Division Over Labor
These trade union strikes bring out the worst in everybody on all sides, don't you think? Being as the whole phenomenon is really only three generations old, it's no wonder there is no consensus yet on what is right and what isn't. The country and indeed world capitalism as a whole have gone through several stages of development in that time. No sooner do we all figure out where we stand on labor versus management, the ground has shifted under us yet again. I would hope that no sane person would feel it was OK for Henry Ford or Alfred Sloan to hire thugs to beat up his own employees in hopes of keeping sweatshop conditions in place. Yet those same people would be in a panic if their local firemen or policemen or teachers stayed home to get a fair shake from their bosses; so much so that most city charters outlaw striking by "essential" service workers.
Now we have Hollywood writers shutting down the entire entertainment industry over future internet revenue sharing. The most curious thing about it all to me is the us against them line that gets drawn every which way but straight as the strike draws out. Take Ellen de Generes for instance. Please. As a member of the writer's guild, she should be holding out for better terms with her sisters and brothers in solidarity. But she is also contracturally obligated to her syndicator to provide fresh material on schedule. So she goes on the air doing material she at least pretends to make up herself (as a writer) in violation of the strike terms. This has pleased no one. David Letterman had said he would pay his writers out of his own pocket--which he should have been doing all along-- to give him good stuff. But is he agreeing to pay them future internet royalties under the old rules or the proposed ones the writer's are clamoring for? Nobody knows and I bet very few viewers care.
The icing on this fallen cake is the latest lament from the out of work tradesmen that goes something like: "Without us, there would be no movies." The various techno types possessed of a range of skills from muscle to geekness in all its various photographic, sound, editing, lighting and set building personae are now asking for an end to the strike. They can't put food on the table when they don't punch their clocks. Their position is that the writers are getting rich enough typing words on pages even with the old deal. And without camera guys, lighting guys, and boom guys, it remains just words on paper.
When I worked in TV stations, I heard--and said--the same stuff. The sales staff strutted around claiming they provided the paychecks because they sold ad time. But when we engineers suggested the transmitter would be a dark hulking pile of copper tubing without the electronically savvy support staff, we were ridiculed and shouted down. It's true the TV engineers were paid well; right behind the salesmen and top anchor stars. Without us there would have been no ad time to sell. Without hollywood crews, no movies could be made from any script good or bad. But without scripts, there is nothing for the crew to shoot. So we end up at square one again and again.
Until all the wealth is fairly divided, the injustices promoted by capitalism and which form the very foundations of its stranglehold on our psyches will go on unchecked. On the other hand--and how many hands does this make?--the writers may have shot themselves in the foot long ago. Those early compacts between studios and scribes all but gave away the store. Because moviemaking was more a technical enterprise than book publishing or even stage dramatization, the studios wanted and got ownership and control over the reels in the can including the words spoken thereon. The royalties they get from selling and reselling and streaming those fabrications goes among other places to the big pension funds that pay out money to retired or disabled technicians. So the snake is devouring itself with the web being a mutated appendage with both head and tail.
If a movie is good because the story is good, pay the writers more. If the movie is good because the special effects are good, pay the tradesmen more. If a movie is good because of both, pay everyone more. If a clip from a movie or TV show run on the web gets people to visit the site and spend money on other stuff or have their IDs mined for future commercial exploitation, pay the writers more. There you go; end of labor dispute.
