Has the witer's strike affected you yet?

[Justin Hayward]

It's funny, I make lots and lots and lots and lots and lots of decisions and I'm quite confident when I make them, but when people are watching my decisions, I get very nervous about whether or not I made the right ones.

[Walter Graff]

It's funny, I make lots and lots and lots and lots and lots of decisions and I'm quite confident when I make them, but when people are watching my decisions, I get very nervous about whether or not I made the right ones.

 

Justin are you sure you said that correctly? :)

[Justin Hayward]

Justin are you sure you said that correctly? :)

 

I don't know.

[Justin Hayward]

One more thing, the truth is usually seen through a bunch of lies and it sometimes takes a liar to point out the real truth. Those liars are sometimes what we call ?artists?. And, I guess I consider myself an artist. So, what does that say about me?

[Brian Dzyak]

One more thing, the truth is usually seen through a bunch of lies and it sometimes takes a liar to point out the real truth. Those liars are sometimes what we call ?artists?. And, I guess I consider myself an artist. So, what does that say about me?

 

That you should get a SAG card! :P

[Hal Smith]

I've been deeply engrossed in trying to get a recalcitrant piece of gear to behave itself and afterwards had someone say to me "You know, you're really an artist". I wrote a Haiku once for my daughter when she was about 2 or 3, forgot about it, and got back a beautiful hand drafted calligraphy version of it 15 years later when she graduated from high school. I've worked with some of the more famous avant garde artists years ago and thought of myself as one of them. I'm an engineer, a film-maker, a musician, a dad, a husband, and last week I sat for a photo session for an advanced photography student shooting a final exam project, so now I'm a model. Oh yes, I once gaffed for Pierre Gaisseau in NYC.

 

Am I an artist? I guess so. Am I a successful small businessman? Most of the time. Are there things I wished I'd done? Yes. Are there things I regret doing? Yes. Would I ever work for the likes of Ruppert Murdoch? No friggin' way. Been there, done that with a Viacom owned company - one of the things I regret.

 

What's my next interesting project? Getting involved in an extremely well financed media project with a very deep pocketed client. Who also has a feature film in development (Hey David, you want to shoot a movie in Oklahoma?)

[Freya Black]

You also say that what we do isn't important. I disagree. Star Trek was (probably) one of the factors that inspired my father to work for NASA and design nuclear thermal rockets. If it weren't for Star Trek he may have been working in a factory instead, or been a salesman. I think businesses and capitalism are worse than unimportant, they are necessary evils that keep society operating. At least what we do is not evil.

 

Howabout documentaries, documentary filmmakers, documentary photographers that show us places that we could never go ourselves. Not every job in this industry is a reality show or a cheesy commedy or an action film. Films make us think, make us see the world differently. They motivate us, inspire us, scare us, enlighten us, and sometimes they do entertain us as well, in the process.

 

I like your positivity but I think it is wise to be aware that moving image work can also be evil. In fact Kenneth Anger claims it is intrinsically evil and I can see his point of view. Films do make us see differently. They can also motivate and inspire us and in that way they can make us believe lies and motivate us to do terrible and hateful things. Like all things it depends, there are buisness and companies doing good things for the world and there are also similar doing evil things as you put it. One is not intrinsically good and the other intrinsicaly evil. It's more complicated than that and this is why filmmakers have a responsibility in their work becase of the influence they have.

 

love

 

Freya

[Michael Collier]

I have been watching this thread from a distance and its been strange watching it evolve, so I think I must say something, hopefully to bring back the thread to were its suppose to be.

 

Its gotten to a point where we are arguing the merits of filmmaking itself...is that nessicary on this kind of a site? Shouldn't we all have very deep seated opinions of why films are important, and why we do what we do? If it is or isn't art really doesn't matter. Its a job and a lifestyle that has its own attraction. Call it art, call it crap, call it what you will, but theres a reason we do this, and its not the money.

 

That said the question was argued about pay and perks. Perks is part of a pay structure. Call it the benifits offered. As david pointed out there are very definite advantages to a producer with their eye on the clock to provide when the crew is in a logistically difficult situation. I think we can all agree that nobody should work films for free...we all have bills to pay, and some a family to feed. I think we also agree that we shouldn't make millions of dollars to grip an indie, so where does the balance fall?

 

Producers who only see money out as a negative cost, not an investment, loath every extra going out the door, and fail to see any benifit it could bring in. Naturaly most producers will try and save money where they can, and often crew is targeted because we make up a large portion of most films budget.

