4th UPDATE (more new information throughout): Let me recap what happened tonight, first and foremost. The Alliance of Motion Picture and Television Producers today at 2:35 PM put a so-called revised proposal, including a list of demands, on the bargaining table to flesh out its New Economic Partnership for the Writers Guild Of America.
The WGA described to me that the AMPTP’s latest New Media terms were the same old/same old. But I’m told agent Bryan Lourd, considered an objective source, believed that the new AMPTP proposal bettered the studios’ and networks’ terms on the table for New Media. It included an improved, albeit slightly, streaming deal for theatricals.
A controversy erupted over the AMPTP’s arrogantly issuing demands for the negotiations to continue. They ordered the writers to immediately take Reality TV and animation jurisdiction off the table, remove the no-strike clause in their contract (meaning that, once their own strike was settled, the writers must cross picket lines if the Screen Actors Guild goes on strike), stop insisting on a fair market value test (aimed at keeping the studios and networks from selling entertainment product back to themselves at a lower price than they could get from an outside company), and no longer demand a distributor’s gross definition on New media (which the WGA argues could gut all its New Media proposals). See the AMPTP’s ultimatum here for yourselves.
I’m told that, after the AMPTP ultimatum was made, the WGA negotiators (above left, WGA’s John Bowman. All photos here courtesy of Jim Stevenson) went to caucus inside a hotel room. Faced with what to do about the AMPTP’s take-it-or-leave-it demand, “we were still going to make a counter-proposal in the hopes of keeping the negotiations going,” recounted WGA negotiating committee member David A. Goodman, who was there, in an email. “However, we were all pretty clear that they were setting us up.”
After about an hour and a half, the AMPTP claims it sent Bryan Lourd to the hotel room to ask what was happening, and he was told by the WGA they were preparing a counter-proposal. The AMPTP says it asked Lourd to find out if that counter-proposal contained anything from the list of demands which the networks and studios wanted the WGA to take off the table, and that the WGA negotiators wouldn’t say.
But the WGA’s Goodman (left) disputes the AMPTP’s account of what happened. “As we were discussing what to do, [AMPTP president] Nick Counter came looking for David Young. He asked him, in the hallway, “Are you going to take those things off the table?” David said we were working on our counter-proposal, but wanted to present everything at once, [and] he wasn’t going to negotiate in the hallway, and said we would be making a counter proposal very soon, that night.”
The AMPTP version is that, at 6:05 PM, Counter knocked on the hotel room door trying to find out some indication from Dave Young what the WGA was going to do, especially on the reality/animation jurisdiction and no-strike issues. Counter brought Bryan Lourd along “as a witness,” the AMPTP told me. “David Young answered and was visibly angry.”
But the WGA’s Goodman says this is wrong. “David was not ‘visibly angry”. All the conversations in the hallway were amicable, if tense.”
According to Goodman, “Nick came looking for David again and tried to motion David away from Bryan Lourd’s door (where Bryan was standing), but David motioned Bryan to follow them so he heard what Nick said.”
Bryan Lourd told people privately that he counseled the WGA negotiators that “this was their maximum moment of leverage” and urged them to try to “trust” the AMPTP, but the WGA told him they couldn’t at this point. “It was an ultimatum. They said unless we take everything off the table except streaming and ESTs that they’re not going to negotiate anymore and basically they’re leaving until we’ll remove all those other things,” a WGA board member explained. “We’re not accepting an ultimatum. We’re here to bargain and to talk.” (right, Reality TV writer speaking at WGA’s march down Hollywood Blvd.)
Both sides agree on what Counter then said to Young: “In that case, we are leaving and breaking off negotiations. When you send us a letter confirming you will take all these items off the table, we will make an appointment to resume negotiations with you.”
The AMPTP claims the WGA hotel room door slammed shut. But Goodman says, “No door was slammed.”
