In the world of professional filmmaking, the crew (or at least part of the crew) will likely be members of a union or guild. These organizations represent different categories of cast and crew, each with their own rules, rates, and benefits that must be followed on a signatory production.
Key Unions and Guilds in the US
The major organizations in the US include:
- Directors Guild of America (DGA): Represents directors, assistant directors, UPMs, associate directors, and stage managers.
- Writers Guild of America (WGA): Represents screenwriters for features and television.
- SAG-AFTRA: Represents talent, including lead actors, supporting cast, and background performers.
- IATSE (International Alliance of Theatrical Stage Employees): Represents the technical crew, including cinematographers, art directors, sound mixers, grips, electricians, and costumers.
Understanding Local Numbers and Jurisdictions
Each guild is further divided into locals, each representing a specific craft or geographical area. For example:
- IATSE Local 600: The International Cinematographers Guild, representing directors of photography, camera operators, and camera crew.
- IATSE Local 800: The Art Director’s Guild, representing production designers and art directors.
- IATSE Local 871: Represents production coordinators, production accountants, and script supervisors.
- Teamsters Local 399: Represents location managers (on the West Coast), transportation coordinators, and drivers.
Negotiating Terms and Area Standards
With the growth of production outside of California, the Alliance of Motion Picture and Television Producers (AMPTP) negotiates "area standard agreements" that are applicable throughout the US. These agreements are created by labor relations personnel (usually lawyers) who work together to create the rules that will govern production.
Avoiding Grievances and Penalties
To avoid financial penalties and grievances, the 1st AD, line producer, and UPM must have a clear understanding of the rules for each guild. If a contract is violated—for example, if a crew member is not paid a required "bump" for working in smoke—a grievance may be filed, and the production company will have to pay financial penalties.
While the rules can be complex, understanding how unions and guilds work is critical for any filmmaker working on a professional level.