Many writers have been wondering if we can attend the Strike a Deal! Rally and March. I reached out to the organizers through the email address on their website and got back this courteous response:
We appreciate your offer to attend and support our rally, however we must respectfully decline. Our efforts have been not to take sides, but to call for ernest and productive negotiating between both parties.Thanks for getting back to me, and for clearing the air. We hope the sun shines on you tomorrow, and the rain stays away. Please let us know if in the future we can lend our support in anyway.
Emotions grow stronger as the negotiations lag on and more below-the-line crew are out of work, and vendors watch their business decline. This is their opportunity to show their concern and frustration with the situation.
Thank you for respecting our wishes.
101 comments:
I don't get it. Writers aren't welcome at this event. (And is it just me, or does the "courteous response" imply we'd actually be in danger if we showed?) So why is United Hollywood helping them publicize it?
Aren't we all in this together; below the line as well as above the line talent ?? We should be marching with them and they should be marching with us. Am i wrong or is it not that simple. What we get will reflect in what below the line talent gets in the way of P&H. Yes, its that simple.
Screw that. I'm going, and I'm wearing my "WGA On Strike" shirt proudly.
So why is United Hollywood helping them publicize it?
Because it's the right thing to do.
I think that their wishes should just be respected.
Let's quit trying to make the BTL crew be happy about what is going on. they've lost their jobs, their is no end in sight to this, and they are angry and frustrated.
No more picnics for the first 100 crew members, and let them march in peace. This is not a "We are in solidarity with the WGA" march.
I am an IA member who COMPLETELY supports this strike, but let's quit with the Kunbaya efforts
Let them be pissed They have every right to be scared and angry..
Seriously, I don't know what to think of this. A few posts ago someone ostensibly from Strike A Deal was crying because you're not united if you don't show them some linky-love, and yet when you want to actually BE united and march together, they say no thanks.
Bizarre. And that crying for a link on someone's web site? Amateur hour on the internets, people. Grow up. That's the web equivalent of saying "If you love me you'd (fill in the blank)." Passive agressive is so yesterday.
I think the BTL marchers don't want writers to strike with them because they don't want this to be about the WGA. They want this to be about those whose lives and businesses have been aversely affected by this strike.
As a writer, I can understand that actually...
The best way to handle this information is to let them VENT. And amongst themselves. Yet, with our COLLECTIVE support.
Look, we need to realize they feel put in the middle, and respect that. Let's just respect their wishes and let them know we are here 'if' they need us.
If you, as an individual, wish to appease the AMPTP keep typing responses centered around BTL skepticism. They'll love it! Otherwise...
Please, stay focused people. Let's prove how fucking smart we ALL are. (Let's keep the pendulum centered so neither WGA nor BTL need go on the defense)
FOCUS! Monday approaches. Let's show some COLLECTIVE resolve!
Let them vent. In the end, it isn't about them. I'm sure that hurts.
This group's website used to have a comments section. In recent days it became filled with writer after writer, very politely and with great respect, suggesting that any rally attempting to apply pressure equally to the WGA and the AMPTP was inherently insulting to the WGA, as it failed to distinguish between our good faith and the extreme bad faith of the producers. So what did the organizers of this rally do? They closed their comments section and deleted all of these posts. Since then, of course, the AMPTP has behaved even more egregiously (witness yesterday's events). And yet these people are going full speed ahead with a rally intended to pressure BOTH the WGA and the AMPTP to "return to the table" when the guild never left. Well, forgive me if I don't feel like being lectured by these folks, or if I don't want to celebrate their "venting" when the steam they're letting off is directed at my face. Back when they had a comments section, they told us WGA members to join them at their rally, as a number of them claimed to have joined us at ours. Now they want us to stay away. My pleasure.
I agree with local IE 892. I'm a member of 892 and 705 as well, and a supporter of the WGA, and the strike. I also know that a lot of BTL (myself included) and many vendors are suffering, and I think that the fact that the writers are not there, might be more effective and stronger of a message. BTL, families, and vendors, have all the right to be upset, specially now over the holidays, and to let them vent shows the AMPTP that it's not just the writers being affected. This is a loud out cry from BTL and the vendors, about the economic impact that this greed is causing, and to show them that their negotiations need to be up to speed, in the moneys and in the timing. The Force majeure here is really a Los Angeles Force majeure (like in the military) as far as economic impact for everyone, weather you are part of the industry or not, that plane needs to land. Good to show the discontent over something that is not acceptable for the community. I read a pdf (sorry can't remember where) about the economic forecast in Los Angeles, about 4 months ago, where they specifically noted that the economy was not going to be that great, based on an imminent strike. So yes we as part of the Hollywood machine are important, Writers, BTL, Vendors, we are all the economy and in this together, but I think we do need to let each party do their venting.
Interesting in the LA Times the other day there was mention of 300 DGA/WGA hypenate members (like the Coen Brothers etc) who sent a letter to Gil Gates imploring the DGA to NOT start their negotiations til the WGA was finished with theirs....Well, I think it's time all Unit Production Managers, Assistant Directors, Stage Managers, Technical Directors sign a letter and hand deliver it to Gil Cates at the Directors Guild IMPLORING the DGA to IMMEDIATELY start negotiations with the AMPTP for the DGA contract which expires in June!!!! Then and ONLY THEN will this mess finally be put to bed and we can pay our childrens college tuitions, mortgages etc etc because that 20% that goes into the below the line Pension/Health and Welfare might as well be rolled into a big fattie and smoked for all the help that 20% does for the bills that are due NOW.
Here's the deal, Steve. Even IF the AMPTP signed a deal with the DGA, the WGA doesn't have to accept it. No writers, no scripts for the DGA to work with...
If the AMPTP was smart they'd get their fat wallets back to the table and sit on them until a fair deal gets worked out with the WGA.
Twenty (almost) years is a long time to take a screwing, especially when it's a bad one.
Jake:
Just like in "Field Of Dreams" ---Build it and they will come.....DGA makes a deal, WGA and SAG will fall right into place, that's why in all the credits in movies it's not "A FILM BY .........(writers name) it's "A FILM BY......(director's name). End of Story!
With all respect to the DGA... I love you guys, but I'll take a pass on "A Film By" contract this year. That's what got us the crappy DVD deal we've been stewing on for 20 years. It's time for a "Created By" contact.
None of which has anything to do with this march. As far as that's concerned, I wish everyone marching on Sunday luck. I'll stay home as per request. The WGA already wants to settle this as soon as we can without fucking ourselves. So hopefully the AMPTP will hear you.
