I know I beat on the subject of insane quotas and unpaid overtime like a sadist whipping a stubborn horse, but since Kathleen Milnes brought this piece to my attention, I offer it to you. Joseph Gilland, a long-time animation vet, offers some sage advice:
I see too many people in the business (myself once upon a time included) with some kind of victim/martyr complex who let themselves get treated like absolute slaves. If you let them get away with it, they will use you all up, believe me. But there is a fine line between really working your ass off, and letting yourself be abused. Recognize that line. When you are overtired, and need some rest, be clear about it. Leave when you need to, and don't let people guilt-trip you.
When I was cranking out television scripts, the story editor leaned on me relentlessly to get my current half-hour masterpiece off of my desk and onto his as quickly as possible.
"Done yet? I need it like yesterday." ... "What page are you on?" Etc.
Full confession: Though I was a TAG executive board member at the time, I took work home and worked extra hours without additional compensation. However, ninety-five percent of my off-the-clock work happened in the first three weeks I was a staff writer. I knew it was violating the contract, but I was busting my hump to prove myself. And I had made up my mind to do whatever it took, even if that meant ignoring work rules.
But once I turned in my first script, found out the editor liked it, and knew I was on firmer ground, I stopped doing unpaid late-hours work. I still busted my hump, but I did it nine-to-five. And if my boss Arthur got the thirty-five page opus a day late, he got it a day late.
In the eighteen years I've been business representative, I've never not known there to be pressure to do things "faster, better, cheaper" because production management is always focused on costs. But employees need to be smart about how they respond to the Golden Oldie: "We need this tomorrow and there's no money in the budget for overtime..."
Do what you need to do. But whatever it ends up being, don't dig yourself into a hole so deep that only a block and mile-long tackle will get you out.
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9 comments:
Your story illustrated eloquently a major problem unions have. When a member (and a board member, no less) knowingly violates the work rules to "prove" himself, it undercuts the power of collective bargaining. You have little negotiating power as a group when individuals are willing to do "what's necessary" to "prove" themselves. Employers know it, and will exploit it. Breaking the rules "only a little" is like being "a little pregnant".
I fail to see the power of collective bargaining. It allows lame artists to earn the same wage as good ones.
I fail to see the power of collective bargaining. It allows lame artists to earn the same wage as good ones.
So...any union artist can earn the equivalent of Glen Keane's salary?
"I fail to see the power of collective bargaining. It allows lame artists to earn the same wage as good ones."
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Absolutely comical statement!
Dunno if you've noticed, but since the fantastic 90's animation boom went bust, it's harder for the lame artists to work at all, much less make the same dough as the good ones.
Not that cronyism exists, but I'm finding that that doesn't get the job done, whereas good artists DO get the job done, and deserve to do it without killing themselves in the process.
Your story illustrated eloquently a major problem unions have. When a member (and a board member, no less) knowingly violates the work rules to "prove" himself, it undercuts the power of collective bargaining. You have little negotiating power as a group when individuals are willing to do "what's necessary" to "prove" themselves. Employers know it, and will exploit it. Breaking the rules "only a little" is like being "a little pregnant".
I don't disagree with this. And I won't plead extenuating circumstances, or lack of knowledge, or anything else.
But because I did it nineteen years ago, I have some understanding and empathy for people who do it now. I also understand that the world isn't starkly black and white.
And the world is always changing. Thirty years ago, SAG used to bring any voice actor who worked non-union up on charges, made them pay a fine, made them write an apology in SAG's magazine.
I'm told they don't do that so much anymore, as it's become politically untenable.
Actually, the way I see it, since the 90s boom went bust, most of the best artists left town and (some of)the lamest ones were turned into superstars.
There is no "union." It doesn't exist. There's an organization that calls itself the guild but most of the artists out there would sell their grandmothers for a nickle and stab their fellow artists in the back for a penny.
And since blackballing is a perpetual topic on this site, it happens much more frequently among snotty little cliques of artists than it does with executives.
Creating unity and then using it in a collectively productive manner is impossible under these circumstances. Give it up.
Actually, the way I see it, since the 90s boom went bust, most of the best artists left town and (some of)the lamest ones were turned into superstars.
Whoa. Glen Keane, Andreas Deja and Eric Goldberg all left town? Who's left at Disney, then? ;^D
There is a huge difference between working artists who are really good versus the likes of Keane, Deja and Goldberg. Those guys were already basically 'untouchable' by then.
I'm talking about regular artists who are good at their jobs versus regular artists who suck.
nice
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