Sometimes these posts write themselves. I've been playing with the gizmos on the side of the posts while trying to get this internets thing figured out. I was going to get rid of the "News Stagehands Can Use", a Google search for IATSE, when these two items pop up. The first reminds me of my earlier DiCaprio post and with the other, well, words fail me.
In this Tales from the Trenches column in Movie Maker, April Davila describes the negotiations with San Francisco's IATSE Local 16 before production started on Harrison Montgomery. It seems that the Producers started out with a budget big enough to rate a Low Budget Agreement contract. When they realized this, they did what any first-time producer would do. Try to get the budget below the minimum cutoff and hired college kids.
Local 16 BA FX Crowley may have been born at night but he wasn't born last night. A contract was signed, the movie made and two months ago the producers sold the international rights for the project and are currently in negotiations for the domestic rights.
A less fortuitous outcome occurred in River City, err, Charleston when Harold Hill, err, Kearns Entertainment came to town with a show called Palmetto Pointe and apparently a bunch of trombones. The charlestoncitypaper.com has the sorry story of shills, schlock and Southerners.
I think I'll keep the news thingie.
Subscribe to:
Post Comments (Atom)
1 comment:
I had to laugh at that "Trenches" column....the author cries about the big bad union being so inflexible...but at the end of the column mentions that they came to an agreement that made everyone "sort of happy".
If the IA was so damn inflexible, how was an agreement reached? They wanted (nearly) free labor to make a serious film and got called on it, plain and simple
Post a Comment