I doubt it. They're the ones putting you out of work. But I hope so.
Mr. McCaffrey:
You are misinformed. The letter to the DGA said nothing about waiting until the WGA had finished their negotiations before starting theirs. I suggest you reread it.
Ok, that's just confusing. I just finished reading the comments thread from today's earlier posts where we've got a number of BTL folks arguing adamantly for writers to support this rally. One poster, "How's this b*%tch?", states:
"I'm sorry that so many of you are too paranoid to give this rally a shot. You say that you do care how this is affecting us. Here is your chance to prove it. You don't even have to identify yourselves as writers. Unless you are Larry David, nobody will know."
I don't mean to single you out, HTB, because you were not alone. But yet, this is the reply received when a real inquiry of organizers is made? The mixed messages are boggling. I wish you the best at your rally. But maybe you didn't get the memo that writers weren't invited. Not being facetious; just saying.
If the DGA signs a deal, we are still going to stay on strike until we get a fair deal. Sorry.
Pardon the post from the decidedly outside of the business viewer and fan but isn't the common enemy the AMPTP?
You remember them, the ones with the bucketloads of cash made off the sweat of writers *and* crew and other creatives for decades and the ones that would like to consign you all to economic serfdom and bickering amongst yourselves while they sneak off on lavish Hannukah/Christmas/winter holiday vacations with their families and pretend like you all don't exist?
And oh by the way where is the *AMPTP*'s message of support for this rally which is nothing more than an expression of the crew and vendors sincere wish that everyone can get back to work?
If you are looking for something productive to do, come on over to some of the fan sites and help us help you. There is nothing stopping any of you from calling an advertiser and asking them to stop sponsoring programming or websites until you get your fair deal, from calling a mogul who works for a network that employs one of your friends or coworkers and objecting to this untenable situation, from encouraging everyone you meet to not visit network or studio websites, to not download or stream any media online and to not buy any new DVDs until the fair deal is achieved.
Eyes on the prize everyone and help the Whos teach the Grinches who Christmas really belongs to.
This has gone on long enough. Get back to the table and resovle it. No more backstabbing or blaming. Each side has purposefully derailed these talks. first it was the writers now the producers, both sides have resorted to bad faith . Rallys and marches will just fuel the fire. I think writers deserve what they think is fair and the producers need to come up with a fair and just deal. but all the arguing and blaming has got to end. all are adults not children, just because one side has a temper tantrum does not mean all is lost. Get back to the table and resovle this matter before Christmas so everyone can have a great christmas.
Kimmy - Do your research on who left the table, how and when. The writers are ready and willing to negotiate. The AMPTP is trying to make them look like they're stalling these talks. The writers ARE NOT the ones walking away.
Yes, marches and rallies fuel the fire. They fuel the fire under the AMPTP feet so they'll get back to the table and negotiate in good faith.
The rally is a fair way for btl employees and vendors to express their eagerness for a deal, and trying to maintain neutrality is understandable. However, the fact remains that there has been a stark asymmetry in the parties' willingness to negotiate not just sincerely but at all. The AMPTP has very obviously sabotaged negotiations and twice walked away from the table. That is what is costing btl employees their jobs- as networks fire them, then brag that the strike is helping them cut overhead. What it boils down to is the executives are relieved they can go to shareholders and cite you not having your jobs as a reason they deserve a bigger bonus. That's the ugly truth. Besides which, as impatient as they are to return to work, those production employees who are members of other unions face a grim future should this crisis resolve favorably for these corporations vis a vis the Writers Guild. The smartest strategy is for everyone hurt by the strike is to focus their pressure on the AMPTP companies.
I would like to clarify what I said before, I am not a member of any organization for or against either side, I am just a faithful TV watcher who is disappointed in the recent events that have taken place since the strike started. I feel bad for both sides, I think they need to stop fighting and get down to what is important here , a fair and honest deal that satisfies everyone. I think that rallies and marches like I said only make things worse, why don't they have a rally that says hey lets cut the crap and get back to the table? I would definitely support that rally. The only people sufffering are those who have lost jobs over this. put them back to work, and its Christmas, let everyone have merry christmas not a bad one.
Please get back to the table. I support the position that an artist should get paid for their work. There are two types of people in this business: artists and people that make their money from artists. I am a dp, who has as much creative responsibility on a project as the writers do(sequentially the writers come first-but to say no one would work if they weren't around is just silly) but don't forget that this a collaborative art form. It behooves the WGA to show a little less ego and more respect for IA crews. The strike only stands to benefit the WGA not IA. Don't bring up the residuals contribution to the PH&W, because first you clearly don't understand the IA contract and it just proves the adage that little knowledge is a dangerous thing.
The WGA started pre negotiations with a very antagonistic attitude helmed by people who have never ever negotiated a contract or labor dispute. At least the IA hires people with proven experience to negotiate. You owe it to yourself(WGA members) to hire a responsible seasoned professional to negotiate a deal for you. I want to see you get what you want. I want it to end quickly, this should never have come to a strike. You wouldn't hire an inexperienced agent or manager would you? Then why have one run your guild? You are writers, you write scripts, you don't negotiate labor disputes, hire people that do that for a living please.
We march to get you back to the table. We march to give you a moment to step back and look at your efforts and evaluate if they are working or not. "Stay the course" is rhetoric that, given our political foibles, should have taught us all something. Make a change quickly so that this doesn't become a long quagmire.
Get the writers together and bring a quorum and change the course.
Not letting writers march with them? That just proves the "strike a deal" blog and march are nothing but anti-WGA propaganda.
Who cares about the BTL anyway?
These people have no grounds to complain in the first place... Either they knew that these kinds of work stoppages were an every-three-years possibility when they took their jobs or they're too stupid to hold them. Hard to pity anyone who lives in such a stormy climate without a rainy day fund.
Gavin-
Who cares about the BTL anyway? This is a march for the BTL not the writers. This is a march where we take no sides, just want you to get back to the table.
Here again another WGA member attacking people personally rather than sticking to the issues.
We have plenty to complain about. We aren't working. Yes we saved for a rainy day. We are not eligible for strike funds because the IA isn't striking but writers are. They also get residual checks during the strike.
As far as BTL being too stupid, we have never caused a writer to lose their jobs, ever. If you would like to attack all the BTL instead of the issues and if you are that callous to the families during the holidays, then I suggest you man up and post your name so they we never have to work on a show that you write. Yes we are freelance also and don't have to choose to work on your show. Post your name and your show. Take your stand like a man.
Unless you don't have a show or aren't a full time wga writer.
