Viewing Single Post From: 5.17 I Will Follow You Into The Dark

Viewing Single Post From: 5.17 I Will Follow You Into The Dark
oncetherewasaway	Sep 20 2008, 02:14 AM
McEditor Posts: 1,625 Group: .Grey Girls. Member #23 Joined: October 25, 2006	DATES TO REMEMBER & OTHER STUFF Jeffrey Dean Morgan: The WATCHMEN Interview -Thursday, March 5, 2009 Did you deliberately seek out material during the past few years that was very different from your role on “Grey's Anatomy?” Absolutely. Sure. But I didn't know if somebody was going to give me the chance. Certainly, you know, I remember when I read Watchmen, I was like, “You know, they're never gonna fucking hire me for this.” And I think that's kind of the part of Zack that is so brilliant. He was like, “Fuck, you can do it, man.” He trusted me. Most directors would be like, “Are you kidding me? That's about as far away from a guy that can play this character as anyone I've ever heard of.” You know, wiping Denny out of people's minds is a hard thing to do. He made such an impact on so many people, but I think if anybody could do it, it's the Comedian, you know? Will you do any more appearances on “Grey’s?” No, as far as I know, I am dead. And I'm busy doing other things. But I owe that show everything. Shonda Rhimes is a brilliant writer and a good friend, and I wake up every morning and I thank her for giving me that opportunity. I owe everything to her, I really do, and I know it. You know, between that and “Supernatural,” it was a really great way to kind of kick-start a twenty-year career. Yeah, and I loved the opportunity, and I had so much fun working with the people over there, especially Katie [Heigel]. The chemistry we had was completely unique and special, and it was worth every second of it. http://thehollywoodinterview.blogspot.com/2009/03/jeffrey-dean-morgan-watchmen-interview.html This episode was written by Jenna Bans and will be directed by Rob Corn. Filming for this episode is from the 27th January through to 6th February 2009 This date was sited with the sides for this episode at SpoilerTV SAG board turns down studio offer - Feb 21 2009 The board of the Screen Actors Guild, as expected, rejected the "final offer" by the Hollywood studios for a new contract covering the union's 120,000 members, creating fresh uncertainty about whether and when the seven-month labor dispute will end. The rejection was widely anticipated because the studios' proposal contained a provision that SAG negotiators viewed as a non-starter. Nonetheless, the move is likely to deepen anxiety in the movie industry, where production activity has already slowed. The studios and SAG appeared close to striking a deal earlier this week after the union's negotiators made what they said were key concessions, including accepting a framework for how actors will be paid for their work in content distributed on the Internet. That framework is modeled upon terms agreed to by three other Hollywood talent guilds. But SAG negotiators balked at the studios' demand that the union's contract expire in three years, rather than two years. Studio executives insist that a three-year contract is necessary to ensure stability. A three-year deal, however, would mean SAG's contract would expire a year later than the labor contracts of the American Federation of Television and Radio Artists, and the writers and directors guilds. SAG leaders believe that would weaken their bargaining clout by preventing them from joining forces with the other unions in the next round of contract negotiations. In a statement, SAG accused the studios of inserting a "last-minute and surprise demand" that was not brought up in earlier negotiations, including during federal mediation talks in November. "By attempting to extend our contract expiration one year beyond the other entertainment unions, the AMPTP (Alliance of Motion Picture and Television Producers) intends to de-leverage our bargaining position from this point forward. ... The AMPTP has clearly stated their need and desire for financial certainty and industry peace. This new proposal does the exact opposite, and will only result in constant negotiating cycles and continued labor unrest." The AMPTP responded that its offer was “strong and fair” and that it had always sought a three year deal with SAG. "We have kept our offer on the table -- and even enhanced it -- despite the historically unprecedented economic crisis that has clobbered our nation and our industry." SAG's board stopped short of asking union members to approve a strike, fearing that the deep recession makes this the wrong time for such action. People close to the union, who did not want to be identified because they were not authorized to speak on the record, say the next logical step for SAG representatives is to initiate back-channel contacts with some senior studio executives to see if a showdown can be averted (typically, negotiations are conducted through the studios' negotiating arm, the Alliance of Motion Picture and Television Producers). Meanwhile, SAG is preparing to begin negotiations Monday with producers of commercials, which are covered under a separate contract. http://latimesblogs.latimes.com/entertainmentnewsbuzz/2009/02/sag-1.html SAG talks break down - Feb 20, 2009 Majors make guild final offer Confounding expectations that SAG was nearing a deal, the majors and the Screen Actors Guild broke off three days of talks late Thursday with the congloms issuing a take-it-or-leave-it "last, best and final" offer. The talks fell apart over SAG's insistence that a new feature-primetime deal had to expire on June 30, 2011 - meaning that the deal would last only two years and three months. For its part, the Alliance of Motion Picture and Television Producers insisted that the new deal has to last a full three years. And the congloms also announced their new offer could be withdrawn in 60 days. "The terms in the offer are the best we can offer or will offer in light of the other five major labor industry deals negotiated over the past year and the extraordinary economic crisis gripping the world economy," the AMPTP said. The harball moves by both sides throw even more uncertainty into Hollywood's outlook, which has been muddied since SAG's master contract expired eight months ago on June 30. SAG had no immediate response but the key issue separating the two sides - with the companies' demanding a three-year deal from the date of ratification, rather three years from the expiration date of the last contract -- turned out to be insurmountable. The companies have insisted that they need the full three years to provide stability amid a volatile outlook for the industry. But such a term would push SAG's expiration to at least March 2012 and de-couple the end of the SAG contract faw away from the WGA's in May 2011 and the DGA's and AFTRA's in June 2011 - thus diminishing SAG's bargaining clout since there would be much smaller chance of SAG being on strike at the same time as another Hollywood union. The AMPTP also said it would be willing to start negotiations on the successor contract no later than November, 2010, which would allow SAG to get back into synch with the other unions in 2014 - as long as SAG and AFTRA ratified the successor agreements by June 30, 2011. That proposal wasn't enough to persuade SAG's leaders to accept the "last, best and final" offer, which included half a dozen "concessions" by the AMPTP: Withdrawal of the proposal on "French Hours," which covers meal penalties Modification the "union security" clause for new media productions Withdrawal of its proposal to eliminate force majeure protection and present a revised clause for series contract performers impacted by an unforseen event such as the WGA strike Increased covered background performers in features from two to five. S Recognition that dancing on hard and slippery surfaces may qualify as hazardous activity Agreement with SAG's proposal to allow TV stunt coordinators to participate in revenue-based residual payments The congloms made the "last, best and final offer" eight months after issuing a "final" offer to SAG on June 30 as the guild's feature-primetime contract expired. The three days of talks represented only the second round of talks for SAG and the AMPTP since last July. Two days of talks in November, supervised by a federal mediator, also cratered when SAG demanded increases in DVD residuals, product placement protections and retroactivity. The failure of former national exec director Doug Allen to close the deal was the major factor in SAG's national board ousting him last month. That panel, which also replaced the feature-primetime negotiating commitee last month with a task force, will meet Saturday to discuss the failed talks. Moderates had wrested control of the SAG board from Membership First hardliners last fall and grew increasingly frustrated with Allen's insistence that a strike authorization was necessary. They chose to install senior adviser John McGuire to replace Allen as chief negotiator - over the strident objections of SAG president Alan Rosenberg and the Membership First faction, which conducted a 28-hour filibuster to prevent Allen's firing and the abolition of the negotiating committee. Rosenberg and board members Anne-Marie Johnson, Diane Ladd and Kent McCord then sued SAG and the moderates to overturn their actions but failed in his efforts to obtain a court order. Despite the suit, Rosenberg and Johnson are part of the 10-member task force that met with the AMPTP. Seven of the 10 slots on the task force are occupied by the moderates. http://www.variety.com/article/VR1118000382.html?categoryid=18&cs=1&nid=2854 Edited by oncetherewasaway, Mar 11 2009, 12:57 AM.


5.17 I Will Follow You Into The Dark · Episodic Chat