Arrested Development


It’s been a month since I made an entry in this blog. The truth is that it is exhausting enough having to deal with this company never mind having to have to write about it afterwards.

Currently we are in Doha, Qatar. We arrived on Saturday and already the rot has begun to set in.

Yesterday, I had a meeting with Ahmed – the series creator – in which I asked him what it was he was hoping to get now we were here. Meantime, I was told today by Ray Perry, who had spoken to Terry, that Ibrahim had been heard saying that filming of the series was never going to happen in Doha. This did not bode well.

Several weeks earlier, I have been told by Abdul that Talal had told him that the series would never be shot in Doha. Apparently, Talal told Abdul that ATG would “go through the motions” (or words to that affect) and act like it really intended to shoot the series in Doha, but when the Qatari people found out how much it was going to cost to film in Doha they would panic and the shoot would revert back to Jordan. That might explain why ATG has been working feverishly on a first season budget which, I have heard, will top $125 million.

This seems to fall in line with Arab Telemedia’s Production Crew’s behaviour here in Qatar. So far they’ve bought over the absolute barest minimum of Arab Telemedia crew. They have taken all of the good people we had, kept them in Jordan, and attempted to stick them on other projects being produced by Arab Telemedia. Meantime, nothing is really happening here apart from meetings.

Take for example Abdul. Currently he is stuck at Arab Telemedia 1 in Jordan where he is being hassled to work on other projects. This is despite the fact that Chris and I have repeatedly told Arab Telemedia’s producers that we need him with us. But Arab Telemedia simply doesn’t care what we think.

The story of Abdul’s failure to end up working here in Qatar is highly representative of the unethical and insidious work practices of Arab Telemedia. When we first said that we needed Abdul to come with us, he was repeatedly offered work as a full-time employee at Arab Telemedia. However, he kept turning the offers down. When it became clear to Arab Telemedia that he was not going to agree to become a full-time employee, Arab Telemedia went cold on the idea of allowing us to bring him to Qatar.

The question is why?

My own personal suspicion, and this has been mentioned by several other people, is that Arab Telemedia would have been happy for him to come here if he was an employee of the company because they could pay him a pittance while charging the investors considerably more. However, since Abdul refused to be an employee they were not able to use him as a ‘cash cow’. As a consequence, they refused to allow him to come despite the fact he is an essential and integral part of the Art Department.

Another theory is that’s Ibrahim blocked Abdul coming because Abdul has had arguments in the past with Ibrahim because ATG always pays Abdul late (at one point, nearly six weeks late). So the arguments have always revolve around Ibrahim’s broken promises and Arab Telemedia’s constant failure to pay Abdul’s wages on time.

In an interview today, an ATG employee – Khaldoon – told Abdul that if he became a full-time employee he would no longer have to worry about being paid on time. This was a threat and an acknowledgement of their principle of not paying freelancers properly in an effort to wear them down and make them staff.

Currently Chris is threatening to quit “Medinah” if they do not get Abdul out here. Another reason Chris is threatening to quit is that Arab Telemedia has not paid his wages for the last 4 1/2 weeks. Arab Telemedia cannot claim this is “accidental” because Chris has been reminding them of their failure to pay his wages for the last month. I might also add that the rest of the art department is behind on receiving their wages too.

Before EID (a Arabic festival that took place two weekends ago), Issam was working in the Art Department buildings – a ten minute drive from the production offices as the show’s Line Producer. Line Producers normally wield a lot of power, but it was my observation that ATG had intentionally managed to make Issam powerless by not paying him (at this time, they haven’t paid him for three months!).

Anyway, when Talal got back from Doha, it wasn’t long before things suddenly changed. Issam disappeared. We soon discovered that he was now working in the main offices of Arab Telemedia. But not only had he changed location, his attitude had changed as well. Once a friend to the Art Department, he was now “one of them”. What had suddenly switched Dr Jekyll into Mr Hyde…?

(On an aside, it is ridiculous that the UK crew and ATG see each other as enemies. We try hard not to but they very clearly see us as the enemy and nothing we do to placate them seems t change that. More on this in a later blog entry).

What we heard, which makes sense, was that as a result of Talal’s meeting with the investors in Doha in which – I presume – his lie about the cost of the fortress set was exposed, Issam was to be granted more powers. By the time we relocated to Doha, Issam would be signing for payments as well.

It does not take much imagination to realise what had happened. After Talal was told by the investors that Issam must be granted more power, you would thin that Talal has a problem. But he did not, because at this point Issam was owed around $30-40,000. All Talal had to do was to threaten to not pay Issam and to keep him close by. This is why Issam had suddenly switched sides – he had no choice.