The new IA line seems to be, "This should never have come to a strike -- your negotiators are inexperienced fools." Funny, but this is coming from people who are led by Tom Short and who have negotiated their way into a series of contracts that pay their members just enough to have to refinance (or lose) their houses after five weeks of unemployment. In their many comments to these blogs, people like DP keep saying they're creative too and why should writers get paid so much and in perpetuity? If writers were repped by Tom Short and IA, we'd get a thousand a week, a one time payment for things we thought up and then worked out on the page, sale of original intellectual property as well as our labor in realizing those ideas on the page. Residuals are delayed compensation, a way of joining in an entreprenureal relationship with the studios and nets. "Pay us less up front than we want, make the movie or show, and if it airs and sells a bunch of DVDs and you've made back some or all of your money, we'll take the rest in backend." Why are so many letters suddenly using the phrase "your work product"? Did you get a memo?
As for DP's specific comment about the foolishness of thinking the writers of movies and shows are more important than those who, for instance, turn a screenplay phrase like "against the back wall" into a photographable "real" wall, of course we're not talking about who gets to the set first. My work is ninety-five percent done before they ever call you, DP.
Unless DP shoots nature docs, he or she is shooting a story. Does his or her producer or director say, "Go on out there and shoot some stuff, whatever looks good..."? Here's a slogan for your rally today: "If not for a writer, my job would be my hobby."
The companies haven't traditionally given people like me more money than others on the creative team because they're nice guys -- or, as you point out, because we hired crackerjack thuggish negotiators.
Yeah, I guess that is ego. But I'll tell you what it isn't: a "temper tantrum." In the end, this won't be about the IA, the "community" or Tom Short. I know that must hurt.
gavin's comment is a very ignorant and elitist comment to make about people who DID have work lined up, have been smart enough for years to continue to work year after year - strike or no strike - only to have it taken away through ZERO fault of their own. You obviously do not understand how this industry works, that we are the creative muscle of the film and television world, and without us the writers and producers would have nothing. writers aren't starving. writers aren't slaves. every historical labor leader of the past would roll in their graves if they knew a small group of high-paid individuals were on strike and by doing so cost over 100,000 blue-collar working people their hard-earned jobs. Not to say that the studios aren't greedy bastards themselves. Well writers - welcome to the reality of the rest of the world - where corporations nickel and dime you out of everything - where $8/hr is still considered a good enough minimum wage for a person to live on (get real!) All the below-the-line people want is for these highly-paid parties to do whatever they can to come to a deal - there is no reason this can't happen.
Forget about venting. We need our voices to be heard - we need to not be forgotten - That WE are the ones sacrificing (a loss which will never be recouped), and we deserve the respect of the whole community. How would the writers feel if sympathetic studio heads wanted to come and join their protests? Whoever said that this is not about the below-the-line folks: when you took our jobs away you made it about us too - you made this our business. Let us march - let us tell them how many hundreds of thousands of people you are negatively affecting - let us tell both the AMPTP and the WGA.
WE CHOOSE NO SIDES BECAUSE NO ONE IS ON OURS.
pixeditor,
I gotta say, I agree with alot of what you said.
We saved like hell for this rainy day. That doesn't mean that we want to spend the money that we saved for our future and go $40,000 buck into the hole over this mess. Whatever the outcome of the negotiations between the WGA and the AMPTP, I doubt if it's ever going to add up to a recovery of the loss incurred by the non-writers. Certainly not the BTL or vendors. That's just the fact of the matter.
Thank you pixeditor
Dan-
it is astounding that writers cant read. I never said "why should writers get paid so much in perpetuity". Where did I say that? WHERE?????? I said I support the wga demands. Then you go on to attack the IA leadership. This isn't about the IA leadership it is about the WGA leadership. You tell me which contract Verrone or Young have successfully negotiated, just name one.
My comment about tantrum was on english dave's use of profanity in here. Please read before you write.
Your comment on who I think is more creatively important is totally off-base. I said it was a collaborative art form. I never said anyone person was more valuable than another.
Your phrase "if not for a writer, my job would be a hobby" should be "if not for the WGA my job would still be there", Or "if not for the WGA I wouldn't have as many reality shows."
I don't shoot nature docs, but i have to tell you just like the reality surge off your last strike efforts, entertainment will still be produced. Probably not WGA material but there will be scripts. I have already taken many meetings about features where the script is locked. Commercials are still shooting.
With the WGA driving a wedge between the IA and everyone else, who needs those writers that disparage the crews? Please use your real name and your show so that we don't have to work for you Dan. We would rather not do a show for writers that have this little respect for the crews.
We've only been not working for four weeks in the last two years. We've kept our work lined up movie to series to pilot to movie to series, etc. We had work lined up through this time next year. We've been able to do this because we have a damn fine reputation for doing excellent work. We've worked hard to network so that everytime a project comes up, we are wanted. We have to say no to alot of projects. We've covered our bases. While a work stoppage of this magnitude is always a possibility when unions are involved, we never thought something this bad would happen. It has happened in twenty years. We weren't old enough to be aware of it the last time it happened. It's not just the people who live check to check that are being harmed here. People who have made mortgage payments faithfully for 10, 15, 20 years could lose their homes over this.
I'm not saying that the WGA should call the whole thing off because of this. I'm just saying that anybody who can't empathize with the situation of the BTL, etc. are major league assholes who are due some really bad karma.
To the DP who said films would still be made without writers... uh, what?
Yes, this is a COLLABORATIVE medium, but it ALL STARTS WITH US. I for one am always disgusted by the "A Film by" credit that many directors take. I know quite a few HUGE directors who choose NOT take it.
A script is to a movie what a blueprint is to a building.
Don't get me wrong, I'm IN AWE of many cinematographers, it's truly an art form. But hey, even the film Koyaanisqatsi had four writers(one being the cinematographer).
I am tired of having to explain to people why we deserve what we're asking for...
I don't see anyone freaking out over the massive salaries the stars are making. 20 million for a picture for Reese Witherspoon. Fabulous for her, but she wouldn't have a job if somebody didn't write her dialogue.
IT ALL STARTS WITH US.
We love the rest of you and applaud you and support you for bringing OUR CREATION to reality. but...
IT ALL STARTS WITH US.
And sadly, as everyone will soon see, it will
ALL END WITHOUT US.
Can you direct me to the quote where the dp said that films could be made without writers? I can't find it.
as for this comment:
"Yes, this is a COLLABORATIVE medium, but it ALL STARTS WITH US." To this I say "So What? The creation of all products start with something. That doesn't mean that the first input is more important than all of the other inputs along the way. It's just ridiculous to get into this kind of a contest. Why do some "writers" need to feel like the most important person in the entire process? Also, even if your writing could stand all on it's own, not needing to be transformed into a show or film, you would certainly lose alot of your audience. Lets face it, there are alot of consumers out there who don't read and if it isn't a movie or a tv show, they aren't ever going to hear your story.
