Why the Writers Strike was Doomed to Failure (And How We Can Win Next Time)

Read more strike coverage on the Huffington Post's writers' strike page.

The talks between the producers and the writers have broken off indefinitely. The smart money says the AMPTP is simply going to bypass the writers' guild and make a boilerplate deal with DGA. A deal they'd press on the WGA. Probably there'd be some "new media" monies. It's doubtful there would be any expansion of guild jurisdiction into internet content or reality programming.

So, then, the strike has failed. Failure, of course, was the only outcome for this strike.

It is not the result of lack of will or even rightness on the side of the writers, or the earnestness of the negotiating committee. I know several of the members. They are longtime friends, and some were at my wedding. I do not believe with any part of me they did not want what they believed was best for the greater membership: a fair share of the profit from that which we help create. And anyone who believes I'm somehow against the idea of getting all of us -- me included -- two cents or ten cents or a buck more a DVD or digital download either overestimates my ideology, or underestimates the level of my greed.

In fact, I would say it is my greed -- my desire to have all rather than some -- that leads me to declare the strike a failure.

Think about it. Think about why "we" strike. The rallying cry we hear ad nauseam is that "we won't let what happened twenty years ago happen again." That is to say; the strike "we" engaged in, the deals we made re: home video were failed ventures. That is the collective reckoning, though I doubt many even know what the bone of contention in the '88 strike was -- foreign residuals for one hour programming -- or how the creative provisions the WGA tried to force on the producers alienated the DGA.

And, so, twenty years later "we" are back on the picket lines. And every three years "we" go back to the table to collectively bargain. And that right there; that phrase speaks to why this strike and every writers' strike will fail: the guild uses collectivism to seek a bargain. Why should we get a bargain when we can buy the store?

In 2006 the total earnings of the working membership of the guild was $905 million dollars. Our residual income alone was $264.3 million dollars. Currently every working member of the guild is compelled to cede 1.5 percent of their gross, pre-tax income to the uild. While in the last year the guild has done a better job of handling money, it should be noted that in fiscal year 2006 the guild managed to turn that revenue into a $202,611 deficit.

There is more and better to be done with our money.

Let's say the guild was to hit up its membership for an additional 1 percent of its gross income. Let's say the guild were to put that money into a fund to produce films. The guild would then own, or would have co-ownership of the negative with the film's author. And since "we" could make this film without interference from the studios, the film would of course be great. The guild, then, could take this great film and cut whatever distribution deal it pleased with whatever distributor -- old media or new -- with which it chose. And the deal would be made on our terms. And the film would remain ours. And project by project the revenue stream would continue to grow, and more films would be made and "we" would own them and eventually "we" would control the vast majority of content produced.

Or, studios would be forced to enter into similar authorship sharing agreements if they wanted to work with the best and brightest writers. They would have no choice because, as we all love to say, it all begins with the words on the page.

Of course, we would have to work out some kind of profit participation with all the other artisans in Hollywood because -- unlike the multi-nationals and conglomerates -- we would be beneficent with our wealth.

This is no fantasy, no act of a wild imagination (and yes, I borrow that line). Film festivals are sick with indies being made by individuals without a sliver of the experience, connections or access to cash "we" have.

And, what; five weeks into this strike? Factor in the lost wages, the wasted man-hours, we could be wrapping our first film by now.

Our film.

There is no substitute for ownership. Beyond my love of the craft, it is why I choose to ply my trade mostly in books, on the internet and in graphic novels: I own my shit.

And I will happily be the first to divert my guild dues to a film fund to own some of that, too. See if I'm kidding. One phone call from the "leadership" of the guild, and I'll put the check in escrow. Now.

I doubt the call will come.

Instead, "we" face down holidays and property taxes due and another three, four or more months without income.
For what?

For the opportunity to stand up and beg for the best bargain "we" can get? For the opportunity to remain as we were: sharecroppers on the media plantation? "We" can continue with this evolutionary change -- gathering together every three years to get our bargain. Or, we can make revolutionary change. In the wake of this failed strike there can be victory. Permanent victory, if the leadership has the meat to quit whipping up rallies and start marshaling manpower. Now, in this moment, is the time to make the choice that will truly secure the future for our heirs and us.

Ownership, or servitude? Which will it be?

Read more strike coverage on the Huffington Post's writers' strike page.

Comments

[Paw1]

Ridley is right on here. If you look beyond the rhetoric, what he's suggesting is nothing more than writers taking control of their own destiny, putting their money (literally) where their mouths are and producing something beautiful without the interference of the black suits. BTW, it's those black suits that are always blamed by the "creative community" for stifling their art in the name of commerce. It would be fascinating to see what results from a guild effort totally unencumbered by executive-suite meddling.

What's never mentioned in any writer's related discussion is the risk studios take to produce the entertainment we take for granted. Writers want guarantees without risk. Ridley's idea increases both risk and potential reward for all.