You could argue that Issam is a victim in this situation. And you would be right. The result is that the show has become thoroughly compromised because the Line Producer is supposed to act on behalf of the investors. But Talal has nailed Issam to the wall with the money he is owed. So clearly Issam cannot act on the show’s behalf. How he feels about this, I do not know. 

Today, there was a meeting between the Production and the Art Department to discuss our plan of action over the next 12 weeks. Chris very nearly did not attend.

Last night, he had emailed Issam telling him he was no longer a part of the Medinah team. This was because he had not been paid for the last five weeks, and because Production continued to refuse to bring Abdul over to Qatar. But Chris’s resignation was also a consequence of another ongoing issue.

For the last few weeks we had regularly been emailing Production a “list of things to be done by Production” so that the Art Department could get on with their work. Some of those things were difficult. Others were easy. Others should have been easy. But to date Production has pretty much done none of them.

Last night, Issam sent an email in response to this list in which he accused the Art Department of being hellbent on making life difficult for Production. He then proceeded to go through each point saying why they were effectively each the fault of the Art Department. I shall include that list below so you can decide for yourself. The point of the list was not to make life difficult for Production. It was to see if Production would start to do their job properly again. But the real reason Issam sent that email was to arrest control from the Art Department and to give it back to Production through the meeting we had today. In short, our Art Dept list was to be replaced by today’s Production list that would be cobbled together by Anwar.

Earlier yesterday evening, Chris had a major confrontation with Production and Ahmed over his wages and ATG’s failure to bring Abdul to Qatar. By all accounts, it did not go well. As a result of the meeting and Issam’s email, Chris had had enough and he emailed Issam to say that he had quit.

Despite this, Chris arrived at the meeting having been persuaded to attend by Simon, the director. Ironically Simon later said that Chris should not have attended the meeting because it made his and everybody else’s threats look hollow. (I have been saying this for weeks!) That said, the meeting began somewhat amicably.

Towards the latter part of the afternoon, I brought up the subject of the Construction Manager. Issam had claimed in the previous night’s email, that I had not provided him with contact details for any construction managers (which was not true as I had provided him with them the previous day, the previous Thursday, and the previous Wednesday). I had also told him that we had lost two CMs – Perry and Hugo – and several other construction managers I had approached because of ATP’s refusal to make a commitment. I made the point that we were in a very difficult situation. I told everyone present that we had only one option for a construction manager left.

Ben, an Australian construction manager, had told me that he was available and interested. I had emailed his details to Issam twice the previous week and again yesterday. Issam finally contacted Ben by email and made an offer that threatened to jeopardise Ben’s involvement in the show. Why? Ben had asked if it was a five or six day week. Issam wrote back saying the pay was way below what Ben would expect and that it was also a six-day week. His approach was like a bull in a China shop – almost as if the intention was to alienate Ben.

The entire UK Art Department then preceded to tell Issam that if we were to force the issue of the six-day we would likely lose Ben. Issam was very unhappy about this. He said that his concern was that if he allowed Ben to do a five-day week this would snowball and it would not be long before the entire Art Department wanted a five-day week. We acknowledged that this was a problem. But the point that I stressed was that hiring a CM was a more immediate problem since there were no other options – ATP had exhausted the all.

A good half hour went by while Production, and to a lesser degree Ahmed, argued about how they should agree a five-day week. I kept saying it was because we no longer had a choice. I did not point out that we no longer had a choice because Issam had repeatedly screwed up hiring a construction manager capable of doing the job. (a previous CM had agreed to do it for ATP’s proposed rate but they’d messed him about so much he went and got another job).

Finally, Issam stormed out of the office accusing the Art Department of bullying him and being unreasonable. First Smithers and then I went out to talk to him. We explained that we were not bullying him; rather we were trying to resolve a very serious problem because without a construction manager capable of handling a show of this size there would be no sets, which meant there would be no show.

I had already said in the meeting that if we did not choose Ben and instead decided to see if we could find someone else it would be like playing Russian roulette. Issam refused to believe there could be no other construction managers left. I agreed. I said that was not the problem; the problem was that we had exhausted all of our leads and we had no idea how to find good construction managers who might be available. I said that we might be lucky and find one tomorrow or it could be a week or it could be a month. Our problem, I said, was that we did not have time to find this out because the construction manager was already supposed to be breaking down set plans weeks ago.

Things calmed down. But we were left with a very real problem. And it’s the same problem we’ve had since I got here 4 1/2 months ago and before that when Chris got here and Simon; Arab Telemedia do not listen.