I really have a feeling that the "writers" who need to feel more important to everyone else in the process are not writers at all. Any writer who had actually been through the process would know better.
The latest of bloomers-
Once again you have misquited me. I said there are still scripts out there. WGA written and locked scripts.
Also, not every feature is by a WGA writer. Everyday the amptp is looking at options of not using WGA writers. I never said there will be no writers. It will just be different writers.
Dan-
I did say we do not want to work for writers like Dan-please name your show so that IA crews can boycott working for people that have such disrespect for the crew. Please be man enough to do this, stand by your words-writer. The IA will give you credit and you will reap the residuals from your statements about crews.
I went anyway. I went to support my roommate who has lost her job. I also went to continue my support of the writers. People wore red arm bands and red clothing. The majority of the sentiment seemed supportive of the writers. Someone (not an event organizer) asked us not to have signs that suported the WGA because it was a "neutral event." We just politely declined and said we were there to support a timely and fair end to the situation for everyone. It was a positive exchange. The organizer of the event personally thanked us afterward for being there.
I attended the rally, but not in WGA colors.
The message was mainly -- we're suffering, make a deal. There was a tiny bit of specifically anti-WGA sentiment, none of it informed. One guy holding a somewhat anti-WGA sign ("WGA = Wages Garnished") said he blamed the writers because they should have made a deal for the internet a long time ago, and now it's too late. Turns out he's not even a crew member at all. He said his girlfriend was -- but she was nowhere to be seen.
The short speech before the march basically took a "pox on both their houses" approach, decrying ultimatims, intransigence, etc. as not sincere negotiation, and implying both sides were equally guilty of failing to bargain. The speaker urged both sides to get back in the room and not leave until they have an agreement.
Not mentioned:
--Patrick Verrone has pledged that the WGA will stay at the table as long as it takes, and asked the AMPTP to make the same pledge. It has not.
--The AMPTP walked out last week, not the WGA.
--The AMPTP has stated it sees "no reason" to continue talks.
I guess mentioning these facts would have interfered with the notion that both sides are equally guilty -- a central dogma of the event.
Overall, though, the message of the rally was more about 700 or so people there -- basically, "we exist and we're suffering" -- than about either side in the labor dispute.
The strike-a-deal supporters and the WGA supporters are alike in one important way. Both groups have some diversity of thought within them. In a group that size you are going to have some extreme views and statements. You can't hold the entire group responsible for the statements of a few. If you could, we would have to infer that all writers are ignorant assholes, just because of the statements of a few of their supporters. Now that wouldn't be fair, would it?
I'm still curious about something; I've asked this question twice but nobody has answered it for me.
Does anybody know if David Young's compensation is tied as a percentage to the amount that he is able to negotiate for the WGA? Is it incentive based, in whole or in part?
Corporations do this as a matter of routine. But how about unions, specifically the WGA.
Brian's post says that only 700 attended today's rally. If true, that's a stunningly small turnout. You'd have to blame it on the organizers' divisive "blame both sides" rhetoric--when fair-minded observers can now plainly see that the AMPTP forced this strike and is prolonging it.
And by the way....we can all agree that "pootietwo" is an obvious plant, yes? My guess is that it's Chris Lehane, newly hired AMPTP flack. Sorry the whole national political thing didn't work out, dude. You just didn't have a deft enough touch--as any reader of these ham-fisted "pootietwo" posts can see.
Union-
Why would the amptp force a strike? What's in it for them?
I considered becoming a writer, but I like being heterosexual.
You're an idiot.
Not you propmaster. You might be a little homophobic, but maybe not an idiot.
DP--
"Why would the AMPTP force a strike."
Is that a serious question?
In the short run, their motive is to intimidate the WGA (and ALL OTHER GUILDS) and force a bad three-year deal on us.
In the long run, it's plain now that the AMPTP's goal, going forward into the digital age, is to avoid paying residuals, minimums, health and pension, etc. In other words, they seek an entertainment industry where unions either do not exist or do not have power to make equitable deals for their members.
That's why.
Union-
Yes I understand the amptp would rather not part with another dime but I don't think they ever wanted a strike. As a matter of fact in 2006 they tried to start early negotiations but the WGA declined. Insisting instead on starting talks right before the contract ended so that they could use the threat of a strike to their(wga) advantage.
November 27 2006 Television Weekly:
""The Alliance of Motion Picture & Television Producers, which serves as the negotiating organization for broadcast networks and studios, first proposed that the parties meet at the negotiating table in September. After the WGA rejected the date, the AMPTP proposed January.
WGA Executive Director David Young released a statement Monday that said the guild would not commence negotiations until an unspecified date next summer"""
Not wanting to pay for an increase in wga contracts and wanting to force a strike are two different things.
If Amptp wanted a work stoppage they would have initiated what's called a "lockout". That didn't happen and everyone knows it.
What we do know is that the tactics of delaying talk didn't work.
DP,
what got me upset was this... and I am cutting and pasting from YOUR post:
"I am a dp, who has as much creative responsibility on a project as the writers do(sequentially the writers come first-but to say no one would work if they weren't around is just silly)"
THAT is what I didn't like. No one in film and television WOULD work if there were no writers. And sorry buddy, but the best writers ARE in the WGA.
Have fun shooting scripts written by people who weren't good enough to make writing their PAYING CAREER.
The entertainment industry will eventually grind to a halt until we get a fair deal. Know that.
Put pressure on the AMPTP, not us.
Don't THEY have a website for you to go rant on?
Check into it.
Well, latest of bloomers, in all honesty, many great writers were one hit wonders and just because a person makes a living writing it doesn't mean that their writing is all that great. The world is full of dufus's who need programming that is dumbed down. Somebody has to cater to that market.
Okay, latest of bloomers, you are right. There are only 7,000 great writers in the entire world and they are all in the WGA.
When these 7,000 people are dead, we are totally screwed. What with no new talent coming up and all.
You're right, the best writers are in the WGA. I am sorry that you took that personally but as a dp I also shoot commercials and there are no WGA writers on those jobs. Watch the superbowl and see some of my spots.
