The entertainment industry has long captivated audiences with its storytelling, compelling performances, and groundbreaking cinematic experiences. Behind the glitz and glamor lies a complex web of creative professionals who breathe life into the stories we cherish. Among them, young writers and actors serve as the driving force, injecting fresh perspectives and innovative ideas into the evolving landscape of cinema.
Today, as the industry witnesses the strike from two powerful labor unions, the Screen Actors Guild-American Federation of Television and Radio Artists and the Writers Guild of America, the potential ramifications of their ongoing strike loom large. This battle over contracts and compensation raises critical questions about the future of cinema and the young talents who aspire to make their mark in the industry.
One of the main bases of the strike itself it’s a battle for what is referred to as “residuals.” In the context of actors and writers, residuals refer to the additional payments made to them based on the subsequent use or exploitation of their work, such as films, TV shows, or other creative projects. These payments are made to compensate the actors and writers for the ongoing use of their performances or written works beyond the original release or broadcast. Actors and writers are not receiving the estimated revenue for this set residual, causing them to go on strike.
This is, in a short-term sense, a hit for people that are currently in the world of cinema and people trying to get into the business. As pointed out by Rafael Lara–an SAG-AFTRA member and actor, on his own experience during this strike, “Since the strike began, the acting landscape has been uncertain. Some projects I was involved in had to be put on hold, which has been frustrating. However, I see this as an opportunity to explore other creative avenues, like writing and producing my own projects, while waiting for a fair contract to be negotiated between SAG-AFTRA and the AMPTP.” But, in a long-term manner, this could be beneficial for the formerly mentioned. As the strike unfolds, its consequences are likely to ripple far beyond the cities where negotiations take place, reaching aspiring artists in regions like Boston seeking to make their mark in the world of entertainment.
One of the points of this strike is helping people to thrive and make their passion for acting and writing shows, something that they can make a living off of. As pointed out by Bill Mootos–an actor and member of SAG-AFTRA “It’s really not just about the big stars, it’s really helping the people that are like at the beginning of their career, and even in the middle of the end of their career, to earn a living wage.” The strike affects the entertainment business as a whole as movies or shows have not been written in quite some time, but it also affects local actors and filmmakers, who depend on this profession to maintain a living and feed a family.
It is a common belief that writers and actors make an insane amount of money. For all that’s known, as recorded by Zippia “A-list movie stars average between $15 million to $20 million per movie, and some are paid even more.” But, in reality, not every actor or writer makes the amount that the formerly mentioned, it is a very small community of actors and writers that are actually able to make this amount of money. Those people who are not able to make this amount, are more specifically hurt by the strike’s current situation but would be the ones to benefit more
This strike will benefit the up-and-comers as it creates a business where they can generate money in a reliable way as opposed to the current unfair situations these guilds are facing. Many of the notions that these guilds are aspiring for are just in order to better their working conditions, and by extent, make it better for people who are trying to pursue this career. A few of these conditions being discussed include:
Minimums (increases in their salaries over a certain time span), Per Diems (adjustment for inflation of the money members receive to pay for meals and incidentals when traveling for work), and Schedule Breaks.
Despite the dreadful situation at hand, people have still rallied together as said by SAG-AFTRA’s New England President Andrea Lyman, “People are able to gather together and support each other, find out what other people are needing, some people are struggling more than others. And, some people have resources that other people might be able to use. So there’s that.” They also point out that these rallies are a form of effectively showing the realism of the situation “But it’s also to send a message to our employers, the AMPTP, that we’re serious. We are demanding, us members are demanding fair pay. Most of us are working actors and are not making a ton of money. We’re all just making a living, and that’s what we want to still be able to do.”
The SAG-AFTRA and WGA strike’s impact on youth aspiring to join the cinema and entertainment industry can be multifaceted. While it may present obstacles and limitations in terms of traditional opportunities, it can also inspire a spirit of ingenuity and resilience, leading young talents to explore new avenues for creative expression. As the strike unfolds, adaptability and a willingness to embrace change will become critical traits for Boston’s aspiring youth seeking to navigate the evolving landscape of the entertainment world.
The melding of art and code
Mimi Pham, staying on rhythm
