The Visual Effects Crisis

Summary

The visual effects industry faces a crisis with artists enduring brutal working conditions, including excessive hours and burnout, often due to last-minute studio demands leading to project delays and financial strain. The case of Rhythm and Hues, which filed for bankruptcy after the Oscar-winning 'Life of Pi', exemplifies the industry's challenges. Calls for change include better production practices, residuals for VFX companies, and the push for unionization to address the mistreatment of artists who are central to blockbuster success but often overlooked.

Takeaways

• 🌐 The visual effects industry is facing a crisis with stories of overwork, unreasonable deadlines, and burnout being common among artists.
• 🕊️ Artists working on blockbuster movies like Marvel films often experience hundred-hour work weeks, leading up to a movie's release date.
• 🤯 The pressure of studio demands for major reshoots and revisions can lead to significant additional work, causing financial strain on VFX companies.
• 🏆 Winning an Oscar for VFX work can paradoxically lead to being seen as too expensive, creating a mixed blessing for artists and companies.
• 📉 Rhythm and Hues, a leading VFX company, filed for bankruptcy shortly after the successful release of 'Life of Pi', highlighting the financial instability of the industry.
• 🎭 The disconnect between directors and VFX artists can lead to unrealistic demands and a lack of understanding of the VFX process and timeline.
• 🔄 The trend of studios and filmmakers frequently changing their vision mid-production can result in extensive rework and crunch times for VFX artists.
• 💥 Major companies like Marvel and Netflix have been criticized for their treatment of VFX artists, contributing to the industry's crisis.
• 📈 The business model of the VFX industry has evolved, with multiple companies working on different elements of a film, complicating the workflow and increasing the number of employees involved.
• 🧩 The film 'Cats' exemplified the problems in the VFX industry, with a director lacking understanding of VFX creation and unrealistic demands leading to a disastrous outcome.
• 💼 Economic challenges in the VFX industry, including the pursuit of tax subsidies by studios and the constant need for VFX companies to relocate or underbid each other, contribute to instability.

Q & A

What is the current crisis in the visual effects industry?

The visual effects industry is facing a crisis characterized by brutal working hours, unreasonable deadlines, rampant burnout, and a punishing cycle for the artists, leading to numerous hundred-hour work weeks and a high rate of burnout and dissatisfaction among artists.

What impact does overwork have on visual effects artists?

Overwork can lead to nervous breakdowns and allegations of bullying, as well as a general sense of dissatisfaction and exhaustion among artists, which can contribute to a high turnover rate and a negative reputation for the industry.

Why do visual effects artists often work long hours leading up to a movie's release date?

Long hours are often required to meet the movie's release date, especially when there are last-minute changes or revisions demanded by the studio, which can result in a significant amount of additional work and pressure on the artists.

What was the situation with Rhythm and Hues during the production of 'Life of Pi'?

Rhythm and Hues faced serious financial difficulties during the production of 'Life of Pi' due to a major change in the project that required substantial revisions, which they had to shoulder the cost for, leading to cash flow problems and eventually bankruptcy.

How did the success of 'Life of Pi' contrast with the fate of Rhythm and Hues?

While 'Life of Pi' was a commercial success, grossing over 600 million dollars, Rhythm and Hues filed for chapter 11 bankruptcy and laid off more than 250 employees, highlighting the irony and disconnect between the film's success and the struggles of the visual effects company.

What is the role of residuals or profit participation in the film industry?

Residuals or profit participation are additional payments made to actors, directors, producers, and writers based on the ongoing revenue generated by a movie. However, visual effects companies are typically not entitled to this kind of profit participation, despite their significant contribution to the film's success.

Why are visual effects companies often not entitled to residuals or profit participation?

The business model of the film industry typically does not include profit participation for visual effects companies. Instead, these companies are usually paid a fixed fee for their work, regardless of the film's success, which can be a point of contention given the importance of visual effects in driving box office revenue.

What is the significance of the protest by visual effects artists during the 2013 Academy Awards?

The protest was a call to raise awareness about the mistreatment and undermining of the visual effects industry, highlighting the need for better working conditions, recognition, and fair compensation for the artists who contribute significantly to the success of films.

What are some of the challenges faced by visual effects houses in securing contracts?

Visual effects houses face challenges such as constantly moving to territories that offer the best tax rebates, underbidding one another to secure contracts, and dealing with the complexities of the economics of the VFX industry, which can lead to financial instability and closures.

