SAG-AFTRA presidential candidate and veteran stuntman Pete Antico has blasted union leadership for failure to provide protection to the stunt community.
Antico issued a blistering statement to Variety on Tuesday, a day after the death of stuntwoman Joi “SJ” Harris on the set of “Deadpool 2” and a month after John Bernecker’s death on “The Walking Dead” set. Antico said both deaths are tragic.
“The stunt coordinators on those sets have vast experience tenure and are at the top of their game,” he said. “We have not received much information regarding the details of the incidents; however, I do know that the stunt community is not protected in our collective bargaining agreement and has not been for years. There are no qualifications for a stunt coordinator in our collective bargaining agreement. There never was. That is unconscionable. A producer can hire anyone who says they are a coordinator and most of the time you get what you pay for.”
‘The Walking Dead’ Stuntman’s Death Raises Questions About Set Safety
Antico noted that there are no ambulances required on a set when action is being performed — a provision that he contends should be mandatory. And he has been alleging that changes in travel provisions in the recently ratified contract are problematic, pointing to president Gabrielle Carteris and national exec director David White.
“I can’t believe our current leadership under Gabrielle Carteris and David White gutted all safety out of our contract and actually pushed ratifying a deal that is a recipe for many more accidents and future deaths,” Antico said. “The rest periods given away in the travel provisions of our contract that was in full force for over 50 years have been given away. This means they can bring actors and stunt people in with a 10-hour rest period instead of a 12-hour rest period and coordinators who generally work 14- to 15-hour days on film and TV will not get the rest they need to ensure safety on the set.”
Antico said that coordinators are often prepping action in advance, many times with complex rigging involved in film, or with multiple TV shows in advance, resulting in turnaround times as short as nine hours.
“This practice is unsafe,” Antico said. “This lack of rest affects actors and the crew alike and is unacceptable and I am asking the labor commissioner to get involved.”
SAG-AFTRA issued a statement Monday in response to Harris’ death: “We are all grieving the tragic death of a stunt performer on the ‘Deadpool 2’ set today. Our hearts and prayers are with her family, friends and fellow cast and crew members. The safety of our members and other production professionals on set is a core concern and top priority for SAG-AFTRA. Accordingly, we are sending a field representative to Vancouver and are investigating the incident.”
Antico has received endorsements from Sylvester Stallone, Cuba Gooding Jr., Mickey Rourke, and Andrew Dice Clay, and asserts that he received the backing from the actors because they understand “the value of human life above all things, as well as ethics, principles, and honest business practices.”
Antico added that the government should intervene: “I am calling on the government to get involved to protect all members in our labor organization. I believe our current contract to be grossly negligent in the field of safety and feel that appropriate charges should be filed to protect us.”
Antico has been a longtime critic of SAG-AFTRA’s elected leadership and its executive staff. He has credits on dozens of films, including “Pearl Harbor,” “Danny Collins,” “Daredevil,” “Training Day,” “Monster Trucks,” and “Wall Street: Money Never Sleeps.”
Antico is one of five candidates seeking the post along with current president Carteris, national board member Esai Morales, and independents Robert B. Martin Jr. and Marilyn Monrovia.
Ballots went out last month to about 144,000 members and must be returned by Aug. 24.
Filed Under: Deadpool 2Pete AnticoSAG-AFTRA
Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
All I can say is that when it comes to protecting our stunt folks it is obvious there need to be some changes made!!!
Politics, even at the local union level, can be brutal. And that’s certainly the case in the ongoing election at the SAG-AFTRA local in Atlanta, which is embroiled in one of the bitterest local elections in decades.
One side has accused the other of being “carpetbaggers” who are plotting secretly to undermine Georgia’s booming film and TV industry in order to drive the work back home to Los Angeles, while the other claims that incumbent SAG-AFTRA Atlanta President Ric Reitz has so many conflicts of interest he shouldn’t even have been allowed to seek re-election.
