Show & Tell Time For The IATSE

So this past Sunday there were public meetings in Vancouver and Los Angeles for the IATSE. I’ve been getting email reports from people who attended.

I’m not surprised that both meetings had low turnout. For Los Angeles, many artists I talked to are gung-ho about joining however some  didn’t even know about the meeting, others are fearful about making a public apperarance, and some are purposely skipping attendance until the IA gets a website going.

I can’t blame them, many have stated that it’s impossible to start an organizing drive without having some professionally backed IA website that states the facts. It’s pathetic.

In Vancouver, the discussion seemed to center on the high technology worker provision law that some facilities use to prevent paying OT. This was debunked by IATSE Local 891 as they had a lawyer answer the question on their website. See how that works? A website delivers the information people need to get facts. There was also discussions about what benefits they offer and the rules to get organized. Reports are the meeting left a positive impression.

In Los Angeles it seems that many of the people just didn’t have enough information to get the facts. Most of this was attributed to there being no website. It should be no surprise that this swung the doors wide open to misinformation as Jeff Heusser commented on my blog:

At the beach meeting today someone said “we can just buy our own healthcare”. I hear this casually tossed out a lot in the union discussion but it is often not that simple. Imagine working for a company that goes out of business leaving you suddenly with no health insurance, add a pre-existing condition and the family costs can go into the thousands per month – if you can even get coverage.

Many freelance visual effects artists get no paid vacation, get no sick days, no paid holidays. Are these not things that workers should expect? When did expecting these things become wrong?

The misinformation involving seniority clauses and runaway production to India will only foment unless the IATSE can do something to get the facts out.

If the IATSE cannot get a professional website going to get concise facts out and answer frequently asked questions, their campaign will be dead on arrival.

You see the problem the IATSE is having is that they are too busy trying to TELL artists what they can offer rather than SHOW artists what they can offer.

Here is what the IATSE should do.

They should recruit a small group of vfx artists who have been former IA members and are familiar with the benefits they offer to help create a guideline for how to present the info to fellow artists.

They should get together with a professional to design a simple but effective website that will be easy to access for artists who have questions or want to do research on what the IA can offer.

The IA should have a page where they can post Frequently Asked Questions that they can answer so they don’t have to answer the same question over and over at meetings.

Artists should email the IATSE copies of their benefit plans if they get them . The website should create one sheets that compare and contrast the plans they offer to what employers offer so artists can easily discuss these issues and decide.

A good framework of what I speak about can be seen in these posts:

What A Union Does For You.

To Organize Or Not To Organize.

Notice how I show rather than tell artists the benefits of unionization. Simplify the message and you will quickly see those who are out to spread misinformation become disarmed by the facts.

Every show I’ve worked on starts off like this. The pipeline is messed up, decisions need to be made, people need to communicate. Welcome to the film industry. Once the problems are pointed out, the appropriate people are tasked with fixing the problems and the production/organization process becomes a well lubed machine. I’m not comparing the plight to be the same but if the people of Egypt can organize a campaign to overthrow their government through the internet and Twitter in just 18 days, why can’t we so something simpler and not as ambitious?

Soldier On.

36 Responses to Show & Tell Time For The IATSE

  1. Dave says:

    it is pretty crazy. I wondered if they didn’t b/c they want to negotiate some of the offerings and/or are still trying to feel it out. Either way, I know I’m not pushing for anything until they do.
    There is so much misinformation about it, I don’t even know for SURE what I know! Meaning I feel like oh I understand how this will work, but in fact I’m wrong. I want to see it all printed out and clear.
    At least they read your blog and might make a bigger effort to get it together.

    • Vfxartist says:

      I found this post over at the animation guild blog. It briefly describes the history and goals of the 839 local. Thus parallels much what a vfx guild/union would offer:

      http://animationguildblog.blogspot.com/2011/02/who-are-we.html

      And before people ask “why don’t we just join them”. Animation is centered around sothern california, while vfx us global. Having a national union that would cover the us and canada seems wiser.

