Light. Camera. Labor action? Filmmakers want their cut from boom

  • Light. Camera. Labor action? Filmmakers want their cut from boom
    Independent.t. E.
    Irish film and television industry this year in the spotlight. In a recently published report to Parliament on working conditions in the industry, as well as an upcoming review of section 481 tax incentives can lead to significant changes.
    https://www.independent.ie/business/media/lights-camera-labour-action-film-workers-want-their-cut-from-boom-37229387.html
    https://www.independent.ie/business/article37229382.ece/5044e/AUTOCROP/h342/2018-08-19_bus_43332118_I2.JPG

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Irish film and television industry this year in the spotlight. In a recently published report to Parliament on working conditions in the industry, as well as an upcoming review of section 481 tax incentives can lead to significant changes.

In June, the government issued € 200 million audiovisual action plan that demonstrates the sector is predicted to play an important role in the future of Ireland, trying to make it a global hub for the production of film, television and animation.

The industry was in the critically acclaimed and commercial success. Productions like room, Producer, and Star Wars proved that the quality of films shot on the island along with the movie around the world.

But recently, some employees of the movie confessed that they struggle with job security, job stability and career growth. In the beginning of this year, the parliamentary Committee for culture, heritage and Gaeltacht has held two meetings on working conditions and development in the industry.

The meetings were attended by various stakeholders in the industry including chief Executive of screen Ireland (formerly the Irish film Board), CEO, screen producers Ireland (SPI), and Union representatives from the Union siptu, Irish equity, GMB trade Union, Irish actor and employees of the Association.

Some of the major solved problems was job security, working time and skilled workers who are employed as interns.

The justice system was questioned, as his success contrasts with industry, which lacks vital infrastructure; a system in which the construction of the Foundation was given the task of working to build themselves.

Costume supervisor Ron McGuirke worked in the film industry and television for over 35 years. She started as an Intern and was promoted to the role of leader. McGuirke currently the representative of the newly formed Guild costume from Ireland, which is a collective that aims to unite all who work in the costume Department in film and television.

“Because we’re all freelance and go from job to job, there are no guarantees of employment,” she said. “I don’t know if it can be changed, to be honest with you. She was never there.”

She said that before the progress was for students in the costume Department; trainees were required to work full-time for five productions, including one period before they can upgrade to become an assistant, but she said that over time, this process was abandoned.

Currently, Guild members are reviewing the 2010 SIO/trade Union siptu crew Agreement before the negotiations with siptu to represent them in negotiations with production companies.

McGuirke hoped that the meeting would help to debug agreements 2010, which she said lacked clarity, particularly in relation to the question of working hours. “We want to be stronger when it comes to negotiations with siptu and SIO” she said. “We just want to formulate an agreement that is airtight, transparent, and adhere to the manufacturers”.

Some of the main issues in the Guild will review pension parameters set wage rates, translation working time, and encouraging learning.

Film work is that the majority of employees have fixed-term contracts, this means that when the task is completed or when the production ends, so does the job.

The lack of continuity in employment is a result of the unstable nature of the movie experience. Employees experience months of unemployment the unemployed with no guarantee when the next job will come or if they will be employed on it.

The Chairman of the Committee of Parliament, Peadar Tóibín said he met Directors, crew members and unions for further discussions, gave birth earlier this year. “Ideally, the work should be permanent,” said Tóibín. “The cost of living continuously, and when the work is unstable, the fixed costs hard to cover.”

Tóibín has compared the organization of work in the film industry similarly structured work in the construction industry, in that the completion of the construction project also signals the end of work on the site. He noted that the construction industry has found a way to keep their employees with construction companies to hire workers and this method could be reflected in the film industry.

“There are steps the government can take to improve the experience of employees,” said Tóibín.

Some of the key recommendations made by the Committee in the published report include sustainable pension structures and encourage the government to develop plans which ensure that gaps are taken into account employment law and redundancy. They also include the reform of the training sector, consisting of additional funding to enhance learning and development, the introduction of a formal system of vocational education and training, skills and a clear beginning and end.

There was also a call for workers in craft classes, to be denominated on-Board screen Ireland to have their views and should be included in the development of the industry.

With regard to the section 481 film incentive, the Committee supports it, but encourages the international comparative study was to analyze their strengths and weaknesses in order to help its improvement, evolution and protection of foreign investment.

In recent years, series such as Vikings, Ripper street, and in the Wasteland, come back here repeatedly in the film, and all used articles 481 funding. Part of the attraction to film in Ireland, the incentive allows for a tax payable loan up to 32pc related costs in the Irish TV or film industry.

Data obtained from the income due to the freedom the information that about 100 million euros from the section 481 funding is 2017, and payments of $ 73m was made.

Currently a complete revision of the financing scheme is conducted in respect of its renewal beyond 2020, and the Ministry of Finance will publish the results of their work this year.

To the aspect of the section 481 financing is that it requires putting on getting it to ensure quality jobs and training; however, there are no criteria that defines a structured beginning and end of the study.

Currently, the principles of section 481 for sale the state, which should be at least two interns for €355,000 Corporation tax credit claimed, up to eight trainees, should be used in production.

Specialist props, who asked to remain anonymous, said that he is working in the Irish film industry as a trainee for 10 years.

An employee who received a degree in theatre studies, worked as a Union storekeeper, and feels graduation in the field of operation, which also includes unpaid overtime.

“No one controls it,” he said. “There is no journal or list of trainees. This cheap labor”.

He worked as an Intern for four years before he started to ask questions about progression to the next class and told the producer that the issue of the learner not the concern of the manufacturer.

As a result, further pursuit of the matter, he said that he was released from work and saw a decrease in subsequent work he was offered. This year he has worked only two months.

“I survived on my savings,” he said. “I only raise legitimate concerns and now I’m blacklisted. Where else can I go?”

He said that as an Intern, he earns about half of what it needs to do. His experience is not isolated, as a colleague said his was employed as a trainee for 13 years.

He hoped that the report of the Parliament will lead to the balance between employees and employers.

Producer Tristan Lynch is a former Director of the Irish, and his production company Subotica is involved in both indigenous and international production such as a song for a boy Reggae.

Prior to the publication of the report, according to Lynch, he wasn’t sure what impact this will have.

“I hope if there are positive constructive things in the recommendations, the industry will take,” said Lynch.

He said he was not much of an issue working with the crew in Ireland. He thinks a session of Parliament at the beginning of this year lack balance and are not an accurate reflection of the views of Irish film workers In General.

It supports ongoing discussions and said that there is the energy and willingness to solve problems as producers, unions and guilds, to do and to work on new contracts for the crew and construction contracts. “This is a very exciting time because people are working together. We really can do this real strong creative industry,” he said.

Lynch believes that the industry has matured over the last few years in modern industry ready to face the future as the industry develops.

“There are so many possibilities to grow it into something huge, something exciting”, he said.

He was particularly impressed with how the members of the various guilds in the sector behave.

“The Guild is very interesting; these guys really come together as a people on earth the crew members. They really stepped forward and took the lead in relation to things. It’s really interesting that came out of this [session of Parliament]”.

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