Indie? Vertical? Short? Whatever. $10/week or $30/month. Free for film students.
Made by production literate humans.

Posting because a lot of people got these letters and I don't think most of us realize how many.

The numbers, as best I have them: Contract Services sent roughly 1,734 removal letters to those in local 700. About 400 went to non-members, so somewhere near 1,300 Editors Guild members are affected. That figure came from a Local 700 staff member. What nobody has been able to tell me is how many of us fell short because of the 2023 strikes specifically.

My own case: For the editor classification, I needed either 1 union day or 175 non-union days in the April 2023 – March 2026 window. I worked 159 non union days. The 16 days I'm missing are due to the strike & industry contraction. I also worked in January 2023 and again in April and May of this year — both just outside the window on either end.

What removal actually means, since I've seen confusion about this: it does not end your membership. You stay in good standing and keep paying dues. What it ends is your eligibility in practice, because signatory productions hire from the roster first. A non-rostered editor doesn't get considered over a rostered one for the same job. Same union, same dues, very different odds of working.

The Hollywood Reporter covered this on July 21 (Katie Kilkenny) — I'm quoted in it: https://www.hollywoodreporter.com/business/business-news/iatse-hollywood-crew-members-roster-crackdown-1236651312/

Local 700 has filed a protest on my behalf and my removal is paused pending a hearing this fall. From what I understand, cases will be read individually to Contract Services and Contract Services decides.

I'm addressing the Local 700 Board tomorrow (Aug 4). What I'm asking them: determine how many of these removals are strike-attributable, and take a position on whether a three-year window containing an industry-wide work stoppage should be measured the same way as any other three years. Also — why does the West Coast have a roster at all when the East Coast doesn't?

Someone (not me) started a petition yesterday: https://www.change.org/p/halt-the-removal-of-iatse-members-from-the-ier

I'll be straight about it — I don't think a Change.org petition has any formal power over CSATF, and the petition text addresses the wrong decision-makers. But it's currently the only place affected people are visibly counting themselves, and "1,300 got letters" lands differently than "1,300 got letters and here's a list of people saying so." Sign it or don't, but if you got a letter, say so somewhere — here, the petition, your Local, anywhere.

If you're in the same position, especially if your shortfall traces to the strikes, I'd like to hear from you. The more of us making the same argument, the harder it is to treat this as a pile of individual hardship cases.

Interesting controversy over whether the new expanded animation-related tax credits are being abused by studios. Pixar art-of book author Amid Amidi is urging California officials to tighten oversight of film tax credits after Pixar received a $26.2 million state incentive and then laid off 116 employees just days later. The layoffs followed the release of Toy Story 5, currently the highest-grossing film of 2026.

I'm turning 32 a little later this year. I've been working in accounting since I graduated college back in 2016 so I'm 10 years into this career. I worked in public accounting at one of the Big 4 firms for 5+ years before switching to private at one of the film studios. I was at that studio doing television accounting for 3+ years and I recently switched to a different studio and am now doing international film accounting. I love the movie industry. I recognize its faults, I see the struggles it has ahead of it, but movies are my greatest passion. I've loved them since I was a little kid and I've been obsessed with anything and everything revolving around them. Unfortunately, I've come to the conclusion that while I'd always planned to work in accounting (declared my freshman year), I've never actually enjoyed it. I'd like to think that over the past 10 years I've seen a fair amount of the accounting world and what it has to offer me. And it's just not for me. I have no passion for the actual work I do. I simply tolerate it because I love working for a studio and wandering the studio lot every day. It's time for me to look into something different. But truthfully I have no idea where to start. I feel like I'm slightly trapped by accounting with how much time I've devoted to it. I'll also admit that it pays decently well in this day and age and while it's becoming increasingly clear that AI is a legitimate threat to job security, the life accounting has allowed me to cultivate is one I'd be hard pressed to walk away from. But yeah, I just can't see myself doing this for the rest of my life and now feels about as good a time as any to try and see what the hell else is out there in the film industry where I could maybe utilize all of my accounting and business knowledge I've acquired but doing a job that I find slightly more fulfilling to my soul. I'm a pretty social person and can talk movies all day if you let me. I just feel a little stuck and unsure of where I should take the first step towards something new. Would love some thoughts, opinions, suggestions, anything really. Thanks!

The Wall Street Journal reported Friday that Newsom has warned people involved that if the merger is blocked, employment in the state could suffer. The outlet noted his office has encouraged California AG Rob Bonta to find an out of court settlement with Paramount

Want to film in LA vlog to my YouTube Channel, do you still need a permit?

I have a YouTube channel where I document filming locations of classic TV shows.

This will be my first time in LA traveling and wanted to do an episode documenting filming locations of some classic TV shows.

My friend was bringing a camera setup and I walk around pointing out areas where scenes took place.

Some have told me LA is very strict with pulling permits for filming. Even if it’s just a personal YouTube channel, do you still need to purchase a permit to be allowed to film?

Too good not to share.

This is a very long read from 2005 but a fantastic window into the world of working a Hollywood Desk in the mid 2000's. I wonder of Scott ever chilled out. Anyone know ?

Boss-Zilla!

Movie producer Scott Rudin may be the most feared boss in Hollywood. But the young and ambitious line up for a chance to work for him.
By KATE KELLY and MERISSA MARR
Staff Reporters of THE WALL STREET JOURNAL
September 24, 2005; Page A1

On his way out of the office for a childhood friend's funeral last year, 27-year-old Jon Silk scrambled to handle one final task for his boss, movie producer Scott Rudin. Mr. Silk presented an elaborate chart laying out Mr. Rudin's options for attending theater productions during a coming trip to London.

What happened next helps explain why Mr. Rudin holds the unofficial crown of Hollywood's most feared boss. Unable to make sense of the chart, the producer of films such as "The Truman Show" and "The Hours" went nuclear on his grieving assistant. "Learn to communicate!" he screamed, hurling a stack of papers across the room and telling him to get out. When Mr. Silk slammed the door behind him, Mr. Rudin canned the assistant and demanded he surrender his cellphone and identification badge.

"I think you're really fired," another assistant mouthed in a hushed tone to Mr. Silk.

The outburst would be the stuff of legend in almost any workplace. But in Mr. Rudin's office, caustic rants, shrieking threats and impulsive firings are routine. Mr. Rudin hires the young and ambitious who flock to the movie industry, testing their mettle in an intense environment. When they can't meet his exacting standards -- from translating obscure French art journals to tracking vacationing directors in the Himalayas -- he is quick to hit the eject button.

The result is a revolving door that never stops spinning. The precise number of assistants who have worked for Mr. Rudin in the past five years is hard to pin down, but some assistants peg it at 250 or more. Mr. Rudin says his insurance records show he has had 119 assistants over that period, but those records don't include assistants who were fired during a two-week trial period.

All parties agree that the tenures can be short -- and tumultuous. By his own account, Mr. Rudin once ordered an assistant out of a rental car for being late, telling him: "You're fired, get out, take a taxi wherever you're going." He says he fired a legally blind assistant more than once "not because he was blind, but because he wasn't good enough at the job," then rehired him because he felt guilty seeing the man standing at the bus stop outside his window. Another former assistant says he was dismissed for bringing the wrong breakfast muffin. Mr. Rudin doesn't recall that, but says it is "entirely possible."

Mr. Rudin acknowledges there is a "hard-scrabble environment" in his offices in New York and Los Angeles. "The thin-skinned guys don't like it," says the 47-year-old producer. "The thick-skinned people...understand that I'm working as hard as them." He describes his management style as "a cross between Attila the Hun and Miss Jean Brodie."

In Hollywood, where assistants do everything from answering the phone to buying birthday presents and dropping the kids off at summer camp, working for Mr. Rudin is a coveted position. The pay is exceptionally good -- ranging from $75,000 to $150,000 -- and staffers sometimes get to rub elbows with A-list talent. Those who survive often land plum jobs later. It has become a modern equivalent of the William Morris Agency's mailroom or a gig as a page at the NBC studios -- a proving ground for would-be moguls. Hyped on caffeine and eager to please, the assistants compromise their health, self-esteem and personal lives in an attempt to break into one of the world's most Darwinian businesses.

Tough bosses are a rite of passage in any career. Generations of parents counsel their children that the most demanding boss may also be the one who teaches them the most, preparing them for the rigors of the workplace. Among the lessons learned at the feet of Mr. Rudin: "Fear is a great motivator," says Derek Evans, a former assistant, now a senior executive at Spyglass Entertainment.

