![]() Those negotiations directly impact a Canadian industry that increasingly serves as a backlot for major studios and streamers, leaving American producers, unions and guilds in the driver’s seat as to the futures of many local talent and crews countrywide.Īmid the prospect of the U.S. His warning comes as Hollywood unions and guilds tackle thorny issues like artificial intelligence and streaming residuals in crunch talks with the Alliance of Motion Picture and Television Producers. We’re collateral damage because, when they strike, it affects thousands of people who aren’t writers and actors,” Bronfman says. ![]() We’re the ones that carry the big overheads in staff and capital and studios. “While the writers and the actors can do their thing, it’s companies like White’s and others that are really suffering. White International, a rental production equipment supply giant. “Our industry is being held hostage,” says Paul Bronfman, chairman and CEO of studio operator Comweb Corp. Studio operators are more circumspect over an escalating Hollywood strike’s impact. Everybody knows the numbers and everybody can look at the stock prices” of major media conglomerates, added Yake, who is developing the comedy Trauma Bonding from director and showrunner Daniela Pagliarello ( The Drop). The transparency is there and you can’t really hide it. Veteran indie film producer Elizabeth Yake of True West Films echoes that there’s no brushing under the carpet key labor issues, as was done during earlier contract bargaining rounds, especially for the WGA, which last went on strike in 2007-08. Justine Bateman: Pulling AI Into the Arts Is "Absolutely the Wrong Direction" There needs to be a readjustment with the streamers and remuneration for writers where they’re fairly compensated,” Rodriguez tells The Hollywood Reporter as she develops a feature adaptation of her short film Fuego, and get sets to shoot her film A Dios, about a former jazz diva, later this year. What they do will have an impact for us in Canada. “What the WGA is doing is extremely important. Montreal-based screenwriter Christine Rodriguez of Productions La Tigresse, who is continuing to work on her upcoming film projects outside of WGA restrictions, said she’s closely watching labor negotiations in Los Angeles. film and TV series for work, question when they’ll get back on set. Film studios across the country remain dark or filled with homegrown shoots and anxious local talent and crews, dependent on big-budget U.S. As SAG-AFTRA nears its June 30 bargaining deadline amid the Writers Guild of America strike, the Canadian film and TV industry is closely watching for ripple effects of Hollywood’s production shutdown north of the border. ![]()
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