  2. Shootsy says:

    Because of financial threshold…divide and conquer

    Why bother anything when you make +$100k/year and you feel you’ll hover in safe haven no matter where and what project you work? After all travelling the world for work has its exotic perks, or so you might think…

    Why do anything, voice your opinion and complain when you’re below $50k/year and risk losing a lot just because you not happy. They’ll tell you to work your ass off so that one day, you too, can go work 10k miles away!

    Seems like Jobs from both end of the spectrum are being sent overseas, the middle[class] is getting crushed.

  3. Vfxartist says:

    Dave,

    I understand your frustration.

    I have had experience under local 839 representation while at one of the animation studios, and this all seems upsidedown latin to me on the surface.

    But its not.

    The reality is, its what we decide it should be. Thats how it works. But the first step is in signing a rep card, saying you want to be represented collectively. what that means is that we later get together to decide what our conteact should be. But no one can do that first step. Withholding a rep card means you are passing on the opportunity to organize.

    If you want to see what the vfx contract can look like, go to:

    http://animationguild.org/contracts-wages/

    There are many parallels between animation and vfx in how we work and what we do. I highly recommend reading these as a guide for what we should aim for.

    Imagine being able to go to a website like this for vfx:

    http://animationguild.org/

    ….having basically a hub for all things labor and employee. Neither are as sexy as ” “director” or “producer”, but is something to be proud of.

    When I look at VES, I see a place where people bet and speculate on the future.

    When I look at the Animation Guild, I think of a place where people PLAN for the future.

    It starts with you signing a rep card.

    • VFX Soldier says:

      I think there is a chicken and the egg issue here.

      The IA expects us to sign the rep cards and THEN they will propose with us what we need.

      The Artists expects the IA to setup what they propose and THEN they will sign the rep cards.

      • Rob N says:

        “The Artists expects the IA to setup what they propose and THEN they will sign the rep cards.”

        I think this would be a great thing. If I am going to pay dues to an organization I would like to know what those dues are going to get me. Membership has it’s privileges and I’d like to know what they are.

  4. Rolling Red says:

    I’d like to expand a bit on the Vancouver meeting as vfxsoldier under-reported on it. Vfxsoldier calls out low turnout in both cases. Truth be told and the shameful fact IATSE in LA has to come to terms with is that Vancouver’s turn out was literally only a few heads shy from LA’s. Keep in mind that by my very rough account based on number of operating facilities in each city (please correct me if I am wrong) LA’s vfx market is at least 4 times larger than Vancouver’s. In addition LA is the cradle of vfx production with large percentage of seasoned professionals having previously worked at a IATSE’s animation facilities who would I imagine, have none of the hangups and fears newbies to unionized labor in a a virgin market like Vancouver are expected to have.

    It is overly simplistic to blame the lack of a website for the low turnout. True, a website and a blog are a cornerstone and an easily accessible repository of information that is being delivered and disseminated. But, as critical as it is – a web presence does not get the people out.

    I don’t think that I am the only one who considers the informational meeting in Vancouver an inspiring success. A spontaneous applause which followed at the end of the conversation says more than I could ever attempt to describe.

    My fellow Van artists, your courage, independence of thought, the ability to pose tough questions and grapple with complex answers – make me proud.

  5. skaplan839 says:

    Counting heads is not a metric I would choose to measure success. Counting cards or the decibel level of applause isn’t one either.

    Each city has its unique challenges to organization. At the same time, every city faces the same challenge: reaching out to the talent pool with consistent and factual data. Meetings of this nature are key to the success of the effort regardless of the country.

    Expecting higher turnouts or passionate cries of loyalty at this stage is premature. These efforts are in their infancy. The concept of establishing contractual protections into an industry that has fostered a sense of pride over illegal practices and unbearable strains will not take hold over night. Both meetings should be considered successful as they reached artists ready and willing to listen to their options.