Amidst the accusations and name-calling, a podcast from 2014, sent anonymously to Deadline, has surfaced in which Reitz can be heard criticizing his fellow actors and advising producers how to use a “magic formula” to hire stars on the cheap – surprising advice coming from the president of a major SAG-AFTRA local covering all of Georgia and South Carolina
Reitz, seeking a third two-year term at the top of the Union Strong Atlanta (USA) slate, is not only a busy actor but a Georgia film tax credits broker, connecting buyers with sellers of tax credits and helping companies obtain them. His business partner and running mate, actor and attorney Wilbur Fitzgerald, is vying for a seat on the local’s board
Scott Hunter, a veteran stuntman and actor who’s running on the Voice of Atlanta slate, is seeking to unseat Reitz. “Our incumbent president, Ric Reitz, owns a company that sells tax credits to productions,” he said on a recent YouTube video (watch it below). “This is a disqualifying conflict of interest. How can he guarantee that he’s working in the interest of the membership when he’s financially tied to the very management that our guild was set up to protect us from? I have no problem with Mr. Reitz making money selling those tax credits. In fact, it’s a great thing and a needed thing. However, it should excuse him from any position of leadership within the guild.”
The Atlanta election, like those taking place all around the country, is being conducted against the backdrop of a ratification vote for a new nationwide film and TV contract, which has made the election even more heated. Reitz strongly supports ratification of the contract, but many backers of Hunter’s Voice of Atlanta slate are opposed, arguing that it gives away long established “portal to portal” travel pay, in which performers on location are paid from the time they are picked up at their hotels each morning until the time they are returned.
One of Reitz’s running mates, local board candidate Debra Nelson, has accused Hunter’s supporters of secretly trying to undermine film production in Georgia. “The folks driving the ‘vote no’ campaign are backing the folks running against us for the Atlanta local board mainly because they would love to drive the work back to LA,” she wrote in a Facebook posting.
“It’s laughable,” Hunter said on his video. “We have faced name-calling and unfounded lies by some of the members of our opposition. We’ve been accused of wanting to drive work away from our very homes and business. These attacks are blatantly false and lack any factual evidence.”
The deeply divided Atlanta local mirrors the schism in SAG-AFTRA nationally, with the union’s president, Gabrielle Carteris, supporting ratification of the contract and her two main rivals, Esai Morales and Peter Antico, opposing it. And Carteris supports Reitz and his slate. “The USA team has built something very special in Georgia, something that benefits members in Atlanta and across our union. Their proven leadership deserves your vote,” she said in her endorsement.
Three years ago, during an hourlong podcast with producer Jason Sirotin, Reitz, who then was serving his first term as the local’s president, revealed that there’s a “magic formula” that producers can use to low-ball actors to get them to work well below their usual pay.
“Here’s the magic formula,” said Reitz, who did not return numerous calls for comment. “You want to know what the magic formula at the end of today is for stars?”
“Please, yes,” the host replied.
“For them to qualify annually for insurance,” Reitz said. “Individually, they’re trying to make $15,000 a year. That’s all it takes for an actor to qualify for insurance, $15,000 a year. To qualify for your family, $30,000 a year. And there are people, if you want a star, and you know that you’re near the end of their year and they haven’t done a film this year, offer them 30,000 bucks. They’ll do it. Even if their rate is 100,000 or 50,000, you go, ‘I need you here for a week for 30,000 bucks.’ I will do that. Because they have to make insurance.”
On the same podcast, he also told Sirotin that he’s occasionally told producers that it’s OK to ignore the union’s rules on meal penalties – fines producers have to pay actors when meal breaks, taken every six hours, are late.
“Projecting cost for you and meal penalties, there are people who are going to try to screw you to the wall,” he said. “I hate those people. I don’t even want them in the union. You know what? I will tell you very frankly, and I don’t care if the union is listening: If I’m into a situation and I know we’re about to wrap the shot and if we break it down, we know the energy is gone and matching and everything starts to go away and we happen to float 10, 15 minutes, don’t even put it down. You know, lunch started at 2, it didn’t start at 2:15, as far as I’m concerned, as long as everybody is fine with that, we’re good.”
