THE PEG-BOARD -- November 1994
MPSC Local 839 IATSE
This is a monthly posting of excerpts from THE PEG-BOARD, the newsletter
of the Motion Picture Screen Cartoonists and Affiliated Optical
Electronic and Graphic Arts, Local 839 IATSE. THE PEG-BOARD is also
published in printed format.
This file is available by anonymous ftp, along with a number of other
files about Local 839. The address is:
ftp.netcom.com:/pub/mpsc839
Local 839 IATSE is the largest local union of motion picture graphic
artists in the world. We have over 1,700 active members employed in
animation and CGI in Southern California.
In this month's issue:
* 401(k) plan headed for Jan. 1 startup
* Pay raise effective 11/1/94
* From the Business Representative
* From the President
* Fox in the henhouse
* Animation in the news
* At the water cooler
* Workaholics Anonymous
* Volunteers wanted
* Classified ads
* In memoriam
* Masthead
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401(k) HEADED FOR JANUARY 1 STARTUP
Startup costs to be voted at Nov. membership meeting
The union's 401(k) plan is progressing towards its scheduled startup at
the beginning of 1995. This voluntary retirement savings plan will give
members access to tax-deferred savings that will lower their tax bills
and help gather funds for retirement.
So far Disney is the only studio signed to the Local 839 plan. Most
other employers have expressed interest; to date, Warner Bros. remains
the only studio that has declined to participate.
As an incentive to help get the plan off the ground, Local 839's
Executive Board is recommending that the membership authorize covering
the plan's start-up costs from the union's general funds, rather than by
an assessment to the plan's participants. This appropriation, estimated
at $25,000, will be voted on by the membership at the next general
meeting on November 29.
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PAY RAISE EFFECTIVE 11/1/94
Members working at union scale should be aware that the Local 839
contract minimums went up by three percent on November 1. Here are some
examples of journeyman minimums:
Animator, Background, Layout, Model Design, Staff Story Person:
$1,074.76
Production Board: $1,235.97
Assistant Animator, Assistant Background, Assistant Layout, Assistant
Model Design, Animation Checker, Color Stylist: $914.00
Inbetweener: $766.64
Cel Painter, Opaquer, Xerox Processor: $752.68
For other rates, check your "green book" or call the union office.
[Internetters: The full contract rates are available at
ftp.netcom.com:/pub/mpsc839/CBA/wages.txt]
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FROM THE BUSINESS REPRESENTATIVE
Where do we go from here?
Animation, like much of the rest of the country, is rapidly being
swallowed up in computer technology. Color stylists work on Macs using
Adobe Photoshop; animators use Silicon Graphics computers and software
(among others). Month by month, year by year, phosphor screens and key
pads replace cels and paint, pencil and paper.
Which brings me to a SIGGRAPH meeting that occurred at UCLA last month.
SIGGRAPH, as you may or may not know, is a professional association of
computer imagers around the country.
The October meeting was billed as a round-table discussion of the place
for unions in emerging computer imaging companies. The panelists were
Disney Animation's Tom Sito and Steve Goldberg, three computer imagers
from Sony ImageWorks and Digital Domain, and Scott Rosen, one of Digital
Domain's top managers.
Me, I was there in the audience, along with some other union B.A.s,
listening to the back and forth among the participants. Tom and Steve,
naturally enough, thought working union was great. The computer imager
from Sony was kind of for unionization, spoke highly of the concept of
time and a half for overtime, but was no flag waver. The two imagers in
the middle of the table, however, both of whom worked for non-union CGI
houses, were fire-breathing, vociferous anti-unionists.
One of the antis detailed the horrors of working for a unionized
television network in New York. The other said they did just fine
negotiating their wages without unions, and how unions restricted people
getting jobs. Then there was this tidbit -- the imager had it on good
authority that the Motion Picture Screen Cartoonists works hard to keep
out woman and black union members.
At which point a wave of nausea rolled over me. I leaped out of my seat
shouting "Yo!" and scuttled to a microphone. Eventually I was allowed to
speak, after the imager had clarified and amplified on the evils of the
Motion Picture Screen Cartoonists. It turned out that the evil union did
not actually have a contract with the company for which the imager
worked, but hey, the company behaved like it was a union shop.
Finally, after much fidgeting at the mike, I was allowed to put my two
cents in. I said I didn't mind taking heat for sins the Screen
Cartoonists had committed, I do that all the time, but I was damned if I
was going to take flak for things we don't do now and have never done.
I pointed out (in my usual humble, low-key way) that it was kind of
unfair to blame the Cartoonists for the hiring practices of a company
with which we had no connection. I also took exception to the accusation
that we keep people out of union membership when we have no roster, have
minimal membership requirements, and I regularly waive those paltry
requirements to studios that bother to ask for a waiver.
