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    SAG-AFTRA Members Approve TV Animation Agreements

    By SHOOTUpdated:No Comments3243 Views
    Gabrielle Carteris, president of SAG-AFTRA
    LOS ANGELES --

    In national voting completed on Monday (11/19), affected members of SAG-AFTRA voted overwhelmingly to approve the 2018 successor agreements to the 2014 Producer-SAG-AFTRA Television Animation Agreement and the 2014 Producer-SAG-AFTRA Basic Cable Agreement for Animated Motion Pictures by a vote of 95.18 percent to 4.82 percent.

    Gabrielle Carteris, president of SAG-AFTRA, said, “This was a very important negotiation for our members who work on television animation projects due to the expansive growth of streaming media. It was imperative that we ensure our members receive compensation that reflects an evolving business model. With approval of these agreements, members will continue to be fairly compensated for the work they do.”  

    SAG-AFTRA national executive director and chief negotiator David White said, “I commend members for voting to approve these agreements. These new contracts set important protections for members working in programs created for Netflix, Amazon Prime, Hulu and other streaming sites and ensures that our foothold in this area remains strong and significant.”
     
    Highlights of the TV Animation Agreements include:

    • Wage increases and benefit contribution rate improvements on par with the gains achieved in live action negotiations
    • A 2.5 percent increase to minimums and .5 percent increase in the contribution rate to the SAG-Producers Pension Plan and AFTRA Retirement Fund effective Sept. 16, 2018
    • A further 2.5 percent increase to minimums and .5 percent increase in the contribution rate to the SAG-Producers Pension Plan and AFTRA Retirement Fund effective Jan. 1, 2019
    • A further 3 percent increase to minimums effective July 1, 2019, with the option to redirect .5 percent of that increase to the contribution rate to the SAG-Producers Pension Plan and AFTRA Retirement Fund
    • The improved terms and conditions that were negotiated in 2017 for live action programs produced for subscription-based streaming platforms like Netflix, Amazon and Hulu will apply to animated programs produced for those platforms with some modifications
    • The TV Animation Agreements cover animated programs produced for television, including network television, basic cable and streaming platforms such as Hulu, Netflix and Amazon Prime. The new deal will continue through June 30, 2020. 

    Formal negotiations between the SAG-AFTRA Negotiating Committee and the Alliance of Motion Picture and Television Producers (AMPTP) began on October 30, 2017, in Los Angeles and concluded on September 19, 2018. The SAG-AFTRA National Board unanimously approved the tentative agreement at its October 20 meeting.

    Category:News
    Tags:Gabrielle CarterisSAG-AFTRA

    “Red One” Tops Weekend Box Office With $34.1 Million

    Sunday, November 17, 2024

    Moviegoers were not exactly feeling the Christmas spirit this weekend, or at least what "Red One" was offering. The big budget, star-driven action comedy with Dwayne Johnson and Chris Evans sold $34.1 million in tickets in its first weekend in theaters, according to studio estimates Sunday. It easily topped a box office populated mostly by holdovers.

    For traditional studios, a $34.1 million debut against a $200 million+ production budget would be a clear indication of a flop. Some even peg the budget closer to $250 million. But "Red One" is an Amazon MGM Studios release and they have the luxury of playing the long game, accounting not only for global box office where Johnson tentpoles often overperform, but its life on Prime Video for years to come.

    "Red One," in which Johnson plays Santa's bodyguard, was also originally built to go straight-to-streaming. There's a narrative that the theatrical earnings are not only just a bonus, but that it's an additive gesture towards struggling theaters looking for a consistent stream of new films. The first major studio holiday release since 2018, "Red One" opened on 4,032 screens, including IMAX and other large formats, on an otherwise quiet weekend for major releases.

    Warner Bros. is handling the overseas release, where it has made an estimated $50 million in two weekends from 75 territories and 14,783 screens.

    Still, it's certainly not a theatrical hit in North America. Even "Joker: Folie à Deux" made slightly more in its first weekend. "Red One," directed by Jake Kasdan and produced by Johnson's Seven Bucks, was roundly rejected by critics, with a dismal 33% Rotten Tomatoes score. Jake Coyle, in his review for The Associated Press, wrote that it "feels like an unwanted high-priced Christmas... Read More

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