Writers, Studios Return to Table
But it's too early to predict a
It could take several days, if not weeks, to craft a deal, given the complexity of the issues and the mistrust that has characterized previous bargaining sessions, people close to the negotiations say.
Although talks between the parties began in July, they didn't get serious until Nov. 4 -- the day before writers went on strike. And the sides remain far apart over how much money writers should get paid when their work is sold or reused on the Internet, cellphones, digital video players and other new-media devices.
"They've got a lot of work to do," said Jonathan Handel, an entertainment industry attorney and former associate counsel for the Writers Guild of America, West. "It's time for both sides to buckle down in order to put this town back in business."
An estimated 50 TV shows and a handful of movies have stopped production since the strike began, throwing thousands of people out of work and hurting local businesses, particularly those that rely on the entertainment industry.
Both camps have plenty of incentive to have a meeting of the minds. For studios, the strike has been initially more disruptive than the previous writers walkout in 1988, said Brian Walton, who was chief negotiator for the guild then.
"This has real bite to it," Walton said. "It has been extremely well organized."
In contrast to the 1988 strike, which began when the TV industry was on hiatus, this strike came in the middle of the fall season, before networks had enough time to heavily stockpile scripts. The work stoppage was helped by a show of solidarity among writer-producers, known as showrunners, who joined picket lines and in many cases refused to work at all.
Some of the most popular programs on television have been shut down, including dramas such as "Cold Case" and "Desperate Housewives," late-night shows and several sitcoms, including "'Til Death," "The Office" and "My Name Is Earl."
If the strike lasts two more weeks, virtually all prime-time series and sitcoms shot in
Networks could save money in the short term by relying more on lower-cost reality TV and
Although TV networks have been hit hardest, film studios also have been affected. Last week, Warner Bros. postponed production of "Shantaram" starring
The disruption has given the guild some added leverage at the bargaining table. But union leaders also face pressure to hash out a deal. If talks collapse again, studios could use the opportunity to strike a deal with the Directors Guild of America. Although their contract doesn't expire until June 30, directors already are preparing for early negotiations.
Directors have often negotiated early, thereby setting the terms for writers. Many writers fear that directors could undermine their cause by agreeing to terms on Internet residuals that are less favorable than the ones they are holding out for. But the divide-and-conquer strategy may not work as well this time for the studios. They also face tough negotiations with actors, who share many of the same concerns as writers. Their contract also expires June 30.
Talks are scheduled to begin at 10 a.m. at an undisclosed location.
The two sides will face a tough time bridging their differences. For example, the studios had offered to pay writers a DVD residual rate for movies and TV shows sold through online services such as Apple's iTunes Store. That amounts to 0.36% of wholesale revenue, far below the 2.5% residual rate writers are seeking for all new-media residuals.
Similarly, studios had proposed paying a residual rate of 1.2% of license fees for shows that are streamed for free, but only after a six-week window. Writers previously proposed a three-day window. They were also livid about a proposal that would allow studios, for promotional purposes, to stream entire movies online without paying residuals.
Another sticking point: The guild wants all Web shows to be covered under its agreement, while studios have proposed limiting pay to only those episodes derived from scripted network shows.