I want to welcome our new readers/artists from Ireland, UK, South Africa and the USA. Lots going on in the world of artists as new technology finds its way into society. When the internet first arrived it took “internet law” years to catch up. I think some of the forethought with AI (Artificial Intelligence) is a good thing but not when it becomes paranoia. No name, computer generated background artists have been created and used since about the LORD OF THE RINGS, to create those battles. I’m still trying to educate myself on some of the negotiation points that the actors union and the studio organization are pushing. So few union actors actually make enough to get union insurance and such. Many enter the union world through background work and the AI will definitely hurt that. But as doors close others open. We use to hire a helicopter to fly our cameraman to get those epic mountain shots and such. Now they have drones in force. I think it is a natural evolution that some things will be changed by technology. Film stock sales, film processing and all such film related services all died behind the digital camera revolution. So while change is inevitable and in many cases can be for the better, it can be scary. So I think it can be helpful to work out some of this in advance. We all knew that the TV and computer were going to slowly merge and now you can add phone into that. The lines are blurred making governing laws hard to apply and enforce but it is catching up.

Ponders on the Strike(s)-

I like to try and look at all issues from both perspectives. I do think that a revamping of the studio distribution payout process can be re-examined and brought to a more fair balance. But I’ve also seen where independent films are often hurt by the heavy hand of the union. My opinion is that you have to make people WANT to shoot a union film. Many think that getting that card will all of a sudden change their income. It adds costs to the artists if you are working or not. I’m not sure how the main city hub reps are but our union rep that handled Michigan was most always very understanding. They slowly started to create more and more hoops that hurt the independent filmmaker. Things that might apply better in the big city versus smaller markets. Like the insistence of using a payroll company. Our end credit roll is much shorter versus that of a studio film. I still handwrite all my cast and crew checks. In many cases the artists get their pay quicker when I can just hand them a check. I’ve never had an experience where the union reps actually cared about the story. The only concern was about their health & pension check. The union has also failed us in the past when confronting crooked distributors in past arbitration. Now, I’m not anti-union I’m just pro-story. If the world went to hell in a handbag, CDI would still be pulling a wagon town to town performing stories for can goods. Storytelling is a calling, a purpose…but it is SHOW + BUSINESS.

I do believe that entertainment unions played an important place in history by bringing fairness and safety to sets. But when the union starts trying to make unreasonable demands for unneeded things like a must hire of X amount of writers to a series or escrowing funds based on distribution projections….it can quickly become an anchor versus a sail. As a company ran by actor/producers we want the best for our cast and crew. To us they are family. Paperwork and threats don’t make us work to provide the best for our cast and crew. Knowing that a good set environment gives the best chance of capturing a great story translated from the page to the screen, does. We have and will continue to produce both union and non-union projects. I just did a few hundred union residual checks. It is always nice to get mailbox money. But to add an outside cost for a certified payroll company from Hollywood to charge a small production California “cost of living” rates/prices to do what I willingly do, doesn’t add up. We don’t receive studio financing and are not affiliated with any advanced studio distribution deals. So I support letting the union use their power to try and get a bigger piece of the pie from the studio distribution platforms. But shooting union on smaller films makes less and less sense because of the roadblocks and hardships that the union presents having little to nothing to do with actor’s treatment or the story. It often made us (actors in the union) trying to create work for our fellow artists, feel like the bad guys. And when we needed their help with the true bad guys (crooked distributors), they disappeared with a “we can’t get in the middle of that” – response. Much like paying for car insurance and when it is finally needed they reject your claim.

I’ve never played in the big writers pool, the WGA, despite being paid often and sometimes well to write, at least by my living standards. I hope they are more concise in their process and likely are as they have a smaller pool of artists per film to deal with. I agree that the script/blueprint is one of the most important aspects of the process and should be treated as such. Is it in danger from AI? My opinion is that we as writers, actors, musicians are all influenced by people. AI seems to be able to access a larger sampling and via that influence, create something new. I understand copyright law and derivative copyright law, which is built upon an existing copyright. Is every actor who plays a cranky, gruff voiced character due to pay Clint Eastwood some royalty? Of course not. AI does much the same thing but can pull influences from many more sources. I don’t fear an AI original taking my scriptwriting work any more than another creative writer could.

