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#WGA twitter: a thread.

Having been on the Board for four years and the Negcom in 2017, I want to share a few lessons I’ve learned about how our collective power works. (1)#
I’ll start with an inspirational quote from Nick Counter, founder of the AMPTP. Here he refers to studios and independent producers in the 70s using two different, weak alliances to bargain with the WGA, SAG, and the DGA: (2)
He’s describing the strategy of divide and conquer. (3)
Read 23 tweets
This is where the #WGA (of which I am a proud and long-time member) gets silly. I know a lot of people who signed the letter from Nagy/Mazin/et. al. I haven’t decided yet which slate I will support because I also do not understand where the daylight is between them.
But the idea that big picture negotiating strategy differences will be explained in phone calls to certain people who ask (and, perhaps, have the social media clout to be influential voters) is counterproductive to the collective ethos of the Guild that I know Craig supports.
So maybe let’s take it off Twitter and set up some meetings. Or, if you’re running to unseat the existing leadership in the midst of a delicate, multi-front negotiation, be prepared to say more publicly than “trust us.”
Read 3 tweets
In a recent article on the #WGA/ATA negotiations, the LA Times quoted UTA chief executive Jeremy Zimmer:
UTA was my first agency. Jeremy sent a congratulatory telegram to me in New York the night of my first show taping. (My last name was misspelled.)

I’d be happy to tell Jeremy where UTA lost my trust, and why #IStandWithTheWGA. It has to do with packaging...
I had finished my fourth season on staff and was looking for a job. My agent asked me to meet with a prominent writer-producer, also a UTA client, whose shows I disliked. “Just take the meeting,” said my agent. “If you get an offer we can leverage it for something better.”
Read 12 tweets

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