What can I say? It's been a while.
Barack Obama, in a blatant attempt to prove something, is supposedly considering Republicans for Vice President. Will it happen? Likely not; he just wants the "unifying" press. It's all about change, right?
Seriously, both Obama and McCain should select Jeb Bush as a running mate. Imaging the furor that would cause.
Mexico is releasing its first "designed and made in Mexico" car, and I must admit, it looks awesome. It's called the Mastretta MXT and can do 0-60 in under five seconds. Not only that, it's guaranteed to get your farmhands to work on time. Uh oh... I did not just type that. Santa Mierda!
Still, the new Camaro looks like it can kick the Mastretta's ass.
In other news: more irony as two more banks "foreclosed." Suckers. The banking industry is finally realizing that it wasn't them who trapped the American homeowner in a lose-lose situation, it was the other way around.
California is becoming the first state to ban restaurants from using trans-fats. $50 says that someone will eventually discover that trans-fats actually have a biological purpose, and everyone will realize that they just screwed themselves.
The United States Army, in a wonderful PR move, recalled Caleb Campbell of the NFL's Detroit Lions to active service. This was after promising him that he could play in the NFL and serve as a poster boy for recruiting. Again, $50 says some jealous higher ups somewhere purposely fucked that poor guy. Does nobody in the Army realize that the Army's image is suffering at the moment? Rest assured, I will return to this issue in the near future.
Marion Jones applied for a Presidential pardon. Sorry, bitch. You cheated, lied, then lied about cheating. While falling short of treason, you deserve the same treatment Benedict Arnold got. Bitch.
Tori Spelling, already whoring herself out to reality TV in an attempt to brighten her fading star, needs to consider another method to brighten her fading star... like going away.
The Screen Actors Guild is bandying about, unsure of what to do. How about this? GO BACK TO WORK. Fuckers.
Perhaps deceptively trying to convince the American public that the military is truly "up-sizing," the US Navy has reactived the long-dormant Fourth Fleet. However, the truth is that the ships of the Fourth Fleet will theoretically be "on loan" from the other fleets. Go figure.
So Air Force crews are falling asleep at the controls of missile launch sites? Um... does anyone still not agree that this particular organization needs to disappear?
Here's something you probably don't know: the Russians have been to the moon, albeit in the form of a remote-controlled rover. In the 70s. And, yes, decades later we borrowed some of their technology to design our Mars rovers.
Out of Iraq and into Iran? That would be, like, stupidly expensive. Ignoring the politics behind it, why would someone drive from San Diego to Los Angeles by going home to Chicago first?
The San Diego Padres seriously, seriously suck this year. Think letting Bruce Bochy go had anything to do with that? Um... yes.
I just recently watched that "Kirk Cameron can scientifically prove the existence of God" debate. Then I read something Candace Cameron wrote about how "God wants her to serve her husband." I have a question for them: what the fuck is wrong with you?
The Dark Knight was, well, near-perfect. Although Christian Bale's "Batman" voice can really get irritating if he has to put more than five words together at a time. And Maggie Gyllenhaal? Not much of an improvement over the awful Katie Holmes. I'm glad this is no longer an issue.
Honestly, I miss the cold weather.
And, on that note, I'm out.
Showing posts with label Screen Actors Guild. Show all posts
Showing posts with label Screen Actors Guild. Show all posts
Saturday, July 26, 2008
Wednesday, January 23, 2008
Random Hollywood Musings in January, 2008
By now everyone is aware that Heath Ledger is dead. Seriously, when are young stars going to realize that sleeping pills are bad mojo?
We're at Ledger and Renfro so far... In keeping with the "Hollywood in Threes" legend, anyone want to take a guess on who's next? My money's on Britney Spears. Well, okay, not really, but she should be next.
Yes, even I think that was irresponsibly and ridiculously mean of me.
The WGA has finally backed off of their demand to represent animation and reality writers. About fucking time. Assholes. Now we can get somewhere.
Speaking of the WGA. I've said all along that this strike wasn't about money, but about power. The proof? The WGA has threatened to boycott the Academy Awards if an agreement isn't reached by then. Why? Exactly what do the Academy Awards, an industry-wide event honoring all aspects of cinema, have to do with contract negotiations?
The DGA deal seemed to have been reached quickly, and the SAG deal looks like it's going to be a no-brainer. So exactly what is the WGA's problem? And why does the WGA feel the need to call on SAG to support them? If writers and actors need to support each other, why not just form a new union?
I think AFTRA should stick it up SAG's ass and start acting completely independent of their sister guild. Competition would do the unions some good.
Have yet to see a movie in theaters this year. I'm having withdrawals... again.
If anyone tells me anything about Cloverfield before I see it, I will hunt you down and bury you where I find you.
We're at Ledger and Renfro so far... In keeping with the "Hollywood in Threes" legend, anyone want to take a guess on who's next? My money's on Britney Spears. Well, okay, not really, but she should be next.
Yes, even I think that was irresponsibly and ridiculously mean of me.
The WGA has finally backed off of their demand to represent animation and reality writers. About fucking time. Assholes. Now we can get somewhere.
Speaking of the WGA. I've said all along that this strike wasn't about money, but about power. The proof? The WGA has threatened to boycott the Academy Awards if an agreement isn't reached by then. Why? Exactly what do the Academy Awards, an industry-wide event honoring all aspects of cinema, have to do with contract negotiations?
The DGA deal seemed to have been reached quickly, and the SAG deal looks like it's going to be a no-brainer. So exactly what is the WGA's problem? And why does the WGA feel the need to call on SAG to support them? If writers and actors need to support each other, why not just form a new union?
I think AFTRA should stick it up SAG's ass and start acting completely independent of their sister guild. Competition would do the unions some good.
Have yet to see a movie in theaters this year. I'm having withdrawals... again.
If anyone tells me anything about Cloverfield before I see it, I will hunt you down and bury you where I find you.
Tuesday, January 8, 2008
SAG: Union Bullies
It seems as though enough members of the Screen Actors Guild have promised to boycott this year's Golden Globe Awards to prompt the cancellation of the telecast.
To this I ask, "Why?"
Of course, most SAG members will answer that it's in support of the WGA strike, and that's all fine and dandy, but what about supporting your fucking industry? You know, the hands that feed you? The people who sign your paychecks? Those responsible for the projects that allow you to earn more in a month than most people make in a year?
Where the flying fuck does it state that the Hollywood unions have to "support each other?" What is that going to do but prolong negotiations and put people out of work?
Seriously... I understand the "artists helping artists" mentality, but if the AMPTP has to keep dealing with separate unions that keep "supporting each other," why doesn't SAG and the WGA just cut the bullshit and make a new union? Greasing one cog is bad enough, but to having to keep reapplying grease every other month over the same argument is counterproductive and dangerous to Hollywood.
I'm against the studio system, I really am, and I don't think the talent should ever agree to go back to the old school system, but I think the guilds and unions should take a step back, forget about "power," and start aspiring to help an industry open itself up and create awesome films with competitive talent.
In other words: don't make the unions mandatory anymore. If a young actor or writer wants to be in or write a film/television script without worrying about residuals, then fucking let them. If those same people don't give a shit about union health care and other benefits, then don't force them in. Let them work. Sure, the Hollywood full-timers will eventually join their respective unions, that makes business sense, but to force it on people? Look what that did the US auto industry over the past two or three decades. It's no accident that GM and Ford have lost ground against Toyota.
Do we really want Hollywood overrun by Bollywood and suspect "independent" cinema? Fuck no, we don't.
We want Hollywood to remain a profitable, self-sustaining industry that is open and fair to all. Exactly who does SAG think they're helping? Not the little guy, oh, no... but themselves. And Heaven forbid a "war" between two of the powerhouse talent unions.
Negotiations will proceed, of course, and this matter will ultimately be solved. But joining a cause that is only peripherally your own? That's retarded... the French did that in World War II (Vichy, anyone), and look at how much extra heartache that caused.
