It seems that way before the Great WGA Strike of 2007, there was a problem regarding screenwriting credits between George Clooney and the Writer’s Guild of America. Clooney, who’s upcoming movie Leatherheads was based on a 17-year-old script he came across, rewrote the script, almost completely from scratch. But for whatever reason, the WGA denied him a writing credit!

From Variety:

Aside from bringing back pro football’s formative days, “Leatherheads” might be remembered as the film that permanently drove a wedge between George Clooney and the Writers Guild of America.

Clooney went financial core last fall, after the WGA decided 2-1 in a credit arbitration vote that only Duncan Brantley and Rick Reilly deserved screen credit on the picture that Universal opens today.

Going fi-core means a member is still technically a member of the WGA, but has limited rights within the guild. Fi-core members have to pay dues and are covered by the health and pension plans. Once you elect to go fi-core, the decision is irreversible.

“When your own union doesn’t back what you’ve done, the only honorable thing to do is not participate,” said Clooney, who stressed he made no attempt to exclude Brantley and Reilly.

Clooney says he would have quit the WGA altogether if he could, but that would have prevented him from working on all WGA-covered productions. He says he wanted nothing more to do with the WGA but didn’t want to be hampered in his ability in writing scripts.

As for “Leatherheads,” Clooney took a languishing 17-year old project and got a greenlight after personally giving the script a major overhaul that transformed it into a screwball comedy. He says he felt he’d written all but two of the film’s scenes.

While he agreed that Brantley and Reilly deserved first position credit for hatching the idea and characters, he was incensed enough by the WGA arbitration process to go financial core, which rendered him a dues-paying non-voting member.

The WGA had no comment about Clooney’s decision.

Clooney didn’t appeal the WGA ruling, and kept his action quiet because the WGA was gearing up for a strike at the time. He didn’t want the filing seen as him having split ranks with the union over the labor dispute.

Clooney has been a vocal advocate for urging studios and unions to resolve their differences as soon as possible; he joined Tom Hanks, Sally Field and others at a testy February meeting with SAG leaders in order to urge the guild to start bargaining ASAP.

To Grant Heslov, who partners with Clooney in the production shingle Smoke House, and who was a producer with Clooney on “Leatherheads,” the fi-core move was simply a reaction to a bad WGA decision.

“This script that Duncan and Rick wrote sat languid until after we finished ‘Good Night, and Good Luck’ and George wanted to do something lighter,” Heslov said. “George liked ‘Leatherheads,’ but said it never felt quite right. He took it to Italy with him, and I remember when he called to say he thought he’d solved it. One thing that you clearly see, if you read the original, the subsequent drafts and then his draft, is that he wrote the majority of the film. When I got the call about the decision that he wasn’t getting credit, I was shocked. We both thought Duncan and Rick would get first position credit, which they deserved. But this wasn’t right.”

WGA requires directors who seek writing credit to be responsible for 50% of the script. Heslov said Clooney kept his displeasure quiet because he didn’t want to be viewed as a credit hog since, after all, he is the star, director and a producer of “Leatherheads.” But Clooney confirmed his exit to Daily Variety.

Heslov said this wasn’t about ego, pointing out that when Universal sent a notice that the film would bear the credit “A George Clooney Film,” Clooney nixed it. And while Clooney and Heslov shared an Oscar nomination for original screenplay on “Good Night, and Good Luck,” Clooney and ex-partner Steven Soderbergh removed their names from the producer roster, leaving Heslov the sole nominee when the Clooney-directed pic became a best picture candidate.

“He doesn’t take possessory credit because he believes this is a collaborative business and he’s not a guy who needs credit,” Heslov said. “Financial core was his form of protest, but when he did it, he didn’t want it public. We’re both big union guys. Between us, we belong to 12 unions. I think they made the wrong decision, and he was within his rights to respond by going financial core.”

By going fi-core, writers withhold the portion of dues spent by the WGA on non-contract activities — while still being able to write scripts. Fi-core writers pay dues that are 1.9% less than regular members; they also can’t vote on contracts or in any WGA election.

Under WGA rules, if the director or producer of a film is proposed for final credit, an automatic arbitration is triggered.

This is really quite interesting; the whole basis, the very foundation, of the WGA is to give credit where credit is due. And here we have George Clooney, having rewritten practically an entire script, getting NO credit whatsoever. AND, to put salt in the wound, Clooney’s protest (going Fi-Core) is weak at best; the ultimate protest would’ve been to quit the WGA altogether, but unfortunately, if he ever wants to write another movie for a major studio, he is FORCED to remain part of the WGA.

