Original link: https://groups.google.com/g/comp.graphics.animation/c/wK5QErsN9-w/m/KKUzS8UqcycJ
THE PEG-BOARD -- Information Superhighway Edition -- August 1994
This is a monthly posting of excerpts from THE PEG-BOARD, the newsletter
of the Motion Picture Screen Cartoonists and Affiliated Optical
Electronic and Graphic Arts, Local 839 IATSE. THE PEG-BOARD is also
published in printed format.
This file is available by anonymous ftp, along with a number of other
files about Local 839. The address is:
ftp.netcom.com:/pub/mpsc839
Local 839 IATSE is the largest local union of motion picture graphic
artists in the world. We have over 1,600 active members employed in
animation and CGI in Southern California.
In this month's issue:
* The Lion set to be all-time profit King
* From the Business Rep, by Steve Hulett
* From The President, by Tom Sito
* A letter to the President, by Phil Cummings; reply by Tom Sito
* Editorial policy
* Animation in the news
* In memoriam
* E-mail to the editor
* Phoenix rises with cartoon hopes
* Eisner's health spurs successor talk
* AAI Day Classes
* Classified ads
* Masthead
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
"THE LION" SET TO BE ALL-TIM PROFIT KING
An article in the August 1 Hollywood Reporter estimates that Disney's
feature The Lion King may generate over three-quarters of a billion
dollars in net profits, which would make it the most profitable motion
picture of all time.
Analyst Dave Davis projects The Lion King's theatrical grosses topping
off at $385.7 million, plus an estimated $720 million home video take,
with TV revenues of $65.5 million bringing the total to a cool $1.17
billion. Subtract expenses of $356.7 million, and you end up with a net
profit of $814,500,000 after three years. By way of contrast, Disney's
previous profit champ, Aladdin, has generated an estimated $483 million
in profits. Last year's Jurassic Park, the all-time box-office champ,
has generated $399 million previous to its video release, scheduled for
this month.
This obviously represents good news for Disney's bottom line, and
signals encouraging times ahead for employment in animation, as other
studios race to catch up with the profits Disney has proven can be made
with quality theatrical animation.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
FROM THE BUSINESS REP
The other night at a union meeting, a strong supporter of the Local got
up and gave a speech from the floor. Nice fellow. Eloquent fellow. And
most everything he said I agreed with, but there was one thing he said,
two words actually, that ate at me. He said "the union has got to..."
and "the union should...", like "the union" was a large furry beast
seated downstairs in the office, separate and distinct from him. It
bothered me because it's the way lots of union members think of the
union. It's some entity living in the next county, which mails them Peg-
Boards and tote bags. Which bills them for dues.
And truth to tell, it was the way I thought of the union, back when I
was a twenty-nine-year-old story person so full of myself I'm amazed I
didn't explode. Local 839 was some amorphous blob, lurking at an address
on Ventura Boulevard to which I sent dues every three months. Not once,
from 1976 to 1982, did I think of the union as anything but an
organization "out there" which had little to do with my life.
And then, in the second year of the Reagan Administration, the universe
tilted. The 1982 strike rolled up like a steam roller, and I found
myself out in front of Disney's holding a picket sign. I was hot, I was
unhappy, and I discovered the union had a lot to do with my life -- not
much of it good from my jaundiced perspective. I was walking back and
forth in the August heat, protesting "runaway production," losing week
after week of pay. And wondering what I was going to do for eating
money.
When the strike finally ended ten weeks later, I had lost seven thousand
dollars, and I was a changed man. I knew where the union office was, and
I knew that I had damn well better get involved in union affairs so I
wasn't blind-sided by another damn strike.
Out of self-preservation, I started going to union meetings. By and by I
found myself on the executive board, and the universe tilted again. It
slowly dawned on the tired old crystal set I use for a brain that the
union wasn't Bud Hester, or the office staff, or the Executive Board. It
was everyone out there working with paint brushes, pencils and
computers, everyone paying dues, everyone struggling to advance the art
of animation. The union was ... us. (What a concept!)
Since I've become business representative, I've only become more aware
of this fact. Reality just keeps jumping up and bopping me in the face.
Let me give you a few examples. I've worked to organize a number of
studios over the past four years, and mostly I bomb out. I stand in
front of some building handing out leaflets and rep cards, buttonholing
people, begging, pleading and going pretty much nowhere. But let the
artists inside the building get ticked off, and hesto presto, we have a
contract. It happened at Baer. It happened at Hyperion. It happened at
several other places.
