A critical analysis of inequalities across sectors in the film industry through the lens of the SAG-AFTRA strikes.
Last year, film and television productions across the world were brought to a halt. For the first time since 1960, the American Actors’ Union (SAG-AFTRA) and the Writer’s Guild of America (WGA) joined each other in strikes against the Alliance of Motion Picture and Television Producers (AMPTP). Though striking separately, the two unions shared many of the same concerns around the effects of streaming, unregulated use of AI in the film industry, and the need for better pay and working conditions. Because of SAG-AFTRA’s ‘Global Rule One’ policy, stars such as Cillian Murphy and Emily Blunt affiliated with the union walked out of the premiere for their new film Oppenheimer.
WGA officially called an end to their strike on September 27th, followed by SAG-AFTRA on November 9th, with both unions having reached agreeable terms with Hollywood. 78% of SAG-AFTRA members signed off on their deal, which included an 11% wage increase for background actors, protection and compensation over the use of digital AI, and a £32m residual bonus for streaming participation.
After a nearly four month pause to the industry, the future finally seems brighter for screen actors as they continue to build “sustainable careers”. But just as it takes a village to raise a child, the film industry relies on the collective work of wider creative crews to bring a production to life. So what is happening behind the scenes for those off screen?
Many creative professionals seem to have been forgotten about when discussing the impact of the industry’s strike season, particularly those across the British film industry. Christopher Ross, president of the British Society of Cinematographers, stated that although the strikes were for US unions, “almost every project is tied in with either US money or US talent”. American productions use British film studios for their generous tax incentives and local experienced workers, pouring billions into the UK economy by doing so. In 2022, a record of 6.27 billion pounds was spent on film and high-end television production in the UK, 90% of which came from American productions.
From costume designers to cinematographers, all UK film departments were expected to support the strikes with nothing to gain from it. Without work or financial support, 80% of jobs were affected. Many workers were forced to find labour elsewhere, downsize, or burn through their savings. So what did those struggling behind the scenes have to say about the situation?
I spoke to Emma Boswell and Katya Nelhams-Wright, founders of The Helicopter Girls. Known for working on productions such as Fast X and Bridgerton, the company provide major film and high-end TV productions with cutting edge aerial cinematography using drone technology. They commented that they saw a 70% decrease in work as a result of the strikes, which is unlikely to pick up until the Summer of 2024. Productions that have gone ahead during this time remained unprofitable to them, as rates were slashed by 50-75%.
This translates across to the experience of the freelancers The Helicopter Girls work with. Leo Whitfield, a freelance FPV drone pilot, said he only worked a total of five days on small projects during the strikes. Financially he became reliant on family and friends and even had to sell some of his professional possessions. Although freelancers are highly relied upon in the creative industries, the policies of being self-employed mean that they fail to access any appropriate financial support.
After speaking to both The Helicopter Girls and Leo, I was left wondering: is there anything that could have been done differently to support them?
In Canada, the International Alliance of Theatrical Stage Employees (IATSE) donated $2 million to support those out of work. ‘Wellness webinars’ and advice on how to find temporary work was also provided to those struggling. Whilst the UK government acknowledged impact on their local film crews, their ‘create income replacement scheme’ petition fell short of 70,000 signatures, and so did not provide their creative industries with the same support they had done during COVID-19. The Helicopter Girls and Leo also confirmed that a lack of communication regarding the strikes’ progress left them feeling isolated and uncertain about the future, from both UK and US unions alike.
Screen actors’ are the face of cultural value in the film industry by nature, but those behind the screen are equally responsible for some of the most memorable shots and costumes. There’s a structurally inequal food chain that lies within the film industry, which unfortunately fails to recognise the contributions of those behind the scenes appropriately. The aftermath of last year’s strikes has seemingly created a promising future for the film industry, but I worry that its only created a bigger divide between workers on and off the screen. Discourse in the industry needs to shift its thinking as we’re left to ponder what the future looks like. Is it possible for actors’ to use their visibility to harness support for those unseen? Is it possible for the DCMS to protect their unseen creative workers by mirroring the models used by Canadian unions? For now, the answers to those questions lie in the hands of the people at the forefront of an industry that favours those captivating our screens.
CREATIVE CONVERSATION 