作者说出2023年好莱坞罢工
作家的“生存斗争”好莱坞罢工:“飘带拧紧(美国)”
想象把热血、汗水和眼泪变成一个创意项目只能补偿别无出路。或几乎不能够承受顶在头上,而受雇于一个行业,使得每年数十亿美元,在很大程度上要归功于你的努力工作。现实的许多电视作家和美国作家协会成员显著改变当前状态和未来的生计。
5月2日,工会——由超过11500名成员呼吁罢工未能达成协议后,电影和电视制片人联盟(AMPTP)经过几个月的谈判下一个为期三年的合同。的决定很大程度上是受变化,尚未对作家的薪酬,但演变成更多。
罢工的核心指向利润丰厚的流媒体繁荣时期,作家还没有获得他们应得的。“没有人预料到流媒体是现在,“电视作家艾萨克·戈麦斯——谁在显示像Netflix的“墨西哥贩毒集团):”,最近,苹果电视+ ' s“他对我说的最后一件事”——告诉POPSUGAR,引用2007年的罢工。“当你看到我们的合同协议,它与新媒体,很过期的语言,因为它意味着这是一个异常值与我们行业的主导力量。现在每个人都流,包括广播网络。我们有这些流媒体平台的规则和广播上如果空气不同,和我们要求的是规则夷为平地。”
“具有讽刺意味的是,不仅仅是我们,我们这样做——毫不夸张地说为了我们的产业。”
此外,引人注目的作家也争取更好的工作条件。AMPTP的打破了沉默在5月4日罢工四页,逐点详述的文档共享《好莱坞记者报》,反驳了美国作家协会的立场上领导。分解组织和工作室的反应却建议强制员工一样,流残差,和工资上涨。在一份声明中公布的的最后期限,AMPTP的说,“我们已经说过,我们公司正在致力于寻找可行的解决不断变化的业务的互利为它的成功的人。”
无论如何,和最有创意的职业一样,是不可能产生质量,甚至award-worthy工作当你不知道你的下一个工资从何而来;争取生存需要优先考虑的事情。
“我们在食品券。我们失业,搬回去与我们的父母。现在屎不是甜的,”电视作家凯拉•琼斯说,他已经抵免Hulu的“醒来”,ABC的“皇后”。"[This field] is really, really unsustainable, and the tipping point of that is why we're striking."
电视和电影作家Kaitlin丰塔纳的作品包括2018年圣丹斯电影节选择“Franchesca”——表示正在进行的罢工,“我们在这里为一个非常严重的原因,那就是我们在合同没有达成协议。”But in the past few weeks, she's observed other things out on the picket lines, as well. "What I've been finding increasingly interesting is just how bad it is for everybody," she shares. "I assumed that some people are doing great, but hearing the creators of hit shows saying, 'I'm not getting paid what I should be getting paid for this show that I've made an incredible hit for this network,' is really driving home how we're all in the same boat."
过去一个月,引人注目的作家已经加入了策划人,董事,甚至对抗好莱坞的演员,不管是退出预定演出或下降到警戒线。“这是有趣的看到友情不仅在自己,”作家伊万之后说,“但即使是开车的人按响喇叭,表示他们的支持。”
在这些已知数据的支持,戈麦斯和琼斯说,对这次罢工意味着什么有意义的行业。“有惊人的团结在哨兵线,”琼斯说。“你看到作家的所有级别,甚至不是美国人,所以它真的感觉每个人都很统一,每个人都在这里照顾彼此。有一些非常漂亮的社区,显然可以帮助我们继续。”
之间关闭数百万美元的产品,迫使网络改变他们的电视时间表,编剧作家致力于确保这次罢工不仅使不同为他们也为其他领域的娱乐产业。“真的实现的结构,在所有诚实,将长期受益的工作室因为质量更好的工作将确保一个更长的产业的可持续发展,以及更大的内容创建,”戈麦斯说。“具有讽刺意味的是,不仅仅是我们,我们这样做——毫不夸张地说为了我们的产业。”
读前听到更多来自这些作家罢工的现实——从它可能持续多久他们如何感觉“飘带一直强迫作家。”
![你希望看到什么变化由于罢工吗?琼斯:一般来说,我们希望剧本创作成为一个可持续发展的事业。现在,这是一个演出经济,不来自财富和特权的人负担不起生活演出演出。所以我希望它变成了利润丰厚的足以让我们再次成为中产阶级,至少。也许考虑买房子。我想今天会把这些工作室失去尽可能多的钱让他们回到桌子上。我不知道点或阈值,但我知道,工作室不同意。他们不是所有在相同的页面上就什么东西他们愿意谈判,所以我确实看到一个联盟的可能性电影和电视制作人开始分裂,也许一些工作室与我们谈判和签订协议和其他一些折叠。“我认为(工作室)认为我们可能会逐渐消失,但我们不会,我们只是要生气。”你认为罢工将持续超过最后一个吗? Jones: I don't know. Everybody that I know who was present for the 2007 strike does think this will last longer. I'm not quite sure why they think that. I think partially because we're fighting for more things, whereas the strike in 2007 was mainly about residuals. The streamers are not going to be, obviously, impacted on the consumer side as quickly because they already have things that are in the vault that they haven't released yet. It's going to be broadcast that suffers the quickest. But it does seem like the studios are kind of shook already. The first week, they were already suspending people's deals and normally they don't do that that fast. We're shutting down productions and that's going to cost them a lot of money. So I could see it going faster than people expect, especially because there is so much solidarity between the unions. Wake: There have been various talks about how long it's going to go but I don't know. It really depends on the willingness of the opposing party to really come and talk with everyone. . . . Right now it's all a toss-up. The common refrain is: it could be a week from now, it could be like six months now — nobody knows. Fontana: Our last strike was a hundred days long and that was the shortest strike, so I think 100 days is the one to beat. Personally, I would love it to be resolved sooner. It's just getting hotter out there on the picket lines. We're showing up, we're shutting down productions in New York and LA and elsewhere. We're not going to stop doing any of that. I think [studios] think we might peter out but we're not going to, we're just going to get angry. We're going to be more desirous of seeing an end to this thing the longer this goes on. I hope it's not 100 days but we're ready for it to be 100 days if it has to be. Editor's note: These interviews were conducted before the Directors Guild of America and AMPTP struck up their new tentative three-year labor contract on June 3, per The Hollywood Reporter. These interviews have been condensed for length and clarity.](https://media1.popsugar-assets.com/files/thumbor/B5SgYlbymZg78xbuHI-ayCyij74/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2023/06/07/820/n/1922283/0ea4044b8142a750_GettyImages-1255131077/i/What-changes-do-you-hope-to-see-as-result-strike.jpg "What changes do you hope to see as a result of the strike?
Jones: Generally, we hope that screenwriting becomes a sustainable career again. Right now, it's a gig economy, and people who don't come from wealth and privilege can't afford to live gig to gig. So I hope that it becomes lucrative enough for us to be middle class again, at least. Maybe think about buying a house at some point.
I think it's going take these studios losing as much money as possible for them to come back to the table. I don't know what that point is or that threshold, but I do know that the studios do not all agree. They're not all on the same page as far as what things they're willing to negotiate on, so I do see a possibility of the Alliance of Motion Picture and Television Producers starting to splinter off and maybe some studios negotiating with us and signing a deal versus some others folding out.")