And take contract negotiations. Studio negotiators don't care a fig if I
get indignant over one of their proposals. I'm just the rumdum in the
union office who whines at them on the phone when an artist gets stepped
on. But they care a whole lot when the artists get angry, since they are
the folks who turn out the high-profit product, and they are the folks
who can turn off the money spigot.
As a group, artists and other animation employees have power. It only
took me seven or eight years to figure this out. I'm a slow learner, so
sue me. But now that I've learned it, I feel it's overwhelmingly
important to teach it to others, so that wages stay up, and working
conditions don't erode, and we don't suffer a fate, one day twenty years
hence, like the one suffered by Jack Kirby.
The union is us? What a concept.
-- Steve Hulett
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
FROM THE PRESIDENT
I was talking union recently to a computer expert. He was full of the
arrogance of young technology and creative power ("tomorrow belongs to
meeeee..."). He was making a great salary, had employers eating out of
his hand, everything going for him. When he said to me the often quoted
"If you're really good, you don't need any unions!" ...
I immediately thought of Jack Kirby.
First off, let me say this homily is not intended to insult or libel
anyone at Marvel Productions, a good union employer which in any event
is corporately divorced from Marvel Comics. This happened a long time
ago, in a galaxy far away...
In 1983, I was at the Ruby-Spears Christmas party at the Sheraton
Universal. In the crowd I ran into Doug Wildey, a great story and comic
book artist and acquaintance from New York. We chatted and he introduced
me to a small jovial man who rather looked on that warm night like an
Israeli Prime Minister.
After the man passed by I told Doug I didn't catch his name. Doug said:
"That's Jack Kirby."
"Jack 'King' Kirby?", I said. "Mr. Marvel Superheroes? What's he doing
here? Slumming?"
"No," Doug replied, suddenly serious. "He's picking up storyboard work
from Dorman."
I was shocked. "You mean the most famous comic book artist on Earth, who
invented the Marvel drawing style, the man who has inspired generations
of kids who slavishly try to master his superheroes in millions of
copybooks, he has to pick up Saturday-morning storyboards from us?"
It was later explained to me that, all the years Kirby was the power in
comic art, he did it all for straight salary. He never used his clout to
buy into the company, to become a partner -- he was happy just to draw.
He asked for nothing. So when management had enough guys who could do
his style better than he could and he was old and expensive, they showed
him the door. And there's his thanks for making them mega-mega-rich!
I have heard when Jack Kirby died last year at age 76 he was trying to
sue to get something more for all the joy and artistry he brought into
this world. I hope God is a more appreciative employer.
We are all Jack Kirbys. We live for what we do, we draw, we create, we
entertain.
We are lambs among wolves in the business world. Franz Hals, Beethoven
and Vivaldi trusted in their talent. They all died poor and alone.
Siegel and Shuster, who created Superman and sold it in 1938 for twenty-
five dollars, almost died penniless. Thanks to Local 841 in New York and
other groups, Warner Bros. was embarrassed into giving them a small
pension as compensation for the profits of the Superman movies.
I pray that at eighty, my artistic skill is as sharp as Hokusai or Al
Hirschfeld or Joe Grant. But I must be realistic. If I don't create a
means for a secure future now while my powers are strong, then I'm
playing long-range Russian roulette with my life.
This is the reason artists have been banding together in guilds since
the Middle Ages. This is the very reason we must stick together. If raw
talent is enough to make it, why isn't Dan Haskett as rich as Michael
Eisner?
No matter the medium, no matter the company, if you think you can make
it big by yourself, think of Jack Kirby.
-- Tom Sito
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
A LETTER TO THE PRESIDENT
Dear Tom:
I'm writing this letter to express not just my strong opposition to the
strike fund but also to tell you that the dishonest and undemocratic
methods that you are using to promote this ill-conceived notion will
weaken and alienate loyal members. When you publish percentage results
in The Peg-Board and not raw numbers it shows you don't have the support
of anything like a majority of the membership. It also implies that you
intend to push this through in spite of your lack of majority support.
You launched this idea after a "discussion" among the twenty or so
activists in the tightly-knit clique which attends meetings. You then
sent the ballots out with a letter strongly advocating a yes vote to the
other 1500 members who don't belong to your compliant little group.
