In the reception room of the Relativity Building, Ronan shook hands with a gray-haired middle-aged white man.

"Hello, Mr. Anderson." The middle-aged white man smiled very enthusiastically: "It's so happy to see you again."

Ronan smiled with his master's demeanor, "Bill, welcome you to the Relativity Entertainment."

This middle-aged man is the chairman of the American Western Screenwriters Union, named Bill Domingo, and is also a senior screenwriter in Hollywood. However, he was active in the 1970s and 1980s. Although he had many works, he was less famous. He belonged to the category of large output and lacked fine products.

In the mid-1990s, Bill Domingo stopped writing scripts and instead worked in administrative work at the Western Screenwriters Union. In 2005, he became the chairman of the Western Screenwriters Union Council.

The American Screenwriters Union is a general organization, which consists of two parts: the Western Screenwriters Union and the Eastern Screenwriters Union.

As the name suggests, its members are mainly divided by geographical location.

The Screenwriter's Union is a very large organization, with nearly 20,000 members even if the access conditions are high.

There is no doubt that Bill Domingo is the spokesperson for these people.

Bill Domingo exchanged a few greetings with Ronan and went straight to the topic: "Mr. Anderson, Hollywood is not in good condition recently, and the entire industry may be in turmoil. No one wants to see this situation. I am representing the screenwriter's union this time..."

Ronan understood what he meant and said, "Bill, you should talk to Del Potro about this matter. He is the chairman of the producers league and is responsible for specific matters."

Bill Domingo is very clear that if you want to resolve this matter as soon as possible, you cannot avoid it: "I have talked with Del many times, and the two sides have a lot of differences. If you continue to talk through formal channels, you may not be able to reach an agreement for several months."

Ronan roughly speculated that the Producers Alliance had contacted several major unions in private and adopted a differentiated and disintegrated approach to deal with the Hollywood union alliance. The Screenwriters Union responded in the same way, contacting the largest companies in the Producers Alliance.

Although the Producers Alliance is composed of more than 80 companies, the remaining ones will not be a problem if they can convince the large and medium-sized companies.

Even if you convince a part of the large and medium-sized companies, the situation will become very beneficial to the screenwriter union.

That being said, but the job is not at all difficult.

Ronan seemed very calm and said, "It's useless to talk to me about this matter. Let me tell you the truth. Bill. Producers' League has already reached an agreement that the negotiations with the union will be carried out by the league."

Bill Domingo smiled, but had no intention of giving up, and said, "I have carefully counted that among all companies in Hollywood in the past three years, the company that produces the most movies and TV series projects is your Relativity Entertainment. If I read it correctly, the same is true now and in the next few years, right?"

There is no need to deny this kind of thing. If the film library and past copyright income are not calculated, just about the new movie projects every year, Relativity Entertainment is currently the company with the largest business volume and highest revenue in Hollywood.

Ronan said casually: "It is estimated that in a short time, there will be no company that has surpassed Relativity Entertainment in the newly started projects."

"Relativity Entertainment has the most projects and the number of screenwriters hired." Bill Domingo is still trying his best: "If this incident is delayed for too long, if it worsens, Relativity Entertainment will suffer the greatest losses."

Ronan remained silent: "Bill, what do you mean..."

Bill Domingo said: "If Relativity Entertainment can reach an agreement with the screenwriter's union, all screenwriters under the union can cooperate normally with Relativity Entertainment and will not have any impact on Relativity Entertainment."

Ronan couldn't help laughing: "This will bring about a split in the producers' league."

"You are a loose alliance with the power to negotiate with the union." Bill Domingo said the truth: "I believe that other companies will not consider your alliance in the face of conditions that are beneficial to them."

Luo Nan nodded slightly: "You are right."

The producers' alliance is an interest alliance, and the reason why they treat the union alliance temporarily unanimously is because they have common interests in this regard.

When more favorable conditions arise, abandoning the alliance and reaching negotiations with the union is not a big deal.

Bill Domingo also said: "The union attaches great importance to cooperation with Relativity Entertainment, and there are also..."

Ronan raised his hand and planned to Bill Domingo's words: "I understand what you mean, and Relativity Entertainment doesn't want to see the conflict between the alliance and the union completely intensify and develop to an irreversible level."

This sounds good, but Bill Domingo knows that there may be a turning point later.

Sure enough, Ronan changed his voice: "But the new conditions you have proposed, relativity entertainment will not accept anyway."