I don't want to shoot a bad script, but I will work. Remember when reality tv first hit? Who would want to watch that crap? We all said it and then the ratings came in huge. Reality tv is not for me, not an art form in my book. The industry continues to adapt. The studio will spawn non union companies. There will be some talented kids that have not made it into the wga yet that will get there movies made. Some kid as talented as you will sell his first script as a non union writer. It will get produced and shot by these new independent companies to sell for distribution to their parent company-the big studio-as a negative pickup. The film may suck or it may be great, or may just make a profit. Will you deny this young writer his first film? Years later when the studios call him back to make a sequel will the WGA picket his film? Or let him join?
Please remember I have always said that I support the WGA demands. I do not support the approach that leadership has taken at preventing this strike. I do no support your choice of leadership to represent the WGA in talks. I do not support some WGA members disdain for the impacted IA crews. I do not support anyone walking out during talks.
DP - I've been watching your posts and you are so good at maintaining your composure with people even when they offer you insults and sarcasm. That's awesome. I admire you for that.
Wow! Sardonic name and timing How's this B*%th.
Thank You!
I think I developed it on the set.
WGA
Let cooler heads prevail. We know you're smarter than they are, please act smarter. You will win.
Hey guys,
I wasn't saying ALL the greatest writers were in the WGA. I meant all the greatest film and tv writers here in the united states. I mean, that's who and what we are discussing, correct?
As for the young writers coming up, well, I mentor two of them and I imagine they would never cross a picket line. I used to be one of those up and comers and I know in my heart that I wouldn't have.
Writers are usually people that stand for something. We have a point of view. We believe in things, so much so that we feel compelled to sit down and write about them. We feel deeply and hold our convictions strongly.
As for our leadership, I don't know any of them personally, but the many, many writers I've met on the picket lines are some of the best company you could ever ask for.
Look, I read all the same stuff you do about this strike and I agree with you that we should have some people that negotiate for a living in there. We do. Isn't Young a labor negotiator?
I'm not in the room with them, so I don't know what's going down. I only know as much as everyone else does.
One thing I do know: we the writers are not the enemy. And I certainly don't think you are either. I don't even think it's any of the negotiators for the AMPTP. I think it's the AMPTP itself. It's the megacorporations themselves. They are machines, not humans.
I personally DID NOT picket two different location shoots because they were my friend's movies. (one was a director friend, another a very close writer pal) Once I realized I couldn't picket those... I realized I couldn't picket any of them. And I'm not. I'm keeping my protests strictly to the networks and studios.
I'm working on a novel right now AND getting into doing work for hire in the videogame industry. Even if they bust the WGA, I will not work for a network or studio who doesn't respect my simple request to be fairly compensated for my work. And here's the rub, the WGA and the AMPTP get to decide what is fair. Not the public. Not IATSE, the DGA or SAG or anyone else. I refuse to grovel for the approval of these other unions. If they feel moved to support us, fabulous. If not, that's fine.
I personally do not know one writer that looks down on other workers in our industry. You know who we writers bitch about when we get together? PRODUCERS AND EXECS. Even when there is NO strike.
I guess we'll just wait and see how it all pans out. I know the industry will EVENTUALLY go on... but in the immediate future, if this strike continues, it will stop. There will be no new tv shows and no new feature films. I know it's hard to believe and you don't want to believe it... but we are very, very pissed off and steadfast in our resolve and we will not create anything for anyone to shoot or act or produce or direct.
You're on your own now.
DP-A few posters were ugly about posting anonymously. So I picked myself a new username!
DP,
here's another quote from your post:
"Not wanting to pay for an increase in wga contracts and wanting to force a strike are two different things."
We're not really striking for a "pay increase" per se as much as we are striking to preserve the residual system.
It's ALL goin' digital and the amptp see this as their chance to screw us out of residuals. If we didn't stand up now, we would truly be losing the ranch.
This ain't a fight about a "raise in pay" this is a fight about the future about getting paid fairly at all! We were gullible enough to get screwed on VHS back in 1988, it won't happen again.
So this is not about a pay raise, it's about KEEPING TE SHITTY DEAL WE ALREADY HAVE and not getting screwed out of even more.
" every historical labor leader of the past would roll in their graves if they knew a small group of high-paid individuals were on strike and by doing so cost over 100,000 blue-collar working people their hard-earned jobs."
I've posted this elsewhere, and no doubt will post it again before this is all over.As the daughter of a labor organizer of the 40's, I learned that it's not JUST "blue collar" workers that can get screwed over by companies looking to cut anyone and everyone out of the pie..It has ABSOLUTELY NOTHING to do with what the salary of the workers is or isn't. There is no cut off for fair cut of the profits of your work.
Unless of course you would like to discuss the profit margins and salaries of the CEO's of global conglomerates.
And just to be clear about BTL salaries. Pay can vary as wildly for BTL as it does for writers.
The creative workers, DP's production designers, costume designers, makeup artists, the non hourly crew members, can make from $2000 per week to $20,000 per week. Mind you that will probably not be for 52 weeks per year, it will probably be for 30 weeks a year.
None of them make overtime, get meal penalties, etc. Just like the writers.
The hourly workers, set costumers, grip, electric, camera, transpo, get overtime, time and a half, double time, meal penalties, turnaround pay.
As a costume designer, it was not unusual for my crew to take home paychecks as much or more then I made, when I was making $3000 per week, because of all the overtime and penalties.
As a costume designer, I worked 12-16 hour days, with no overtime, no additional pay other than my salary.
I'm pretty sure no one in my department was making less than $25.00 per hour, plus all of the additional compensation, overtime kicking in after 10 hours, daily meal penalties and constant turnaround bumps.
I won't even get into the monies made from epuipment rentals by BTL crew. How much did you make for that electric, camera, grip, prop truck, package on your last show? My best friend, a prop master makes about $40-50,000 in truck and equipment rental per movie, that doesn't include the kickback from the prop house. (but she might only do one movie a year, just like the writer who only does one a year)
My point, I guess, is that BTL is just not that different than the the writers. None of us know what our next job is after the one we're on ends, all of us can be out of work at any time, for an indeterminate amount of time, none of us have any job security. All of us live under the constant threat of unemployment and once again draining our savings, while we wait for our next job.
As a costume designer I will never make a million dollars for one movie. (Neither will most writers) But I can make $10,000 per week. My set supervisor was making $3-4000, and working way more weeks in a year than I am.
I think as BTL crew members, we need to be careful not to make ourselves sound like we are hourly workers at WalMart.
If we're going to reveal how the sausage gets made, let's not be disingenuous.
Why on earth do the writer's think they have the right to come to this march?!?!
For several months prior to the strike IASTE president Short pleeded with the WGA to not go into a work stoppage. The WGA's reaction to Short's plees was to ignore them. The WGA wouldn't even return his phone calls.