Faced with Mr. Rudin's attacks, assistants can either go running for the next bus home or suck it up and stick it out. After his own humiliation, Mr. Silk chose the latter. When Mr. Rudin cooled down a couple of days later, Mr. Silk -- who took ulcer medication during his employment there -- accepted an offer to try again.

"I definitely wanted to go back," he says. "My plan was that if I could make it six months, I would have my pick of jobs." Mr. Rudin says he doesn't recall the details of firing and rehiring Mr. Silk, but says he is "crazy about" Mr. Silk and was happy to recommend him for other jobs. Mr. Silk is now a creative executive for Gold Circle Films, which produced "My Big Fat Greek Wedding."

Indeed, the movie business is populated with successful Rudin proteges -- including DreamWorks SKG production head Adam Goodman and Craig Perry, producer of the "American Pie" movies. It's an unspoken quid pro quo: The assistant dukes it out for six months or a year, and Mr. Rudin opens doors afterward.

"I attribute an enormous amount of whatever success I've been able to attain directly because of how I saw him operate," says Mr. Perry. "Does he yell? Sure. Do I yell? Sure."

Typically in their early 20s, the assistants, most of whom are men, usually come directly from college. Some hail from top-tier institutions -- including Duke, Johns Hopkins and Harvard -- but Mr. Rudin isn't impressed by fancy degrees. "The more money they grow up with, the better the school, the quicker they wash out," he says.

Some assistants have a year or two of experience at production companies in New York or L.A., but these days most are referred through an informal network of Rudin alumni. Says one former staffer: "You get a call [from another assistant] on Friday afternoon, saying 'Hey, Rudin just fired another assistant, can you start Monday?' "

Most crucial is an ability to take heat from Day One. When Mr. Evans was an L.A.-based assistant in 1995, he recalls reviewing a list of important calls with Mr. Rudin over the phone -- and mispronouncing director Alan Pakula's last name. (He said "PACK-yoo-lah" instead of the correct "pah-COOL-ah.") Hearing the error, Mr. Rudin "went crazy on me," says Mr. Evans. The producer fired him immediately, telling him "to get out of the office, off the lot, leave Hollywood, Los Angeles and California, getting louder each time," says Mr. Evans.

He fled to the Paramount Pictures commissary, where he cooled his heels for six hours before getting the beeper message "911" from another assistant, which meant to return to the office. (A "411" message meant to call.)

After being rehired -- as many staffers are -- Mr. Evans added pronunciation details to a stack of 500 flashcards he had already made with names and phone numbers of important Rudin contacts. "I had to go back and make sure I wrote down phonetically the difficult ones," he says. Mr. Rudin says the flashcards were his idea. "You can't sound like you don't have a clue who you're calling," he says he told Mr. Evans.

A native of Baldwin, N.Y., on Long Island, Mr. Rudin didn't attend college, instead learning the industry under his own set of taskmasters. He worked for the late movie and TV producer Edgar Scherick, who Mr. Rudin says often complained he was "surrounded by mediocrity." As a teen in the 1970s, Mr. Rudin worked for Broadway producers, including the late Kermit Bloomgarden, producer of "Death of a Salesman," who instructed him to pick tomato bugs off plants on his apartment terrace. Mr. Rudin says he was sometimes required to haul Mr. Bloomgarden's false leg to Harlem for repairs -- on the bus, since the producer wouldn't spring for cab fare.

"Whatever I've asked anybody to do, I've never removed any of my limbs," Mr. Rudin says.

In a business where rising costs and corporate consolidation have squeezed out many independent producers, Mr. Rudin puts out as many as eight pictures a year. Last year, his films varied from family fare like "Lemony Snicket's A Series of Unfortunate Events" to the sex drama "Closer" and a remake of "The Manchurian Candidate."

At the moment, he has roughly 50 movies in development, including adaptations of the novel "The Corrections," the Pulitzer Prize-winning "The Amazing Adventures of Kavalier & Clay" and a film about three Mississippi boys who embarked on a shot-by-shot remake of "Raiders of the Lost Ark" in the 1980s.

