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The AMPTP tonight issued its response to today's letter from SAG's Alan Rosenberg & Doug Allen asking Peter Chernin, Bob Iger, and Nick Counter to restart formal negotiations. Disappointing, but not surprising. Obviously, no one has bothered to tell Counter that his Big Media bosses keep telling Wall Street their business isn't being hurt by the economic downturn, and, if anything, New Media revenues are through the roof. Yet Counter still tries to plead poverty to SAG. Hey Nick, you want cheese with that whine?
September 29, 2008
Dear Alan and Doug:
This is in response to your letter dated September 29, 2008 to Peter Chernin, Robert Iger and me. Your letter indicates that the Screen Actors Guild is not prepared to change its position on any of the threshold issues in our negotiations. The Guild's position remains unchanged since we last met on July 16, 2008. Further, in addition to new media, there are a number of significant issues which, in and of themselves, prevent the parties from reaching agreement.
Our Final Offer to the Screen Actors Guild is comparable to our agreements with the Directors Guild of America, the Writers Guild of America and AFTRA. Our Final Offer memorializes a set of compromises, including in the area of new media, worked out with other Guilds and Unions and particularly addresses actor specific issues raised during the Screen Actors Guild negotiations.
We do not believe that it would be productive to resume negotiations at this time given SAG's continued insistence on terms which the Companies have repeatedly rejected.
In light of the unprecedented economic difficulties facing our industry and the nation, the Companies continue to hope that the Guild's leadership will recognize the five major labor agreements that have already been concluded this year and will accept our Final Offer while it remains on the table.
We want to reemphasize that we value greatly our industry's talent - the directors, writers, actors, and below-the-line people who create entertainment products for audiences around the world - and hope that our Final Offer can serve as the basis of an agreement.
Sincerely,
J. Nicholas Counter III
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Not surprising, but scary nonetheless.
We keep working with no contract seems to be the way out of this for the moment….
In a world where as one person here put it, “They’ll only bargain in good faith if you have them slammed up against a wall with your elbow jammed into their neck” AFTRA ruined any chance actors had for leverage to get a fair deal.
But the people who run AFTRA can sleep at night. They made sure the Broadcaster’s pension and health was safe and paid for by the actors who’ll never earn enough under AFTRA’s low-end contracts to qualify for benefits. Every working actor who ever hoped for a serious career hates you, AFTRA.
So, this would be the moment when the AMPTP propagandists tell us …
Tell us what?
“We TOLD you so”?
“We knew Nick Counter’s reply would be restrained and reasonable?”
“Shame on you, S.A.G., for daring to suggest a resumption of negotiations”?
“Wake up! Everybody hates you”?
“You ["We"] actors are hopelessly divided. You ["We"] don’t have the stomach for a strike”?
“Your ["Our"] leaders have blown it! Irresponsible!
Unreasonable! Unrealistic! Insane! Oh, yeah, and Unprepared! It’s all their fault”?
“It’s over. You ["We"] lost. Give it up! Better luck next time”?
“This is what you ["we"] get for bullying your little-sister union (AFTRA)”?
“This deal was good enough for the DGA and AFTRA. Isn’t it good enough for all you rich, spoiled actors?”
Feel free to add your own “We told you so.”
The most original wins a free tour of AMPTP headquarters.
sagmember, I think you’ve got it right.
We’ve worked without a contract for three months. And it’s not uncommon for unions to work without contracts for much longer periods, AND to achieve better contracts than management’s “last, best, final” offers before the previous contract expired.
My financial cushion is fairly thin and threadbare.
But I am prepared to work under the old contract until
I expire, rather than have our leadership surrender and advise us to ratify that stinking pile of insults the AMPTP left on the table on June 30.
It’s not about old-timers like me, anyway. I’ll get by, even if I don’t get to work again.
But we owe it to the next generation to fight for their chance to make a living wage doing what we all love.
To Thanks, AFTRA:
I share your sentiments. Their unjustified desertion undermined our position. However, …
AFTRA’s current leadership may succeed temporarily in enlarging their jurisdicton at our expense. But if S.A.G. achieves its goals (which are clearly within reason), then I believe AFTRA leadership will face open rebellion, with one show’s cast after another demanding re-negotiation or threatening to de-certify
AFTRA.
I believe that the longer we refuse to accept the AMPTP’s last terms, the better chance we have of cutting through the studio-network propaganda and dis-information; and the chances are better that a big majority of our members will gain the insight and the clarity and the courage to stand up to the CEOs and their henchmen.
We’ve been hanging tough. We need to continue to hang tough.
The language in Mr. Counter’s reply echoes previous AMPTP missives referring to the New Media framework as “well established”.
The AMPTP has made its intentions quite clear. They want to do to SAG in New Media what they’ve done with VHS/DVD – offer us nothing and we should be happy with it.
By now it should be abundantly clear that the moguls’ intention is to migrate 100% of their content distribution to the Internet. If SAG doesn’t have 100% jurisdiction over New Media with all signatories, regardless of budget level, we’re screwed. SAG must also treat New Media residuals – regardless of which distribution channel the content was originally developed for – as central to its members’ future income security. New Media residuals aren’t as important as Old Media residuals over the next three decades; they are much much more important, as Old Media, let alone Old Media residuals, will fade into irrelevance.
You know the holidays are right around the corner when you get your first Fuck You Card from the AMPTP.
OK so than’t didn’t work, so now how about seeing how the membership really feels and send the offer up to a ratification vote? What is the risk? If it gets voted down THEN take a strike authorization vote and see what say you. Continuing to let a few negotiators decide the fate of us all makes no sense and makes SAG’s position look even weaker. At least do something as a union!
