On Sept. 8, more than four months into a historic Hollywood labor battle, the Writers Guild of America turned a klieg light on its adversary, the Alliance of Motion Picture and Television Producers. Citing behind-the-scenes conversations the union’s leaders were allegedly having with unidentified legacy studio executives, its negotiating committee said in a bulletin to its members that the standstill is the result of the trade association’s own “paralysis,” pointing to the AMPTP’s “disparate business models and interests, as well as different histories and relationships with unions.”
The WGA, calling for direct negotiations with individual companies, added that the legacy studios are more amenable to its proposals than other companies — but are hamstrung by the “hard-liners” in their caucus. The labor group’s subtext: It’s looking to dismantle its nemesis. In response, the AMPTP insisted its constituent companies are “aligned” and “any suggestion to the contrary is false.
The WGA, calling for direct negotiations with individual companies, added that the legacy studios are more amenable to its proposals than other companies — but are hamstrung by the “hard-liners” in their caucus. The labor group’s subtext: It’s looking to dismantle its nemesis. In response, the AMPTP insisted its constituent companies are “aligned” and “any suggestion to the contrary is false.
- 9/15/2023
- by Gary Baum and Katie Kilkenny
- The Hollywood Reporter - Movie News
Exclusive: Manny Coto died on July 9th at the age of 62. Nearly 35 years to the day earlier, he and I are on Beverly Boulevard picketing in front of CBS.
I’ve been a WGA member for about four months and Manny for maybe eight. To say we are wet behind the ears is an insult to moisture. As always, we are having a blast because everything we do together is fun. It’s how we have survived trying to break into show business. It’s amazing how doing something alongside your best friend never really feels daunting. Anyhow, we are in one of those long loops that keeps doubling back on itself once you reach the end of the line. And Manny suddenly says, “Holy shit, that’s Harlan Ellison we just passed!” I only know the name, but, along with Gene Roddenberry, Ellison is a particular hero of Manny...
I’ve been a WGA member for about four months and Manny for maybe eight. To say we are wet behind the ears is an insult to moisture. As always, we are having a blast because everything we do together is fun. It’s how we have survived trying to break into show business. It’s amazing how doing something alongside your best friend never really feels daunting. Anyhow, we are in one of those long loops that keeps doubling back on itself once you reach the end of the line. And Manny suddenly says, “Holy shit, that’s Harlan Ellison we just passed!” I only know the name, but, along with Gene Roddenberry, Ellison is a particular hero of Manny...
- 7/11/2023
- by Brian Helgeland
- Deadline Film + TV
The Alliance of Motion Picture and Television Producers, the coalition of Hollywood studios and streamers that negotiates with labor unions, has broken its silence on major issues that contributed to its deadlock with the Writers Guild of America, which resulted in the ongoing strike.
The Alliance, which has generally kept a low profile during labor talks in recent years, has remained silent since the writers’ union called its current work stoppage after negotiations collapsed on May 1. In the meantime, the writers have explained their version of events, with union negotiators alleging the group had stonewalled on their proposal for A.I.-generated material, that it attempted to create a “day rate” (essentially introduce a day-player option) for comedy-variety writers and declined to negotiate on the WGA’s proposal to create a minimum size for TV writers’ rooms and set a minimum duration. The guild also released a document sharing each...
The Alliance, which has generally kept a low profile during labor talks in recent years, has remained silent since the writers’ union called its current work stoppage after negotiations collapsed on May 1. In the meantime, the writers have explained their version of events, with union negotiators alleging the group had stonewalled on their proposal for A.I.-generated material, that it attempted to create a “day rate” (essentially introduce a day-player option) for comedy-variety writers and declined to negotiate on the WGA’s proposal to create a minimum size for TV writers’ rooms and set a minimum duration. The guild also released a document sharing each...
- 5/4/2023
- by Katie Kilkenny
- The Hollywood Reporter - Movie News
WGA West board member Luvh Rakhe has offered a history lesson on the power of solidarity – and the price that unions pay when they’re divided during strikes and collective actions.
Rakhe, who’s running for re-election as a supporter of the guild’s stance in its ongoing battle with Hollywood’s talent agencies, argues that writers should learn from Nick Counter, the late-president of management’s AMPTP, which he reunified in 1982 after the contentious breakup of the old Association of Motion Picture & Television Producers when Paramount and Universal split to form their own Alliance.
“Having been on the board for four years and the negotiating committee in 2017, I want to share a few lessons I’ve learned about how our collective power works,” Rakhe wrote today in a posting on the Medium social media platform. “I’ll start with an inspirational quote from Nick Counter, founder of the AMPTP.
Rakhe, who’s running for re-election as a supporter of the guild’s stance in its ongoing battle with Hollywood’s talent agencies, argues that writers should learn from Nick Counter, the late-president of management’s AMPTP, which he reunified in 1982 after the contentious breakup of the old Association of Motion Picture & Television Producers when Paramount and Universal split to form their own Alliance.
“Having been on the board for four years and the negotiating committee in 2017, I want to share a few lessons I’ve learned about how our collective power works,” Rakhe wrote today in a posting on the Medium social media platform. “I’ll start with an inspirational quote from Nick Counter, founder of the AMPTP.
- 8/23/2019
- by David Robb
- Deadline Film + TV
Leaders of the Writers Guild of America West have given a four-year contract extension with a two-year option to exec director David Young, who organized the 2007-08 writers strike that rocked Hollywood.
In a strong endorsement of Young’s 12-year tenure, the WGA West board unanimously voted to extend the exec’s contract. WGA West president David A. Goodman confirmed the extension to Variety.
“David Young has done exceptional work,” Goodman said. “I know I speak for the board of directors and the membership that he will continue in that capacity.”
The extension and options lock in Young to head the 9,000-member guild for the next two rounds of successor negotiations with the Alliance of Motion Picture and Television Producers, which serves as the negotiating unit for the showbiz congloms and their production companies. The current three-year deal expires May 1, 2020.
Young led the negotiations a year ago for the successor...
In a strong endorsement of Young’s 12-year tenure, the WGA West board unanimously voted to extend the exec’s contract. WGA West president David A. Goodman confirmed the extension to Variety.
“David Young has done exceptional work,” Goodman said. “I know I speak for the board of directors and the membership that he will continue in that capacity.”
The extension and options lock in Young to head the 9,000-member guild for the next two rounds of successor negotiations with the Alliance of Motion Picture and Television Producers, which serves as the negotiating unit for the showbiz congloms and their production companies. The current three-year deal expires May 1, 2020.
Young led the negotiations a year ago for the successor...
- 6/2/2018
- by Dave McNary
- Variety Film + TV
He was 69. He'd been ill for a long time, and was hospitalized several days ago with a stroke, I'm told. A very controversial figure in Hollywood, Nick Counter served as President of the Alliance of Motion Picture & Television Producers (AMPTP) for 27 years, from its formation in 1982 until his retirement in March of this year. Prior to being named AMPTP President, he served as outside legal counsel for the antecedent Association of Motion Picture & Television Producers for 10 years. As AMPTP President, Counter's primary responsibility was to lead the 80 industry-wide labor negotiations with entertainment industry guilds [...]...
- 11/7/2009
- by Nikki Finke
- Deadline Hollywood
One day after AFTRA ratified its pact and left SAG as the only Hollywood guild without a new labor contract, the studios ratcheted up the pressure.
The AMPTP sent letters to city, county and state elected officials, scolding SAG for delaying AFTRA's deal and warning of the economic consequences if the guild fails to make an agreement.
Additionally, the studios called attention to one of the proposals in its 43-page "final offer," which would provide wage increases retroactively only if SAG accepts the deal before Aug. 15. If the deadline passes before the union ratifies a contract, the studios said, the actors could lose more than $200,000 a day in increases dating to July 1, the day the new contract would take effect.
"Under the final offer, if the new agreement is not ratified by Aug. 15, all changes in terms and conditions would become effective in the first payroll period after ratification," the AMPTP said. "The producers have included this traditional incentive in the final offer in order to get everyone back to work and end the de facto strike."
With the clock ticking, SAG essentially either has to accept the AMPTP's final offer and send it to its membership for ratification by Aug. 1 or decide to throw caution to the wind and continue to stand firm on its demands.
In a response to the retroactive aspect, SAG said "As management knows, and as we have often stated, the Screen Actors Guild national negotiating committee's goal is to bargain a fair contract for our members."
The AMPTP's roughly 120 letters went to members of the California Legislature, the Los Angeles City Council and the Los Angeles County Board of Supervisors.
"SAG's anti-aftra campaign has served to stall SAG's negotiations with us, and the result is a de facto work stoppage throughout much of the entertainment industry," AMPTP chief negotiator Nick Counter wrote. "Each day that production grinds to a halt causes more and more dislocation to the economy of Los Angeles in particular and California in general."
In response to the letter, SAG's national executive director Pamm Fair said, "We don't think any legislators will be surprised that multibillion-dollar global companies engaged in negotiations with a union have resorted to rhetoric and mischaracterizations regarding union workers.
"While we have not yet seen evidence of a slowdown in production, any decrease in film and television production would be a result of the studios and networks that control the industry, not the actors they hire. Screen Actors Guild remains committed to bargaining a fair contract and is available 24 hours a day, seven days a week," she added. "If anyone is stalling, it's the AMPTP by suggesting that bargaining is over, when we clearly haven't achieved an agreement that is fair for actors and the industry."
SAG may be willing to negotiate 24/7, but the studios have said the bargaining is over and that today's afternoon session at the AMPTP headquarters is strictly an opportunity for SAG to ask questions about the offer, which the studios claim provides $250 million in additional compensation over three years.
Faced with the studios' firm stance, SAG insiders have focused on semantics, maintaining that while the AMPTP presented a final offer, it's not a "last offer" or "best offer" or "last, best and final offer," all of which the actors union's leaders believe are possible.
The studios have virtually shuttered movie and TV production because of the potential for an actors walkout. And though SAG's ability to call a strike was diminished greatly by the ratification of AFTRA's contract, the studios are likely to continue the production slowdown rather that start back up.