[mbaty]

Well, we've got to figure something out before things get worse; have you noticed all the reality shows that are being rushed out? Clash of the Choirs? Are you kidding? American Gladiators? Seriously? And new game shows...I hope the American public tunes out and gives the studios the message...we need funny, we need smart, we need writers. We need a continuing reason to watch, because these reality programs are not doing the trick.

[bigstreet]

John, have another cup of latte and get a clue. Declaring the strike a failure before its over is a betrayal of the union that represents the interests of all writers. Your ego deludes you. This strike is not just about writers getting a fair share. It is a push back against the deminishment of the writer as a central creative force in movies and TV. Your pipe dream about the WGA becoming a producing entity is ludricous and gives credence to the boss's view that most writers are schmucks out of touch with the real business world.

[Hollywoodaholic]

Have you ever seen a group of writers try to agree on who's screenplay has the most merit to be produced? It's viscious and ugly. Sort of like these posting boards. Like it or not, there's a reason we passively allow studio assholes to pick the projects that go before the camera ... because they're the assholes that can callously make those decisions strictly on numbers without any regard to conscience or content. So as much as I admire the idea of writers suddenly fronting their own studio or collective film project, it saddens me to realize we'd have to become true assholes to do it.

[BeamMeUpScotty]

Remember United Artists? Formed in 1919 by actors, it was an attempt to give control to "independent" writers, directors, producers and actors - outside the rigid studio system which controlled salaries and creative control. When he heard about it, Richard Rowland, head of Metro Pictures, replied, "The inmates are taking over the asylum."

Productions costs and distribution became immediate problems and by the late forties, UA was barely functioning. It's a money thing.

The written word is the basis of all scripts and yet the writer, it seems to me, is treated as the lowest form of life on the network/studio food chain.

Control or be controlled.

[Damu]

The writers are toast!

[Kendo Nagasaki]

Politics in the US is defined by the relationship between labor and capital.

And capital is winning because the supply of workers is increasing and the number of companies in distribution is decreasing. Writers are just more sophisticated Walmart workers. Big company philosophy today is "suck up, kick down."

Keep voting for crony capitalism and you will get more of the same. Hillary and the Liar King salute you.

[rextrek]

I don't know ALL the problems/legalitys of this strike..but the one thing I do know...is that the Writers deserve what they are asking for..period! Without the writers, there is NO SHOWS, especially comedies....the sucessful comedies are the result of the WRITERS!!!!

[fedupwithpolitics]

And the same goes for every industry--why work for the rich when we can own the company?

[Qbear]

This is totally selfish of me, but damn I wish the strike could get settled for Just the Comedy Central Network. I am SO jonseing for a Daily Show and Colbert Report. It's just not as savory and satisfyng watching the entire Republican field of candidates as multiple car crashes, without laughing at Jon and Stephen.

My only hope is advertsers are going to get tired of paying to promote decades old Leno reruns.

[thenicerguy]

Oh for God's sake, John. Enough already. Would you either turn in your WGA membership card or just shut the hell up? You are undermining the resolve of writers and those that support them with your transparent pro-Big Media diatribes and to what end? To turn public opinion against the striking writers OF WHOM YOU ARE A MEMBER? Or to sew seeds of discord in the union?

I've just heard enough from you, sir, so again, please STFU.

[drblack]

The big record companies ruined their business and the movie and TV companies are doing the same.
This is why the internet must remain as it is or become even more open and free.
It puts people in charge instead of big companies with poor product instead of art and money ahead of creativity.
The yellow dog contract should be made illegal. The one who creates something should ALWAYS get the lions share.

[AMolinaro]

I agree completely with your idea that writer's should find a way to work outside the obsolete and oppressive studio system. Did "Alien Vs. Predator" really require a sequel? Does "Dancing With the Stars" really warrant a spinoff? However I hope you're being facetious with your contention that writers without studios would automatically make a great film. Sure, a great film needs to start with a great screenplay, but that doesn't mean all great screenplays turn into great films.

In general I support unions and recognize the power of collective bargaining. However in this case I must admit that bargaining with the studios is an absurd premise. Without writers the studios have no product, and if the writers can really afford to make movies without studio involvement/interference I think that's a much wiser approach.

[YellowPanties]

Ridley is wrong yet again.

The AMPTP issued an ultimatum to the WGA to take something like 7 items off the table for consideration, or they would leave the talks. The WGA rightly said they would not accept an ultimatum, but would continue to negotiate. The AMPTP left.

This strike will affect this whole town, but honestly, the networks and studios have the most to lose. There will be nothing but bad reality TV on the airwaves, and people will simply not tune in.

The only hope the AMPTP has is abandoning their efforts with the WGA and channeling all their resources into getting a deal with the DGA and then SAG. If the DGA goes in while the WGA is still on strike, the WGA will lose.

If the DGA and SAG hold fast, the AMPTP will have to come down and negotiate.

Keep the faith, WGA.

[FogBelter]

Mr Ridley, reading over your many posts on this subject, I have to say you really seem invested in this Strike failing.

Why?