    Your points are valid and reasonable and you should consider them delivered and understood. We all look forward to their implementation and should continue to work united toward our common goal.

  6. TK1099 says:

    The Santa Monica meeting was small, but it was plain that from the IA’s point of view, they intend that this will be our VFX local. We’d be choosing our own leadership and our collective fates will still be in our hands. The IA needs to get us the concise information we’re all seeking for what it means to be an IATSE local – but the website to rally US, will come from US.

    Jimmy is going to be a very valuable ally, but I don’t see him as ‘the one’ who will inspire our rank and file VFX artists to fill out rep cards. That person will need to be a vfx artist, properly informed and with Jimmy and the rest of the IA reps to answer questions properly and accurately.

    I’m already sent the emails about helping with the website. I’ve worked under an IATSE contract in the past and I’m getting involved – and I’ve sent in a rep card.

  7. Zooglypuff says:

    Hrmmm. If people do join a VFX union while working at a VFX shop..and then get a job at an Animation Guild studio such as Disney or Dreamworks.. What would happen then? Join both unions?

    • VFX Soldier says:

      Should be seamless transition. The IA is the parent organization of TAG.

      • Zooglypuff says:

        Thanks!

        Sorry for the dumb questions (Again, like you said, a website with all this info would be great!)

        Not trying to be a smart-alec or anything.. But if they’re both under the same wing so to speak, why not just join the animation guild? Would VFX studios need a much different union than animation studios?

      • VFX Soldier says:

        Always appreciate the questions. Yes I wish there was a website!

        You are preaching to the choir. I loved being in The Animation Guild and hope the same framework will exist for vfx.

        However, TAG is local to Los Angeles. The IATSE wants to create a national guild for VFX. The hope is to broadly cover artists in NY and CA etc. It’s a big deal and there is a lot of heavy lifting. Who knows it may fail but we gotta try.

      • TK1099 says:

        One of the reps will know the full answer, but I do believe its, in part, due to the fact that there has been a lot of internal confusion as to what VFX positions could have potentially fallen under existing guilds – camera, art direction, animation, etc. A separate local, once the numbers support it, sidesteps the issue.

        I think a VFX local with VFX leadership and potentially a spot on the IA’s bargaining committee that reps us directly, is a better option.

        Artists should be able to cross back and forth freely, but I think we do have some cultural and business model differences that could benefit from an independent focus on just VFX.

    • skaplan839 says:

      Soldier is correct. The practice of “Card Transfer” is common among locals where the work jurisdiction is blurred. 839 and 800 transfer cards regularly and its a transition that is barely noticed to the artist.

      Soldier is also correct in his statement about a National local. Before the International announced their intention of forming such a local, there were a few locals in Los Angeles that claimed the representation was in their court. Having a single and national local for all artists in the visual effects field will make representation easier in the long run.

      As TK1099 puts it, it also affords visual effects artists the opportunity to establish and punctuate their specific needs in the halls of the IATSE as well as the contracts the local will form. Its a very exciting prospect.

      Steve Kaplan
      Labor Organizer
      The Animation Guild, Local 839 IATSE
      skaplan@animationguild.org

  8. Dave Rand says:

    Dear IATSE,

    I wish I could have attended at least the Vancouver meeting but I had prior commitments and the notice was a bit short.
    I do like Mr Goodman’s personal touch, his emails are always welcome in my mailbox for sure. As a union member in pause mode after working for Image Movers I can certainly attest to the symbiotic relationship that has evolved between Disney and the Union and how that benefited all involved. I’m hoping that relationship model is what the future will hold. The two Steves of the Animation Guild were always available and approachable. Information was the name of game with those guys for sure. My only critique…I wish the Guild had grown faster and more deliberately with the industry over the years.
    I was very happy to see a new push announced via Variety and the letter to VES.