Why couldn't you publish the union's fax number and ask for input from
the rest of us before you went ahead with this? Heavy handed control of
the means of communication and lack of a free debate shows your lack of
confidence in your leadership and your unwillingness to consider the
feelings and views of others. I believe that it was this lack of empathy
and arrogant attitude which cost you the certification election at Film
Roman.
I'm asking you to please publish this letter and to solicit and publish
unedited any view on this or any other union matter that any of the
fifteen hundred members of this union (who pay for The Peg-Board and
should have access to it) wish to express. If a strike fund achieved by
these methods is a bad idea a union that actually stages a strike
without a completely free, fair and democratic discussion amongst all of
its members will not prevail.
Your loyal member, Phil Cummings
Phil: Thank you for your letter and your comments. You made your points
forcefully if a little too bluntly. But hey, ya gotta expect that in the
El Presidente business. Reading your letter I felt like Marlon Brando in
Viva Zapata -- the revolutionary turned president who listens to
complaints about himself. You should ask Tom Tataranowicz or Kevin
Petrilak about how I used to thunder about the union being unfair ten
years ago. I hope more folks write us. We'll use the old Washington
measure, that one letter means a few dozen more felt the same way but
not strongly enough to write in.
In answer to your "J'Accuse": First of all, Hulett and I didn't sit in a
cave like Mao and Lin Piao and dream up this strike fund idea. Your
fellow artists working in the studios called and showed up at membership
meetings to demand it. Honestly, it's grass roots. The reason we
sometimes must be cagey about what we print in The Peg-Board is because
it is such an open public forum. Many more people read The Peg-Board
than just members. Other union officials, people in New York and Florida
-- and, unfortunately, the people who are enemies of your rights. They
study it for signs of our weakness as well as our strength.
A strike fund is a direct appeal to muscle. In negotiations, it's
missiles in the silos. If Kennedy told Khrushchev how many ICBMs he had,
if I played poker and told you what I'm holding in my hand ... see what
I mean? Believe it or not, after a Peg-Board goes in the mail I usually
have a producer or two casually mention to me: "Liked your article ..."
And they're not on the mailing list ...
I'm saddened that you think we're being undemocratic and cliquish. The
notice for the July 26 membership meeting did not read: "Elite Tightly-
Knit Clique Members Only!" Any union member could attend. You could have
come; you didn't. We read your letter aloud so your voice would be
heard, and since you gave us your permission. The people who believed
with passion equal to yours that a levy of $40 more per quarter was
appropriate, were present that night. And they were mostly new faces to
me.
Hulett and I have worked hard to bring more members into the decision-
making process. In the last contract negotiations, every step we took
was spelled out to you in letters, postings and studio appearances
asking your advice and permission to proceed.
As long as I'm President the will of the majority will be respected and
acted on. Not just a slim majority, the majority. I know as well as you
that animation folk won't glumly support an idea thrust upon them. I'm
not that arrogant or na•ve. All my attention is focused on building
unity, not division.
Since you didn't show on July 26, let me tell you that no vote was taken
on the strike fund, and no recommendation was given to the membership by
the Executive Board. The opinion of more members will be sought. As for
the union's fax number, it has appeared in every issue of The Peg-Board
since we bought a fax machine [(818) 506-4805]. You can call or e-mail
myself or Hulett any time you want and give me your opinion. If you
looked at the July Peg-Board, you saw letters telling me to "get a
life"Êand "bulls--t". So we're printing contrary opinions -- of those
who choose to express them to us.
I don't begrudge your suspiciousness. Jefferson thought it was a
citizen's duty to question the actions of its leaders. You are as
welcome as any other union member to volunteer for union work, or to run
for union office. People write you gut-punching letters, but it may be
the toughest job you'll ever love. Thank you for your loyalty and input.
-- Tom Sito
P. S. I wasn't President during the Film Roman election. I didn't lose
it -- the union did.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Here are the numerical totals of the strike fund survey reported in the
July Peg-Board:
Do you want a strike fund?
Yes..............234
No...............213
Undecided.........13
Total votes......460
Total sent.....1,381 (33.3% returned)
If yes, how much per quarter?
