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The Writers Guild of the East and West Coasts of the United States chose to strike at the end of October and early November. In fact, it is not without reason. The Writers Guild of America's contract expires on October 31. This time, the Writers Guild hopes to include The dividend ratio of some resources such as DVDs and networks is adjusted.

Therefore, after difficult negotiations and bargaining, the negotiation was finally declared a failure, which led to the official strike of the screenwriters union on November 5th. You must know that when the screenwriters union voted, it was unanimously voted. The strike decision.

In fact, although the Writers Guild of America unanimously passed the strike decision, there are still many gray areas that need to be negotiated between the Producers Guild of America and the Writers Guild of America. For example, if the producer's responsibilities are defined, should they be involved in the screenwriting work? Are editors also part of the screenwriting? Is working from home the same as working in the office? And how should the script that the screenwriters have already written be arranged during this strike? Is it delivered to the producer for use or not delivered?

The appearance of this gray area does not affect the decision of the screenwriters to strike, but in the negotiation process with the producer union, the definition of the gray area also determines the position and distribution of interests of the screenwriters union. The definition of groups involved in the field of television.

Among them, the definition of the executive producer is an absolutely critical issue. It is very common for the executive producer to discuss the script with the screenwriter during the production process, which makes the executive producer also have screenwriting attributes, and their responsibilities are the most sensitive part of the gray area.

On November 5, the first day of the strike, relations between the Writers Guild of America and the Producers Guild of America deteriorated further. In fact, both producers and writers were outraged that negotiations broke down on Sunday night, November 4. Professionals in Hollywood have analyzed that if Hollywood wants to avoid painful losses, it must show sincerity to resolve the strike within 48 hours.

The Screenwriters Guild has long stated that they are always ready and willing to negotiate with the producers, but the question now is, which company can take down the face and negotiate with the screenwriters first? Eleven Studios has already sided with the Screenwriters Guild, but the problem is that utube involves major film companies, so Eleven Studios' decision will not play a decisive role in this process.

Michael Winship, chairman of the Western Screenwriters Guild, said, "I think both sides want to negotiate, but we don't want to divorce." But the large-scale strikes have officially broken out, and the two sides have attacked each other in language and negotiated. Hope seems small. More importantly, it was only the first day that the screenwriters quit their jobs, and the Directors Guild of America also reported that they have made up their minds to negotiate with the Producers Guild of America after the contract expires next year! Emotions are likely to deteriorate further on Thursday, November 8th. The Screenwriters Guild of America has a script confirmation process on Thursday. All screenwriters must submit their weekly scripts at this time. Film and TV companies ask the union to confirm that the strike will not affect Thursday's work. But the problem is that the screenwriters of popular dramas have also joined the strike. Even if they don't want to strike, the screenwriters union has already voted for the proposal to strike. As long as the screenwriters are still in the union, Still have to abide by the strike agreement.

What's more important is that the negotiation between the writers and the producers is still fruitless. Before Sunday's negotiation, there were five different opinions on both sides. At the end of the negotiation, the writers' union had conceded to only two of them. Both sides agreed that Continuing negotiations could lead to more serious consequences. But the chairman of the Producers Guild of America, Nicholas Conte, said that the Writers Guild of the East of the United States announced a strike on its website at 9:00 p.m. on Sunday before negotiations were over, and then the top of the Producers Guild of America asked the Writers Guild. The negotiation broke down completely after the decision to dismiss the workers was obtained and a positive answer was obtained.

"We asked the screenwriters if they would like to postpone the strike and continue negotiations, but the screenwriters union rejected our request. At that time, the negotiations had made some progress, but their answer immediately made We banged our heads against the wall. I'm absolutely shocked and outraged by what's happening now!"

However, Michael Winship believes that the producers have been warned enough. They told the American Producers Guild at noon on Sunday that they were willing to negotiate overnight, but Monday's strike was unstoppable. However, he also acknowledged that the two sides have indeed made some progress in the negotiations. "If it had been October 10, I would have liked to continue negotiations with them, but unfortunately they only asked us to postpone the strike on November 4 at 9.30pm and they hadn't promised us anything about the contract. An amendment to revenue. We are making progress, but there is no underlying economic interest."

