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THE PEG-BOARD -- Information Superhighway Edition -- May 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.
Local 839 IATSE is the largest local union of film artists in the world. We
have over 1,500 active members employed in animation and CGI in Southern
California.
In this month's issue:
* Local 839 Expanding At Record Pace
* Animation Around Town
* From The Business Representative, by Steve Hulett
* From The President, by Tom Sito
* Letter To The President
* In The News
* In Memoriam
* 24th Anifest! Honors Foray
* At The Water Cooler
* Animation Writers' Caucus
* An Open Letter To Don Bluth
* Masthead
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LOCAL 839 EXPANDING AT RECORD PACE
Active membership of 1,543 highest in over ten years
The current boom in animation production is making itself apparent in the
increase in Local 839's active membership. We are seeing record levels of
new membership and reinstatements of inactive memberships. With the recent
news about expanded operations at Amblimation and Warner Bros. (see below),
within six months to a year we expect to be the largest we've been in our
forty-two-year history.
The charts* illustrate some interesting and encouraging trends. From its
earliest history, employment in animation in Los Angeles has been a
boom-and-bust roller coaster, paralleling the fortunes of the latest
animation "fad". Industry employment, and active union membership, rose and
fell dramatically in short periods along with the "hot" employer of the
moment. Each of these animation "booms" was only sufficient to sustain the
temporary fortunes of two or three animation studios, of which one would
predominate in the union's employment statistics at any particular time.
In 1985, the predominate employer was Filmation. The bar graph* reflects
that Filmation was the last studio to extensively employ in-house animation
technicians (Xerox, ink-and-paint and checkers). After a dramatic fall
following Filmation's close in 1988, employment and membership have steadily
risen. Employment of animation technicians has actually remained relatively
stable in the '90s, and can be expected to rise as work that previously
might have been sent overseas to be cel-painted is "reclaimed" to be done on
computers under Local 839 jurisdiction.
Although Disney has been our largest employer since Roger Rabbit and The
Little Mermaid, they currently employ a smaller percentage of Local 839
members than Filmation did in 1985. The diversification of employment is a
healthy trend that can be expected to continue due to the increasing number
of animation producers. This should insure that the overall employment
picture is not dependent upon the fortunes of one or two dominant employers
in the field.
We anticipate that these statistics will prove even more encouraging as
Local 839 expands into the field of computer graphics imagery (CGI), and as
additional employers draw upon the worldwide pool of animation talent.
* This article is accompanied by graphs that show the following statistics:
LOCAL 839 DUES PAYING MEMBERSHIP, 1985-1994
Employed Employed Total
Artists/ Technicians Employed Total
Writers Unemployed Membership
==================================================
1985.......800........388........136.....1,188.....1,324
1986.......831........283........195.....1,114.....1,309
1987.......483........190........517.......673.....1,190
1988.......488........118........258.......606.......864
1989.......502.........74........351.......576.......927
1990.......787........145........184.......932.....1,116
1991.......944........178........242.....1,122.....1,364
1992.......920........172........340.....1,092.....1,432
1993.......861........158........383.....1,019.....1,402
2/94.....1,067........208........218.....1,275.....1,493
4/94.....1,136........224........207.....1,360.....1,567
EMPLOYMENT BY STUDIO
1985
Filmation...........42.4%
Marvel..............19.2%
Hanna-Barbera.......17.0%
Disney**............12.3%
Ruby-Spears..........5.6%
Others***............3.5%
1994
Disney**............39.3%
Hanna-Barbera.......20.2%
Rich Entertainment..13.5%
Warner Bros.**......11.1%
Marvel/New World.....5.3%
Universal............4.0%
Other studios***....12.4%
** all animation divisions
*** studios with less than 40 employees
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ANIMATION AROUND TOWN
AMBLIMATION will be moving from London to Los Angeles later this year; they
have not yet begun staffing. As this issue goes to press they are still in
negotiations with Local 839 on a contract.
DON BLUTH has departed Ireland and his Irish animation company to join with
Twentieth Century-Fox in a deal to produce animated feature films. Bluth
stated in a Los Angeles Times article that his new studio would be set up
outside of California because he doesn't like earthquakes.