I pointed out that if the company for which the imager had once worked
did not hire many black or female computer graphics people, it was the
company's fault, not the Screen Cartoonists. I pointed out that company
management made the selection of who they hired, not the union.
There were a few grudging head nods, I answered a few questions and sat
down. Perhaps a few eyes were opened, perhaps a few minds were changed,
but I doubt that any executives in the audience were worried that all
the CGIers in attendance would suddenly rise up and bellow "UNION!" with
one throaty voice. Too many of them believe it's better for them to
operate without work protections or wage floors. Too few of them know
that now is the time for them to take the CGI industry into their own
hands by uniting, while their collective clout is strong.
The very end of the evening summed up the problems (and the solution)
best for me. One of the SIGGRAPH activists came up to the podium and
complained about CGI effects people getting their screen credits at the
back of the new big films, even the high- budget special effects
spectaculars. Mr. Rosen, the executive from CGI, had a ready answer:
"You know why all your credits are at the back of the film?" he said.
"Because the Directors Guild forces us to put them there!" And Tom Sito
bent down to his microphone and said softly: "And you know why the
directors can force the credits to the back? Because they organized."
-- Steve Hulett
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FROM THE PRESIDENT
Golden Age: A User's Guide
This Thanksgiving, animation folk have more to be thankful for than
we've had in decades. The Katzenberg/Spielberg/Geffen commitment to
animation is just the latest sign that we may be in the midst of the
greatest animation boom of our time. When we retire we may very well
look back on these years as our Golden Age.
While live-action Hollywood is decentralizing its productions to places
like North Carolina and New Mexico and union representation is
shrinking, we are drawing in the best animation talent of the world and
studios are relocating back here. Last year we grew to be the seventh
largest craft union in Hollywood, and we're up to fifth this year. We
helped a new animation local to start in Florida and have direct
cooperation with unions in Paris, New York and Marin.
We continue to help the artists of Toronto in their struggle to organize
as well.
While other labor organizations are scratching their heads over repping
new CGI technologies, we are already 30% CGI and may be as high as 60%
in a few years.
All the top studios of Hollywood, and the new software and game
companies, are desperate for your traditional skills. Employment is at
90% and the finest animation in the world is done here and is done
union. As Walter Brennan said in The Guns of Will Sonnet: "No brag, jes'
fact". The competition for artists is causing salaries to double union
scale.
So for all the young folks and newcomers now swelling our ranks, here's
some advice from an old hustler on how to conduct oneself in these heady
times.
* When negotiating, be pleasant but firm. Don't be arrogant or abrasive.
As the Scorsese character says in Quiz Show: "People and governments
forget, but corporations never." They know someday they'll have you on
the short end and then you'll eat it.
* Daddy Warbucks said: "Don't kick anybody on the way up that you plan
meeting on the way down." In other words, don't make enemies. There's
only so many people in this field. We're all going to grow old working
side by side whether we like it or not. People you piss off now will
keep showing up in studio after studio; they may even become your boss.
Whatever annoys you about them ain't worth the hassle. It's bad for
business.
* Cos Anzilotti once told me, "No matter what you think of what you're
working on, no matter how dumb or bad you think it is, do the best damn
job you're capable of. Give it 200%. Because you never know who's
watching." That advice has never failed me.
* If you plan to work non-union (you'd be outta your mind with all this
legit stuff around), beware that if you're out of 839 jurisdiction for
more than two years you may screw up your pension. Like it goes back to
square one in terms of qualification. Why do you think all the folks who
love places like Film Roman are old? They are what you call "vested".
After ten years your pension is locked in. Under ten years, you may lose
yours and have to start over. If you're poor when you're old that's not
their problem.
If you find yourself taking a non-union gig, ask that they talk to the
union or help us organize it. Now with our 401(k), it only means more
for you to sign these studios up, more for them if you go silently. The
pressure on Bluth is growing, and it wouldn't have happened if we hadn't
gotten the info to people about salaries. Tell your friends in Phoenix
and Dublin what you have as a union artist. With union protection,
nothing can happen to you like what happened at his last studio ...
Studios will try and sign you to long-term personal contracts so you
won't skip. Read carefully; there's a lot of booby traps to get free
overtime out of you or prevent you from working for a competitor even
after you leave. If you have questions, call the union office. It's our
job and we're happy to advise you. We even keep a file of Xeroxed
contracts.
Don't quit in the middle of a deadline, it gives you a rep as
undependable, which is sometimes more important than how good you draw.
There's an old axiom that it's tacky for artists to tell each other what
they make. Who the heck invented that rule? Who benefits by it? We're
all confused about what to ask for. The older I get the more I think
that's bulls--t invented by businessmen to keep you and me ignorant. So
I say tell everyone what you make and compare notes. We'll all benefit.