Then AMPTP president Nick Counter hand-delivered the following letter to the WGA’s executive director Dave Young which was also cc’ed to Bryan Lourd:
This will confirm the conversation we had today at approximately 6:05 PM, in the presence of Bryan Lourd, in which I asked whether the WGA was preparing a proposal in response to the proposal given to the WGA by the Companies at approximately 2:35 PM this afternoon. You advised that the WGA was preparing such a proposal. I asked whether any of the six issues that the Companies had earlier today advised the Guild must be withdrawn before negotiations can proceed further would be included within the proposal the WGA is preparing. You responded that you did not know because you were still working on the proposal.
I informed you that when the WGA sends me a letter confirming that those six proposals are withdrawn, the AMPTP will schedule another negotiation session with the WGA.
Immediately thereafter, the reps for the studios and networks quit the negotiations and issued their press statement already in hand blaming the writers for the breakdown in talks. “Under no circumstances will we knowingly participate in the destruction of this business.”
But the writers said their side considers that the talks are still ongoing and insists they won’t stop negotiating. Then the WGA issued its own statement saying, “We remain ready and willing to negotiate, no matter how intransigent our bargaining partners are, because the stakes are simply too high.”
In short, things are back to being a big mess.
What’s amazing about all of the above is that the AMPTP followed almost to the letter a script which they themselves conceived and wrote earlier in the week. I had reported Thursday night that the reps for the studios and networks planned to break off today’s talks. This morning, the WGA issued a sternly worded statement calling out at the AMPTP for the plan to stop the negotiation just as it was getting go. Indeed, just as I had predicted, the AMPTP had a news release at the ready tonight announcing why it was leaving the talks. So did IATSE local boss Tom Short, indicating he was working in concert with the AMPTP tonight to blame the WGA.
One thing for sure: no one can have any doubt this time around who walked out on these negotiations and who stayed in. Not even professional spin doctors can change that. And it’s also obvious which side understands the concept of haggling.
First, here’s the WGA statement which goes into detail about what happened tonight:
AMPTP BREAKS OFF NEGOTIATIONS
Today, after three days of discussions, the AMPTP came back to us with a proposal that included a total rejection of our proposal on Internet streaming of December 3rd.They are holding to their offer of a $250 fixed residual for unlimited one year streaming after a six-week window of free use. They still insist on the DVD rate for Internet downloads.
They refuse to cover original material made for new media.
This offer was accompanied by an ultimatum: the AMPTP demands we give up several of our proposals, including Fair Market Value (our protection against vertical integration and self-dealing), animation, reality, and, most crucially, any proposal that uses distributor’s gross as a basis for residuals. This would require us to concede most of our Internet proposal as a precondition for continued bargaining. The AMPTP insists we let them do to the Internet what they did to home video.
We received a similar ultimatum through back channels prior to the discussions of November 4th. At that time, we were assured that if we took DVDs off the table, we would get a fair offer on new media issues. That offer never materialized.
We reject the idea of an ultimatum. Although a number of items we have on the table are negotiable, we cannot be forced to bargain with ourselves. The AMPTP has many proposals on the table that are unacceptable to writers, but we have never delivered ultimatums.
As we prepared our counter-offer, at 6:05 p.m., Nick Counter came and said to us, in the mediator’s presence: “We are leaving. When you write us a letter saying you will take all these items off the table, we will reschedule negotiations with you.” Within minutes, the AMPTP had posted a lengthy statement announcing the breakdown of negotiations.
We remain ready and willing to negotiate, no matter how intransigent our bargaining partners are, because the stakes are simply too high. We were prepared to counter their proposal tonight, and when any of them are ready to return to the table, we’re here, ready to make a fair deal.
John F. Bowman
Chairman, Negotiating Committee
Prior to this, the AMPTP issued this statement:
We’re disappointed to report that talks between the AMPTP and WGA have broken down yet again. Quite frankly, we’re puzzled and disheartened by an ongoing WGA negotiating strategy that seems designed to delay or derail talks rather than facilitate an end to this strike. Union negotiators in our industry have successfully concluded 306 major agreements with the AMPTP since its inception in 1982. The WGA organizers sitting across the table from us have never concluded even one industry accord.
