The Director’s Guild came to a temporary agreement with the producers yesterday. Should the Writers be excited? Should this give them hope?The Directors got more than what the Producers have ever offered the Writers.Why then’t the same deal be passed on to the WGA and be done with this strike? The answer is very simple. Producers and Directors are friends. There is a symbiotic relationship between most Producers and Directors. When you think of teams like Ron Howard and David Grazer, Steven Spielberg and GeorgeLucas (who have each produced and directed for each other) or Nora Ephron and Nora Ephron you can begin to see how the negotiations went. Compare that to the lowly writer. Writers are often brought in and out of projects like Day Players.If a script is bought by a production company the first thing that happens is another writer is hired to rewrite or punch it up. Producers do have their favorite writers, but the working relationship between producer and director is much more personal. A good Producer/Director team needs to act as one, thinking alike, having the same vision, picking up where the other one leaves off,whereas a good Producer/Writer team is more “do what I say or I will find someone else”. Granted the Producer is the one that hires and fires both, but you are more likely to hear a Director say; “You’re not the boss of me!”

The first awards show victim of the writer’s strike is the Golden Globes, but would that have happen if not for the Screen Actor’s Guild. It was SAG that did not allow the actors to appear, not the writers. The writers would have walked the picket line and possibly been a nuisance, but the show, as they say, would have gone on.

And what of their own SAG awards show. Did they virtually shoot themselves in their clay feet? You can’t pat yourself on the back if there are no backs to be patted.

This reminds me of the Olympic boycott in 1980 for political differences with Russia when the creed of the Olympics is to bring countries together for healthy competition in spite of ideology.

Shouldn’t awards shows also transcend political strife? They’re not for the unions or the studios; they are for the fans that plunk down $10 to $15 dollars (plus $10 more for popcorn and a coke) to see their favorite star slightly out of their element, trying to be real without a script. What better way to accomplish that than when there are no writers.