Work conditions have been hellish for quite some time in LaLa Land.
It just took a pandemic to draw long overdue attention to it.
One is left wondering where State and Federal labor regulators and legislators have been all this time.
If your answer does not involve the phrase "in the studios' back pockets," it is partially invalid.
A lack of guaranteed meal breaks makes these long days even more
taxing, according to some crewmembers. “I just worked on a feature in
Atlanta where we never once had a lunch break. Not once did we have a
lunch break for 40 shooting days,” says costumer and Local 705 member
Eric Johnson. Union members claim that meal penalties, the fee
productions pay when workers miss mandated meal periods, have become so
affordable that productions bake them into budgets (Basic
Agreement signatories have to pay members of at least some major IATSE
locals between $7.50 and $13.50 per half hour after the missed mealtime).
And while the extra meal-penalty compensation can be helpful to those
with low pay, “after 10 years of [missed meals], you just can’t sustain
that,” says Johnson. Some productions advocate for “rolling lunches”
where workers step away briefly and/or fill in for one another during an
uninterrupted workday so they can grab food, but crewmembers in certain
roles — like those in the camera department — say that they can’t
realistically leave or have someone else briefly assume their roles.
On social media, IATSE members and their allies have advocated for
guaranteed meal breaks. The studio source says the AMPTP offered an
“alternative meal break solution,” with rolling lunches being just one
of the options discussed, which was rejected.
* * *
Individuals in some of IATSE’s lowest-paid roles say that, beyond
long hours, they face additional struggles due to what they describe as
unlivable pay. Currently, writers assistants, assistant production
coordinators and art department coordinators make a contractual minimum
of $16 an hour or a little bit above, while script coordinators make, at
minimum, $17.64 an hour.
While trying to learn how to make ends meet in
her role, Bachiller remembers being advised by support-staff colleagues
to, on Fridays, take “all the food that was about to expire from the
kitchen and that would be our groceries for the weekend.” She adds,
“That was just considered normal, that was just part of paying your
dues.” Alison Golub, a writers assistant and Local 871 member, counts
herself lucky that she’s an L.A. native and can live at home — “because I
can’t afford to pay rent.” A strike would be especially challenging for
members in these roles, and Local 871 is currently putting together a
program, potentially financed at least in part by a strike fund, to
offer financial support to them in the event of a strike; at least one
other Local is working on an economic relief program.
Concern over crewmembers’ working hours, rest periods and low wages
isn’t new, and has been building steadily for years. According to one
union insider who spoke on the condition of anonymity, the issues the
union is fighting for this round of negotiations are “the same five or
six issues that we have been talking [about] with our employers for a
decade,” namely, low wages, long hours, rest periods, compensation from
new media, and health and pension plan funding. (“There are some issues
that both sides, producers and unions, want to resolve in negotiations,”
the studio source counters. “At the end of the day, there have been
deals made the last five or six rounds of negotiations, and clearly both
sides, including the union, agreed to the contract, so they must have
agreed to those lists of priorities.”)
The 1997 death of second camera
assistant Brent Lon Hershman in a car crash and the 2006 release of
Haskell Wexler’s documentary on entertainment’s long working hours, Who Needs Sleep?,
ignited similar conversations decades before. Members of the Motion
Picture Editors Guild and the Costume Designers Guild have discussed a
potential strike for years.
But IATSE members — whose union represents roles as disparate as
studio publicists and lighting technicians — are “straight-up united”
about these issues in 2021, says Bouzi.