October 16, 2021
Important Update: Tentative Agreement Reached – Strike Averted
Late Saturday, President Matt Loeb and the 13 Hollywood Locals announced that the IATSE has tentatively agreed to terms and conditions for the 2021 Basic and Videotape Agreements. Everything achieved was because you, the members, stood up and gave us the power to change the course of these negotiations. Our solidarity, at both the leadership and rank and file level, was the primary reason that no local was left behind and every priority was addressed. Because of you we realized:
- Living wage achieved
- Improved wages and working conditions for streaming
- Retroactive scale wage Increases of 3% annually
- Employer Funded Benefits for the term
- Increased meal period penalties including prevailing rate
- Daily Rest Periods of 10 hours without exclusions
- Weekend Rest Periods of 54 and 32 hours
- Martin Luther King Jr.’s Birthday Holiday
- Diversity, Equity and Inclusion Initiatives
- 13th and 14th checks for pre-August 2009 retirees
- Additional MPI Hours for On-Call Employees
- Expansion of Sick Leave Benefit to the entire country
Your local will provide more detailed information over the next few days. The Memorandum of Agreement will be available when drafting is completed. We are currently working out the details of the electronic ratification process.
Your strike authorization vote, your preparation for a strike and your willingness to risk your livelihood to fight for yourselves and each other has profoundly changed our union.
We thank you for your unwavering support.
In Solidarity,
A Conversation with Emmy Nominee Ellen Reede Dorros
After years of working her way up in the ranks, Sister Dorros is enjoying her first Emmy Nomination for Outstanding Production Design for A Narrative Program (Half-Hour) for “Hacks”. Her body of work includes: “Westworld”, “Criminal Minds: Beyond Borders”, “The Catch”, “The Way Back”.
How and when did you get your start in show business?
I moved to LA in 2009 after a 10-year career in NYC in corporate and healthcare interiors. I found film while searching for a career that allowed for more creativity than the corporate world could allow. I began in film by working on student films and very low budget projects learning the industry and the positions within the Art and Set Decoration Departments. I worked on non-Union commercials for a stint while my son was a baby. After about 5 years an opportunity to become a PA on a Union show finally came up. On that show I met someone who hired me for a film that flipped and I finally got into Local 44 as a Set Decoration Buyer. I worked as a Buyer for a number of years learning the ins and outs of the Set Dec world before becoming a Set Decorator.
What look were you aiming for in Hacks? Glamour, illusion of glamor, former glamour?
The look for Deborah Vance’s mansion was one of luxury and glamour from her years of success as a comedian and fierce businesswoman. She lives in a 20,000 sq ft French Chateau in Las Vegas. We didn’t want the interiors to be garish or over the top, nor were they understated. They were elegant. The public downstairs spaces were done with furniture that was beautiful but not comfortable, creating a come for the party but don’t stay to long moment. Deborah didn’t want you to get too close nor too comfortable. The artwork downstairs was contemporary, relevant and bold, the face Deborah wanted people to see. In contrast, her private spaces were done with a softness to them with more comfortable seating where she could truly relax. The artwork in these private spaces were the masters, classics that stand the test of time, much like her private persona. There is a large generational divide between Deborah an accomplished career woman in her 70’s and Ava a 20-something instant success, but overnight ousted writer, that clashes in Deborah’s home. There is a generational disconnect between these two and we needed to show within the interiors. The thought was that Deborah initially hired an interior designer to do her home and then fired them and did it herself. So the furnishings were compiled by Deborah who does her research, knows quality, shops antiques in Europe, and knows her way around a good thoughtfully thrown in animal print! We mixed high quality antiques, the best Midcentury furniture, artwork by the great masters mixed with successful emerging modern artists. Complex contrasts, much like Deborah herself.
Describe some of the challenges or triumphs in decorating the main sets?