Fuck you, WGA, for starting all of this. I agree to an extent with your residual demands, but I disagree completely with your demand to absorb animation and reality writers.
And shame on you, SAG, for sticking your head into something that didn't need your head stuck into.
After all, if Hollywood collapses, none of you idiots will be working.
To this I ask, "Why?"
Of course, most SAG members will answer that it's in support of the WGA strike, and that's all fine and dandy, but what about supporting your fucking industry? You know, the hands that feed you? The people who sign your paychecks? Those responsible for the projects that allow you to earn more in a month than most people make in a year?
Where the flying fuck does it state that the Hollywood unions have to "support each other?" What is that going to do but prolong negotiations and put people out of work?
Seriously... I understand the "artists helping artists" mentality, but if the AMPTP has to keep dealing with separate unions that keep "supporting each other," why doesn't SAG and the WGA just cut the bullshit and make a new union? Greasing one cog is bad enough, but to having to keep reapplying grease every other month over the same argument is counterproductive and dangerous to Hollywood.
I'm against the studio system, I really am, and I don't think the talent should ever agree to go back to the old school system, but I think the guilds and unions should take a step back, forget about "power," and start aspiring to help an industry open itself up and create awesome films with competitive talent.
In other words: don't make the unions mandatory anymore. If a young actor or writer wants to be in or write a film/television script without worrying about residuals, then fucking let them. If those same people don't give a shit about union health care and other benefits, then don't force them in. Let them work. Sure, the Hollywood full-timers will eventually join their respective unions, that makes business sense, but to force it on people? Look what that did the US auto industry over the past two or three decades. It's no accident that GM and Ford have lost ground against Toyota.
Do we really want Hollywood overrun by Bollywood and suspect "independent" cinema? Fuck no, we don't.
We want Hollywood to remain a profitable, self-sustaining industry that is open and fair to all. Exactly who does SAG think they're helping? Not the little guy, oh, no... but themselves. And Heaven forbid a "war" between two of the powerhouse talent unions.
Negotiations will proceed, of course, and this matter will ultimately be solved. But joining a cause that is only peripherally your own? That's retarded... the French did that in World War II (Vichy, anyone), and look at how much extra heartache that caused.
Fuck you, WGA, for starting all of this. I agree to an extent with your residual demands, but I disagree completely with your demand to absorb animation and reality writers.
And shame on you, SAG, for sticking your head into something that didn't need your head stuck into.
After all, if Hollywood collapses, none of you idiots will be working.
Tuesday, December 18, 2007
Hollywood Studio Creative Accounting: a Solution
Still no progress in the strike talks, with both sides slinging mud and acting like unwanted children. And these are supposed professionals we're talking about.
While I have no proposed to solution to this deadlock, I do believe I have a solution to one of the problems that has haunted Hollywood's talent for decades: the studios' propensity for "creative accounting."
What do I mean by "creative accounting," you might ask? Well, I'll tell you.
In Hollywood, several actors, directors, writers, and the like often sign deals for a percentage of a film's gross, or a percentage of a film's net. As a percentage of a film's gross is a rather unfair deal to the studios, some of the talent in Hollywood agreed to work for a percentage of the film's net, thereby allowing the hand that feeds them to make a nice profit, before handing the talent any extra income. However, the studios began to employ "creative accounting," in that they would fudge figures, budgets, revenues, and all sorts of numbers to show that a particular film, despite its box office take, never netted a penny.
As you can well see, taking a percentage of the net, a set up designed to be fair to both the studios and the talent, began a system entirely unfair to the talent. So, the talent went back to "percentage of gross" deals, and the studios went back to fuming.
This problem, unlike the current strike, is easily solved. Simply set a specific box office revenue target, then grant the talent a percentage of the gross beyond that target dollar amount.
Example: Film A costs $60 million to make. Writer B (or Actor B, or Director B) agrees to the "gross beyond specific box office revenue target," which is set at the film's budget amount of $60 million.