    Leadership is the most important part of any revolution, it takes a tremendous amount of talent and energy. Most of us work very long hours earning our paychecks, and the right to be employed, and have little time left to volunteer for the cause. We are paid to do our jobs and we need IATSE leadership to honor their paychecks with as much velocity as possible….. and I believe we will follow, tell our friends about the plan, sign the cards, and cary a sign one day if we have to….but we need to know that plan and it’s got to be a damn great one to sell the cause and motivate change. This is all very very late in coming and we may have but one shot this decade to make it work or it loses all steam and collapses.

    If someone were to tell me that this is all just a side show meant to derail us a bit longer I’d almost believe it …but I don’t I want to believe that this is very real as I’ve been ripped off along with many others over the years starting with the unpaid artists on Journey to the Center of the Earth.

    Details do need to be available and since these potential members spend most of their waking hours staring at computer screens it makes sense to use that space, exploit it, saturate it. It works with everyone’s schedule and reaches everyone’s mind.
    Please post the plan and answer questions on the hour. Since I can not get to all the small gatherings in LA Some ideas I’ve thought over are below, I’m no expert but I want to participate, so I would like to respectfully add some thoughts here, I really would have thought that something resembling this would have been all in place before they shot Jimmy out of the Vareity canon….

    -If IATSE plans on covering both Canada and the USA in recognition of the industry’s infrastructure already in place can we make crossing the border and getting work permits part of the Nexus plan?
    http://www.cbsa-asfc.gc.ca/prog/nexus/menu-eng.html

    -There needs to be much work done on the criteria artists are crossing the border under… many are actually given work permits that are a lie. Stating they are doing jobs that not only have nothing to do with their job but nothing to do any jobs in our industry. (One has just told me his permit states he is a Premier editor for Fx shot….wtf is that?) I had a border guard turn me away only to be swayed because I knew Brendan Frasier and she has a crush on him so looked up what happened….and decided to let me in to Canada for 6 months. I felt like a migrant melon picker, my whole life in storage and under the whim of a misaligned border agent.

    -Would it be possible for a health care system that crosses the border?

    -As for the USA (my home country) please list the details of the retirement, healthcare, pension plans that will follow me from state to state. The Guild offers lifetime health care after so many years of membership…will the new push have that?

    -I’ve noticed IATSE is petitioning the California to offer incentives…how is that going? What else will you do other than this first move (a great idea btw) to photograph artists and personalize the cause?

    some more common stuff:

    -How much will the fees be to join and the dues afterwards.

    -How will we elect our leaders?

    -How do I sign up without fear?

    -What are the laws?

    -If we ever did go on a strike, how would that work, how would we pay our bills?

    -Can we have a section that covers the history of the unions in show business through film clips, books, all media, information that demonstrates from testimonials and archives how it has benefited the lives of hundreds of thousands of workers and families since the early part of the last century. Many young people have not idea how deep this goes.

    -Forums that protect ones anonymity.

    -A section that explains to studios right down to the small shops how we plan to help their cause as well. Many are floundering and need help and not a knife to the heart. There has to be a symbiotic relationship, it should not be a war, right now that will only help the powerful who have been working so hard to keep us scattered to the four corners.

    -How can we reach all those corners and unite them?

    We are getting a very late start on an effort that requires new thinking. It’s my belief we can not follow old union models. New ones have to evolve and take advantage of new tools and ways of sharing, thinking, and growing together with the studios.

    If you disagree or have your own thoughts please don’t fight me on it …just post and ask your questions…as I won’t waste energy arguing with other members.

    I think this is a very relevant video….

    http://www.cbsnews.com/video/watch/?id=7346812n

    Sincerely,

    Dave Rand

    • Rolling Red says:

      With all due love and respect, as per “Leadership is the most important part of any revolution…”

      I respectfully disagree:

      I am more afraid of an army of one hundred sheep led by a lion than an army of one hundred lions led by a sheep. ~Charles Maurice, Prince de Talleyrand-Périgord”

      Not to discredit any of the valuable points and appeals that have been made to IATSE, I hope you guys are listening – it is the A. among the primary ABCs of organizing.