These are all just pondering from the current news and I’m not fanatically up on every deal point being debated and negotiated. I’ve survived in this industry 30 plus years and I’ve seen the industry seek balance after new technology puts it off balance. The worldwide web was like the new industrial revolution. But I do know what it feels like to be a union member who often feels undervalued by our own union. I’ve never been a fan of fear mongering and I see some of that going about. Those in the knowing, know that is just smoke. Threatening young actors about their ability to join the union in the future is their right but seems to be the wrong approach. Why? Many are and still work under FiCore status. This is best described as a personally invoked “right to work” whereas you pay yearly operational dues but not political dues. If you get hired on a union project you pay as if a member and they’ll take it happily and you’re treated under union guidelines. But if you want to go to some other country or do a non-union gig that is within your rights. And some of those FiCore folks have paid more into the union than many of the union members actually do. What most unions care about is the money. The studios? Money. Money. Money. Money. Did I say money?

I do like that the unions often bring better safety. Many indie productions run without insurance or any thought of safe practices. The unions have done a good job of bringing better safety standards but many indie companies have strong operating procedures. . So again, I’m not speaking against the union other than in their peddling of membership fear and effectiveness in certain situations. A FiCore actor hired on a union film will never have their H&P (Health & Pension) contributions to the union turned away. They will always deposit your dues check and while as a Non-Member, they will never hold office, get to vote, or receive the Oscar nominated free movies. (We use to get DVD’s) – They can and will have their union contributions accepted happily just as if you were a full member. I’m not pro-FiCore but wanted to point out that any actor pressed too hard can just with one submitted letter, work union and non-union. This has long existed outside the main city hubs of Hollywood, NYC, Miami maybe Atlanta now. In Hollywood the cost of living is so high that even artists working inside unions are having issues making ends meet. I get that. I’m going to keep telling stories even if it’s in a traveling wagon doing live performances of BEST YEARS GONE for can goods:)

CDI FILM UPDATES–

1. SILENT NIGHT IN ALGONA just finished a special encore 4 day run in Algona, Iowa. The film is being pitched at various distribution platforms and I hope to have our exact release dates soon. I’m excited to see what the new DVD artwork looks like. I think we have two versions being created – one that is for FAMILY/FAITH and focuses on the Christmas aspects and one MAIN STREAM version that focus on the HISTORICAL/WAR aspects.
2. Pre-Production on the next CDI film Harsens Island Revenge is full speed ahead as we’re not affiliated with any of the union/studio dispute. We had a great VFX meeting last week and we’re putting everything in order. Our schedule and day-of-days for talent will be released any day now. We are just correcting a few things and we’ll be sending that around and we’ll start agreements and booking flights.
3. DEVELOPMENT continues and we’ve got a handful of projects moving down the line. We will see what falls into place to shoot next year. I do have another music video I’m helping to produce. I’ve said before how much I like that medium.

WRAP UP: I hope that everyone is having an enjoyable Summer. I’m about to go walk around the flea market and look for a few props. I have some great pieces for my upcoming role as AXEL, a WW1 veteran. I’ve got some good meetings lining up for this week. My soccer match this past week was a good, physical one. We were behind 3-1 at halftime and fought into a 5-4 situation with just two minutes to go and kudos to the other team who tied it up. Our record this year is not as strong but it has really got me in good shape especially for running.

We opened this blog with discussions on the unions and strikes. They are just opinions and everyone’s opinions are based upon their experiences and perspective. We don’t need more things to divide us in the world. We’ve got racial, economics, political and more trying to drive that wedge. I hope that good things come from the process. In the meantime there is lots of stories to catch up on. Films like SILENT NIGHT IN ALGONA will be considered more rare, as original content flowing out to market will dwindle. So while your studio favorites are paused this is a great time to catch up on your indie watching. This fan review was one of my favorite from the week. It is for MBF: MAN’S BEST FRIEND directed by Anthony Hornus. In this case, it moved the watcher to go and bring a shelter dog into their life. This makes my heart soar for the family and the dog. Many of our films are helping people and that makes the stories priceless. I’m attaching the review but THIS is the true reward of storytelling.

I hope you all have a great day and a productive week ahead!

Coffee Cheers!

DJ