 

Without control, producers would be free to cheapen everything down until nobody can make a middleclass living at it...but films would still get made. More people would work 14 hours for 100 bucks, and producers would feel better about their costs. As a group of skilled laborers however, we should have the right to stand up and say 'our time and talent is valuable' and fight to get that value. They should have the right to stand together and say 'you have the money, but we have the power' and throw their weight around when they are being taken advantage of.

 

A union.

 

Sure it hurts everyone to see a strike. Its not good, but it does drive home the point to those that hold the money that workers want an equitable deal. Its a form of protest, and it works to improve working conditions and compensation. Its the only way to fight against the natural tendancy to slowly chip away C&C over time. It shows the people who really do make millions that the guy working for his day rate (often below) is worth his paycheck.

 

Also it makes the head honchos pony up when the urge is to be zero-based. If you raised 3mil for a feature, are you telling me you can't find one more investor and make it a 3.01mil and provide food when traveling, or pay overtime or add a day to prevent an 18 hour day followed by a 6 hour turn with another 18 to follow? You can produce any way you want, but we are agreed that there should be a baseline of C&C for workers, the question is were does that line rest?

 

Producers have their checkbook as a sword, workers have the threat of strike as a sword. At some point the two come together and iron out standards that are followed until the pendulum swings back. Its the 'invisible hand' theory applied to pay and perk structer. I don't see unions as bad, just a natural in the evolution of a free market. Free market is also the freedom to stand together.

 

All that said. I want to see this go back to a question of how the set hands are faring in the writters strike. Thats very interesting to me, since we are mostly sheilded from unions up here in alaska. Its too small of a production community to have much of an effect. I am glad to hear that even though its tough people are still making it out ok. Like annie, you joined union last year? you're still able to pay bills (and buy granola!) so its not a dead business, if even new cardholders can find some kind of work. I am happy to hear people aren't starving.

 

I think that is what this thread should be, not an argument between producers and below line. I think passion is making this too heated. I don't think Richard strikes his workers on set and pays them in half-loafs of bread, and I don't think that all the people who are arguing with him are making artless films while adding weight from eating at their 5-course craft table.

 

Anyway, I'm done. I hope someone out there backs me up. sorry this was so long and the spelling is terrible. Sometimes my fingers type as fast as my ADD brain can spark. I hope the contract negotiation team is having more productive arguments (though I won't hold my breath, given some of the news I read.)

[David Mullen ASC]

I don't think that all the people who are arguing with him are making artless films while adding weight from eating at their 5-course craft table.

 

Well, maybe a little, though the quality of the catering and craft service are not always an indication of the artlessness of the project... ;) Though someone should do a study and find out.

[Guest]

"and pays them in half-loafs of bread,"

 

Hmmmmm, now you've got me thinking....

 

R,

[Brian Dzyak]

All that said. I want to see this go back to a question of how the set hands are faring in the writters strike. Thats very interesting to me, since we are mostly sheilded from unions up here in alaska. Its too small of a production community to have much of an effect. I am glad to hear that even though its tough people are still making it out ok. Like annie, you joined union last year? you're still able to pay bills (and buy granola!) so its not a dead business, if even new cardholders can find some kind of work. I am happy to hear people aren't starving.

 

 

Fortunately (knock on wood) I had a very good year so I've been able to take a little time off this month. I've had other things to do anyway, so it has been a good time for that.

 

From what I hear from those out there though, things aren't too busy. December rarely seems to be. Some TV has shut down. Soaps have scripts through at least the end of Feb. or so.

 

In terms of features, due to the upcoming SAG contracts at the end of June, we should expect to be fairly busy from Jan through about March or April. Studios will have to have their films completed prior to June 30th in case the actors strike. So, we'll all be busy for the first quarter and then it will likely die off from April-ish through June or so no matter what. Depending upon when the WGA resumes work, the only scripts that will be ready to go are those that are already finished right now. So when they resume, the scripts in progress will be finished and then production will resume sometime after that...after the SAG contract is resolved.

[Brad Grimmett]

The only blithering idiot on this forum is you.

R,

Thank you very much. Good luck making money!

[Brad Grimmett]

Hey, I didnt know you did HACK!?!?! I just talked to Kyle Klutz and Ben Van Cleave is my roommate! Small world.

 

How bout that!

I only did the re-shoots, so I may not have worked with those guys. But yes, it sure is a small world.

[Brad Grimmett]

Call it art, call it crap, call it what you will, but theres a reason we do this, and its not the money.

I agree. Others apparently, do not.

[Guest]

Thank you very much. Good luck making money!

 

There's no luck involved.