"They do not want to be in the position where they can be in the middle of a major production and suddenly find out they have a strike and have to shut down in the middle of production," said one veteran transactional attorney familiar with the talks.
If SAG does not accept the offer, the studios are most likely to wait it out until Aug. 15 rather than lock out actors, according to an entertainment labor attorney who represents producers.
"I think the AMPTP's motivation is to get people back to work," he said. "I don't know if they're going to lock people out because that runs counter to what their desire is."
Another attorney agreed, saying, "There won't be a lockout because that will infuriate SAG members, and that could be the one thing that would bring a strike vote. I think we're just going to be in Never-Never-Land."
The AMPTP could also decide to adopt elements of the offer that are beneficial to the studios or they could implement the entire package or some combination of it.
Then, at that point, employees could work under the new terms and conditions, but there still would be no contract.
Another position the AMPTP could take would be to take some parts of the offer or the entire offer off the table.
"In theory the AMPTP could make it less attractive if they thought the economic conditions have changed," the labor lawyer said. "I think that's highly unlikely, but every day that goes by they lose money."
On the other hand, SAG could put the proposal to its membership to a vote, with either no recommendation or a negative one. In the meantime, SAG president Alan Rosenberg and AFTRA president Roberta Reardon met for the first time since March, via the Los Angeles airwaves, to debate Tuesday's ratification vote.
The heated discussion, moderated by "The Business" radio host Claude Brodesser-Akner, ended with Rosenberg and Reardon agreeing to meet for lunch at either the swanky eatery Ago or the kosher diner Milk N' Honey.
The AMPTP sent letters to city, county and state elected officials, scolding SAG for delaying AFTRA's deal and warning of the economic consequences if the guild fails to make an agreement.
Additionally, the studios called attention to one of the proposals in its 43-page "final offer," which would provide wage increases retroactively only if SAG accepts the deal before Aug. 15. If the deadline passes before the union ratifies a contract, the studios said, the actors could lose more than $200,000 a day in increases dating to July 1, the day the new contract would take effect.
"Under the final offer, if the new agreement is not ratified by Aug. 15, all changes in terms and conditions would become effective in the first payroll period after ratification," the AMPTP said. "The producers have included this traditional incentive in the final offer in order to get everyone back to work and end the de facto strike."
With the clock ticking, SAG essentially either has to accept the AMPTP's final offer and send it to its membership for ratification by Aug. 1 or decide to throw caution to the wind and continue to stand firm on its demands.
In a response to the retroactive aspect, SAG said "As management knows, and as we have often stated, the Screen Actors Guild national negotiating committee's goal is to bargain a fair contract for our members."
The AMPTP's roughly 120 letters went to members of the California Legislature, the Los Angeles City Council and the Los Angeles County Board of Supervisors.
"SAG's anti-aftra campaign has served to stall SAG's negotiations with us, and the result is a de facto work stoppage throughout much of the entertainment industry," AMPTP chief negotiator Nick Counter wrote. "Each day that production grinds to a halt causes more and more dislocation to the economy of Los Angeles in particular and California in general."
In response to the letter, SAG's national executive director Pamm Fair said, "We don't think any legislators will be surprised that multibillion-dollar global companies engaged in negotiations with a union have resorted to rhetoric and mischaracterizations regarding union workers.
"While we have not yet seen evidence of a slowdown in production, any decrease in film and television production would be a result of the studios and networks that control the industry, not the actors they hire. Screen Actors Guild remains committed to bargaining a fair contract and is available 24 hours a day, seven days a week," she added. "If anyone is stalling, it's the AMPTP by suggesting that bargaining is over, when we clearly haven't achieved an agreement that is fair for actors and the industry."
SAG may be willing to negotiate 24/7, but the studios have said the bargaining is over and that today's afternoon session at the AMPTP headquarters is strictly an opportunity for SAG to ask questions about the offer, which the studios claim provides $250 million in additional compensation over three years.
Faced with the studios' firm stance, SAG insiders have focused on semantics, maintaining that while the AMPTP presented a final offer, it's not a "last offer" or "best offer" or "last, best and final offer," all of which the actors union's leaders believe are possible.
The studios have virtually shuttered movie and TV production because of the potential for an actors walkout. And though SAG's ability to call a strike was diminished greatly by the ratification of AFTRA's contract, the studios are likely to continue the production slowdown rather that start back up.
"They do not want to be in the position where they can be in the middle of a major production and suddenly find out they have a strike and have to shut down in the middle of production," said one veteran transactional attorney familiar with the talks.
If SAG does not accept the offer, the studios are most likely to wait it out until Aug. 15 rather than lock out actors, according to an entertainment labor attorney who represents producers.
"I think the AMPTP's motivation is to get people back to work," he said. "I don't know if they're going to lock people out because that runs counter to what their desire is."
Another attorney agreed, saying, "There won't be a lockout because that will infuriate SAG members, and that could be the one thing that would bring a strike vote. I think we're just going to be in Never-Never-Land."
The AMPTP could also decide to adopt elements of the offer that are beneficial to the studios or they could implement the entire package or some combination of it.
Then, at that point, employees could work under the new terms and conditions, but there still would be no contract.
Another position the AMPTP could take would be to take some parts of the offer or the entire offer off the table.
"In theory the AMPTP could make it less attractive if they thought the economic conditions have changed," the labor lawyer said. "I think that's highly unlikely, but every day that goes by they lose money."
On the other hand, SAG could put the proposal to its membership to a vote, with either no recommendation or a negative one. In the meantime, SAG president Alan Rosenberg and AFTRA president Roberta Reardon met for the first time since March, via the Los Angeles airwaves, to debate Tuesday's ratification vote.
The heated discussion, moderated by "The Business" radio host Claude Brodesser-Akner, ended with Rosenberg and Reardon agreeing to meet for lunch at either the swanky eatery Ago or the kosher diner Milk N' Honey.
- 7/10/2008
- by By Leslie Simmons
- The Hollywood Reporter - Movie News
The message below went out from AFTRA’s leadership to its membership just now. In my opinion, it sure looks as if the union is preparing members for a major cave-in on the clips issue. But I must say that hiding behind a Los Angeles Times opinion piece is ridiculous to the extreme. When it comes to clips and their use and compensation for actors, the issue is not so much the Internet but the fact that the studios and networks want to make free and unfettered use of clips for any purpose, including commercial entertainment compilations for which only their Big Media companies would benefit financially. SAG recognizes that any breach in the wall around clips is a disaster. There is no way actors should cave on this just so retiring AMPTP prez Nick Counter can have a last hurrah at their expense.
May 25, 2008
Dear AFTRA Member:
For more than two weeks,...
May 25, 2008
Dear AFTRA Member:
For more than two weeks,...
- 5/25/2008
- by Nikki Finke
- Deadline Film + TV
With two days of talks already behind them, DGA and studio negotiators will be eyed daily for signs that they've reached a quick contract agreement.
That's how dramatically the labor spotlight has shifted yet again. First the industry's focus swung from fractious talks between the WGA and the Alliance of Motion Picture and Television Producers to striking writers and their picket lines, and now industries will closely track the AMPTP's negotiations with Hollywood directors.
The DGA-AMPTP negotiations, announced with minimal fanfare Friday, may represent the industry's best shot at getting back to business as usual. The parties held bargaining sessions Saturday and Sunday, and though a press blackout prevented details from leaking, it appears the sessions went smoothly enough.
The DGA and the AMPTP met informally for weeks prior to the start of early talks, so many industryites believe a new DGA contract could be reached within a matter of weeks or even days.
"I'm optimistic", a high-ranking industryite said. "Bottom line, I think we'll make a deal (because) the directors will be more reasonable."
Negotiating chair Gil Cates and executive director Jay Roth are leading the guild's negotiating team, while AMPTP president Nick Counter is presiding over the management team, as usual. They are seeking to hammer out a new agreement to replace the DGA's main film and TV contract, set to expire June 30. Talks are being held at AMPTP headquarters in Encino, with a third session set for Monday.
After the DGA announced the start of its negotiations, the striking WGA -- whose own contract talks have been put on hold by the AMPTP -- issued a joint statement with SAG. The actors also are under contract through June 30 but unlike the directors have been closely aligned with the WGA of late.
"We wish the DGA well and hope that they achieve a fair deal that incorporates principles that will benefit all creative artists," the WGA and SAG said. "The DGA has to do what is best for its membership, but it is important to remember that they do not represent actors and writers."
WGA brass have said they might maintain their work stoppage and continue to mount picket lines even in the face of a DGA-AMPTP agreement, should the directors secure terms considered wanting by the WGA.
That's how dramatically the labor spotlight has shifted yet again. First the industry's focus swung from fractious talks between the WGA and the Alliance of Motion Picture and Television Producers to striking writers and their picket lines, and now industries will closely track the AMPTP's negotiations with Hollywood directors.
The DGA-AMPTP negotiations, announced with minimal fanfare Friday, may represent the industry's best shot at getting back to business as usual. The parties held bargaining sessions Saturday and Sunday, and though a press blackout prevented details from leaking, it appears the sessions went smoothly enough.
The DGA and the AMPTP met informally for weeks prior to the start of early talks, so many industryites believe a new DGA contract could be reached within a matter of weeks or even days.
"I'm optimistic", a high-ranking industryite said. "Bottom line, I think we'll make a deal (because) the directors will be more reasonable."
Negotiating chair Gil Cates and executive director Jay Roth are leading the guild's negotiating team, while AMPTP president Nick Counter is presiding over the management team, as usual. They are seeking to hammer out a new agreement to replace the DGA's main film and TV contract, set to expire June 30. Talks are being held at AMPTP headquarters in Encino, with a third session set for Monday.
After the DGA announced the start of its negotiations, the striking WGA -- whose own contract talks have been put on hold by the AMPTP -- issued a joint statement with SAG. The actors also are under contract through June 30 but unlike the directors have been closely aligned with the WGA of late.
