In the summer of 1952, guilds representing directors and actors reached a historic deal with Hollywood studios to earn a residual on TV reruns. But the Screen Writers Guild held out for a royalty —…
In the summer of 1952, guilds representing directors and actors reached a historic deal with Hollywood studios to earn a residual on TV reruns. But the Screen Writers Guild held out for a royalty — a percentage of the gross, not a flat fee — and declared the first-everThat is the definition of “pattern bargaining,” and that has been the protocol for contract talks for the Writers Guild of America, the Directors Guild of America and SAG-AFTRA ever since.
“If the actors strike, I suppose one could make analogies to 1960,” says Chris Keyser, co-chair of the WGA negotiating committee, in a text to Variety. “If they don’t, there is no perfect analogy. Though the writers, alone, may be on strike, there is still unprecedented labor solidarity and broad public support, in the industry and beyond… We are in a new world.”
To some extent, that is always the case. When the actors got a deal in April 1960, the WGA told its members: “It goes without saying that our problems in many areas differ from those of SAG and that we in no sense feel bound by the specifics of their deal.” Even if the historical pattern holds, however, resolution isn’t necessarily imminent. The writers have often held out for weeks or months after the other guilds make their deals, hoping the pain of the strike will force additional concessions.
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