They accuse everybody else of not listening but they fail to listen in the meantime. Issam remarked that we seem hellbent on only using UK crew. We told him that we have every intention of using local crew and training them up but we can only do that if we have the UK crew to train them. Issam said we had made no effort at all to work with local crew. I told him that that was not true and that he knew it because I’d spent the last two months trying to work with Fozan despite Fozan not being a construction manager.

Arguing with ATG employees — and Issam is now one of them — is like arguing with a child. I do wonder if I should read “How To Talk To Children So They’ll Listen”. It really is that bad. If they don’t like what they hear, they don’t hear it. If they don’t like what they see, they don’t see it. They are an impossible company.

In conclusion, we are no more further forward then we were when we were in Jordan. We have lost Abdul, the only person we had who was capable of doing some of the specialised work we need. We have lost Sari who was the only person in Production who seemed to have any idea what he was doing. We have effectively lost Issam who has now become a “tool” (willing or not, I don’t know) of Arab Telemedia.

Meantime, Arab Telemedia is playing the waiting game. Talal told Abdul it was only a matter of time before the shoot went back to Jordan. Two days ago, Ibrahim was overheard saying that this show was never going to get filmed. He may have meant in Qatar. I don’t know.

Ahmed told me yesterday that the budget now is the same as it has always been. This means the budget is still approximately $40 million. I also know that ATG has ordered Issam to do a budget (for filming in Qatar) that is over $100 million. When Ahmed sees that budget he will be furious. This is clearly part of Arab Telemedia’s game-plan. They want a budget that will force the show back to Jordan where Ahmed and the Studio cannot keep an eye on ATG.

The perversity of all this (and I’ve said this before) is that the show could have been shot for $40 million. It just required people who knew what they are doing, and Arab Telemedia clearly not. They haven’t even done something as simple as fix the script locations despite having had months to do it. Today, the production manager, Majid, was out buying shopping bags full of water and biscuits for our meeting. I don’t think I’ve seen a production manager do that since I was a student at film school.

And that pretty much sums this entire production up…

…a show led by a bunch of film students telling a bunch of seasoned professionals how to do the job. There is not a hope in Hell of this show ever getting made so long as Arab Telemedia continues to be attached to it. I suspect they will shoot something eventually, just so they can pretend they were serious about doing so, but they will do it their way and then blame the resultant debacle on the director.

ATG has to go. The question is, when will this happen? And will the show survive it? Or will all the money be gone by then…?


NOTE ADDED May 20th, 2016 (as I forgot to add it at the time of writing the above entry!) – The following email and list was sent to ATG on July 14th, 2015. After which observed ATG do practically nothing on this list within the timeframe specified (they did hire Rita and give Ray a car, but that was practically it). When we continued to update this list showing that ATP was doing next to nothing, they got aggressive and started accusing us of attempting to sabotage the show (while all the time not paying our wages too):-

Email From Chris to Arab Telemedia suggesting way forward

The Way Forward For Arab Telemedia Page 1

The Way Forward For Arab Telemedia Page 2

The Way Forward For Arab Telemedia Page 3

The Way Forward For Arab Telemedia Page 4

To Doha Or Not To Doha – Part 3


Yesterday, Abdul got a called from Majid, telling him that ATP needed his passport and that he was going to Doha. He wasn’t asked. He was just told. Abdul wasn’t very happy about that.

Fozan has also been told he is going. Yesterday, he sat in a secret meeting with Talal and Ibrahim. I know because I was told by someone else about it (someone who should not have known). In fact, Talal was still supposed to be in Doha and – this is not the first time – he had lied about when he was coming back.

This morning, Chris, Ray, Smithers, Andy Dunn, Terry and I had a meeting to discuss our needs if we were to go to Doha. It was a bit unfocused but we got there in the end. Fozan turned up midway through the meeting and asked if he could join us. Chris politely agreed but from that point on everyone believed we had a spy in the room.

Anyway, the list is below. This is a reasonable list. In fact, on a show of this scale everything here should already be provided. The international industry knows this but apparently not ATP:-

CREW NEEDS

WORK DAYS, WAGES AND PER DIEMS

  1. Five day weeks for pre-production. (we’re doing six)
  2. Eleven day fortnights during filming with 11th day as prep.
  3. Crew wages adjusted so all crew paid on Sunday.
  4. Proof of pay emailed out each Sunday.
  5. Wages paid at end of each work week – not one week in arrears. (I’ve calculated they are on average 12 days late)
  6. All wages and per diems up to date before departure to Qatar.
  7. Per diems paid at the start of each week. (they’re always late too and are paid in arrears)
  8. Per diems USD$65 per day. USD$455 per week. (Doha costs six times more than Jordan and per diems of $100 per day is perfectly normal so this is far from being an unreasonable request)
  9. Shatat and Emad to go and two have per diems same as rest of crew. (we’ve heard rumours they would get less)
  10. USD $50 financial penalty for each day wages or proof of pay or per diems are late.
  11. Clarity on what per diems are for.

