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  •  And Part 3 had Disney strikers typewritten pages (1+ / 0-)
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    which was hard for me to read -- smeary carbon copy? -- but I was really interested, so I zeroed in and retyped it:

    posted 4/28/2008, watermarked cowan collection


    (Headline in Hollywood Citizen News, Monday, July 14)

    Do you know what is going on?

        Walt has already gone on record as being willing to deal with Willie Bioff, but not with his own employees--for whether you like us or not, and whether you agree with us or not, we are still Walt's employees, and what we are doing, we are doing because we believe that a strong union has become necessary for the future security of all Disney employees and the future health of the business. And regardless of what you have read in the papers, the contractual offer that Walt advertised was not offered to us by the Studio, but by Willie Bioff--complete with strings. We told Walt then, and we tell him now, that if he meant what he said, the strike could be settled. His answer was to withdraw the offer and refuse to negotiate.

        And now Walt goes on record as being willing to deal with Willie Bioff, but not with the Fedreal Government. We voted to accept Federal arbitration because we have faith in the honesty and intelligence of any arbitration board that the United States Conciliation Service would appoint, because we felt that they would work out an equitable solution to the problem, and because we feel our cause is just. We do not know why the studio refused--unless they have something to hide.

        As to Mr. Lessing's quoted believe that Mr. Steelman does not "present full information regarding the siutation", a representative was sent here by Steelman, and spent ten days collecting just such information. He heard our side of the story, he heard Walt's and Gunny's and Bill Garrity's side of the story, and we presume he heard yours. And Gunny knows as well as anyone else that a Federal arbitration board does not come here with a lot of predigested information to render a prearranged decision, but comes to hear evidence and to render a decision solely on the basis of that evidence. We can give evidence, the studio can give evidence, and you can give evidence.

        The studio tells you that they do not have to settle the strike, that they do not need the men and women outside, that they can and will reorganize on the basis of the people left inside. Possibly this is true. Possibly they can so reorganize. Possibly the studio does not need us. But have you stopped to consider that you might need us?

        Suppose we analyze what such a reorganization would mean--not to us, but to you. Inside the gates right now are fewer than 90 men in the animation department--supervising animators, animators, junior animators, assistant animators, and inbetweeners--even including checkers and traffic. You need not take our word for that. Count them. Before we went on strike there were more than 250 men in that same animation department--and the studio was too big for these men to carry. It was top heavy. It had to be cut down. You realize, of course, that the job of every man and woman in the studio depends on how much footage that the animation department can turn out. And, if the studio was top heavy before the strike, what do you think it is now? If a studio of 1000 people is too big for an animation department of more than 250, how large a personnel do you suppose will be necessary with an animation department of fewer than 90? How many inkers and painters? How many directors? How many clerical workers? How many anything? By a little very simple arithmetic, we arrive at a studio of 360 people. Which means that while you are busily and happily fighting against us and trying to get us cut of, you are just as busily cutting your own jobs out from under you.

        We need not even go into the other implications of such a reorganization. The fact that that same animation department of 90 is not a healthy department because it, itself, is top heavy and would have to be reorganized--animators cut to assistants and assistants cut to inbetweeners (with corresponding salary cuts, of course)--is obvious, but unimportant. What could be done with the building (yes, we know Lockheed will use some of them) is unimportant. The cold fact remains that under such a reorganization, half of you would have to lose your jobs.

        We are telling you these things because, whether you like us or not, our interests are identical. There is no sense in kidding ourselves. Aside from the prejudice and bitterness that have inevitably grown out of this strike, this is an economic fight. Whether we like it or not, we are all on the same side. We are all interested in making the studio a place where we can work with some security for the future--security to plan our lives, to get married, to buy care, to build homes, and to have babies.

        The studio tells you that you might as well stop struggling, that there is nothing you can do for yourselves but to accept the offer that Aubrey Blair has made to your elected representatives. The hard and unpleasant fact is that Blair is Bioff's man and no matter what kind of a deal or charter you get through Blair, you will still be under the threat of being taken over by Bioff. If you don't believe that the studio will sell you out, consider what the agreement Walt made with Bioff two weeks ago would have meant to you--where you would have stood if we had signed that agreement. The studio was willing to sell us out to Bioff, and to sell you along with us. We refused to be sold--and you felt you had won a victory. What victory? What had you won? Whatever you won, you won because we ware fighting for an honest, constructive union, because we would rather go on working and fighting outside than to accept any contract that would have meant giving Bioff control over us. Don't forget that contract included you--all of you.

        Don't let the fact that you can't like us blind you to the truth that anything you accept from Blair you are accepting from Bioff. We have never believed that Walt is the "cheap, chiseling hypocrite" who "steals credit for better men's work" that Aubrey Blair used to call him when Blair was pretending to work for us, but neither do we believe that Walt is an altruist whose sole interest is the welfare of his boys and girls. Walt's sole interest is making pictures. That's all right, but the boys and girls have to look out for themselves.

        And it is time you started thinking of and for yourselves!

    That is so interesting if you're interested!  (me)

    I remember reading once how irrevocably hurt key animator Vladimir Tytla was by the strike.  Sticks in my mind, not sure where I learned that.  But he was the go-to genius animator for outsize characters like Grumpy in Snow White and Stromboli in Pinocchio iirc and things were never the same for him afterwards.

    •  Great bit of following the links. Some place I (1+ / 0-)
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      have a slightly damaged original of a Pinnochio cell one of the animationist's gave to my mom in way of thanks. I wished I'd remembered it in time to post it to the diary.

      Meteor Blades seems to do an outstanding job of community moderation despite the abject failure to be perfect.

      by catilinus on Wed Oct 05, 2011 at 01:47:05 AM PDT

      [ Parent ]

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