For Hollywood crews, the mantra was ‘Survive till ’25.’ So now what?

As I delve into the tales of these resilient Hollywood insiders, my heart swells with empathy and admiration. The relentless pursuit of their dreams, the unyielding spirit in the face of adversity, and the indomitable will to adapt are qualities that resonate deeply with me.

I have walked a similar path, albeit in a different field, and I can attest to the rollercoaster ride that is a creative career. The highs are euphoric, but the lows can leave you questioning your very purpose. Yet, it is during those dark moments when we find our true mettle, and it’s in those times that we discover who we truly are.

The life experiences of these individuals serve as a stark reminder of the fragility of our dreams and the necessity of adaptability in a constantly evolving landscape. I cannot help but feel a kinship with them, knowing full well the precarious balance between passion and survival.

Now, let me share a little joke to lighten the mood: They say that Hollywood is where they pave the streets with gold… for the stars who never made it! But remember, even in the face of adversity, we can still find laughter and hope. After all, as one wise sage once said, “The show must go on!

Approximately half a year ago, Heather Fink encountered a significant setback. Having spent close to two decades in Los Angeles, this graduate from NYU film school had established a consistent, albeit erratic, career as a freelance sound technician on movie and television sets, all while pursuing her genuine aspirations of writing and directing. However, the simultaneous strikes by writers and actors caused production to grind to a halt, leading to a dearth of work, escalating financial obligations, and an increase in anxiety levels.

She expresses how dire her situation was, “I was at an all-time low,” she admits. “I desperately yearned for something to lift me up and help me overcome my financial troubles. I simply couldn’t continue living like that any longer.

Back in July, a pal extended an intriguing opportunity: a full-time role in the sound department for “Grey’s Anatomy” on ABC, currently filming its 22nd season. With uncontainable excitement, I eagerly accepted. Never have I felt more thankful.

Back in May, Fink was still grappling with the aftermath of the work stoppages, much like thousands of her fellow crew members. Recently, we’ve caught up with Fink and a few others from our previous story to understand their current situation. Some, including Fink, have found some level of stability, although it’s quite fragile. However, for many behind-the-scenes workers, the prolonged strikes and escalating cost of living have led to tough decisions: moving away from L.A., transitioning into different careers, or surviving with freelance jobs and additional income sources.

In a year filled with continuous doubt and ambiguity, many team members have found solace in the phrase, “Hang on until ’25.” However, as 2025 nears, even those who’ve managed to stay buoyant are preparing themselves for whatever lies ahead.

Keith Dunkerley, a director of photography and camera operator, feels fortunate. Despite working only 18 days during the first five months of the year, he managed to provide for his family through savings and odd jobs on Taskrabbit during strikes. However, his luck changed when he secured a full-time position as B-camera operator on the medical drama series “Doctor Odyssey.

Dunkerley shared with The Times over email that he’s had quite a bit of good fortune compared to many of his friends. Unfortunately, several of his friends remain jobless or are experiencing a significant slowdown, but he hopes things improve in the coming year.

For some time now, Hollywood’s workforce has been encountering issues that preceded the strikes. In recent times, streaming platforms, due to a decrease in subscriber numbers, have reduced original programming, and studios have trimmed budgets and let go of staff. The strikes further intensified this slowdown: The production of films and TV shows in L.A. was 5% lower during the third quarter of 2024 compared to the same period the year before, as reported by FilmLA, a nonprofit organization.

In October, Governor Gavin Newsom suggested significantly expanding California’s yearly tax credit program to prevent productions from moving to less expensive states or nations. However, if this measure is passed, the increase wouldn’t be implemented until mid-2025, causing uncertainty among many Los Angeles crew members about whether assistance will come in time for them.

Diego Mariscal, an experienced dolly grip who’s worked on “The Mandalorian” and “Spider-Man: No Way Home” for over two decades, notices promising indicators: bustling studio parking lots and fully occupied soundstages. However, the revival is far from uniform, suggesting that the recovery process is still ongoing.

Mariscal points out that job opportunities exist, yet they aren’t being distributed evenly. He feels lucky to have remained employed since the strikes concluded, but he notes that recruitment has primarily targeted a diminishing group of workers. This trend is reversing past progress in diversity and excluding new entrants from the workforce.

Following the #MeToo movement, there was an increased effort to include women and people of color in production teams, Mariscal notes. However, he observes that these doors, which had been partially opened earlier, seem to be closing again gradually. This, he suggests, might be happening subconsciously without intent, as individuals are returning to prioritizing their own interests.

The organization known as the Academy of Motion Picture Arts and Sciences is making changes to its archives and library. As part of a strategic plan to streamline preservation activities, they’re reducing their workforce by 16 employees.