What is the role of unionization in addressing the issues within the visual effects industry?

Unionization is seen as a crucial step towards improving working conditions, securing fair compensation, and providing a collective voice for visual effects artists. It is an overdue measure that could help address the systemic issues within the industry and ensure better treatment of artists.

How has the increase in the number of visual effects shots in movies impacted the industry?

The increase in the number of visual effects shots has led to a greater demand for artists and VFX houses, often resulting in more companies working on individual sequences or elements. This acceleration has put pressure on the industry to keep up with the pace, leading to issues such as long working hours and a lack of respect for the artists' work.

Outlines

00:00

😔 Crisis in the Visual Effects Industry

The visual effects industry is facing a crisis characterized by brutal working conditions, including unreasonable deadlines and excessive work hours leading to burnout. Artists often work hundred-hour weeks, especially during the pre-release period of movies. The industry's invisibility despite its significant contribution to ticket sales and viewing hours is highlighted. The narrative discusses the challenges faced by VFX houses and the irony of winning an Oscar, which sometimes leads to being avoided due to perceived high costs. The case of Rhythm and Hues, a leading VFX company that filed for bankruptcy shortly after the successful release of 'Life of Pi', exemplifies the industry's struggles.

05:01

😡 The Irony of Oscars and VFX Protests

This paragraph discusses the irony of the visual effects industry's situation, juxtaposing the success of 'Life of Pi' at the Oscars with the bankruptcy of Rhythm and Hues. It describes a protest by nearly 500 visual effects artists to raise awareness of their mistreatment and the lack of respect for their work. The industry's inherent problems, such as last-minute changes and reshoots that lead to crunch times, are highlighted. The narrative also points out the disconnect between studios and filmmakers and the VFX artists who suffer from the lack of understanding of the VFX process and its time requirements.

10:04

😤 Disconnect and Mismanagement in VFX Production

The disconnect between directors and the VFX craftspeople is emphasized, with large-scale productions like Marvel movies complicating the situation due to their size and the number of employees involved. The industry's evolution from a few VFX houses to many, each specializing in different aspects, is outlined. The narrative criticizes directors with no VFX experience, using 'Cats' and its director Tom Hooper as a case study for the industry's issues. The economic challenges faced by VFX companies, including the pursuit of tax subsidies and the constant need to relocate or underbid each other, are also discussed.

15:06

🤔 Possible Solutions for the VFX Industry

The paragraph suggests potential solutions for the VFX industry's ongoing crisis, such as residuals or profit participation for VFX companies, which are not traditionally part of their contracts. It questions why VFX companies, which contribute significantly to box office success, do not receive a share of the profits like other branches of the film industry. The narrative also advocates for unionization as a long-overdue step to improve working conditions and ensure artists are treated fairly and recognized for their contributions to the industry's success.

20:06

🎬 The Impact of Streaming Services on Cinema

The final paragraph shifts focus to the impact of streaming services on the film industry, promoting Mubi as a curated platform that offers a new film every day. It discusses the overwhelming number of entertainment options available and positions Mubi as a reliable source for discovering new and classic films. The paragraph serves as an endorsement of Mubi, highlighting its value proposition in an era of numerous streaming services.

Keywords

💡Visual Effects Industry

The visual effects industry is the sector of the entertainment industry that creates visual imagery using computer-generated imagery (CGI) and other techniques for use in film, television, and other media. In the video, it is depicted as being in crisis, with artists facing brutal working conditions, such as long hours and unreasonable deadlines, contributing to a vicious cycle of burnout.

💡Crunch Time

Crunch time refers to a period of intense work characterized by long hours and high stress, often seen in industries like video game development and visual effects. In the script, it is mentioned as a common experience for visual effects artists, who may work hundred-hour weeks leading up to a movie's release date.

💡Burnout

Burnout is a state of chronic stress that leads to emotional, physical, and mental exhaustion. The script describes it as rampant within the visual effects industry, resulting from overwork and unreasonable studio demands, which can lead to artists experiencing nervous breakdowns.

💡Blacklisting

Blacklisting is the practice of denying access to employment or opportunities based on past actions or opinions. The video mentions that artists often request anonymity due to fear of blacklisting, especially when they speak out against non-disclosure agreements and poor working conditions.

