How much DO the writers get paid ???
Doctor Zhivago
their pain.
Snakes on a plane
wrote:
>I'd like to compare it to the average American so we can all feel
>their pain.
My understanding is when you buy that dvd set for Law & Order for
$50 a season the writers are getting zip, zero, zlich, nada.
The DVD set costs about 10 cents a dvd, the show
is already made, the studios are making a huge profit.
The writers want a peice of that action.
Right now the writers make nothing on DVD sales, internet
sales, itunes, etc.
nj
> I'd like to compare it to the average American so we can all feel
> their pain.
It depends on the shop. Four years ago, I was only making $62K at a
WGA shop in the NYC area.
Different shops have different contracts with their respective
stations. That goes for salary, overtime, benefits... everything.
Doctor Zhivago
How much average SALARY are these writers getting BEFORE you start
talking about DVD sales, internet sales, itunes, etc.
Compare the average American's salary to their average salary.
And quit being so disingenuous.
Doctor Zhivago
on strike?
Coggy13
Subject: How much MORE are writers' salary than Average
Americans ????????????????????????????????????????-???????????????????????
> And how much long will it take to make up how much they lost by going
> on strike?
Perhaps you could hire a writer to help you out with your posts.
Then you could ask him directly.
Doctor Zhivago
I could hire a writer but most Americans can't afford to pay them THAT
much money for that LITTLE work.
Coggy13
> On Mon, 3 Dec 2007 11:08:20 -0800 (PST), Coggy13
>
>
> >Then you could ask him directly.
>
> I could hire a writer but most Americans can't afford to pay them THAT
> much money for that LITTLE work.
As long as you can afford to hire a writer, I say go for it.
Don't worry your little head about "most Americans" and their
financial hardships in regards to literacy.
Doctor Zhivago
LOL. That's why America doesn't give a shit about a writer's strike:
they are as overpaid as a CEO already.
KJ Collins
> On Tue, 4 Dec 2007 12:59:07 -0800 (PST), Coggy13
>
>
> >Don't worry your little head about "most Americans" and their
> >financial hardships in regards to literacy.
>
> LOL. That's why America doesn't give a shit about a writer's strike:
> they are as overpaid as a CEO already.
Read Bill Scheft's post because it actually answers your original
question. But I have a feeling it's not the answer you want to hear so
you're ignoring it and making ridiculous statements like this.
Coggy13
> On Tue, 4 Dec 2007 12:59:07 -0800 (PST), Coggy13
>
> >financial hardships in regards to literacy.
>
> LOL. That's why America doesn't give a shit about a writer's strike:
> they are as overpaid as a CEO already.
You really need to read Bill Scheft's post because it does actually
answer your original question. But apparently it's not the answer you
Doctor Zhivago
What is ridiculous is paying these lousy writers outrageous sums and
then they have the nerve to blackmail their employer to let them steal
a part of their company. Take some of that fat salary and buy stock
in your company, you cheap ass rat bastards. America doesn't miss
your lame writing. Outsource the writing to India and China. LOL.
Lots of curry/rice jokes.
Doctor Zhivago
host since Carson was stabbed in the back.
nothing
> Your ratings would jump. It's a shame the Tonight Show hasn't had a
> host since Carson was stabbed in the back.
what the hell are u rambling about ???? stabbed in the back ...do
tell .
how so ??
Steve Worek
Those old Leno's make him look like a dick. He was just loud and obnoxious
in the early days.
"Doctor Zhivago" <Zhi...@zed.nul> wrote in message
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Doctor Zhivago
himself look better than the guest by putting them down. Carson was
the King because he always worked hard to make his guests shine. The
way Leno repeats back everything his guests say, mocking them and
talking over them, I'm surprised Ed McMahon doesn't sue him for
stealing his part of the Karnac routine.
On Thu, 13 Dec 2007 04:29:30 GMT, "Steve Worek" <wa3...@verizon.net>
wrote:
Doctor Zhivago
The Writers Guild Is Losing Ground
The WGA may have erred in demanding that reality show writers join its
ranks, overshadowing the real issue of money for digital media
by Ron Grover
Hollywood union strikes have never been a dainty affair. On one side,
you usually have powerful people with tons of money and even weightier
egos. On the other side, you often have famous people (who also happen
to have some money and fair-sized egos) and people who aspire to be
famous (and one day have the wealth and ego-boost that fame brings).
So as the writers' strike heads toward its seventh week with no end in
sight, you know there won't be a quick, easy, or quiet end to the
walkout called by the 8,000-member Writers Guild of America.
Indeed, it looks as if studio executives are prepared to wait out the
writers for weeks, months, maybe more. For those of us at home, that
means more warmed-over reruns and reality shows no self-respecting
cable channel would dare offer under normal circumstances.