Sirotin told Reitz how the lead actress on one of his projects tried to force him into a meal penalty. “I had 15 minutes and then my lead actress, who I know is trying to force me into a meal penalty, because she’d been doing that. She was like, ‘I have to go to the bathroom. I need makeup. I need that.’”
“Yeah,” Reitz replied. “Well, there are actors like that. Those are people I don’t like. To be honest with you, even in the union, I don’t like those people. They’re people who are going to try to nickel-and-dime you to death because they haven’t worked this year.”
On another podcast from 2014, he told Sirotin that as the co-founder of a film tax credit brokerage firm, he often advises low-budget producers to “goose” their budgets to qualify for Georgia tax incentives.
The Georgia film office, a division of the Georgia Department of Economic Development, prefers producers to apply for the tax credits within 90 days of principal photography. The website for Reitz’ company – Georgia Entertainment Credits – notes that “production companies must spend a minimum of $500,000 in qualified Georgia expenses for single or aggregated production in either a calendar or fiscal year,” and that “once you are within the 90-day window and have contacted our state film office, you must fill out a short application form and submit it with a budget top sheet and script, if available.”
But on the podcast, Reitz said: “Just because your budget is 550 [thousand dollars] doesn’t mean you would qualify all 550,000 or 500, by the way. I always recommend to people, goose it a little bit in a budget. You’re in a budget. You’re doing a low-budget indie. I would always say try to target $600,000 – between 500 and 600 because 10% of that budget may, or may not, come back to you in the form of tax credits. You don’t want to be slightly below the threshold.”
A past president of the Georgia Production Partnership, Reitz is also a former member of the Governor’s Film, Video & Music Commission and helped develop the 2005, 2008 and 2012 Georgia Entertainment Industry Investment Acts, which established and expanded the state’s film incentives program.
As such, he says, he was often asked to advise producers on how best to navigate the complex system of obtaining, buying and selling tax credits. Tired of not being paid for his advice, he decided to form his own company – Georgia Entertainment Credits – which led to questions about conflicts of interest, and his forced resignation from various state committees.
“Then one day,” he said on the podcast, “I had an epiphany and I went, ‘What the hell am I doing? Why don’t I start a consulting company, if nothing else?’ We started as consultants. People, it turned out, never wanted to pay the consulting fee. I had the backend load, the consulting fee, and become a broker so I’d get some money, but we don’t take anything in advance.”
Then, he said, “At some of the levels, I was asked to terminate out of some of the major committees on the state because I suddenly had a conflict of interest. I went, ‘Everyone in the room has a conflict of interest. That’s why we call it government. Come on, guys. Let’s get real.’”
On their company’s website, Reitz and Fitzgerald bill themselves as “two of the principal architects” of the Georgia’s film incentives program. And many of their supporters feel that without their political savvy, the state’s incentives program – and thousands of jobs – could be in jeopardy.
On its website, their slate says that one of its top priorities is to protect Georgia’s tax incentives. “We must maintain our incentive program to continue working and growing. With a new governor being seated next year, it’s imperative that we use our existing experience and deep political relationships to keep our incentives in place long into the future. This is no time for beginners.”
The slate’s motto is: “The work is here because we did the work. Now we need your vote to keep doing the work.”
On his campaign video, however, Hunter says that Reitz’ slate “is suffering from huge delusions of grandeur. The claims that they are solely responsible for the market here in Atlanta are completely false and they’re dishonoring to the many people who put in years of work to build this industry.”
Show cancellations and fewer feature films and TV pilots shot on the streets of Los Angeles have put a major dent in on-location film production in the city, according to the latest report from FilmLA, the city’s film permit office.
On-location feature film production fell 18.5% between April and June of 2017 compared to the second quarter of 2016, and on-location TV pilot production plummeted a whopping 60.4%. The number of on-location shooting days on TV dramas plunged 24.3%; digital Web-based TV production dropped 21.8%; TV comedies fell 9%, and TV reality production slipped 1% (see chart below).
