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The International Alliance of Theatrical Stage
Employees (IATSE), which includes camera operators, make-up
artists, sound technicians and others, said in a statement its
members voted to ratify a new three-year contract that was
tentatively agreed last month.
The voting was close, with 50.3% of members voting yes and 49.7%
voting against, IATSE said.
The deal with the Alliance of Motion Picture and Television
Producers (AMPTP) was reached in October after the union
threatened a strike that would have to shut down film and
television production around the United States in the biggest
stoppage since the 2007-2008 strike by Hollywood screenwriters.
It would have hit a wide range of media companies including
Netflix Inc, Walt Disney Co and Comcast Corp.
The contract reduces working hours and increases pay for members
who work on streaming platforms, and improves rest periods and
meal breaks on TV and film sets. IATSE leaders had strongly
urged members to ratify it, saying it was "the best agreement
possible."
"The vigorous debate, high turnout, and close election,
indicates we have an unprecedented movement-building opportunity
to educate members on our collective bargaining process and
drive more participation in our union long-term," IATSE
President Matthew Loeb said in a statement on Monday.
The issue of long working hours was brought into sharp focus
last month after Alec Baldwin fatally shot a cinematographer in
an on-set accident on a low budget Western movie in New Mexico.
Six of the camera crew had walked out
https://www.reuters.com/business/
cop/alec-baldwin-posts-crew-member-comments-disputing-chaotic-movie-set-2021-11-03
earlier in protest at working conditions.
Authorities in Santa Fe are still investigating the shooting and
no charges have been brought against anyone.
AMPTP spokesman Jarryd Gonzales welcomed the vote and the
changes on improving quality of life. "These agreements
meaningfully reflect the industry’s endorsement of those
priorities and keep everyone working," Gonzales added.
(Reporting by Jill Serjeant, Editing by Nick Zieminski and
Marguerita Choy)
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