Undecided.........19
>$20.00............9
$20.00...........137
$30.00............43
$40.00............26
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
The editorial policy of The Peg-Board has been, and will continue to be,
to publish the written opinions of members on Local 839 matters,
providing that the following criteria are met:
* We only guarantee to publish the opinions of members. Accordingly, we
will not publish letters sent anonymously to Local 839 or The Peg-Board,
but upon request we will withhold the member's name when publishing a
letter.
* We will only publish letters with the specific permission of the
member.
* The Editorial Board (which consists of the President, the Business
Representative and the Editor) reserves the right not to publish
letters, or portions of letters, that it considers to be libelous or
slanderous.
* We reserve the right to edit letters for purposes of length and to
avoid libel or slander. We will indicate when we have edited a member's
letter for these reasons.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
ANIMATION IN THE NEWS
DISNEY enjoyed a 3% rise in third-quarter earnings, largely due to the
video release The Return of Jafar, shipping 8.5 million videocassettes,
and $70 million from The Lion King through June 30. On the down side, a
$101.1 million loss for Euro Disney in the current quarter was not
helpful to its bottom line ... The new WARNER BROS. Network plans new
episodes of Animaniacs, and the first new cartoons of Sylvester and
TweetyÊ in over thirty years. Warners has also ordered multiple episodes
of a new animated series entitled Steven Spielberg Presents Freakazoid!
Three additional half-hour series will shortly be announced to round out
the Warners Bros. Saturday morning slate. Also in September 1995, WB
will offer two half-hour animated strips for weekday mornings ...
The 22nd annual ANNIE AWARDS, sponsored by ASIFA/Hollywood, has
increased the number of award categories to nine. The four new
categories are: Outstanding creative supervision -- producing and
directing; Story contribution -- writing and storyboarding; Artistic
excellence -- animation, layout, design, color, and Voice acting. Up to
three Winsor McCay Awards could be awarded for lifetime achievement in
any area of the animation business. This year's ceremony will take place
November 12. For further details contact ASIFA/Hollywood at (818) 842-
8330 ...
File this under "Revenge Of The Woodstock Generation": We recently
learned of an animation writer who wrote the script for one of the best-
known psychedelic animated features of the 1960s. The producer of this
film made enough on it to retire, but the writer was paid the flat sum
of $5,000 -- no residuals, no royalties.
Now the company who owns it wants to sell it, probably for a theatrical
rerelease plus videocasettes and laserdiscs, etc. However, at some point
in the years since the Summer Of Love they managed to lose the writer's
contract! They need it to close the deal, and the writer has balked at
signing the same deal he signed twenty-odd years ago. His agent is
talking with the rights holders, and he stands to gain immeasurably more
then he has in the years since the original deal. Moral: sometimes the
good guys win!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
IN MEMORIAM
Xerox processor TINA BALDWIN died on August 4. Since 1977 she worked for
Hanna-Barbera, Filmation, Kroyer and Disney.
Layout artist, 1987 Golden Award winner and former Local 839 Executive
Board member OWEN FITZGERALD died on July 23. Since 1937 he had worked
for Disney, Schlesinger, Fleischer, the U.S. Army Signal Corps, Warners,
DePatie-Freleng, Hanna-Barbera, Ruby-Spears, Universal and Graz. He
served on the Board from 1979 to 1980.
Storyboard artist RAYMOND JOHNSON died on July 29. Since 1984 he worked
for Hanna-Barbera, Marvel, Warner Bros. and Hyperion. Contributions to a
trust fund for his two-year-old son can be arranged by contacting
Geraldine Clarke at (213) 463-0145.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
E-MAIL TO THE EDITOR
(From the rec.arts.animation USENET newsgroup)
I've been taking classes at the American Animation Institute. The
teacher in my inbetweening class is a Disney employee, as are most of
the teachers there. There are many talented students in my class that
could probably make a name for themselves in animation. The one thing I
noticed is they all have the same goal. They all want to work for
Disney. That's all they want. They don't care about if any other studios
are hiring.
So, I asked the teacher about getting hired at other studios. He was at
a loss. He didn't know about anything other than Disney either. He just
said that Disney is taking portfolios in July. I told him that Disney
really didn't interest me as a place to work. Boy, you'd think that I
said I was a Nazi or something. The whole class looked at me as if I was
crazy.
I have nothing against Disney. I enjoy their features. But people, there
are other places to work for. I think at a large studio like Disney it's
hard to be an individual. You'd get lost in the large amount of artists.