💡Oscar

The Oscar is an award presented by the Academy of Motion Picture Arts and Sciences, representing a high honor in the film industry. The script discusses the irony of winning an Oscar in the visual effects category, as it does not necessarily guarantee financial stability or success for the artists involved.

💡Rhythm and Hues

Rhythm and Hues was a visual effects company known for creating photorealistic creatures and animals in films. The script uses the company's bankruptcy as a case study to highlight the systemic issues within the visual effects industry, such as financial instability and the impact of studio demands on the companies' bottom line.

💡Residuals

Residuals are additional payments made to actors, directors, and other film industry professionals based on the ongoing revenue generated by a film or project. The script suggests that visual effects companies and artists are not typically entitled to residuals, which could be a potential solution to the industry's financial struggles.

💡Unionization

Unionization refers to the process of forming or joining a labor union to protect workers' rights and negotiate better working conditions. The video advocates for unionization as a way to address the long-standing issues faced by visual effects artists, such as fair pay and recognition for their contributions to the industry.

💡Disconnect

Disconnect, in the context of the video, refers to the gap in understanding and communication between directors and the visual effects artists responsible for executing their vision. The script cites examples such as directors not fully grasping the complexities of the visual effects process, leading to unrealistic demands and additional stress on the artists.

💡Tax Subsidies

Tax subsidies are financial incentives provided by governments to encourage certain types of economic activity, such as film production. The script discusses how the pursuit of tax subsidies by studios can force visual effects companies to relocate, impacting the stability and working conditions for their employees.

💡Blockbusters

Blockbusters are major commercial films that are expected to be highly successful at the box office. The script points out that while visual effects are a significant driver of ticket sales for blockbusters, the artists behind these effects often face intense pressure and poor working conditions to meet the high expectations of these productions.

Highlights

The visual effects industry is facing a crisis with stories of overworked artists and unreasonable deadlines.

VFX artists often work hundreds of hours in the weeks leading up to a movie's release.

Artists have reported nervous breakdowns and allegations of bullying due to studio demands.

Many artists requested anonymity in interviews due to non-disclosure agreements and fear of blacklisting.

Digital effects are prominent drivers of ticket sales but remain largely invisible to audiences.

The system is described as broken, with a history of issues that have persisted for over a decade.

Winning an Oscar can be a mixed blessing for VFX artists, potentially labeling them as too expensive.

Rhythm and Hues, a leading VFX company, faced bankruptcy after the success of 'Life of Pi'.

The bankruptcy of Rhythm and Hues highlighted the financial struggles within the VFX industry.

Oscars 2013 saw protests by VFX artists to raise awareness about industry mistreatment.

There is a disconnect between studios, filmmakers, and VFX houses leading to tension and misunderstanding.

Seismic reshoots and redesigns are common, leading to extensive additional work for VFX artists.

The term 'crunch' describes the intense overwork periods in VFX, often with 14-hour days and office sleeping.

Marvel and Netflix are criticized for their treatment of VFX artists and contribution to the crisis.

The disconnect between directors and VFX artists can be exacerbated by the size of productions.

The film 'Cats' exemplified many of the VFX industry's problems, including unrealistic expectations and tight deadlines.

Economic pressures in the VFX industry lead to companies moving or closing, affecting employees.

Residuals or profit participation for VFX companies is a suggested solution to improve industry conditions.

Unionization is advocated as a long-overdue step to improve working conditions for VFX artists.

VFX artists feel undervalued and unrecognized for their significant contributions to box office success.

Transcripts

foreign

[Music]