Bill Domingo said: "We can talk."

As long as the two sides officially start the negotiations, they will undoubtedly send out a signal.

"Your conditions are too high." Ronan did not mean to refuse to talk, but if you want to talk, the conditions must be reduced: "Fifteen percent of the new media and DVD revenue share, the other aspects of the share will be increased to three percent, and additional compensation from the past new channels is required. This condition cannot be discussed."

Bill Domingo asked: "What are the conditions for relativity entertainment?"

Ronan said directly: "I won't talk about the lowest and highest incomes of union members, mainly the share of the share. In terms of traditional channels, free TV, paid movies, cable TV, and the share of the publisher's global income remains unchanged. DVDs can be added to the share of family entertainment, such as the same as the videotape, and the producer's income is 1.5%. In addition, each movie will also pay the screenwriter a total of 10,000 US dollars in DVD script fees."

Bill Domingo's face remained unchanged, but his heart was cold. The conditions were so low that people couldn't accept it!

"Internet new media..." Luo Nan pondered for a moment and said, "It can also be discussed, one percent of the issuer's income."

Bill Domingo fell into a brief silence.

Compared with the requirements required by the screenwriter's union, Ronan fell directly from the sky into the Mariana Trench.

The past share projects are easy to say, but there are basically no changes and no problems. Video tape revenue is now better than none. One percent of the distribution revenue of TV channels can be discussed later, which will increase a little.

But in terms of DVD and new media channels, the bargaining price was too fierce.

The screenwriter union has never thought about the surrounding derivatives channels, and it does not receive support from the Labor Association in this regard, but in terms of copyright income that screenwriters can participate in, the highest income is currently the DVD and Internet new media led by Netflix.

The screenwriter union demands a total profit share of 15%.

In terms of new media and DVD, Ronan scored 0.5% and 1.5% respectively, not only did he share the total revenue.

The former is the share of the issuer's income, while the latter is the share of the producer's income.

Copyright income can generally be divided into three parts, namely the channel, the publisher and the producer. How much will it be reduced if the two aspects are eliminated?

"IMHO," said Bill Domingo. "The writers' union cannot accept such conditions."

Ronan spread his hands: "Then we don't need to negotiate privately."

If there is no sufficient benefit, why should Relativity Entertainment risk offending the producers' alliance and negotiate with the screenwriter's union alone?

Bill Domingo is still trying his best: "Mr. Anderson, you were also a screenwriter at the beginning. Understand the hardships of this industry. How many screenwriters have worked hard but not received corresponding rewards? Is this fair?"

To be precise, the treatment of screenwriters in Hollywood is very unfair. Ronan knows this, but it is impossible for him to stand on the screenwriter's side. Even though he has been a screenwriter before: "Sorry, Bill, I am a producer, and I have to be responsible for thousands of employees of Relativity Entertainment."

The differences between the Producers Alliance and major trade unions have nothing to do with fairness or justice.

The two sides finally reached no agreement and the differences were not very large.

At the end of October, the strategy of disintegration of the Producers Alliance played a role, and new agreements were reached with the Directors Union and the Actors Union. With the two unions signing a new large-frame agreement with the Producers Alliance, the Hollywood Union Alliance no longer exists, and most unions have ceased. The only major union organizations that are still confronting the Producers Alliance are left with the Screenwriters Union.

The directors’ union, the actors’ union and their respective members still verbally shouted to support the screenwriters’ union, but this verbal support can play a role basically equal to zero.

After some proper compromises from the Producers League, the two unions abandoned the screenwriter union again, just like they did twenty years ago.

The new agreement proposed by the screenwriter union is unacceptable to the producers' alliance.

To put it simply, this new agreement involves a series of issues such as hiring, firing, treating, compensating screenwriters and how to sign up for screenwriters.

The terms involving finance are one of the focus of negotiations between the two parties, mainly including two aspects: on the one hand, it stipulates that movies and TV producers must pay screenwriters a salary higher than a specific minimum wage standard; on the other hand, it stipulates that omni-channel income earned by TV programs or movie copyrights, and screenwriters must increase the share ratio.

The reasons for the screenwriter union are sufficient. The entertainment industry is now the most profitable time. In the latest fiscal year, eight entertainment media companies in Hollywood that dominate the film and television markets, including Relativity Entertainment DreamWorks, had operating profits of nearly $56 billion, and more than 80% of screenwriter union screenwriter union screenwriter union works in these eight companies.
Chapter completed!