The film is released and goes on to gross $260 million at the box office. Since the set level was agreed at $60 million (the budget), the studio recoups its production costs, and Writer B makes 5% of the $200 million earned above that level.
As box office figures are compiled independent of the studios themselves, there are no figures to fudge.
And hence, no more "creative accounting."
Vote Eastwood, who is likely to support my idea.
While I have no proposed to solution to this deadlock, I do believe I have a solution to one of the problems that has haunted Hollywood's talent for decades: the studios' propensity for "creative accounting."
What do I mean by "creative accounting," you might ask? Well, I'll tell you.
In Hollywood, several actors, directors, writers, and the like often sign deals for a percentage of a film's gross, or a percentage of a film's net. As a percentage of a film's gross is a rather unfair deal to the studios, some of the talent in Hollywood agreed to work for a percentage of the film's net, thereby allowing the hand that feeds them to make a nice profit, before handing the talent any extra income. However, the studios began to employ "creative accounting," in that they would fudge figures, budgets, revenues, and all sorts of numbers to show that a particular film, despite its box office take, never netted a penny.
As you can well see, taking a percentage of the net, a set up designed to be fair to both the studios and the talent, began a system entirely unfair to the talent. So, the talent went back to "percentage of gross" deals, and the studios went back to fuming.
This problem, unlike the current strike, is easily solved. Simply set a specific box office revenue target, then grant the talent a percentage of the gross beyond that target dollar amount.
Example: Film A costs $60 million to make. Writer B (or Actor B, or Director B) agrees to the "gross beyond specific box office revenue target," which is set at the film's budget amount of $60 million.
The film is released and goes on to gross $260 million at the box office. Since the set level was agreed at $60 million (the budget), the studio recoups its production costs, and Writer B makes 5% of the $200 million earned above that level.
As box office figures are compiled independent of the studios themselves, there are no figures to fudge.
And hence, no more "creative accounting."
Vote Eastwood, who is likely to support my idea.
Wednesday, December 12, 2007
The WGA Strike: an Exercise in Greed, Power, and Stupidity
I'm sure everyone is aware of the Hollywood strike perpetuated by the Writer's Guild of America. It's all over the news, you're starting to notice your favorite TV shows disappear gradually, and everyone's about to get sick of reality programming.
This strike, in and of itself, is ridiculous, and will do Hollywood as an institution a Hell of lot more harm than it will "empower the writers to continue to produce commercial concent." And here's why:
Although there are several issues on the table at the negotiations between the AMPTP and the WGA, the one experiencing the hottest contention is the debate over how much money writers should be paid for web and new media content (such as webisodes of popular television shows, web-only shows, and direct downloads of shows and films). On the AMPTP side, they're claiming that the financial model for such a system isn't quite yet hammered out, and they're not sure how exactly they should distribute fees and residuals to the writers. The WGA is claiming that's a load of bullshit, and wants its money.
Now, according to several reports, the AMPTP has offered the WGA the same setup used to determine DVD and home video residuals. There's a bit more to it, but that's it in essence. To this, the writers resoundingly said "no."
Let me back up a bit... I wholeheartedly agree with the writers in that they should be paid for their work. However, I vehemently disagree that they should be paid for their work "in perpetuity." This is partially because I believe product should, ultimately, enter the public domain after a set number of years (and not a lengthy set, either), but that's almost another matter entirely, and I do not currently have the time to go over it.
Long story short: the WGA is wrong for instigating the strike when they did. Next year, the SAG and the DGA unions are going to approach the AMPTP to restructure their contracts, as well. Why couldn't the WGA have waited until then? Simply sign a one-year extension and have all three of the "power guilds" negotiate at the same time? By then, the AMPTP's argument about "not knowing how to pay for webisodes and downloads" would have been moot, having been given a year to figure it out.
But, no, Hollywood writers are, by nature, a greedy lot, and having already been slighted over "proper due credit" in film and television (an issue I agree with the WGA on), they aren't about to give up their so-called "pennies on the dollar."
If you find yourself siding with the writers on this, I ask you to go to the WGA website and look up their schedule of fees. These writers are extremely well-compensated for their work, most making more for a single script or a teleplay than many Americans make in an entire year. And, yet, they're claiming they don't make enough money.