"We wish the DGA well and hope that they achieve a fair deal that incorporates principles that will benefit all creative artists," the WGA and SAG said. "The DGA has to do what is best for its membership, but it is important to remember that they do not represent actors and writers."
WGA brass have said they might maintain their work stoppage and continue to mount picket lines even in the face of a DGA-AMPTP agreement, should the directors secure terms considered wanting by the WGA.
- 1/14/2008
- The Hollywood Reporter - Movie News
STRIKE ZONE: LATEST NEWS AND UPDATES
CAA partner Bryan Lourd helped broker the planned resumption of talks between the WGA and the Alliance of Motion Picture & Television Producers.
That back-channel assistance came to light Saturday, a day after the dramatic announcement that the warring parties were headed back to the bargaining table Nov. 26.
It was unclear how long Lourd has been in communications with guild and studio brass. But a well-placed source said several studio execs attended a meeting at Lourd's residence on Friday, and by Friday night the AMPTP and WGA each put out identical statements announcing the planned resumption of talks.
The WGA has been on strike since Nov. 5, after its film and TV contract with the AMPTP expired Oct. 31. Picketing will continue even after the resumption of talks until a settlement is reached, WGA West president Patric Verrone said in a statement posted to the guild Web site.
The parties have instituted a press blackout, so it was unclear when AMPTP president Nick Counter withdrew his demand that picketing stop prior to any resumption of talks.
CAA partner Bryan Lourd helped broker the planned resumption of talks between the WGA and the Alliance of Motion Picture & Television Producers.
That back-channel assistance came to light Saturday, a day after the dramatic announcement that the warring parties were headed back to the bargaining table Nov. 26.
It was unclear how long Lourd has been in communications with guild and studio brass. But a well-placed source said several studio execs attended a meeting at Lourd's residence on Friday, and by Friday night the AMPTP and WGA each put out identical statements announcing the planned resumption of talks.
The WGA has been on strike since Nov. 5, after its film and TV contract with the AMPTP expired Oct. 31. Picketing will continue even after the resumption of talks until a settlement is reached, WGA West president Patric Verrone said in a statement posted to the guild Web site.
The parties have instituted a press blackout, so it was unclear when AMPTP president Nick Counter withdrew his demand that picketing stop prior to any resumption of talks.
- 11/18/2007
- The Hollywood Reporter - Movie News
STRIKE ZONE: LATEST NEWS AND UPDATES
East Coast writers took their pickets and message to Wall Street on Tuesday, while West Coast scribes received a show of support from some high-profile sympathizers from SAG as the strike entered its 10th day.
Meanwhile, California Gov. Arnold Schwarzenegger was working behind the scenes with both sides, and Nick Counter, president of the Alliance of Motion Picture and Television Producers, accused WGA officials of using intimidation to control dissident members who wish to return to work.
A spokesman for Schwarzenegger said the governor was placing phone calls to unspecified studio execs who had expressed an interest in his help with the strike.
"Both the studio side and the writers side asked to talk to the governor," press secretary Aaron McLear said. "So he is talking to both sides individually to get a sense of what the issues are and what if anything he can do to be helpful."
On Monday, Schwarzenegger met with some guild officials, but his Tuesday schedule allowed only phone contact for now with the studio execs, McLear said.
Los Angeles Mayor Antonio Villaraigosa also has met with guild officials and talked to studio execs over the phone.
Their efforts are in line with those by several political and industry figures who have expressed interest in helping to restart contract talks between the WGA and the AMPTP. Their negotiations over a new film and TV contract broke down Nov. 4, and the guild began picketing the next day.
In Los Angeles, it was "bring your star to the picket line" day. Outside several entrances to Universal Studios, familiar faces from TV and film walked the eight-block picket line with the writers. SAG said as many as 500 of its members were there to show their support.
Many actors said they were concerned because the WGA negotiations could set a precedent for their contract, which expires in June.
"We've become a close family with all our writers, especially Marc (Cherry)," "Desperate Housewives" star James Denton said. "We're all in the same boat. We're all fighting the same battle."
His co-star, Nicollette Sheridan, had stronger words for the studios and networks.
"I think the companies are clinging to the past," she said. "No matter who is striking, they have to do the fair and right thing, and they are not willing to listen or negotiate."
Actress Camryn Manheim said the solidarity between the two guilds is of the utmost importance.
East Coast writers took their pickets and message to Wall Street on Tuesday, while West Coast scribes received a show of support from some high-profile sympathizers from SAG as the strike entered its 10th day.
Meanwhile, California Gov. Arnold Schwarzenegger was working behind the scenes with both sides, and Nick Counter, president of the Alliance of Motion Picture and Television Producers, accused WGA officials of using intimidation to control dissident members who wish to return to work.
A spokesman for Schwarzenegger said the governor was placing phone calls to unspecified studio execs who had expressed an interest in his help with the strike.
"Both the studio side and the writers side asked to talk to the governor," press secretary Aaron McLear said. "So he is talking to both sides individually to get a sense of what the issues are and what if anything he can do to be helpful."
On Monday, Schwarzenegger met with some guild officials, but his Tuesday schedule allowed only phone contact for now with the studio execs, McLear said.
Los Angeles Mayor Antonio Villaraigosa also has met with guild officials and talked to studio execs over the phone.
Their efforts are in line with those by several political and industry figures who have expressed interest in helping to restart contract talks between the WGA and the AMPTP. Their negotiations over a new film and TV contract broke down Nov. 4, and the guild began picketing the next day.
In Los Angeles, it was "bring your star to the picket line" day. Outside several entrances to Universal Studios, familiar faces from TV and film walked the eight-block picket line with the writers. SAG said as many as 500 of its members were there to show their support.
Many actors said they were concerned because the WGA negotiations could set a precedent for their contract, which expires in June.
"We've become a close family with all our writers, especially Marc (Cherry)," "Desperate Housewives" star James Denton said. "We're all in the same boat. We're all fighting the same battle."
His co-star, Nicollette Sheridan, had stronger words for the studios and networks.
"I think the companies are clinging to the past," she said. "No matter who is striking, they have to do the fair and right thing, and they are not willing to listen or negotiate."
Actress Camryn Manheim said the solidarity between the two guilds is of the utmost importance.
- 11/14/2007
- The Hollywood Reporter - Movie News
The studios' chief negotiator says he still doesn't know why the WGA chose to go on strike Monday.
"We thought we were making some progress in our discussions about streaming on the Internet," Alliance of Motion Picture & Television Producers president Nick Counter said of Sunday's marathon bargaining session with the WGA. "I can't speculate. All I know is that they told me they were unwilling to 'stop the clock' and continue negotiations."
Counter was referring to the odd occurrence a day earlier, when negotiators discovered -- even as they continued bargaining discussions -- that the WGA East had notified its members they were officially on strike at 12:01 a.m. EST. Until then, many expected East Coast writers to sync their walkout with West Coast scribes, who weren't scheduled to strike until three hours later.
A WGAE spokeswoman said that the "rolling strike" plan was "always planned" by WGAE and WGA West officials.
"The practical effect of (WGAE's) going on strike was for the negotiations to cease," Counter said. "You are clearly at impasse, and they are on strike."
That didn't mean management needed to halt the Sunday talks, WGAW president Patric Verrone said Monday. The WGAE strike could have been stopped at any point that guild negotiators were convinced the talks had sustainable momentum, he said.
"We thought we were making some progress in our discussions about streaming on the Internet," Alliance of Motion Picture & Television Producers president Nick Counter said of Sunday's marathon bargaining session with the WGA. "I can't speculate. All I know is that they told me they were unwilling to 'stop the clock' and continue negotiations."
Counter was referring to the odd occurrence a day earlier, when negotiators discovered -- even as they continued bargaining discussions -- that the WGA East had notified its members they were officially on strike at 12:01 a.m. EST. Until then, many expected East Coast writers to sync their walkout with West Coast scribes, who weren't scheduled to strike until three hours later.
A WGAE spokeswoman said that the "rolling strike" plan was "always planned" by WGAE and WGA West officials.
"The practical effect of (WGAE's) going on strike was for the negotiations to cease," Counter said. "You are clearly at impasse, and they are on strike."
That didn't mean management needed to halt the Sunday talks, WGAW president Patric Verrone said Monday. The WGAE strike could have been stopped at any point that guild negotiators were convinced the talks had sustainable momentum, he said.
- 11/6/2007
- The Hollywood Reporter - Movie News
Strike Zone: Latest on WGA talks
UPDATED 11:50 p.m. PT Nov. 4, 2007
A last-gasp attempt to stave off a strike by the WGA failed Sunday, and Hollywood writers launched plans to mount picket lines at studios and networks on both coasts.
A federal mediator who recently joined talks between the guild and the Alliance of Motion Picture & Television Producers convened a hasty last bargaining session Sunday amid speculation the AMPTP would deliver a new proposal to the guild. But despite that marathon session lasting well into Sunday night, when the parties emerged from the Sofitel hotel in West Hollywood it was clear the talks had broken down again.
One flashpoint involved the WGA East's refusal to halt the start of its strike after East Coast clocks struck midnight. Negotiations were still in session at the time, and the WGA West wasn't scheduled to strike for another three hours.
"Notwithstanding the fact that negotiations were ongoing, the WGA decided to start their strike in New York," AMPTP president Nick Counter said. "When we asked if they would 'stop the clock' for the purpose of delaying the strike to allow negotiations to continue, they refused.
"We made an attempt at meeting them in a number of their key areas including Internet streaming and jurisdiction in new media," Counter said. "Ultimately, the guild was unwilling to compromise on most of their major demands. It is unfortunate that they choose to take this irresponsible action."
The WGA also issued a statement after the meeting broke up.
"Early today, the WGA completely withdrew its DVD proposal, which the companies said was a stumbling block," the guild said. "Yet the companies still insisted on ... no jurisdiction for most of new media writing, no economic proposal for the part of new media writing where they do propose to give coverage, Internet downloads at the DVD rate, no residual for streaming video of theatrical product, (and) a "promotional" proposal that allows them to reuse even complete movies or TV shows on any platform with no residual."