We believe our New Economic Partnership proposal, which would increase the average working writer’s salary to more than $230,000 a year, makes it possible to find common ground. And we have proved over the last five months that we want writers to participate in producers’ revenues, including in theatrical and television streaming, as well as other areas of new media. However, under no circumstances will we knowingly participate in the destruction of this business.
While the WGA’s organizers can clearly stage rallies, concerts and mock exorcisms, we have serious concerns about whether they’re capable of reaching reasonable compromises that are in the best interests of our entire industry.
It is now absolutely clear that the WGA’s organizers are determined to advance their own political ideologies and personal agendas at the expense of working writers and every other working person who depends on our industry for their livelihoods.
Instead of negotiating, the WGA organizers have made unreasonable demands that are roadblocks to real progress:
– They demand full control over reality television and animation. In other words, they want us to make membership in their union mandatory to work in this industry – even though thousands of people in reality and animation have already chosen not to join the WGA.
– They demand restrictions designed to prevent networks from airing any reality programs unless they are produced under terms in keeping with the WGA agreement. This would apply even to producers who are not associated with the Guild. Their proposal artificially limits competition and most likely would not withstand legal challenge.
– The WGA organizers are demanding the right to ignore their bargained “no strike” provision, allowing them to join in strikes of other labor organizations.
– Their proposal for Internet compensation could actually cost producers more than they receive in revenues, thereby dooming the Internet media business before it ever gets started.
– They insist that writers receive a piece of advertising revenue – even though the producers that pay them don’t receive any of this revenue in the first place.
– They want a third party to set an artificial value on transactions, rather that allowing the market to determine the worth of each transaction. This would result in producers having to pay residuals on money that the producers never even received.
These are the terms the WGA organizers demand for ending the strike – money that doesn’t exist, restrictions that are legally dubious, and control over people who have refused to join their union.
Besides betraying a fundamental misunderstanding of the economics of new media, such as a streaming proposal that would require us to give them more money than we make ourselves, the WGA organizers are on an ideological mission far removed from the interests of their members.
Their Quixotic pursuit of radical demands led them to begin this strike, and now has caused this breakdown in negotiations. We hope that the WGA will come back to this table with a rational plan that can lead us to a fair and equitable resolution to a strike that is causing so much distress for so many people in our industry and community.
- Judge AMPTP’s Ultimatum For Yourselves
- Talks Day #8: CEOs Run With Streaming
- WGA/AMPTP War Of Words: Who’ll Blink?
- Talks Day #7: AMPTP “Stalling Tactics”; Are Moguls About To Quit Talks?
- The Operative Word Tuesday Is “Haggle”
Editor-in-Chief Nikki Finke - tip her here.







WGA, please, do not take anything else off the table. Leave it all there. These tactics to make you feel pressure from members, or the hollywood community, so you’ll just keep removing stuff, will not work. Let them play their games. And just wait for them. Calmly. Like you’re doing.
“I’m mad as hell and I’m not going to take it anymore.”
– Paddy Chayefsky (Network)
Given the crazy rhetoric of the AMPTP and the offensive nature of their negotiating tactics, the WGA is more unified than ever. Not at all happy about not working but willing to see this through to the bitter end.
You got what you asked for, Nick Counter.
I know the issues are more detailed beyond ‘Four More Cents’ but that is where everyone was at 5 weeks ago. SAG was with the writers. Full support. Where the hell did the Reality porposal come from? Why stray from the issue that truly affects your Union brothers and sisters? That is the Internet! Reality certainly doesn’t help those who rely on scripted shows for work…Screen Actir’s Guild. Maybe the host of the shows is AFTRA…but someone please explain why Internet didnt remain the primary focus and an SAG should still feel so 110% behind the cause now? Please no anger, just convince me. I really need to know because the Reality Proposal was not something I signed up for.
