On Wednesday, July 12, more than 130 WGAw showrunners took over the Wilshire Ballroom at the Beverly Hilton Hotel for the inaugural Showrunners’ Dinner.
WGAW Showrunners' Dinner 2007
On Wednesday, July 12, more than 130 WGAw showrunners took over the Wilshire Ballroom at the Beverly Hilton Hotel for the inaugural Showrunners’ Dinner. The dinner, hosted by the WGAw and pre-eminent showrunners Neal Baer, John Bowman, Steven Bochco, Carlton Cuse, Greg Daniels, Jeff Melvoin, Carol Mendelsohn, Shonda Rhimes, Shawn Ryan and John Wells, was part of the Guild’s new approach to its membership. The event, planned and supported by the WGAw Board of Directors, WGAw President Patric M. Verrone and the Member Services Department, was conceived to acknowledge and celebrate the achievements of members who have attained the position of showrunner Arguably the busiest people in Hollywood (or New York, or Chicago... or anywhere else television is written and produced), the showrunners had an opportunity to see old friends, colleagues, former co-workers and people known only by reputation. While they took every opportunity to meet and greet each other, they also listened as Patric Verrone began the evening with his humorous—and inspirational—opening remarks.
After the dinner, Carlton Cuse, Lost showrunner, shared his experiences and success in getting the network to accept that the writing of Lost mobisodes be covered by the WGAw. Recognizing that many showrunners will be, or are already, facing similar issues with the networks, Cuse offered to assist them in negotiating this issue; his proposal was met with applause. Carol Mendelsohn then took the podium to speak about product integration, which is a far cry from the product placement everyone is used to, and something that can sneak up on the busy showrunner focused on getting the shows written and shot. Interim Executive Director David Young talked about the issues currently facing the Guild and how important it is that every member be involved with Guild actions. Many in the audience later remarked that they felt both informedand motivated after hearing Young’s remarks.
Friday, July 27, 2007
Monday, July 23, 2007
WGAW Screenwriters' Dinner 2007
By all accounts, the Guild’s inaugural Screenwriters’ Gala held to honor its own was an unbridled success with attendance levels reaching just over 300.
WGA, WEST First Annual Screenwriters’ Dinner - May 23, 2007
By all accounts, the Guild’s inaugural Screenwriters’ Gala held to honor its own was an unbridled success with attendance levels reaching just over 300. Cocktails, dinner, and more cocktails poured forth from the Beverly Wilshire ballroom in late May, as screenwriters for the first time had an opportunity to meet and greet colleagues, and some distinguished Guild members known only by reputation. If mid-week’s full house, with the changing media platforms and with many turning an eye to upcoming negotiations, was any measure— staying informed and connected seems to be the option of choice for many.
The Guild’s Organizing committee spear-headed by the legendary Warren Beatty, was rounded out by Jessica Bendinger (Bring It On), James L. Brooks (As Good As It Gets), Leslie Dixon (Hairspray), Lawrence Kasdan (Body Heat), Aline B. McKenna (The Devil Wears Prada), Nancy Meyers (Something’s Gotta Give), Alvin Sargent (Spider Man 2), and Robert Towne (Chinatown). WGAW President Patric M. Verrone hosted and noted that while the evening’s intent was indeed to bring together some of the brightest screenwriters around the globe, it was also the Guild’s aim to introduce members to those working behind the scenes whose focus remains helping writers navigate the ever-changing landscape, as well as understanding the big industry picture. Writer John Gatins kicked off the evening with a toast, raising his glass to “All of you who inspire me daily.”
On a more serious note, Verrone pointed out that technology is changing the industry at an amazing pace, and though it will always be a collaborative art form, the need to remain “active, engaged, and aware” was pivotal to long-term success. Michael Tolkin addressed the crowd from an institutional as well as familial perspective (scribe’s father is the revered Mel Tolkin) as he illuminated the Guild’s highlights and lowlights that have brought all to present day and what he considers,” Our last best chance to collectively stand for what we are due— specifically with regard to residuals and technology.” In the end, Tolkin summed up what seemed like at least part of the solution by quoting his father: “A show of strength is a good idea.”
Screenwriters Ed Solomon and Phil Alden Robinson stood together to underscore the power and importance of the written word, yet reiterated that an organized effort that remained unified with the “courage of our convictions” is the best way to manage the current crossroads facing all artists. A collaborative effort that remained optimistic and utilized the strength of sister unions was also touched upon as the notion of hybrid creation is a hurdle all artists face, and one which will only continue to grow with the digital age.
The Guild’s Executive Director David Young closed out the evening as he conveyed the significance of the upcoming negotiations hinged on the simple fact that all involved needed to understand that “writers are an essential cost of doing business.” Whatever the conflicts and evolving gray areas, “If we stand united, stick to our principles, and learn from the past, we will succeed.”
WGA, WEST First Annual Screenwriters’ Dinner - May 23, 2007
By all accounts, the Guild’s inaugural Screenwriters’ Gala held to honor its own was an unbridled success with attendance levels reaching just over 300. Cocktails, dinner, and more cocktails poured forth from the Beverly Wilshire ballroom in late May, as screenwriters for the first time had an opportunity to meet and greet colleagues, and some distinguished Guild members known only by reputation. If mid-week’s full house, with the changing media platforms and with many turning an eye to upcoming negotiations, was any measure— staying informed and connected seems to be the option of choice for many.