The WGA also slammed what it called a management proposal for a distribution window providing "free reuse on the Internet that makes a mockery of any residual."
The WGA and AMPTP have negotiated on and off since July 16, holding just 17 sessions through Sunday as they sought to replace a three-year film and TV contract that expired Wednesday.
UPDATED 11:50 p.m. PT Nov. 4, 2007
A last-gasp attempt to stave off a strike by the WGA failed Sunday, and Hollywood writers launched plans to mount picket lines at studios and networks on both coasts.
A federal mediator who recently joined talks between the guild and the Alliance of Motion Picture & Television Producers convened a hasty last bargaining session Sunday amid speculation the AMPTP would deliver a new proposal to the guild. But despite that marathon session lasting well into Sunday night, when the parties emerged from the Sofitel hotel in West Hollywood it was clear the talks had broken down again.
One flashpoint involved the WGA East's refusal to halt the start of its strike after East Coast clocks struck midnight. Negotiations were still in session at the time, and the WGA West wasn't scheduled to strike for another three hours.
"Notwithstanding the fact that negotiations were ongoing, the WGA decided to start their strike in New York," AMPTP president Nick Counter said. "When we asked if they would 'stop the clock' for the purpose of delaying the strike to allow negotiations to continue, they refused.
"We made an attempt at meeting them in a number of their key areas including Internet streaming and jurisdiction in new media," Counter said. "Ultimately, the guild was unwilling to compromise on most of their major demands. It is unfortunate that they choose to take this irresponsible action."
The WGA also issued a statement after the meeting broke up.
"Early today, the WGA completely withdrew its DVD proposal, which the companies said was a stumbling block," the guild said. "Yet the companies still insisted on ... no jurisdiction for most of new media writing, no economic proposal for the part of new media writing where they do propose to give coverage, Internet downloads at the DVD rate, no residual for streaming video of theatrical product, (and) a "promotional" proposal that allows them to reuse even complete movies or TV shows on any platform with no residual."
The WGA also slammed what it called a management proposal for a distribution window providing "free reuse on the Internet that makes a mockery of any residual."
The WGA and AMPTP have negotiated on and off since July 16, holding just 17 sessions through Sunday as they sought to replace a three-year film and TV contract that expired Wednesday.
- 11/5/2007
- The Hollywood Reporter - Movie News
The federal mediator in the WGA's contract talks has summoned negotiators to a last-ditch meeting, set for 10 a.m. Sunday, in an effort to avoid a writers strike.
The place for the meeting -- called by Juan Carlos Gonzalez of the Federal Mediation & Conciliation Service -- is being kept under wraps. The potentially positive development Friday evening follows news earlier Friday that the WGA West board and WGA East Council had accepted a negotiating committee recommendation and set a writers strike for 12:01 a.m. Monday.
Barring a weekend agreement to forestall the walkout, pickets are expected at studios and networks on both coasts.
"We have 48 hours and what we really want to do is not strike and come to a resolution," John Bowman, chair of the WGA's negotiating committee, said at a news conference Friday to announce the strike decision.
Alliance of Motion Picture & Television Producers president <Nick Counter heads the management negotiating team.
It was also recently disclosed that Los Angeles Mayor Antonio Villaraigosa has connected with reps of the guild and the studio companies in an attempt to get talks back on track. The mayor met in person with WGAW president Patric Verrone and other labor execs Tuesday, and he subsequently discussed the situation with studio reps.
Yet it's not clear how much muscle Villaraigosa is willing to exert to force himself into the situation as an actual deal broker.
Before he got into politics, Villaraigosa was a labor organizer. But the mayor has close relationships on both sides of the labor-management divide and has told the parties he needs to maintain strict objectivity if he's to succeed in any efforts to foster an improved dialogue between the WGA and the AMPTP.
The place for the meeting -- called by Juan Carlos Gonzalez of the Federal Mediation & Conciliation Service -- is being kept under wraps. The potentially positive development Friday evening follows news earlier Friday that the WGA West board and WGA East Council had accepted a negotiating committee recommendation and set a writers strike for 12:01 a.m. Monday.
Barring a weekend agreement to forestall the walkout, pickets are expected at studios and networks on both coasts.
"We have 48 hours and what we really want to do is not strike and come to a resolution," John Bowman, chair of the WGA's negotiating committee, said at a news conference Friday to announce the strike decision.
Alliance of Motion Picture & Television Producers president <Nick Counter heads the management negotiating team.
It was also recently disclosed that Los Angeles Mayor Antonio Villaraigosa has connected with reps of the guild and the studio companies in an attempt to get talks back on track. The mayor met in person with WGAW president Patric Verrone and other labor execs Tuesday, and he subsequently discussed the situation with studio reps.
Yet it's not clear how much muscle Villaraigosa is willing to exert to force himself into the situation as an actual deal broker.
Before he got into politics, Villaraigosa was a labor organizer. But the mayor has close relationships on both sides of the labor-management divide and has told the parties he needs to maintain strict objectivity if he's to succeed in any efforts to foster an improved dialogue between the WGA and the AMPTP.
- 11/3/2007
- The Hollywood Reporter - Movie News
UPDATED 8:35 p.m. PT Oct. 31, 2007
It's Deja Vu all over again for the writers and studio reps around the bargaining table.
After months of speculation that Internet compensation will decide whether the WGA seals a new contract or goes out on strike, the studios' chief negotiator has blamed an eleventh-hour impasse on a little shiny disc.
Once again, labor strife is being spelled DVD.
Judging solely from the point-counterpoint between the producers and the guild late Wednesday, the tone would suggest the odds of a writers strike just went up.
"We've been working hard to come up with a package in response to your last proposal, but we keep running up against the DVD issue," said Nick Counter, president of the Alliance of Motion Picture & Television Producers. "The companies believe that movement is possible on other issues. But they cannot make any movement when confronted with your continuing efforts to increase the DVD formula, including the formula for electronic sell-through.
"The magnitude of that proposal alone is blocking us from making any further progress," Counter said at the end of a second long day of mediated talks with the WGA. "We cannot move further as long as that issue remains on the table. In short, the DVD issue is a complete roadblock to any further progress."
Counter said writers can only expect the same terms for permanent Internet downloads of movies and films as they are now provided under the home video residuals formula. The AMPTP exec left unaddressed the matter of ad-supported content streamed over the Internet for free, a reuse for which WGA members get no further compensation but seek first-time pay minimums.
It's Deja Vu all over again for the writers and studio reps around the bargaining table.
After months of speculation that Internet compensation will decide whether the WGA seals a new contract or goes out on strike, the studios' chief negotiator has blamed an eleventh-hour impasse on a little shiny disc.
Once again, labor strife is being spelled DVD.
Judging solely from the point-counterpoint between the producers and the guild late Wednesday, the tone would suggest the odds of a writers strike just went up.
"We've been working hard to come up with a package in response to your last proposal, but we keep running up against the DVD issue," said Nick Counter, president of the Alliance of Motion Picture & Television Producers. "The companies believe that movement is possible on other issues. But they cannot make any movement when confronted with your continuing efforts to increase the DVD formula, including the formula for electronic sell-through.
"The magnitude of that proposal alone is blocking us from making any further progress," Counter said at the end of a second long day of mediated talks with the WGA. "We cannot move further as long as that issue remains on the table. In short, the DVD issue is a complete roadblock to any further progress."
Counter said writers can only expect the same terms for permanent Internet downloads of movies and films as they are now provided under the home video residuals formula. The AMPTP exec left unaddressed the matter of ad-supported content streamed over the Internet for free, a reuse for which WGA members get no further compensation but seek first-time pay minimums.
- 11/1/2007
- The Hollywood Reporter - Movie News
The first day of mediated talks between the WGA and studio reps seemed less acrimonious than some past sessions, but strike prognosticators were still working overtime in Hollywood on Tuesday.
The parties didn't break until after 6 p.m. and agreed to have at it again Wednesday, with the 10 a.m. session in Encino the last before the guild's contract with the Alliance of Motion Picture & Television Producers expires.
Yet even though WGA brass is authorized to call a strike at any time after midnight, they won't do so until at least after they hold a membership meeting 7 p.m. Thursday downtown at the Los Angeles Convention Center. There also appeared to be a gathering consensus that negotiations might stretch into next week.
"Both sides worked on modifications to their proposals, (and) the guild indicated that they were preparing a comprehensive package and would be ready to present it tomorrow," AMPTP president Nick Counter said after the latest bargaining session. "We are committed to a fair, reasonable and sensible agreement that is beneficial for everyone. However, opportunities do not come without challenges.
"We will not agree to any proposals that impose unreasonable restrictions and unjustified costs," he said. "We will not ignore the challenges of today's economic realities, the shifts in audience taste and viewing habits and the unpredictability of still-evolving technology."
The lattermost comment seemed a clear reference to emerging Internet-based businesses, but it was unclear whether the parties had discussed the WGA's demand for greater compensation from those revenue streams. The other big question that hasn't been discussed in much detail involves the guild's demand for more lucrative DVD residuals.
The WGA put out a statement late Tuesday saying "No significant progress" had been made in the latest session.
Interested observers throughout the region -- from top execs and creative professionals to location caterers and even the corner dry cleaners -- are scrutinizing eleventh-hour developments with keen interest. No industryite is without an opinion on the prospect of the first big WGA strike in 19 years.
"It sure feels like it, sadly", one highly placed insider said.
The parties didn't break until after 6 p.m. and agreed to have at it again Wednesday, with the 10 a.m. session in Encino the last before the guild's contract with the Alliance of Motion Picture & Television Producers expires.
Yet even though WGA brass is authorized to call a strike at any time after midnight, they won't do so until at least after they hold a membership meeting 7 p.m. Thursday downtown at the Los Angeles Convention Center. There also appeared to be a gathering consensus that negotiations might stretch into next week.
