April 1, 2001 |
Uncertainty over the nation's slowing economy and layoffs by major entertainment companies are pressuring both sides in Hollywood's labor dispute to move quickly to resolve their differences in a way unforeseen just a few weeks ago. The drumbeat of bad economic news is deepening fears about stalled talks between studios and writers, whose contract expires in a month. And pessimism is growing as studios and actors continue to delay the start of negotiations before their contract expires July 1.
CALIFORNIA | LOCAL
March 25, 2001 |
Hollywood's TV and film writers, a probable strike looms like a fast-moving storm on a weather map, roiling emotions and prompting many to take emergency measures. The widespread fear, based on the last Writers Guild of America strike, which lasted five months in 1988, is that writers drain their bank accounts, go into debt and even lose their houses. And money isn't the only concern. Many fear that a protracted strike would abruptly end careers in a notoriously competitive industry.
March 16, 2001 |
Threatened strikes by Hollywood writers and actors--although big news in Southern California--remain low on the list of concerns for most lawmakers here. "People in Washington look at it like a baseball or basketball strike--they think of big-money stars like Julia Roberts, Brad Pitt," said Rep. Mark Foley (R-Fla.). "They don't really understand the nuances." In fact, the strikes would have little noticeable impact on Hollywood's superstars.
November 20, 1998 |
Broadcasters and cable companies would be required to recruit minorities and women to fill vacancies but wouldn't be forced to hire them under a plan offered by federal regulators Thursday. The Federal Communications Commission, without dissent, proposed rules designed to ensure that TV, radio and cable systems cast a wide net when filling vacancies. The action was taken in response to a court decision that overturned the agency's equal employment opportunity rules. In April, the U.S.
March 24, 1997 |
Alone on a Manhattan street corner late one night, Kurt Hathaway, a greenhorn production assistant eager to please a demanding movie director, faced a daunting task. His assignment: Secure enough on-street parking spaces near the next day's shooting location so the director, talent trailers and assorted muck-a-mucks could park without aggravation the next morning. His equipment: two purloined police barricades, a ball of string and all the ingenuity he could muster.
October 13, 1996 |
The employment roster at digital effects firm Rhythm & Hues reads like a mini-United Nations. Computer graphics artists from more than 30 countries work at the Los Angeles-based company, which won an Academy Award this year for the motion picture "Babe." In fact, there are only seven California natives among the firm's 75 digital artists. Just half are from the United States. But this is no experiment in international filmmaking.