Rumors have the studio ending up being in Arizona or Washington State. As of
this writing, we are betting on Washington (Spokane, anyone?) as the site of
Don's next studio. Phoenix or Scottsdale seem a trifle too sun-baked and
harsh after the lush green landscapes of Ireland.
DISNEY FEATURE ANIMATION has completed animation and cleanup on The Lion
King, and as of the end of April every scene is in color. Animation on
Pocahontas is gearing up. Story work on Hunchback of Notre Dame is well
along with many sequences boarded.
1420 Flower Street
Glendale 91221
(818) 544-2090
DISNEY TV ANIMATION has sixty-five half-hours of Aladdin in production for
the '94-'95 season; sixty-five half-hours of Duck Daze in production for the
'95-'96 season; and thirteen half-hours of Snookums and Meat Funny Cartoon
Show in production. Aladdin -- The Return of Jafar is set for a
direct-to-videocasette rollout on May 20.
5200 Lankershim Boulevard
North Hollywood 91601
(818) 754-7100
GRAZ ENTERTAINMENT has The Tick, X-Men, Warrior Skeletons, and Conan in
various stages of production.
1745 Victory Boulevard
Glendale 91201
(818) 241-6718
HANNA-BARBERA's feature The PageMaster is in final stages of production for
a Fall/Christmas release. Cats Don't Dance, H- B/Turner's follow-up feature,
is now into animation.
For television, twenty-five new Captain Planets have been produced, with
three remaining in the production cycle; nine Swat KATS episodes in
production; thirteen half-hours of Droopy/Screwball Squirrel, sixty-five new
half-hour episodes of Johnny Quest, a Flintstones Christmas Special and an
Arabian Nights special in post-production. Forty-eight new shorts also in
various stages of production.
3400 Cahuenga Boulevard West
Hollywood 90068
(213) 851-5000
At HYPERION, thirteen additional half-hours each of Itsy Bitsy Spider and
Little Wizards are now in production, both shows for the USA Network.
111 N. Maryland Avenue, #200
Glendale 91206
(818) 244-4704
CHUCK JONES FILM PRODUCTIONS is hard at work on theatrical shorts for Warner
Bros.
3500 W. Olive Avenue, Suite 1430
Burbank 91505
(818) 954-2655
Bill and Sue Kroyer, who have run KROYER FILMS, their own animation
production company, these past several years, have signed a two-year deal
with Warners Feature Animation to develop and produce feature projects. They
will be on "loan out" from Kroyer Films for that duration.
The Kroyers' company produced the animated feature Fern Gully, which went on
to gross $100 million worldwide, and a host of commercials, animated title
sequences and short films. They contributed a sequence to the recently
completed The Thief and the Cobbler, and are now wrapping several projects
before moving full-time to Warners. Kroyer Films will still be in operation,
but on a very limited basis.
12517 Chandler Boulevard, 2nd floor
North Hollywood 91607
(818) 755-0280
MARVEL PRODUCTIONS is working on sixty-five half-hours of Spider-Man,
thirteen episodes of The Fantastic Four and thirteen episodes of Iron Man.
1440 S. Sepulveda Boulevard
Los Angeles 90025
(310) 444-8433 (Spiderman)
(310) 444-8197 (Fantastic Four/Iron Man)
NEW WORLD FAMILY ENTERTAINMENT is busy with forty episodes of Biker Mice
From Mars.
1440 S. Sepulveda Boulevard
Los Angeles 90025
(310) 444-8160
RICH ENTERTAINMENT's feature The Swan Princess is winding its way toward
completion and a November release.
333 N. Glenoaks Boulevard, #300
Burbank 91502
(818) 846-0166
UNIVERSAL CARTOON COMPANY is completing the direct-to-video feature Land
Before Time II and working on Land Before Time III, producing an additional
thirty-nine episodes of Exo-Squad, and producing thirteen episodes of
Beethoven.
100 Universal City Plaza
Universal City 91608
(818) 777-2848 (creative)
(818) 777-7785 (checking/i&p)
WARNER BROS. TV ANIMATION is currently continuing development work for new
series. In work: A Tiny Toons Halloween Special. WARNERS CLASSICS's
theatrical short Carrotblanca is in production, along with various
commercials. WARNERS FEATURE ANIMATION is currently staffing for future
development and feature work.