visual effects industry is in a crisis

this summer a wave of stories emerged

that paint a picture of a looming

disaster for visual effects houses

across the world and a punishing vicious

cycle for the artists within one marked

by brutal working hours unreasonable

deadlines and rampant burnout it's not

at all uncommon for visual effects

artists to pull numerous hundred hour

work weeks in the months leading up to a

movie's release date one artist

interviewed by vulture said that a light

week on a recent Marvel movie still

totaled some 64 hours and that's to say

nothing of the nervous breakdowns that

have come from overwork or the

allegations of bullying were the insane

Studio demands on Blockbusters that

undergo massive reshoots and retooling

or the fact that many of the artists

interviewed for these recent pieces

requested anonymity due to both

non-disclosure agreements and the fear

of blacklisting

as the history of the art form has

progressed digital effects have become

simultaneously more prominent than ever

but also more invisible they're in

arguably one of the main drivers behind

ticket sales and viewing hours and yet

they also fill out the majority of the

films and television that we watch in

ways that we hardly notice all of it

accomplished on the back of a Workforce

that's being driven into the ground the

system as many people have said is

broken but if you've been around and are

familiar with this world you'll know

that this is a story that's not exactly

new

you know when you when you win an Oscar

which is of course a fantastic honor

this is from an interview that Kim

Masters recorded with veteran VFX

supervisors Craig Baron and Jeff Oaken

in February of 2013. people who were

uninformed sort of say well you must be

set for life now you know you've made it

and sometimes you know having the Oscar

means that oh I I don't want to use that

person they're too expensive now or

something like that so it's a bit of a

mixed blessing from that standpoint

we're below the line meaning you know in

the craft area it's not quite like when

an actor receives an Oscar or or the

film wins best picture and then that

helps the box office of that particular

movie or raise the bar for that

particular star but um yeah there's a

certain irony to that but clearly

there's a certain irony in our industry

which is what's happening right now it's

filled with irony the irony that Baron

is referring to here is in large part a

response to the circumstances revolving

around Rhythm and hues

if that name doesn't ring a bell then

their work certainly will Rhythm and

Hughes was one of a number of visual

effects companies that started up in the

late 1980s in the era when computer

generated effects were beginning to find

their way into feature films think of

some of those early CG characters and

sequences in movies like Young Sherlock

Holmes in the abyss

[Music]

of Rhythm and hughes's Specialties was

photorealistic creatures and animals and

by the turn of the century their ability

in getting these characters to

believably interact in a live-action

environment had turned them into one of

the industry's major players and it was

that resume that led director Ang Lee to

hire them to work on his CGI heavy

spiritual epic Life of Pi rnh were one

of more than half a dozen VFX houses

that worked on the movie and among other

things were responsible for Richard

Parker the Bengal tiger pisman's much of

the movie with

[Music]

now there are differing reports about

what exactly went on behind the scenes

but one recurring story that's popped up

in multiple places is that roughly

Midway through production Ang Lee in the

studio called a major audible that

required a substantial amount of the

work done on Richard Parker to be

entirely revised that's not exactly a

simple task that you can solve with a

little bit of overtime changes like

these are seismic and can result in

months of added work to a Project's

timeline it's the exact kind of working

situation that ends up requiring those

hundred hour work weeks in order to meet

a movie's release date again it's not

confirmed but as the story goes this was

what ultimately sounded the death knell

for rhythm and Hughes because as

counter-intuitive as it may sound they

were the ones who had to shoulder the

cost for these major changes not the

studio despite the studio demanding

those changes in the first place profit

margins in the VFX industry are already

Razer in and for r h this contributed to

Serious cash flow problems and wound up

pushing them to ruin

Life of Pi was released in November of

2012 and was a slam dunk success

grossing over 600 million dollars but

less than three months later

Rhythm and Hughes filed for chapter 11

bankruptcy and laid off more than 250 of

its employees the movie may have been in

profit mode but its unsung star was on

its deathbed that's the irony in this

story but it's not the only one

the Oscars live Oscar Sunday February

24th on ABC

just days after rnh filed for bankruptcy

Life of Pi picked up four Oscars at the

2013 Academy Awards

but the story outside the Dolby Theater

where the show was held was much

different

nearly 500 visual effects artists

including a number who worked on Life of

Pi protested to raise awareness for the

ways that their industry was being

mistreated and undermined and back

inside when pai's VFX team won this is

how they retreated when they tried to

shed a little light on the situation

finally want to thank all the artists

who worked in this film for over a year

Rhythm and Hughes

sadly Rhythm and Hughes is suffering

severe financial difficulties right now

it's I urge you all to remember

[Music]

