![]() ![]() The issue is he "made more money as a story editor" than Jessica Jones' executive producers, which, as previously noted, are writers who work their way up: I worked 20 weeks on that and then immediately went back to 'Cloak & Dagger' for Season 2, where I was executive story editor and did my twenty weeks." "I went to 'Jessica Jones,' and became a story editor there, my weekly doubled to 8 grand a week. He then explained how, as a story editor for Jessica Jones, his pay "doubled to 8 grand a week:" I got to the end of my 20 weeks, I left at the level of staff writer. "So when I was a staff writer on 'Cloak and Dagger,' I was on a strict 20-week contract. Holtham referred to his time working on Marvel's Cloak & Dagger where he started at the lowest paid position and left at the same position, "making 4 grand a week:" ![]() But since that’s not tied to a weekly paycheck, their pay week to week reduces and reduces and reduces." Say you’re doing ten episodes, and you’re getting $25,000 per episode: You’re getting $250,000. For an upper-level writer, the quote is $25,000 per script. Holtham detailed how one of the motivations behind the ongoing WGA strike relates to studio compensation for writers.Īccording to Holtham, while upper-level writers are paid per episode, the same doesn't quite apply to young writers whose "pay week to week reduces and reduces and reduces:" Jessica Jones Writer Talks Marvel's Problematic System Marvel Now, Holtham is sharing his own story about why he and his colleagues have left the writer's room for the WGA picket line. Holtham has penned a number of superhero projects, including Supergirl, Cloak & Dagger, and Jessica Jones he also offered his expertise on Miles Morales for the Spider-Verse Infinity Comic. An MCU screenwriter has offered new insight into how Marvel treats its writing teams.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |