The Los Angeles City Council’s Housing, Community, and Economic Development Committee held a hearing on the economic impact of the Writers Guild of America strike on the local and regional economy, but the AMPTP declined to attend. ”We asked them to testify, and they said they would consider it. But then last night they said no,” an LA City Council source told me. ”We were very disappointed.” Instead, on the AMPTP’s behalf, the Motion Picture Association of America inserted a statement into the record.
I asked why the negotiators for the studios and networks didn’t show (a fact which Variety buried in the 3rd paragraph of its account of the hearing). “MPAA got involved because they rep us before the City Council, and because it was their area of expertise – economic impact,” an insider told me. “The MPAA represents the companies before all levels of government throughout the world. MPAA also provides economic data and information on the motion picture and television business to the public, on behalf of our members. But you are right that no individual from MPAA or AMPTP took part in the actual hearing.”
The WGA, which showed up in force for the 7:30 AM hearing despite pouring rain, issued a statement that the AMPTP’s “refusal shows a callous disregard for the people of Los Angeles. First these companies walked away from the bargaining table, and today they chose to ignore the economic hardship their actions have caused. The WGA would like to solve this problem and get everyone back to work, but that can’t be done until the other side comes back to the table.”
The Los Angeles City Council approved a resolution today urging the two sides to return to the bargaining table.
On the subject of the strike’s financial impact, the government panel was told by one economist that the LA County economy could take a $380 million hit if the writers’ strike continues as long as the 1988 labor action, which last 22 weeks. But that figure is 1/10 of 1% of the LA economy, so the overall impact was said to be “very modest”. But that was strongly disputed by other number crunchers who told the committee that the strike was already having a major impact on the city, including a significant drop in sales tax revenues. One WGA strike captain who attended the hearing emailed me: ”The $300 million impact was presented by an economist shill for the moguls whose basic premise was that as people left television they would go to other jobs that would help LA’s economy. This was quickly rebuked by the objective Film LA and another representative of the city’s accounting office who both asserted that a prolonged strike could cripple LA’s already teetering economy. John Bowman estimated that a prolonged strike could ultimately cost upwards of 2 billion unrecoverable dollars.”
John Bowman, chairman of the WGA’s negotiating committee, testified with hundreds of Guild members in attendance. (Photos above by Jim Stevenson.) He said the strike is about “fighting to maintain the livelihoods of Los Angeles’ middle-class writers working in the entertainment industry. The typical WGA member makes about $62,000 a year. It’s a strike we believe we were forced into and one that is now being prolonged by the AMPTP.”
Testifying with her baby in her arms (photo left by Jim Stevenson), Betsy Thomas, writer and producer of the TBS show My Boys, said WGA writers are not living extravagant lifestyles and deserve to benefit from new technologies that are making money for the studios. ”My writers drive Hondas and Toyotas, and we’re middle class. It makes me sick that my crew will be out of work and that these writers will be out of work. I feel such a responsibility for the people who work for me, and I just hope that the studios will feel the same.”
The MPAA submitted a statement to the committee that said “the economic consequences of the strike cannot be measured solely by wages. In addition to lost wages are the costs from the lack of sales of goods and services that go into production, which is an estimated additional $300 million. It also means that scores of other businesses from prop houses to caterers that serve production daily in Los Angeles have also had to lay off
numerous employees.” (Below, press conference with Eric Garcetti. Photo by Jim Stevenson.)








Go figure the guys that are causing all of this don’t even show. Just shows that they could care less what happens to the economy.
Wonder how Bart, McNary and Variety will ‘objectively’ cover this?
WTF??????? Incredulous! Disgraceful!
Just when I thought the AMPTP couldn’t sink any lower…
So, what’s next?
The AMPTP were too busy launching their new Fabiani/Lehane banner ad on Variety about how much the strike is costing LA to attend a meeting about how much the strike is costing LA. Yeah, those guys really give a crap how their greed and intransigence is effecting this city.
The WGA is on strike, right? They are the reason I lost my BTL job, right?
Nikki… please post the full economic info brought up during hearing today. Two other number crunchers told the committee that the strike was already having a major impact on the city, and were far more concerned about the strike than the dude from UCLA (the guy who suggested that the strike would have a modest impact here in La La Land).
From Variety: Rexford Olliff, finance specialist for L.A.’s City Administrative Office, seconded Kyser’s concerns about a slowdown in local tax revenues. Olliff said the city of Los Angeles had already seen a significant drop in sales tax revenue going into the strike. The showbiz shutdown coupled with the mortgage meltdown issues will surely “push us over” into fiscal troubles next year, Olliff told the committee.
Q: Who paid the dude from UCLA? Trust me, the city guys were very worried.
PS – I work for Betsy Thomas and drive an ’86 Volvo 240 wagon. Got a “Dude Abides” sticker on the back.
“The government panel was told that the LA County economy could take a $380 million hit if the writers’ strike continues as long as the 1988 labor action, which last 22 weeks. But that figure is 1/10 of 1% of the Los Angeles economy, so economists said the overall impact is “very modest”.”
Well the economists who came up with this study are at least getting paid.
Perhaps we should all cite this accounting figure when the bank calls for our mortgages at the end of the month.
“My writers drive Hondas and Toyotas”? Writers don’t make a lot of money? Why then is Melrose Avenue, in front of Paramount Studios, full of BMWs, Mercedes’ and Lexus’ when there are people picketers?
……..so much for the AMPTP having top regard for us BTL folks, eh?
Happy now, Tom Short? Yeah, your cohorts/collaborators are really showing how much they care for IATSE folks by pleading their case to the City Council.
The MPAA is right. It’s not just wages, it’s wages and so much more. So either tell the AMPTP to DRAG THEIR ASSES TO THE TABLE or wait around for someone else to force a position for them, good faith or no.
So now they’ve even stopped pretending to the victimized good guys.
They’re so ensconced in their evil they couldn’t be bothered to send a rep to say, “This economic crisis is the work of the WGA & their communist ass cancer.”
Not surprising.
If there are fancy cars in the lots during picketing, it’s because the average writer can’t even make it to the picketing — they’re too busy at the day job they had to get.
How could the AMPTP actually show up? Somebody would have to defend their position in front of an audience that could argue facts and cite correct figures. But how nice of that cute Nick Counter to let his babelicious little brother Aaron of the MPAA do a substitute propaganda gig!
Nikki, the $300 million impact was presented by an economist shill for the moguls whose basic premise was that as people left television they would go to other jobs that would help LA’s economy. This was quickly rebuked by the objective Film LA and another representative of the city’s accounting office who both asserted that a prolonged strike could cripple LA’s already teetering economy. John Bowman estimated that a prolonged strike could ultimately cost upwards of 2 BILLION unrecoverabledollars. Additionally, while hundreds of writers got to a rain soaked city hall at 7:30 am, the AMPTP simply chose not to show. They are exhibiting unparalleled hubris. As a fellow writer pointed out, they remain “faceless evil”. This only reinforces the strength of the Union. Thanks for a happy holidays moguls.
Just checking…this is a serious question.
At what point can writers strike where you are okay with it? How serious do the issues have to be? How grave the stakes before the exercise their rights?
I know you will probably respond by saying how much money writers make…but what is your assessment of if they make too much or not?
Simply if they make more than you? Or if they make more than you think they should?
Fact is, this is about how fair the wage is compared to the revenue their intellectual property generates to their industry.
And I think if you look at the numbers, you’ll see that the writers are underpaid, and that their demands are pretty reasonable.
Just remember, if the writers are not paid fairly (or actors, or directors, or YOU), it’s not like all that money goes to charity. It goes into the pockets the huge conglomerates. It goes to their huge salaries. Their perks. Their idiotic business decisions.
The writers had to strike because they were being asked to sacrifice their fair share of the revenue generated from their work and give it to their employers.
The employers chose to allow the strike by refusing to negotiate fairly. They chose to allow the strike because $30 million for Les Moonves is perfectly right, but 8 cents per DVD for a writer is unreasonable.
Sometimes you have to take a stand. And yes, it will effect more than just the writers. And it’s a terrible consequence that no writer wants to happen.
I suggest you resurvey the landscape, and take into account who really represents your better interests here. You think the AMPTP gives a crap about you?
If they did, they would be negotiating.
@Anonymous 4:26
Who cares what writers drive, writers make far less than actors, directors, producers, and execs, yet these other groups aren’t criticized for their higher income. Writers are entitled to make a decent living [it is a skill that very few can do well]
As far as we’re concerned, writers are more essential than anyone.
Regardless, if you’re trying to incite public resentment against the “haves,” your effort is laughable.
The true gluttony is with the AMPTP CEO’S. The numbers speak for themselves.
The public knows and is FED UP with corporate gluttony and the grotesque salaries and perks paid to ceo’s – especially the golden parachutes they are paid when they fail.
Moonves’s recent salary is the most recent example of greed and excess over which workers should riot:
http://www.deadlinehollywooddaily.com/les-moonves-new-cbs-contract-pays-him-200-above-other-ceos/
Nick should change his name to Nero. Nero Counter. Has a nice ring to it.
There isn’t even parking allowed on Melrose in front of the Paramount Gate so what are you talking about? If you see any Mercedes and/or other expensive cars, they are pulling INTO the gates and those drivers would be Corporate…NOT writers!
Nick Counter is destroying the Economic viability of this City to avoid sharing New Media income with the Talent creating and providing it… and he doesn’t seem to care. How’s that for unbridled Greed.
Nick Counter is the Scrooge of Los Angeles.
That is an established fact.
Jimmy, you rock. Well said.
Typed. Whatever.
This strike is never going to end, is it?
One quick question, because I don’t work in the industry…I just enjoy watching television. Will the strike cause all the scripted shows to be cancelled? Especially if this strike does go on through June as predicted. There is one particular show that I will wait forever to see, assuming the network doesn’t go under, but other than that….I can see where after several months interests could go elsewhere. I don’t watch reality TV, can’t stand American Idol…and so I’m considering cancelling my satellite subscription once my favorite show is out of original episodes. I mean why pay for a service if it’s going to be a year before any decent programming comes back on, right?
Most of the writers on the Paramount lines have to park at least two blocks south of the studio in residential neighborhoods. It’s one of the issues with a picketing assignment there: bad parking. Those fancy cars probably belong to the folks inside, not the ones on the sidewalk.
And I’ll confess. I drive a Porsche. It looks great. It’s also twenty years old and worth twelve thousand dollars.
This is for the Anonymous (hmmmmmm) dickhead who’s so obsessed with the expensive cars parked on Melrose while we picket at Paramount. First of all (and I know this from experience), no one parks on Paramount — the meters are good for an hour. So, um, wrong. And while a few of us may drive cars above the Yugo class, (okay — I confess — I drive an AUDI — a 2001 which makes it six going on seven years — I know — bougi, bougi, bougi!) the majority of us do not. Some of us bicycle to the studio. Others drive very modest vehicles. Vehicles so modest you’ve probably never even heard of them…
Just a regular by stander, but I’d urge the writers to remind supporters that $62,000 doesn’t go as far in LA as it would in Des Moines.
I suggest you revist Melrose Avenue between Gower and Van Ness. There is street parking and metered parking that, since the strike, has been filled with expensive cars.