This time, the core member meeting of the producers' league was placed in the Bailou Building in Century City, which is also the daily base of the league.

News in Hollywood was circulating very quickly. Even though it was a meeting that was so narrow that less than twenty people participated, a large number of entertainment journalists and even social and current affairs journalists were still gathered at the door on the day of the meeting.

The Hollywood union strike not only affects the film and television industry, but also affects all aspects of this society.

Perhaps, only these journalists hope that the strike will happen most, after all, this means that it will generate hot news that the whole world is concerned about.

The Hollywood giants participating in the conference, such as Ronan, Kevin Tessulhara, Shirley Lansing, Harvey Weinstein, Steven Spielberg and James Murdoch, were all interviewed by media reporters. They all entered the White House Building with a serious face.

The meeting was chaired by Del Potro, chairman of the Producers Alliance, who mainly introduced the situation of contact with the three major Hollywood unions in recent times and the reasons for the breakdown of the initial negotiations.

In short, in one sentence, the Producers Alliance agreed that members of the three major trade unions would participate in the revenue sharing of DVDs and online new media, but were extremely dissatisfied with the proportion they requested.

After all, it is a problem caused by the distribution of interests.

The American Producers Alliance was established for more than fifty years. It was originally composed of producers from American film and television industries, aiming to protect the various rights and interests of producers, and later gradually evolved into a community of interests of investors.

It is naturally in opposition to the trade union organization that represents the rights and interests of the labor party.

"Each of the three unions requires 15% of the revenue share of new channels, which is impossible!"

As the leader of Hollywood's current performance, Kevin Teshura's attitude is very firm: "Just three union members want to take away half of the revenue from DVD and new media channels. We should not invest in film and television projects in the future, but just become actors and screenwriters."

These seemingly joking words have been widely recognized.

"We must not make such a big concession!"

"This time the concession is huge, what about the next contract period?"

"Don't forget, they are only planning to sign a ten-year contract!"

Even though he has always been incompatible with Warner Bros., Harvey Weinstein, who has publicly criticized Kevin Tessulhara several times, also spoke up for it: "This kind of request will make us go bankrupt!"

George Lucas, who is relatively peaceful and is about to retire, also said: "We need to consider the future of the entire industry. Compromise and concession are by no means the most appropriate way to deal with it."

In a sense, these people here are all major shareholders of the Producers Alliance and the kind who have heavyweight voice. Del Portman is more like an operational officer.

"Everyone, the current situation is not very beneficial to us." Del Potro knew very well that if we wanted to stop the three trade unions from going on strike at the same time, the people present must make some concessions and said: "The three trade unions are now holding together to express their advance and retreat together, which makes us very passive."

There is no fool here, and he understands that Del Potero is making a vague reminder and has considered countermeasures.

Ronan's position was very clear and said, "I suggest that the three major trade unions be divided."

"Good idea." James Murdoch reacted. As a newcomer who officially entered the Hollywood world, he felt it was very necessary to show his presence on such occasions: "We contacted the director union, the actor union and the screenwriter union separately, negotiated and offered different prices. The most important aspects of the director union and the actor union, we can make appropriate concessions, and they are very likely to compromise in the face of real interests..."

Everyone else nodded, and this strategy of disintegration is undoubtedly very suitable for the current situation.

James Murdoch's words continue: "In the end, there is one screenwriter union left. We will suppress it with all our might. It is best to maintain the big framework of the 1988 agreement. Even if they want to strike, the impact will be much smaller."

Shirley Lansing agreed: "This method is good. However, it should be added that the minimum term of the big agreement must be twenty years, and ten years are absolutely not allowed!"

Others agreed.

Although Ronan did not speak out again, he would not have any objections. Everyone here has common interests in dealing with the three major trade unions.

As the producer alliance of investors, they will sign a long-term agreement with the major trade unions represented by the labor party, and then negotiate within the framework every three years to revise specific terms.

The meeting did not last long, and the conflicts between major companies were not visible at all in the meeting. Faced with the trade union organization that wanted to seize profits, the company bosses or actual operators here reached an agreement almost as quickly as possible for common interests.

The Producers Alliance changed its previous negotiation strategy. While continuing to contact the delegations of the three major trade unions, it will actively contact the director's union and the actors' union in private, striving to first deal with these two union organizations when appropriate concessions are made, thereby avoiding the worst Hollywood industry-wide strike.

By then, only the screenwriter union will remain, so it will be much easier to deal with.

All companies were surprisingly consistent in terms of the three major trade unions, including Relativity Entertainment represented by Ronan.

The director's union can give more sweet dates appropriately, followed by the actors' union.

As for the screenwriter union, it is best to keep the previous agreement unchanged.

Although this war without gunpowder has not yet officially begun, the preparations for the war have already begun.

While this meeting was held, hundreds of trade union members in the industry gathered in front of the main entrance of Bailou Building to hold protests. They held slogans to improve their treatment and shouted from time to time, "Close down! Hollywood is the world of trade unions!" and other slogans.

Among them, the screenwriter union has the most people.

Screenwriters have a low status in Hollywood, and their income is lower than that of the actors and directors. Except for a few gold medal screenwriters, most screenwriters cannot enjoy the profit sharing of the film's DVDs and new media channels.

Uneven distribution of interests can be said to be the biggest reason for this brewing strike.

In addition to demanding to share the benefits, the screenwriter union also put forward other conditions, such as the sales price of the members' scripts, the minimum price of the film project cannot be less than 150,000 US dollars, etc.

In fact, many screenwriters earn much more than that. The scripts produced by major film companies cost at least $500,000, while well-known screenwriters may get $3 million per movie.

The average annual income of screenwriters at the Screenwriters Union last year was $200,000, which is already high compared to the average annual income of Los Angeles County residents and most Americans.

However, the screenwriters certainly won't look down. They stare at the actors, directors and producers. The screenwriters compare their income with actors, directors and film and television company executives and find the interest demand for a significant salary increase.

According to the screenwriter's union, the income increase rate of union screenwriters is less than half of the profit increase rate of the entire entertainment industry. Many screenwriters also complain that in the eyes of large companies, they are dispensable.

In fact, this is not without reason. Hollywood film companies do not attach importance to ordinary screenwriters, and even because of the agreement in 1988, screenwriters often use non-screenwriters union screenwriters.

Relativity Entertainment has statistics that in the 1990s, 95% of the screenwriter positions in the film and television industry were occupied by screenwriter union members, but now this proportion is less than 65%!

Major companies use cheap non-union screenwriters to produce film and television dramas, cartoons and reality shows, which also deepens the conflict between the two sides.

The screenwriter union believes that the average annual income of ordinary members is less than $40,000, and such income conditions are below the average income of American citizens. Therefore, they call for increased wages and share of their share, especially in the profits of new media, to get substantial dividends. The most obvious manifestation is the percentage of DVD and online on-demand dividends.

As we all know, the US DVD market and emerging online paid on-demand broadcasts are quite large. In fact, this is the main source of interests for major Hollywood manufacturers. How can the major film and television companies behind the producer alliance easily compromise?

After the meeting, Ronan chatted with George Lucas and Steven Spielberg for a while, and came to the hall downstairs. While he was about to say goodbye and leave, James Murdoch, who was waiting in the hall, suddenly came over.

"Can you talk a few times, Ronan?" said James Murdoch.

Luo Nan nodded slightly: "Of course."

When the two arrived at the resting place, James Murdoch said directly: "I heard that your company has just confirmed two projects?"

"Two projects?" Ronan smiled and said, "There are too many movie projects recently. I wonder which two of them are James?"

James Murdoch was originally aiming for temptation: "The two directed by Ridley Scott and Roland Emmerich."

The related news has been on entertainment news for a long time, and Ronan has nothing to hide, saying: "It turns out to be "Martian Rescue" and "Doomsday Collapse". There are two film projects. Shahai Entertainment has signed a director agreement with Ridley Scott and Roland Emmerich."

James Murdoch said deliberately: "Ronan, as an old friend, I would like to remind you that the cooperation between Twentieth Century Fox and these two has just experienced a painful failure. Roland Emmerich's "Ten Thousand Years of Prehistoric" failed miserably at the box office, and Ridley Scott has messed up two first-line production projects, "Dynasty of Heaven" and "Pharaohs and the Gods."

Ronan was unmoved and just smiled and said, "Thank you for your reminder. This is very important. I will strengthen the management of these two projects."

James Murdoch never understood why Ronan was so confident and used two losers?

But some words were not allowed to be said: "You're welcome, we are friends."

Ronan said: "Yes, we are friends."

The two then left the main entrance of the building together, shook hands and said goodbye, and got into their respective cars.

Back at Fox Building, James Murdoch said to the assistant: "I inform Jim Prous to come here, I have something to talk to him."
Chapter completed!