And they say the Mafia doesn’t exist…

Now that the WGA is officially back behind their desks (it wasn’t officially until last night), NBC and the Hollywood Foreign Press may be eyeballing a lawsuit against them. According to Nikki Finke, the two are bitter about the writer’s strike having forced the Golden Globes to become nothing more than a glorified press conference, as opposed to a glorified, televised revenue-generating ass-kissing ceremony of years past.

It’ll be interesting to see what their legal grounds are. I mean, they still had a Golden Globes ceremony, so they can’t say they didn’t get to have that. And I hardly think they can sue because the ceremony wasn’t as grand as before. The only legal ground I can think of is that they’ll sue for loss of profits from ad revenue. Which would just make NBC and HFPA look like even bigger assholes than before.

Not quite.

This week alone, Hollywood studios have been slapped with THREE humongous lawsuits (more like 2 big ones and one mediocre, but publicity-worthy).

First up is New Line Cinema, which has barely settled their lawsuit with director Peter Jackson mere weeks ago over the Lord of the Rings trilogy (he sued New Line because he claimed they weren’t giving him all the back-end points they agreed on) and is now facing a pseudo-shut down as it may be possibly folded into its parent company Warner Bros (folded meaning everything belonging to New Line will become WB property and the New Line name will be dropped). Now the estate of Rings creator J.R.R. Tolkien is suing New Line because they’re claiming they haven’t received ANY profit-participation money from the trilogy, which grossed almost $3 billion worldwide.

Second: Jew-hating Mel Gibson is being sued by his own writer, Benedict Fitzgerald, who wrote the screenplay for The Passion of the Christ. Fizgerald is claiming that Gibson had made him take a lower wage and less profit points on The Passion because it was going to be a low-budget picture. This lawsuit may go by the wayside, as I think it’ll turn out to simply be a matter of the writer wanting more money because the movie turned out to be a bigger hit than anyone expected.

Now for the one that may cause some serious problems for a movie that’s not even finished yet: 20th Century Fox is suing Warner Bros. over the rights to the upcoming comic adaptation Watchmen (directed by 300’s Zack Snyder). Fox is claiming that they have the exclusive distribution rights for Watchmen, which is currently being produced (and slated for distribution) by WB. Fox claims they had ALL movie rights to Watchmen in the early 90s but (for some reason) gave all but the distribution rights up.

What doesn’t make sense in this lawsuit (for me at least) is that the Watchmen comic book is a DC Comics property… and DC Comics is owned by Warner Bros. Since the beginning of time, only WB has produced (and distributed) movies based on DC books, so what doesn’t make sense to me is why Fox would have the rights to Watchmen.

(Update: rumors are indicating the agency cutting pay is ICM, a truly major H’wood agency)

There’s already another victim on the chopping block: live television. Shows like The Daily Show are already announcing they’ll be going into reruns for the duration of the strike since their writers won’t be working anymore. Some shows like The Late Show and The Tonight Show haven’t said anything about reruns, but how long can they last without writers?

(Via Slashfilm) Whether it got the okay from the WGA or not, the point is clear: writers may need to find other jobs if the strike lasts long (or worse). What isn’t clear is whether the time spent making this video couldn’t been better spent actually trying to handle the negotations…

According to Defamer, word in the secret lair of studio execs is that they now WANT the Writer’s Guild of America to go on strike next month, after their contract expires (btw, who the hell decides to make a contract expire on Halloween??). Apparently the execs are so mad at the crappy shows that have been premiering this season, that they’ll use the strike as a chance to abort all the ones that are failing, which is just about all of them. Although if they’re willing to go that far, I wouldn’t be surprised if even the GOOD shows get cancelled.

So it’s almost like the studios themselves are striking! “Oh, you want to strike? Okey dokey! Be sure to pick up a job application on your way out, ’cause your shitty show won’t be here when you come back! HAHA!”

Check out Variety Asia for a more diplomatic explanation.

So there were a few crew members on Lust, Caution that weren’t from Taiwan. It doesn’t even say which crew members. For all we know it could be the caterer or one of the drivers. How sad would it be if the Academy denied an Oscar nomination to your movie because your fucking caterer wasn’t the same nationality as you???