I would say that if you really wished to be a working member of the community, don't go out on strike because then there's no work and no potential of work.
Advertising is the art of the tiny. You have to tell a complete a story and deliver a complete message in a very encapsulated form. It disciplines you to cut away extraneous information.
Everybody knows things are not the same. The people running the TV end of a major vertically integrated company know how much money a successful show can make.
When it went on the air, the sales department hated it. It was the highest advertising pullout show in the history of NBC. At the early focus groups, people were saying, 'Who are these people? Why should we watch them?
If you're going to vote on a television contract, there is a certain rationality to saying that the same structures that are applied to Health Plan participation should be placed on the right to vote on a strike.
It was like in Samoa when they'd put up a movie screen on the beach and show movies and the locals would run behind the sheet to see where the people went. It was pretty grim.
The threat to free television. The reason television is free is because it is a life support system for commercials. That fundamental aspect is about to change.
Their argument is that most shows are losers, which is true, but it's also disingenuous to say, 'We are not going to take the risk unless it is totally covered by the few successful shows that are out there.'
There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.
TIVO executives stand up and say, 'Well, we're not getting rid of commercials, but we are letting them fast forward, because people like commercials, and if they see one that they like they stop and watch it.' I mean, please.
You have this disturbing reality that there are a lot of people who would rather say, 'I'm on strike' than 'I'm unemployed.' And those are the people who vote for strikes.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
The most positive step is to try to expand the employment base by making it, if not economically friendly, at least not economically disastrous, for studios to take on deficits.
