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THE PEG-BOARD -- Information Superhighway Edition -- September 1994
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* We apologize for the late posting of the September PEG-BOARD, due to *
* computer problems and other unavoidable delays. *
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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:
* Baer Animation signs with Local 839
* A letter from a member
* From the President
* From the Business Representative
* A letter from Don Bluth's lawyer
* Local 839's reply
* In the news
* At the water cooler
* Classifieds
* In memoriam
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BAER ANIMATION SIGNS WITH LOCAL 839
Negotiations for a new contract with Baer Animation concluded last
month, with the Screen Cartoonists signing a new two-year pact with the
commercial house. Baer Animation, headed by Dale Baer and Jane Baer, has
been one of the premiere commercial animation facilities in Los Angeles
since its founding.
The new contract includes minimums for theatrical animation, commercial
and interactive work, as well as cable and direct-to-video. The contract
runs from August 1, 1993 to August 1, 1996.
The Baer contract is a milestone in setting fair terms and conditions
for new technologies and the burgeoning interactive field. We are
approaching other employers who have expressed interest in working with
Local 839 to establish work standards.
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A LETTER FROM A MEMBER
Dear Tom and Steve:
Right up front, let me tell you that I support the idea of a strike
fund. Details need to be worked out: how much, how long until it's
considered "fully funded", etc. But it's a necessity because:
The only clout that we, the union, have is the withholding of our
services. That's it. That's our arsenal. One measly weapon: Treat us
fairly or we won't work for you. If we won't or can't use this weapon,
we're screwed.
When it comes to using this weapon, I'd like to offer the membership a
few pieces of advice gleaned from twenty-plus years of surviving as a
freelancer.
First, make yourself valuable. Take the courses, improve your craft and
your art. When you work, work hard and conscientiously. Give 'em their
money's worth. Make them want you.
Then use the weapon. If you don't like the deal, don't take the job. You
may get a better or you may not, but you sure won't get it by accepting
every deal that's offered.
Naturally, whether you work or walk depends on your bank balance. My
agent calls it "f--k you money." So, save. Keep your credit clean. Live
below your means instead of always pushing the edge, and bank some cash.
Diversify. If you keep little revenue streams flowing from other sources
such as advertising or comic books or whatever, you can weather
downturns and strikes in the cartoon biz much more easily. Instead of
taking that freelance cartoon job for extra cash, find a job in another
field and cultivate it.
So much for sage advice, Let's talk about that strike fund.
I always mutter the same four-letter obscenity when I receive my bill
for union dues. I don't like paying the money, and often the bill comes
when my bank balance is at an ebb. And I don't relish the idea of the
amount being increased to support a strike fund. But there's nothing
like a healthy strike fund and a committed membership to put far more
money in our pockets at contract negotiating time.
How much are you spending for prescriptions this quarter, prescriptions
that were free last year? How much do you stand to lose as producers
jack around with overtime pay? How much would you make if you got just a
tiny percentage of the videocassette sales of your work, or a small
residual like that paid to voice actors, lyricists and composers? How
much will you make from CD-ROM and other interactive uses of your work
in the future?
Everything that we now have, has been fought for by the union members
that preceded us. Everything that we now have is at risk with every
contract negotiation. Everything we will gain in the future will be
gained because we fought for it, because we sacrificed short-term
interests for it and used our one and only weapon: the withholding of
our services.
A strike fund is our muscle, not just for the money involved but because
it demonstrates our determination and our unity. We must be ready,
willing and able to strike. Without the clear determination to strike,
we have no clout and the producers will pounce on us like hungry wolves
on a limping antelope.
So, debate. Get the details worked out. And then vote for the fund. We
need it.
Sincerely,
-- Jan Strnad
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FROM THE PRESIDENT
New York Stories
Recently I was back in New York seeing family and inhaling the grime and
knishes with sweet nostalgia. While there I had a meeting with Lou
D'Agostino and John Amman of Camera Local 644, which absorbed our
eastern sister MPSC Local 841. We discussed the cartoonists' union in
New York in great depth.