"Both sides worked on modifications to their proposals, (and) the guild indicated that they were preparing a comprehensive package and would be ready to present it tomorrow," AMPTP president Nick Counter said after the latest bargaining session. "We are committed to a fair, reasonable and sensible agreement that is beneficial for everyone. However, opportunities do not come without challenges.
"We will not agree to any proposals that impose unreasonable restrictions and unjustified costs," he said. "We will not ignore the challenges of today's economic realities, the shifts in audience taste and viewing habits and the unpredictability of still-evolving technology."
The lattermost comment seemed a clear reference to emerging Internet-based businesses, but it was unclear whether the parties had discussed the WGA's demand for greater compensation from those revenue streams. The other big question that hasn't been discussed in much detail involves the guild's demand for more lucrative DVD residuals.
The WGA put out a statement late Tuesday saying "No significant progress" had been made in the latest session.
Interested observers throughout the region -- from top execs and creative professionals to location caterers and even the corner dry cleaners -- are scrutinizing eleventh-hour developments with keen interest. No industryite is without an opinion on the prospect of the first big WGA strike in 19 years.
"It sure feels like it, sadly", one highly placed insider said.
- 10/31/2007
- The Hollywood Reporter - Movie News
Now they're really making a federal issue of it.
With the contentious contract talks between the WGA and studio reps approaching the eleventh hour, the parties have decided to meet with a federal mediator during their next session.
"We worked very hard to narrow the issues and reach an agreement, but many issues remain unresolved," Alliance of Motion Picture & Television Producers president Nick Counter said. "We will meet on Tuesday with the federal mediator, who has been assigned by the Federal Mediation and Conciliation Service."
It was unclear how much progress was marked in the latest session beyond a notably detailed discussion of the parties' respective proposals. But the Friday meeting certainly was a busy one.
On Thursday, the AMPTP tweaked its previous proposals by sweetening offers in some areas, such as health and pension contributions, and streamlining proposals in areas where the parties might mutually agree to stick with status quo contract provisions.
A day later, the WGA responded by issuing their own similarly detailed breakdown of matters best described as important but perhaps not central to an agreement. The AMPTP then responded with a few counterproposals.
The current WGA-AMPTP contract expires Wednesday, and guild leadership already has secured the authority to strike any time after that date. Negotiations could go on beyond the contract expiration, with writers continuing to work under terms of the old agreement.
That's what happened three years ago, when writers worked for five months under an expired pact. The last big writers strike was in 1988, when Hollywood was effectively shut down for five months.
The next bargaining session -- to be held at AMPTP headquarters in Encino -- will bear watching both for tone and substance. The latest session featured lots of talk but little evidence of improved relations between the negotiating teams.
With the contentious contract talks between the WGA and studio reps approaching the eleventh hour, the parties have decided to meet with a federal mediator during their next session.
"We worked very hard to narrow the issues and reach an agreement, but many issues remain unresolved," Alliance of Motion Picture & Television Producers president Nick Counter said. "We will meet on Tuesday with the federal mediator, who has been assigned by the Federal Mediation and Conciliation Service."
It was unclear how much progress was marked in the latest session beyond a notably detailed discussion of the parties' respective proposals. But the Friday meeting certainly was a busy one.
On Thursday, the AMPTP tweaked its previous proposals by sweetening offers in some areas, such as health and pension contributions, and streamlining proposals in areas where the parties might mutually agree to stick with status quo contract provisions.
A day later, the WGA responded by issuing their own similarly detailed breakdown of matters best described as important but perhaps not central to an agreement. The AMPTP then responded with a few counterproposals.
The current WGA-AMPTP contract expires Wednesday, and guild leadership already has secured the authority to strike any time after that date. Negotiations could go on beyond the contract expiration, with writers continuing to work under terms of the old agreement.
That's what happened three years ago, when writers worked for five months under an expired pact. The last big writers strike was in 1988, when Hollywood was effectively shut down for five months.
The next bargaining session -- to be held at AMPTP headquarters in Encino -- will bear watching both for tone and substance. The latest session featured lots of talk but little evidence of improved relations between the negotiating teams.
- 10/27/2007
- The Hollywood Reporter - Movie News
Another day, another strike authorization.
With a contract deadline looming in the WGA's film and TV talks with studios and networks, the guild Monday scheduled a separate strike-authorization vote by WGA newswriters. The move -- involving 500 members whose CBS contract expired more than 2 1/2 years ago -- follows Friday's announcement that WGA members had authorized a possible strike by screenwriters and primetime broadcast scribes.
Of those returning ballots, 90.3% voted to authorize a possible WGA strike against the Alliance of Motion Picture & Television Producers. The guild has been in talks with the AMPTP since July, seeking to replace a current film and TV pact that expires Oct. 31.
Now, WGA members who are employees of CBS' TV and radio operations in four markets will cast similar ballots in their own bargaining standoff. Eye newswriters and related employees have been working under terms of a CBS contract that expired April 1, 2005.
Meanwhile, the WGA's talks with the AMPTP resumed Monday for their first time since the guild announced results of that strike-authorization vote. But the latest session seemed to go much like those before it -- poorly.
"Don't confuse process with progress," AMPTP president Nick Counter said in an end-of-day statement. "While we actually met today for the first time in five days, the WGA leadership again failed to address the producers' proposals. The WGA leadership dismissed the withdrawal of the producers' recoupment proposal as insignificant despite their claim that this was a major impediment to reaching an agreement."
Under the recently withdrawn proposal, the AMPTP had been seeking to revise current residual formulas to allow studios to recoup certain basic costs before paying any residuals on film and TV projects in the future.
With a contract deadline looming in the WGA's film and TV talks with studios and networks, the guild Monday scheduled a separate strike-authorization vote by WGA newswriters. The move -- involving 500 members whose CBS contract expired more than 2 1/2 years ago -- follows Friday's announcement that WGA members had authorized a possible strike by screenwriters and primetime broadcast scribes.
Of those returning ballots, 90.3% voted to authorize a possible WGA strike against the Alliance of Motion Picture & Television Producers. The guild has been in talks with the AMPTP since July, seeking to replace a current film and TV pact that expires Oct. 31.
Now, WGA members who are employees of CBS' TV and radio operations in four markets will cast similar ballots in their own bargaining standoff. Eye newswriters and related employees have been working under terms of a CBS contract that expired April 1, 2005.
Meanwhile, the WGA's talks with the AMPTP resumed Monday for their first time since the guild announced results of that strike-authorization vote. But the latest session seemed to go much like those before it -- poorly.
"Don't confuse process with progress," AMPTP president Nick Counter said in an end-of-day statement. "While we actually met today for the first time in five days, the WGA leadership again failed to address the producers' proposals. The WGA leadership dismissed the withdrawal of the producers' recoupment proposal as insignificant despite their claim that this was a major impediment to reaching an agreement."
Under the recently withdrawn proposal, the AMPTP had been seeking to revise current residual formulas to allow studios to recoup certain basic costs before paying any residuals on film and TV projects in the future.
- 10/23/2007
- The Hollywood Reporter - Movie News
ORLANDO -- In a dramatic reshaping of the WGA contract talks, negotiators for the studios and networks said Tuesday that they have withdrawn the management proposal that labor reps have most objected to: cost recoupment.
Alliance of Motion Picture & Television Producers president Nick Counter said he no longer would seek a revising of current compensation residuals. Such a revision had been proposed by the studios, which said they wanted to recoup certain basic costs before paying any residuals on film and TV projects.
"In the overriding interest of keeping the industry working and removing what has become an emotional impediment and excuse by the WGA not to bargain, the AMPTP withdrew its recoupment proposal," Counter said.
"By taking the recoupment formula off the table, we haven't solved the problems that the formula was designed to ameliorate," he said. "But as we have said repeatedly, we are committed to making a deal that is fair and reasonable."
The AMPTP made its announcement midday.
Alliance of Motion Picture & Television Producers president Nick Counter said he no longer would seek a revising of current compensation residuals. Such a revision had been proposed by the studios, which said they wanted to recoup certain basic costs before paying any residuals on film and TV projects.
"In the overriding interest of keeping the industry working and removing what has become an emotional impediment and excuse by the WGA not to bargain, the AMPTP withdrew its recoupment proposal," Counter said.
"By taking the recoupment formula off the table, we haven't solved the problems that the formula was designed to ameliorate," he said. "But as we have said repeatedly, we are committed to making a deal that is fair and reasonable."
The AMPTP made its announcement midday.
- 10/17/2007
- The Hollywood Reporter - Movie News
Toting an untidy acronym and fuzzy public image, the AMPTP calls to mind Winston Churchill's remark about democracy being "the worst form of government -- except all those other forms that have been tried from time to time."
The Alliance of Motion Pictures & Television Producers was formed in 1982 when a pair of predecessors merged, capping a torturously complicated history of tried and failed studio bargaining entities. Since then it's been the vehicle via which studios have negotiated dozens of largely successful contracts with entertainment labor groups, and Wednesday its negotiators resume talks with the WGA, whose film and TV contract expires Oct. 31.
Certain positions taken by management and labor in the fledgling WGA talks already are well known: Chiefly, management wants residuals revised to allow for limited cost recoupment, while labor wants compensation on new-media content expanded.
Yet while most industryites boast at least passing understanding of the WGA -- actually two guilds, in the East and West, both with elected officers and paid staff -- few around town are well acquainted with the AMPTP. Many know the organization's 25-year president, Nick Counter but little else of its makeup or governance.
Even for this report, AMPTP officials declined to name those representing the various studios on the group's 11-member board. Most are labor-relations execs on the various lots, whose names seldom pop up in the media.
"They're not people who are in the (most) senior management ranks at their respective companies, and that's a problem," said one industryite with close dealings on both sides of the management-labor divide. "They don't go back and report to the studio chiefs. They get on the phone to their general counsels or that sort of person."
