If you remember correctly, what Jon Lucas is talking about is "Hangover". This typical shit, pee, fart comedy is still very popular in North America. Since he met it, Ryan would definitely not miss it. But what he didn't expect was that Jon Lucas had been to Disney Pictures and signed the letter of intent for cooperation, the project had to be temporarily suspended.&...

The reason is very simple. As a member of the Screenwriters Association, Jon Lucas wants to respond to the call of the Screenwriters Association to strike.

The largest screenwriter strike since 1988 inevitably broke out.

In fact, since the 5th of last month, hundreds of members of the Screenwriter Association have gathered around major film and television companies to hold protests. They hold slogans to improve their treatment and shout from time to time, "Close down! Hollywood is the world of trade unions!" and other slogans.

The men marched in front of famous film and television companies such as Paramount, Warner Bros. and Twentieth Century Fox until this month.

Screenwriters have a low status in Hollywood and have lower incomes than several other associations. Except for a few gold medal screenwriters, most screenwriters cannot enjoy the DVD and other revenue sharing of the film.

Uneven distribution of interests can be said to be the biggest reason for the outbreak of this strike.

According to the previous agreement reached by the Screenwriter Association and the Producer Alliance, the price offered by major TV networks for TV drama scripts is about -.

Many screenwriters earn much more than that. The scripts produced by major film companies cost at least $1 million, while well-known screenwriters may get $4 million per movie.

The average annual income of Hollywood screenwriters last year was $200,000, which is already high compared to the average annual income of Los Angeles County residents and most Americans.

However, the screenwriters certainly won't look down. They stare at the actors, directors and producers. The screenwriters compare their income with actors, directors and film and television company executives. They find the interest demand for a significant salary increase.

According to the Screenwriters Association, the income increase rate of the association's screenwriters is less than half of the profit increase rate of the entire entertainment industry. Many screenwriters also complain that in the eyes of large companies, they are dispensable.

In fact, this is not without reason. Except for the relatively good treatment of screenwriters who signed with Disney, other companies do not value ordinary screenwriters, and even do not like to use members of the Screenwriter Association because of that agreement.

In the 1990s, 95% of the screenwriter positions in the film and television industry were occupied by members of the Screenwriter Association, and now this proportion is 55%!

Major companies use cheap screenwriters outside the association to produce film and television dramas, cartoons and reality shows, which also deepens the conflict between the two sides.

As a result, the war between the Screenwriter Association and the Producer Alliance was about to break out.

December ago, the Screenwriters Association negotiated with the Producers Alliance. They believed that the average annual income of ordinary members of the association was less than $40,000, which was less than the average income of American citizens. Therefore, they called for an increase in their salary, share of their share, and especially in the profits of new media. The most obvious manifestation is the percentage of dividends for DVD and online on-demand dividends.

As we all know, the US DVD market and emerging online paid on-demand broadcasts are quite large. In fact, this is the main source of interests for major Hollywood manufacturers. How can the major film and television companies behind the Producers Alliance easily compromise?

Although he was not involved, Ryan himself was tough. Even if he had to compromise, it would not be so easy. Otherwise, all the messy organizations such as the actors' association and the director's association would jump out. As a representative of the big company, he would naturally stand on the side of the producers' alliance.

The development of things is far from as simple as imagined. Several negotiations ended in failure. The film company and the producers' alliance insisted on their own position, and it could even be said to be tough. After all, the requirements of the Screenwriters Association will lead to the increase in the cost of film shooting and distribution in various links.

Just the day after Charlize's reception, a negotiating group represented by Nick Cont, chairman of the Producers League, flatly rejected a series of requests from the Screenwriters Association after a twelve-hour negotiation. An industry strike that swept across North America finally broke out on Friday.

Even companies like Disney with script reserves are inevitably affected, and "The Hangover" is just a microcosm of it.

However, Jon Lucas is a smart man who understands the rare opportunity and privately assured Julius Stewart that he would immediately sign a formal contract with Disney Pictures as long as the strike ends.

The strike quickly spread throughout Hollywood, with 12,000 screenwriters participating one after another, and many others walked on Hollywood Avenue to protest.

The last collective strike of the Screenwriters Association was in 1988, lasting 22 weeks, causing more than $500 million in losses to the entire industry. This strike will inevitably bring greater pain, because the entertainment industry has grown into a giant beast. Even if it is not included in the surrounding industries, it accounts for about 10% of the US economy, which means that the annual output value is about $50 billion.

