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Film Making / Production / Union Issues > |
It wasn't so long ago that a producer with a low-budget production, after hearing stories of union picket lines and confrontations, would ask, "How can I avoid the unions?" New production landscapes, revised lower budget contracts, and an eagerness on the part of the unions to negotiate a deal have changed the question to "How can I appease the unions and my bottom line?" "The prudent line producer wouldn't take a job unless that question is answered," says producer and former New York City film commissioner Richard Brick. As the number of independent films in production swells, so does the pressure for the unions to adjust and accommodate. The creation of a Low-Budget Contract and the rebirth of the East Coast Council has been the first major step in not only accommodating low-budget productions, but in demystifying the process of producing a film with union labor. States Chris Goode, who has co-produced numerous indies with Kerry Orent, including Flirting with Disaster, "I think there are strong reasons to go union. Not because they're going to beat the shit out of you or make your employees walk off the show. Generally they have better crews. And as you do bigger pictures, you want a good relationship with them." |
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