Entertainment
Animation writers look to raise salaries as Hollywood studio contract talks loom
- The Animation Guild, or IATSE Local 839, is preparing for contract talks with Hollywood studios.
- The writers in the guild want to be paid as much as their peers in TV and live movies.
- The talks follow IATSE negotiations with Hollywood studios, which narrowly avoided a strike by the teams.
Amid the boom in animated content as streaming services ramp up production, writers at the Animation Guild are asking Hollywood studios to pay them salaries on par with their peers in live television and film.
The issue has become a rallying cry for the Animators Guild, also known as the International Alliance of Theater and Stage Employees, Local 839, as the 7,500-member union prepares to negotiate a new three-year contract Nov. 29 with the Alliance of Motion. Picture and Television Producers, which represents the major Hollywood studios. (After coming close to strike action, the 13 IATSE locals in Hollywood recently struck a deal with AMPTP and ratified a new three-year contract for its base deal that has divided members.)
“We’re not paid enough compared to our live-action counterparts,” said Greg Hahn, an animated writer who has worked on shows such as “Sonic Boom” and “Unikitty!” “If you look at the scripts, they look the same. The animations maybe even more detail in the action and all because there is less leeway than in the live action. They can sort of play out. with things on the set; you have to figure this out in advance. ”
An Animation Guild journeyman writer can earn at least $ 2,064 per week, depending on guild rates, while the Writers Guild of America writer receives weekly rates ranging from $ 4,063 to $ 5,185. (And those WGA weekly rates increase slightly in May, per the current guild agreement.) And like their peers in other guilds, lower minimum rates for “new media” or
Diffusion
, projects have become a sensitive point for animation authors.
“I live in a one-bedroom apartment,” Hahn said. “I would have been delighted to learn that I had written for shows starring Sonic the Hedgehog and the Transformers and whatever, but I also thought at 9 years old that I would own a house an day. And based on the rates we’re getting, that doesn’t seem like an achievable goal. ”
Mairghread Scott, one of the co-chairs of the Animation Guild’s creative writers committee who wrote scripts for the animated series “Guardians of the Galaxy” and “Justice League Dark: Apokolips War”, said she postponed having a second child for financial reasons. She is currently working on several different shows as a freelance writer, which is not uncommon for animation writers.
“More and more, shows are unmanned [writers]Scott said. Everything else will be freelance scripts, and eventually it will become that kind of backdoor writers’ room. ”
Not all animation authors are part of the Animation Guild. The writers of some shows, such as “The Simpsons,” “Family Guy,” and other Fox animated series, are represented by the Writers Guild of America and receive weekly rates comparable to WGA Live Writers.
“We just want respect,” writer and Animation Guild member Sarah Nerboso told Insider in tears. For “Gremlins: Secrets of the Mogwai” and “Harvey Girls Forever!” editor-in-chief, this respect would take the form of a fairer salary as well as recognition of the guild’s work by the entertainment industry. “We tell complex stories. And we deserve to be rewarded for it.”
And the scribes aren’t the only ones in the Animation Guild who say they don’t get paid fairly.
Teri Hendrich Cusumano, chairman of the guild’s color design committee, has been a color designer for over 14 years and recently worked on “Duncanville” and Dan Harmon’s upcoming animated series “Krapopolis”. She notes that some of the pay inequalities in animation roles date back decades.
In her current role as Color Supervisor, she oversees five positions: character designers, prop designers, background designers, background painters and color designers. All share the same standard rates of pay and contractual terms, with the exception of color designers, a role predominantly held by women. (Color designers are nearly 60% female, while women make up less than a third of those under contract with Animation Guild.) Color design, formerly known as color styling, emerged from the department of inks and paints, she said.
“In the traditional days of animation, women were relegated to this division,” Cusumano said. “In fact, they weren’t even allowed to apply for other positions. And of course, most importantly, given the period, they were also underpaid. What was in place in the 1950s was that. is what established the terms of our contract today. “
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