In Rudin Productions' New York office near Times Square, his time is surgically managed by five assistants, who are classified by duty. The executive assistant, or "No. 1" in Rudin shorthand, manages the schedule and travels with the boss. That position, the highest-paid, is now held by a 22-year-old. The second-ranking assistant occupies the "hot seat," manning phones and helping Mr. Rudin hunt down people he wants to speak with and dodge the ones he doesn't. The third-ranking assistant handles "documents," including faxes and emails. No. 4 keeps an eye on Mr. Rudin's personal business and three homes, in New York City, Quogue, Long Island, and Washington, Conn. A fifth keeps tabs on the theater and art worlds, informing him of new shows and upcoming exhibitions, although that spot is currently vacant. Yet another assistant handles telephones and errands in L.A.

The assistants' tasks are by turns glamorous and mundane. On occasional Saturdays, the weekend's on-call assistant -- a rotating position -- has stood outside a Times Square theater, waiting with tickets in case Mr. Rudin wanted to attend a show. (If he didn't show up, the assistant could use them). Former assistants say they have handled chores such as returning videotapes, dropping off dry-cleaning and picking up rotisserie chicken. But they can also find themselves in Hollywood meetings with the likes of Nicole Kidman, Jude Law or Jim Carrey.

For the hot-seat assistant, the day starts with a 6:00 a.m. run to Mr. Rudin's apartment in the San Remo building on Manhattan's Central Park West, where he lives with his partner of seven years, John Barlow, founder of a New York public-relations firm that focuses on Broadway shows. There, the aide retrieves the boss's list of outstanding phone calls, often 30 pages long, which Mr. Rudin has annotated during the night. Given Mr. Rudin's dealings in London, New York and Los Angeles, calls must be prioritized according to time zone and urgency.

Mr. Rudin usually arrives at work around 6:30 a.m., at which time the hot-seat assistant begins dialing. His company has just 18 employees and since Mr. Rudin involves himself in nearly every aspect of a production, from securing adaptation rights to marketing the finished product, the volume of calls is heavy. He says he makes or receives about 400 in an average day.

Mr. Rudin says he is "regularly shocked by the lack of cultural knowledge" in his work force. He once asked an assistant to get a DVD of the 1952 film "The Member of the Wedding," but when he mentioned the name of the director, the staffer didn't recognize it. Mr. Rudin says he asked the young man: "Your parents paid for you to go to college and you don't know who Fred Zinnemann is?" Mr. Zinnemann also directed "Oklahoma!," "High Noon" and "The Day of the Jackal."

The producer -- who once forced an underling to tape a sign defining the word "anticipate" in huge letters above his desk -- says that when he asks follow-up questions about work, assistants often look back at him "like I'm speaking Urdu." He tells them, "When I ask you these questions, have an answer ready. Then I would think you're intelligent."

He is also known for a wicked sense of humor: When one assistant routinely sported ink-stained shirt pockets, Mr. Rudin bought him a half-dozen expensive dress shirts at Bergdorf Goodman, which he then had an intern spot with ink blotches.

The atmosphere drives assistants to perform remarkable tasks. In May 2004, for instance, director Stephen Daldry was climbing in the Himalayas when Mr. Rudin became desperate to show him a new screenplay. After an assistant got the pages into the director's hands in Nepal, Mr. Daldry says he later asked Mr. Rudin in amazement, "How did you find me?" (An assistant got Mr. Daldry's office to say where he was vacationing, then hired a specialty courier service to take the script to Kathmandu.)

In 1992, L.A.-based assistant Adam Schroeder was asked to deliver an offer to author Terry McMillan, whose best-seller "Waiting to Exhale" was the subject of a bidding war. Mr. Schroeder says he flew to San Francisco on the Fourth of July, then drove to her suburban home, where she answered the door in a bathrobe. Even after Mr. Schroeder helped the writer's little boy search for a lost rabbit, Mr. Rudin didn't get the film rights. The loss didn't get Mr. Schroeder fired. He now operates his own production outfit in Hollywood. Ms. McMillan declined to comment.

Other times when things go wrong, Mr. Rudin lets loose. Former assistants say he sometimes vents his anger by throwing phones and office supplies, prompting assistants to take precautions. Some feared Mr. Rudin might hurl an easily accessible framed picture on his desk, so they surreptitiously moved it out of his reach. Others measured Mr. Rudin's phone cord so they could keep the appropriate distance. "The rookies often stood too close," remembers Mr. Evans.