15303 Ventura Boulevard, 11th floor
Sherman Oaks 91403
(818) 379-9401 or 995-8691
Feature Animation: (818) 954-7555
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FROM THE BUSINESS REPRESENTATIVE
This month's Business Rep rant concerns that sub-species of humans known as
Hollywood Liberals, one of the lowest forms of life that walks the earth.
I've been in this job four years and eight months, and I've observed that
Hollywood Liberals come in all shapes, sizes and genders, but mostly they
occupy the higher echelons of Tinsel Town, sitting behind big, comfortable
desks, barking orders down to the lower orders via telephone, hobnobbing
with their fellow high-rollers at pricey charity affairs, singing "Kumbaya"
in a big circle of execs and politicos, often but not always including the
President or Vice President of the U.S.A. in their midst.
A Hollywood Liberal gets dewy-eyed over the plight of the spotted owl and
the sperm whale, he stands in solidarity with the oppressed peoples of
Central America, he thinks what's going on in Bosnia is awful. A Hollywood
Liberal worries about our diminishing ozone and the environment all the
time. A Hollywood Liberal is a rock-ribbed Feminist, capital "F."
And you can count on Hollywood Liberals (the kind I am talking about) to
hammer on labor unions every chance they get. And to protest that they
really like and support labor when called on it, except ... but ... well,
they're involved in a business, you know ...
For instance, I got a call from a member a year ago who was angry that a
highly placed Hollywood Liberal exec at a major studio (their corporate
symbol has round ears) sent around letters to employees instructing them on
how to vote in an upcoming election. He was even angrier when he fired off a
letter of protest and got a huffy reply defending the action. This same
exec, a stoolie in middle management informed me, had no qualms about
violating California labor law by ordering employees to keep quiet about
their wage rates. But the Hollywood Liberal does support the environment and
love all Democrats, even if he behaves like a William McKinley Republican
while dealing with his employees.
At a rally in support of striking crew members on Harts Of The West, I
witnessed actor/producer Beau Bridges telling his striking crew that if they
had just been "a little more patient," he could have smoothed things out,
gotten some of those eighteen-hour days rolled back. Raised wages a little.
And then somebody in the crowd asked how he felt about union crews, and he
stammered about how "in general," he supported them.
Which of course is the best working definition of a Hollywood Liberal I've
heard. They are for a prosperous, green planet. They are for dignity for the
indigenous peoples, and equal rights, and universal health care, and for the
fair treatment and dignity of workers.
In general.
But if it affects their personal cash flow, then all bets are off. And if
it's something they can actually do something about, which it often is, then
you hear the parrot-like refrain: "Hey! What are you, crazy? This is a
business!"
Which, of course, is the real bottom line, no matter how much money they
contribute to save old-growth forests. Most of them have more concern about
trees than human beings.
-- Steve Hulett
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FROM THE PRESIDENT
All that harms Labor is Treason to America.
No line can be drawn between the two.
If any man tells you he loves America yet he hates labor,
he is a liar. If a man tells you he trusts America yet fears
labor, he is a fool.
-- Abraham Lincoln
The story of labor in America is a largely unknown story. The conditions
people endured creating this industrial superpower are passed over and the
struggle for decent working conditions pooh-poohed by standard historical
text. We read of the wisdom and talent of the Edisons and Rockefellers and
Carnegies. Who thinks anymore about the Ludlow Massacre of 1914? Or of Joe
Hill's last words before being executed: "Don't mourn, organize!" Or how the
working people of San Francisco in 1934 shut down the entire city for three
days in a general strike and blood flowed on the Embarcardero.
Folks who think wage scales and job safety and even the forty-hour week are
facts of nature like the seasons will be shocked to know they were
painstakingly won by people risking their careers and lives to get them. No
employer granted them out of compassion.
