好莱坞即将举行一场“历史性的罢工”
查理·施耐德是好莱坞电影和电视节目的助理照明主管，他已经受够了这可怜的工资，以及工作到深夜的辛苦。他说，这份工作太劳累了，曾有一名连续工作14个小时的工作人员在从片场开车回家的路上睡着了，驾车冲出了路面。
“他的车完全报废了，但他现在本人还和我们在一起，真是奇迹。”施耐德说。
由于对工作条件不满，好莱坞制作团队即将举行一场历史性的罢工。这场罢工或将让整个电影和电视产业停摆。如果与工作室的谈判未能在本周末之前达成协议，他们计划将从下周一（10月18日）开始罢工。
根据他们的工会——国际戏剧和舞台员工联盟（International Alliance of Theatrical and Stage Employees，简称IATSE）要求，需要提供充足的用餐时间和周末全日休息；所有工作类型都需要加薪；提供相当于工作最后三年的退休人员的养老金和医疗保险，以及停止低工资的流媒体服务制作。
在一份声明中，代表电影公司利益的电影和电视制片人联盟（Alliance of Motion Picture and Television Producers）回应称：“距离协议的达成还有5天的时间。电影公司将继续进行真诚的谈判，努力达成新的合同，以保持行业的运转。”
这次罢工正处于电影公司的敏感时期，因为此时，他们已经受到了疫情的影响，导致制作停工数月以及票房的大减。
一般情况下，制片团队工会和制片公司每三年重新谈判一次基本协议。但IATSE在一份公开声明中表示，这次的情况有所不同，部分由于疫情影响和Netflix等强大型流媒体服务的崛起。
阿里尔·古德曼-韦斯顿是代表好莱坞服装工作人员的工会主席，该工会是IATSE的一部分。她认为，更好的合同，是对最勤奋的工作人员的更好的尊重。她说，服装工作人员的工资在业内是最低的，她所在部门的许多成员每天需要工作更长时间，才能赚到与音响和摄像工作人员一样多的钱。至于原因如何，她认为这是因为工会成员非常“多元化”，而她们的工作被归为“女性的工作”。
“（讲故事）是人性的基础。”阿里尔·古德曼-韦斯顿说。她还补充道，工作室应该重视故事的价值，并照顾好故事的创造者。她说，她的同事们都有着“令人惊叹的技能、历史和文化，他们不仅从中而来，还能将其带到工作中”。
达纳·费泰尔森是电影摄影师工会的成员，该工会也是IATSE中的一员。她对同事们敢于发声表示感激，在她看来，这是在“团结我们”。大多数工作人员都很紧张，不敢表现出对工作条件的担忧，因为他们不想让制片人对其怀恨在心。
一位因担心失去工作而要求匿名的剧本协调人补充说，低工资可能会让边缘社区、有子女者以及缺乏备用储蓄的人难以为继。例如，她最近要求一份需要她全天候待命的工作每小时加薪50美分，但遭到了拒绝。此外她还提到，工作缺乏向上的流动性。现在，流媒体服务正在制作10集的短季，而编剧岗位几乎不接受任新人。
除了工资和用餐时间，照明专家施耐德还表达了对拍摄现场安全的担忧。例如，制作人员必须经常举起重型设备，而长时间的工作很有可能导致事故，无论在片场内还是在片场外。施耐德补充说，在疫情期间，电影公司投入了大量资金进行新冠测试和个人防护装备，以便正常拍摄的恢复。但疑问就来了：“为什么反而不能够确保与新冠无关的、日常的员工健康和安全呢？”
费泰尔森表示，一旦发生罢工，部分员工将无法负担后果。如果员工主动离开工作岗位，他们将不能申请失业，有些人将不得不从其他地方寻找收入，来支付房租的租金。“一方面，这是短期的痛苦，却是长期的进步。”她说，“但另一方面，我们毕竟住在洛杉矶。”（财富中文网）
编译：杨二一
查理·施耐德是好莱坞电影和电视节目的助理照明主管，他已经受够了这可怜的工资，以及工作到深夜的辛苦。他说，这份工作太劳累了，曾有一名连续工作14个小时的工作人员在从片场开车回家的路上睡着了，驾车冲出了路面。
“他的车完全报废了，但他现在本人还和我们在一起，真是奇迹。”施耐德说。
由于对工作条件不满，好莱坞制作团队即将举行一场历史性的罢工。这场罢工或将让整个电影和电视产业停摆。如果与工作室的谈判未能在本周末之前达成协议，他们计划将从下周一（10月18日）开始罢工。
根据他们的工会——国际戏剧和舞台员工联盟（International Alliance of Theatrical and Stage Employees，简称IATSE）要求，需要提供充足的用餐时间和周末全日休息；所有工作类型都需要加薪；提供相当于工作最后三年的退休人员的养老金和医疗保险，以及停止低工资的流媒体服务制作。
在一份声明中，代表电影公司利益的电影和电视制片人联盟（Alliance of Motion Picture and Television Producers）回应称：“距离协议的达成还有5天的时间。电影公司将继续进行真诚的谈判，努力达成新的合同，以保持行业的运转。”
这次罢工正处于电影公司的敏感时期，因为此时，他们已经受到了疫情的影响，导致制作停工数月以及票房的大减。
一般情况下，制片团队工会和制片公司每三年重新谈判一次基本协议。但IATSE在一份公开声明中表示，这次的情况有所不同，部分由于疫情影响和Netflix等强大型流媒体服务的崛起。
阿里尔·古德曼-韦斯顿是代表好莱坞服装工作人员的工会主席，该工会是IATSE的一部分。她认为，更好的合同，是对最勤奋的工作人员的更好的尊重。她说，服装工作人员的工资在业内是最低的，她所在部门的许多成员每天需要工作更长时间，才能赚到与音响和摄像工作人员一样多的钱。至于原因如何，她认为这是因为工会成员非常“多元化”，而她们的工作被归为“女性的工作”。
“（讲故事）是人性的基础。”阿里尔·古德曼-韦斯顿说。她还补充道，工作室应该重视故事的价值，并照顾好故事的创造者。她说，她的同事们都有着“令人惊叹的技能、历史和文化，他们不仅从中而来，还能将其带到工作中”。
达纳·费泰尔森是电影摄影师工会的成员，该工会也是IATSE中的一员。她对同事们敢于发声表示感激，在她看来，这是在“团结我们”。大多数工作人员都很紧张，不敢表现出对工作条件的担忧，因为他们不想让制片人对其怀恨在心。
一位因担心失去工作而要求匿名的剧本协调人补充说，低工资可能会让边缘社区、有子女者以及缺乏备用储蓄的人难以为继。例如，她最近要求一份需要她全天候待命的工作每小时加薪50美分，但遭到了拒绝。此外她还提到，工作缺乏向上的流动性。现在，流媒体服务正在制作10集的短季，而编剧岗位几乎不接受任新人。
除了工资和用餐时间，照明专家施耐德还表达了对拍摄现场安全的担忧。例如，制作人员必须经常举起重型设备，而长时间的工作很有可能导致事故，无论在片场内还是在片场外。施耐德补充说，在疫情期间，电影公司投入了大量资金进行新冠测试和个人防护装备，以便正常拍摄的恢复。但疑问就来了：“为什么反而不能够确保与新冠无关的、日常的员工健康和安全呢？”
费泰尔森表示，一旦发生罢工，部分员工将无法负担后果。如果员工主动离开工作岗位，他们将不能申请失业，有些人将不得不从其他地方寻找收入，来支付房租的租金。“一方面，这是短期的痛苦，却是长期的进步。”她说，“但另一方面，我们毕竟住在洛杉矶。”（财富中文网）
编译：杨二一
Charlie Schneider, an assistant lighting chief for Hollywood film and TV shows, is fed up with what he describes as pitiful wages and working well past midnight. The job is so taxing, he said, that a fellow crew member who had worked a string of 14-hour days fell asleep while driving home from the set and flew off the road.
"His car was completely totaled. And it was just by a miracle that he's still with us,” Schneider said.
Upset about their working conditions, Hollywood production crew members are on the verge of a historic strike that promises to shut down the film and television industry. If negotiations with the studio fail to deliver a contract by this weekend, they plan to walk off the job starting on Monday.