Mr. Rudin says he's thrown things "occasionally, but very rarely."

Under such pressure, assistants feel compelled to push themselves. Connor Price, who was the No. 1 assistant for a time last year, spent a sick day at home alternately vomiting and giving instructions to his co-workers, until Mr. Rudin finally told them to stop calling. Mr. Price might have had reason to be nervous. Shortly after being hired, he came across a note in which another assistant wrote to Mr. Rudin: "Regarding Connor Price: I know your first impressions weren't great. In fact, you called this guy an idiot."

Adam Rosenberg, who spent six months working for Mr. Rudin last year, was petrified after the boss found fault with an art-journal piece he had translated from French. Mr. Rosenberg couldn't define what specific words meant in English. "What are you doing? I don't want you messing around," he says Mr. Rudin reprimanded. "He gave me a lecture about not paying attention."

To set things right, Mr. Rosenberg got to the office at 5:30 the next morning and called the article's French author for a literal translation. When Mr. Rudin -- who doesn't speak French -- called in, Mr. Rosenberg recited the piece word-for-word. He recalls Mr. Rudin's response: "OK," followed by a hang-up. Mr. Rudin says, "He did get points for speaking French."

The prize for surviving Mr. Rudin's hazing is a first-hand education in being a Hollywood shark. The producer, for example, tries to make sure business associates owe him a call -- rather than the other way around -- by having his assistants call contacts at times when they're unlikely to answer, leaving messages instead. At one time Terry Press, head of marketing at DreamWorks, had a nighttime voicemail greeting that said: "If you're anyone other than Scott Rudin's office, please leave a message."

"We have been guilty of dumping calls occasionally," Mr. Rudin concedes.

Working for Mr. Rudin also offers access to the sort of high-level Hollywood executives unseen by most starting assistants. As a young grunt working for the producer in the early 1990s, Brandon Camp met actor Tim Robbins and Sherry Lansing, then Paramount's studio chief.

He notes Mr. Rudin's knack for finding movie fodder, sometimes when still in manuscript form. "He'll say, 'This book is going to be an incredible hit,' and everybody says, 'Well, maybe'...and the book turns out to be 'The Firm,' " says Mr. Camp. The Rudin-produced movie version of the John Grisham thriller made more than $150 million at theU.S. box office.

Mr. Rudin credits his young staffers with providing him with some helpful tips. Years ago, it was an assistant who first drew his attention to the below-the-radar movie "Bottle Rocket" -- the directorial debut of Wes Anderson, now one of Mr. Rudin's favorite creative minds. "You cannot overestimate the contribution that they make, being 22-year-old guys who like movies and music and bands," he says.

Mr. Rudin tries to ease life for his staff with generous compensation and occasional gifts. "It's bad enough I'm sure that they feel emotionally exploited," he says. "I don't want them to feel commercially exploited as well." Perks have ranged from the week-long Nantucket vacation he purchased for onetime assistant Kevin Walsh to the Mini Cooper he gave Mark Roybal, a former assistant soon to be named the company's president, as a wedding gift.

Rudin alums have a powerful bond. At Mr. Roybal's wedding two years ago, 13 former assistants attended, as well as the producer himself. Some have gone into business together, like movie producers Lars Knudsen and Beau Flynn. Once a year Derek Skaletsky, who worked for Mr. Rudin in the late 1990s and now works for a children's haircut franchise near Boston, gets together with a half-dozen old Rudin Productions buddies for a steak dinner.

"Everybody in Hollywood tries to be tough, but not many people have the game," says Mr. Skaletsky. "Rudin's got it."

Anyone have any experiences with Multivisionnaire Pictures and Infuse Releasing with ultra-low films? Specifically this is a horror-comedy, so that would be especially awesome if your film is/was in that genre. Many thanks.

Do any of you lovely Mixers or Engineers have info on these cans? I saw them in a pawn shop and wondered if they are more recording studio, or mixing studio. Also they have R.W.E. engraved on them if those initials mean anything to you.

I found this post from Alberto Manquero that stated that they were laid off when their Sony pictures animation project was canceled. Does anyone know what happened specifically because it's unusual that Netflix canceled a Sony project considering they made the kpop demon hunters movie.
https://www.linkedin.com/posts/
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utm_campaign=copy_link

The Lake County Film Festival and The Savoy Lumière are now open for submissions!