New York, for all its majesty and power, has always been a tough town
for animation.
The cartoon, comic strip and comic book industry were born in New York.
Winsor McKay worked there, and J.R. Bray invented the animation studio
system (layout, animation, assistants, inbetweeners, etc.). Yet Gotham
has had mixed success with long-term employment. Some say the town never
recovered from the loss of the Fleischer Studio. Animated television
commercials were first produced in Manhattan in the 1950s; today,
despite all the giant advertising agencies still headquartered on
Madison Ave., most commercials are animated in L.A., London or San
Francisco.
New York has another heritage: the union movement. Contrary to the
denials of self-serving nihilists, cartoonists and illustrators in New
York had been trying to organize since the 1920s. Look at this excerpt
from the Report of the Commercial Artists to the Artists Union of New
York (AMPWU) Convention of 1935:
We must first explore all possibilities of shop organization, find those
large numbers of workers such as fashion sketchers, art services,
textile designers, animated cartoonists, etc. who are most exploited...
The Commercial Artists and Designers Union (CADU), the WPA Arts Project
(who fought with police when they closed their offices), The Animated
Motion Picture Workers Union, the Paperhangers, the Cartoonists Guild of
New York, The United American Artists (UAA), The Unemployed Artists
Association ... Zounds! even the IATSE began in New York! The first
attempts to organize an animation studio were made at Iwerks in 1931,
spearheaded by New Yorkers like Shamus Culhane, Al Eugster, Bernie Wolf,
and Grim Natwick. After the bitter Fleischer strike in 1937, Max signed
the first animation union contract. Local 841 was formed in 1952, and in
the '70s under Jerry Salvio they pioneered a track that unions elsewhere
are only now starting to follow, that of organizing the computer
graphics and digital imaging industry.
Until recently, New York has had hard times. After Raggedy Ann and Andy
in1977, a lot of work seemed to dry up in town. Every once in a while I
would call Mike Sporn or Nancy Beiman and they would tell me it's even
deader this year than last. Local 841 went through the same rough
transition we did, from the "Golden Age" generation to the "Baby Boom"
and "Gen-X" generations. The problem was that while the older generation
remembered the conditions of the past and gave loyalty, the younger
people had no connection and felt alienated when the union would try and
enforce its will. We have learned now that unions can never take loyalty
for granted, but must go out and earn hearts and minds, one artist at a
time. This problem, coupled with the poor economic climate, forced what
remained of 841 to join with 644 in 1985.
As anyone who has read labor history knows, unions have been declared
dead before: in 1877 with the Homestead Massacre, in 1933 when IATSE's
industry-wide strike in Hollywood went down, in 1982 when our attempt to
halt our jobs going overseas was destroyed. We always bounced back
bigger and badder then ever.
People now like to say unionism in New York animation is dead. But I
don't think so ... While the nay-sayers exult, 644's Maestro D'Agostino
is quietly working miracles with the computer animation studios there.
He seems to have forged the right balance of cooperation and pliability
in contracts, and solved the jurisdictional issues which are a major
bone to pick among computer folks in Tinseltown. There are still union
artists in New York, studios like R.O. Blechman are still under contract
and our reciprocal transfer treaty is still intact.
Nickelodeon, Viacom and other cable biggies have spawned lots of new
work in New York, and small studios like Curious are growing. There's
talk of features on the horizon. A new generation of artists, untainted
by old hates, is sitting in the chairs of the Culhanes, Hubleys and
Gentilellas. 644's job is to make the spirit of unionism relevant for
them. Their challenge will be to fight the ghetto mentality that so
pervades the minds of artists in New York (and Toronto and L.A. too),
the attitude of: "Be grateful for the work and don't make trouble
because they'll send it all away". Lou D'Ag and John seem up and ready
to fight. We at 839 wishes them luck and our full support. Let our
brother and sister artists in the Big Apple know that we all benefit
when the movement is not just an "artist's union" but a "Union of
Artists"!
