The Writers Guild of America’s (WGA) strike against the Alliance of Motion Picture and Television Producers (AMPTP) has now gone on for over 100 days. SAG-AFTRA (Screen Actors Guild-American Federation of Television and Radio Artists) joined the walkout in July. There is a lot in the news and on social media about this or that aspect of the combined strike, but it may be that not everyone is sure what is at stake. Here then is a summary of the issues involved in this entertainment industry strike.

What the WGA Wants

• Increase pay across the board: nearly half of WGA members are paid the minimum rate. Along with this proposed rate hike, the WGA wants increases in their pension plan and health fund.
• Better residuals: Currently, films and series are put into streaming services, which do not pay nearly the same as traditional syndication or overseas sales. Writers are particularly interested in higher residual pay based on popularity of streaming series.
• Staffing requirements: basically, the WGA “wants TV shows to staff a certain number of writers for a period of time. Current practice does not allow for protections from being overworked and understaffed.”
• Shorter exclusivity deals: current TV series have much shorter seasons, which reduces per-episode pay and can limit writers from working on other programs.
• Assurance on AI: WGA is demanding that “AI cannot produce original material, rewrites, and source material.” Writers are also demanding that union-covered material cannot be used to train AI systems.

What SAG-AFTRA Wants

• Increase in pay: actors are seeking an increase in pay and stronger contributions to the union’s pension and health funds.
• Revenue sharing for streaming shows: Since streaming does not generate residuals, this is a way for actors to share in the success to compensate for the lack of residuals.
• Better regulation of “self-taped auditions”: Actors are now being asked to record themselves rather than coming to a casting room.
• Actors of color support: the union wants “all sets have qualified hair and makeup professionals and equipment for actors of color.” AMPTP has agreed to his, but only for principal actors.
• Assurance on AI: The union is seeking “protections against the misuse of generative AI technology that can mimic voices, likenesses, and performances.” “Voiceover actors are already reporting competition from AI-generated performances.” The union has also proposed provisions for “consent and compensation when a so-called digital replica of a performer is made or if their performance is changed using artificial intelligence.”

What the AMPTP Wants

• Pay: AMPTP has made offers of pay increases, but these have been rejected by the unions as insufficient.
• Residuals/profit sharing: AMPTP is proposing no change in present streaming residuals arrangements.
• AI use: There is disagreement about what AMPTP really wants. SAG-AFTRA says the producers want to be able to scan background performer’s images for half a day’s pay and use it inperpetuity without the performer’s consent, and to be able to make changes to performers’ dialogue. AMPTP, on the other hand, says that background actors would be given consent over their digital likenesses.

There are other points, but these are the main ones. It is interesting to note that the major sticking points, other than base pay, AI use, and profit-sharing for streaming are issues that have arisen during the last 20 years with the advent of those new technologies. Thus it does seem appropriate for adjustments to be made. Exactly what those adjustments will look like remains to be seen.

In the 5^th edition of American Cinema/American Culture John Belton says that American cinema is essentially a narrative machine that uses “high artifice” to produce work the style and structure of which are “largely invisible.” That invisible machinery delivers narratives “effortlessly and efficiently.” In other words, there is lots and lots of machinery working behind the curtain, but the curtain is never lifted.

Since American film has been remarkably successful from its beginnings to the present, both as popular entertainment and high art, there may be lessons to be learned here. The first is, of course, that to make art good requires high artifice. That is, there needs to be structure, and that structure will contain the expertise and the style of the artist and the time. This suggests that behind the novel there does need to be an outline, at least as a starting point; behind the painting and the photograph there needs to be principles of composition and color; really good music has to be backed by solid music theory. As artists we must know what we are doing and employ the very best practices we can bring to the computer, the easel, the drawing board, the photo session.

The second lesson is that that artifice that we employ should be invisible. The audience should never be aware of the structure of the play or novel, the principles of composition, the theory employed to develop the work of art. We should never allow the audience to be aware of the hours and hours of planning and practicing, of trial and error that went into mixing that particular shade of blue, getting that exact characterization right, finding exactly the right words for the third line of the poem, developing the ending for the essay, the short story, the novel.

Rather, the audience should see a work of art that looks completely effortless, a piece of work that stands alone and communicates its story or meditation or vision in a way that makes the audience completely unaware of the work that went into it. Michelangelo certainly did not want those looking at the Sistine Chapel thinking about him standing on a scaffold to do the painting. While Stephen King sometimes talks about writing, he certainly does not want you thinking about his working methods while reading his latest novel. Anne Brigman did not want her audience to wonder about the darkroom manipulations she used in order to produce the images she made. Martin Scorsese does want the audience to be thinking about the technical aspects of lighting and editing while they are watching his films. All these artists want us to be focused on the content they are presenting, not their methodology.

And this same attitude should be a goal for our own art. No matter how much time, work, and planning we put into the work, what we finally present to our audience should appear completely effortless. We might want to talk about the planning, time, and effort that went into a creation—during the marketing of that work, or perhaps when we are teaching or studying a work. But when showing our work, all of that needs to remain completely invisible to the normal audience member; we need to make it look effortless.

