Writer’s Strike.



Photo: IATSE, Local #728

Something about this strike seems as if it is going to be one of those historical watershed moments, both politically and economically, for both Los Angeles and the entertainment industry.

The big money and power is with the conglomerates, but the tide of change is sensed more by the creatives than the executives. Who knows what format future TV shows will exhibit on? Ten years ago it was TV, now it’s the iPod and the PC.

I have been a big fan of “Mad Men” on AMC. I missed several of the episodes, so I downloaded them from iTunes for $1.99 each. Did the writers for this show earn residuals on my purchases from Apple?

I don’t work on lucrative union projects. I’m a non-union writer who sometimes works for documentary or reality production companies.

All I know is how people in the entertainment industry, the ones who aren’t important, get treated. I see the production companies that demand 12-14 hour (and more) days from their uninsured, transient workforce. I see how they pay LESS than they paid 10 or 15 years ago. I witness the brutal cruelty of stupid men and women in charge as they find ways to fire workers who have no recourse to fight back. I see the enormous expansion of non-union reality television, and the shrinking of union jobs for writers.

Hollywood is just a microcosm of the trend across the world to concentrate power in the hands of government subsidized, multi-national conglomerates. The ones who produce the nightly news also produce the weapons (both military and propaganda) that are constantly looking for new wars to fight. Yes, there is a weird and valid connection between “Fear Factor” and Iraq, and those who strike against the studios are also taking a political stand that may change how America thinks and governs.

Sneak Preview: "Rendition"



A friend brought me to see a screening of the movie “Rendition” last night at the Pacific Design Center.

The drama stars Jake Gyllenhaal, Meryl Streep, Alan Arkin, Peter Sarsgaard, Reese Witherspoon, and Omar Metwally. Directed by Gavin Hood. Written by Kelley Sane.

Metwally plays an Egyptian-American who is detained after he returns from a trip to South Africa and is sent to an unnamed Arab country where he undergoes torture because he is suspected of being a terrorist.

This is not “Syrianna”. It’s a paint-by-numbers story that lavishly wastes the talents of Witherspoon and Gyllenhaal who are reduced to stone faced dumbness in a badly written script that had the audience laughing in unexpected places.

It’s the type of film that has a soundtrack of Arabic music that sounds like a 1000 bees buzzing.

It spends a lot of its time on the love story of a Muslim couple rather than an on the central story of a wife whose husband has been stolen from her without a word. It has subtitles that might read , “Omar, for the sake of our child Fatima, go to the boy’s house to make peace. This I beg of you!”

Witherspoon and her struggle to free her husband mostly considers of her pleas to Senatorial aide Saarsgaard, and are remarkably free of emotion. Saarsgaard sounds like he is reprising his nasal voiced role as the bi-sexual in “Kinsey”.

The producers found enough money in the budget to go to Cape Town, South Africa for a two minute opening scene, but filmed the home of the suspect in “Chicago, Illinois” somewhere in Southern California.

The fact that so much talent could be put in one bad movie, should give hope to every screenwriter working on his/her script in Starbucks across the Southland.

TV Notes.


Tim Gunn’s Guide to Style

I watched last night’s premiere of Bravo’s TGGTS and was very disappointed. Gunn was a likable, quirky and warm authority figure on “Project Runway” with his trademark quips of “get to work” and his understanding of the struggles faced by creative people.

But his new show, where he and cold, humorless model Veronica Webb visit a fashion victim, proved that he has more than his share of unappealing pretentiousness. I almost cringed at his dressing down of a nice woman as she put on clothes from her own closet that didn’t meet Gunn’s standards.

Of course, the whole b.s. aspect of these makeover shows is to pretend that people have low esteem and mental blocks that can miraculously be changed by a snappy new haircut, some Jimmy Choo’s, and a makeover by make-up artist who will advise that only 10 layers of mascara can bring out THE REAL YOU.

This show was also extremely overproduced with its nauseating bring-me-to-tears addition of a bonus diamond wedding ring, and the appearance of a mother who just got out of surgery and wouldn’t miss her daughter’s “life changing experience.”

Gunn may be at the top of his game as an arbiter of what people should wear, but this show manages to be a makeover in reverse for this queer eye, who turns from a fashionable friend into a finicky fop.

Excerpts from a Job Description.


A close friend writes:

A-

Sorry I couldn’t make lunch today. I’m working again
at another job that I hate, and even though it’s not
the world’s highest position, it’s in TV with all the
horrendous “crisis” situations that make finding or
not finding a picture of Lindsay Lohan trashed, into a
tragedy for the editor, the producer and me.

It’s made me think…do I really want to work in TV?
And for a long, long time the answer has been no. I
don’t have an answer for what I want to do, but I
don’t want to waste my time working on collaborating
on projects that I cannot possibly see through. By
personality, or ego or intelligence…. I’m just
temperamentally unsuited for television and to work in
it kills me a little each day.

