Read The Writers: A History of American Screenwriters and Their Guild Online
Authors: Miranda J. Banks
120
. “Screen Writers New Privileges: (1) B.O. Royalties in France, Spain; (2) Firmer Control as to Credit,”
Variety
, 22 June 1960.
121
. Ibid.
122
. Michael Franklin, memo to WGA members, “Attention!: Royalty Plan,” 1 March 1963, WGA History Files, Special Collections, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
123
. “Writers Accept 6-Year Pact,”
Hollywood Citizen News
, 20 June 1960.
124
. Frank Pierson, interview with the author, 15 February 2011.
125
. Herb Meadow, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 15 March 1978), 15.
126
. Harmon and Monaster, Oral History Project, 7.
127
. North, Oral History Project, 3.
128
. Kanin, Oral History Project, 16.
129
. Jay Presson Allen, interview with Patrick McGilligan in
Backstory
3, 25–26.
130
. Hal Kanter, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 21 June 1978), 5–6.
131
. Michael Franklin, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 20 March1978), 10.
132
. Rubin, Oral History Project, 10–11.
133
. Thomas Schatz, “New Hollywood,” in
Film Theory Goes to the Movies
, ed. Jim Collins, Hilary Radner, and Ava Preacher Collins (New York: Routledge, 1992), 8–36.
134
. Lisa Rosen, “Take Five: 3 Wise Men,”
Written By: The Magazine of the Writers Guild of America, West
, Summer 2013, 12.
135
. Justin Wyatt,
High Concept: Movies and Marketing in Hollywood
(Austin: University of Texas Press, 1994), 71.
136
. “MGM/UA under Kerkorian Meant 20 Years of Change,”
Los Angeles Times
, 8 March 1990,
http://articles.latimes.com/1990–03–08/business/fi-2987_1_mgm-grand
.
CHAPTER 4 MAVERICKS
1
.
The Writer Speaks: William Goldman
, DVD, 27 May 2010, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
2
. Frank Pierson, interview with the author, 15 February 2011.
3
. Sherwood Schwartz, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 3 May 1978), 2–4.
4
. John Furia Jr. and David Rintels, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 3 May 1978), 44–45.
5
. Patrick McGilligan,
Backstory 4: Interviews with Screenwriters of the 1970s and 1980s
(Berkeley: University of California Press, 2006), 4.
6
. James Crawford, “Film Credit” (Ph.D. diss., University of Southern California, 2013), 236.
7
. Catherine L. Fisk, “The Role of Private Intellectual Property Rights in Markets for Labor and Ideas: Screen Credit and the Writers Guild of America, 1938–2000.”
Berkeley Journal of Employment and Labor Law
32, no. 2 (2011): 218.
8
. Virginia Wright Wexman, “One Man, One Film: The Directors Guild of American and the Cultural Construction of the Artist” (paper delivered to the Society for Cinema & Media Studies Conference, Chicago, 8 March 2013).
9
.
The Writer Speaks: Daniel Taradash
, DVD, 1998, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
10
. Andrew Sarris, “Notes on the Auteur Theory in 1962,” in
Film Theory and Criticism: Introductory Readings
, 6th ed., ed. Gerald Mast, Marshall Cohen, and Leo Braudy (New York: Oxford University Press, 2004), 561–564.
11
. Fisk, “Role of Private Intellectual Property Rights,” 274–275.
12
. Michael Franklin, interview with the author, 8 August 2013.
13
. Fisk, “Role of Private Intellectual Property Rights,” 257.
14
. Crawford, “Film Credit,” 287.
15
. Jesse Heistand, “The ‘Credit’ Card,”
Hollywood Reporter
, 31 March 2005.
16
. Pierson, interview.
17
. Len Chassman, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 8 August 1978), 20–21.
18
. Pierson, interview.
19
. Herb Meadow, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 15 March 1978), 25.
20
. Mel Brooks, interview with the author, 15 August 2013.
21
. Ibid.
22
. Carl Reiner, interview with the author, 29 August 2013.