Don't forget, it's a violation of California state labor law for any
employer, union or non-union, to require you to keep your salary a
secret.
I make $1,980 a week at Disney, plus overtime. (I was at $1,550 until
becoming a supervisor on story).
Keep your contacts and portfolio up even if you're a long time in one
studio. Every studio is two flops from extinction. You saw how the
Hollywood players bolted for the exits when Rover Dangerfield and Cool
World failed. They may do so again.
Animation is cyclical. In 1996 or 1998 there could be a turndown that
will shake out all but the best. Be prepared so that by the time the
boom winds down, your whiz-kid status isn't changed to burger-flipper.
Keep improving, take classes, and above all support this union. If you
are pleased with the progress we've had with things like a 401(k),
remember every time you say yes to a non-union gig you're throwing a
rock at our ability to achieve more. You can't just think of yourself
and then complain the union doesn't give you anything. This is a
collaborative medium in more ways than one.
In the 1960's animators tried to fight for residuals. They had no unity
so they lost. We had unity for the 401(k) so now we're getting it.
Together what can't we do?
So when you bow your head or raise your glass at the Thanksgiving table
this month, give thanks for our collective talents that made this boom
possible in an art form once called dead, give thanks for our collective
voice in union that fights to keep our animation working standards the
highest in the world. Happy Thanksgiving!
-- Tom Sito
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FOX IN THE HENHOUSE
Is the Medfly back? Who cares! Has Bigfoot been seen again? Unimportant!
The latest news is that Fox Animation, a.k.a. "Two Rich Guys from
Dublin", is starting to telephone folks around town offering the "golden
opportunity" to go to Phoenix and train people. They as yet have
expressed no interest in signing anything with our union, despite Big
Momma Fox having lots o' contracts with IATSE.
The Phoenix homesteaders tried to recruit in Canada until we helped
enlighten the Sheridan grads there. Next they tried importing a small
army from Dublin but we're told that the U.S. Immigration Service wasn't
too understanding. So finally, desperate for experienced animation folk
(but not desperate enough to return the union's phone calls), they're
trying to talk you into going. Once you train the poor neophytes to do
your job for much cheaper, your usefulness will be over.
Quality feature animation is a union monopoly right now. You can't do a
good animated feature with the best talent in the U.S. without signing a
839 contract. That's a fact. Why louse up your bargaining power for
their sakes? They've proved how little they value your livelihood in
their previous studios.
They're trying an end run around us and they're playing us for saps.
Don't play the game their way, make them play it your way. When their
agents call, tell them "Pog ma thoin!". Turn them down until they sign a
union contract.
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ANIMATION IN THE NEWS
As we go to press, Warner Bros. Features is narrowing down their six
features in development to two. Robert Daly and associates were
presented with the latest development work of six animated features they
had earlier greenlighted for additional story work. The first feature
they approve will go into production for a December, 1996 release.
Also regarding Warner Bros.: the studio's refusal to consider giving
animation employees the opportunity to participate in a 401(k) has
resulted in petitions from those employees urging Warners' management to
reconsider its position ...
Over at Hanna-Barbera/Turner, "Pagemaster" is in the can and walls are
coming down as major remodeling occurs on the feature unit's work
spaces...
The Walt Disney Co. has apologized to ROBIN WILLIAMS for using his Genie
voice to hawk merchandise from Aladdin. "We had a specific understanding
with Robin that we wouldn't do that. [Nevertheless] we did that. We
apologize for it," Disney studio chief Joe Roth said in the Los Angeles
Times.
Disney also should have disputed reports Williams was complaining
because he agreed to take scale pay of $75,000 and the movie grossed
more than $200 million, Roth said. Williams has said he lent his voice
as a favor to Disney, not to make money. "I've known Robin for years and
know that none of these issues are ever about money," Roth said. "They
are simply about principle."
Williams likened the apology to "a country re-establishing diplomatic
relations." And he said he will do some more Disney work ...
Drive-time radio shock-jock HOAWRD STERN recently interviewed Beavis &
Butthead creator Mike Judge. Stern and his sidekick Robin Quivers were
laughing at him for the fact that he signed away most of the rights to
his characters to MTV.
Stern: "What a great gig! I'll steal somebodys' cartoon characters and
get rich! Hey Mike, do you know any really dim cartoonists, y'know, who
don't have a clue? ..." Judge: "They all are." Stern: "Walt Disney
invented Mickey Mouse and built a whole studio. If MTV was around when
he started he would've wound up a has-been voice actor." Quivers: "In
the credits after your name, they should have a credit 'And the Money
goes to ...'"
