When the industry came together last fall on a hard-fought agreement among multiple unions and the major studios on COVID safety protocols for production, some executives were wary of the precedent…
When the industry came together last fall on a hard-fought agreement among multiple unions and the major studios on COVID safety protocols for production, some executives were wary of the precedent set by new limits on working hours.
To adjust to pandemic-era limits, producers in many cases focused on maximum efficiency in scheduling for actors. For camera crews, that meant in many cases producers opted to pay modest penalties built into the contract for when crew members missed a designated meal break period. And because COVID protocols demand that no food be brought around shooting locations, many camera teams have logged long work days without eating at all.
A willingness to blow through crew meal breaks isn’t entirely a COVID phenomenon. In the Peak TV moment, with many creative pros working back-to-back shoots on tight schedules, the willingness to push through to get it done at all cost is coming at a cost. The forced pause prompted by the pandemic allowed union members the chance to rediscover weekends and family dinners.
According to multiple sources, the basic economic terms of the minimum basic agreement are not in dispute. The studios have made a significant offer to help shore up IATSE’s pension and health fund, and they’ve agreed to enshrine a 10-hour turnaround as downtime between days worked. But industry veterans have seen this play out before. CEOs talking about red ink is just a big red flag — remember the dynamic in the fall of 2007 when executive obstinance pushed the WGA into a corner, leading to the 100-day strike. AMPTP President Carol Lombardini needs to find a way to hand Loeb some clear wins to keep the angriest voices in the room from rising to militancy. In this environment, it’s hard to understand the AMPTP’s decision to not make a counteroffer to IATSE’s Sept.
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