The time frame was one of the largest challenges. Mixing styles the way we did takes time. It takes time to find the right pieces and put them together in a way that sings. Custom drapery, custom upholstery and pillows, framing, they all take a moment. We are fortunate to have dedicated prop houses who were able to meet the show’s deadlines when producing the custom work. The triumph is the end result, I couldn’t be prouder of what we did!
Which of the productions you worked on was the most challenging?
Both “Westworld” and “Hacks” were challenging shows in different ways. “Hacks” was one of the first shows to return to work after the Covid-19 shutdown. We returned to a whole new set of rules and way of getting sets done. We quickly discovered that many items were not available to purchase because of low or no stock levels, prop houses that were at reduced staffing levels, trucks that could only have one person in them, etc., while trying to put together a high design show with many custom elements and feature quality sets. I also personally had gotten Covid-19 during the show and was fortunate to have no symptoms that affected my ability to work. I was able to work remotely via Zoom and FaceTime with an incredibly supportive team: Production Designer Jon Carlos, Art Director James Bolenbaugh, Leadman David Milstien, Set Dressers Brian Johnson, Katie Trautman, Von Herron, Buyer Lisa Tong and Draper Kenneth Nolls to name just a few of the team. The dedicated, talented and professional crew jumped in with both feet and were up for every challenge. It was quite the first show as a union decorator.
Local 44 congratulates Sister Dorros on her Emmy nomination and thanks her for taking the time from her busy schedule to chat with Newsreel.
"Hacks" Left to Right: Leadman David "Millie" Milstien, Set Decorator Ellen Reede Dorros, Set Dresser/Additional On-Set Dresser Kevin Bici
"Hacks" Left to Right: Set Decorator Ellen Reede Dorros, Set Dresser John Jo Glenn
Additional photos of "Hacks" Crew including
Set Decorator Ellen Reede Dorros, Leadman David Milstien, Gang Boss Eric Hill,
Set Decorator Buyer Lisa Tong,Set Dresser Brian Johnson, Set Dresser Katie Trautman,
On-Set Dresser Von Herron, Set Dresser John Jo glenn, Set Dresser Chris Withrow,
Draper Kenneth Nolls, Set Dresser/Additional On-Set Dresser Kevin Bici,
Set Decoration Additional Buyer Kent Rogers, and Set Decoration Additional Buyer Sammy Smith
STRIKE PREPARATION CHECKLIST
- Everyone should take their personal tools and belongings (computers, iPads, printers, etc.) home on their last day of work prior to Sunday, October 17th.
- Make sure your time card is completed and turned in.
- Reconcile and turn in all Petty Cash, P-Card, Cashet, Mileage Forms or other outstanding reimbursable paperwork on your last day of work prior to Sunday, October 17th.
- If you have your own equipment on rental, which cannot be easily taken home, it should be loaded in your trailers, locked in your boxes, Gold Rooms, or secured in the mill, on stage or other closed areas in the best manner possible.
- Have a discussion with your UPM, Line Producer or other Production Representative about what their plans are to care for your equipment in the event of a strike.
- Make sure your inventory on file with the Producer is accurate and up to date.
- Take photographs of any large equipment, such as table saws, deckers, rolling carts, welders or other items that you secure on the Producer’s property, so that you can have a record of what equipment was left in the producer’s care and what condition the equipment was left in.
- Regarding Props, Set Dressing, Greens, Heavy Equipment or other Properties of the Producer that are on rent from third-party vendors, if a strike is called, IATSE members will not be available to un-dress, return, wrap, or otherwise care for those Properties of the Producer after 12:01 a.m. on October 18th.
IF YOU ARE ON DISTANT LOCATION:
- Prior to Sunday, October 17th, everyone should have their personal tools and belongings that they will need if traveled back to Los Angeles ready to be packed up for the return flight on Monday or shortly thereafter. The Producer is responsible for paying your housing and per diem until they make arrangements for your return.
- Have a discussion with your UPM, Line Producer or other Production Representative about what their plans are to return you or your crew to Los Angeles, and how they intend to deal with your kit.
