For big-budget projects like “Gladiator 2” and “Deadpool 3,” the cost of holding on to soundstages packed with sets and costumes runs about $600,000 per week, one media CEO estimated.
It was a typical day on the set of “Gladiator 2” in Malta. British director Ridley Scott was orchestrating a complex sequence featuring the film’s star, Paul Mescal, and several hundred extras, all of it unfolding inside a replica of the Colosseum.
The cast and crew of “Gladiator 2” weren’t alone that day. Other major studio productions such as Disney’s “Deadpool 3” and Warner Bros.’ “Beetlejuice 2” abruptly stopped. For many, it seemed like a flashback to March 2020, when Hollywood came to a screeching halt at the start of the COVID lockdown.Michael Buckner for Variety
Fittingly, actors joined Writers Guild of America members on the picket lines on July 14 — Bastille Day.
Behind the scenes, both sides of the battle are noting the opponent’s gaffes in the days leading up to the SAG-AFTRA strike. Studio executives deride the optics of Drescher posing with Kim Kardashian in Italy as negotiations were unraveling, while union insiders say the studios failed to show up for many of the meetings between the opposing camps after their negotiations were extended for nearly two weeks. Sources in the studios deny that they skipped sit-downs.
Actor Charlton Heston shakes hands with Charles S. Boren, vice president of the Association of Motion Picture Producers, as the Screen Actors Guild ends its 1960 strike against seven motion picture studios. Beside Heston, SAG president Ronald Reagan shakes hands with the AMPP’s B.B. Kahne.Without actors to promote movies and shows, studios are considering pushing back release dates.
Compounding issues is a lack of transparency. No box office results are tied to movies made for streaming, and no ratings are released for a show that appears on one of these services. That has left actors and writers in the dark about how many people are actually watching their work. They’re hoping to convince studios to share more data, but that ask appears to have been a significant contributor to the breakdown in negotiations between the actors and the producers.
That’s an experience that’s all too familiar to Kerry O’Neill, who worked in the writers’ room on “Jury Duty” and appeared on the series as Officer Christine Sugalski. The show was a breakout hit when it aired on Amazon’s streaming service Freevee, scoring four Emmy nominations. But that attention and acclaim didn’t translate into a big check for O’Neill.
But even as ticket sales are still down, costs are rising. COVID delays and soaring inflation added tens of millions of dollars to the budgets of many films, meaning that movies like the $291 million “Mission: Impossible” will struggle to break even, while “The Flash,” with its $190 million budget, and “Indiana Jones and the Dial of Destiny,” with its $295 million price tag, will result in write-downs.
Ryan’s words may not resonate with some of the companies sitting on the other side of the negotiating table. While streaming was rewriting the way movies and TV were made and distributed, a slew of new players arrived in Hollywood, many of them with very different ideas about how the business should run. Apple and Amazon have launched streaming services in the past decade and invested billions of dollars to produce original programming. These companies have market caps of $3 trillion and $1.
Actors, many of whom were struggling to pay their bills before production stopped, are rushing to pick up temporary gigs. Josh Hook, a SAG-AFTRA member, was set to appear in a new Starz show from Ava DuVernay when he got the call from his agent that the production wasn’t moving forward until the strike was resolved. That’s left him cleaning friends’ apartments for $100 a pop while applying for bartending jobs or work as a nanny.
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