CLOSING A DEAL, OPENING A DOOR

People read my blog because I often react before I think, resulting in unfiltered opinions about the business of show.  Most of those outbursts are perceived (and sometimes imaginary) injustices levied against me or others.  So I thought it only fair, and perhaps a bit out of character, to offer some praise for a change.

Fame and popularity often trigger fear and greed.  The trades are riddled with stories of creatives on hit shows or successful movies battling for more respect and coin.  Someone trying to out maneuver and out play their peers, bosses or rivals.  It's ugly shit that usually boils down to "my dick is bigger than yours".  Showrunners are no exception.  Forgive the sexist slant on this analogy, but writers historically are treated as if they have the smallest penises in town.  We are constantly seeking out means by which to grow our junk.  And what makes our dicks big and hard?  Yeah, money.  I know that sounds base and shallow, but it's true.  Money is the equalizer.  It's the only measure of respect that means anything in Hollywood.  And I know this will sound like bullshit, but it's not about the material payoff, it's about being valued.  We need to be acknowledged as an important part of the creative process.  We create the world that production builds, we tell the story that the director shoots, we hear the words that the actor says.   

A couple of months ago, I got wind that 20th (the mother ship of Fox 21 our co-studio) had no interest in investing in my future.  In other words, they were not going to offer me a sweet overall deal because they saw no long-term value in SutterInk.  And honestly, can you blame them?  I've been very outspoken about how I could never be dropped into someone else's playground and share the ball.  So an overall that allows them to place me on any show, didn't make sense.  And after a couple hostile work environment claims and the whole D-girl debacle, c'mon, I'm lucky Rupe didn't put a hit out on me.  So, needless to say I was expecting a very contentious deal making scenario.  

That didn't happen.  FX Networks and FX Productions (the other co-studio) stepped up to the plate and without disclosing details, began negotiations in a spirit of trust and respect.  Below is part of the email I sent to Landgraf and his executives.  It pretty much sums up my feelings -- 

i want to officially document my thanks and gratitude for the unprecedented way you have conducted yourselves in this negotiating process... it’s one thing to say that you’re a network that supports and nourishes artists but it’s another to back that up with the only true measure of respect creatives have in this town -- cash.  ... the fair and generous deal you’ve made with me fuels my continuing dedication to soa and FX.  your actions speak volumes to your trust in me and that goes a very long way.

I don't know anything about their strategy or their deals with anyone else, but with me and Sons of Anarchy, FX has shown their trust, loyalty and support in my talent.  I thank them and I look forward to season three and beyond.