The directors union (DGA) reached a tentative agreement that responds to their demands, but 97% of the actors (SAG-AFTRA) voted to join the strike if an agreement is not reached before June 30.
Defining moments are coming hollywood with a strike carried out by the Writers Guild (WGA) that does not seem to have an end near and the Unions of Directors (DGA) and Actors (SAG-AFTRA) walking in opposite positions. With contracts due to expire on June 30, the directors have a tentative agreement and the actors voted in favor of joining the measures of force.
On Monday it was revealed that members of SAG-AFTRA voted in favor of a strike by 97.91%. The association that encompasses the large Hollywood production companies (AMPTP) he has less than a month to close a deal with the actors before they go on strike. “We entered into these negotiations with the aim of reach an agreement that is beneficial to SAG-AFTRA and the entire industry,” the producers expressed.
Fran Drescher, Chairwoman of SAG-AFTRA, spoke to union voters: “I’m proud of all of you. Together we will fight to build a new contract that honors our contribution to this incredible industry, reflect the new business model in the world of streaming and give us protection for all our concerns”.
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“Inflation, streaming residuals, unregulated use of generative AI, and demand for self-made audition videos they are threats to the possibilities of actors to make a living from their work, so we must adapt our contracts to reflect this new reality,” he explained. Duncan Crabtree-Ireland, executive director of the union of actors and deal maker with the AMPPT. “We are going to assure our members in film, television and streaming that they will be able to continue working professionally,” she promised.
Hollywood directors reached a tentative deal with production companies
Two days before the voting of the actorsthe Directors Union (DGA) reached a tentative agreement for your own contract. Although the deal responds to one of the demands of the writers on strike, other key points that both unions do not share make a difference.
Here are the most important benefits that would go into the directors’ contract:
- Salaries and benefits: Directors’ salaries would increase by 5% the first year of the contract, 4% the second year and 3.5% the third and final year before renegotiating.
- Global streaming residuals: It is considered a substantial increase in the residuals that directors collect thanks to streaming reproductions, especially outside the US: the increase in residuals would be 76%.
- Artificial intelligence: the agreement leaves framed that the AI is not a person that the generative AI cannot replace the tasks carried out by members of the union.
Why writers and actors don’t reach similar agreements
Hollywood Writers Strike
networks
In each case, scriptwriters (WGA) and actors (SAG-AFTRA) there are particular demands that are relevant and in which the AMPTP (the producers) does not seem to be willing to give in. Even so, issues such as the formula for calculating international residuals are common to all unions and could oil negotiations.
One of the requests that the producers refused to negotiate was put a minimum number of members to the writers roomsas well as a minimum number of work weeks. For the writers, this ensures that they don’t have an extremely demanding job for the number of writers, and that it also lasts long enough to be able to be on the sets where the necessary experience is gained. The con of the AMPTP is that there are series that are written by a single personwith the example given from the HBO series: The White Lotus.
On the part of the actors, one reason for voting to strike is simply put extra pressure on the AMPTP and get better terms without having to be tied to what the directors got. The other includes particular demands such as that more and more producers instead of calling face-to-face auditions request videos created by the same actorsa material that can cost you hundreds of dollars per audition.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