“OK so than’t didn’t work, so now how about seeing how the membership really feels and send the offer up to a ratification vote? What is the risk? If it gets voted down THEN take a strike authorization vote and see what say you.”
The “risk” is that the membership may vote to accept the offer and that will make Membership First look like exactly what they are. So rather than “risk” serving the memberships’ will, Membership First will ask for a Strike Authorization while screaming: “DON’T WORRY – JUST BECAUSE YOU VOTE YES DOESN’T MEAN WE’LL STRIKE!!!”
Dear God, when will we ever see the end of the Doug Allen fiasco?
Dave Clennon: this sort of posting is beneath you. There is no such thing as a “supporter” of the AMPTP. They’re nothing but a room of lawyers.
To put everyone in the category of a shill who disagrees with the obviously monumentally stupid and wrong headed path SAG has taken in these negotiations is to show what cards you really have…
none.
Leave it to the SAG leadership to send out their letter on the worst day of the year for showbiz stocks. This only serves to bolster AMPTP’s position. Look at the front page of the Hollywood Reporter. Great timing!
Tom
Someone, please correct me if I am wrong but it seems to me that while all the other guilds, from directors to transportation are extraordinarily important, the actors are the main component of any production. Unless the AMPTP plans to replace the actors bodies with clay and their voices with newscasters, SAG has quite a bit of leverage. I have one more question: aren’t the AMPTP almost out of the projects they have been stockpiling? From where I sit as an observer, it seems to me that SAG holds all the cards. Why be afraid to use them?
Actors are important, but you forget the vast majority of SAG members don’t actually act. These people who are starved for fame would jump at any chance they could get to earn even a pittance in comparison and make a name for themselves.
This is why the value of actors is kind of a slippery slope. These people would love for the working actors to leave so they can fill their spot.
I mean are we going to deny that this exists? The WGA is a good example of this. This business we’re all competing with each other except when we’re working on the same production.
to “An Observer”…this seems like the kind of self-important thinking that’s gotten SAG into this mess in the first place.
Yes, actors are important. So are gaffers, by the way. And truck drivers. And caterers. And I wonder if writers are important? Maybe. I wonder if camera people are important? The art department? The carpenters? The electricians? Perhaps directors are important too now that we’re on the subject? Assistants? Script supervisors? Producers? Stunt coordinators? Composers? Editors? Projectionists? Popcorn makers?
Realize this. Think deeply about it. Now start negotiating.
Dear “still confused”:
Oops.
You might want to go back and take a longer glance at An Observer’s comment.
First, here is what YOU said, in response to An Observer’s observation:
“Yes, actors are important. So are gaffers, by the way. And truck drivers. And caterers. And I wonder if writers are important? Maybe. I wonder if camera people are important? The art department? The carpenters? The electricians? Perhaps directors are important too now that we’re on the subject? Assistants? Script supervisors? Producers? Stunt coordinators? Composers? Editors? Projectionists? Popcorn makers?”
You did some pretty extended huffing and puffing there. You were righteously scolding An Observer for not valuing the contributions of non-actors.
But … what did An Observer actually SAY?
He/she said, ” … all the other guilds, from directors to transportation are extraordinarily important …. ”
Hm.
Not just “important.”
“[E]xtraordinarily important.”
Isn’t that the point you were trying to make, thinking that you were CORRECTING An Observer?
To borrow from your final, fustian phrases:
Realize your slip. Think deeply about it. Now stop mocking the comments of others until you’ve read them and thought about them, at least superficially.
This morning, after watching the news my fifteen year old said to me “Mom you know the depression was one of the most active and creative times for the movie industry.” And you know, bless his heart, he was right!
Nick Counter can’t use the “economy” as a refutation of the reasonable requests of our union. The studio heads and Media bosses are on record telling Wall Street that their revenue is healthy. Let’s “go to the videotape!” Someone should put together a short the way the writers did when they were on strike. We should at the least post their contradictory statements. This is a ridiculous position on the part of the AMPTP’s negotiator. And it should not cow any of us
We must stand firm. In the end the bosses may not bend to our demands, but it is not because they are hurting. It’s pure unadulterated greed. A variation of the kind that put the country in the terrible place it’s in now.
The “powers that be” are just not interested in sharing any of the “pie.” AND if there wasn’t anything to share from the profits in New Media they wouldn’t be fighting so hard.
Please. Don’t get lost in the rhetoric and fighting within the union. This is the truth. It’s really very simple. We are not being greedy by asking for our fair share. We are demonstrating self respect.
What is truly ridiculous is that most of these Studio Chiefs and Producers are LIBERALS!!!! At least in the light of day. I know some of them personally. They give to all the right charities and support the right candidate. But they truly don’t want to share.
it’s time to shame them. We need to post their salaries and dividends publicly. We may only embarrass a few or sadly none (could it be true that a man’s name has no value anymore?) but at least they’d be outed the same way the CEO of Lehmans, and AIG etc. were.
In the meantime, without strike authorization (if this is too frightening for you) we can continue to work without a contract.This is standard procedure, and something we should not be fearful of.
NO CONTRACT IS BETTER THAN A BAD CONTRACT.
With the state of the economy, I wonder what kind of deal Tricky Nick will offer those hard working popcorn makers.
Put it to a vote. Now.
Okay Dave…you got me. Mazeltov to you.
Now explain what the point is of the remarks of “an observer”.
How is this attitude about how important actors are translate into real negotiation leverage? That’s the salient question isn’t it?
Not willing to share for over 20 years and 6 contracts we have given huge consessions each contract. And the producers continue to make huge profits – hold out kick a** take what is rightfully yours. We have given back too much dvd, 5 out of 7., spouse coverage, drive to, 1st and 2 season holiday vacation and pay cuts even on the mega hit shows dhw and csi’s hold the line and win. We have given away enough!