalties in actors, writers, producers and directors. I believe the producers and directors have closed that loophole and now the writers and actors are trying to close the loophole. When I worked in Vancouver in the late 90's, I worked on some productions and was part of the organization that arranged the first LEOS in 1999. There has always been political BS when movies and tv shows filmed in BC. More than in TO or even Alberta in some cases. When the strike is over, it will be interesting to see how many shows the CW, CBS, ABC, FOX and NBC are filmed in BC beyond the pilot stage. I think we will be seeing more independent movies and syndicated shows filmed in Vancouver and Netflix of course. But a sharp reduction in major productions.

 

[kook10]

they have aimed at BC. Obvious politics is a dangerous topic around here. The former US administration tweaked a few laws and rules and with all the mergers going on, the main one being Amazon and MGM. The merger got passed due to written agreement on where TV and movies where being filmed. New filming and not ones already in the pipeline. During the governments concern about the loss of US job, BC was brought up a lot--not TO but just BC. In late 2018 or 19, Amazon had about 10 shoots planned in BC over the next 4 years. As far as I am aware, only 2 went forward and the rest were moved. I know NETFLIX has started filming a lot in Vancouver--I think they have 7 TV shows either being shot or prepped at last count.

What I am waiting for is the official green light to a new Stargate series. There was a clause in the original contracts that due to how much money and taxbreaks the original production got, that all new stargate series were to be filmed in BC. For about 3 months, all evidence indicate that a new series is coming but part of the hold up is getting out of the old contracts and this does lead to the WGA strike. Many US productions were filmed under a "Canadian Umbrella" for production and had knock on affects for long term royalties in actors, writers, producers and directors. I believe the producers and directors have closed that loophole and now the writers and actors are trying to close the loophole. When I worked in Vancouver in the late 90's, I worked on some productions and was part of the organization that arranged the first LEOS in 1999. There has always been political BS when movies and tv shows filmed in BC. More than in TO or even Alberta in some cases. When the strike is over, it will be interesting to see how many shows the CW, CBS, ABC, FOX and NBC are filmed in BC beyond the pilot stage. I think we will be seeing more independent movies and syndicated shows filmed in Vancouver and Netflix of course. But a sharp reduction in major productions.

That does make sense from the merger regulation perspective. On a (TV) show by show basis, there is usually little wiggle room on incentives . Incentive legislation usually lays out the terms of minimum spend & incentive caps pretty clearly. Definitely the incentive/production planning team interface with film offices, but only in smaller jurisdictions can they negotiate much (with high profile projects) because that usually has to run through legislators, and often it is in the context of exceptions of some of the terms of existing legislation (bringing in outside crew etc). I currently work for a major studio budgeting TV shows in development/pre-production. Our department keeps apples to apples tabs on 15-20 jurisdictions.

Without a doubt Canadian production has been hit by the pandemic much harder, with immigration issues (did UBCP accept the main IATSE return to work protocols at the same time?). The "Canadian Umbrella" companies are generally speaking just flow-through entities used as signatories for the local unions, but I don't think affect the royalty scheme. The contracts are dictated by the first run outlets of the production (that is - where was it aired first or within 1 year). I've worked on some productions that were initially started for basic cable but ended up being bought out by Netflix and the terms all convert over.

I would guess Stargate would be held up for practical scheduling issues that affect the budget and therefore the incentive. I don't know BC cold, but incentives are usually provisionally approved and there is a time component to them (principal photography needs to be completed within xxx), so when you push a production the budgets change and you have to do it again. Mostly they will work with you, but sometimes metrics change and that would cause you to lose your spot (% of local spend and what not) because some jurisdictions prioritize productions with the most local benefit.

 

[archangel2]

That does make sense from the merger regulation perspective. On a (TV) show by show basis, there is usually little wiggle room on incentives . Incentive legislation usually lays out the terms of minimum spend & incentive caps pretty clearly. Definitely the incentive/production planning team interface with film offices, but only in smaller jurisdictions can they negotiate much (with high profile projects) because that usually has to run through legislators, and often it is in the context of exceptions of some of the terms of existing legislation (bringing in outside crew etc). I currently work for a major studio budgeting TV shows in development/pre-production. Our department keeps apples to apples tabs on 15-20 jurisdictions.

Without a doubt Canadian production has been hit by the pandemic much harder, with immigration issues (did UMBC accept the main IATSE return to work protocols at the same time?). The "Canadian Umbrella" companies are generally speaking just flow-through entities used as signatories for the local unions, but I don't think affect the royalty scheme. The contracts are dictated by the first run outlets of the production (that is - where was it aired first or within 1 year). I've worked on some productions that were initially started for basic cable but ended up being bought out by Netflix and the terms all convert over.

I would guess Stargate would be held up for practical scheduling issues that affect the budget and therefore the incentive. I don't know BC cold, but incentives are usually provisionally approved and there is a time component to them (principal photography needs to be completed within xxx), so when you push a production the budgets change and you have to do it again. Mostly they will work with you, but sometimes metrics change and that would cause you to lose your spot (% of local spend and what not) because some jurisdictions prioritize productions with the most local benefit.

I work at UBC and usually starting in May/April, many students find jobs working on productions during the summer break and even before the pandemic there were fewer and fewer jobs for them. There was a program run to help them find jobs that was underwritten by the government as part of the tax breaks the shows received. Part of Economics program keeps track of all shooting in BC and even before the pandemic, they noticed a decline in bigger budget productions in BC but an increase in smaller movies and movies of the week. They also track production houses in BC and have noticed a sharp decline over independently run offices(IE only working on one production) and an increase of joint ventures(which is not unusually. Supernatural and Legends of Tomorrow shared production offices and staff, But they were the same company) Now you have different, larger companies sharing offices. Which was unusual. I know of several tv shows that when announced. were suppose to shoot in BC. Black Lightening and stargirl being the big two. Both had opened production offices in Gastown and then over night they closed and moved down south.