Their union, the International Alliance of Theatrical and Stage Employees, is asking for sufficient breaks for meals and full days off on weekends; better wages across all job types; pension and health coverage for retired members that is equal to their last three years on the job, and an end to streaming service productions being able to pay workers less.
In a statement, the Alliance of Motion Picture and Television Producers, which represents the studios, said, "There are five days left to reach a deal, and the studios will continue to negotiate in good faith in an effort to reach an agreement for a new contract that will keep the industry working."
The strike would come at a sensitive time for the studios. They're already reeling from the pandemic, which shut down production for months and decimated box office sales.
The production crew union and studios re-negotiate a basic agreement every three years, but in a public statement, IATSE says things are different this time, partly because of the pandemic and the rise of powerful streaming services like Netflix.
Ariel Goodman-Weston, president of the union representing Hollywood’s costume crew members, which is part of IATSE, says a better contract is a matter of respect for some of the hardest workers she knows. Costumer pay is among the lowest in the industry, she said, and many of her unit's members work long days to earn as much as sound or camera crew members make in less time. Why? She believes it's because of the union’s “diverse” membership and that their jobs are classified as “women’s work.”
“[Storytelling] is the foundation of humanity,” said Goodman-Weston, adding that studios should value stories enough to take care of the people who create them. Her colleagues each have “such an amazing skill set and history and culture that they come from and that they bring to the job,” she said.
Dana Fytelson, a member of the union for cinematographers, which is also part of IATSE, is thankful her colleagues are speaking up. It’s “unifying us,” she said. Most crew members are too nervous to voice concerns about working conditions, because they don’t want the producers to hold it against them.
A script coordinator, who asked not to be identified for fear of losing future work, added that low pay can restrict marginalized communities, people with children, and those who lack backup savings, from sustaining their careers. For example, when she recently asked for a 50-cent hourly raise for a job that put her on-call around the clock, she was denied. Additionally, the script coordinator complained of a lack of upward mobility. Now that streaming services are producing short 10-episode seasons, the writers’ room is practically sealed shut to newcomers.
In addition to higher wages and meal breaks, Schneider, the lighting specialist, voiced concern about safety on the set. Production crew workers must often lift heavy equipment, for example. And long work days can result in accidents, on or off the set. Schneider added that during the pandemic the studios devoted big money to COVID testing and PPE gear so filming could resume. But he asked, “Why not ensure the health and safety of all your employees on a day-to-day basis, unrelated to COVID?”
According to Fytelson, some crew members are unable to afford a strike, if it happens. Crew members can't apply for unemployment if they walk off the job, and some will have to seek income elsewhere to pay rent. “On one hand,” she said, “It's short-term pain, long-term progress. On the other hand, we live in Los Angeles.”