 

R,

[Hal Smith]

Actually there is: You'll never know when the PA you hired today is the person you'll need to greenlight a project five years from now.

[Guest]

Actually there is: You'll never know when the PA you hired today is the person you'll need to greenlight a project five years from now.

 

But how is that "luck"?

 

Was George Burns lucky because he smoked cigars every day and lived to be 100?

 

R,

[Brian Dzyak]

Actually there is: You'll never know when the PA you hired today is the person you'll need to greenlight a project five years from now.

 

 

I worked on a low-budget movie in Mystic, CT several years ago. That was in April.

 

I went back to LA afterwards to continue with the budding career.

 

In November, I got a random call from another movie shooting in Mystic, CT. They got my name from a PA who I had met on that first film.

 

You never ever know who can get you the next job...or keep you from it. Does luck have anything to do with it? Perhaps. Certainly one has to know his job, do it well and be a pleasant person to work with. As far as the "opportunities" showing up on your doorstep, there's not much you can do about that beyond being favorably memorable enough to someone that the opportunities come to you instead of someone else. Maybe it's lucky or maybe it's creating the situation where someone is interested in you and what you can do.

[Walter Graff]

Actually there is: You'll never know when the PA you hired today is the person you'll need to greenlight a project five years from now.

 

And there is nothing wrong with that. The lesson is to never burn bridges and always treat everyone with respect. I can think of a number of times that I helped PAs learn more in their tour of duty than their entire year of work taught them, simply because I treated them with respect and let them do what no one else would dare. And I can think of a number of times that those same people came back a few years later in higher positions and returned the favor. Just the other day I called someone who is the exec producer of one of the daytime talks. He was a PA who I took out with me on shoots and in edits years ago to give him a flavor of the business. I called him because someone else that does PA work for me needs a job. And his response was have her call, I'll take care of it.

[Hal Smith]

But how is that "luck"?

R,

Because you weren't expecting that payoff, just doing your job as best as you knew how. Luck does favor the prepared, the competent, and the pleasant but you don't have any control over it.

[Guest]

Because you weren't expecting that payoff, just doing your job as best as you knew how. Luck does favor the prepared, the competent, and the pleasant but you don't have any control over it.

 

I agree with all that, but isn't luck opportunity meeting preparation?

 

There is also such a thing as coincidence and statistical chance, which are often called luck for short ;)

 

R,

[darrin p nim]

Well, ive been getting hit pretty hard here at the bottom of the totem pole. Having just graduated from Brooks in early september and working slowly into october, november was incredible slow and i lost jobs left and right in december. Went home, to portland, for two weeks feeling like crap. Got back because of my scheduled ticket. And have been sitting around since friday night when i got back. Not sure how ill make ends meet right now... sadly. Early december my car dies on me in the middle of my move to noho/studio city, i had to invest in a new car and bicycle, paying for a little fender bender i was in borrowing my friends car to interview for a indie feature... doesnt look to good for me unless this strike rolls over. im really trying to be neutral within this strike but i cant handle it anymore... end already.

[Annie Wengenroth]

I know how you feel. I haven't necessarily been affected DIRECTLY because I'm still relatively new especially when it comes to union stuff (let's don't even talk about paying dues...I love how they continue to bleed everybody for money even when we're not working!). But I've seen a lot of my friends get really slammed...and I'm sure the people who would ordinarily be calling ME for work, are being affected too. So I don't know. Maybe us rookies are worse off because we wouldn't necessarily be working that much in the dead of winter anyway, let alone at all, let alone in these conditions? It's really hard to tell who's got it worse and I guess in the whole scheme of things, it's irrelevant anyway. I have a little backup plan up my sleeve and am genuinely surprised at how hellbent I am about it, despite the people who are warning me that I'll be Putting My Career On Hold (oh yeah, like the strike and the slow winter are doing it any good? Whatever dude! YOU wanna pay my rent??) . It still has plenty to do with film and nothing to do with waiting tables, but needless to say, I would not be in the most ideal location for freelance work and I have to admit, that kinda scares me.

 

Still, at a certain point, why suffer? I mean, screw this, you know? How long are we going to hang here while everyone else in the world simply bitches about how their favorite shows are gone and meanwhile the film industry is starving? Forget "career goals" for a minute...I say, why sacrifice any more than you have to? Why not just use this as an excuse to take a "normal" job and make enough money to feel good about things again? Right? Maybe it's just me, I could be totally wrong here, but that's pretty much how I'm starting to think, even though it kinda makes me feel like a sell-out. I'm by no means saying that I've burned out or lost faith in this industry completely, just that being poor sucks and it's better to be realistic about things.