      Fellow artists, the A. among the primary ABC principles of any union is participation: people ARE the union. As potential future dues paying members – come forward and make your demands, own it, drive it, create it. Don’t wait by the sidelines for the leadership – be the leadership.

      love,

      • Rolling Red says:

        I misread my own quote. Dave, I apparently agree.🙂

        The rest I still believe in. Call me naive.

        peace.

  9. […] artist Dave Rand commented on my IATSE meeting post. I agree with everything in it and I’ve decided to promote it to a […]

  10. […] artist Dave Rand commented on my IATSE meeting post. I agree with everything in it and I’ve decided to promote it to a […]

  11. Lee Stranahan says:

    To be blunt — the way IATSE has handled this so far is reason enough for anyone NOT to want to be represented by them.

    Serious question — does ANYONE believe that the IATSE has the artist’s interests at heart at this point? Or are they just hoping artists will grab on to any rope?

    • tk1099 says:

      It is clear that there is fundamental miscommunication between IATSE and VFX Artists. I feel that we, as VFX artists, were hoping to be presented with what is essentially a ‘product’ for us to evaluate and accept/reject. We’d see how well it answers what we perceive as problems in the industry and sign or not. I would love it, if this were the case.

      Unfortunately, I think we may have to view IA as more of a service provider and consultant.

      They have a health care and retirement/pension systems in place, they have, legal reps, studio negotiation experience and the base hollywood agreement infrastructure that most on-set production people are protected by. They have fought for and assembled all this, over a LONG period of time and regularly sit down with AMPAS to play the ‘knives out’ give/take chess game.

      We know that we need a unified voice to make any sort of changes. That will require the artists with ‘sweet deals’ taking a stand for those at the sweatshops. This will be extremely difficult.

      Our theoretical, unified, VFX artist organization doesn’t have to be IATSE, IBEW or affiliated with anyone else. We can form our own entity… But then what?

      We’d have to shop for the healthcare, approach and negotiate with the studios to tackle our industry issues – if they even recognized us as an entity that reps US VFX artists, negotiate with the individual facilities, build a team of lawyers – the list is endless.

      Or we could use the system that IATSE already in place. Their lawyers, their reps, our fight would be to get their existing hollywood base agreement for vfx artists and employer/studio contributions for participation in their MoPic health and pension/retirement system. VFX artists from our ranks will ‘learn the system’ from their guys so we can take more control of our own fates.

      We’ve done a really bad job taking care of the business side of VFX up to this point. We can’t discount their experience and the collective clout of IATSE’s existing locals. They have an antiquated model and we’re the new kids – but both sides have a lot to learn from each other. Everyone can clearly see the way Hollywood is trending. Most of the budgets make up our part of the pie. Looking forward, I’m starting to think that we need them just about as bad as we need them.

      • Dave Rand says:

        I could not agree more with this post. IATSE is in my opinion is still our best bet. However, was the last 20 years a gestation period for the unionization of fx? It’s basically the same IATSE that is behind this renewed effort AND previous efforts. We really need to see a different much more intense charge to even begin to catch up to the industry. We can not all do it for them unless they want to come and do our shots for us so we can leave our 60-100 hour work weeks… I believe the biggest responsibility of our “participation” is to shout out, ask questions, post letters, make suggestions, and most importantly demand leadership ….or watch the ship we missed sink below the horizon with them.

      • VFX Soldier says:

        You all know where I stand. I’ll do whatever I can to help out. Here’s the thing: we are all former TAG members. We all lived it. We all know what the benefits are.