I would rather work for a smaller studio or a studio which is just
starting out and get a name for myself. At Disney it's like your an
extension of Walt. Just my opinion,
- - - -
Yes, there is life beyond Disney (hard as it is to believe). Warners,
Hanna-Barbera, Amblimation and Rich Entertainment are all working on
animated features. Some of the features (rumor has it) are very good.
The problem has been that Disney has been the only major animation
employer, in Southern California and elsewhere, to put their money where
their mouth is when it comes to bona fide training programs. Disney
deserves much credit for their foresight not only in providing training,
but in guaranteeing work to those they have trained. Other studios have
failed to offer real training; when it has been offered it usually
amounts to throwing inexperienced artists into the deep end of the pool
and fishing out the few who know how to swim. Even considering the
current state of the labor market, it's remarkable how few employers who
profess to be desperate for bodies are willing to spend any time or
funds to train inexperienced creative talent.
We believe, ingrates that we are, that quality product comes out of many
studios. Disney features currently are making the biggest bucks, but
artists who choose to work elsewhere are not necessarily spiritual and
emotional cripples. Chuck Jones had a fine career even though he was a
Disney employee for only three or four weeks. So have others. In fact,
of the twelve teachers in our faculty, only four are currently employed
by Disney.
If you want a specific list of places to launch your animation career,
give us a call. We'll be glad to assist you.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
PHOENIX RISES WITH CARTOON HOPES
An article in the August 2 issue of The Arizona Republic profiled
Twentieth Century Fox's plans to open a feature animation studio in
Phoenix, Arizona, with wages and working conditions considerably below
the going rates for Local 839 cartoonists.
Fox's plans were announced at a news conference featuring Arizona's
governor and the mayor of Phoenix. Fox hopes to crack the animated-
feature market currently dominated by Disney.
As an incentive to bring Fox to Phoenix, the state and city are offering
an incentive package of almost $1 million in equipment loans and job
training funds. Fox says they will be paying "an average" of $30,000 to
$45,000 per year -- below the minimum scale rate for journey artists
under the Local 839 contract.
Fox has hired Don Bluth and Gary Goldman to head their enterprise, and
claims they will be hiring as much as three hundred employees, "mostly
local talent" according to the Arizona Republic article. By hiring Bluth
and Goldman as employees, Fox will avoid obligation for the sizable
debts they incurred with the failure of their operations in Burbank and
Dublin, Ireland. According to the article, the company will bring "a
relatively small number" of animators from Ireland and California.
Fox plans to open their new studio by September 1 in what was once the
Phoenix headquarters of Lincoln Savings and Loan, the failed thrift
whose president, Charles Keating, is serving jail time for fraud. Fox
plans to spend at least $1 million on building improvements to the
facility, which is supposed to be in full operation by the end of the
year.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
EISNER'S HEALTH SPURS SUCCESSOR TALK
LOS ANGELES (AP) -- Walt Disney Co. chairman Michael Eisner was
receiving business calls and guests at the hospital two days after
quadruple bypass surgery for clogged coronary arteries. He was expected
to be back at work in three or four weeks. But analysts said Eisner's
illness, coming
3 1/2 months after Disney President Frank Wells' death, was expected to
put major decisions on hold for the time being at Disney. Longer-term,
it could force Disney to more quickly name an heir apparent to Eisner
and merge or affiliate with other companies.
Eisner, 52, was out of intensive care at Cedars-Sinai Medical Center and
expected home within a week. While he was expected to be back at the
office in several weeks, Roy Disney, the company's vice chairman, said
in a statement, "I think we will see Michael back on the studio a lot
sooner than anyone realizes."
The succession issue centered on Disney studios head Jeffrey Katzenberg,
who built a movie powerhouse that has been the engine for huge revenue
and earnings increases, not only in the filmed entertainment division
but in Disney's theme parks and consumer products divisions. Katzenberg,
44, was mentioned immediately as a successor when Wells died in a
helicopter crash while skiing in Nevada in March. Eisner, however,
decided against immediately filling the job that had been held by Wells,
his closest aide and chief strategist.
Friends of Katzenberg have said he wants greater responsibilities and
deserves a shot at the No. 2 Disney job. Not getting it might cause him
to invite bids from other companies, an auction that could set salary
bidding records and a wholesale realignment of studio jobs in Hollywood.
