Candidates for the WGA West’s board of directors are almost evenly divided between those who want to stay the course and those who want a course correction in the guild’s ongoing fight with Hollywo…
president David A. Goodman, who has led the fight to reshape the agency business by eliminating packaging fees and agency affiliations with corporately related production companies. Then we look at the running mates of opposition leader Phyllis Nagy, who favor a return to the bargaining table with the Association of Talent Agents and an end to the nearly five-month standoff.Luvh Rakhe – Incumbent
“I know this effort has been hard on writers. We are all feeling disrupted, and anxious in this unknown territory. But I also know that meaningful progress does not come without a struggle. We are pursuing a sea change here. There’s no way to accomplish that quickly, or without a difficult negotiation, like the one we are in presently. But we have the law, and our own solidarity, on our side. If we stay the course and remain united — we will prevail.
“But we knew tech tools wouldn’t be enough to mitigate the disruption to staffing season, so I sought out writers who were already doing the work of organizing to serve their communities and looked for ways to support them with Guild resources. Two of them are running in this election, Zoe Marshall and Liz Alper. They have already proven themselves tireless advocates for writers and I hope you will support them. We need their energy, experience, and perspective on the board.
“I’m not a master negotiator, but I’ve seen enough movies to know that you don’t flinch in a showdown. We committed to an action, and now we must see it through, together.”“It’s easy to focus on the work the Guild does to negotiate on behalf of writers with outside entities. We’re fighting hard to resolve the conflict of interest with the ATA and the way agencies run their business. Every three years we negotiate with the AMPTP to raise minimums and define residuals and payment terms.
“I don’t have all the answers, but I’ve got energy to spare, and want to help figure it out. I want to give voice to emerging writers in the conversations that impact our union and our careers.”“I stand 100% behind leadership taking this action, based upon receiving a 95% member vote to proceed. For the record, I voted ‘Yes.’ I also agree with the tactic of not entertaining a profit share settlement because it would be impossible to enforce. I firmly believe the agencies will cook the books.
“As I said, the issues we face require nuanced solutions. Simply branding our representatives as racketeers isn’t nuanced. Our solidarity brought the agencies to the bargaining table. We need to return there post-haste and hammer out a deal that aligns our interests with that of our representatives. I don’t believe for a moment we aren’t smart enough to work out the negotiated solution the majority of the membership wanted.
“Instead the membership – especially the younger membership, just breaking into the business – lost out on jobs. Showrunners asked me how to find writers of color or women because they “didn’t know anyone.” When these showrunners became frustrated, they hired their friends, maintaining the status quo. I have spoken to younger writers of color who are lost, not knowing where to send their scripts or how to make connections. They were told to hire managers. That’s not an answer.
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