In the 1800s and early 1900s, besides the horrors of child labor and
unsanitary conditions, you would work from 7 am to 8 pm six days a week. In
1886 the New York Times called the eight hour day "...a foreign born idea
inviting sloth, drunkenness and debauchery." When the employers' profits
suffered from bad business deals, falling prices and the many economic
panics (1837, 1873, 1877, 1886, 1893), he merely lowered your wages. Henry
Ford's Model Ts were assembled on a chain conveyor belt. When he wanted to
increase production he sped up the chain. If you couldn't keep up you were
fired.
Trade unions are as old as America. As early as the 1790s folks were banding
together to ask for better conditions to do their jobs.
They were called by a variety of funny nicknames: The Molly Maguires, The
Locofocos, The Wobblies (name of the International Workers of the World, a
movement that believed that justice be achieved only when all working people
around the world belonged to one union.)
Employers threw everything at them from Pinkerton detectives and state
militia to the Ku Klux Klan (and its sister group in the North, the Black
Legion). There were appeals to patriotism, hatred of foreigners, race
hatred, fear of anarchy, anything to keep us from banding together.
On May 1st, 1886, The Knights of Labor called for nationwide strikes against
all employers not honoring an eight-hour day. 750,000 people went out on
1,700 strikes and the government panicked. Thousands of people battled
police in Tompkins Square in New York. In Haymarket Square in Chicago,
during a rally a bomb exploded among the police who immediately opened fire
on the crowd. No one ever discovered who threw the bomb but the union
leaders were arrested and hanged despite the international calls for mercy
from notables like George Bernard Shaw. Union leader Albert Parsons shouted
as he dropped through the gallows: "Let the Voice of the People be heard!"
"The historical perspective", wrote William Dean Howells, "is that a free
republic has executed four men for their opinions."
In 1968 hippie radicals blew up the monument to the Haymarket policemen.
Okay, so what about us cartoon-folk? Because of the 1929 Depression,
Hollywood got used to using large staffs who worked for peanuts while a few
made out like, err, Movie Stars. Later as the Depression eased, people
wanted their living standards raised. The great entrepreneurs who forged our
large studios saw such talk as ingratitude. James Cagney, Frank Mankiewicz,
Dorothy Parker, even Ronald Reagan were Hollywood union pioneers who defied
them.
In 1935 the cartoonists of the Van Beuren Studio tried to organize and were
all fired. On May 7th, 1937, the Fleischer animators went out on strike
after Max fired thirteen union animators. The strike attracted two thousand
people and animators blocked Broadway and battled police and non-union
cartoonists. Fourteen arrests and a few broken noses. I met a sweet little
old lady inker named Ellen Jensen who recalled being arrested for biting a
policeman on the leg. The strike was finally settled on orders from
Paramount. Max Fleischer moved his studio to Florida and the expense of
fighting unionization probably helped to sink his studio.
1941, the year Schlesinger locked out Chuck Jones and Bob Clampett, saw
animation's version of the Civil War, the Disney strike. The struggle over
who would represent Disney's cartoonists lasted months and left hard
feelings to this day. The cartoonists went for IATSE in 1952 and our local
was formed. We won a strike in 1979 and lost one in 1982. A lot of our work
was shipped overseas but recent results have forced much to return home.
In the economic frenzy of the late '70s and '80s, unions were portrayed as
inhibitors of growth and entreprenurial spirit and national union membership
plummeted. As a result, the nineties now see real wages down 25%, millions
without health care and arrogant companies enforcing demands on privacy like
lie detector exams, enforced weight loss and no-drinking programs. In 1992
the Wall Street Journal examined the "Great Gatsbyification of Wealth".
Whereas in 1979 employers made $35 to every $1 of yours, they currently make
$100 to your $1!
So here we are today. The future? Maybe we'll be an all-computer local by
decade's end. Who knows? In 1829 in an address to the working people of
Philadelphia Mrs. Frances Wright wondered: "...if the new technology was not
lowering the value of human labor, making people appendages to machines."
We recently had a meeting of the artists of the new computer and digital
companies. The hall was packed with enthusiastic unorganized workers. Their
main concern? In 1886 it was overtime. At Fleischer in 1937 it was overtime.
In 1994, the main complaint was a fifty- to seventy-hour week with no
overtime. I hope Albert Parsons is listening.
