By MCN Editor editor@moviecitynews.com

Post-Les Moonves, CBS Grants Producers Guild $2 Million To “Combat Sexual Harassment in the Entertainment Industry”

[pr]  LOS ANGELES (December 14, 2018) — The Producers Guild of America (PGA) announced today that its charitable arm, the Producers Guild of America Foundation 501(c)(3), has received a grant of $2 million from CBS in support of its landmark new program, the “Independent Production Safety Initiative,” which will provide free anti-sexual harassment training and legal consultation for independent film, television, and digital productions.

“We are grateful to CBS for supporting the Producers Guild’s efforts to combat sexual harassment in our industry,” said PGA Presidents Gail Berman and Lucy Fisher. “In speaking to a broad cross-section of our membership, it became evident many independent producers felt strongly that their productions would greatly benefit from professional, in-person anti-sexual harassment training.  However, most independent productions lack sufficient financial and institutional resources to gain access to such training. The PGA Foundation’s ‘Independent Production Safety Initiative’ is a groundbreaking new program created to answer that need by providing free training to independent productions. We believe it will make an immediate impact toward improving the professional lives of thousands of workers in our industry.”

 Additionally, for any qualifying independent production which participates in the PGA Foundation program, there also will be access of up to two hours of free consultation with a legal expert versed in the field of harassment law. These hours may be used at any point as needed during the production process to address any issues or circumstances that arise.

“The inclusion of legal consultation hours is a critical element of the ‘Independent Production Safety Initiative,’” said PGA President Emeritus and Chair of the Anti-Sexual Harassment Task Force, Lori McCreary. “Unique and often complicated circumstances can arise over the course of any given production, so providing access to an attorney lets producers know they will not be left on their own if incidents of harassment occur. This expert legal counsel will reinforce producers’ knowledge and authority around workplace harassment and reporting procedures.”

 The PGA Foundation’s “Independent Production Safety Initiative” will use funds from its CBS grant to pay for on set, in-person, anti-sexual harassment training as well as up to two hours of legal consultation to any qualifying independent film, television, or digital production. A qualifying production will be defined as one which includes more than 20 individuals among its cast and crew, but does not have access to a company human resources or legal department. To assist productions with 20 or fewer cast and crew members, the program will provide complimentary access to group training sessions, which will be held on a quarterly basis across a variety of production centers across the U.S.

The “Independent Production Safety Initiative” program builds on the work of the PGA’s Anti-Sexual Harassment Task Force, which was established in 2017 in response to reports of widespread misconduct in the entertainment industry. In January 2018, The PGA released its Anti-Sexual Harassment Guidelines, making it the first organization in the entertainment industry to provide concrete protocols to combat sexual harassment. Additional details about the PGA Foundation’s “Independent Production Safety Initiative” and its submission procedures will be available on the Producers Guild website in early 2019.

ABOUT THE PRODUCERS GUILD OF AMERICA (PGA)

The Producers Guild of America is a non-profit trade organization which protects and promotes the interests of all members of the producing team in film, television and new media. Representing more than 8,000 producers, the PGA works to safeguard the careers of its members and improve the producing community at large by encouraging the enforcement of workplace labor laws and sustainable production practices, creating fair and impartial standards for the awarding of producing credits, facilitating health benefits for its membership, and hosting educational opportunities for new and experienced producers alike.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon