Below-the-line workers face uncertainty in Hollywood’s turbulent landscape

The Hollywood production landscape has been undergoing significant turmoil, particularly impacting below-the-line workers who have found themselves grappling with job insecurity following the recent strikes by writers and actors. Sources indicate that this turmoil has contributed to an uncertain future for many crew members, many of whom have dedicated years to their craft but now face difficult choices amid a challenging employment climate.

Heather Fink, a sound utility worker with 14 years of industry experience, articulated her struggles when she caught up with the Los Angeles Times. “I was in such a terrible place,” Fink commented, recalling the anxiety that mounted as job opportunities dwindled and bills mounted during the strike-related production halt. In a stroke of fortune, she accepted a full-time position on ABC’s long-running medical drama “Grey’s Anatomy,” a development that provided her with a sense of stability. “I couldn’t feel more grateful,” she said.

The industry has been slow to rebound as production numbers in Los Angeles remain lower than previous years. According to FilmLA, a nonprofit organisation that tracks industry activity, film and TV production in the third quarter of 2024 was down by 5% in comparison to the same timeframe in 2023. The state of the industry has prompted Governor Gavin Newsom to propose a doubling of California’s annual tax credit programme to draw productions back from more cost-effective states and countries, although this initiative is not expected to take effect until mid-2025.

Other industry professionals have experienced a mix of luck and hardship in their employment situations. Keith Dunkerley, a director of photography who worked only 18 days in the early months of the year, has since secured a full-time role as a B-camera operator on the series “Doctor Odyssey.” Despite his success, Dunkerley expressed concern for his peers still struggling for work. “So many friends are still out of work or really slow,” he noted.

Diego Mariscal, a dolly grip with extensive experience, has observed an uneven recovery, pointing out that while some studios have shown increased activity, job opportunities are becoming increasingly selective. He indicated that this trend could revert progress made towards greater diversity in hiring, citing that “the doors were a little bit more cracked open earlier, and now they’re slowly closing more.” This sentiment reflects broader concerns about the industry’s evolving dynamics and its impact on various workforce groups.

Fink also shed light on the emotional strain that instability has inflicted on crews, revealing, “People are getting meaner,” as the pressure mounts. The crew members’ camaraderie, once buoyed by shared experiences, is becoming fraught with tension against a backdrop of uncertainty.

Mariscal has taken an active role in advocating for his peers through “Crew Stories,” a Facebook group he founded in 2017. It started as a light-hearted platform for sharing industry anecdotes but has since morphed into an essential support network for those facing financial distress. He remarked on the stark reality of the current situation, stating, “It’s like, who do I help? In the end, it comes down to me.”

The emotional toll extends beyond day-to-day challenges, with concerns about the underreported mental health crises within the industry becoming more pronounced. Fink reflected on the dire circumstances faced by some of her colleagues, noting distressing examples of those who felt their circumstances were so bleak they chose to end their lives.

Furthermore, as the industry continues to grapple with economic challenges, technological changes could further complicate employment opportunities. Mariscal illustrated this with his experience on projects using extensive digital environments, which have replaced traditional crew roles and prompted fears about job security among various positions in the industry.

As Fink found herself considering a potential move out of Los Angeles, her recent job provided a temporary reprieve from her earlier considerations. However, she remains aware of the limited nature of that stability. “I’m preparing myself for the unknown. None of this feels reliable,” she remarked, capturing the pervasive uncertainty that hangs over the industry.

While the future remains unclear, it is evident that many in Hollywood are striving to maintain their livelihoods amid the evolving landscape, with some forcing themselves to adapt to circumstances beyond their control. Fink concluded, “I don’t have time for my dream right now when I’m just trying to survive. But I’m not giving up.”

Source: Noah Wire Services