HOW CAN I HELP THE WRITERS' STRIKE?
I've gotten dozens of emails asking this same question. I'm not the authority, but I've asked around, and here's what I was told --
1. If you're in L.A. or New York, you can come help us picket! The more community support we have out there, the better. Here's a link to picketing locations: http://wga.org/subpage_member.aspx?id=2536 -- We're there Monday through Thursday from 9 to 5. Lines tend to get a little thinner at around 12 to 1 and around 4 to 5, so those are good times if you're looking for some light exercise... If you can't picket, bring the picketers some food or goodies, like the fine Whedon fans did. And if you can't bring 'em anything, show your support by honking as you go by.
2. Flood the internet with pro-Strike information, banners, etc. Have fun with it. Look at some of the great banners DUNDER-MIFFLIN: FRISCO, TEXAS has made (such as the graphic at the top of this page). Grab one and post it on your MySpace or Facebook pages. Get creative with your profile pic and name – let the studios and everyone else know you support us!
3. Write letters to the studios, letting them know how you feel about their treatment of writers, actors, and others.
4. Have sex with a writer. Seriously, it's a little known fact that there are very few things writers like more than having completely awesome intercourse. Also, we've been fucked by the studios for so long, it'd be great to be fucked by someone else. For variety's sake, if nothing else!
5. Finally, when you argue online about the strike, do it kindly. People have reasons they believe what they do, and, if they're anti-strike, it's usually because they're simply misinformed. These are the two basic charges that keep coming at me from people who say there shouldn't be a strike (and why they aren't accurate)…
THERE SHOULDN'T BE A STRIKE BECAUSE WRITERS ARE ALL RICH ANYWAY
It's just not true. Sure, some writers are extremely well-off, but the vast majority of writers are middle-class. And a good portion are lower-class. These people NEED the residuals to live on, to pay the rent, to buy food for their children.
THIS IS ALL ABOUT GREED.
Many people like Judd Apatow, Joss Whedon, Greg Daniels, Steve Carell, and, uh, me, could stand to lose MILLIONS of dollars personally because of this strike. It is unlikely that we will ever make that money back on new media residuals. Yet we all stand in support of this strike. Why? Because it's simply the right thing to do, and because we care about the future of all writers, and writing as a whole.
Remember, the only reason this strike exists is because the studios refuse to give the writers (and the actors and directors) any percentage of money made off of internet and new media downloads or streamings. I explain it a little more in my last blog: http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=58119776&blogID=325719700
Also: THANK YOU for all of your messages of support. It is extremely meaningful to me and my fellow writers -- not to mention the other creative folk who are affected by this strike. You guys are magnificent.
On a completely different note, I'll be in Saint Louis, Missouri for the INTERNATIONAL ST. LOUIS FILM FESTIVAL this weekend. If you're in the St. Louis area, please come down and meet me. I love meeting you guys, so don't be afraid to approach. I'll be at three separate events –
FRIDAY, NOVEMBER 9, 7:30 PM
SLiTHER SCREENING (with Q & A to follow)
Webster University, Moore Auditorium, 470 East Lockwood Ave
Come see the movie on the BIG SCREEN with me. I haven't seen SLiTHER for well over a year, so I'm looking forward to it. Even with the rape flashbacks I have every time Nathan Fillion comes onscreen!
SATURDAY, NOVEMBER 10, 7:30 PM
NAKED KISS SCREENING (with discussion to follow)
Webster University, Moore Auditorium, 470 East Lockwood Ave
SLIFF asked me to show one of my favorite films, and I chose this gritty, melodramatic B-movie by Sam Fuller, which was a great influence on my work.
SUNDAY, NOVEMBER 11, 12:45 PM
CAREER-SPANNING Q & A with LA Weekly Film Editor SCOTT FOUNDAS and (me) JAMES GUNN
The Tivoli Theater, 6350 Delmar Blvd
We'll show a clip reel, and you and Scott can ask every question you ever wanted to know. If you bring your stuff to sign, or just want to chat, I'll do my best as well. I'll also be receiving the prestigious CINEMA ST. LOUIS AWARD. When my friend Lloyd Kaufman received his career achievement award at this year's Belgium Film Festival, the first thing he did with it was put it in his crotch and pose for pictures pretending it was a giant penis. I promise not to do anything so crass. Instead, I will go down on it.
On a side note, thanks to Destination Creation at www.zombieme.com for turning me into a zombie for my Halloween profile. Many people thought this was makeup, but I'm far too lazy for that...
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New edit:
So, although 99% of the reaction here has been in support of the writers, I've gotten a few hate mails, including, "Fuck off," "You SUCK! SPOILED BASTARDS!" and the old standby "Scooby Doo sucked." But I also got a few emails that, although pissy, weren't totally hateful, such as the one from Chris, below. I'm also posting my response:
As a Technical Writer, I do not retain the rights to any work I produce because I am paid for my time and effort by my employer. I do not receive any "residuals" for my work based on how often it is distributed. So tell me, why, when in almost no other industry is a worker continually paid money for work they did once, should members of the WGA get such fringe benefits, and how dare they demand them? If WGA writers really have such a hard time making ends meet, maybe they should find another career. That is how things work in the real world. Should carpenters get paid residuals every time someone opens a cabinet they built?
Dear Chris - Quite to the contrary, in most creative endeavors, people DO get paid royalties, and retain copyright or partial copyright -- including songwriting, novels, many inventions, and, lately, comics. Film and TV writers are the ones who are outside the norm.
Many, many writers have created works that generate not only millions but sometimes billions of dollars -- and end up getting paid very little for their ideas. This is a matter of workers being more fairly compensated for their contributions, and to be rewarded for works and ideas that result in success.
The studios and creators mutually agreed upon residuals a long time ago. It is something that's a part of the fabric of the industry; writers, actors, and directors take residuals into account when they do work. This was once somewhat fair when the secondary mode of distribution was TV. The studios got greedy and worsened the deal when VHS and DVD's came around. And, now, suddenly, as media modes shift again, the studios want to take away ALL residuals by not offering them as part of downloads and other new meda. This isn't about asking for something MORE -- it is, in many ways, about treading water and keeping something that's a part of our industry already. It's the studios who are greedy, and who want more.
This is a labor issue, a union issue -- if you're against that on all fronts well, then, I can't argue with you. That's your opinion. But, as far as the "real world" goes -- strikes are a part of it.
As for whether you should be paid residuals, I have no idea. But if someone paid money every time they opened a cabinet -- which they don't -- perhaps the carpenter would be entitled to residuals.
James
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