Good luck, 644 and the New York animation community! So come on through,
New York, New Yorrrrrrk ... dat-dat datta-wa, dat-dat datta-wa ...
-- Tom Sito
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FROM THE BUSINESS REP
Not long ago a former Disney colleague told me about a close artist
friend who asked plaintively why he, the close friend, never had any
money. This particular artist made a terrific salary (terrific by my
standards, anyway), yet when the end of the year rolled around, the bank
account was empty.
My former colleague was not working at the time, but he wasn't strapped
for cash. The question his plaintive friend asked was: "How come you're
not working and can still afford your house payment, but I've been
steadily employed the last three years and have two hundred bucks in the
bank?"
The answer was simple. My friend explained that while he ate his meals
at home and brown-bagged his lunch, his employed buddy was eating lunch
out, buying stereos and a new car, dropping $50 a night at high-priced
restaurants.
The artist who was unemployed paid himself first, squirreling money away
in the bank, then spent money on food, clothing and shelter. His friend
did precisely the reverse -- and never saved a dime.
Why do I bring this up now? Because the union is working to bring into
being a 401(k) plan -- a sort of pay-yourself-first plan made easy --
and I think it's a good time to broach the subject of setting money
aside.
Now, some of you regard the idea of reducing your take-home pay with
distaste if not downright horror, but as a guy who grew up in the
animation industry, I've seen how today's $1,400-per-week employment
turns into tomorrow's layoffs. I went from staff writing at a
comfortable wage for Disney to private-school teaching at minimum wage,
and I learned the hard way. If you are not socking something away on a
weekly basis, you are being short-sighted. The fat times do not last
forever.
A couple of weeks ago we mailed out a letter about wage rates in the
industry. Over the next few months we will hopefully be putting the
final bricks in place for a savings/retirement plan, and sending you
information on the final plan when it's ready. Some studios may choose
to participate, others may decline. You will have to decide if it's
something you want to supplement your rocking-chair years, however soon
(or far off) they may be.
-- Steve Hulett
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A LETTER FROM DON BLUTH'S LAWYER
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* In the May Peg-Board, Local 839 President Tom Sito wrote a letter to *
* Don Bluth offering union assistance in building Fox's new Arizona *
* studio. We sent that letter to Mr. Bluth, hoping for a positive *
* answer. As of this date we have still not received a response, *
* either positive or negative. *
* *
* In July, the union sent a letter regarding Mr. Bluth to people at *
* Sheridan College in Toronto. The letter was not positive about Don *
* Bluth. It was, frankly, quite critical, and written with *
* considerable input from former Bluth employees. It apparently found *
* its way into other hands, and unlike our friendly letter in May, *
* resulted in a swift response from Don, via his lawyer. *
* *
* What follows is a letter from Don Bluth's legal representative. We *
* have printed it verbatim, with our response. *
************************************************************************
Dear Steve Hulett and Members of Local 839:
As most of you are aware, recently Don Bluth and Gary Goldman agreed to
become the creative executives of Fox Animation Studios, Inc., in
Phoenix, Arizona. At the time the agreement was made, Don and Gary were
enthusiastic about their future with a major studio and being associated
with someone like Fox's Bill Mechanic. Their enthusiasm was balanced
with some sense of trepidation on returning to the United States, where
they had not worked for almost 8 years.
After the public announcement was made about their new positions, my
office became aware that a number of statements were being made by
members of your union, to the public at large, that were either complete
falsehoods, or leaving the wrong impression as to the true facts. As a
result of these statements being made, both orally and in writing, I
have requested that Don and Gary have the right to respond to some of
these falsehoods in your union publication. They are grateful that Steve
Hulett, your Business Representative, has permitted this response to be
published.
Initially, each of you should be made aware of the fact that Don and
Gary have not been the owners of Don Bluth Entertainment, Don Bluth
Animation Studios, or Don Bluth Ireland, LTD since approximately
September, 1991. At that time, in order to save the studio from
financial destruction, Don, Gary and John Pomeroy sold their ownership
interested in the studio, with a promise to be paid in the future for
their stock holdings. This promise was never fulfilled and as a result
Don and Gary each lost all possible monies due them for their career
efforts over the last 15 years.
The fact that Don and Gary no longer owned the studio, they were now
employees and only controlled what they personally contributed to the
studio.
In the beginning of 1992 the studio was again transferred to another
European company. Within a very short period of time, this company also
began experiencing financial problems. In August 1992, Don and Gary were
asked to encumber the three (3) films in process without an assurance
from anyone they would be able to complete the films. It was decided
they could not give their permission. Don and Gary, were willing to give
their permission if, and only if, they were given appropriate assurance
that the financial support would be there to pay the employees and
complete these pictures.
As a result of these financial difficulties, the studio went into
liquidation. In order to keep the staff together Don and Gary
voluntarily used their own personal funds to pay two weeks of the Irish
management salaries and one month health insurance benefits for the
employees. As of this time, they have not been reimbursed for these U.S.
expenditures. In addition, Don and Gary have also lost a number of weeks
[as have all members of the Irish and Burbank Studios] salary for which
the liquidator of the studio has not paid. After the studio was
purchased out of liquidation, Don and Gary simply made a claim for their
lost monies with the liquidator -- as each of you should also do, if you
haven't already.
It has also been stated that Don and Gary received $100 million dollars
from Rupert Murdoch and Fox. While this statement was made, Don and Gary
are sure that each of you realize that this is simply not true. Don and
Gary have signed employment agreements with Fox. They again have no
ownership interest in the new studio. The capacity will simply be sd
creative heads working for Fox.
Another falsehood printed is that Don and Gary set up the new studio in
Arizona to stay beyond the legal reach of any labor unions. The truth is
that Don and Gary recommended to establish the new studio in Arizona, to
give individuals in the animation community the ability to choose a
better quality of life. The cost of living is substantially less in
Arizona than in California; the crime rate is lower than in Los Angeles;
the commute time to and from work is less; the public education is far
greater in Arizona than in the Los Angeles City School system; state
income taxes and sales taxes are lower in Arizona; and the overall
business climate is more favorable than in California.
Fox believes that if they offer union wages to its employees that they
could live a better quality of life in Arizona than in California.
Furthermore, each employee will be covered with an appropriate health
care plan provided by Fox. In addition, it is anticipated that a state
of the art computer studio will be established based upon the commitment
given by Fox to make quality classical animation films that the whole
family can enjoy.
In conclusion, it is hopeful that Don and Gary have been able to shed
some light on what has been unknown by many of you in the past. They are
optimistic that in the future these types of untruths will no longer be
disbursed. Please feel free to contact Don and Gary through Jon D.
Cantor at (818) 986-1900.
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LOCAL 839'S REPLY
I trained under Don Bluth at Disney in 1976. At that time, I observed
how he treated Disney employees while they were in his presence, and
listened to what he said about those employees when they walked out the
door. And drew my own conclusions.
Since 1977, I have had little or no professional contact with Don.
During most of the battles he fought with this union in the early
eighties, when he was threatening to close his company if his employees
didn't resign from union membership, I was ensconced in Disney's story
department and paying minimal attention.
Until I took the job of Local 839 Business Representative in 1989, I
seldom thought about Don. But since that time, he keeps getting nudged
back into my consciousness, and it's more than my kids watching his
films, or my reading an article about him. At every studio to which I
go, at every season of the year, I encounter veteran story men and
women, veteran animators, veteran layout artists who have unkind things
to say about Don Bluth (all, I should add, without prompting from me.)