But similarly, from the overall strategic considerations of the future, Hollywood manufacturers with the six major companies as the main body will not easily compromise.

A group of film and television dramas inevitably became temporary victims.

On the day the strike began, all talk shows were immediately suspended.

On December 17, "24 Hours" announced the cancellation of the broadcast of this season, becoming the first unlucky TV series.

On December 20, the filming of the sequel "The Da Vinci Code" "Angels and the Devil" was postponed, becoming the first unlucky movie.

On December 23, "007: Quantum Crisis" was temporarily suspended and joined this ranks.

On December 26, just after Christmas, DreamWorks' highlight "The Adventures of Tintin" was temporarily put on hold...

Even so, the Producers League showed a tough attitude. Even if they sat back at the negotiating table, they would not easily give in and the strike continued.

The new year has arrived, and Hollywood has no atmosphere of joy, and the shadow of the strike has shrouded the entire North America.

On January 4, 2008, the Screenwriters Association refused to write lines for the Golden Globes and announced that it would boycott the Golden Globes.

The Golden Globe Awards ceremony was forced to be cancelled and changed to a press conference. Natalie won the Best Drama Actress.

Everyone is starting to worry about the Oscars next month. If the Oscars are cancelled, it will not only be a loss in terms of money, but also the face of Hollywood...

Wall Street even issued an early warning that if the strike lasts for five months, the economic losses will be as high as $25 billion.

Against this backdrop, News Corp. Rupert Murdoch, Viacom's Somer Redstone, NBCUniversal's CEO Keel Young, Time Warner's board chairman Don Logan, and Ryan, representing Disney, held a secret meeting in Malibu.

"The strike cannot last." The speaker was Summer Redstone.

This is everyone's consensus. Although the $25 billion figure is purely nonsense on Wall Street, the strike lasts too long and will definitely affect the profits of major groups.

"We can't compromise easily, either." Ryan's attitude was clear. "Don't forget that the agreement between the Producers' League, the Directors' Association and the Actors Association is about to expire. If we agree to the conditions of the Screenwriters' Association, it will bring a chain reaction."

He looked at the media giants present, "I don't think you want to share our interests too much with them, right?"

"My people have done statistics," Rupert Murdoch said slowly. "As long as the strike ends before the Oscars, our losses will be about $300 million."

Although there is competition between them, they are a natural community of interests in this matter. And as well-informed media groups, how could they not make some preparations in advance?

"Don't forget, it's not just us who lost it." Ryan snorted coldly, "The strike is expected to cause a salary loss of up to $285 million for screenwriters, while the earnings losses of other film associations practitioners are $500 million."

The Screenwriter Association strikes not only the producers' league, but also the shutdown crew and programs will also harm the interests of other professions.

"Then we have reached an agreement?" asked Don Logan, chairman of Time Warner's board of directors.

The others nodded, and Ryan finally said, "Go back to the negotiating table, drag the negotiations down until the Oscars are approaching, and let the producers and the Screenwriters Association face pressure from all sides together. We must make some concessions, but we cannot easily achieve our goals."

This strike hurts the interests of the entire industry. Compared with the producer alliance supported by major companies, the screenwriter association will be under greater pressure.

On January 15, under the pressure of all parties, the Screenwriters Association had to announce the release of the Grammy, and they made the first compromise.

Then, the Producers Alliance also made concessions and started a new round of "informal negotiations" with the Screenwriters Association.

The negotiating group represented by News Group President Peter Sherney, Disney CEO Robert Eiger and producers' league chairman Nick Cont, was back at the negotiating table with Screenwriters Association Chairman Veron, West Coast Screenwriters Association Executive Director David Young, and John Bowman, head of the association's coordination committee, returned to the negotiating table, and the strike finally revealed the dawn of ending.

However, as Ryan said, the producers league won't make concessions easily, and it must be a tug-of-war negotiation.

At the same time, the media group, the parent company of the six major companies, has also spread news in the media to exert pressure, such as claiming that the scripts reserved by major companies are enough to shoot until next year; for example, it will focus on overseas worlds, purchase film copyrights from English-speaking countries such as the United Kingdom and Australia, as well as France, Hong Kong, Japan, and South Korea, and even introduce overseas screenwriters to try out writing, etc.

In fact, this is putting pressure on the editorial association.

Of course, Ryan and others also know that the producers' alliance must make concessions. (To be continued, please search Piaotianyi, the novel is better, updated and faster!

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Chapter completed!