That can make for a lack of clarity in the chain of communication, the industry insider said. "People always say how the guilds are so dysfunctional," the source noted. "Well, there's a good bit of dysfunctionality on the board of the AMPTP."
Those on the AMPTP's board also sit on its negotiating committee, so perhaps it only makes sense that their executive portfolios are labor-related. And AMPTP insiders insist the group works well at finding consensus among disparate constituencies.
The Alliance of Motion Pictures & Television Producers was formed in 1982 when a pair of predecessors merged, capping a torturously complicated history of tried and failed studio bargaining entities. Since then it's been the vehicle via which studios have negotiated dozens of largely successful contracts with entertainment labor groups, and Wednesday its negotiators resume talks with the WGA, whose film and TV contract expires Oct. 31.
Certain positions taken by management and labor in the fledgling WGA talks already are well known: Chiefly, management wants residuals revised to allow for limited cost recoupment, while labor wants compensation on new-media content expanded.
Yet while most industryites boast at least passing understanding of the WGA -- actually two guilds, in the East and West, both with elected officers and paid staff -- few around town are well acquainted with the AMPTP. Many know the organization's 25-year president, Nick Counter but little else of its makeup or governance.
Even for this report, AMPTP officials declined to name those representing the various studios on the group's 11-member board. Most are labor-relations execs on the various lots, whose names seldom pop up in the media.
"They're not people who are in the (most) senior management ranks at their respective companies, and that's a problem," said one industryite with close dealings on both sides of the management-labor divide. "They don't go back and report to the studio chiefs. They get on the phone to their general counsels or that sort of person."
That can make for a lack of clarity in the chain of communication, the industry insider said. "People always say how the guilds are so dysfunctional," the source noted. "Well, there's a good bit of dysfunctionality on the board of the AMPTP."
Those on the AMPTP's board also sit on its negotiating committee, so perhaps it only makes sense that their executive portfolios are labor-related. And AMPTP insiders insist the group works well at finding consensus among disparate constituencies.
- 9/18/2007
- The Hollywood Reporter - Movie News
The WGA on Friday sketched its negotiating posture for impending talks about a new film and TV contract, including dicey demands to sweeten Internet and DVD terms, and there was an immediate, sharp reaction from the management negotiator.
The guild issued its traditional "pattern of demands" as a prelude to launching talks with the Alliance of Motion Picture and Television Producers on July 16. The WGA's current film and TV contract expires Oct. 31, and the guild's negotiating committee issues the demands list as a constitutionally mandated step in the negotiations process.
"The negotiating committee is comprised of working writers in television and film who know the Internet is the distribution channel of the future," committee chairman John Bowman said. "We have families, and a significant portion of our income is dependent upon the reuse of our services.
"It is reasonable to expect that we will defend our income, based on royalty models the companies have endorsed in the past," Bowman added. "If they get paid, we get paid. If they don't, we don't. This strikes me as perfectly reasonable. It's sane. We expect the companies to negotiate in similar good faith."
Topping the list of compensation demands is "coverage and minimums for writing for the Internet and other nontraditional media," followed closely by a resolve to "increase initial compensation in all areas." Some of the listed priorities are even more targeted, such as "significantly" boosting compensation for writers on the fledgling CW network, improving terms and minimums for scribes on the TV soaps and unspecified modifications to quiz-show compensation provisions.
"It is an assault on the entire industry, those above and below the line," AMPTP president and chief negotiator Nick Counter said. "We are committed to making a deal -- one that is fair to both sides, one that is realistic, reasonable and respects our contributions and our business needs as well as theirs.
The guild issued its traditional "pattern of demands" as a prelude to launching talks with the Alliance of Motion Picture and Television Producers on July 16. The WGA's current film and TV contract expires Oct. 31, and the guild's negotiating committee issues the demands list as a constitutionally mandated step in the negotiations process.
"The negotiating committee is comprised of working writers in television and film who know the Internet is the distribution channel of the future," committee chairman John Bowman said. "We have families, and a significant portion of our income is dependent upon the reuse of our services.
"It is reasonable to expect that we will defend our income, based on royalty models the companies have endorsed in the past," Bowman added. "If they get paid, we get paid. If they don't, we don't. This strikes me as perfectly reasonable. It's sane. We expect the companies to negotiate in similar good faith."
Topping the list of compensation demands is "coverage and minimums for writing for the Internet and other nontraditional media," followed closely by a resolve to "increase initial compensation in all areas." Some of the listed priorities are even more targeted, such as "significantly" boosting compensation for writers on the fledgling CW network, improving terms and minimums for scribes on the TV soaps and unspecified modifications to quiz-show compensation provisions.
"It is an assault on the entire industry, those above and below the line," AMPTP president and chief negotiator Nick Counter said. "We are committed to making a deal -- one that is fair to both sides, one that is realistic, reasonable and respects our contributions and our business needs as well as theirs.
- 5/19/2007
- The Hollywood Reporter - Movie News
The WGA on Friday sketched its negotiating posture for impending talks about a new film and TV contract, including dicey demands to sweeten Internet and DVD terms, and there was an immediate, sharp reaction from the management negotiator.
The guild issued its traditional "pattern of demands" as a prelude to launching talks with the Alliance of Motion Picture and Television Producers on July 16. The WGA's current film and TV contract expires Oct. 31, and the guild's negotiating committee issues the demands list as a constitutionally mandated step in the negotiations process.
"The negotiating committee is comprised of working writers in television and film who know the Internet is the distribution channel of the future," committee chairman John Bowman said. "We have families, and a significant portion of our income is dependent upon the reuse of our services.
"It is reasonable to expect that we will defend our income, based on royalty models the companies have endorsed in the past," Bowman added. "If they get paid, we get paid. If they don't, we don't. This strikes me as perfectly reasonable. It's sane. We expect the companies to negotiate in similar good faith."
Topping the list of compensation demands is "coverage and minimums for writing for the Internet and other nontraditional media," followed closely by a resolve to "increase initial compensation in all areas." Some of the listed priorities are even more targeted, such as "significantly" boosting compensation for writers on the fledgling CW network, improving terms and minimums for scribes on the TV soaps and unspecified modifications to quiz-show compensation provisions.
"It is an assault on the entire industry, those above and below the line," AMPTP president and chief negotiator Nick Counter said. "We are committed to making a deal -- one that is fair to both sides, one that is realistic, reasonable and respects our contributions and our business needs as well as theirs.
The guild issued its traditional "pattern of demands" as a prelude to launching talks with the Alliance of Motion Picture and Television Producers on July 16. The WGA's current film and TV contract expires Oct. 31, and the guild's negotiating committee issues the demands list as a constitutionally mandated step in the negotiations process.
"The negotiating committee is comprised of working writers in television and film who know the Internet is the distribution channel of the future," committee chairman John Bowman said. "We have families, and a significant portion of our income is dependent upon the reuse of our services.
"It is reasonable to expect that we will defend our income, based on royalty models the companies have endorsed in the past," Bowman added. "If they get paid, we get paid. If they don't, we don't. This strikes me as perfectly reasonable. It's sane. We expect the companies to negotiate in similar good faith."
Topping the list of compensation demands is "coverage and minimums for writing for the Internet and other nontraditional media," followed closely by a resolve to "increase initial compensation in all areas." Some of the listed priorities are even more targeted, such as "significantly" boosting compensation for writers on the fledgling CW network, improving terms and minimums for scribes on the TV soaps and unspecified modifications to quiz-show compensation provisions.
"It is an assault on the entire industry, those above and below the line," AMPTP president and chief negotiator Nick Counter said. "We are committed to making a deal -- one that is fair to both sides, one that is realistic, reasonable and respects our contributions and our business needs as well as theirs.
- 5/19/2007
- The Hollywood Reporter - Movie News
TORONTO -- The tentative deal to end Canada's first-ever actors strike is back on track after the major Hollywood studios on Tuesday agreed on new contract terms for Internet residuals.
Stephen Waddell, chief negotiator for ACTRA, representing 21,000 striking actors, and John Barrack, his counterpart at the Canadian Film and Television Producers Assn., representing major domestic producers, confirmed that they will now recommend to their membership that a new Independent Production Agreement be ratified.
The pending end to the Canadian actors strike follows after Nick Counter, president of the Alliance of Motion Picture and Television Producers, agreed to new language that gives Canadian actors residual rights for Internet-based performances.
The Hollywood studios late Friday shot down an earlier tentative deal to end the actors strike over fears that its landmark Internet compensation terms will set a precedent for their own upcoming contract talks with Los Angeles unions and guilds.
Stephen Waddell, chief negotiator for ACTRA, representing 21,000 striking actors, and John Barrack, his counterpart at the Canadian Film and Television Producers Assn., representing major domestic producers, confirmed that they will now recommend to their membership that a new Independent Production Agreement be ratified.
The pending end to the Canadian actors strike follows after Nick Counter, president of the Alliance of Motion Picture and Television Producers, agreed to new language that gives Canadian actors residual rights for Internet-based performances.
The Hollywood studios late Friday shot down an earlier tentative deal to end the actors strike over fears that its landmark Internet compensation terms will set a precedent for their own upcoming contract talks with Los Angeles unions and guilds.
- 2/21/2007
- The Hollywood Reporter - Movie News
TORONTO -- Bargainers for Canadian actors and producers worked Monday to produce a face-saving formula that will allow nervous Hollywood studio CEOs to ratify a new contract for striking Canadian performers.
The latest twist in Canada's first actors strike follows what looked like a done deal Friday suddenly requiring further negotiations to ease Hollywood studios' concerns over landmark new-media residuals for Canadian performers.
"We're working to find a resolution, and we're hopeful that it's doable," read a statement Monday from John Barrack, chief negotiator for the Canadian Film and Television Production Assn., representing major Canadian producers, and Stephen Waddell, chief negotiator for ACTRA, representing 21,000 performers.
Both Waddell and Barrack on Friday afternoon shook hands on what they thought was a new collective agreement for domestic actors (HR 2/16). But a half-hour later in Los Angeles, an alarm was raised when major studio heads were briefed on the terms for a new three-year Independent Production Agreement.