- If you are in a hotel, or other accommodation provided by the Producer, or directed by the Producer to rent, you will have to check out and bring home everything that is in that accommodation.
- If you didn’t choose the Producer’s housing and chose to rent housing on your own, you will have to make arrangements with your landlord for the fact that the Producer’s obligation is to return you to Los Angeles in the event of a strike. Please call or email the Business Agent’s department for specifics regarding these situations. However, if you have made your own housing arrangements the Producer is not obligated to continue to pay you housing and per diem past the point where they decide to return you to Los Angeles.
- If you have your own equipment on rental, which cannot be easily taken home, it should be loaded in your trailers, locked in your boxes, Gold Rooms, or secured in the mill, on stage or other closed area in the best manner possible.
- Have a discussion with your UPM, Line Producer or other Production Representative about what their plans are to care for your equipment in the event of a strike.
- Make sure your inventory on file with the Producer is accurate and up to date.
- Take photographs of any large equipment, such as table saws, deckers, rolling carts, welders or other items that you secure on the Producer’s property, so that you can have a record of what equipment was left in the producer’s care and what condition the equipment was left in.
- Regarding Props, Set Dressing, Greens, Heavy Equipment or other Properties of the Producer that are on rent from third-party vendors, if a strike is called, IATSE members will not be available to un-dress, return, wrap, or otherwise care for those Properties of the Producer after 12:01 a.m. on October 18th.
ADDENDUM TO STRIKE PREPARATION CHECKLIST
(revised 10/15/21)
In the event of a lengthy strike:
For Property Masters responsible for weapons inspections, collection and/or official inventorying and Special Effects Technicians who are licensees responsible for time-sensitive ATF inspections, please be advised: arrangements can be made in advance with a Local 44 Business Representative and the Labor Relations office of the specific employer, to grant access which will not be construed as a breach of the job action.
A Conversation with Emmy Winner Halina Siwolop
With four previous Emmy Nominations and a win for “Pushing Daisies” Sister Siwolop is in familiar territory with her latest Emmy Nomination for Outstanding Production Design for a Narrative Period or Fantasy Program for HBO’s “Perry Mason”. Her long body of work includes: “Pushing Daisies”, “Masters of Sex”, “Legion”, “Agent Carter”, “CHIPS”, “What to Expect When You’re Expecting”, “Chuck”.
How did you get your start in show business?
I went back to school for Interior Design and as I was finishing my program, I had the opportunity to work as an Art Dept production assistant on a commercial and a small UCLA student film. Those experiences fascinated me and I realized that I wanted to pursue Set Decoration rather than Interior Design. From there, I started networking with a few leads that I had and started as a commercial buyer. Eventually, I left the commercial world, worked on really small movies and then moved into television.
When you read the script, were you excited about working on a period show?
I was so captivated by the period. There was something about the grittiness of the Depression and Prohibition, mixed with the elegance of 1930’s interior and architectural design, that was so beautiful and textural. I also love LA history, so for me to do the research and try to accurately recreate Los Angeles during that period was an amazing experience.
How did you approach the set decoration for the show?
We tried to stay true to what Los Angeles really looked like during 1932 and to accurately depict how people decorated during that time. From there, we made design and decorating decisions which supported the characters and the story lines.
Describe some of the challenges in decorating the main sets?
When you do period work, you often have multiples of furniture, or the pieces need to look new. That’s usually hard to find, so then you have to get creative… do I substitute something new and make it look old? Do I build it? How do I recreate vintage fabrics and wallpapers? And anytime a retail or grocery store was scripted, I realized the volume of product that we needed to create. Thankfully, we have amazing vendors, construction crews and craftsmen to help us get the job done.
Which of the productions you worked on was the most challenging?
They all have their challenges, but I have to say that “Perry Mason” was the most ambitious show, with massive set lists and locations throughout LA County. I really couldn’t have done it without my awesome leadman, Tommy Samona and my core buyers: Eva Firshein, Ethan Goodwin and Amanda Bromberg. And thanks also to all the other decorators and buyers who jumped in to help. It definitely took a small army of talented people to get the project done.