if you're interested in more of Rhythm

and hughes's story I'd highly recommend

giving the documentary life after pie a

watch what's important is that their

rise and fall wasn't just a catalyst for

conversation but that they exist as a

definitive case study that highlights

many of the problems inherent within the

industry problems that have only

persisted and seem to be as bad today as

they were 10 years ago if the story

about Pi CGI being significantly

reworked is accurate then it slots in

with one of the key problems affecting

the industry which is that there is a

tension between on one hand the studios

and the filmmakers and the other the

visual effects houses and when it often

boils down to isn't just a lack of

respect for the artists but a

fundamental misunderstanding of what the

visual effects process actually entails

and the amount of time that it takes to

do correctly

there's a spectrum of experiences across

the giant CGI heavy Blockbusters that

I'm focusing on and it would be wrong to

suggest that all Productions are this

unhealthy but more and more the

recurring experience that keeps popping

up is one that's marked by a singular

lack of precision by a lack of concrete

final locked decisions and we understand

that if you have a vision and you're

you're moving toward that Vision but as

long as you're moving in the same

direction toward that Vision that's fine

you know we're going to get there but

what we see often is that you know

they'll be heading towards a vision and

you might be heading toward that vision

for six months and then

all of a sudden they turn around and

they're heading off in an entirely

different direction

think of the seismic reshoots that took

place for Justice League in Rogue one or

the near page one redesign for Sonic the

Hedgehog yes these are extreme examples

and reshoots are nothing new nor

necessarily a bad thing but this story

of backtracking and reshooting scenes

and reconceptualizing visual effects is

at the heart of so many of these

grievances because at the end of the day

it's the below the line crafts people

who have to execute a plan that God

willing won't go through yet another

iteration for VFX artists this is what

leads to the crunch when 14-hour days

and sleeping at the office becomes the

norm for months on end often accompanied

by a cycle of never-ending redelivery to

clients who are never satisfied there's

a term for this kind of thing an artist

required to deliver numerous final

versions of the same shot because the

client keeps changing the parameters of

what they want down to the most minute

detail has been as they say pixel

at the bullseye of all of this two of

the biggest offenders as you might be

able to guess are Marvel and Netflix

this crisis stretches far beyond them

but they're the two that have been the

most criticized and painted as villains

Marvel especially as one former artist

said they're too big they're too

powerful and working with them is the

equivalent of stepping into a kind of

toxic relationship case in point in one

anecdote that's garnered a lot of press

the company reportedly forgot to tell

all of their VFX vendors that they were

pulling Infinity war and endgame's

release dates back by a month leaving

them to instead find out from a press

release

it's from situations like these where

you can start to see how burnout can run

rampant it's not that artists are

completely against ever working any

overtime or against ever redesigning a

shot there's an amount of both that's

just inherent within not just visual

effects but in all areas of

post-production but a degree of overwork

this intense is just not sustainable and

is the exact thing that drives people

out of the industry and one thing that

doesn't help in the slightest is when

things like this happen

okay

does that look real in that particular

shot no actually

it doesn't really right would you look

close you need to be more blue well you

know does he look real no no

something looks very off about this but

no no he changes Hues don't you think

yeah

apart from its relative tackiness take

away TD's comments here suggests

something deeper this is a point that

Drew McGary made in his article for

Defector suggesting that what it

illustrates is a level of Disconnect

between a director and a below the line

Crafts People and that's an important

idea I think in understanding this

ongoing crisis

foreign level this kind of Disconnect is

just inexcusable but on another while

certainly not ideal it's somewhat

understandable given the sheer size of a

production like one of Marvel's and the

army of employees that it takes to

create I think that that's worth keeping

in mind when looking at all of this the

kinds of massive Blockbusters that we're

focusing on and the way that they're

produced has naturally evolved

we've gone rather quickly from movies

that boast say a hundred individual VFX

shots to where we are today with movies

that feature thousands it takes more

people than ever before to construct VFX

for movies like these and in some cases

more individual VFX houses for reference

just over 20 years ago The Phantom

Menace employed just one VFX company ilm

to create all of its digital effects

whereas the rise of Skywalker just a

couple of years ago employed a dozen the

2002 Spider-Man employed three VFX

houses no way home 14. and this is a

part of an overall change in the

business model instead of a small number

of houses tackling the effects for an

entire film you'll now have numerous

houses each taking on individual

sequences or individual elements that

each respective house specializes in you

can see this kind of escalation across

the history of the MCU especially it's

now commonplace for some 25 over more

houses to work on any one individual

film this is how much the industry has

accelerated over a very short amount of

time and with this many separate

companies and this number of employees

it's not difficult to see how a director

can become disconnected from a

mammoth-sized production like this of

course any sense of Disconnect

regardless of the number of houses is

likely only accentuated when a director

who has virtually zero visual effects

experience is hired to helm one of these

movies nowhere has this been better

demonstrated than in cats and its

director Tom Hooper

[Music]