 

Last winter was slow as hell for me. I gritted my teeth and believed everyone when they told me Hang In There, Kiddo and It'll Pick Up. I still remember the day I paid rent in March and had $5 left. It was really pathetic and I felt like a jackass for having too much pride and not enough common sense. If I had just folded shirts at American Eagle for 10 bucks an hour all winter, life might have been easier in the spring, but nooo, I'm a Camera Assistant! Christ...

 

Anyway, the lesson is, we all get hung up on what we do and it starts to seep in to who we are. Maybe at times like these, the most we can do for ourselves is to take a step back instead of living in fear and allowing this situation to control our future. If my mysterious backup plan B blows up in my face, I'm planning to go back to Beverly, MA for as long as it seems necessary, and help my dad work on the house he's renovating. "Moving back home" was never in the cards, but poop happens. I asked myself the other day, would I cry harder if I didn't work as an AC for the next six months, or if I had to borrow money from my parents, couldn't pay rent, and couldn't enjoy my life because of the panic I feel when I'm broke? The answer is clearly the latter, as much as I love what I do. I'm sure many people on this forum are coming to similar conclusions and I kinda feel like in the long run, maybe it will be good for us to have had that experience of taking a step back which is perhaps necessary...and figuring out how to survive in the meantime.

 

This is clearly one of the worst things that could happen to the film industry, and will we feel any better about it if we all freak out and end up with empty bank accounts? I don't know about you guys, but I really enjoy things like electricity, furniture, and maybe even Netflix once in a while. Not to mention nice clothes and being able to take my brother out to dinner for his birthday. I'm not about to let some bitchy writers take that away. I guess that's me. Like if the ship were sinking, I'd swim for the shore before I'd hang out on a life raft waiting for someone to rescue me. Not a great analogy, but you get what I'm saying...

[Guest]

"Last winter was slow as hell for me. I gritted my teeth and believed everyone when they told me Hang In There, Kiddo and It'll Pick Up. I still remember the day I paid rent in March and had $5 left. It was really pathetic and I felt like a jackass for having too much pride and not enough common sense. If I had just folded shirts at American Eagle for 10 bucks an hour all winter, life might have been easier in the spring, but nooo, I'm a Camera Assistant! Christ..."

 

No one would criticize you for choosing a new career path, certainly no intelligent person. Lots of people leave this business as it proves to be completely impractical at times. Be thankful that you are at least single and have no children to support, if you did, then it gets really interesting :blink:

 

Have you thought about a salaried job in TV with benefits? There are lots of production jobs you can do in TV that will provide regular hours, full benefits, and a pay check every two weeks. TV news for instance, you're in the heart of America's TV news business you could easily find some thing.

 

Then at least you're still in "show business."

 

Now if you do decide to get out of camera assisting, please let me know, because I might want to come to NYC and huh, well......

 

R,

[Annie Wengenroth]

Hey kid, ain't no one gonna take my job. Whatever "leave" I take would be temporary!

 

Nice try, though.

 

And honestly I'm not into television because I don't like video and I don't like sitting down...

 

Edit: I guess that's my OTHER issue with this f**king strike. I have many people telling me things like, "So NOW what? You know, I hear blah blah blah is a great industry/location" as if I'm about to totally give up and stop being an AC because of some huge event which I have no control over.

 

Yeah right. That's uh...not really my plan and never has been. I wouldn't be saying any of this if the strike weren't an issue...I care very much about what I do and the idea of never doing it again, makes me feel horrible. If 10 years down the line I decide that being an AC sucks, I'll reevaluate things, but right now, I still want to play the game. I feel like it's important to clarify this because I don't want to make it sound like "Well guys, it's been real...guess I'm gonna put on my business-casual and go scope out Wall Street." Come on....I'm not saying let's all throw in the towel forever, I'm just saying that perhaps now is not the best time to be an AC or a DP or an operator, so let's see what else we can figure out which will pull us through until the strike is over.

 

It makes me wonder if all the guys in web design and IT got the same reaction when the dot-com market crapped out. "Well ya knooooww, there's ALWAYS sheep farming/plumbing/stripping/sitting at Times Square with a guitar and a cardboard box." It makes me really glad that I've chosen such a stable career in which so many people have tremendous faith! :P It doesn't bother ME, but I must admit I'm always reluctant to mention slow times or frustration to anyone outside of the industry, because I feel like they jump on that immediately and start playing Career Coach. Thanks but um, I like to think I can find my way through the hard times even if I only end up with $5 at the end.

 

Just think, it could always be worse. I'm done ranting now.