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Nobody likes a strike, especially actors
By RUTH THOMPSON
The strike called in mid
summer by members of the
Screen Actors Guild and the
American Federation of Tele
vision and Radio Artists has
already changed the lineup of
what networks had planned to
offer viewers in the early fall
season.
Even after settlement it
may be years before the long
term benefits to actors are
known — or the hardships suf
fered by non-actors (studio
workers, office personnel)
whose income ceased when
production stopped.
Strike leaders — Ed (“Lou
Grant”) Asner, Alan
(“M.A.S.H.”) Alda and Henry
(“Happy Days”) Winkler —
felt a stand had to be taken to
assure payments for re-runs
of shows in the “new technolo
gy” media, such as cable, pay-
TV, videodiscs and video
tapes. Singly they’ve stated
their views, and this week on
cable all three appear with
David Sheehan on his “Holly
wood Showtime.”
It’s a complex issue. One
explanation given for the can
cellation of the popular “Mary
Tyler Moore program” —
which created the Lou Grant
character that brought Asner
to fame and then spun him off
into his own series — is that
during its nine-year run the
series returned no profit to
the MTM company headed by
Ms. Moore and her estranged
husband, Grant Tinker. No
profit? No.
At the time the series
ended, a company spokesman
said no profit had been
expected. It was an expensive
show to mount, and they
wouldn’t make their money
until it went into syndicated
re-runs. The actors, however,
got some take-home pay all
along, some of it pretty good.
How do actors other than
the leaders feel?
Gary Collins, who has just
premiered his syndicated
“Hour Magazine” daily talk
show, says bluntly that too
many actors may have talked
too much about the strike for
anybody’s good, including
their own. He is deeply con
cerned for the blue-collar
workers, the file clerks and
the other non-performers, for
whom long-term gains are not
an issue and who’ve been hurt
badly.
Patrick Wayne, the hand
some son of John Wayne who
also has a new series premier
ing this week, “The Monte
Carlo Show,” says nobody
likes a strike, and he’d rather
be going off to a new produc
tion.
But it’s an ill wind that
blows no good. Patrick went
on location on the French
Rivieria in April, and two doz
en of his elegant musical-vari
ety shows are already
completed. The public will see
him in one of the few original
productions to get on the air
in the early fall.
Meantime, Wayne is getting
in shape in case another role
like “The Eye of Sinbad,” one
of his earlier action movies,
comes his way. “Now that I’m
home, I’m swimming an hour
a day.” In his Toluca Lake
back yard? No. “I don’t have a
pool, because for a mile a day
you’d be doing more turning
around than swimming. I
swim at one of our YMCAs.”
Also lamenting the strike’s
effect is Dick Van Patten. But
while his ABC series “Eight Is
Enough” has been delayed,
he’s been following his son
Vince’s progress as a rising
tennis star on the Volvo Grand
Prix Circuit. Vince gave up
acting, at least temporarily,
for tennis. Says Dick: “I get
more nervous watching than
he does playing.” And Vince is
a young man to watch. A year
ago at this time he ranked in
the 400s. Now he is one of the
top 40 players on the circuit.
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