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AT THE WATER COOLER
DEBBIE KURCZYK, Rich effects assistant, and her husband DAVE of Disney,
welcomed their first baby, Alexander, in mid-September ... HEIDI and BOB
SHELLHORN's son, William Harris, was born on October 29 ... Rich's
TERESA SMYTHE and husband John jusr returned from a French honeymoon ...
Warners' JOE BANASZKIEWICZ should be home from the hospital and
recovering from his surgery ... Disney painter and Executive Board
member ANN SULLIVAN won second place in oils at the Malibu Art
Association Juried Art Show in May ...
We welcome our newest union member, Disney story and model designer JOE
GRANT, age 86. Self-employed until resuming his Disney career as a
consultant on Beauty and the Beast, Brother Grant quipped, "I heard the
retirement benefits were good" ...
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Workaholics Anonymous
Oscar Wilde said that work is the refuge of people who have nothing
better to do. If so, Americans are now among the world's saddest
refugees. Factory workers in the United States are working longer hours
than at any time in the past half-century. America once led the rich
world in cutting the average working week -- from 70 hours in 1850 to
less than 40 hours in the 1950s. It seemed natural that as people grew
richer they would trade extra earnings for more leisure. Since the
1970s, however, the hours clocked up by American workers have risen, to
an average of 42 this year in manufacturing.
Several studies suggest that something similar is happening outside
manufacturing: Americans are spending more time at work than they did 20
years ago... Most Germans get six weeks' paid annual holiday; even the
Japanese now take three weeks. Americans still make do with just two. An
average full-time American worker now toils for even more hours a year
than his Japanese counterpart; and for as much as 15% longer than a
typical German...
-- From The Economist, October 22-28, 1994
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Volunteers wanted
To help promote the Child Abuse Hotline, we need your help to complete
animation on a sixty-second spot entitled "Some Secrets Aren't Worth
Keeping", starring James Earl Jones and Edward James Olmos. Everything
has been donated for this project. Contact Tiana Barron at (818) 985-
1348 ... Camp Ronald McDonald for Good Times is a non-profit
organization that provides free sleepaway camps for children with cancer
and their families. They'll be holding a Christmas Party on Saturday,
December 3, from noon to 3 pm, at the Warner Bros. Ranch, 3701 W. Oak
St. in Burbank. One of the most popular attractions are the artists
making character drawings of the kids. If you'd like to volunteer, call
Chris Nehls at (310) 476-8488.
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I have spent fifty happy years learning the animation business. Now I
want to teach. Ken Southworth, (714) 533-1958.
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For sale: 20" FAX model 20-12-2MB animation disk; top condition. Plus
full set of field guides. $350 obo, plus shipping. Jim Willoughby, (602)
778-7987.
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In memoriam
Retired storyboard and layout artist and producer LEWIS SAW died on
September 30. From 1964 until his retirement, he worked for Cannawest,
Halas and Batchelor, Filmation and Hanna-Barbera. In 1985 he moved to
Washington state, where he continued to freelance.
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MOTION PICTURE SCREEN CARTOONISTS
AND AFFILIATED OPTICAL ELECTRONIC AND GRAPHIC ARTS,
LOCAL 839 IATSE
4729 Lankershim Boulevard, North Hollywood, CA 91602-1864
phone (818) 766-7151 * fax (818) 506-4805
E-mail inquiries: mps...@netcom.com
Anonymous FTP: ftp.netcom.com:/pub/mpsc839
PRESIDENT -- Tom Sito
BUSINESS REPRESENTATIVE -- Steve Hulett
VICE-PRESIDENT -- George Sukara
RECORDING SECRETARY -- Jeff Massie
SERGEANT-AT-ARMS -- David Teague
PEG-BOARD EDITOR -- Jeff Massie
EXECUTIVE BOARD
Viki Anderson * Bronwen Barry * Sheila Brown * Jan Browning
James Davis * Earl Kress * Craig Littell-Herrick * Tom Ray
Pat Sito * Ann Sullivan * Stephan Zupkas
TRUSTEES -- Pat Sito * Ann Sullivan * Stephan Zupkas
Contents (c) 1994 by MPSC Local 839 IATSE. All rights reserved.
Publications of bona fide labor organizations may reprint articles from
this newsletter so long as attribution is given. Permission is also
given to distribute this newsletter electronically so long as the ENTIRE
contents are distributed, including this notice.
--
_______________________________________________________________________________
Motion Picture Screen Cartoonists and 4729 Lankershim Blvd.
Affiliated Optical Electronic and North Hollywood, CA 91602-1864
Graphic Arts, Local 839 IATSE phone (818) 766-7151 * fax (818) 506-4805
Anonymous FTP: ftp.netcom.com:/pub/mpsc839 E-mail: mps...@netcom.com