WIFTV Breakfast blog: BC Film Union
I’m happy to be live blogging at the Women In Film & Television (WIFTV) Networking breakfast, which I try to regularly attend every 3rd Tuesday of the month at The Grind. The breakfast is great for bringing in industry speakers and giving people a chance to network. The film industry is ALL about who you know!
I know that film unions are an interesting topic for budding short filmmakers, so I’ll be recapping Tom Adair‘s talk and asking any questions that I get from people on Twitter (@vsff) or via email at sandra@vsff.com.
Tom has a strong volunteer background that has carried on in his career at the film union as a “do-gooder.” There are both positive and negative things about being a union member – our system is composed of “closed shop unions” which means that we have contracts with major US studios that requires them to hire union people before other industry professionals.
75% of BC film business is repeat business from productions who are happy with working with BC union members again. This year, there are 7 network shows filming in Vancouver, which is quite a phenomenon. The Canadian system (being dependent on government) is currently collapsing and needs to remodel itself to be more successful. Other Canadian provinces have better systems of funding that aren’t so government dependent, which is one reason why BC has faced so many problems.
However, there is hope for opportunity. Many people who were founding members of the unions are retiring soon, which will allow for more room for younger people to be let in. You need to have a lot of credits, or try to work with people on productions who are in the union. Film is about a network, and people work with others they can trust. Work on your network, and build up your resume.
Deb (MC of the breakfast) mentioned earlier about the Banff World TV Festival. Tom mentioned that you have to have a plan when you go there – there are 1200 people to network with!
Tom gave up some opportunities to work on productions to do carpentry jobs that would eventually get him into the union. His career after that was very busy, and he faced health problems, so you have to make sure you have a good life balance. When you work on a production, your crew is your family – but when it’s over, you must take care of yourself afterward!
Music videos are an example of a new model forming – people can shoot and do post quickly and cheaply. 3D is another new moneymaking phenomenon. The technology is expensive right now, but as it enters more people’s homes, prices will start to fall just as they did with digital video. Those who have a good grasp of the technology can be very successful.
Tom made a plug for Publicity and the importance of marketing your film (yay!). He also warned that only 2% of camerapeople are women, so women must be aware that this area is highly patriarchal. (Tip: Get to know producers!)
BC has many opportunities despite the poor tax credit because of the quality and talent of our labour pool, and the value of the dollar. Other provinces with a better tax credit don’t necessarily make productions more money. Organizations like Actsafe and the WCB give productions low risk management, which is favourable.
Internships: Tom gets many questions about this. IT IS VERY DIFFICULT TO INTERN ON UNION FILM SETS because there are more people to take care of who do not know what they are doing. There are programs that fund internships for minority groups, but others must do their research on other types of productions.
Web series is another new niche that is still being figured out now but may prove to be viable later through embedded commercial advertising. Phone companies like Nokia and Telus may want things like this that are custom made for their networks.
In sum, there are opportunities in unions, but a lot of hard work is involved. Keep networking at events like this, and remember that it’s work but it can also be fun. If you’re not having fun doing film, it’s not for you.
Answers to questions:
- What positions are in oversupply? It changes. On a production like 2012 with a $20 million construction budget, builders/designers were needed, but not script supervisors. Digital technicians and computer programmers are now in demand. Think of anywhere screens are as a possible work opportunity. Exploit the niches – these are where opportunities are.
2nd unit TV teams also, but the work is intermittent. First aid and craft service (1-3 person positions) require Foodsafe and special certification and are long hour work days, but are always needed. If you can, get certified for your specific positions.
- What is the incentive for younger filmmakers given it’s so hard to get into the union? Once you’re in, you’re in. Every position is chosen. You can build your resume and finish your career when you retire in your 50′s, 60′s. Hiring demographics are changing.
One attendee made a great point that the union isn’t a recruitment centre – it’s a name bank. Sometimes productions will ask directly for you, but otherwise you still must work hard to get your name around, network, and be there when the positions open up. Another attendee made her rounds with all the Productions Coordinators and got non-union work to build her credits so she could get into IATSE.
You have to have a bit of an ego to move things along and get along with people for months on end – you can’t be a wallflower.
- Wages: Starting is minimum, but there’s room to negotiate. They are always trying to negotiate better employee contracts for permittees to lower risk. To clarify, unions will hire permittees as qualified people when member supply runs out.
To contact Tom, email tomadair(at)bccfu.com.