        Artists just don’t know and it hasn’t been clear to me that the IATSE is going to use the TAG contract as a basis for what they propose. I can talk all day about how much my insurance was with MPI Health Plan. Will that be the plan used by a vfx union? We don’t know. We need clarity, like now.

    • TK1099 says:

      Make that ending: “…we need them just about as bad as they need us.”

      An IATSE VFX Local, covering the United States, would appear to benefit IATSE as well as VFX artists.

    • Vfxartist says:

      Truth is, Lee, artist have to do their part:

      Unless artist have reviewed and read the animation guild contract to familiarize themselves with an exiting labor contract:

      http://animationguild.org/contracts-wages/

      ….until artist review and familiarize themselves with the animation guilds motion picture health and benefits plan, which mirrors what we could have:

      http://animationguild.org/benefits/

      …until artist have read Tom Sito’s “drawing the line” book to familiarize themselves with the history of labor, Art, and business; essentially a lesson that history repeats itself, and that everything we have today (OT, weekends, etc)  was fought for by laborers like ourselves:

      http://www.amazon.com/Drawing-Line-Untold-Animation-Simpson/dp/0813124077/ref=sr_1_1?s=books&ie=UTF8&qid=1297885145&sr=1-1

      …then the artist haven’t done THEIR part.  This can all be done at NO risk to their job. And whether you “believe” in unions or not (which is silly because its a tool, not a belief system),  you should at least inform yourself of what it is and whats out there and make an informed decision.

      • Vfxartist says:

        Another thing artist need to do is change their culture of thinking.  Right now, if I were standing in a cliff with 100 vfx artist, and I told them “whatever you do, don’t take a step forward because you will fall, in fact lets turn around and walk back away from the cliff”.  You know what would happen?  About 70% would just stand there on the cliff, waiting for something to happen… A gust of wind, an earthquake… Some kind outside force to move them collectively, in either direction.. They just don’t want to rock the boat.  About 25% would take that step forward over the cliff just because they were told NOT to, and they don’t like to be told what to do, even if its in their best interest. The remainder 5% would walk back away from the cliff toward safety, some because they already read a map and decided for themselves on their own, others because looking ahead at uncertainty, would rather travel an alreaded treaded and safe path, while others just listen….

        Thats the culture in vfx we have to change. The 25% that walked off the cliff, most of those will never change. They have a belief system and don’t listen to reason, while others are just contrarians by nature.  Its the bulk of the 70% that have to inform themselves using the above links so that they can make an informed decision.

        And lastly, if you do decide to organize, sign a rep card. Each artist has to do their part because no one else will do it for you.  This is something by us, for us.  No one else will do it for you. The next time someone “asks” you to work late uncompensated, the next time as a staffer you feel trapped in a position or job because you don’t want to loose your staff compamy benefits, the next time a company asks you to work for free to “prove” yourself, the next time you have to chase down a company for a deal memo to lock down employment so you can plan your life, the next time a company calls you asking if they can put you on hold for four months while telling you “thats how its done”, the next time a company makes you sign their contract with their own labor laws to get around paying you OT…. think about taking a stand thats constructive, thats your legal right, and that has a history of benefiting motion picture artists and technicians.  I see people who post snarky remarks on their facebook as to how screwed up it is at their workplace, but they won’t sign a rep card.  Makes no sense.

  12. Truth says:

    The reason that the VFX artist is suffering is because the VFX houses make no money. The reason why VFX goes off shore is because of subsidies. The VFX houses in CA open off shore offices so that they can compete. though they still do not make any money. The motion picture studios are making lots of money. The VFX houses in the UK are making money because of subsidies. Those subsidies are not here to stay. The UK shops are opening offices off shore. Those offices will also not make any money. The motion picture studios keep making a lot of money. The VFX artist keeps suffering.

