By Ray Pride Pride@moviecitynews.com

Writers Guild West President Howard Rodman On Trump Attack On “Working Men And Women”

 

 

December 8, 2016

Chuck Jones is President of United Steelworkers Local 1999, which represents the workers of the Carrier plants in Indiana. This week he spoke out about the much-publicized deal to keep over a thousand jobs from moving to Mexico, calling it a promise “half-way delivered.” He pointed out a truer set of numbers: that even as Carrier would receive seven million dollars in tax breaks, 550 of his members would lose their livelihoods after all.

In retaliation the President-elect of the United States, Tweeting from his gilded apartment atop the tower that bears his name, lashed out yesterday at the union. He said its dues were too high. He blamed the workers themselves for the loss of jobs. And he attacked Jones by name. As a consequence Jones and his family are now on the receiving end of a torrent of hate. He was told “I better watch out for myself, and they know what kind of car I drive, that I better watch out for my kids.”

Whether we work in Culver City or Indianapolis, in writers rooms or on factory floors, we all of us have the right to fight for a better deal. We stand in solidarity with the members of Local 1999 and with their chosen leadership. And we will not stand in silence as a President-elect, soon a President, uses his vast powers to intimidate the working men and women of our republic.

In Solidarity,

Howard A. Rodman
President, WGAW

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch