What are the motives of the AMPTP?

MarcDom7 - That you can compare Reality shows to Documentaries makes me wonder just how many documentaries you could possibly have watched. There is no comparison, and if writers actually contributed as much to reality as you claim, they wouldn't be the train-wrecks they are, for the most part. But regardless, redefining the term "writer" in Hollywood should be done at a time when thousands of writers aren't out of work. This should have been done before a walk-out was staged, in informal talks like the DGA. The WGA should focus on what they went on strike for: more money for their writers, more residuals from DVD sales, and monies from online and alternate viewing of their work.

I'm not entirely convinced that it is all about reality and animation. From what little I know about animation writers - mostly courtesy of Mark Evanier's blog "News from Me" I am convinced that animation writers would welcome the chance to actually belong to a union that gives a damn about their issues rather than being in the hip pocket of AMPTP as IATSE seems to be. And its not just about residuals (which animation writers not represented by the WGA don't get). Mark has a couple of horrific stories about dealing with a business agent from the local representing cartoonists (which in most cases represents animation writers) at a NLRB hearing, who spent most of the time schmoozing with the representatives of the production company rather than dealing with the "whiny" writers who just wanted what their contract said they deserved.

It's just convoluted thinking.

The AMPTP has a simple position: It's willing to give residuals on new media, but it refuses to consider giving in on the unionizing of animations and reality shows. The WGA refuses to take unionizing off the table, so there's no deal. The DGA only wants residuals, so there's a deal.

No need to project sneaky motives onto anyone.

Kaydee, there is actually a great deal of writing that goes on with reality programming, both during the shooting and after. That's like saying documentaries don't have writers.

I really think that the story editors and story consultants (whatever they're positions are called) should be under the purview of the WGA. They are guiding all the various players to the conclusion they are looking for, and editing the massive amount of footage to have the final product reflect a certain amount of dramatic tension. It is writing and creative.

With scripted jobs waning thanks to the reality glut, I don't blame the WGA for wanting to fold it and animation into their fold. However, neither to I blame the AMPTP for not wanting this to happen. Personally, I think the WGA is stretching the definition of "writing" by insisting reality fall under their purview. Organizing and loosing outlining a reality show isn't writing, and if they consider it is, they should really watch some!

Do the reality and animation shows even want to become part of the WGA? or does the WGA just want more power for future strikes they are planning?