Oct. 31, 2024

In a noticeable way, the limited availability of jobs on set has led to an increase in tension, according to Fink. He explains, “People are becoming more aggressive. Regular crew members often remain kind because they recognize their good fortune, but those who aren’t getting as much work – that’s all they seem to focus on. It’s disheartening and it’s creating a divide among us.

Mariscal, who oversees Crew Stories – a private Facebook community of over 96,000 members – has personally seen the significant impact that the industry’s downturn has had on its workers. Initially established in 2017 as a platform for crew members to exchange amusing stories and uplifting news, this group has transformed during the pandemic and labor disputes into a vital source of support and communication for those struggling with financial hardship.

This year, the calls for assistance have been unyielding, frequently requiring Mariscal to balance duties as an investigative reporter, detective, and counselor.

As a passionate cinephile, I found myself in a predicament today. First thing in the morning, someone reached out to me for aid with a GoFundMe campaign to free their vehicle from an impound lot. Not even an hour had passed when another plea came my way – this time, it was from someone who suffered a devastating back injury during a stunt and is unsure if they’ll ever walk again. This individual requires stem cell therapy and has started a GoFundMe to help them cover the costs. It’s a heart-wrenching situation where I find myself torn between two desperate causes, ultimately leaving me to decide who deserves my support.

The emotional impact has been felt far and wide throughout the industry. It’s challenging to measure the number of suicides among behind-the-scenes workers, as many suspect it’s often unreported. Fink states, “I know individuals who have taken their own lives. They didn’t see a future worth living for, they no longer saw purpose in what they did. If you ask around, almost everyone knows someone in the same situation.

Mariscal notes that while suicides are often discussed, less attention is given to the effect they have on those closest to the individuals who take their lives. This emotional distress can manifest in destructive ways, such as alcohol abuse, aggressive behavior towards loved ones, and increased domestic violence. Unfortunately, these issues are seldom reported unless one is part of the same circle or industry.

The difficulties are further complicated as the gap widens between the creative and labor forces within Hollywood, a chasm deepened by productions shifting abroad for tax breaks and cheaper labor.

Fink expresses his belief in the strength of labor unions and his wholehearted backing of strikes. However, he adds a note of concern, stating that following the strikes, the situation is grim. The working class has given their best years for these actions, but now, production is shifting to foreign lands. Regrettably, those we fought to protect are no longer fighting to keep jobs in our own country.

As a devoted fan, I’d like to highlight my top picks from the critically acclaimed lineup of 2024. First up, I can’t wait to immerse myself in “Dune: Part Two,” an epic continuation of the captivating Dune saga. Additionally, “Anora” has piqued my curiosity, a project that brings together the talents of Beyoncé, Sabrina Carpenter, and Chappell Roan.

If you’re in search of some light-hearted entertainment, don’t miss “The Vince Staples Show,” or if you fancy a dash of whimsy, “The Completely Made-Up Adventures of Dick Turpin” might tickle your fancy.

For those who prefer their theater a bit more traditional, “Kimberly Akimbo” offers a heartwarming tale, while the enigmatic “Waiting for Godot” continues to intrigue and challenge audiences alike. Our esteemed critics have spoken, and these are their favorites of 2024!

Dec. 9, 2024

The growing progress in AI and virtual production is amplifying concerns about the impact on jobs, as demonstrated by projects like Disney’s 2019 CG-animated “The Lion King” and their upcoming “Snow White” remake. In these projects, Mariscal observed that digital environments took over traditional sets, thereby making entire crew departments redundant.

He remarks, “It was strikingly unlike anything you’d expect on a film set. Yet, they required the sense of a person manually operating the camera. I recall thinking, ‘I must have made the grade.’ However, there were no sound crew, no makeup artists, no set construction – just the essentials needed to create something.

During the work stoppages, Mariscal pondered exiting the sector entirely and even contemplated establishing a power-washing venture. Having purchased a house in Eagle Rock during the real estate market’s lowest point in 2010, he currently feels fortunate but is aware that security could vanish at any moment.

Mariscal explains, “Right now, my skills are required there. However, they’re developing an AI system capable of replicating handheld shots, crane movements – essentially every camera movement ever made. Once that’s ready, my job could vanish in the blink of an eye. It might have even started without my knowledge.

Previously, Fink was all set to depart from Los Angeles completely, intending to go back to New Jersey, contest in local elections, and utilize her creative talents to promote caregiving issues following her father’s stroke. However, for the time being, her role on “Grey’s Anatomy,” which continues until March, has provided a temporary break for her.

She remarks, “I’ll have protection for a while, but I’m getting ready for the unpredictable. Nothing about it feels secure – neither my job, nor my division, nor the nation itself.

As Hollywood adjusts to its new reality, Fink is holding on the best she can.

Fink expresses that, at the moment, he’s focused on mere existence instead of pursuing his dream. However, he emphasizes that he doesn’t plan to abandon it. The worth of our work is simply too significant for us to let go. We just need to find a way to adjust.

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2024-12-30 14:32