In case you missed it, Francis Ford Coppola has recut The GodFather, Part III, renamed it Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone, and, after a very limited theatrical run, will release it digitally this week. Coppola said of the revision, “For this version of the finale, I created a new beginning and ending, and rearranged some scenes, shots, and music cues. With these changes and the restored footage and sound, to me, it is a more appropriate conclusion to ‘The Godfather’ and ‘The Godfather: Part II’ and I’m thankful to Jim Gianopulos and Paramount for allowing me to revisit it.” Diane Keaton, costar in all three original Godfather films said, “It was one of the best moments of my life to watch it. To me it was a dream come true. I saw the movie in a completely different light. When I saw it way back, it was like ‘Oh, I don’t know.’ It didn’t seem to do that well and the reviews weren’t great. But Francis restructured the beginning and the end and man, I’m telling you it worked.”

This is not the first time Coppola has recut his movies. He has also recut The Cotton Club and made multiple cuts of Apocalypse Now. It’s what happens when an art work is not quite what the artist wants it to be and has the opportunity to revisit their work. As Coppola said of his new cut of The Godfather, Part III, “It was like pulling on the thread of a sweater that annoyed you, and you end up re-knitting the whole sweater.” Coppola is not the only director to recut films; Sir Ridley Scott released five versions on Blade Runner, in addition to the two preview versions which were shown only in 1982.

And these are not the only artists who feel the need to revise. Many artists are dissatisfied with their work, but call it “finished” in order to meet a deadline or fulfill a contract or simply to move on to the next project. There are many reasons for this dissatisfaction, some of which are covered in a post from a few years ago, but there may be few opportunities to revise older work. Coppola seems to think that that has to do with how much clout one has and one’s age. That may well be. One thing that is certain is that as one’s perspective changes, one’s opinion of one’s work also changes.

And that often happens with time: sometimes that can be years; other times it may mean just a week or so.  Time allows the artist to “step away” from the work and look at it with “different eyes.” Successful parts which could be bettered become apparent. Areas which are less successful become obvious. Errors and flaws jump out.

The next step is admitting that, though what one made is good, it could be made better. Then the challenge is having the courage and wherewithal to actually modify the original.  In one respect Coppola is lucky, not only in that he had both, but in that he works in a medium that allows itself to be rearranged and edited, and if one has access to all the negatives, added to. Others, who work in ephemeral arts, such as live theatre or dance do not have this advantage and either have to mount a whole new production or let the notion of revision pass.

The point of all this? We as artists should not be afraid to follow Coppola’s example. We should not be hesitant to revise that which we can revise when we can. It keeps the work alive, at least according to Picasso, who suggests that art works are never done: “To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul, to give it its final blow the coup de grace for the painter as well as for the picture.” It allows us to make our work better.

Constantine Stanislavski famously said, “There are no small parts, only small actors.” And while most directors and acting coaches firmly believe that, most actors, of course, do not. That’s primarily because actors look at the size of the role from an ego perspective; they are counting lines or stage/screen time. Directors, on the other hand, look at the role from a functional point of view, and understand that every role in a well-written show is absolutely necessary, and each contributes to the telling of the story.

Recently I was reminded of this truth when I was watching the second season of the science-fiction series, Counterpoint. One of the lead characters was in a serious predicament and there seemed to be no way out. Suddenly, his secretary, Milla, appeared, provided him with a solution to his problem—that she was the mole everyone was searching for and how he was to handle the situation and then obligingly killed herself with his gun. She, of course, was not the mole, but the problem was solved. Given that this was almost a Deus ex machina, one might question the writing. But the character, played flawlessly by Mirela Burke, was well established; she had appeared in five episodes, often bringing a message or tea or some other secretarial duty. And in the universe of Counterpoint, there is a sleeper agent behind every street sign, just waiting to be activated, so her suddenly becoming an active agent was not all that surprising.

What was significant was that this character, whom most would consider a very minor supporting character, managed in four lines (10 sentences) to turn the plot in a completely different direction and save the character we were worried about. The whole thing took precisely 49 seconds, and she managed to solve the mystery of a missing recording as well. It was amazing. The acting was good. The whole thing worked beautifully.

It served as a reminder of how important the things that most people consider small can be. As in this example, the whole plot pivoted on what most people would consider a “small part.” In most cases, the import of the “small part” does not jump to the fore as it does in this instance, but these roles are important nevertheless. Someone has to serve the wine. Someone must announce the visiting royalty. Someone must give Romeo the poison. Someone has to fall through the ice so George Bailey can save him. The list is endless. Small parts are not just important; they are necessary.

It is the same in many arts. The brush strokes in the clouds on a plein air painting fall into this category; as does the cat in the corner of the photograph; as does that scrap of blue at the right side of the collage; as does the mole on the chin of the witch’s makeup; as does the flourish at the end of the dance routine. How many characters there are in the chorus of a musical matters, as does every detail in the costume of those chorus members. And, just as in the case of the “small part,” small details, those tiny parts of all of the art we create, are not just important; they are essential.