Although most IASTE members agree the AMPTP are pretty much crooks, none of us appriecate the WGA's lake of respect towards our union's request to talk. WGA writers make more then twice as much as any IASTE members, they work less then 1/2 the hours we do, and they can collect residual checks when the shows go into reruns. I feel very little sympthathy for them, and because of their decision to ignore our plees I do not support their cause.
Therefor, the WGA did not deserve to come march alongside us today considering the obvious lack of respect that they feel towards our unions and professions.
And writers, if you truely have such a unique, special talent that Hollywood can't replace, then why is it that the only show still in production from the 1988 WGA strike is.... COPS!?!
Wake up you spoiled children!
Dear Jessica,
Your unions initials are IATSE, not IASTE.
It was founded by the studios so they didn't have to put up with a real union.
Tom Short is bought and paid for by the AMPTP. That's why your contract sucks.
Writers coming to the march came up on this board because of btl people posting the link to strike a deal and asking why writers weren't coming.
"WGA writers make more then twice as much as any IASTE members"
I think you might want to research that one.
As a costume designer I make WAY more than a lot of writers, and some of my DP and production designer freinds are making a minimum of $10-20,000 per week !!
As a twenty year member of IATSE, I am embarassed that my union is led by Tom Short. Since when does a union president work with management to undermine another union. Maybe he could spend a little of that energy getting us better contracts, instead of consistently selling out our interests. He should be ashamed of his conduct, I certainly am ashamed by it.
So this strike is about really about restoring "respect" to the Writers Guild. Nice. On the backs of blue-collar workers. Something doesn't quite jibe here. Respect isn't demanded, it's earned. And while I have deep respect for the many writers I work with, I have lost all respect for the leadership of this guild. Pulling us all into a devastating strike, all because they don't feel respected.
"Those who don't learn from history are destined to repeat it."
I'm old enough to remember the haunting phrase from the Vietnam War: "We burned the village to save it."
From more recent history, we've seen a US Administration, so ideologically intent on creating a bright and gleaming vision of the Middle East that they trumped up reasons for invading, refused to see the consequences of their misguided vision, and brought about the greatest foreign policy debacle in US history.
The WGA may seek its future in the dustbin of history, dragging the rest of us along.
I lost a lot of sympathy for those BTL screaming about the strike when only a few hundred bothered to get out of bed on Sunday morning.
WGA member here and I went with editor friends. I know I was technically not welcome but I was promised pancakes after the march so there I was in line.
I was really surprised at the low turn out. The LAPD bike officer I asked said they estimated the crowd at 250 people.
250 people out of how many? I guess it is a lot easier to come here and complain online as opposed to actually doing something that involves leaving your house.
I'd just love to see what blue collar workers in other industries think about the money that the "blue collar workers in this business make. My weekly rate is $6000, one of my closest friends a DP, starts at $10,00 a week, my set costumer makes $3000, a propmaster friend makes $4000 plus a $40,000 rental fee per movie, and a $25,000 kickback from the rental house.
What does the Gaffer make on a $150million dollar movie, the teamster? Let's get real.
Again we need to be careful, when we start calling ourselves "blue collar" workers. I think that most blue collar American workers would be about as sympathetic to us, as we are to the writers.
Of course what they do not understand, will be how different our business is, how we ALLL live with long bouts of unemployment on a regular basis, emptying our bank accounts regularly.
If we attempt to make this discussion only about our weekly salaries, anyone can shoot holes in the argument.
There was an interesting paragraph in an article in today's NY Times, which sums up the issue for ALL OF US.
During an interview in his office here, Mr. Verrone described the looming negotiations with employers as a confrontation much grander than a simple fight over pay formulas. This battle would be about respect.
"Writers, he said, were looking to restore a sense of leverage and status that had been lost as ever-larger corporations took control of the entertainment business. He described Hollywood as teetering on the brink of a dark age, as far as creative types were concerned. “I think if they could do this business without us, they would, and so making our task as mechanical and simple and low-paying and unartistic as possible,” Mr. Verrone said."
For the common good, I call for a series of “Dark Days” (i.e. turn the lights off at all the studios, stop work in all the offices, stop equipment from being delivered, stop props from being returned).
The only way to break the resolve of the AMPTP is to act as a collective, to deliver a swift deft blow that knocks them to their knees, and then follow up with a blow to the head. The WGA says that they have struck, but without the support of all guilds, unions, non-union labor, vendors, and the viewing public the WGA’s action isn’t even a slap on the AMPTP’s fat overfed chubby face.
Some have asked the DGA to stand down from negotiating until the WGA has completed their talks. I say enough with talk. The AMPTP’s plays by the rules set down by Machiavelli and Sun Tzu’s The Art of War. They don’t negotiate. They go into battle to decimate their foe. Even archangels are fierce in battle. You can’t talk a bully out of beating the shit out of you. Sometime the smallest have to band together to defeat the giants in their path. To win a war you must cut then off the enemy off at their knees, crush them, do not allow them to retreat and reform to attack again.
SAG, the DGA, the International Brotherhood of Teamsters, Local 80, Local 600, etc, have to act as one. Without solidarity the WGA will fail and everyone will suffer through their hopeless fight.
It’s not a coincidence that this strike comes at a time when our country faces great economic strife. People are already losing their homes. Months ago an article in The Wall Street Journal foretold of foreclosures, 4.4 million foreclosures due to the sub prime loan market. Banks are writing off billions of dollars. People are already financially overextended. People are already losing their jobs. The dollar is plunging. America is on the brink of a recession.
Of course, Big Business knows that the best way to leverage themselves against their workforce is to keep them just above starvation levels, to keep them so concerned about feeding their family, keeping a roof over their heads. When the workers have to struggle to survive then they don’t care about anything else.
So a protracted strike is not in the best interest of anyone. Reality TV will be used to fill the gaps, carpet baggers will become robber land barons, the film industry will see a surge in theaters goers, DVD rentals will increase. This will all lend aid to the AMPTP’s conifers and cause. If the community of artist and workers in the entertainment industry do not pull together as one, they can not expect to accomplish their goals. I say to everyone, stop being so self-centered and self-serving. We all want to work and take care of our families. We all want the good life.
The police call it the blue flu. I say sacrifice one day a week of your pay, which after taxes for the average BTL worker is only a few hundred dollars less a week. But if the strike is a protracted one, who gets hurt most, the BTL worker. Who loses their home, the BTL worker, who doesn’t have massive savings, the BTL worker, that’s who.
