The continuing Covid spread, fueled by the delta and more recent omicron Covid variants, compelled the White House in early September 2021 to announce a vaccine mandate plan aimed to large employers. Implementation has since stalled as a US appellate court grapples with numerous legal challenges, and the question of the mandate’s constitutionality is almost certainly headed to the Supreme Court. But the show must go on, and its producers need to know how a vaccination mandate—if put into place–will affect the sets and sound stages where thousands of their motion picture and television industry employees practice their art and craft daily. (more…)
Announced last week, the Biden Administration’s order on mandatory vaccinations as part of a comprehensive national strategy in response to the ongoing COVID-19 pandemic may bring new requirements for some film and television productions.
Current film and television industry-wide protocols for returning to work agreed upon jointly by SAG-AFTRA, the Directors Guild of America, the International Alliance of Theatrical Stage Employees (IATSE), the International Brotherhood of Teamsters and the Basic Crafts, and the Alliance of Motion Picture and Television Producers already call for social distancing, masking, sanitizing, and other safety steps. They also give producers the option to implement mandatory vaccination policies for casts and crew on a production-by-production basis. Depending on the number of employees involved in those productions, however the upcoming federal regulations may soon require such policies. Moreover, because the vaccination mandate will not be limited to employees of covered employers who work within certain Safe Way Forward zones, already swollen production budgets may soon need to expand again. (more…)
Quentin Tarantino’s Once Upon a Time…in Hollywood: A Novel looks back at the world of 1969 Los Angeles recreated in the director’s 2019 film, delving into the history of stuntman Cliff Booth. The character, portrayed by Best Supporting Actor award-winner Brad Pitt, served as a good friend to former cowboy picture star Rick Dalton, portrayed by Leonardo DiCaprio. Booth serves equally well as an example of why protecting ancillary rights should be on every filmmaker’s list of deal points when negotiating distribution and other key agreements.
Ancillary rights are rights related to a particular intellectual property. In the case of a film, they include rights such as novelization rights, soundtrack rights, music publishing rights, and merchandising rights. Each of these rights can be separated and sold or licensed to the same or different parties and in domestic and foreign territories. But before doing so to finance development or production of a film, consider whether and how to split ancillary rights to best preserve options. Most domestic distributors, for example, will demand ancillary rights as a condition of taking on a film to cover their increased distribution costs. (more…)
As of May 6, 2021, health and safety restrictions applicable to film and television production companies looking to shoot on location in LA County have been eased slightly. Due to Los Angeles County entering the “Yellow Tier” of California’s Blueprint for a Safer Economy framework, certain local music, television, and film production-specific activities that were previously banned may now resume. Of course, independent film producers should continue to proceed with caution and adhere to the continuing requirements in the industry COVID-19 protocol to reduce the potential spread of COVID-19.
The most recent update continues to require employees to wear face masks. But employees that are fully vaccinated may elect not to wear a face shield if otherwise required to do so by the COVID-19 protocol. Audience occupancy in increased to Yellow Tier levels, which limit outdoor attendance to a maximum 67% of total venue capacity as determined by the applicable building or fire code. For venues that seat up to 1,500 persons, indoor attendance is capped at 25% of capacity or 300 people, whichever is fewer. For venues that seat more than 1,500 persons, maximum occupancy is 10% of capacity or 2,000, whichever is fewer. In either case, venues may open at 50% of capacity if all audience members either show a recent negative test result or proof of full COVID-19 vaccination.
Box office numbers over the five-day China May Day/Labor Day holiday showed at least 10 local titles grossing over a combined $125 million in US dollars. It’s a calendar event in which new local films usually compete against studio movies like Avengers: Endgame. In 2019, the superhero epic dominated. Do this year’s numbers for local movies indicate that the market may be cooling? If so, will Hollywood shift from comics-based tentpoles, perhaps putting greater focus on bringing out more independent pictures with smaller budgets?
It’s likely too soon to tell. But combined with the continuing effects of the COVID-19 pandemic on the domestic box office (see the recent announcement that Pacific Theatres will close all 17 ArcLight and Pacific cinemas), independent producers may be justified in feeling inspired. The top earner among the holiday weekend pictures in China was “the story of unrequited love between two former high school classmates, tracking their romance over a 15-year period until the female character marries another man.” Beijing Enlight Pictures youth romance “My Love” pulled in $65.1 million in three days despite highly critical reviews.
Compelling, well-crafted, and distribution-ready cinematic stories by independent filmmakers may not generate the $629 million that Marvel’s Avengers did just in China in 2019. But such films don’t require $400 million budgets either. For their indie producers, China’s May Day numbers may well indicate greater opportunities ahead.