I am really tired of all of this.. I wish you all could just figure it out… my family is suffering and we are not even writers…. don’t be greedy on both sides… just figure it out!!!!
Well this could all be settled quickly- just have all the WGA and AMPTP people go into the back room, get the tape measure out, and see who has the bigger ones (the WGA probably by a mile)..
I was thinking two months when this started- I’m thinking double it at least now…
So where is Bryan Lourd in all this now and what is he doing?
The AMPTP statement contains several personal attacks on the WGA negotiating team, suggesting that they are both incompetent and rigidly ideological. This smear is vintage Chris Lehane, who used to be a loyal Democrat but is now a union-busting little twerp, I’m sorry I was ever friendly with the guy.
Screw both of you. Heroes was ruined because of the strike and Lost and 24 won’t be on the air.
Damn you both!
What happened to Bryan Lourd never letting it get to this?
Don’t you just love that AMPTP line talking about the WGA “artificially limiting competition”?
There’s only 6 studios!
Jeez, they’ve got some f’ing balls, man.
The only time the word “negotiator” is used is when they describe the “union negotiators” who have concluded deals with them in the past.
WGA doesn’t have “negotiators” they have “organizers.”
Because the AMPTP PR people decided that sounds as close to “Communists” as they can get away with.
So they’ve decided to repeat the word over and over again until it sticks.
Transparent much?
And “New Economic Partnership?” Is that the “Shock and Awe” of this negotiation?
People watch Colbert and The Daily Show (well, not any more) — everybody sees through this stuff now. It comes across as silly and propagandistic.
Like “The Great Leap Forward.” “The Five Year Plan.”
You know, real Commie stuff…
A betrayal of this proportion on December 7th, the 66 anniversary of Pearl Harbor is amazingly ballsy.
I really believe, having read the AMPTP’s lie-filled press release that the only response is Cordell Hull’s response to the Japanese ambassadors after the attack. It’s amazingly appropriate:
“In all my 50 years of public service I have never seen a document that was more crowded with infamous falsehoods and distortions – infamous falsehoods and distortions on a scale so huge that I never imagined until today that any Government on this planet was capable of uttering them.”
How tragic and yet predictable. This is not a negotiation, it’s a hostage situation, and the AMPTP is holding a gun to the entertainment industry’s head.
There are too many lies and distortions in the AMPTP’s letter to count, but just to pick one tiny example:
“In other words, they want us to make membership in their union mandatory to work in this industry – even though thousands of people in reality and animation have already chosen not to join the WGA.”
In fact, the vast majority of children’s animation writers would LOVE to work under a WGA contract. Why? Because even though our episodes are rerun thousands of times and appear on DVD’s throughout the world — we get no residuals from our employers. Zero. And the biggest laugh is the bit about having “chosen not to join the WGA.” On the contrary, many of us are already members of the WGA who write under the jurisdiction of an IATSE union that doesn’t represent our interests whatsoever. Or worse, we work for non-union animation companies, which pay even lower fees, don’t contribute to any P&H, provide no credit protection, etc., etc. So hang in there, fellow members — otherwise, the animation writer’s past and present… is your future.
you are all out of your minds, this has got to stop. put your egos aside and figure this out NOW
I’m waiting to see how the paid AMPTP trolls on this board try to spin this one.
Or did they go home for the weekend?
The AMPTP said: “Union negotiators in our industry have successfully concluded 306 major agreements with the AMPTP since its inception in 1982. The WGA organizers sitting across the table from us have never concluded even one industry accord.”
Translation: For the first time in 25 years someone finally stood up to the big bully Nick Counter, and Counter responds by taking his ball and crying all the way home to his Mommy.
The moguls didn’t waste any time firing Barbara Brogliatti; i bet Nick Counter is out of a job by January.
The WGA has to put some blood in the water. That’s all these guys will ever respect. Pick the company with the most to lose and make them a one-time offer. Break ranks with the AMPTP and sign a lucrative deal with us or FOREVER be blackballed. No more WGA writers, show runners, story editors. Ever.
