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Home https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ Entertainment https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ WGA members predominantly approve the agency's new code

WGA members predominantly approve the agency's new code



WGA members voted by a large majority – 95.3% to 4.7% – to endorse the unilateral enforcement of a new code of conduct for the agency, just six days before the guild's contract with the Talent Agents Association expires . The final vote of the united members of WGA East and West was 7882 in favor of 392 against.

The unilateral voice, albeit not unexpected, should strengthen WGA's negotiating position by allowing agencies not to know bluffing – that they are really willing to withdraw from their agents as a whole and all the same day. ATA says this would create "chaos" in the industry. WGA calls it a "difficult" part of the necessary "rearrangement" of a "corrupt" business model that has and will continue to reduce the overpayment ̵

1; the agents are negotiating – to thousands of writers, producers and showers. 19659003] WGA and ATA are expected to return to the bargaining table later this week, although no date is set. The deadline for the deal is 6 April. Then, if no agreement is reached and the negotiations are not resumed, the guild may order its members to leave all agents who refuse to sign their new code.

Finally, nearly 800 writers, including many of the leading television artists, promised to do just that if no new franchise agreement was reached. They can still retain the same agents for managing jobs, but not for writers. Writer directors will need to have two agents in different agencies to provide them with work that only licensed talents have the right to do.

At the same time, ATA said its members were together – that more than 100 of them, including all major agencies that make almost all packages, promised not to sign the WGA Code. This way, the showdown [19119003] The impact of writers on releasing the upcoming season for TV staff, if it comes to that, will be felt right away as thousands of writers will look for work and agents at the same time. TV production, however, will not feel so strong, as writers will remain on shows that are already in production and those with signed deals. But their agents will not be allowed to represent them or renegotiate for them unless they sign the Code.

However, the development of television will quickly see significant shocks, because the big four agencies are deeply involved in the development of showing that they are packing – and packing the bulk of them. Studying and networking departments will have to accumulate much of the WGA's schedule delay to rethink the agency.

Independent films can also find it harder to find funding and distribution that big agencies unite in deals they pack. The slowdown in this sector, says ATA, would harm actors, directors and crew members.

Meanwhile, the guild took an unprecedented step to replace the personal managers and attorneys of its members to serve as top substitution agents. agents that they will no longer have if the Code applies. Many writers do not even have agents, managers, or lawyers, and many of those who do it say they will find written work on their own, as many people say they are already doing.

To help connect writers with mercenaries, the Guild has also created a new e-board for workplaces, called the WGA Staffing Submission System, which already raises hundreds of performers and executive producers who have promised to review the authors of their writers for staff on TV shows.

The disapproval of the new code was expected because the WGA negotiating committee, the WGA West board of directors and the WGA Sources Board voted unanimously to recommend his approval. The bulletin states: "Do you authorize the Council and the Council to implement a Code of Conduct for the Agency if and when it is advisable to do so after the expiration of this Main Agreement to the Artist Managers on 6 April 2019?"

key issues on which there was no movement at the negotiating table remain WGA's requirements that agencies suspend packaging charges and disconnect from related production units – both, according to the guild, are conflicts of interest that violate agents [19659003] О the packaging has existed for decades and dominated by the big four talent agencies – WME, CAA, UTA and ICM Partners. According to the guild, 87% of all screenwriting TV shows were packed during the 2016-7 TV season, and 79% of those broadcasts were packaged by WME and CAA. The packaging includes agencies that unite the creative elements of the show for which they receive a packing fee in exchange for not charging their customers with 10% commissions.

Negotiations have been the most fierce of decades – perhaps even more than in the failed negotiations that led to the WGA 2007-08 strike. At least then, the guild did not blame crime studies and networks.

WGA accused the big four agencies of running a vertically integrated "cartel" that hides the Hollywood talent market and threatens to sue for it. agencies, calling their charges for packing "illegal commissions."

Chris Kaiser, co-chair of the guild negotiating committee, said that "the agency's business is currently dominated by four agencies – the oligopoly. They have a predominant share of the market share, and their control over this and packaging and the assessment of packing fees have made this issue that we have to answer now.

Unlike packaging, representative agencies with related manufacturing / financial institutions – like WME with Endeavor Content, CAA has Wiip, and UTA with Civic Center Media – are relatively new phenomena, although WGA compares them with the difficulties the mega-agency MCA and Universal had the talent before the Ministry of Justice forced. they split in 1962 as part of the antitrust action.

The Guild has published dozens of terrible stories from anonymous members about their agents, who are described differently as selfish, greedy, unfair, lazy, conflicting, and predatory liars. But nowhere is the guild talking about the real reason why many of its members – including many Hollywood writers, directors, actors and producers – are represented by big agencies – their influence.

Their influence to make studio bosses and superstars return their calls; to make a napkin deal in the Polo salon; to connect investors with both vanity projects to their customers and their influence to get movies and TV shows on the air. This thing can not be quantified with the latest algorithm, but if the agents started a strike, making deals on a scale that Hollywood was so dependent would be overnight. That's why so many A-listers have agents on the list. That's why so many business meetings begin with the question: "Who is your agent?"


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