The Guild’s Organizing committee spear-headed by the legendary Warren Beatty, was rounded out by Jessica Bendinger (Bring It On), James L. Brooks (As Good As It Gets), Leslie Dixon (Hairspray), Lawrence Kasdan (Body Heat), Aline B. McKenna (The Devil Wears Prada), Nancy Meyers (Something’s Gotta Give), Alvin Sargent (Spider Man 2), and Robert Towne (Chinatown). WGAW President Patric M. Verrone hosted and noted that while the evening’s intent was indeed to bring together some of the brightest screenwriters around the globe, it was also the Guild’s aim to introduce members to those working behind the scenes whose focus remains helping writers navigate the ever-changing landscape, as well as understanding the big industry picture. Writer John Gatins kicked off the evening with a toast, raising his glass to “All of you who inspire me daily.”
On a more serious note, Verrone pointed out that technology is changing the industry at an amazing pace, and though it will always be a collaborative art form, the need to remain “active, engaged, and aware” was pivotal to long-term success. Michael Tolkin addressed the crowd from an institutional as well as familial perspective (scribe’s father is the revered Mel Tolkin) as he illuminated the Guild’s highlights and lowlights that have brought all to present day and what he considers,” Our last best chance to collectively stand for what we are due— specifically with regard to residuals and technology.” In the end, Tolkin summed up what seemed like at least part of the solution by quoting his father: “A show of strength is a good idea.”
Screenwriters Ed Solomon and Phil Alden Robinson stood together to underscore the power and importance of the written word, yet reiterated that an organized effort that remained unified with the “courage of our convictions” is the best way to manage the current crossroads facing all artists. A collaborative effort that remained optimistic and utilized the strength of sister unions was also touched upon as the notion of hybrid creation is a hurdle all artists face, and one which will only continue to grow with the digital age.
The Guild’s Executive Director David Young closed out the evening as he conveyed the significance of the upcoming negotiations hinged on the simple fact that all involved needed to understand that “writers are an essential cost of doing business.” Whatever the conflicts and evolving gray areas, “If we stand united, stick to our principles, and learn from the past, we will succeed.”
Wednesday, July 18, 2007
Writers Guild Contract 2007 Negotiations Press Briefing
A press briefing, hosted by the WGA, West and WGA, East about their Contract 2007 negotiations.
A press briefing, hosted by the WGA, West and WGA, East about their Contract 2007 negotiations with producers, the economic status of the entertainment industry and why writers deserve their fair share of the profits from the content they create.
A press briefing, hosted by the WGA, West and WGA, East about their Contract 2007 negotiations with producers, the economic status of the entertainment industry and why writers deserve their fair share of the profits from the content they create.
Tuesday, May 22, 2007
Publicity 101: A Workshop for Screenwriters, Chapter 3
UTA’s Chris Day and World Trade Center Writer Andrea Berloff describe how writers should choose and work with their publicist.
In this third segment from “Publicity 101: Ensuring Your Place at the Table,” a workshop teaching screenwriters how to use the media to publicize themselves and their careers, UTA’s Chris Day and World Trade Center Writer Andrea Berloff describe how writers should choose and work with their publicist.
In this third segment from “Publicity 101: Ensuring Your Place at the Table,” a workshop teaching screenwriters how to use the media to publicize themselves and their careers, UTA’s Chris Day and World Trade Center Writer Andrea Berloff describe how writers should choose and work with their publicist.
Sunday, April 22, 2007
Publicity 101: A Workshop for Screenwriters, Chapter 2
In this segment, screenwriter John August (Go, Big Fish) and United Talent Agency's Chris Day explain how you can help your publicist help you.
A workshop presented by the Writers Guild of America, West's Publicity & Marketing Committee teaching screenwriters how to use the media to publicize themselves and their careers. In this segment, screenwriter John August (Go, Big Fish) and United Talent Agency's Chris Day explain how you can help your publicist help you.
A workshop presented by the Writers Guild of America, West's Publicity & Marketing Committee teaching screenwriters how to use the media to publicize themselves and their careers. In this segment, screenwriter John August (Go, Big Fish) and United Talent Agency's Chris Day explain how you can help your publicist help you.
Thursday, March 22, 2007
Publicity 101: A Workshop for Screenwriters, Chapter 1
A workshop presented by the Writers Guild of America, West's Publicity & Marketing Committee teaching screenwriters how to use the media to publicize themselves and their careers.
A workshop presented by the Writers Guild of America, West's Publicity & Marketing Committee teaching screenwriters how to use the media to publicize themselves and their careers. In this segment, Variety.com editor Dana Harris and L.A. Times "Scriptland" columnist Jay Fernandez explain how to pitch a feature story.
A workshop presented by the Writers Guild of America, West's Publicity & Marketing Committee teaching screenwriters how to use the media to publicize themselves and their careers. In this segment, Variety.com editor Dana Harris and L.A. Times "Scriptland" columnist Jay Fernandez explain how to pitch a feature story.
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