Tuesday, September 8, 2009

WGA Reports Plunge in Earnings


By Dave McNary
Guild hit by recession, writer's strike

Hollywood scribes are feeling the double-whammy of the recession and pre-strike stockpiling.
The Writers Guild of America West, in its annual report to members, disclosed that earnings plunged nearly 18% to $801.4 million for the fiscal year ended March 31. Guild-covered earnings had set a record in the previous year at $976.3 million.
"This change from the prior year was attributable to the effects on our industry of the general economic slowdown and to the strike to achieve the 2008 minimum basic agreement, which had accelerated some feature film income into 2007 and reduced the length of the 2007-2008 television season," the guild noted in the report.
The report details that feature scribes have taken the biggest hit because of the ramp up that preceded the 2007 contract wrangling, which included the Nov. 5, 2007-Feb. 12, 2008 work stoppage. The drop in scribe earnings has also significantly hurt the guild's financial fortunes.
The report was sent to the 8,000 WGA West members earlier this summer and recently posted on the guild's website.
The WGA noted the number of writers reporting income declined 9.7% to 4,163. TV employment declined 11.2% to 2,929 slots while earnings for TV scribes declined 3.1% to $437.5 million. Feature film employment declined 14% to 1,716 slots. Film earnings, which had surged 19.5% in the prior fiscal year, declined a whopping 30.7% to $361 million.
The pronounced fall in film earnings wasn't a surprise since the WGA had warned last year that the jump in feature earnings wasn't going to last.
The report for fiscal 2008 confirmed that assessment.
"The pre-strike stockpiling by the studios was a major factor followed by cautious development and a decrease in theatrical film production by the major studios following the expiration of the SAG contract and the subsequent economic slowdown," it said.
On the TV side, where guild-covered earnings are down 4.6% from the record $469.2 million in 2006, the WGA offered a more mixed recap.
"Television declines in the first half of the year can be attributed to the six weeks of the strike which fell in 2008," it said. "For the second half of the year, we found that while WGA series rebounded, the companies responded to the economic downturn by reducing the size of TV series staffs."
The new report also included a sobering picture of the WGA West's financial condition, noting that the guild operated at a $5.1 million deficit including net investment losses of $1.9 million and the costs of staff layoffs. Revenues totaled of $20.9 million and expenses of $26 million.
"The current economic crisis has had a profound global impact, and the WGAW has not escaped it," the membership and finance committee said in its statement at the start of the report. "Despite formidable challenges, we are pleased to report that your Guild remains in excellent financial shape. The guild owns its headquarters with no debt and our investments stand at $12.8 million, including a total of $7.4 million in our Strike and Good & Welfare Funds."
It also noted that its revenues of $22.7 million in dues and fees declined 3.4%, noting "this relatively small decline was due mainly to improved collection of delinquent and underreported dues."
WGA West expenditures had surged 11% in the prior fiscal year to $26.3 million due to the 100-day strike then declined only slightly to $26 million.
"This relatively narrow margin reflected extraordinary expenses related to staff severance costs and maintaining a reserve for estimated uncollectible strike loans," the report said. "The difficult decision to lay off just under 10% of our employees was made in order to balance the fiscal year 2010 budget and to maintain adequate reserves for contract enforcement, jurisdiction expansion, and future negotiations."
The report also includes disclosure of $30.3 million in "funds held in trust for members" including foreign levies, client trust accounts, undeliverable funds and a residuals trust fund. That's up 23% from the $23.8 million figure in the prior year's report but the WGA did not disclose any reasons for the increase, nor did it break out the amount of foreign levies accrued under a system in which the guild collects funds paid under foreign laws to authors of copyrighted works.
The DGA, WGA and SAG have all been sued over their practice of collecting foreign levies for nonmembers, alleging they overstepped their authority by doing so. The DGA settled its action last year; the action against the WGA had been in settlement discussions that fell apart in the spring.
The foreign levies for U.S. creatives began to flow after the U.S. agreement in 1989 to terms of the Berne Convention, which establishes the right of authorship for individuals who create works of art. 


Thursday, May 28, 2009

Open Forum: WHY DID NIGHT AT THE MUSEUM BEAT TERMINATOR?