There is more to this story, and, yes, I do feel that the WGA should ultimately win out on this issue, but they (along with SAG and the DGA) need to realize that they can only bite the hand that feeds them so many times. When an institution gets too top-heavy, it simply collapses, and then everyone is shit out of luck.
All that being said, my overall problem with the WGA is that they (again, along with SAG and the DGA) have not just the ability to force their own work-stoppages, they have the ability to shut down the entire American movie-making business. When these unions strike, it's not just them that feels the heat, but the hundreds and thousands of "below-the-line" workers who find themselves suddenly out of jobs. And most of the people who comprise IATSE (the largest Hollywood union, and the one which holds most of the technical and worker-bee personnel) don't make 25% of what the people in the WGA, SAG, and the DGA make.
Seriously... the next time you strike, make damn certain the "facts" you bring to the table are ironclad. And quit forcing me to find other jobs.
So, to the writers, despite the fact that I wish to eventually join the WGA, go fuck yourselves.
This strike, in and of itself, is ridiculous, and will do Hollywood as an institution a Hell of lot more harm than it will "empower the writers to continue to produce commercial concent." And here's why:
Although there are several issues on the table at the negotiations between the AMPTP and the WGA, the one experiencing the hottest contention is the debate over how much money writers should be paid for web and new media content (such as webisodes of popular television shows, web-only shows, and direct downloads of shows and films). On the AMPTP side, they're claiming that the financial model for such a system isn't quite yet hammered out, and they're not sure how exactly they should distribute fees and residuals to the writers. The WGA is claiming that's a load of bullshit, and wants its money.
Now, according to several reports, the AMPTP has offered the WGA the same setup used to determine DVD and home video residuals. There's a bit more to it, but that's it in essence. To this, the writers resoundingly said "no."
Let me back up a bit... I wholeheartedly agree with the writers in that they should be paid for their work. However, I vehemently disagree that they should be paid for their work "in perpetuity." This is partially because I believe product should, ultimately, enter the public domain after a set number of years (and not a lengthy set, either), but that's almost another matter entirely, and I do not currently have the time to go over it.
Long story short: the WGA is wrong for instigating the strike when they did. Next year, the SAG and the DGA unions are going to approach the AMPTP to restructure their contracts, as well. Why couldn't the WGA have waited until then? Simply sign a one-year extension and have all three of the "power guilds" negotiate at the same time? By then, the AMPTP's argument about "not knowing how to pay for webisodes and downloads" would have been moot, having been given a year to figure it out.
But, no, Hollywood writers are, by nature, a greedy lot, and having already been slighted over "proper due credit" in film and television (an issue I agree with the WGA on), they aren't about to give up their so-called "pennies on the dollar."
If you find yourself siding with the writers on this, I ask you to go to the WGA website and look up their schedule of fees. These writers are extremely well-compensated for their work, most making more for a single script or a teleplay than many Americans make in an entire year. And, yet, they're claiming they don't make enough money.
There is more to this story, and, yes, I do feel that the WGA should ultimately win out on this issue, but they (along with SAG and the DGA) need to realize that they can only bite the hand that feeds them so many times. When an institution gets too top-heavy, it simply collapses, and then everyone is shit out of luck.
All that being said, my overall problem with the WGA is that they (again, along with SAG and the DGA) have not just the ability to force their own work-stoppages, they have the ability to shut down the entire American movie-making business. When these unions strike, it's not just them that feels the heat, but the hundreds and thousands of "below-the-line" workers who find themselves suddenly out of jobs. And most of the people who comprise IATSE (the largest Hollywood union, and the one which holds most of the technical and worker-bee personnel) don't make 25% of what the people in the WGA, SAG, and the DGA make.
Seriously... the next time you strike, make damn certain the "facts" you bring to the table are ironclad. And quit forcing me to find other jobs.
So, to the writers, despite the fact that I wish to eventually join the WGA, go fuck yourselves.
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