According to sources close to the negotiations, the studio CEOs were adamant that the new agreement's payment formulas for Internet rights should set no precedent for upcoming talks between the studios and its U.S. guilds and unions, starting with the WGA.
Despite that setback, no one expects the Americans to take their marbles and go home.
Barrack and Waddell were working Monday to find a way for the major studios to ratify a new IPA and yet not be boxed in when they hold their own union and guild contract talks in Los Angeles later this year and in 2008.
Their joint ACTRA/CFTPA proposal then will be submitted to Alliance of Motion Picture & Television Producers president Nick Counter for consideration.
When the Canadian bargaining talks left off Friday, ACTRA's actors had secured a 9% wage increase over three years and a 1% increase in retirement benefits in the first year of the new agreement.
The latest twist in Canada's first actors strike follows what looked like a done deal Friday suddenly requiring further negotiations to ease Hollywood studios' concerns over landmark new-media residuals for Canadian performers.
"We're working to find a resolution, and we're hopeful that it's doable," read a statement Monday from John Barrack, chief negotiator for the Canadian Film and Television Production Assn., representing major Canadian producers, and Stephen Waddell, chief negotiator for ACTRA, representing 21,000 performers.
Both Waddell and Barrack on Friday afternoon shook hands on what they thought was a new collective agreement for domestic actors (HR 2/16). But a half-hour later in Los Angeles, an alarm was raised when major studio heads were briefed on the terms for a new three-year Independent Production Agreement.
According to sources close to the negotiations, the studio CEOs were adamant that the new agreement's payment formulas for Internet rights should set no precedent for upcoming talks between the studios and its U.S. guilds and unions, starting with the WGA.
Despite that setback, no one expects the Americans to take their marbles and go home.
Barrack and Waddell were working Monday to find a way for the major studios to ratify a new IPA and yet not be boxed in when they hold their own union and guild contract talks in Los Angeles later this year and in 2008.
Their joint ACTRA/CFTPA proposal then will be submitted to Alliance of Motion Picture & Television Producers president Nick Counter for consideration.
When the Canadian bargaining talks left off Friday, ACTRA's actors had secured a 9% wage increase over three years and a 1% increase in retirement benefits in the first year of the new agreement.
- 2/20/2007
- The Hollywood Reporter - Movie News
TORONTO -- What looked like a done deal Friday to settle Canada's actors strike now requires further negotiations to ease Hollywood studios concerns over landmark new media residuals for Canadian performers.
Bargainers for ACTRA, representing 21,000 strike performers, and the Canadian Film and Television Production Association (CFTPA), representing major Canadian producers, on Friday at 2:30 p.m. shook hands on a new collective agreement for domestic actors.
But 30 minutes later, an alarm was raised in Los Angeles when major studio heads were briefed on the terms for a new three-year Independent Production Agreement (IPA) for Canadian actors.
According to sources close to the negotiations, the Hollywood studios are adamant that the new IPA's payment formulas for Internet rights should set no precedent for upcoming talks between the studios and U.S. guilds and unions, starting with the Writers Guild of America.
Despite that setback, no one expects the Americans to take their marbles and go home.
"We're going to work out some solution. The (Canadian) community wants to ensure the studio work keeps coming here," CFTPA chief negotiator John Barrack said Sunday.
Barrack and ACTRA chief negotiator Stephen Waddell will meet Feb. 19 in Toronto to hammer out a face-saving formula to help the major studios ratify a new IPA, and yet not be boxed in when they hold their own union and guild contract talks in Los Angeles later this year and next.
The joint ACTRA/CFTPA proposal will then be submitted to AMPTP president Nick Counter for consideration.
Ways out of the current impasse include enabling the major studios to postpone the ACTRA terms on new media residuals, or ensure they don't apply to AMPTP or affiliate shoots in Canada until the Screen Actors Guild (SAG) talks conclude.
ACTRA might then be offered a "reopener" provision to ensure the to-be-agreed terms on Internet residuals for SAG retroactively apply to ACTRA.
Until the SAG talks conclude, AMPTP producers could negotiate with ACTRA for new media buyout terms on a project-by-project basis. The Canadian union could possibly file grievances with respect to streaming U.S. product with performances by Canadian actors, but they would be held in abeyance pending the end to the SAG talks.
Alternatively, contractual language could be drawn up to ensure studio shoots in Canada are not designated as American or representing studios, but instead could be termed "producer elect" projects, for example.
Bargainers for ACTRA, representing 21,000 strike performers, and the Canadian Film and Television Production Association (CFTPA), representing major Canadian producers, on Friday at 2:30 p.m. shook hands on a new collective agreement for domestic actors.
But 30 minutes later, an alarm was raised in Los Angeles when major studio heads were briefed on the terms for a new three-year Independent Production Agreement (IPA) for Canadian actors.
According to sources close to the negotiations, the Hollywood studios are adamant that the new IPA's payment formulas for Internet rights should set no precedent for upcoming talks between the studios and U.S. guilds and unions, starting with the Writers Guild of America.
Despite that setback, no one expects the Americans to take their marbles and go home.
"We're going to work out some solution. The (Canadian) community wants to ensure the studio work keeps coming here," CFTPA chief negotiator John Barrack said Sunday.
Barrack and ACTRA chief negotiator Stephen Waddell will meet Feb. 19 in Toronto to hammer out a face-saving formula to help the major studios ratify a new IPA, and yet not be boxed in when they hold their own union and guild contract talks in Los Angeles later this year and next.
The joint ACTRA/CFTPA proposal will then be submitted to AMPTP president Nick Counter for consideration.
Ways out of the current impasse include enabling the major studios to postpone the ACTRA terms on new media residuals, or ensure they don't apply to AMPTP or affiliate shoots in Canada until the Screen Actors Guild (SAG) talks conclude.
ACTRA might then be offered a "reopener" provision to ensure the to-be-agreed terms on Internet residuals for SAG retroactively apply to ACTRA.
Until the SAG talks conclude, AMPTP producers could negotiate with ACTRA for new media buyout terms on a project-by-project basis. The Canadian union could possibly file grievances with respect to streaming U.S. product with performances by Canadian actors, but they would be held in abeyance pending the end to the SAG talks.
Alternatively, contractual language could be drawn up to ensure studio shoots in Canada are not designated as American or representing studios, but instead could be termed "producer elect" projects, for example.
- 2/18/2007
- The Hollywood Reporter - Movie News
A simmering feud between two unions burst into full flame Tuesday as IATSE president Thomas Short accused WGA leaders of "irresponsibility and incompetence" for nixing early producer negotiations for a new film and TV contract.
The flare-up follows a heated, if quiet, debate over the jurisdiction of some reality television jobs. A decision is still awaited from the National Labor Relations Board on whether the WGA or IATSE should represent work done by 12 former "storytellers" on the reality TV show "America's Next Top Model".
But first the NLRB must rule on the WGA's claim that the "Model" employees were fired illegally after striking for the right to join the WGA. IATSE already represents "Model" editors, and on Monday the union won the right to represent 60 production employees on the show (HR 12/5).
The dispute over early talks with producers involves the WGA's next contract covering movie writers and most primetime scribes. Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned last month that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect and begin to slow production almost immediately (HR 11/28).
The WGA's current film and TV contract expires Oct. 31. Short warned that failure to convene talks with the Alliance of Motion Picture and Television Producers earlier than September, as planned by the WGA, would result in an actual labor strike in Hollywood.
The flare-up follows a heated, if quiet, debate over the jurisdiction of some reality television jobs. A decision is still awaited from the National Labor Relations Board on whether the WGA or IATSE should represent work done by 12 former "storytellers" on the reality TV show "America's Next Top Model".
But first the NLRB must rule on the WGA's claim that the "Model" employees were fired illegally after striking for the right to join the WGA. IATSE already represents "Model" editors, and on Monday the union won the right to represent 60 production employees on the show (HR 12/5).
The dispute over early talks with producers involves the WGA's next contract covering movie writers and most primetime scribes. Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned last month that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect and begin to slow production almost immediately (HR 11/28).
The WGA's current film and TV contract expires Oct. 31. Short warned that failure to convene talks with the Alliance of Motion Picture and Television Producers earlier than September, as planned by the WGA, would result in an actual labor strike in Hollywood.
A simmering feud between two unions burst into full flame Tuesday as IATSE president Thomas Short accused WGA leaders of "irresponsibility and incompetence" for nixing early producer negotiations for a new film and TV contract.
The flare-up follows a heated, if quiet, debate over the jurisdiction of some reality television jobs. A decision is still awaited from the National Labor Relations Board on whether the WGA or IATSE should represent work done by 12 former "storytellers" on the reality TV show America's Next Top Model.
But first the NLRB must rule on the WGA's claim that the Model employees were fired illegally after striking for the right to join the WGA. IATSE already represents Model editors, and on Monday the union won the right to represent 60 production employees on the show (HR 12/5).
The dispute over early talks with producers involves the WGA's next contract covering movie writers and most primetime scribes. Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned last month that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect and begin to slow production almost immediately (HR 11/28).
The WGA's current film and TV contract expires Oct. 31. Short warned that failure to convene talks with the Alliance of Motion Picture and Television Producers earlier than September, as planned by the WGA, would result in an actual labor strike in Hollywood.
The flare-up follows a heated, if quiet, debate over the jurisdiction of some reality television jobs. A decision is still awaited from the National Labor Relations Board on whether the WGA or IATSE should represent work done by 12 former "storytellers" on the reality TV show America's Next Top Model.
But first the NLRB must rule on the WGA's claim that the Model employees were fired illegally after striking for the right to join the WGA. IATSE already represents Model editors, and on Monday the union won the right to represent 60 production employees on the show (HR 12/5).
The dispute over early talks with producers involves the WGA's next contract covering movie writers and most primetime scribes. Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned last month that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect and begin to slow production almost immediately (HR 11/28).