Which production is your fondest memory and why?
I have a really soft spot for “Pushing Daisies”. It was the first time that I could create fantastical and quirky sets and really push the envelope, design wise. We were a small show and not a lot of people saw it, but it was fresh for the time and so much fun to work on.
Wish you had worked on which classic movie or show if you had the chance?
Well, I have to say “Blade Runner”, without a doubt. That movie was a visual feast for me and opened up the possibilities of what worlds you could create.
Local 44 congratulates Sister Siwolop on her latest Emmy nomination and thanks her for taking the time from her busy schedule to chat with Newsreel.
“Perry Mason” has been renewed for Season 2 and will start production this fall.
Set Decorator Halina Siwolop - Nominee for Outstanding Production Design for a Narrative Period or Fantasy Program for HBO’s “Perry Mason”
Photos courtesy of Merrick Morton/HBO
Dear Local 44 Members,
On Tuesday, August 23, the California Film Commission announced its latest allocations.
23 feature film projects from a diverse group of filmmakers and storytellers have been selected for this year's tax credits under the CA Film and TV Tax Credit Program. Including projects by Aziz Ansari (“Untitled Aziz Ansari Project”), Kenya Barris (“Untitled Jonah Hill Project” and “White Men Can’t Jump”), Jerry Bruckheimer (“Beverly Hills Cop 4”), Brian Grazer and Selma Hayek (“Escape”), Jonah Hill (“Dixon”), Karyn Kusama (“Untitled Karyn Kusama Project”) and Kobi Libii (“Untitled Kobi Libii Project”).
- Have combined 953 filming days in CA
- Generate nearly $678 million in qualified spending
Check out all the details in this release from the CFC.
Best,
Anthony Pawluc
Secretary-Treasurer
IATSE Local 44
Dear Local 44 Members,
On Tuesday, August 23, the California Film Commission announced its latest allocations.
23 feature film projects from a diverse group of filmmakers and storytellers have been selected for this year's tax credits under the CA Film and TV Tax Credit Program. Including projects by Aziz Ansari (“Untitled Aziz Ansari Project”), Kenya Barris (“Untitled Jonah Hill Project” and “White Men Can’t Jump”), Jerry Bruckheimer (“Beverly Hills Cop 4”), Brian Grazer and Selma Hayek (“Escape”), Jonah Hill (“Dixon”), Karyn Kusama (“Untitled Karyn Kusama Project”) and Kobi Libii (“Untitled Kobi Libii Project”).
- Have combined 953 filming days in CA
- Generate nearly $678 million in qualified spending
Check out all the details in this release from the CFC.
Best,
Anthony Pawluc
Secretary-Treasurer
IATSE Local 44
August 9, 2021
The joint Unions (IATSE, DGA, SAG-AFTRA and the Teamsters and Basic Crafts), have reached agreement with the Alliance of Motion Pictures and Television Producers (AMPTP) on an updated Return to Work Agreement (“Agreement”). The summary below highlights some of the more significant changes to our COVID-related safety protocols. A copy of the full Agreement is also available by clicking on the link below. Negotiations for the new Agreement began in June. As the negotiations progressed, COVID-19 infection numbers began growing in many parts of the country. Our new agreement reflects these increases, largely keeping intact the core safety protocols, with a few important updates that we describe below. The new Agreement does allow for the relaxation of certain protocols for fully vaccinated employees in areas in the United States and Canada with low infection rates. While we had hoped to further reduce many of the protocols, the growing infection rates simply did not allow us to do so at this time. As we have from the start, we continued to rely on the science with the goal of allowing production to continue while reducing the risk of Covid-19 transmission on set.
Summary of September 30 COVID Protocols PDF
Full Return to Work Agreement PDF
Below is the link to the pdf file of the COVID-19 Commercial Production Safety and Testing Protocol Agreement through March 15, 2022
COVID-19 Commercial Production Safety and Testing Protocol Agreement PDF