The final consensus was that the meeting ended at 9:30 pm without any further negotiations planned. .

The Writers Guild negotiators had already given up on the revision of the doubling of the profit, but the Producers Guild was still unwilling to make any concessions, angering the Writers Guild negotiators. Nicholas-Conte said last week that there would be no progress in talks to revise the removal of the vd and network profit commissions. The producer said that the screenwriter had withdrawn nine points of revision, but it was not enough. There are also rumors that the American Producers Union has actually made concessions in the revision of economic benefits. They agree that the screenwriter will get a commission on the Internet, but only if the show is specially made for online broadcast, and they also provide Higher health insurance and pensions.

However, the Writers Guild of America believed that the Producers Guild of America was very insincere, and after the 12-hour negotiation ended, Michael Winship sent an email to the Producers Guild to express his anger. Michael Winship believes, "I saw our screenwriters give up the winter season in great desperation, hoping to reach a consensus with them. We have all given up the four-profit commission, which is not easy for us. But we think the new media's The profit cut is very important, and it is closely related to our future. But the company representatives were very rude, and at 9:30 that night they insisted on leaving the meeting room on the pretext that we had disrupted the negotiation.”

In fact, in the final analysis, it is still about the dividends of network profits, including utube, Hulu, Google Video, etc. The Screenwriters Guild hopes that they can create a 2.5% commission, including the first broadcast on TV, but The episodes that were later sold on the Internet. Producers have made slight concessions in terms of network-related terms, but they have always believed that the profits made by first airing on TV and then "repurposing" them online are extra income and should not be given to writers.

Interestingly, after the meeting, Nicholas-Conte expressed a pessimistic view in an interview after the strike broke out on Monday, "We feel very bleak with the negotiations with the writers' union, they only want to make a huge amount of money like in 1988. economic damage and let the strike continue for five months.”

And Michael Winship believes that if the producers do not show sincerity to deal with this matter, the Directors Guild will negotiate with them again after the contract expires. "We've decided to strike, and we're not looking up to the Producers of America for any concessions," he said. At the same time, Nicholas Conte said he would not be negotiating with the Directors Guild, which has nothing to do with it. respond.

On November 5th, 12 hours after the strike, all the news was flying around. Evan Bell joined the strike as one of the screenwriters. Negotiations between trade unions are intertwined with interests. Eleven Studios has always been the core existence, and Evan-Bell’s active support attitude has also given the Screenwriters Guild a slight upper hand.

In response, without being able to contact Teddy Bell, Zhao TV teamed up with Fox to send a letter to all their dismissed executive producers, in which the TV station said, "The executive producers who are not writing now will All from the projects they are responsible for." Except. After TV and Fox, cbs, 'TV and many other production companies have sent or are preparing to send similar letters. It can be seen that the TV station and the production company are all in the same boat at this time!

This move caused the entire ~www.readwn.com~ film and TV field to be shocked. They knew that the TV station and production company would definitely fight back against the dismissal of the screenwriter, but they did not expect that the production company would take such extreme measures and did not necessary way. Because it's a lose-lose approach. Injure one thousand enemies, and self-inflict eight hundred.

Now it seems that the strike of the screenwriters union has further stimulated the conflict with the producers, and now the negotiation has become more and more impossible. The direction of the strike this time, and how the redistribution of interests will eventually be redistributed, are all unknown puzzles.

Compared with the constant shouting and scolding through the media, Evan-Bell, as one of the screenwriters, got along very well with other colleagues in Rockefeller Plaza. Evan-Bell's four-hour class It was over soon, and he greeted each other with the screenwriters who came again. After the handover, he was ready to leave Keefeller Plaza.

Evan-Bell Diao just left Keefeller Plaza. The reporters surrounded Evan-Bell between books, and countless microphones poured in, hoping to interview Evan-Bell as soon as possible. personal impression. And Evan-Bell didn't leave the plan quickly. This kind of demonstration was originally an occasion to stand up and express your views. All professional reporters interviewed, so they should express their thoughts according to the situation. This is the most correct. choose.

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