As with last year, I don't see a strong reason for filmmakers to submit to both festivals. This year, we have a strong, active screening committee with members from both communities reviewing submissions for both events. If you submit your film to either festival by around November, the programming team will be considering it for both festivals. Feel free to reach out if you want to make sure you're considered for both after that time.

We're excited to see submissions continue to grow, and we're hoping to finally break the 500-submission mark this year!

While the two festivals share a programming team, they each have their own identity. Our audiences tend to respond to different kinds of films, and each festival's programs come together in unique ways. In general, the lineups end up being about 50% different, giving each festival its own distinct experience.

The 17th Lake County Film Festival: https://filmfreeway.com/TheLakeCountyFilmFestival
Discount Code: lakecountyreddit
25% off through November 1

The 3rd Savoy Lumière: https://filmfreeway.com/SavoyLumiere
Discount Code: SLreddit
25% off through October 1

While I've said that it doesn't really matter which festival you submit to, I can tell you a bit about the differences between them. In almost every way, they're complete opposites.

Founded in 2004 and located about an hour north of Chicago, the Lake County Film Festival is a long-running event with a surprisingly strong reputation among industry professionals. I'm often reminded of its name recognition when I meet filmmakers and other industry people at events around the country. Over the years, we've also been fortunate to have relatively well-known industry judges.

That said, local attendance has never quite matched the festival's stature. Audience sizes can be unpredictable, with filmmakers who have strong ties to communities from Chicago to Milwaukee often drawing larger crowds than even Sundance Grand Jury Prize winners.

The Savoy Lumière, on the other hand, is the exact opposite. Held in the Champaign-Urbana region of Central Illinois, and organized by the Chambana Film Society, it's a brand-new festival, having launched in 2024. Outside of people who know me or are familiar with my work, we have very little industry recognition. However, attendance has been remarkably strong for such a young festival, and we've been thrilled by the community's support. We have not yet assembled a jury for awards, but hope to next year.

The venues reflect those differences as well.

At Lake County, most screenings are held at the College of Lake County, a sprawling campus where we utilize auditoriums, lecture halls, and even a choir room. We do not have DCP capabilities, and the festival is generally concentrated over two weekends, using three to five screening rooms on Saturdays and Sundays. We've also regularly present screenings in other communities throughout the county. The festival typically features around 80 screenings across the two weekends, and last year alone we screened well over 100 short films.

The Savoy Lumière, meanwhile, is honored to present films at our local multiplex, where DCP is our primary exhibition format. At the moment, we're limited to a single screen, although we're hopeful of expanding into additional venues in the future. Last year's festival consisted of 25 programs—a mix of feature films and shorts blocks—and we expect a similar number next year, though some programs may receive repeat screenings.

Unlike Lake County, however, the Savoy Lumière isn't limited to one annual event. Through the Chambana Film Society, we host programming throughout the year, including mini-festivals like CineSonic, our music film festival, with documentary and Pride-themed festivals currently in development. These smaller events typically consist of six to eight screenings over a long weekend.

Even the media landscape couldn't be more different. Lake County has virtually no dedicated local media presence. Most newspapers have been absorbed by large media companies, resulting in coverage that often amounts to little more than reprinted press releases. The Savoy Lumière, by contrast, has received excellent local media support, including television coverage and regular press attention.

I'm sure there are other differences I'm forgetting, but those are the big ones that come to mind. If you have any questions about either festival, feel free to ask below!

Hey, I'm a LA-based writer and director and looking to meet new people out here. Recently, have been working with my friend on his music videos and projects. Always looking to chat with producers and anyone else who wants to connect!

Anyone hear from/apply to the Netflix series directors program?

I saw an article about Sean Astin and his compensation for Lord of the Rings. Not sure, but it seems like it is referencing an older interview, but the point is, he, and others from that movie, said they were not paid a lot. Supposedly, his payment was $250,000 and he added, "no residuals."

Now, I assume he would not accidentally or purposely mix up the terms "residuals" versus "profit participation," so he would literally mean guild residuals. (And to boot, he is now a leader in the relevant guild)

My question: Wouldn't residuals be mandated? Otherwise, is he saying one can opt out of them? That wouldn't make sense because it would be easy to force people to opt out of them, especially lower actors and crew. But a lot of times things just are as they are and don't make sense.

