The back story of the writers strike

Re “Written out of the script,” Opinion, Nov. 11

Sean Mitchell’s essay was an excellent and revealing piece on the sad but true back story of the Writers Guild of America. I never fully understood why TV and film writers are treated more like bricklayers than artists. Mitchell’s article made it clear. I support my fellow bricklayers and hope they huff and puff and blow their way to a fair wage for the new age.

Susan Amerikaner

Camarillo

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I think that the quote of Jack Warner’s position says it all -- a playwright sells a product, the screenwriter sells a service. Now, isn’t it all about money and, hence, greed? If an author writes a sufficiently good product, he has the right of ownership and copyright and can sell the work as a book, a magazine article or whatever, including the foundation of a movie script.

If a studio has the means and is willing to take the risk of developing that product into an economically successful vehicle via the work of capitalists, management, producers, directors, actors, screenwriters, technical staff, special effects, scenery makers, camera operators, production and post-production staff, composers, musicians, gaffers and so on, well, good for all of them. A movie is not made without all of and more of the aforementioned talent.

So writers, be good enough to command a price for your product or a salary for your work and get on with it. If you do not own it, then you have no more to expect than to be employed, and that is as it should be.

I am an engineer; the products that I design are those that I receive a salary or bonus to develop. I take no risk except that of maintaining employment, nor do I expect to receive residuals as the product is sold and modified or incorporated into other uses. If I care to form a company and build products for sale, then I have advanced beyond that of an engineer (writer) and then reap the profits (residuals) of having taken the risk to do that.

George W. Zeissner

Fountain Valley

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In his remarks about screenwriters being marginalized, Mitchell quotes our contract with the Alliance of Motion Picture and Television Producers: “the studio, hereinafter referred to as the author,” in a context that suggests the Writers Guild marched serenely into the ovens in a quest for money, bribed by the studios. This may have been so for some, but the problem goes deeper.

The Copyright Act in force for more than a century defines “work for hire” -- which includes all of Hollywood writing. The law says that in “work for hire” the employer is “deemed to be the author.”

If you follow this logic, Mad King Ludwig of Bavaria wrote Wagner’s operas and the pope personally painted the Sistine Chapel ceiling. Congress wrote -- at big business’ bidding -- this legal snare from which there is no escape for the guild.

As to the “auteur theory” trumping writers in favor of directors, it has also castrated producers. Ever since director Frank Capra hired Russell Birdwell (a truly creative public relations guy) to burnish his image by inventing the idea of “The Capra Touch” as an advertising slogan, things have gone downhill.

Robert Riskin (Capra’s writing collaborator), angered by Birdwell’s slogan, walked into Capra’s office and tossed 120 blank pages on Capra’s desk and said, “There, Frank, put the Capra touch on that.” Made a point.

Frank Pierson

Malibu

The writer is past president of the Writers Guild and of the Academy of Motion Picture Arts and Sciences, and he holds many awards for his writing, including an Oscar for “Dog Day Afternoon.”