sorry but the WGA absolutely knows what they are doing and would never try to screw a writer out of credit IF they deserve it. They have protected my husbands work for years, gone to bat for him, and directors are notorious for putting themselves first. Just look at the way they hijack credit all the time from writers and make changes when it isn't necessary just to get credit. If someone didn't get credit it's because the work they did didn't meet the requirements for credit. simple as that. My husband is a member of BOTH WGA and DGA. I think it's obnoxious to call the WGA the "whiners" guild. i can think of a few choice "D' words for the DGA but won't stoop.

Yes I agree that at times the writers guild can protect it's writers but there are other times when the writers get screwed. The process they have in place is obviously flawed because this has happened to many talented people in the industry that have done significant amounts of work on screenplays and received no credit whatsoever. The credit arbitration process is left in the hands of three "randomly chosen" WGA members who may or may not actually take the time to read the scripts, may or may not know the parties involved (even though the arbitration is supposed to be anonymous) and may or may not take their jobs seriously. Members of the WGA board even admit that the arbitration process needs to be looked at. Check out the original Lucas/Moore script and the final Philips/Garelick script and tell me who deserves the credit…I think you'll see it should have at the very least been shared.

this bastard director looks like a stingy selfish asshole anyway… help protect the writers… they usually get fucked over anyway….

the movie doesnt make sense, time frame wise….but you know, its a movie, you know…shrug….(moves foot in the sand to make a weird symbol unknown yet subliminal..)

whoa what symbol is that???

Perez, do a little research on the industry you write about. This is so common as to be the norm. Numerous writers contribute to virtually every film released (especially the studio variety) and rarely receive credit for it. They are, however, very well paid for this ghost writing and that is the deal, no credit = lots of money. While the board of the WGA is comprised of a bunch of whiners when it comes to other issues, the Guild has always been stand up about credits and has saved my ass on more than one occasion.

Todd Phillips, though a talented director, is the living example of why the WGA arbitration system exists. He seems to have no sense of history. Before writers had a union, a producer, studio exec, director or anyone else in a position of power could put their dog's name on the screen as the credited writer if they so wished. This was actually done in one case. Outrages like that are why writers fought for and won the right to decide writing credits. To get writing credit, changes of a substantial structural nature must be made. Finding several better comedy shticks may not be enough. But, sometimes, mistakes are made by WGA arbiters. Like democracy, it's an imperfect system but, for the moment, the best system we have. Todd Phillips should study the labor history of Hollywood to see how talent has been abused in the past, and why we have now have unions — and arbitration systems — to protect us. The true whiner here is Mr. Phillips, not the WGA.