The problem is the issue really isn't what has been advertised—the
sharing of whatever money the studios will one day make from
distributing TV shows and movies over new digital methods such as the
Internet or cell phones. In a surprise to just about everyone but the
WGA leadership, the writers offered up a series of demands more likely
to change their relationship with studios than to get the 3.5% pay
hike they're seeking. The key demand: allowing the WGA to extend its
membership to cover people who "write" for reality shows such as ABC's
(DIS) Extreme Makeover or NBC's (GE) Biggest Loser.
Fomenting Distrust
Forget for a moment the oxymoron of having writers create what should
be the real-life stories of ordinary folks losing weight or needing a
home. To the studio chiefs, this is a naked grab for power by a union
that has always been among the most difficult for Hollywood to deal
with. The studio-backed Alliance for Motion Picture & Television
Producers fired back on Dec. 7, calling the proposal "an absolute
roadblock to any further progress in these negotiations."
It's pretty clear the studios have been emboldened to make the writers
sweat through Christmas. The plan, it seems, is to make the WGA
membership increasingly distrustful of their negotiating leaders and
to drive a wedge between the two. Rank-and-file writers likely don't
care much about whether the WGA covers the projected 600 or so reality
writers who would be included under their proposal. And the WGA has
certainly angered rival unions whose support they could use, namely
the International Association of Theatrical Stage Employees.
IATSE, a 50,000-person union, says as many as 40,000 editors, grips,
and others have been laid off as the strike shut down some 100 TV
shows. "I don't believe the WGA ever intended to bargain in good
faith," IATSE President Thomas Short says. The talks, he adds, won't
continue, "until the WGA leadership starts behaving responsibly, which
is unlikely."
A Nasty Little Surprise for the WGA
IATSE has its own issues with the WGA: The writers on reality shows
are mostly editors, who are covered by their union. The WGA tried, and
failed, to organize them in the past. But the attitude of the WGA, as
outlined by Short, is beginning to splinter the WGA leadership and
some of its rank and file. "I want unity, I want progress, I want a
good deal," writes Scary Movie 3 writer Craig Mazin on the Artful
Writer blog. "I just think [the WGA leadership] is hurting us now, and
hurting us in a fashion that could leave permanent scars." Mazin, and
I suspect a growing number of writers on strike, would just as soon
scrap the reality writer provision and concentrate on getting a piece
of the action from new media, which he rightly says is "the stuff that
matters."
You know that the suits at Spago and Mr. Chow are yucking it up when
they read statements like that. Eventually, they figure, Mazin will
have plenty of company and WGA President Patric Verrone will begin to
lose control over his independent-minded membership. And when he does,
the studios may well have a nasty little surprise for the union: a
signed, sealed, and delivered deal with another union, the Directors
Guild of America, which has long been rumored to be ready to launch
its own contract talks over many of the same issues.
The DGA, whose deal with the studios expires in June, has always been
far easier for the studio brass to deal with than the writers. And if
the directors and studios can come to a negotiated settlement, it
would serve as a blueprint the writers may well be forced to accept,
says former WGA associate counsel Jonathan Handel, an entertainment
attorney with the Los Angeles firm of TroyGould. The studios, says
Handel, "are looking for a way to walk away from one table and walk
toward another one."
Is That Asking Too Much?
You betcha. And that means the studio brass will continue to hammer
away at the WGA, get some allies on their side, and then wait for WGA
members to lose confidence in their leaders. It's a divide-and-conquer
strategy that has worked before. Back in 2004, the studios got the DGA
to agree to a new contract and then watched as WGA members sheepishly
came in and signed on after holding out for months (BusinessWeek.com,
11/7/07).
This time around the issues are much larger. The market for digital
delivery of TV shows and movies could be huge, and the writers want a
bigger chunk of the revenues than the studios want to give them. But
this is a leverage game and the studios clearly are looking for the
leverage that, it seems, the union's overreaching may have given them.
The studio executives clearly don't intend to give much to the unions.
And after making the writers shiver outside in the cold for a few more
months, they won't have to.
Doctor Zhivago
You sure are dumb. How'd you get so dumb? You must be a writer.
Steve Worek
was in the early days - his monologue was just mimicking people's voices
sarcastically and screaming.
"Doctor Zhivago" <Zhi...@zed.nul> wrote in message
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grumpydave
"Steve Worek" <wa3...@verizon.net> wrote in message
news:HPo8j.20508$k22.8047@trnddc02...
> I never got that impression... it just strikes me how utterly horrid Leno
> was in the early days - his monologue was just mimicking people's voices
> sarcastically and screaming.
Like hes good now? Funny enough, the only time he was ever funny was when he
used to be a frequent guest on Letterman in the early 80s (back when the 2
were friends), there's a lot of clips of YouTube of Leno on Late Night with
Letterman, it's weird to see Leno actually funny and not the annoying putz
we see on The Tonight Show