We are going to have to bring down a studio in flames before the ever tak us seriously.
Y’know, perhaps it would be a good strategy for the WGA to perform all future negotiations confidentially with the AMPTP. Just a thought, and I’m not sure what all the implications would be.
I say let this be the dawn of a new era. If I were Google or Microsoft or any internet company with deep pockets, I would promptly make a deal with the writers and put them to work. Successful independent filmmakers have proven they don’t need the studios to find big audiences. Now it’s time for television writers to do the same thing. I really hope internet companies see the opportunity in this. It’s time to find a new playing field.
Those billionaires stole Christmas.
Shame on them.
I think the AMPTP made it clear that they need writers when they capitalized “quixotic” for no good reason (copywriters anyway)
A quote from the AMPTP’s statement:
“They insist that writers receive a piece of advertising revenue – even though the producers that pay them don’t receive any of this revenue in the first place.”
You read that right, folks: the AMPTP is insisting that they don’t receive any revenue from the advertising they sell.
The money… it just disappears! We don’t know where it goes! But we sure don’t know what happens to it!
They’re paying a publicist to write this stuff? If they’re going to lie, they could at least try to make this stuff logically plausible.
This is a disaster movie of the Erwin Allen kind but the main nemesis is the EGOS of Hollywood. This is why in the ego world there are winners and losers and the collateral damage the working class in the world become the new homeless of downtown skid row.
Earlier today I got a call from my well placed friend at the studios who said the studios are planning on an early Holiday because all the profits they’re making on the Writers Strike. The AMPTP will find a small excuse so that can end the talks until after the Holidays that’s way their fourth quarter profits will show a huge increase in last year because of the Force Majeure in town.
This is a tactic only Dickens could conceive of … too “Scrooge” them at Christmas so that AMPTP can watch us all eat from the garbage cans on the street below their studio office windows.
I don’t totally blame one side or the other I blame the EGOS of Hollywood wherever they breath.
Peter Chernin you know who you are. You had the chance as well as your counter parts to give us all a good Christmas but now we must eat the food SOVA gives us in the soup lines in West Los Angeles.
Merry Christmas Peter Cherin. Ba humbug!!!!
Happy Hanukkah Jeffery Zucker
Chris Jackson
writer
If I see another “we should make deals with each separate studio” post, my head may explode. This idea, in no way, shape, or form benefits either side. IT’S.NOT.GOING.TO.HAPPEN.
On the studios side…why would they? Would the soap opera writers go and cut their own deal because they don’t want the same things as movie writers? Uhhh, no. So why would one studio?
And on the writers side, this whole strike depends on the union holding together and everyone supporting it. You think the writer on an ABC show is going to be anything other than pissed off beyond belief that the CBS writer is going back to work and he’s not? All the people feeling like they got sold out would start scabbing, and the guild would splinter within weeks.
Actually, that’d probably be a something for the studios to try…get the company with the least at stake to make a deal, and then watch the infighting between writers that get to go back to work and writers that don’t destroy the WGA from within.
Hideous. It’s quite amazing how badly the AMPTP are coming off in this exchange. Maybe this sort of baldfaced lying would’ve worked if it had been a misinformation campaign from the start, but the WGA points are established in the minds of the public. I can’t believe they’re spending the time and money to try and erase the past month, rather than just focus on finding the damn money and bargaining fairly.
I’ve seen a lot going around about adopting a Silicon Valley style of production. Now it looks like you’ll definitely have the time, do it. I know that sounds facile, but talk to the FunnyorDie guys. Start a site, create content channels and a schedule, hire some internet geeks to run the nuts and bolts (I say lovingly, as one of said geeks), and then stream the content for something like 3 days. Then either talk to Apple or figure out your own way to do a pay-for-download system. Jump at the opportunity.
Sure, the finished product might not be as polished as the old studio output, but every startup industry has its issues. When the reruns really start to sink in, be there with new content. As we all know, it’s the story that matters, and whoever’s ready to provide new stories wins.