23
. Director’s Guild of America, “Possessory Credit Timeline,”
DGA Magazine
, February 2004,
http://www.dga.org/Craft/DGAQ/All-Articles/0402-Feb-2004/Possessory-Credit-Timeline.aspx
.
24
. See Timothy Corrigan’s notion of “the commerce of auteurism” in “Auteurs and the New Hollywood,” in
The New American Cinema
, ed. Jon Lewis (Durham, NC: Duke University Press, 1998), 38–63.
25
. Bernard Weinraub, “Screenwriters May Walk Out Over Film Credit and Respect,”
New York Times
, 16 January 2001,
http://www.nytimes.com/2001/01/16/business/screenwriters-may-walk-out-over-film-credit-and-respect.html?pagewanted=all&src=pm
.
26
. George Eckstein, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, spring 1978), 1.
27
. Meadow, Oral History Project, 24.
28
. Richard Levinson and William Link,
Stay Tuned: An Inside Look at the Making of Prime-Time Television
(New York: Ace Books, 1981), 184–186.
29
. Ibid., 14.
30
. David Isaacs, interview with the author, 30 July 2013.
31
. Cheri Steinkellner, interview with the author, 12 August 2013.
32
. Ron Clark, interview with the author, 26 August 2009.
33
. Frank Pierson, interview.
34
. George Eckstein, Oral History Project, 5.
35
. Ernest Kinoy, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, spring 1978), 20.
36
. M.W., “Kanter Adds Dimension to Hyphenated Career: Writer-Prod-Dir-Emcee,”
WGAw Newsletter
, December 1967, 7.
37
. Carey Wilber, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 25 July 1978), 5. Wilber is cited in the materials as Carey Wilbur.
38
. Ben Roberts and Ivan Goff, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 28 April 1978), 22.
39
. Stephen Farber, “Rift Remains after Strike by Writers,”
New York Times
, 30 June 1973, 67.
40
. Sy Salkowitz, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 4 April 1978), 13.
41
. Sherwood Schwartz, Oral History Project, 8.
42
. Leonard Stern, interview with the author, 14 January 2010.
43
. Leonard Stern, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 17 May 1978), 9. These issues are still a part of the organization’s mission statement today. See “The History of the Caucus,” Caucus for Producers, Writers & Directors, last modified 2001,
http://www.caucus.org/about/shorthistory.html
.
44
. Some writers are also members of the Producers Guild of America, just as others are also members of the DGA and SAG.
45
.
American Broadcasting Companies, Inc., et al., Petitioners, v. Writers Guild of America, West, Inc., et al.; Association of Motion Picture and Television Producers, Inc., Petitioner, v. Writers Guild of America, West, Inc., et al.; National Labor Relations Board, Petitioner, v. Writers Guild of America, West, Inc., et al
. Case Record No. 437 U.S. 411 (1978). Opinion delivered by Justice White. Others voting in favor were Harry Blackmun, Lewis F. Powell, William Rehnquist, and Chief Justice Warren E. Burger. Dissenting were Justices John Paul Stevens, Potter Stewart, William J. Brennan, and Thurgood Marshall.
46
. Ibid.
47
. Ibid.
48
. M.W., “Hyphenate Sam Rolfe,” 1.
49
. Stirling Silliphant, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 1 March 1978), 4.
50
. Patricia Falken Smith, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 16 March 1978), 15.
51
. Saul Turteltaub, interview with the author, 16 August 2013.
52
. Marc Norman,
What Happens Next: A History of American Screenwriting
(New York: Three Rivers Press/Random House, 2008), 390.
53
. McGilligan,
Backstory
4, 5.
54
. William Goldman,
Adventures in the Screen Trade
(New York: Grand Central Publishing, 1986).
55
. Paul Schrader as quoted in Norman,
What Happens Next
, 397.
56
. Geoff King,
New Hollywood Cinema
(New York: Columbia University Press, 2002), 90.
57
. Mark Norman, interview with the author, 9 June 2011.
58
. For more on the rise of independent films and the mainstreaming of the indie, see Alisa Perren’s excellent
Indie, Inc.: Miramax and the Transformation of Hollywood in the 1990s
(Austin: University of Texas Press, 2012).
