LETTERS TO THE EDITOR
Digital Deadbeat?
To say I was disappointed that you published the “Digital Desperado” article by Robin Rowe in Editors Guild Magazine (MAY-JUN 05) would be a huge understatement.
We, as members, are constantly asked to support our union’s efforts to organize and fight against poor conditions, or anything that may have a negative effect on our Guild and its members. The magazine has a regular column devoted to encouraging workers to organize non-union shows, and explains how important that is for our Guild and members––not only today, but for our continued success in the future. Under the magazine staff list, there is a note that expressly states, “Editors Guild Magazine will not accept advertising from non-signatory companies that perform bargaining unit work.”
In light of that, why would the Guild publish the “Digital Desperado”
article, which was about someone who violated our union agreement, before
the grievance was settled? The disclaimer at the end of the article
was ridiculous! I would rather you publish four blank pages and have
a disclaimer stating that the article would have run in that space, but until
a dispute over the screen credit is resolved to the Guild’s satisfaction,
the article would not run. Basically, you let Robert Rodriguez get away with
a mere slap on his wrist––if even that.
Joseph Sally, Picture Editor
That’s a fair question, and an issue that was seriously considered.
Editorially speaking, Robert Rodriguez and his film, Frank Miller’s
Sin City, were fair game for coverage in this publication. He is a picture
editor member of the Guild and he edited his film union. When it was discovered
that his screen credit on the film was in violation of the Guild agreement,
I weighed his infraction against the information in the article on the unprecedented
use of innovative technology utilized in the post-production as well as the
production of the project.
Deciding to err on the side of providing more––rather than less––information,
I determined that, far from punishing Rodriguez, the suppression of Robin
Rowe’s technical article about the making of Sin City instead would
punish working Guild members by not exposing them to the important new digital
techniques they need to know in order to continue to grow and succeed in their
careers. The disclaimer indicated that although this information was imparted,
the Guild does take violations of its agreement very seriously.
-Editor
It has never been the Guild’s policy to refrain from printing articles about companies that violate our union agreements. Companies violate contracts all the time and if this was our policy, we would have a difficult time filling up the magazine pages. It is our duty to enforce our contracts and that is done through the grievance process.
Sin City was done under an IATSE agreement. We filed a grievance against
the company regarding the editor’s credit and it was resolved by the
company paying a fine and placing an ad in the trades apologizing for the
inappropriate credit. In addition, it resulted in our ability to stop the
credits from being issued incorrectly in the current Robert Rodriguez film,
The Adventures of Sharkboy and Lavagirl in 3-D. This agreement was reached
without a lot of difficulty, which I can attest isn’t always the case.
The producing company was very concerned about the matter, took it very seriously
and acted quickly to respond. We do hope we won’t have to file this
type of grievance against his films in the future, but if he continues to
violate our contract, we will hold the producing companies accountable.
-Cathy Repola, Assistant Executive Director, MPEG
The Dream Goes on Forever
I would like to take this opportunity to thank the Guild magazine, writer
Kevin Lewis and photographer Kfir Ziv for the terrific articles on––and
photos of––the Cinderella Man post-production team (MAY-JUN 05).
It is very rewarding when you are recognized for your efforts, beyond the
scope of your crew. I’ve had the good fortune to work with Ron Howard
for the last 20 years. He, along with his editors, Dan Hanley, ACE, and Mike
Hill, ACE, and the producers all appreciate our contributions made to his
films. They are truly collaborative efforts.
However, there were additional members of our sound crew who, due to schedules, were not present during the interview and photo shoot. I would like to acknowledge them for they too were a part of Ron’s “Dream Team”:
Rob Komatsu, Guy Barresi (assistant picture editors), John Thomson (production
mixer), Lynn Sable (assistant sound editor), Stan Bochner, Dan Korintus (dialogue
editors), Kenna Doeringer (ADR editor), Eytan Mirsky (background effects editor),
Pam DeMetruis Thomas (foley supervising editor), Missy Cohen, David Barnaby
(foley editors), Marko Costanzo (foley artist), George Lara (foley mixer),
Tony Volante (foley re-recording mixer), Greg Steele, Doug Murray (ADR mixers),
Dave Bihldorff, David Corcoran (re-recordists), Carlie Bergman (ADR recordist)
and Dominick Barbera (effects recording engineer).
Chic Ciccolini,
Supervising Sound Editor, Cinderella Man
Runaway Ron
I found it a little odd that director Ron Howard was the cover subject for
the last Editors Guild Magazine (MAY-JUN 05). If I am correct, there was a
widespread industry campaign to encourage Howard to keep his film, Cinderella
Man, in the US during production. Being that he is a powerful Hollywood director––and
especially considering the subject matter of the film––I find
it very discouraging that he went ahead and shot the picture in Canada.
Why did our magazine make the decision to use him on the cover? Isn’t
this just supporting his decision to take the production outside the United
States, which, from a union standpoint, was a decision very much against what
we believe in?
Stephanie Casey, Assistant Editor
While all US guilds and unions obviously would have preferred Ron Howard to shoot his film within the nation’s borders, our Guild’s main concern is with post-production, not production, and Howard’s Cinderella Man was posted under the IASTE contract entirely in New York City––where he finishes virtually all of his films.
The real impetus for the stories, however, was the director’s longtime
relationship with both his picture and sound editorial crew, and his well-known
penchant for collaboration with––and respect for––everyone
on his team. These elements, to my mind, really overshadowed the producers’
decision to shoot in Canada. Howard is pictured on the cover because he is
instantly recognizable, but since the stories are really about the crew, they
were represented on the cover too.
- Editor
Leg Breaker
You have made the Editors Guild Magazine a very informative and at the same
time very handsome publication. I do look forward to receiving it and
certainly enjoy reading about the work of the editors engaged in current productions.
Most of the editors I knew and worked with are deceased...same with many
of the stars I knew. At age 90, what else is new? I’ve been
a member of the Guild since 1944. It was Hollywood Local 776 when I was inducted.
Thanks for a valuable publication. “Break a leg!”
Lyman Hallowell, Picture Editor (Retired)
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