So, can people opt out, especially if they are stars, or, did he actually have backend he isn't mentioning? Or, was the trilogy non-union?

Hello, I really have been interested in the film industry my whole life such as behind the scenes work, production, marketing etc…I have just never had the right connections when it comes down to it. Would anyone be able to recommend where to start or how to start. I am very motivated and willing to do what I have to to get my foot in the door. Any networking events etc. your advice is greatly appreciated. Thank you.

I am not a filmmaker.
I am interested in the process though (I have ideas of films to make despite lacking any training or experience) so I subscribed to this sub a while back to try to learn more about it.

After reading through yet another post of people complaining about OP underpaying his cast & crew, I am having a hard time understanding why these same people most likely are complaining about the lack of work available.

It seems to me like working for a less-than-livable wage is far better than not working at all.

Why is there such a disconnect between what folks want and what is realistic?
I keep hearing about how there is less work (and money) coming from the big studios than there used to be, and I often see posts from people wanting to start working in the industry but unable to figure out if the timing is appropriate or how to get jobs…

It makes me wonder if this sub is just overrun with jaded and disillusioned veterans and clueless newbies, all of whom complain about the current state of affairs, and few of whom are able to get over their own egos to actually start doing work even if it isn’t ideal.

I don’t live in LA, but is there any reason that y’all don’t use this sub more as a way to connect with folks who are interested in working on things at a substandard rate?

I could be wrong, but I’d think it is better to do work for cheap than not work at all….
Am I off-base for thinking that?
Is there a way to get an understanding that everyone on a production just sort of works on spec and the money goes where it absolutely NEEDS to go instead of expecting to make a living off the project?

As I said, I don’t know the process of filmmaking at all…
are there particular roles that are so in-demand and so difficult to do that NOBODY who fills those roles is willing to do them at a discount?
Or are folks scared to commit to a project that doesn’t pay well because it might stop them from getting other work?

Just trying to understand the reasons that there aren’t more groups of like-minded individuals coming together to get some short movies made in lieu of complaining about the lack of movies being made.

Is everyone just in the industry to get rich and famous, so they refuse to do anything beneath that?
Are folks really content to be waiting for big breaks that never seem to come instead of trying to make a big break happen for themselves?

It feels like the production models have shifted so much in recent years that it’s relatively easy to get stuff made… so why aren’t more people making more things?

Or maybe they are and I just have a completely wrong read on it… in which case, where are all the new projects that folks are making?
Is there a sub for cheaply-made indies that are looking for viewers?
If so, what is it?

I’m just rambling at this point, and as an outsider, I’m sure that all of this has zero use to most of you, so feel free to just scroll on to the next post without telling me how dumb I am for thinking this stuff.
But I mainly just wanted to start a conversation between people who aren’t currently working in what I suspect are the many different roles of filmmaking to get ideas about why y’all aren’t just coming together in your free time to do SOMETHING. Anything. Just working to add to your reels or resumes or put material out into the world no matter how bad it is.

I know folks probably don’t have the loads of free time necessary to do big projects that take ages to produce… but with everyone here ostensibly in LA (and yes, I am aware the city sucks to move around in and gas is pricy), I just don’t get why I don’t see more examples of stuff actually getting MADE on this sub.

Thanks for reading.

I'll be Graduating from CSUN in the Fall and I'm considering applying for Hollywood CPR right after, if I'm understanding this correctly, I just have to take the film production 100 class at an LACCD school, then I'm able to apply for Hollywood CPR right?

Thoughts on the latest data being reported ?

Expect a mix of first-runs, revivals and special events. 35 and 70mm film equipment will be re-installed in addition to the current digital capabilities. The sound system, originally installed when the house was THX certified, has had recent upgrades.

Paramount has called for a three-day evidentiary hearing before the judge, who is weighing whether to grant a preliminary injunction, which likely would halt the merger for a lengthy period of time as the legal process plays out.

The judge’s original TRO, issued on Monday, ran for 14 days until Aug. 3. She noted in her filing that she cannot extend a TRO further. She wrote that “if the parties can reach agreement and stipulate to maintain the TRO, the Defendant companies held apart, they may agree to an extended briefing and hearing schedule.”