 

[kook10]

I work at UBC and usually starting in May/April, many students find jobs working on productions during the summer break and even before the pandemic there were fewer and fewer jobs for them. There was a program run to help them find jobs that was underwritten by the government as part of the tax breaks the shows received. Part of Economics program keeps track of all shooting in BC and even before the pandemic, they noticed a decline in bigger budget productions in BC but an increase in smaller movies and movies of the week. They also track production houses in BC and have noticed a sharp decline over independently run offices(IE only working on one production) and an increase of joint ventures(which is not unusually. Supernatural and Legends of Tomorrow shared production offices and staff, But they were the same company) Now you have different, larger companies sharing offices. Which was unusual. I know of several tv shows that when announced. were suppose to shoot in BC. Black Lightening and stargirl being the big two. Both had opened production offices in Gastown and then over night they closed and moved down south.

I have only worked on a couple things there in the preliminary stage, but I would guess that is a stage issue. I have heard that the stage everyone uses is a humongous converted warehouse that is bigger than TV shows need, has on-site production offices and requires a full year lease. So a single production will have to commit to that and then seek to sub-lease it to other productions to both fill the space and fill the full year. I've dealt with that in various territories. It is best to sublease within your company, but...whatever pays the bills. Down here you only have to pay for time of occupancy. Production offices usually close a few weeks after shooting.

 

[Jumptheshark]

I am waiting to see what SAG does

 

[BostonBob]

A good ( albeit long ) read:

Peak TV Has Peaked: From Exhausted Talent to Massive Losses, the Writers Strike Magnifies an Industry in Freefall

As the writers strike rages on, industry insiders predict what the longterm effects will be for this work stoppage -- and a potential SAG strike.

variety.com

 

[RandV]

A good ( albeit long ) read:

Peak TV Has Peaked: From Exhausted Talent to Massive Losses, the Writers Strike Magnifies an Industry in Freefall

As the writers strike rages on, industry insiders predict what the longterm effects will be for this work stoppage -- and a potential SAG strike.

variety.com

This is pretty nuts:

In 2022, mainstream TV networks and platforms delivered a record high of 599 total English-language adult scripted TV series, according to the annual industry benchmark compiled by FX Networks. That compares with 182 in 2002, the year FX announced its arrival as a major player with the police drama “The Shield.” The success of “Mad Men” and “Breaking Bad” — two beloved dramas that transformed the fortunes of the once-sleepy movie channel AMC Network — added more demand in the late 2000s among cable networks that were then flush with profits. In 2012, just before “streaming” became synonymous with “television,” the industry’s aggregate original series count hit 288, per FX.

In 10 year increments for unique english language shows that's 182 to 288 to 599. And the latter really is even higher because we also get non-English language shows from the streamers.

 

[kook10]

This is pretty nuts:



In 10 year increments for unique english language shows that's 182 to 288 to 599. And the latter really is even higher because we also get non-English language shows from the streamers.

I'd be curious to see how active guild and union membership has grown along with that. Again, it just seems like an unsustainable amount of production to serve and too many mouths to feed. Contraction and the strike will really hurt lower IATSE members especially. Health insurance will run out soon too.

 

[PeteWorrell]

No wonder the quality of writing has gone down as the years have gone by. It was simply unsustainable.

 

[NyQuil]

 

[Very Stable Genius]

Deadline passed for SAG-AFTRA deal, negotiating committee now recommends a strike. Everything going to grind to a halt now.

SAG-AFTRA’s Negotiating Committee Unanimously Recommends Strike as Contract Deadline Passes Without a Deal

 

[BostonBob]

Just got the following e-mail from UBCP ( Union of BC Performers ).


SAG-AFTRA STRIKE NOTICE

Dear Members:

As you are likely aware, SAG-AFTRA negotiations with the AMPTP have collapsed and a strike has now been declared.

We will continue to monitor the situation and do what we can to provide SAG-AFTRA with support in their efforts.

Please check the UBCP/ACTRA and SAG-AFTRA websites for the latest information.

We believe that regardless of where they create in the world, artists deserve to be compensated fairly for their work and for their contributions to the betterment of our shared experience. UBCP/ACTRA stands with SAG-AFTRA and WGA as they fight for their livelihoods and a return to the work we all love.

 

[Jumptheshark]

Just got the following e-mail from UBCP ( Union of BC Performers ).


SAG-AFTRA STRIKE NOTICE

Dear Members:

As you are likely aware, SAG-AFTRA negotiations with the AMPTP have collapsed and a strike has now been declared.

We will continue to monitor the situation and do what we can to provide SAG-AFTRA with support in their efforts.

Please check the UBCP/ACTRA and SAG-AFTRA websites for the latest information.

We believe that regardless of where they create in the world, artists deserve to be compensated fairly for their work and for their contributions to the betterment of our shared experience. UBCP/ACTRA stands with SAG-AFTRA and WGA as they fight for their livelihoods and a return to the work we all love.

going to be a long summer I think

both the writers and acting guy are far a part

 

[kook10]

going to be a long summer I think

both the writers and acting guy are far a part

In the press conference the SAG negotiator was talking about "revenue sharing". That is going to be a very tough one to come to agreement on. They can easily hammer out a simple wage increase.