Shea shifting to 'code' mode
DGA prez sanguine on WGA rights
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Shea, in a message sent recently to the 12,000 DGA members, said the inclusion of a "code of preferred practices" in the WGA pact could improve working relationships between directors and writers through "sensible solutions." He noted that DGA leaders, the DGA Creative Rights Committee, more than 170 helmers and Directors Guild staff had participated in working out the details with the WGA and reps of studios and networks.
"At the heart of the DGA's position regarding writer-director collaboration is the notion that creative relationships should not be mandated," Shea said. "We proposed that these issues be addressed in the context of preferred practices, rather than contractual mandates, and we are glad that those involved in the negotiations concurred."
Key to code
According to Shea, key parts of the practices code for features include the following:
- A director assigned to a film based on an existing screenplay should meet the currently employed writer before deciding to hire a new writer.
- The writer should be invited to the first cast meeting. "However, it is understood that this reading is a delicate moment for both the director and the actors, and that the director must be able to exercise discretion whether to invite a writer," he noted.
- In response to a writer's request, a visit to the set can be arranged "at an appropriate time," subject to the director's approval.
"Preferred practices" for episodic television include the following:
- Declarations that "preparation of the script must be the writer-producer's first priority" and that the companies have a contractual obligation to furnish the director with a completed shooting script the day before the director starts his or her prep.
- Directors should be consulted about all substantive script changes.
- Companies should make writer-producers aware of their obligation under the DGA's Basic Agreement to notify the director of the scheduling of each post-production operation.
- The code reiterates that the DGA Basic Agreement gives the director the right to participate in all creative decisions and all post-production operations.
Shea said he was "disappointed" an agreement had not been reached with the WGA on a compromise plan to limit the "A film by" possessory credit on features but said the DGA would continue to "explore possible solutions to the proliferation of possessory credits and protective measures for the historic value of the credit."
Credit due
The two guilds and the companies have agreed to discuss these issues, including the possessory credit and the "Created by" and "Developed by" credits in episodic television. No date has been set, but, "assuming these talks are conducted in an atmosphere free of rancor and personal attacks," Shea said, "the DGA fully intends to participate."
The DGA agreed to join the WGA and studios to form joint creative-rights committees for features, movies for television and episodic television and to have the panels meet at least twice a year.
Among other collaborative steps, the guilds agreed to each publish an issue of their magazines with a cover story about successful collaborations between writers and directors.
In closing, Shea noted the DGA has the right to terminate participation in the programs if they are "not furthering a collegial relationship between writers and directors and their respective institutions."
WGA West prexy John Wells issued a statement Monday that took a similar tone of guarded hopefulness about the guidelines.
"Writers are eager to begin implementing the new collaboration agreements with our partners, the directors, throughout the pre-production, production and post-production process," Wells said. "In our negotiations, the CEOs individually and collectively assured us, while these areas would be preferred practices under our contract, they would personally guarantee that they would become standard practice at all the studios."
Wells, who recently decided against seeking a second term as WGAW topper, said his guild looked forward to working with the DGA in the newly created joint WGA/DGA creative rights committees and other initiatives.