-- Tom Sito
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LETTER TO THE PRESIDENT
An important correction needs to be made in your April President's Report.
It's not Schwurbruderschaft (umlaut over the first u), it's
Schwurbruderschaft (umlaut over the second u).
-- Andreas Deja
Oops, my umlauts are showing! -- TS
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IN THE NEWS
In mid-April, DISNEY began selling advance tickets to its new animated
feature The Lion King for its June 15 openings at Radio City Music Hall and
the El Capitan Theater in Hollywood. Advance ticket sales, a film-world
tradition in the Twenties, Fifties and Sixties, went out of fashion around
the time wide-screen spectaculars did, and haven't been used in a
quarter-century ...
Your tax dollars at work: As this issue goes to press, the U.S. House of
Representatives is about to vote on a transportation bill that will include
funding for a 12,000-space parking lot for the proposed Westcot Center at
Disneyland. Its inclusion was a "giant step" toward obtaining $318 million
in federal money for Westcot, said a representative for the Orange County
Transporation Authority ...
Disney increases its presence on Saturday-morning network television this
fall with thirteen half-hours of Aladdin on CBS in addition to a renewed
Little Mermaid series. Other CBS entries include Universal's Beethoven, Wild
C. A. T. S., and renewals of Garfield and Friends and Teenage Mutant Ninja
Turtles.
ABC's fall cartoon schedule includes H-B's The Addams Family and Warners
perennial Bugs Bunny and Tweety, along with Free Willy, Sonic The Hedgehog,
and Tales from the Cryptkeeper ...
The SCREEN ACTORS GUILD's Animation Caucus has approved an "incentive plan"
that would restructure residuals for voice actors, in an effort to stem the
tide of voice work sent to be done non-union in Canada.
SAG estimates that more than 20,000 jobs, representing $14 million in
revenue, have been lost to Canada since 1985. The new plan will allow
producers to pay singers, voice and ADR performers in "use cycles" rather
than straight residuals.
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IN MEMORIAM
1986 Golden Award winner BETTY BRENON died on April 30. Since 1933 she had
worked for Warners, MGM, Disney, Lantz, U.S. Army First Motion Picture Unit,
John Sutherland, Paul Fennell, Jerry Fairbanks, UPA, Top Cel and Jay Ward,
as well as running her own eponymous ink-and-paint service.
Retired effects painter BERNICE DAVENPORT died on March 29. From 1969 to
1982 she worked for Project Films, Bakshi-Krantz, Fred Calvert, Filmation
and Hanna-Barbera.
Veteran animator REUBEN TIMMINS died on March 10. From 1930 until his
retirement in 1980 he worked for Fleischer, Van Beuren, Disney, Screen Gems,
Trans-Artists, Sam Singer, Terrytoons, UPA, Grantray-Lawrence,
DePatie-Freleng, Sanrio, Bakshi-Krantz and Filmation.
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LOCAL 839 ON THE AIR
Our president Tom Sito and business representative Steve Hulett are
scheduled to be interviewed on The Labor Scene on KPFK 90.7 FM on May 23 at
7 pm. After the interview, we will have cassettes available of this program
and of Tom Sito's February 28 interview on KCRW's Which Way L. A.? program.
All you need do is bring in a blank ninety-minute cassette to our office and
we'll give you a copy.
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24TH ANIFEST! HONORS FORAY
In 1970, June Foray, the voice of Rocky the Flying Squirrel, Natasha, Witch
Hazel and many other cartoon characters, sponsored an informal fund-raiser
for ASIFA/Hollywood in her backyard. Animation cels, donated by various
studios, were sold for a few dollars apiece to ASIFA members and their
friends. Since then the AniFest! convention has grown to become the largest
and longest-running animation-related event of its kind in the country.
This year, the convention is dedicated to Foray, and will be held on JUNE
18, from 11 AM to 6 PM, in the main ballroom of the BEVERLY GARLAND HOLIDAY
INN in North Hollywood. There will be shows by top cartoon voice artists,
demonstrations of various steps in the animation process, representatives of
animation schools and organizations, personal appearances by celebrity
animators, actors and authors, and a variety of informational displays of
interest to animation fans. In addition, there will be dealers in all sorts
of animation-related collectibles and products, including animation artwork,
toys, ceramics, posters and lobby cards, as well as animation books,
magazines, comic books and video tapes.