Night at the Museum
Yahoo Critics/Users C/B+
Rotten Tomatoes 34%
Lead’s Star Meter 31
Budget 150 million
Rating: PG









Terminator Salvation
Yahoo Critics/Users C+/B
Rotten Tomatoes 44%
Lead’s Star Meter 5
Budget 200 million
Rating: PG-13





"Night at the Museum" cost less, is reviewed worse, has almost the same rating, and in it's lead has less star power. So, why did it win?

DISTINGUISHED SPEAKER SERIES

Just so you know what I've been up to.........In what is now my last quarter at the UCLA/Anderson School of Management, I’ve established a distinguished speaker series for our Executive MBA class and invited some of Southern California's best chief executives to speak on the topic of leadership.

The Speakers are:

Dr. David T Feinberg: CEO UCLA Hospital System, April 24, 2009


Dr. Ronald Sugar: Chairman & CEO Northrop Grumman, April 25, 2009


General Wesley Clark: NATO's Supreme Allied Commander, Europe, Democratic Presidential Candidate, May 8, 2009


Tom Rothman: Co-Chairman/CEO, Fox Filmed Entertainment, May 22, 2009


Greg Craig: Founder/CEO Cook Inlet Energy, , May 22, 2009


Michael Lynton: Chairman/CEO Sony Pictures Entertainment, June 6, 2009

Wednesday, May 20, 2009

HAVE A VOICE
















Ever
heard this one? “We’re looking for a writer with a really strong voice” Ever wonder… What the hell does that mean?







Well it’s like the difference between hearing a U2 cover band or hearing…. U2. Same song, same notes, but they don’t sound the same, do they? And that’s one of the major reasons why U2 is flying in a private jet and the cover band in an ’89 Ford Econoline Van.

If you don’t have a voice, you need to cultivate one. All the best writers have one. It’s the special way that writer or team looks at the world and describes it. His or her surprising way of using humor, distinctively vivid action, or dialogue so nuanced that less is truly more. There are many other examples, but they all do the same things, enhance the script and make the writer standout from the crowd.

You need to stay within the same guidelines of structure, character, film economics etc. that every other writer must. But within those you need to create something that is simultaneously familiar enough to us as to be accessible, and yet feels totally new. And do it in a way that is distinctively your own.

Tuesday, May 12, 2009

ARE THE BIG STUDIOS GOING TO STRIKE OUT WITH THE BLONDE?

Think of Nash and his Buddies as the Major Studios, the Bar they are in is this Summer. Who is the Blonde? And will any of the Studios go home with her? If so, was their investment worth the reward?

Friday, May 8, 2009

ARE YOU EXCITED!


I am, I guess that's why I'm in this business, because it's fun. Are you excited?

Wednesday, May 6, 2009

IT’S HOW MANY PAGES??????????


Last night I was reading an indy comedy. The script was great. It was funny and sweet and original and the writer had a strong voice. The only problem….. its 124 pages long. You can’t have too mush of a good thing right? Well actually in this case, yeah you can.
You see if a company makes this, it’s going to be on a shoe string budget and every page in the script is more money the story takes to shoot, so at 124 pages producers will either Pass or say “cut 34 pages from the script.”
My advice, cut them off at the pass. Cut the number of pages down to whatever it should be in the first place before sending it out. And make sure that as you do you maintain the script's appropriate structural balance.

If you’re not sure how long your script should be, make a list of the three films made within the last ten years that are most like your movie in terms of cast, genre and size/scope (budget). Now look up how long they are on IMDB, take the average. Remember it's one page per minute. That’s how long your screenplay can be. Not a single page more.
This is one more little thing that communicates to the reader you’re a professional. If I was designing a car, I wouldn’t give Toyota plans for a 21 foot long midsize car, or a subcompact that cost the consumer $100k. The same is true of your screenplay.
In a marketplace where people will pass for just about any reason… don’t give them one. And don’t spit in the wind, don’t tug on Superman’s cape, don’t check into a hotel with Angela Lansbury, don’t wear a red shirt on Star Trek, don’t pull a gun on Little Joe (yes that’s some Old School TV), and never ever be so bold as to ask anyone on Lost to completely explain anything.