I can’t believe it’s December already!
An ancient Chinese proverb reads, “may you live in interesting times.” Given the WGA and IATSE Local One strikes and the upcoming SAG strike that will probably hit during the summer of 2008 there can be no doubt that these are interesting times indeed. Since anyone in “the biz,” or looking to get into it, will be drilled with questions this holiday season about how these events personally affect them I thought it might behoove us to examine the issues.
First, the causation. The current WGA strike and the future SAG one is to resolve the issue of residual income from internet broadcast. Many networks are making already-run episodes of their most popular television series available on-line for a more convenient viewing experience. These internet broadcasts include commercials. The revenue generated for the networks by these commercials is separate from, and in addition to, the revenue generated from the commercials seen on the television broadcasts. This additional revenue currently goes solely to the networks. The writers, and eventually the actors, feel they are owed a piece of the pie.
The IATSE strike that just ended has to do with the way Broadway stagehands are employed. When a Broadway show is about to open a “load-in” occurs. This is when the set is delivered to the theatre and assembled. The number of stagehands required for the “load-in” process is almost always greater than the number of stagehands required to run the show once it has opened. However, the contractual agreement that IATSE has worked out with the producers states that the “extra” stagehands, if any, must be employed through the entire run of the show. The producers wanted to amend this provision in order to cut out what they interpret as unnecessary jobs from the budget. IATSE counters by pointing out that A.) the additional stagehands guarantee safety and B.) if those jobs are lost the money saved by the producers will be pocketed as profit and not returned to theatregoers in the form of lower ticket prices.
You can decide for yourself what side, if any, you support. All I will say is that as a member of two performance unions my loyalties and sympathies are obvious.
Second, how does all this affect you?
(The IATSE strike has ended, so the answer there is, “it doesn’t.”)
If film and TV is your main focus I’m afraid things are going to be slow for a while. I recommend that you look into as much non-union independent production as you can. If and when the SAG strikes occurs I strongly advise you to tread carefully regardless of your union status. Do not accept any work without first checking with the appropriate union to make sure that it is authorized. The unions monitor the rosters of all unauthorized productions and will bar non-union actors from joining after the strike is over, or punish union actors that crossed the picket line during the strike.
Many rash actors have crossed picket lines during a strike thinking that they will take advantage of an opportunity to work a job that normally would go to a union member, only to find that the doors to the union (and therefore, employment) are forever barred to them once the strike has ended. If this doesn’t make sense to you please reply to this post and I’ll explain why the performance unions are so strict about this.
If you work in all areas this is an excellent time to pursue theatre and commercial work. My agents have not been shy about getting auditions for me on long-term out-of-town projects that we would normally avoid simply because the film and television opportunities that make staying in the city worthwhile might not be available again until the fall of 2008.