Upon returning to Los Angeles, Matthew imdiately rushed to the Angel Agency to et with Helen. Afterward, he sent a clear ssage back to Richard Hanson, president of the Writers Guild of Arica, West, confirming their eting at the Angel Agency the following morning.
The reason for his hasty return was that the Writers Guild had reached out to him directly.
As the owner of a film production studio and a likely investor in future projects, Matthew would undoubtedly have to deal with the Writers Guild on a regular basis.
The Writers Guild might seem insignificant to the producers' alliance, which comprised the six major Hollywood studios, but for a newcor to the industry like Matthew, it was an influential organization.
Everyone knew that in North Arica, a union could beco a formidable force when conflicts arose.
When Richard Hanson had contacted Helen, he stated plainly that he was reaching out about a matter related to the writers' strike.
Matthew was more focused on his career than on beautiful won, so the following morning, he and Helen t with Richard Hanson, the president of the Writers Guild of Arica, West, in the lounge of the Angel Agency.
The man, who was in his fifties, was a key union leader and one of the main instigators of the strike.
"This strike is a lose-lose situation," Richard sighed. "If it continues, it will cost everyone in Hollywood dearly."
Matthew stated seriously, "I have always supported your union's fight for a just cause. That's why, when the strike began, I halted production on both Twilight and Fast & Furious 4. Both films are now on an extended hiatus."
"We are grateful for your support," Richard replied solemnly.
Helen chid in, "Matthew has two projects waiting to start, and he is eager to see this situation resolved."
It was a sentint Matthew shared, and he nodded in agreent. No one in Hollywood, himself included, wanted the writers to be on strike—not even the producers' alliance that had repeatedly rejected the guild's terms.
If the strike dragged on, it would cost the industry dearly, and everyone involved would suffer.
Richard, a veteran of the Writers Guild of Arica, West and a crafty old fox, nodded. "Matthew, I know about the two projects your Studio 13 and David's Skydance Studios have invested in. I'm sorry to see your investnts impacted."
"It's alright," Matthew said politely. "I can afford the delay."
Richard continued, "I have a proposal for how to get your two productions out of this predicant."
Helen reached up to adjust her glasses, and Matthew, understanding the subtle gesture, was instantly on guard.
The two had worked side-by-side for many years and had long since reached an unspoken understanding, each influencing the other in many ways.
Matthew feigned interest. "Mr. Hanson, please, go on."
"If I recall correctly, neither you nor David Ellison has joined the producers' alliance, even though you own a film studio?" Richard saw Matthew nod and smiled. "My proposal is simple. You could sign an interim agreent with the Writers Guild under the banners of Studio 13 and Skydance Studios, and—"
"Forgive
for interrupting, Mr. Hanson," Matthew cut in smoothly, "but while David and I are friends, Skydance Studios is his company."
Richard smiled slightly. "Very well. In that case, your Studio 13 would no longer be affected by the strike, as long as you reach an agreent with the Writers Guild. You could resu production shortly."
Matthew and David had taken the initiative to give the two film crews an extended hiatus, but the full story behind that decision wasn't public knowledge.
The ever-composed Helen had discussed this possibility with Matthew yesterday, and he, always sharp when it ca to such matters, was not about to agree so easily.
Upon hearing Richard's proposal, Matthew had already decided to decline. But instead of giving an imdiate answer, he feigned contemplation.
Richard's gaze swept over his face. This was the strategy he had decided to adopt after discussing it with the president of the Writers Guild of Arica, East.
The best way forward was to take a step back and compromise.
The Writers Guild was willing to compromise, but the producers' alliance had no such intention, treating the writers as if they were an insignificant part of the Hollywood machine.
Therefore, they had started lobbying privately, targeting studios that were not part of the producers' alliance or those on its periphery. If they could just create a crack in the studios' united front, it would quickly widen into a flood.
Before coming to the Angel Agency, he had already negotiated with two small companies, but they were so minor that their agreents would have a negligible impact.
Matthew Horner was his chosen target. He wielded significant influence, and his na alone would create a major splash in the press. Moreover, his fledgling production company hadn't yet joined the producers' alliance, simply because it was so new and hadn't yet released a successful film.
He was the ideal choice, as a deal with Horner would have as much public impact as one with a mid-sized studio.
Matthew tapped his fingers on the table, remaining silent. He knew exactly what the Writers Guild was demanding in this strike.
One of the triggers for the last Writers Guild strike in 1988 had been the boom in the ho video market and the writers' demand for a share of that revenue.
This ti, the fight was over DVDs, television rights, and residuals from new dia—most importantly, a greater percentage of DVD sales.
As everyone knew, the North Arican DVD market was enormous and served as a primary source of profit for the major Hollywood studios.
The Writers Guild was demanding an increase in the writers' fixed share of new dia revenue, including DVDs, from the current 3% to 5%.
The increase might seem insignificant, but it was anything but. Several rounds of negotiations had already failed, as the studio-backed producers' alliance held a firm—if not outright hostile—stance.
A strike didn't solve the root problem, and it wasn't as if the producers' alliance lacked a counter-strategy. There were plenty of non-union writers and screenwriters from outside North Arica to serve as alternatives.
It didn't take Matthew long to understand Richard's true intention: to use him to break the stalemate and trigger a chain reaction.
In other words, he wanted Matthew to be the first to break ranks.
But while Studio 13 was technically a shell company and not yet a mber of the producers' alliance, it would be the logical next step for it to join once these two films were released.
So, what was the point of taking a side now?
"Mr. Hanson, the writers for both Twilight and Fast & Furious 4 are being paid far more than market rate, and each will receive a bonus based on their contribution when the cast and crew reassemble."
He then emphasized, "I believe screenwriters are an essential part of the film industry and deserve to be valued accordingly."
Richard's brow furrowed slightly; he hadn't expected Matthew to refuse him in such a way.
But he couldn't find any fault with the statent. Everything Matthew said was about improving the actual treatnt of screenwriters, which was precisely what the Writers Guild was fighting for.
Matthew continued, "Studio 13 is just a shell company that handles investnts. It isn't involved in any actual production."
They were both intelligent n, so Richard understood Matthew's unspoken ssage perfectly. After a mont's reflection, he realized there was no way to force the issue. With Horner's current status and influence in Hollywood, no one could compel him to do anything.
He had already considered the possibility of this lobbying attempt failing, so he had prepared a backup plan.
"I'm very grateful that the teams on Twilight and Fast & Furious 4 are giving their writers preferential treatnt," Richard said with a smile. "Many stars, including Tom Hanks, Julia Roberts, and George Clooney, have already declared their support for the Writers Guild and have pledged not to attend the Oscar Awards ceremony if the strike continues."
Upon hearing this, Matthew didn't hesitate for a second.
"If the strike continues, I won't be attending the Oscar Awards either."
He had no intention of attending in the first place.
"Thank you." After exchanging a few more pleasantries, Richard quickly departed.
A few minutes after he was gone, Helen took a call. She hung up and turned to Matthew. "That was Kathleen Kennedy, vice president of the producers' alliance."
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