These artists all have one thing in common. They have all worked for Don
Bluth or with Don Bluth.
Now, I don't for a minute think that all of Don's former employees
dislike or hate him, but I find it astounding that there is so much ill
will from so many for a man who has only been a "boss" for fifteen or
sixteen years. And it's not just artists. Two years ago a writer who had
written a screenplay for him called me out of the blue to complain
bitterly about Don rewriting her script without her consent or
knowledge.
Despite all of the above, this union has, in the past, paid tribute to
Don's accomplishments in animated features. At the time of his Irish
company's bankruptcy in 1993, we acknowledged Don's years of work in the
field, and wished him well.
Which brings us, finally, to our Sheridan letter and Don's unhappiness
with it. The letter was written after other attempts at communication
were ignored. Don disputes some of our allegations, but he cannot
dispute our willingness to provide him with a forum to answer those
allegations. We have published his representative's letter exactly as we
received it, without editing, despite what we consider to be his
unrelenting hostility to this union, despite his failure to answer our
letter of May 9, a letter intended to heal old wounds, to move our
relationship forward to mutual benefit.
We are pleased that Fox is offering the equivalent to union contract
minimum wages to its Arizona employees, but it only deepens our
confusion as to why the company refuses to become a signator to the
contract guaranteeing those wages. For Fox to offer true parity to Local
839 contract conditions, in addition to wages they would have to pay
overtime to all employees, establish a fully portable multi-employer
health and pension plan, and empower a completely independent authority
for representation and arbitration of employee grievances. Assuming Fox
sincerely intends to do all this, why go to such lengths when a union
contract would be cheaper?
Don and Gary's representative asserts that Fox set up the studio on
their recommendation for "quality of life" reasons, and not to avoid
unionization. But are we wrong in assuming that the "more favorable"
business climate of which he writes includes weaker unions due to state
laws hostile to labor? Are we wrong in pointing out that Arizona will
provide Fox with a "captive" labor pool, with less freedom for artists
to jump ship to jobs with better wages and conditions? We think not.
Regardless, we still hope to work with Don and Gary to provide union
protection to the employees of the new Fox studio. And we hope that they
will provide us the same opportunity to address Fox's employees that we
have provided them in communicating with union members. If that hope
proves elusive, and Don fails to provide the same courtesy to us that we
have provided to his representative, we will move forward without Don or
Gary's help to give the Arizona animation employees the contract
protection they need and deserve.
-- Steve Hulett
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IN THE NEWS
Disney announced on August 8 that it intends to team with three large
regional phone companies to deliver new video services to home
consumers. Disney will partner with AmeriTech, BellSouth Corp. and
Southwestern Bell to offer movies on demand, home shopping, and a
"navigator" used by the home audience to sort through the wide, deep sea
of programming. The August 8 agreement is limited to the development of
a business plan, but the new partnership would link a powerful Hollywood
studio that have over fifty million telephone lines crisscrossing
nineteen states.
Disney will pull The Lion King out of theaters at the end of September,
then re-release the film during the Thanksgiving holiday, along with a
new ad campaign. The move is unprecedented, but our guess is that Disney
believes Lion will have renewed, vigorous boxoffice, re-entering the
marketplace just as out-of-school kids do. (And they probably hope to
steal some Page Master and Swan Princess business in the process.)
Daily Variety reported in its August 12 edition that Francis Ford
Coppola is set to direct The Adventures of Pinocchio, a live-action film
that Coppola says is not a remake of Disney's 1940 version, but instead
will return to the original 1870 book by Collodi. In Coppola's version
(we're informed), Pinoke will mash the cricket flat.
MGM, continuing its full-ahead return to animation, will release the Don
Bluth musical animated feature The Pebble and the Penguin in 1995.
Following Pebble, the company will release an All Dogs Go To Heaven
sequel, now in pre-production at the Bluth Studios in Ireland. Don Bluth
will not be connected to this film, as he is now a full-time executive
with Fox's Animation studios in Phoenix, Arizona.
Universal will release The Flintstones as a sell-through videocassette
on November 8. The live-action version of the long-running animated TV
show (first in prime-time) will be going head to head with Jurassic Park
(yet another animated flick) and the grandmother of all animated
features, Snow White and the Seven Dwarfs. Universal expects to sell 12
million units.
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AT THE WATER COOLER
Local 839 board member and Disney key assistant Stephan Zupkas flew to
Chicago last month to assist his mother in her recovery from a serious
illness. We wish a speedy recovery to Steve's mom ...
Jim Vanderkeyl of Warner Features is a father for the third time. His
daughter, Savannah, was born on July 17... Disney TV's Colette van
Mierlo and husband Terry Wheeler have a new pair of twins on August 22
-- Hayley (7 lbs 15 oz.), and Christopher (7 lbs. 9 oz.) ...
The first annual Hanna-Barbera feature artists vs. production staff
softball game was won by the artists, 18-12. A key play was Craig
Littell-Herrick's catch of a pop fly hit by producer Barry Weiss. By the
time of the second annual Hanna-Barbera beach party at Zuma Beach, it
was reported that Barry was once again on speaking terms with Craig, if
only "Hey, you!" ...
Warners' Norm McCabe and wife Fern are vacationing at Mt. Shasta and
(possibly) Hawaii, before he returns to be a timing director on the
Granny Sleuth show ... According to ASIFA's newsletter, Chuck Jones will
be getting a star on the Hollywood Walk of Fame next year. About time!
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HELP WANTED
And Everything Roughly Inbetween!
Disney Feature Animation is currently seeking rough inbetweeners for
immediate openings on their upcoming productions, Pocahontas and The
Hunchback of Notre Dame. Testing opportunities for these positions are
tentatively scheduled to commence within the next two months.
Qualified test candidates need to have experience in the following
areas: as a clean-up inbetweener, breakdown or assistant animator, or
have commensurate animation experience and training.
Tests will be administered at Walt Disney Feature Animation, Monday
through Friday starting at 9 am. Applicants will be asked to arrive at
8:45 am to receive instruction. The test will be eight hours in length
with an hour break for lunch over a two-day period.
Upon arrival to your testing appointment, you should bring ten to
fifteen Xerox samples of Life drawings representative of your portfolio
and a copy of your current resume. These will be circulated with your
completed test during the evaluation process. You will be contacted once
the evaluation process is complete.
Any interested artists are encouraged to call. For those who may not be
available to test during the week, Saturday-Sunday dates will be made
available to you.
For scheduling test appointments or further information, please call
Marina Shibuya or Phillip Williams at the Feature Animation Recruitment
Center at (818) 544-2130.
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Artist needed to draw logo for new company. Roughs are complete; we need
camera-ready two-color finished image. Contact Christie Cash at (213)
462-6699.
For sale
VAS-4, 3/4-inch pencil test machine with Sony deck, rack and camera.
Works perfectly. $24,000 new; will sell for $14,000 obo. Also: layout
boards, $250; discs, $100. Bill Kroyer, (818) 755-0280.
20" FAX model 20-12-2MB animation disk. Top condition. Plus full set of
field guides. $350 plus shipping. Jim Willoughby, (602) 778-7987.
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In memoriam
DOROTHY ESGATE, who worked as an ink-and-painter at Disney from 1937
until her retirement in 1977, died on June 30.
MIKE GRIBBLE, the "Mike" of Spike & Mike and the co-organizer of the
eponymous animation festivals, died in late August. He was a friend of
animation who gave many opportunities to young filmakers.
Retired background artist PETER VAN ELK died on June 23. From 1965 until
1982 he worked for Hanna-Barbera, Krantz and Ruby-Spears.
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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
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
--
_______________________________________________________________________________
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
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