Final vote tally is close; industry strike averted
Members of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts (IATSE) have voted to ratify two contracts, the Basic Agreement, and the Area Standards Agreement, with the Alliance of Motion Picture and Television Producers (AMPTP), the trade group representing producers, major studios and streaming services.
“From start to finish, from preparation to ratification, this has been a democratic process to win the very best contracts,” said IATSE International President Matthew Loeb. “The vigorous debate, high turnout, and close election, indicates we have an unprecedented movement-building opportunity to educate members on our collective bargaining process and drive more participation in our union long-term.”
IATSE uses an electoral college style system through which locals are assigned delegates based on their size of memberships. Members vote within their local union and once a local reaches a majority vote, to either ratify or reject, all delegate votes are assigned to the majority result.
In the end, the combined vote was 359 (56%) to 282 (44%), out of 641 total delegate votes from the 36 local unions eligible. For the Basic Agreement the vote was 256 voting yes to 188 no and for the Area Standards Agreement the yes vote was 103 to 94 no votes.
The popular vote was much closer. A combined 50.3% voted yes and 49.7% voted no for both contracts. For the Basic Agreement the popular vote came in at 49.6% yes to 50.4% no. On the Area Standards Agreement the popular vote stands at 52% yes to 48% no. For the Basic Agreement eight locals voted yes and five locals voted no. Among the Area Standards local unions, 14 locals voted yes and nine voted no.
Turnout was high. Seventy-two percent of the 63,209 members eligible to vote cast ballots. Bargaining teams for all 36 local unions involved had endorsed passage and both agreements passed.
“Our goal was to achieve fair contracts that work for IATSE members in television and film—that address quality-of-life issues and conditions on the job like rest and meal breaks,” said Loeb. “We met our objectives for this round of bargaining and built a strong foundation for future agreements.”
Both three-year contracts contain provisions that guarantee adequate rest at the end of the workday and on the weekend for those employed on film and television productions along with meal breaks during the workday and stiff financial penalties if the break periods are violated.
In addition to across-the-board wage increases, the new agreements dramatically lift those at the bottom of the pay scale from poverty to a living wage. New provisions also will significantly improve wages and working conditions for IATSE members employed on streaming productions.
The international union worked closely with its locals to establish a set of objectives for negotiations. Discussions in local unions early in the year helped the bargaining teams set clear goals including new measures related to diversity and inclusion.
The dynamics of these contract negotiations were unprecedented, taking place during a global pandemic, via a remote-meeting platform, after an industry shutdown, and at a time when production for television and film was surging. Also, for the first time, the Basic Agreement, covering more than 40,000 members in 13 West Coast local unions, and the Area Standards Agreement, covering more than 20,000 members in 23 IATSE local unions elsewhere in the country, expired at the same time.
Negotiations for both the Basic Agreement and Area Standards Agreement began in May but broke off in September. Going into the fall, negotiators for both the union and AMPTP were far apart. The producers refused to even discuss some of the union’s demands. The union responded by holding a strike authorization vote at the beginning of October. Ninety percent of eligible voters cast ballots and 98.6 percent of those voting authorized the IATSE international president to call a nationwide strike if he deemed it necessary. Following the strike vote, AMPTP returned to the bargaining table. Later, a strike date was set by the union, spurring the producers to meet the union’s demands for the Basic Agreement. A tentative agreement was reached October 16, two days prior to the announced strike date. The bargaining teams of all 13 West Coast local unions unanimously recommended ratification.
A combined 63,209 IATSE members were eligible to vote on the two agreements, 45,402 members cast ballots. Voting on both agreements was conducted electronically over the past weekend, administered by the election services firm Honest Ballot.
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowers’ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, “His artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.”
Johanna Cranitch, creative director, Barking Owl, added, “Kris first caught my attention when he released his record ‘Heroes + Misfits’ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More