On the evening before the AniFest!, ASIFA/Hollywood will be holding a gala
reception, tribute and banquet in honor of June Foray, hosted by such
animation luminaries as Chuck Jones, Don Messick, Stan Freberg and Janet
Waldo.
The Beverly Garland Holiday Inn is located at 4222 Vineland Ave., just south
of the Hollywood Freeway in North Hollywood. General admission to the
AniFest! will be $5.00, with ASIFA members and children under 12 admitted
for $3.00. Tickets for the June Foray banquet will be on sale soon. For
further information, contact ASIFA/Hollywood, 725 S. Victory Blvd., Burbank,
CA 91502; phone (818) 842-8330 or fax (818) 842-5645.
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AT THE WATER COOLER
WARNER BROS. ANIMATION personnel are now eligible to attend Warner Bros.
employee screenings at the Academy Plaza Theater, 5230 Lankershim in North
Hollywood. Warners employees must show their i.d. at door ...
Universal producer ROY SMITH married JULIE WAKEFIELD on May 1 ... TOM SITO
and STEVE HULETT are developing deep, meaningful relationships with each
other's answering machines ...
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ANIMATION WRITERS' CAUCUS
On May 3, over one hundred and forty animation writers attended the founding
conference of the Animation Writers Caucus at the Writers Guild of America
west. The basic issue discussed: better treatment for writers working in
animation. Speakers included WGAw executive director Brian Walton, assistant
executive director Paul Nawrocki, and AWC steering committee member Craig
Miller.
Among the short-term goals of the Caucus are better working conditions and
pay rates for writers; among the long-term goals are the organizing of
non-union animation houses in and around Los Angeles.
Some of the immediate benefits to AWC members will be:
* The right to participate in Animation Writers Caucus events and activities.
* Eligibility for participation in the WGAw's alternative health plan through
Foundation Health HMO.
* Receipt of Guild Publications -- Animation Writers' Caucus Newsletter, WGAw
Journal, WGAw Calendar, WGAw Manual.
* All other WGAw mailings sent to WGAw Associate members.
* Eligibility for WGAw Film Society.
* Discount on the WGAw's script registration service.
If you are a writer in animation (either for TV or features) and you wish to
learn more about the Animation Writers Caucus, contact Cecelia Ceccone at
the WGAw's Department of Industry Alliances at (310) 205-2511.
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AN OPEN LETTER TO DON BLUTH
May 9, 1994
Don Bluth
Don Bluth Entertainment, Ltd.
Phoenix House
Conningham Road
Dublin, Ireland
Dear Don:
On behalf of the animation artists of Los Angeles as well as myself let me
congratulate you on your new venture with Fox, with hopes for your success.
When you started your independent career in the early 1980's, animation was
in a neglected, moribund state with little hope for the future. You and your
fellow crusaders reinvigorated us and helped pave the way to the dizzying
renaissance we currently enjoy. You are one of animation's true legends.
Now that you are returning to the U. S., I'd ask you to take a fresh look at
relations with our union. The labor strife and partisan rancor of the past
are history. Just as the studios have new leadership and spirit, so the
union has been reinvigorated with a new sense of purpose. We are larger and
more powerful than at any time in our history. This power is created not of a
wish to destroy or interfere with business, but from the natural aspirations
of hundreds of artists and their families for a dignified and secure future.
Many of your former employees are now firm supporters of the new union
movement. Our leadership has dedicated itself to working through problems
with management in a spirit of cooperation rather than dogmatic
confrontation.
You who have been a leader and inspiration for hundreds of artists can now
lead the way to a new spirit of reconciliation. Please don't assume the old
feuds endure. We all love this art form and shouldn't be divided over venal
issues.
Work with us. You may find we're not as inflexible as you think. I await
your response.
Sincerely yours,
Tom Sito
Animator and President
Motion Picture Screen Cartoonists and Affiliated Optical Electronic and
Graphic Arts, Local 839 IATSE
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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
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
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
E-mail: mps...@netcom.com
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