ACCOMMODATION & TRANSPORT  & FACILITIES IN DOHA

  1. Breakfast included in accommodation cost.
  2. Lunch paid by company during prep and shoot.
  3. Hotel min four stars. Own room or personally serviced apartment.
  4. No room or apartment sharing.
  5. Shatat and Emad in same hotel as rest of art dept.
  6. Accommodation approval before plane tickets bought. (clearly, we do not trust them)
  7. All transport costs covered in Doha to and from work, work-related places and airports. (as above)
  8. Minimum of five new vehicles (two being 4WD pickups) and one driver for exclusive use by Art Dept.
  9. 100% reliable Internet everywhere. Every crew member to have own company-paid dongle with minimum 15GBs per month and no service interruption due to pay-as-you-go schemes. (to date, the internet has been very very unreliable and ATG’s IT department seem clueless about how to fix it – oh, and they use pay as you go)
  10. Company phones for all crew members supplied on first arrival at hotel. (this has been a problem previsously)

INSURANCE AND PERMITS

  1. Written proof of medical insurance. (we don’t have any yet)
  2. Written proof of equipment insurance. (we don’t have any yet)
  3. ATP responsible for sorting out all Visa, work permit and residence permit issues on time.
  4. Upon termination of a crew-member contract by any party for any reason, ATP to sort out Exit Visas and to provide economy flight home within two week and to continue paying wages and per diems until they leave. (given they are holding Natasha ‘hostage’, the idea of them controlling exit visa’s does not appeal at all)
  5. ATP to ensure crew will not be asked to relinquish passports at any time.

FLIGHTS & HOLIDAYS

  1. All excess baggage to and from Doha paid for at airports by ATP rep. (still don’t trust them)
  2. ATP to arrange access to reduced cost flights.
  3. Ten days paid leave inclusive of flight every six months, starting from our start dates.
  4. EID paid holiday.
Taybet Zaman

Taybet Zaman & Misappropriation Of Crew


Fozan and I recced Taybet Zaman today for the Fortress set build and we both agreed – it is far from ideal.

The fortress should be impressive. The Taybet Zaman courtyard is small. Ideally it should be built on a backlot, but ATG has already failed to get a backlot twice and while they claim to be looking at a third one they have not even invited us to see it this time!

It became abundantly clear that Fozan is working on “Malik” today. When I asked Sari about it he sheepishly said, “He is helping out.” But Fozan journeyed to Taybet Zaman in the new “Malik” director’s car today, spent very nearly all of the day with them, and journeyed back with him. I barely saw or spoke to him. This despite Ibrahim promising me that Fozan was now 100% committed to “Medinah”. Clearly, Ibrahim lied.

Meantime, Anwar and Majid journeyed to London today for a week to do some filming on another show – again despite the fact they know – and we know – that their contract with “Medinah’s” investors requires that they commit 100% to “Medinah”.

And while they’re in London not working on “Medinah”, and Fozan is working on at least one other ATG production, Talal has gone to Doha to tell the investors to cough up further payments so ATG can spend more money ‘on’ a show some of its alleged crew aren’t even working on.

Email To Chris Richmond


On way to recce today. I just sent this email to the designer, Chris Richmond. From what I have been told, ATG’s contract with the financiers clearly states “Medinah” crew cannot work on other shows. Hasn’t stopped them though. They do it all the time.

Email as follows:-

Off to do recce today. No scaffolder organised by Fozan despite his saying he would. No plasterer because fibre glass company insistent it is not necessary. So going to let them try it their way this week from high-res photos then tell them it’s not good enough. 

Fozan is working on “Malik” despite Ibrahim promising he would not be. Sari admitted it. It’s also obvious because Fozan is going down to Taybet Zaman in a second minibus with “Malik’s” new director. 

Fozan has enough to get on with while I’m away. Fibre glass moulds should be ready by the time I am back.

Talal and Ibrahim are going to Doha because financiers are allegedly too slow paying up.

Anwar, Majid, etc., are going to London to shoot another show. 

So it would seem that all these people who are meant to only work on “Medinah” according to the terms of ATG’s agreement with the financiers are all busy working on other projects this week.

Shoot date now postponed till July 25th. I assume they mean this year.

Dom