Was Ellen Right To Cross The Writer's Picket Line? - Page 3
And fans are collectors, so they like to buy the episodes from iTunes. The actors get a percentage of that purchase, the producers get a percentage of that purchase and the writers probably get nothing, because there's no established scale for that.
At the end of the season, Metafilter Towers will be on an exclusive 7 DVD set with outtakes and behind the scenes documentaries, whee! The actors get a percentage of all sales, the producers get a percentage of all sales. The writers get a one time license fee.
Since Metafilter Towers is a hit, it's going to sell four million copies this year- the actors get X% of four million copies' worth; the producers get X% of four million copies' worth. And next year, it sells another couple of million, so the actors continue to get paid for their work, the producers continue to get paid for their work, but the writers got a one time licensing fee.
This isn't a strike over champagne in the writers' room and caviar for lunch every day. It's a strike for basic rights- the producers alone aren't entitled to ALL the profits from online distribution and DVD sales, and they're not entitled to additional writing for free.
A writer's contract is specific- she will get scale or X amount for Y number of episodes, including all rewrites and polishes on that number of scripts. If you write one episode of Metafilter Towers, you should get paid for writing one. If you write fifteen mini-sodes for the website, you should get paid for writing fifteen mini-sodes for the website.
Nobody likes a strike, but we need this one to establish basic guidelines for digital media, and to amend the home video clause now that television shows are available on home media. Producers claim they have no idea how much money they're making on online display (which is untrue, they publish their stats to brag about them,) and they claim that DVD sales only recoup the expenses of making the show in the first place which again, is generally untrue.
Shows profited long before DVDs, on first run ad revenue, and worldwide and syndication rights, which they still earn now. (And it's even easier to make that money now because you no longer need 100 episodes to syndicate; cable partnerships and short syndication deals are the norm now. Profit starts almost immediately now.)
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