    The Unions want the VFX shops to be signatures, to protect the VFX workers. The Union will offer better benefits. The better benefits will cost more money. The VFX studios don’t have the money. The motion picture studios want less expensive work. The motion picture studios take their work overseas to get the work for less. The motion picture studios make even more money. The VFX artist still suffers. The Unions fight for the rights of the workers. The workers pay Union dues. The Unions want better benefits and pay for the workers. The VFX studios continue to lose money, more EFX shops close. The motion picture studios want work for less, make more money and take their work overseas.

    The Unions get enough signatures of the VFX artists because the workers are taken advantage of. The US Unions put contracts together with the American VFX studios. The benefits cost more money. The motion picture studios want to take even more work off shore because costs in the US are rising. The motion picture studio wants even lower prices so that they can make even more money. The US VFX studios close…. the work goes to India, China etc. The US VFX artist no longer works.

    Fact or fiction.

    • Rolling Red says:

      Since it is all about what motion picture studios want: more profit, more work done for less, why don’t we, instead of paying union dues – just pay the hollywood studios. Some of us already work for free but we can do more, we can start paying the motion picture studios for the sacred privilege of working for them. After all they are doing us such a favor by giving us work. We haven’t done enough for them, lets start sending them cash.

      • Scott Ross says:

        I think the studios would complain that we are not sending them enough cash.

        The VFX facilities have been underbidding their work for years, not getting paid appropriately, rarely participating in the success of the films, having directors and producers that are not managed by the studios therefor creating massive OT….

        The rule of thumb in Hollywood is ” I WANT A BETTER DEAL” … whatever the deal is…. they want more. So, I’d hold on to your cash, you’re going to need it!

    • VFX Soldier says:

      This is the 2nd time this comment has been posted. Must have not garnered enough fear the first time it was posted.

      The problem with this line of reasoning is it then begs us to give up OT laws. Well Canada and UK have different OT laws so we better compete by working for free with no OT!

      Fear will only work for the uninformed and if you take a good look at the people reading and commenting on this blog, they are informed.

      For the studios, that’s scary.

  13. Dave Rand says:

    Thanks for posting the links as that is very helpful. After reading this announcement:
    http://www.variety.com/article/VR1118027433?refCatId=13

    I’m sure most artists who read this saw the words “hired”, “drive”, “organizing”, “strategies” and may not have much knowledge of unions or friends or family that were ever even in one as the unionized labor force in American has declined steadily over the years and many feel it’s because they relied on antique methods of organization and strategy.

    We’ve watched our own Animation Guild suffer some of the same consequences.

    I believe it’s fair to ask IATSE to use modern methods of information distribution and communication if we are to reach all potential members, small group meetings may no longer be as effective as they were 50 yrs ago.

    I also believe after reading this announcement artists expected some initial leadership. The use of the word “drive” certainly implies that, seeing as we are all having a mind set like cattle standing on a cliff and looking in need of direction, as your excellent analogy implies.

    • Vfxartist says:

      Dave,

      I Understand what you want, but even with an iatse website, its up to artist to organize. I posted links for artist to learn for themselves what OUR union cam be, based on 839’s contract. Its the same national, just a different local. Tom Sito’s book explains the history of labor and animation, essentially showing what it was like before the unions and after. Jim has rep cards for people to sign. If not you can print them out from steve kaplan’s blog.

      Theres nothing really left… Artist just have to inform themselves with the links I provided, and decide to sign a rep card. No leadership needed there. After organizing comes officers and shop stewarts, but before that its artist signing rep cards.

      This is nothing new or exotic. If fact, we are the last ones to pretty much organize. Hence there is plenty of information to draw from.

  14. Tbd says:

    Rollingred you are very obviously a union organizer. La or Van, is really the only question. I’m guessing LA as you freely discuss organizing on the Van VFX site. Either that, or you are talking to yourself.

    I agree that a central website would be useful.

    • Rolling Red says:

      Tbd, welcome to the discussion. Better late than never. This is a February thread, and no I am not an organizer for the IA. All best.

  15. […] Show & Tell Time For The IATSE […]

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