As a BTL worker, I say that we all should in unison turn off the lights once a week. Every week until this matter is settled, everyone in the industry should call in sick, take the day off, not go to work, not deliver the services or products. If we turn off the lights once a week and knock the wind out of the AMPTP’s inflated sails, if we all look at the reality of this situation and the long term devastation that this WGA strike will deliver, we should all see the logic in deft, decisive, unified action.
I call for rotating “Dark Days”. I call for the collective to act and be heard. Otherwise, it’s ever man, woman, or child for themselves, then chaos will rule and the AMPTP will prosper.
I don’t call for anyone person to sacrifice alone. I call for unified, organized actions, before the BTL worker, the people who really make the movies and televisions shows are devastated by the pride and principles of the AMPTP and the WGA.
ialocal892
From the last paystub on a successful NBC series in it's second season...primetime.
Net Pay 1158.02
for 60 hours
(1 1/2 times the hours of the standard work week)
United auto workers make an average of 27 dollars an hour.
St. Michael-
You need to post that every where you can, on every strike related site, and send it into every newspaper and magazine that you can.
You've nailed the bottom line.
This strike is not IATSE vs. AMPTP, it is workers vs. giant conglomerates. Anyone who thinks that the AMPTP is not doing the same thing to us in IATSE, hasn't been paying attention. They've been doing it for the past 10 years. They are just doing it more quietly, because unlike Patrick Verrone, Tom Short has been assisting them all along the way.
Thank God there is finally a union in this town that is standing up and saying NO. It looks like SAG is saying No as well. There are rumblings among DGA membership in the same direction. If only IATSE had a spine.
Our wardrobe Dept. PA makes $700. per week. Wardrobe Supervisor makes about $3000 depending on overtime, turnaround and meal penalties.I make $6000 per week, our DP makes $15,000 per week.
All for 60 plus hours per week.
I don't think that auto worker is going to feel for any of us except the PA.
But like I've said, the point of this is not salaries.
It is NOT that the Writers were not invited...neither was AMPTP...it is
that WE didn't want it to appear that we are choosing sides.
Truth be known - MOST OF US AGREE WITH THE WGA.
We simply want the public to know that there are THOUSANDS that have become
and are becoming collateral damage while futile negotiations take place. My
concern with some of these and other WGA comments is that there seems to be an arrogance. If
we are ALL on the same side, you would be fully understanding of why so many of
us 'below the line' participated in this. Frankly - I take no issue with WHAT
the WGA wants. I only take issue that those in the negotiations who need to take their
POWER and RESPONSIBLY and use it until this is RESOLVED.
Scared and angry (as 'IA Local 892' blogged) - YOU BET.
We 'below the line' do NOT make the kind of income that most in the position of
power (AMPTP and WGA) make and they have what it takes to resolve this and have the salary that allows them to take their time
if they choose to in resolving this.
Its been said 'with great power, comes great responsibility' - these
negotiators need to use their POWER to get this over with RESPONSIBLY and
QUICKLY!
iatse local 892,
You'll notice that the examples that you gave include words such as "supervisor" as in wardrobe supervisor and "director" as in director of photography. Most of the people who work on the set are not chiefs, they are indians. Salaries of $3,000 to $15,000 are not the rule, they are the exception. They are for the bosses. $1158.02 a week is very comparable to the salary of a UAW working the equivalent number of hours.
I take it you don't work on set.
The Director of Photography is on set every day, as is the wardrobe supervisor. The Gaffer, the key grip, the drivers, the propmaster, makeup artists, hair stylists, set costumers, . Those are all IA positions, they all work a minimum of 60 hr weeks. Very, very few of them make under 2500 per week, unless it is a very low budget show, and can make $20,000 per week and up.
They are all BELOW THE LINE positions.
Does that mean they are on easy street? Probably not if they are making 2500 a week, they probably are doing okay if they are making $15,000 per week.
But they all face constant long periods of unemployment, which generally cuts that figure in half. Allthough my set costumers often fare better than I do because they spend more time employed since their jobs are not tied to subjective, creative, issues.
The point is that the $2500 per week staff writer is no better off than the $2500 per week set costumer.
I wish common sense could prevail here. Instead of squabbling amongst ourselves like kindergarten kids, the AMPTP must be delighted by the way, we should be presenting a united front. Rank and file WGA are not so different from BTL crew. The longer this strike drags on the more likely all of us will suffer serious financial setbacks. We need to pull together, our careers, after all, are inextricably linked.
Petty bickering will get us nowhere, it will just make for more suspicion and bitterness when we do finally get back to work.
We all need to come together to urge both sides to reach a fair deal quickly.
Thank you 705.
That is the point ultimately.
We are all in this together. United we stand and divided we fall... hard.
I work on-set for Friday Night Lights, an NBC primetime series in it's second season. I am an IATSE member with twelve years of experience.
If there is a difference in what we make and what you guys make, perhaps it is due to the fact that we live in Austin, Texas. The cost of living is lower here than it is in L.A. and so are the salaries.
The cost of living in Austin is higher, however, than the cost of living in Detroit, Michigan where the average UAW makes $27 an hour.
I don't know about you or your peers. But we really do need our jobs. Around here, we really aren't overpaid compared to the average unionized blue collar worker.
That makes sense.
The studios make deals with IATSE for lower rates out of state.
I have done a couple of films in Canada, and they make deals with the Canadian unions for lower rates as well.
They have been systematically chipping away at rates here to. Getting rid of kit rentals, reducing the size of crews, all sorts of back handed deals.
It's that kind of behavior that makes me point the finger at the AMPTP, not at another guild who is finally willing to stand up to them.
I believe they are out to break all the unions including ours (not that it will be that hard with the seemingly willing assistance of Tom Short)
Good luck on Friday Night Lights. Excellent show. I used to know Pete Berg very well.
Well said 892. I completely agree. The question now is how to unite and show the AMPTP that they need to come back and negotiate in good faith.
I don't disagree with the fact that they will come after us all eventually. I never did. I've always thought that the writers were right and the AMPTP was wrong.
When people ask me about the situation, that's what I tell them.
When I came on-line, I was looking for fellowship with other people who were also experiencing hardship. What I found at United Hollywood is that it is not okay to talk about that hardship and you most certainly may not question any aspect of the writer's strategy or leadership. No matter how benign the question, or how delicately you try to put it, there is always somebody who is hypersensitive and ready to unleash on you. I feel, that when a person loses their job, they are entitled to ask some questions. Some people obviously do not feel the same way. Thier response to questions of any kind is to make accusations and commence with the name calling. That's not alright. That's not the way to build unity.