Overall, on-location shooting in Greater Los Angeles was down just 4.7% for the quarter, however, thanks to a 12.5% increase in shooting days for commercials – which though not eligible for the state’s film tax incentives still account for the most shooting days in the city – and a 7% increase in “other” production such as student film, public service announcements, industrial videos, still photography and adult films – also not eligible to cash in on the incentives.
Even so, FilmLA president Paul Audley managed to put a positive spin on the otherwise dreary data. “Declines in any category need to be put in context,” he said. “The year-to-date comparison for the last seven years shows 2017 is second only to 2016 for total shoot days.”
FilmLA said that the precipitous drop in TV pilot production mirror the findings in its upcoming 2017 Pilot Study, which shows fewer pilots were ordered by networks over the last year. “As a result,” the permit office said, “production centers from L.A. to New York saw declines in the category.”
The 789 days of shooting TV dramas on location this quarter were driven down because several shows from 2017 are no longer in production including Gilmore Girls, Good Girls Revolt, Hand Of God, Mistresses, Roadies, Sweet/Vicious and The Catch. Even so, the TV drama category is having its third best year of the last seven, trailing 2016 and 2015 year-to-date.
Projects that received state subsidies continued to bolster the numbers, although the number of jobs-rich shooting days they brought to the city is surprisingly low. Incentivized features produced only 232 shooting days in the quarter, or 22% of all films shooting here on location. TV dramas saw 291 incentivized days, or 37% of the category, and TV pilots yielded just 57 shooting days – or 52% of the category.
By contrast, commercials accounted for 1,398 shooting days – more than double the number of incentivized film and TV shoot days combined.
Even so, without the incentives, film and TV production in Los Angeles would have been in the tank for the quarter, and for the year to date.
(Data provided by FilmLA does not include productions shot on certified soundstages or on-location in jurisdictions not served by FilmLA.)
The report, mailed to members last week and posted on the guild’s website today, showed that employment in all work areas combined was down 3.5% for fiscal-year 2016 that ended March 31, 2017. The WGAW touted that total earnings topped $1.2 billion for a third year in a row, but its reported $1.23 billion was down 3.1% from 2015.
TV writers earned $860.9 million during the span, down 1.7%, while film writers earned $359.8 million, down 6.4%. While the number of news, promotion, informational and interactive programming writers was off 3.1%, that group made $12.4 million, up 5.5%.
The guild reported total revenues for the fiscal year at $34.3 million, up from $30.7 million a year ago, and an operating surplus of $6.2 million. Expenditures of $28.1 million were higher than FY 2016’s total of $27.1 million, which the WGA said owed to fewer staff vacancies and expenditures related to preparation for renegotiating renegotiating the new film and TV contract.
Those negotiations faced several standoffs and a strike-authorization vote before a deal was reached in the early-morning hours of May 2 after the contract’s midnight expiration date.
WGA residuals fell 5.3%, according to the report — 7.5% in TV and 1% in film — which the guild attributed “to late delivery of checks at the year end, which moves those amounts into the 2017 accounting period.”
For the third night in a row, SAG-AFTRA and producers have agreed to extend their talks for a new film and TV contract by a day. The sides will convene again on Monday at the AMPTP headquarters in Encino.
Progress was reported last night as the actors and management’s Alliance of Motion Picture and Television Producers broke for the night. The union’s old contract expired Friday night at midnight PT, but is being extended on a day-to-day basis to allow the negotiators a chance to reach an agreement.
If the talks fail, union leaders say they’ll ask their members for strike authorization. A strike, if it comes to that, won’t take place for several weeks. The guild has scheduled membership informational meetings through July 9, and it could take several more weeks after that to complete a strike authorization vote.
Informal talks for the new pact began on May 15, but formal negotiations didn’t begin until May 31, which only gave negotiators a month to reach an agreement.
Actors haven’t struck the film and TV industry since 1980, although the union is currently engaged in a 255-day strike against selected videogame companies – the longest strike in SAG history.