WGA ignites tensions by telling jobless live-action writers to switch to animation
Animation authors can belong to both WGA West and The Animation Guild, and many do. But this overlap has caused unions between unions in the past. The issue of jurisdiction over animation writers became controversial during the 2007-2008 WGA strike (this Variety the time article has more).
This conflict arises from an oddity in the history of animation. When the industry started organizing in the pre-war years, the shows weren't written as much as the storyboard, and this process was seen as part of the animation process. Therefore, the writers came under the jurisdiction of the animation syndicates and mostly stayed there, even as the scripts became an integral part of the industry.
As animated shows became more and more profitable, the WGA gained a foothold in the sphere. In 1998, he signed an unprecedented deal with Fox to cover prime time shows The Simpsons, Futurama, e King of the Hill. He now has contracts for animated projects with the likes of Paramount, Netflix, Apple TV + and HBO Max.
Here is the text of the full WGAW declaration:
The need for social distancing has stopped almost all live-action production in our industry. However, many animated shows continued production with crews working remotely from home. As a result, we've heard from members that studios and producers are increasingly interested in developing animated projects. This is an important time to remember that WGA can and does cover writing for animation. If a producer tells you "The Writers Guild is not about animation", it simply isn't true.
Many major animated TV shows - broadcast (Bob's Burgers, Family Guy, The Simpsons), cable (American father) and streaming (Bojack Horseman, Big Mouth, Disenchantment, F is for the family) - are covered by WGA contracts. In fact, our Contracts department recently negotiated deals to cover new animated series for Netflix (Q-Force, Hoops), Amazon (undone), Apple TV+ (Central park) and HBO Max (Prince). The WGA also covers animated feature film projects, including soon to be released Wendell & Wild for Netflix and Spongebob's movie: Sponge on the Run for Paramount.
When negotiations open to write an animated project, you and your representatives should take the position that your work will be covered by the WGA. A WGA contract will guarantee you the presence of residues, screenwriting expenses, credit protections and contributions to WGA pension and health funds, more important than ever. The protections and benefits of a Writers Guild contract provide important financial support in a career that can be unpredictable even in the best of times.
The latest WGA speech sparked mixed reactions from the animation community on social media. Some of their tweets are reposted below:
Too often, live action writers pour into animation writing during a strike or crisis and we're happy to have you, but very rarely are animation writers welcomed into the world of live action in the same way. So save a thought for us. Thanks!
- Madison Bateman (@madisonbateman) 14 April 2020
We have discussed it many times. WGA doesn't have full animation coverage like it does in live action, but there are projects and venues covered by WGA and more every day.
The email is correct - it's always worth pushing for new projects.
- John August (@johnaugust) 14 April 2020
Yo! #Animation showrunner. #WGA It is cool. But if you refuse to be part of the Animation Guild, the studio can make ALL the work of designers and artists non-corporate. You set the precedent! Whatever the union, PROTECT YOUR ARTISTS!
- AC Bradley (the A stands for Ashley) (@TheAshBradley) 14 April 2020
But now, because of #Covid, they are asking new animated shows to go under WGA contracts, which will probably take our job away and give it to Live-Action writers who will "suddenly" start writing animations because THEY can, we just can't do the opposite ...
- Kelly Lynne D'Angelo ✨ (@yerawizardkelly) 14 April 2020
But obviously if my hopes are for all animation to go WGA, I shouldn't clash with the organization I want to be a part of. It's just a tough time, and the sudden interest in animation when it's the most viable work right now can be frustrating.
- Benjamin Siemon (@BenjaminJS) 14 April 2020
