Alec Baldwin on the Strike

Blogs by Alec Baldwin from the Huffington Post



Three Random Things
November 18, 2007 09:16 PM (EST)

I saw Sean Penn's film, INTO THE WILD, this weekend. Hope you all had the chance to see it on the big screen, as well. Give Emile Hirsch the Jim Caviezel Award for the greatest suffering on film. I have not seen an actor put through this much in quite a while. Good job by Sean and Co.

Also, give Ryan Gosling the Ryan Gosling Award for being such an unbelievable film actor. I saw LARS AND THE REAL GIRL this weekend, too. Gosling is one of the few leading men in movies who could pull this role off. He was phenomenal in HALF NELSON and he is remarkable here.

Man, I keep thinking about how I shot my mouth off with all the things I have said about this administration. All the things that all of their opponents have said. What liars, whores and thieves these people are. Then, I get uptight when I watch even a snippet of these debates. Is leadership there? Is greatness there? Is the end of the war there? Up on that stage?

I miss my make-up artist, Stacey Panepinto. I miss my hairstylist, Richard Esposito. I miss all of the 30 ROCK cast and crew, who I don't see anymore because of this motherfucking, motherfucking, motherfucking strike.



What the Strike is Costing Us
November 11, 2007 07:17 PM (EST)

The television show 30 Rock, that I had been shooting in New York until we shut down this past Friday, has been one of the best professional experiences I have ever had. Obviously, the critical success of the show is a significant part of that. 30 Rock has had the kind of reception that writers can only dream of, and I feel that all of our writers, and especially Tina, deserve everything that has come their way.

But any film, stage play or television show provides the opportunity for the cast and crew to bond into a remarkably fun and cordial unit. On the set of our show, we are blessed to have the best shooting crew of any in New York. However, across the board, everyone seems to recognize that the writers have a valid reason for striking.

We finished our last pre-strike approved script on Friday. The atmosphere the last couple of days was thoughtful and a little sad, as some crew members, and eventually many more, are expected to scatter in search of work. There is other work, no doubt, but maybe not the kind like we have had up until now, with a good group of collegial and talented people working on a show that seemed to be growing, in many ways.

Strikes, and the lack of forward-thinking negotiating that results in them, costs more than money. Sometimes, they cost you friends and family, as well.



It's the Studio's Fault
November 7, 2007 05:43 PM (EST)

When I look back on the years I have worked in the film and television business, since beginning in 1980, there have been many obvious changes. Most of those are technological ones and those technological developments have profoundly altered the soul and the math of the business. Cable TV and then satellite, VHS and then DVD and then DVR, and now MP3. Three networks dominating everything and then those three networks dominating nothing. HBO producing original broadcasting that competed with the Big Three for audience share. David Chase giving everyone a reason to stay home on Sunday to watch TV. Who'd a thought?

In the movie business, among the biggest changes is the background, personality and capabilities of your average head of the studio, head of production and their marketing departments. I recall, through the admittedly distorted prism of time, that Mike Medavoy was the kind of old school studio boss who looked at his release schedule and decided to burn one on "the side of the angels." He had a movie and a filmmaker that he truly believed in and, inside of a slate of 20 or 15 or even 12 movies, Medavoy made one with little regard for the box office prognosis. He wanted to make a good film and believed that audiences would follow the filmmaker, and him, to the theatre.

There are no Mike Medavoys running the studios today. There are no Fred Silvermans running the networks, either, Silverman being the television-savant-as-executive, a breed that seems to have all but vanished, save for Garth Ancier, who apprenticed under Silverman. The studios are run by men and women who know very little, if anything, about how to make a good film. That is why so many studio films are so shamefully (or shamelessly) bad. These are men and women who simply do not have the recipe, although each fancies himself as a modern day Cohn, Warner or Zanuck. From what I read of Hollywood history, Zanuck had more talent for how to fit the disparate elements of filmmaking together in one finger than most of today's crowd has in their whole production department. Make no mistake, there are extraordinarily talented and capable people at the studios and networks. Ron Meyer, once the greatest talent agent of them all (he was mine, and I mean every word of that) and Brad Grey are two smart men who have had remarkable careers and yet run major studios that answer to demanding corporate parents.

The writers' strike is upon us because the writers want more of the back end and the studios claim they don't have it. If the studios don't have it, it's more their own fault than anyone else's. We are now in the fully realized age of the modern entertainment corporation, with lawyers and accountants calling nearly all of the shots. Some say the old studio system was bad. However they look more and more like the Medicis compared to what exists today. Even in independent film, so much of the product seems tired. (If I see one more Indie Icon Guy and Indie Icon Gal put one of their parents into a nursing home, while the lighting is dialed down real low to hide the cheap set design, I might cry.)

Many contributors disparaged the striking WGA on this site. I was dismayed by this. Do you honestly believe that most writers are ultimately responsible for what goes on screen, even if their name is on it? That's like saying a plumber is responsible for your taste in fixtures. Sometimes a writer is like a plumber: he installs what he is paid to install. Most writers I know have a great script in one file and a commercial one in the other. They have BILLY BUDD and PORKYS all in the same computer. Don't ever judge a writer by any screenplay that gets made. Unless you're saying something admiring about a real giant, with real power, from another time. Like Welles or Mankiewicz or Robert Towne.

Everyone in the film industry seems to be searching for the risk-free project. There is no such project. Movie-making, music, theatre and TV, even publishing...all creative enterprises that struggle to discern the taste of a mass audience are in a risky business. We need more risk-takers to make movies and produce TV. We need more Mike Medavoys. And let's hope the strike ends soon.



Let's Hope the Writers Get a Good Contract
October 30, 2007 07:59 PM (EST)

I remember the last WGA strike. It was sad. I had been in LA for a couple of years, just getting my feet wet in the movie business after working in TV for five years. The trickle down was incredible. Restaurants, limousine companies, real estate brokers, clothing retailers, travel agencies. The list went on and on. Not to mention all of the direct impact on actors, directors, crews, office staff and accounting, the studios and networks themselves, talent agencies and managers, publicists and business managers. It was a disaster and it was painful to witness.

However, as an actor who has worked in film and television since 1980, I have always been pretty clear about the fact that we are nowhere without the writers in our industry. And that goes beyond the scary concept of a world of unscripted reality TV. Television and film writers are responsible for some of the greatest literature in the history of our society. Go to one of my favorite websites, the Internet Movie Script Database (IMSDb). You can pull up CITIZEN KANE, ALL ABOUT EVE and SUNSET BOULEVARD. You can read, online, hundreds of the greatest movie screenplays of all time. Members of the WGA wrote those scripts.

The studios and networks claim that their profits are eroding and blame the cost of stars' salaries and expensive marketing campaigns. One more thing the studios and networks ought to consider is how overstaffed they are themselves. You've never seen a business where more people are required to do the same job until you have worked at a TV network or film studio. Actors don't put a gun to the studio executive's head. They negotiate a price and the studio agrees, or disagrees, to pay it. Sometimes, as an actor, the price you pay is a pretty big number that you arrive at before you even open your mouth.

The not-so-secret truth is that everyone in show business, of those who live "above-the-line," are overpaid. The only ones above-the-line who usually are not are the writers. Let's hope there is no strike and let's hope the writers get a good contract.



With courtesy, re-posted from the Huffington Post