The Big Picture:
Pete White: Man of Action
by Maureen Parker
Executive Director, Writers Guild of Canada
Imagine the Pete White action figure, outfitted in green fatigues, with a shock of red hair and reciting a few key phrases: "the hill we die on," "just the beats," and "writers are stars too." But even action figures grow weary of battle, and our fearless leader has decided to pass on the burden to another soldier after a decade of fighting for Canadian screenwriters.
Assuming command in 1994, Pete White presented his troops with the now infamous "Ten Point Plan." Although some lieutenants questioned the scope of the mission, it became the WGC's call to arms.
1. Enforce the guild's existing collective agreements and jurisdiction…[collect] the four-percent royalties.
Pete understood that enforcing agreements meant spending to recruit personnel. In 1994 we had four staff in the industrial relations department. Today we have nine. Staff developed consistent rules of engagement, including grieving producers who wouldn't abide by the agreements. In recognition of the mission's objectives, our leader presented Laurie Channer with a skull and crossbones flag, reading "prepare to be grieved." It still hangs proudly in her office.
The elusive four percent royalty continues to rankle many writers, but that mission was ill-fated from the outset. The WGC did, however, compel producers to report earnings annually on each production, and it audited projects and arbitrated some to successful conclusions.
2. Bring about a smooth and efficient administration with…the accurate collection of dues and the attainment of data self-sufficiency.
We managed to convert from the old ACTRA dues system to automatic dues deductions, with only one staff casualty.Our data collection is second to none. We are the only guild/association in the industry with complete electronic records of every project produced in our jurisdiction. The WGC also collects all insurance and retirement data and monies.
3. Revitalize the Independent Production, CBC and educational agreements (rethink, revise, repackage and renegotiate).
Ten years of "Operation Enduring Frustration." But under Pete's leadership we expanded the WGC's jurisdiction to cover story editors/story consultants and animation. He oversaw substantial increases in longform script fees, two increases to the production fee formula, additional creative rights, and a switch from the horrid producer's receipts formula to one based on distributors' gross (okay, so his record isn't perfect…). During the first of these missions Pete engaged his most trusted advisor, David Barlow. (Unbeknownst to him, David is expected to continue in his advisory role.)
4. Conclude unfinished business with ACTRA and the Fraternal Benefit Society; define and establish new relationships and strike new agreements where necessary.
Our "land war in Asia." Back in 1994, our leader was forced to negotiate a truce with ACTRA National, which resulted in the WGC paying a percentage of ACTRA's then-substantial debt. At the end of this year, we are free and clear. And after years of trench warfare, writers finally received an official seat on the AFBS Board in 1999. While there is no clear victory in sight for writers at AFBS, the WGC continues to fight for fair policies for writers.
5. …[A] comprehensive communications and public relations program… produce a quarterly newsletter, one-sheet handout, annual national writers' directory, IPA hand-book.
Today the WGC publishes Canadian Screenwriter, and handbooks such as Working with Writers in Canada. We host an online directory of members and an informative website.
6. …[O]rganize the regional forums…raise the profile of writers.
The most active writer forum is in BC–Pete's home front.
7. Continue to participate in the International Affiliation of Writers Guilds… maintaining and enhancing international relationships.
On Pete's watch, the WGC and WGA instituted the waiver process, which means that dual members of the two guilds now work under WGC contracts incorporating, where necessary, the better terms of the WGA's agreement. This allows the WGC to retain jurisdiction over Canadian production while ensuring writers receive the best of both agreements. Last year a similar system was adopted by the performers' unions.
And guess who was elected to chair the working group for the IAWG?
8. Defend and enhance copyright as it pertains to our writers.
Our battle cry says it all: "The writer is the sole author of the audiovisual work."
9. Defend freedom of expression as it pertains to our writers.
The troops were instructed to write whatever they want and assured that their right to do so would be protected.
10. Generate policy positions and lobby government on issues relevant to our writers.
This became the long march that tested our commander most, but his relentless fight for justice is nothing short of inspiring. Years at the lobbying front were rewarded with the Screenwriting Assistance Program, which puts development money right in the pockets of writers. It's an ongoing battle to ensure that cultural agencies, political players and regulatory bodies recognize the role of the Canadian screenwriters–a fight that Pete vigorously embraced. He took no prisoners and wasn't afraid to make enemies. His efforts and those of his lieutenant, former WGC policy director Jim McKee, ensured that screenwriters have a strategic presence on the cultural and political landscape.
Major accomplishments, all. And through these past 10 years, it has been a pleasure to serve under him.
