They’re never going to be included in. Studios don’t have a grasp of what’s a stake right now and by the time they do, they won’t do it. Are they prepared to cut everybody in? It’s clearly an area of gigantic significance. But if they don’t go charging now, the doors are never going to be easier to open. They’re right to ask and to insist, but the studios are going to have a hard time doing a five-year table for mobile phones. – manager
Yes, it’s worth a strike. There’s going to be a huge pot of gold from downloads — maybe not until 2013 — but it’s definitely coming. So now is the time for the WGA to fight for it. – producer/manager
The only strike I’m interested in is in bowling. Just kidding. Actually, to be serious, the producers have screwed the writers for years on DVD, which is now everywhere. And they’ve done that to writers because they don’t think that writers do anything. So the writers almost have to go on strike because it’s the only way to convince the producers that they actually need writers. – WGA member
No, it’s not worth a strike. They aren’t going to have any better idea next year where the revenues are in new media, so it’s not as if the writers will have a specific goal in mind by the time they sit down. And they’ll have made the companies angry because they’ll have been forced to plan for a strike. – network executive
No! – Variety subscriber
The studios created this by screwing the writers so hard on DVD. The writers are now overcompensating to make sure this doesn’t happen again. The best thing the studios can do to avert this strike is to put a fair offer on the table for digital downloads, sooner rather than later, and take the steam out of the WGA saber rattling. The studios claim there is no download revenue model, but in talks to shareholders they are getting very specific on the profit they intend to accrue from it. – writer/producer
The notion that you can’t work out a formula because the networks “don’t know what the revenues will be” is absurd. Work out a percentage. It the revenues are high, the writers get more, if the revenues are low, the writers get less. The networks and studios are all offering programs via download. Therefore, they have a business model in place. Delivery is changing from broadcast to an on-demand system via the internet. That’s a fact. It’s not rocket science. Sit down, be honest and reasonable, and work something out. Do that and there’s no need for a strike. Or are the words “honest” and “reasonable” unknown in Hollywood? – writer/producer
Two things I’d like to mention pertaining to this absurd issue. One, my wife went out a few days ago and purchased two new DVDs of the Disney film “Cars” for Holiday gifts. They were purchased at the discount chain, Target, and she paid about $22.00 for each. I produce DVD programming sold via DRTV at a price point of $19.99. Out of that sum I pay for inbound telemarketing, merchant banking, television airtime, manufacturing and fulfillment. The same package my wife bought at Target costs me $1.87 and that includes the DVD, the packaging, the printed inserts and shrink wrapping. Someone’s being hosed here and it’s not just the writers, but the actors, who get even less because their piece is pooled. As technology continues to pursue the 18 to 39 demographic its easy to predict that traditional media are on the wane.
That means television and film viewers will never be the same. For those learning the new ways of media, their laptop and other forms of transmission will change everything and it will happen sooner than later.
To the point: if writers and actors don’t think their rightful share is worth fighting for at this time, all they will ever get in the future are the scraps and shaving from the excessively full pockets of the suits and studios. – writer/producer
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