The WGA Is In For A Fight On Creative Rights...
January 10th, 2001
In today's Variety there is an interesting article by Dave Mcnary. The article discusses one of the possible major hang-ups in negotiations, the "creative rights" demands by the WGA. But consider that it is just a part of the 42 demands approved last fall by WGA members for negotiations for a new contract in the face of a May 1 expiration of the existing film-TV pact, and you can understand why a strike is more than likely to happen.
Here are some highlights:
Requiring that writers be employed for the duration of principal photography. WGA leaders contend the proposal is a sensible way to ensure continuity during production.
Guaranteeing writers access to the set, cast readings, dailies, research screenings, meetings to discuss research results, cast-and-crew events, premieres, press junkets, festivals and tradeshows.
Elimination of the possessory credit on movies ("A Film By").
Screenwriters creative-rights demands are the contractually mandated right to participate in all creative discussions. "At a time when we as writers are demanding increased creative rights in screen and longform and better treatment from the feature directors they employ, we must be willing to examine our own behavior in the work area we often control: episodic television," said WGA West prexy John Wells.
The DGA has all but said that the WGA should give up on the "creative rights" demand, stating that the both sides should jointly develop a "code of preferred practices" to resolve issues such as the possessory credit and giving writers guaranteed access to sets.
The WGA's stance is about more than respect, it's about equality and the recognition that without the screenwriter there is no movie.
-- Chris
(Source: Variety)
Here are some highlights:
Screenwriters creative-rights demands are the contractually mandated right to participate in all creative discussions. "At a time when we as writers are demanding increased creative rights in screen and longform and better treatment from the feature directors they employ, we must be willing to examine our own behavior in the work area we often control: episodic television," said WGA West prexy John Wells.
The DGA has all but said that the WGA should give up on the "creative rights" demand, stating that the both sides should jointly develop a "code of preferred practices" to resolve issues such as the possessory credit and giving writers guaranteed access to sets.
The WGA's stance is about more than respect, it's about equality and the recognition that without the screenwriter there is no movie.
-- Chris
(Source: Variety)
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