You are absolutely right.
To give the standard response, anonymous posting gives cowards bravado.
As I said at the top of this thread, BTL folks have every reason to be frustrated and angry. They are out of work, and when this is over, if it is resolved in anyone's favor, they will not benefit in any way.
They have every right to vent, and should be allowed to express their frustration without being taken to task and harrased for it.
On the other hand the constant refrain by a lot of people, is that the writers all make so much more money than everyone else and thus are lacking in consideration for anyone else in the industry.
My point is that the salaries and circumstances of the writers is no different than any of the ret of ours. Some writers and BTL people make $2000 a week, some writers and DP's make $10,000.
We all face instablility, no job security and constant unemployment.
892,
I looked it up on one of those cost of living calculators and found that the 67,000 that I make here in Austin is equivelent to 110,000 in Los Angeles when you factor in the cost of living. So the cost of living here is 60% of the cost of living in L.A.
Then I looked at the weekly pay. The roughly 1100 per week that I quoted you came on a gross of a little over 1500. When you compare that to the 2500 that your friends get, it comes out to...60%. So, it turns out the pay is basically the same for the same level of job. It's just factored for the cost of living in the respective cities.
As for periods of unemployment. We've been very lucky. Prior to the strike, we've only had four weeks off in the last two years. Just enough time for a little R&R. We always prepare for a rainy day, although we don't want one. We are minimalists. We live in a very small one bedroom condo, downtown, so that we almost never have to drive and buy gas. We use our bikes to go everywhere, including the production hub for FNL. We don't buy a lot of clothes, because we think image is overrated. We keep it simple. We're environmentalists. I guess what I'm getting at is that we aren't trying to support a lavish lifestyle and live above our means. All we want in this world is steady work, good healthcare and a tiny condo of our own.
As for what we can do to end this strike. Up until now, many of us have been unable to join the strike without breaching our contracts. Now we have free time and the threat of permanent job loss has been removed. There is alot of resentment between our two unions now. But I really can put past hurts aside and join with the writers if they can refrain from insulting us. This means we all have to hold our tongues.
Can we do it? People on the strike a deal site are asking if we should join with the writers. Some are understandably gun shy of the writers given their recent experience. But overall, people feel that they can set their hurt feelings aside and join together.
I think that as people who want to end this strike, we are going to have to take a stand against the negativity in the posts. When someone says something hateful, even if it is coming from our own side and gives us a secret thrill, we have to encourage them to keep it positive. I know, most of us have been negative in a moment when we've lost our tempers. But we have to do better now. We have to make friends in order to get this done.
Are you saying that workers here lead a lavish lifestyle, and living above their means? Maybe you're not, but that's what I get from it, and it feels a little insulting. I was in the business for 15 years before I could buy a small home on the wrong side of the tracks. None of the crew that I know, lives a lavish lifestyle, unless having a car counts. But none of them would be employed if they didn't have one. Or maybe a two bedroom house so that you can have two kids is a luxury. I don't think anyone is talking about mansions and private jets here.
It's a two way street. Non WGA crew needs to stop screaming at the WGA for being selfish and uncaring, and screwing them out of their jobs, while completely IGNORING the actions of the AMPTP. The WAG has yet to walk away from the table, AMPTP has walked away twice. But strangely I see no fury hurled in their direction.
There are a lot of hurt and defensive people on both sides of this. We all need to ignore the trolls, they represent no one I know in any of the unions.
Like I've said, this is about the industry as a whole. The studios are out to destroy the unions, they've been working on ours for a long time.
Maybe we need to stand with the unions who are willing to fight back.
I don't know why you think that.
I wasn't saying that at all. In fact, what I said to you came in the spirit of agreement and friendliness.
My point about the salaries is this. We get paid 60% of what your friends get paid. But it's okay, because the cost of living in Austin is only 60% of the cost of living in L.A.
So it turns out that we get paid about the same amount. It's only factored for the cost of living. 67k goes as far here as 110k does in L.A.
Now, as for the lavish lifestyle bit, I wasn't saying that either.
Trust me, a lavish lifestyle and gobs of money are not unique to Los Angeles. Austin is full of technology gazillionaires, Oilmen, Government men (W Bush)and famous celebrities in sports (Lance), Music, and film/television.
I was comparing the way that we live to the way that they live. We have many, many friends who live in L.A. Some of them are poor, struggling and very frugal. Others of them are rich beyond belief. Famous directors (mostly their kids), production designers, people married to A list actors. People 30 years older than us who have been at this for a long time.
The statement that I made about living frugally vs. living extravagantly had nothing to do with you or your friends, I promise.
As for the anger and resentment between the two guilds, I said
"This means we all have to hold our tongues."
"We all" includes us. That's why I said it. I spoke only of the BTL's feelings because I can't really speak for the writers, I can only speak for those btl that I know and have spoken with.
I also said
"I think that as people who want to end this strike, we are going to have to take a stand against the negativity in the posts. When someone says something hateful, even if it is coming from our own side and gives us a secret thrill, we have to encourage them to keep it positive. I know, most of us have been negative in a moment when we've lost our tempers. But we have to do better now. We have to make friends in order to get this done. "
You'll notice that this post says "WE" over and over again. If I didn't mean all of us, I would have said "YOU" or "THEY" or "WRITERS". But I didn't. I said that "WE" all need to do better now.
See, I'm innocent! :)
Sorry,I didn't get back faster. My kid is home sick with stomach flu and needed some attention.
In truth I don't think we are far apart at all, I never did. I just try not to define the reality of others. That was my only point.
I'm always good with the words of the Buddah.
Have to go back to my son, I don't know how fast I will able to respond if you post. I hope you can be patient with my situation here.
I hope your son feels better soon. I hate to hear that. I emphathize with the boy. If you read my last (just deleted) post, you know that this blog is making me sick. The air is toxic. It gave me a migraine and made me vomit. So that's it!!! I have to get out, ride my bike, go swimming, avoid the news, read a book, go to a coffeehouse, hang out with friends, play with my dog. I'm so sick of this whole thing and all the ugliness and anger. I was just saying that I am just going to pretend that the whole situation does not exist. So many people are just coming here to vent and look for a fight. If I stay here I'm going to get fat, have bad skin, be angry and sick, piss people of whether I mean to or not. What's the point? Yep, avoidance. That's what I'm going to do now. I wish everybody a satisfactory outcome in the situation. I'm going to ask a friend to call me when and if this whole thing is over. It'll be good to get back to the fun part of this business someday.
I'll be sending out the best of vibes to your kiddo. Try to keep your stress levels down, so you won't be next
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