The WGA's current film and TV contract expires Oct. 31. Short warned that failure to convene talks with the Alliance of Motion Picture and Television Producers earlier than September, as planned by the WGA, would result in an actual labor strike in Hollywood.
- 12/14/2006
- The Hollywood Reporter - Movie News
Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned Monday that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect.
The WGA's current film and TV contract -- covering movie scribes and most TV writers -- expires Oct. 31. The two sides commonly meet at least a couple of months before contract expiration, but Counter said that even earlier negotiations had been discussed.
"We offered two weeks in January to jump-start negotiations and avoid a de facto strike," said Counter, chief negotiator for the Alliance of Motion Picture & Television Producers. "That's been rejected by the Writers Guild, and we're shocked and dismayed."
AMPTP executives are shocked because preliminary discussions involved still earlier negotiating dates and dismayed because execs may need to curtail greenlighting film projects and ordering scripted TV pilots, he said. The veteran negotiator stressed that those decisions are made individually among studios but said movie activity could be affected almost immediately and TV pilot orders by January.
"We've been going back and forth trying to jump-start early negotiations," said Counter, who negotiates about 80 contracts with guilds in the U.S. and Canada. "At one point, we had envisioned talks as early as fall, then they suggested January, and we accepted that. Apparently that suggestion was taken to their board (and) was turned down."
WGA West executive director David Young, appointed to his post in August after serving 11 months on an interim basis, issued a statement in response to Counter's comments.
"The WGA will be prepared to commence negotiations in the summer of 2007, well in advance of the November contract expiration," Young said.
The WGA's current film and TV contract -- covering movie scribes and most TV writers -- expires Oct. 31. The two sides commonly meet at least a couple of months before contract expiration, but Counter said that even earlier negotiations had been discussed.
"We offered two weeks in January to jump-start negotiations and avoid a de facto strike," said Counter, chief negotiator for the Alliance of Motion Picture & Television Producers. "That's been rejected by the Writers Guild, and we're shocked and dismayed."
AMPTP executives are shocked because preliminary discussions involved still earlier negotiating dates and dismayed because execs may need to curtail greenlighting film projects and ordering scripted TV pilots, he said. The veteran negotiator stressed that those decisions are made individually among studios but said movie activity could be affected almost immediately and TV pilot orders by January.
"We've been going back and forth trying to jump-start early negotiations," said Counter, who negotiates about 80 contracts with guilds in the U.S. and Canada. "At one point, we had envisioned talks as early as fall, then they suggested January, and we accepted that. Apparently that suggestion was taken to their board (and) was turned down."
WGA West executive director David Young, appointed to his post in August after serving 11 months on an interim basis, issued a statement in response to Counter's comments.
"The WGA will be prepared to commence negotiations in the summer of 2007, well in advance of the November contract expiration," Young said.
- 12/5/2006
- The Hollywood Reporter - Movie News
Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned Monday that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect.
The WGA's current film and TV contract -- covering movie scribes and most TV writers -- expires Oct. 31. The two sides commonly meet at least a couple of months before contract expiration, but Counter said that even earlier negotiations had been discussed.
"We offered two weeks in January to jump-start negotiations and avoid a de facto strike," said Counter, chief negotiator for the Alliance of Motion Picture & Television Producers. "That's been rejected by the Writers Guild, and we're shocked and dismayed."
AMPTP executives are shocked because preliminary discussions involved still earlier negotiating dates and dismayed because execs may need to curtail greenlighting film projects and ordering scripted TV pilots, he said. The veteran negotiator stressed that those decisions are made individually among studios but said movie activity could be affected almost immediately and TV pilot orders by January.
"We've been going back and forth trying to jump-start early negotiations," said Counter, who negotiates about 80 contracts with guilds in the U.S. and Canada. "At one point, we had envisioned talks as early as fall, then they suggested January, and we accepted that. Apparently that suggestion was taken to their board (and) was turned down."
WGA West executive director David Young, appointed to his post in August after serving 11 months on an interim basis, issued a statement in response to Counter's comments.
"The WGA will be prepared to commence negotiations in the summer of 2007, well in advance of the November contract expiration," Young said.
The WGA's current film and TV contract -- covering movie scribes and most TV writers -- expires Oct. 31. The two sides commonly meet at least a couple of months before contract expiration, but Counter said that even earlier negotiations had been discussed.
"We offered two weeks in January to jump-start negotiations and avoid a de facto strike," said Counter, chief negotiator for the Alliance of Motion Picture & Television Producers. "That's been rejected by the Writers Guild, and we're shocked and dismayed."
AMPTP executives are shocked because preliminary discussions involved still earlier negotiating dates and dismayed because execs may need to curtail greenlighting film projects and ordering scripted TV pilots, he said. The veteran negotiator stressed that those decisions are made individually among studios but said movie activity could be affected almost immediately and TV pilot orders by January.
"We've been going back and forth trying to jump-start early negotiations," said Counter, who negotiates about 80 contracts with guilds in the U.S. and Canada. "At one point, we had envisioned talks as early as fall, then they suggested January, and we accepted that. Apparently that suggestion was taken to their board (and) was turned down."
WGA West executive director David Young, appointed to his post in August after serving 11 months on an interim basis, issued a statement in response to Counter's comments.
"The WGA will be prepared to commence negotiations in the summer of 2007, well in advance of the November contract expiration," Young said.
- 11/29/2006
- The Hollywood Reporter - Movie News
Nick Counter, the producers' lead negotiator with the Hollywood guilds, warned Monday that the WGA's resistance to early talks on a film and TV contract could prompt studio and network execs to act as if a "de facto strike" were in effect.
The WGA's current film and TV contract -- covering movie scribes and most TV writers -- expires Oct. 31. The two sides commonly meet at least a couple of months before contract expiration, but Counter said that even earlier negotiations had been discussed.
"We offered two weeks in January to jump-start negotiations and avoid a de facto strike," said Counter, chief negotiator for the Alliance of Motion Picture & Television Producers. "That's been rejected by the Writers Guild, and we're shocked and dismayed."
AMPTP executives are shocked because preliminary discussions involved still earlier negotiating dates and dismayed because execs may need to curtail greenlighting film projects and ordering scripted TV pilots, he said. The veteran negotiator stressed that those decisions are made individually among studios but said movie activity could be affected almost immediately and TV pilot orders by January.
"We've been going back and forth trying to jump-start early negotiations," said Counter, who negotiates about 80 contracts with guilds in the U.S. and Canada. "At one point, we had envisioned talks as early as fall, then they suggested January, and we accepted that. Apparently that suggestion was taken to their board (and) was turned down."
WGA West executive director David Young, appointed to his post in August after serving 11 months on an interim basis, issued a statement in response to Counter's comments.
"The WGA will be prepared to commence negotiations in the summer of 2007, well in advance of the November contract expiration," Young said.
The WGA's current film and TV contract -- covering movie scribes and most TV writers -- expires Oct. 31. The two sides commonly meet at least a couple of months before contract expiration, but Counter said that even earlier negotiations had been discussed.
"We offered two weeks in January to jump-start negotiations and avoid a de facto strike," said Counter, chief negotiator for the Alliance of Motion Picture & Television Producers. "That's been rejected by the Writers Guild, and we're shocked and dismayed."
AMPTP executives are shocked because preliminary discussions involved still earlier negotiating dates and dismayed because execs may need to curtail greenlighting film projects and ordering scripted TV pilots, he said. The veteran negotiator stressed that those decisions are made individually among studios but said movie activity could be affected almost immediately and TV pilot orders by January.
"We've been going back and forth trying to jump-start early negotiations," said Counter, who negotiates about 80 contracts with guilds in the U.S. and Canada. "At one point, we had envisioned talks as early as fall, then they suggested January, and we accepted that. Apparently that suggestion was taken to their board (and) was turned down."
WGA West executive director David Young, appointed to his post in August after serving 11 months on an interim basis, issued a statement in response to Counter's comments.
"The WGA will be prepared to commence negotiations in the summer of 2007, well in advance of the November contract expiration," Young said.
- 11/28/2006
- The Hollywood Reporter - Movie News
As the WGA West prepares to take its organizing campaign to the upfronts this week, the industry's top negotiator said Monday that the guild's tactics were becoming "counterproductive" and could set back guild-industry relations by decades. Nick Counter, president of the Alliance of Motion Picture & Television Producers, made the comments in an "open letter" to the WGA that was published in The Hollywood Reporter and in a separate interview. Counter's comments were timed to this week's network upfront media presentations in New York, where WGAW leaders plan to highlight their product-placement concerns at a news conference Wednesday.
- 5/16/2006
- The Hollywood Reporter - Movie News
As the WGA West prepares to take its organizing campaign to the upfronts this week, the industry's top negotiator said Monday that the guild's tactics were becoming "counterproductive" and could set back guild-industry relations by decades. Nick Counter, president of the Alliance of Motion Picture & Television Producers, made the comments in an "open letter" to the WGA that was published in The Hollywood Reporter and in a separate interview. Counter's comments were timed to this week's network upfront media presentations in New York, where WGAW leaders plan to highlight their product-placement concerns at a news conference Wednesday.
- 5/16/2006
- The Hollywood Reporter - Movie News
The Alliance of Motion Picture and Television Producers president Nick Counter juggles dozens of issues as the industry's chief union negotiator. None has garnered more attention recently than digital downloads, a potentially lucrative revenue stream that the guilds are eager to share in. Counter discussed this critical issue with The Hollywood Reporter labor and legal reporter Jesse Hiestand.
- 4/25/2006
- The Hollywood Reporter - Movie News
The Alliance of Motion Picture and Television Producers president Nick Counter juggles dozens of issues as the industry's chief union negotiator. None has garnered more attention recently than digital downloads, a potentially lucrative revenue stream that the guilds are eager to share in. Counter discussed this critical issue with The Hollywood Reporter labor and legal reporter Jesse Hiestand.
- 4/25/2006
- The Hollywood Reporter - Movie News
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