I’m here sitting at this Dilbert desk in bug ridden,
urine smelling old theater building in Hollywood where
the “CEO” arrives to work on a skateboard and has the
PA dress the elevator with a shower curtain to “give
it a little class”. The monsters of Reveille have
marched through here, dropping insults and orders and
calling one editor “fat-boy”.

I’m being micro-managed and hen-pecked and stepped
upon with all the petty dumbness of a job that demands
mastery of every celeb photo site and keeping an
editor supplied with enough images to turn out 60 two
minute commercials a day of Paris drunk, Lindsay’s
car crash, Britney’s baby , etc. I can barely leave my desk
to pee for fear that another set of images are needed
so that the lawyers and the website can upload the
shit by 8pm tonight in Bill Gates’ hometown.

Here is what I see: sour faced fat editors, who sit in their
darkened booths all day,playing with iPhones and surfing Facebook,
acres of xCel rows on my screen that grow and grow with labels and names
that will never be comprehensible, “celebrity” contestants
who are eager to participate in a show that is aired on a
website that nobody visits…..

Yesterday, I left the job.

Regards, Larry

Isaiah Washington’s "Crimes"


Isaiah Washington

I watched and listened to the actor Isaiah Washington last night on “Larry King”. This was his chance to explain the tempest over his alleged remarks, which boiled over and eventually, ended with the star actor’s termination from ABC-TV’s “Grey’s Anatomy”.

The way he explained it, the argument was between Patrick Dempsey and Mr. Washington and concerned Mr. Dempsey’s lateness on the set and inconsideration to the other cast members. “Fag” or “faggot” or whatever was thrown around and other obscene words were used as the two men fought.

Ridiculously, Larry King (as if it were still 1955) said he never ever used the word “fag”. Maybe “sissy” but not “fag”. I doubt there is a single person on the planet Earth who hasn’t used the word “fag”. It’s the standard way that men put each other down. If somebody is drunk in a bar and is about to throw a punch, they usually preface it with, “You fuckin’ fag, I’m going to beat the fuckin’ shit out of you….” Or something like that.

Washington, whether he was truthful or not, certainly convinced me that he had not intended to insult real life fag and blandly serviceable actor, TR Knight. But Knight, perhaps, seeing a way to elevate his own droopy stature, and kick off a highly talented fellow actor, used the classic victimization tactic as a way of empowering himself. Just as some African-Americans are quick to use race as a way of gaining power, so do some gays use an ersatz ethnicity of gayness as a power maneuver.

My own impression of Washington is of a man who has rich talent, depth, knowledge and the ability to know how use his voice and body to convey emotion. He was guarded last night, but the moments where he seemed ready to break down were not phony or surface. Only a few nights earlier, the empty vessel of Paris Hilton, beloved by the entire Hollywood establishment, said nothing for one hour. One minute with Washington was, unlike Paris, ennobling.

The more frightening aspect of the “Grey’s Anatomy” anti-gay slur controversy, concerns the censorship machine and legal colossus of the Walt Disney Company. They alone, like Sadaam, will determine what type of speech is appropriate for their employees and under what circumstances. Mr. Washington was on the job, not on the air, and yet his employer treated his accidental and regretted remarks as high crimes. His career was cut short; he suffered shame and humiliation and now will lose many thousands, if not millions of dollars, in income. In years to come, he will be labeled with a prejudice he doesn’t really countenance.

Political correctness, when practiced by a trillion dollar international conglomerate, against one lone human being, is like stopping a shoplifter in Ralph’s by dropping an atom bomb on Los Angeles. Disney, when it is not attacking, is perhaps the world’s biggest moral coward, unable to stand up for one minority individual, even as it falsely and pretentiously carries the banner for collective minority rights. Profits, not principals, are the driving force here. Advertisers might back out! Neutrogena might pull their eye cream spots from “Grey’s Anatomy”! Quel horreur!

I like and admire Isaiah Washington. He doesn’t need to “come clean” about anything because free speech and freedom of thought are why we live in the United States.

You Wanted A Bloodier Ending?


They all sat in the restaurant like sitting ducks, waiting for someone to walk in and blow them all away. You expected that man in the booth to walk inside the bathroom, reach behind the toilet and grab the hidden gun and come out and aim it right at Tony’s head. You wanted Meadow to get run over on that dark street. You thought Carmela would be screaming and crying, with blood all over her, as she watched her entire family die, and then she would be finished too. AJ, the crybaby, he would cry no more….

You thought you would have a grand overhead director’s cut view, a dramatic pull-out, wide shot of the four dead, blood soaked victims on the octagonal tiles, as Verdi played. You imagined waking up to read Peggy Noonan write something moral and sensible about how “evil men must die, it’s been that way since Aristotle…” or some other nonsense. You wanted David Brooks to write: “this is the only possible solution for the end of “The Sopranos” and I applaud Mr. Chase for his guts in killing off his characters…”

In real life, bad people sometimes get away with things. More often than not. Then why do we love them so much?