"If I needed someone to be the quarterback and if I knew Jeffrey
Katzenberg was available, I would go to the bank," said Steve Tisch, an
independent movie producer who has known Katzenberg for more than
twenty-five years.
The Orange County Register said Disney board director Raymond Watson
acknowledged the company needed to address the succession issue. "That
is still being directed by Michael Eisner," Watson said in a weekend
interview.
Like others in Hollywood, Disney has studied alliances to provide
outlets for its entertainment and defray high production costs.
Speculation it might buy CBS Inc. arose again this month after CBS'
merger with the home-shopping network QVC Inc. fell apart.
Eisner has repeatedly expressed skepticism about Disney expanding from
its base of producing entertainment. But the economic pressures to team
up with television networks, cable and telephone companies, computer
concerns and others are considerable as those industries converge, Vogel
said.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Position available: The University of Central Florida is seeking an
instructor/assistant professor to teach courses and build a curriculum
in computer animation. An MFA or MA is required and a PhD is preferred,
with demonstrated ability/experience in computer animation. The position
will be available by August 1995; applications received by October 15,
1994 will receive priority consideration. Send current vita, three
letters of recommendation, a letter of application and current samples
of computer animation, to: Dr. Rick Blum, Chair, Animation Search
Committee, Motion Picture Division, School of Communication, POB 25000,
University of Central Florida, Orlando, FL 32816-1344.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Eagle's Coffee Pub and Newsstand is looking for art to display and sell
in their gallery. All monies made on art sales will go directly to the
artist. Each artist will be allowed to display for thirty days. Space is
now available. Eagles is located at 5231 Lankershim Blvd., north of
Magnolia. For further information, please call Star Irvine at (818) 760-
4212 or (818) 760-2878.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
American Animation Institute
Fall Semester * Day classes
PERSPECTIVE AND RENDERING.....$105
12 Mondays, August 29-November 21
10 am-2:30 pm (no class 9/5)
Instructor: Debbie Zak
BASIC DRAWING AND PAINTING.....$180
12 Tuesdays, August 30-November 15
9:30 am-4 pm
Instructor: Glenn Vilppu
BEGINNING FIGURE DRAWING.....$180
12 Wednesdays, August 31-November 16
9:30 am-4 pm
Instructor: Glenn Vilppu
INTERMEDIATE FIGURE DRAWING.....$180
12 Thursdays, September 1-November 17
9:30 am-4 pm
Instructor: Glenn Vilppu
All day classes include a thirty-minute lunch break. For further details
or to register, call (818) 766-0521.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
MOTION PICTURE SCREEN CARTOONISTS
AND AFFILIATED OPTICAL ELECTRONIC AND GRAPHIC ARTS,
LOCAL 839 IATSE
4729 Lankershim Boulevard, North Hollywood, CA 91602-1864
phone (818) 766-7151 * fax (818) 506-4805
E-mail inquiries: mps...@netcom.com
Anonymous FTP: ftp.netcom.com:/pub/mpsc839
PRESIDENT -- Tom Sito
BUSINESS REPRESENTATIVE -- Steve Hulett
VICE-PRESIDENT -- George Sukara
RECORDING SECRETARY -- Jeff Massie
SERGEANT-AT-ARMS -- David Teague
PEG-BOARD EDITOR -- Jeff Massie
EXECUTIVE BOARD
Viki Anderson * Bronwen Barry * Sheila Brown * Jan Browning
James Davis * Earl Kress * Craig Littell-Herrick * Tom Ray
Pat Sito * Ann Sullivan * Stephan Zupkas
TRUSTEES -- Pat Sito * Ann Sullivan * Stephan Zupkas
Contents (c) 1994 by MPSC Local 839 IATSE. All rights reserved.
Publications of bona fide labor organizations may reprint articles from
this newsletter so long as attribution is given. Permission is also
given to distribute this newsletter electronically so long as the ENTIRE
contents are distributed, including this notice.
--
_______________________________________________________________________________
Motion Picture Screen Cartoonists and 4729 Lankershim Blvd.
Affiliated Optical Electronic and North Hollywood, CA 91602-1864
Graphic Arts, Local 839 IATSE phone (818) 766-7151 * fax (818) 506-4805
Anonymous FTP: ftp.netcom.com:/pub/mpsc839 E-mail: mps...@netcom.com
No comments:
Post a Comment