59
. Stanley Rubin, interview by the Writers Guild Oral History Project (Los Angeles: Writers Guild Foundation, 9 May 1979), 20.
60
.
The Writer Speaks: Fay Kanin
, DVD, 18 May 1998, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
61
. Fred Silverman, interview with the author, 16 August 2013.
62
. J. B. Bird, “Roots,” Archive of American Television, Television Academy Foundation, 2013,
http://www.emmytvlegends.org/interviews/shows/roots
.
63
.
Writers on Writing: William Blinn
, DVD, 23 April 2009, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
64
.
Writers on Writing: William Blinn
.
65
. Fred Silverman, interview.
66
. Ibid. Norman Lear echoed this longing for the Fin-Syn structure and smaller corporate overhead in his interview with me, 20 August 2013.
67
. John Caldwell,
Televisuality: Style, Crisis, and Authority in American Television
(New Brunswick, NJ: Rutgers University Press, 1995), 57.
68
. Norman Lear, interview.
69
. Television Academy, “Hall of Fame 2011: Inductee Susan Harris (Exclusive Interview),”
YouTube
(recorded 20 January 2011),
http://www.youtube.com/watch?v=a1j2Mw59DPQ&noredirect=1
.
70
. Allan Burns, interview with the author, 7 August 2013.
71
. Robert Schiller, interview with the author, 12 January 2012.
72
. Norman Lear, interview.
73
. David Isaacs, interview.
74
. Alvin Sargent, interview with the author, 25 August 2009.
75
. Michael Franklin, memo from the WGA to All Signatories to the 1973 WGA MBA, 8 April 1974, Archives, Writers Guild Foundation Shavelson-Webb Library, Los Angeles. The memo does not note whether these women were staff writers or freelancers.
76
. Ibid.
77
. Michael Franklin, interview.
78
. Jean Rouverol Butler, interview by Howard Suber, Suber Files, tape 6, Archives, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
79
. Norman Lear, interview.
80
. WGA Women’s Committee, “Women’s Committee Statistics Report,” 7 November 1974, Archives, Writers Guild Foundation Shavelson-Webb Library, Los Angeles.
81
. Ibid.
82
. Barbara Corday, interview with the author, 30 August 2013.
83
. Ibid.
84
. Both quotations from Leonora Thuna, letter to the editor, “Story Eds Should Become Aware of Women Writers,”
WGAw Newsletter
, June 1983, 17.
85
. William T. Bielby and Denise D. Bielby,
The
1987 Hollywood Writers’ Report: A Survey of Ethnic, Gender, and Age Employment Factors (West Hollywood, CA: Writers Guild of America, West, 1987).
86
. Ibid.
87
. Cheri Steinkellner, interview.
88
. James R. Webb, “Screenplays and the Black Writer,” reprinted from the
Stanford Alumni Almanac
, March 1969, in “POV: Point of View,”
WGAw Newsletter
, May 1969, 1, 8.
89
. Ibid.
90
. Carey Wilber, Oral History Project, 3.
91
. Bill Boulware, interview with Oliver Williams, “POV: A Writer Who’s Black . . . and Working: An Interview,”
WGAw Newsletter
, June 1983, 28–29.
92
. Len Riley, “POV: All-White or All-American?”
WGAw Newsletter
, June 1980, 26–30.
93
. Jennifer Holt,
Empires of Entertainment: Media Industries and the Politics of Deregulation
, 1980–1996 (New Brunswick, NJ: Rutgers University Press, 2011), 3.
94
. Ibid, 15.
95
. The Nielsen Company–NTI in 1980 and 1990, cited in “TV Basics,” TVB (New York: Television Bureau of Advertising, 2010), 2,
http://www.tvb.org/media/file/TVB_FF_TV_Basics.pdf
; Larry Gross, “My Media Studies: Cultivation to Participation,”
Television & New Media
10, no. 1 (January 2009): 66–68, doi:10.1177/1527476408325105.
96
. Cheri Steinkellner, interview.