foreign

if any one movie fits the bill as a

touchstone of all of the problems

infecting the VFX industry it's this one

the concept was flawed to say the very

least the working hours were insane the

deadlines far too tight and at the

center of it was a demeaning tyrannical

director who quite literally had no

grasp on how visual effects are created

in a beautifully titled report by The

Daily Beast an anonymous artist who

worked on the film described the

environment behind the scenes as a

complete nightmare you don't just add a

layer of fur to an actor in a motion

capture suit in one step this is a game

of stages in simplest terms a character

isn't textured until their movement is

finalized Hooper allegedly didn't

understand this and instead demanded

fully rendered shots any time he needed

to look at what was being worked on

which if true is nothing less than

bizarre

we all know what happened next we've all

gawked at images from the movie and read

about how it was literally released

unfinished but for the artists within

the Fallout continued after the movie's

release

members of the motion picture cats

nobody more

facts

[Music]

the visual effects house in question is

MPC Motion Picture company

who closed their Vancouver branch in

late 2019 in order to pursue Better Tax

subsidies in other territories they're

one of a number of VFX houses that have

made similar moves in recent years or

who have just closed out right the

economics of the VFX industry are

complicated those tax subsidies don't

actually go to the visual effects

companies but to the studios and because

Studios will understandably pursue the

cheaper of Labor options that forces VFX

companies to constantly move to

territories that offer the best rebates

or to underbid one another in order to

secure contracts and if the companies

are moving all the time what does that

spell out for their employees

solving these issues isn't easy and

won't be done quickly obviously improved

production methods and sharper

pre-production on the Studio's part is

ideal but I want to end by bringing up

two things that I've seen people talk

about that are worth considering as ways

forward the first is residuals or any

kind of profit participation we hear

about this all the time actors directors

producers writers earning residuals on

the movies that they make for years on

the highest end you've got someone like

Tom Cruise for instance who's reportedly

set to take home an eye-watering 100

million dollars from Top Gun Maverick

alone but this goes all the way down the

line it's not a perfect business of

course Hollywood accounting is Hollywood

accounting after all and people are

screwed over all the time but it's worth

considering that VFX companies for

whatever reason are not entitled to this

same kind of profit participation deal

which increasingly makes no sense when

considering just how big a box office

driver the visual effects are consider

just some of the big CGI characters few

people I imagine saw Godzilla vs Kong

because of Rebecca Hall or Alexander

Skarsgard few saw Sonic the Hedgehog

because of James Marsden or Transformers

because of Shia LaBeouf or Jurassic

world because of Chris Pratt that's not

to slag off those actors but it is to

question why the VFX companies who

create the characters that do Drive box

office revenue are not entitled to

anything on the back end in the same way

that other branches of the film industry

are

here's VFX supervisor Jeff Oaken talking

to Kim Masters in that 2013 interview

again

I've never gotten a residual for

anything I ever did nobody up there did

that did the work so what we got out of

that movie is what we made from doing

the work and the bragging rights whereas

you know you always hear like you know

Tom Cruise and all the big actors oh you

know I'm working at scale and only

taking you know X percent of the back

end at least they have the back end if

the movie succeeds they're rewarded well

so so nobody's getting back in like life

of pie did not get the back end to

ribbon Hughes I've never know I've never

heard of anybody on a visual effects

movie getting back in except George

Lucas and Francis Coppola at least in

the early days spread out back into all

they gave bonuses right it wasn't like

necessarily a written thing Craig

probably asked that but also on Matrix

Keanu Reeves gave his visual effects

crew a bonus a very Hefty bonus that

they split that's the only time in all

the years I've ever heard of visual

effects people getting anything

Far and Away however the most

overwhelming step being advocated for is

unionization to many a step that's long

overdue if nothing else go back and look

at the working conditions that led to

the establishment of other labor unions

in the film industry the Actors Guild

The Writer's Guild iatse and so on

you'll find a lot of grievances that

sound awfully similar to those that are

being shared by visual effects artists

today

little has seemingly changed since

Rhythm and hughes's story and unless

something does more and more stories

like the ones that have emerged this

summer will continue to spill out the

work itself will no doubt suffer

talented people will be driven out of

the industry and worst of all artists

will continue to be mistreated

right now I would say that all the

artists are angry and they're angry

because we're doing fantastic work we're

driving the box office we're not getting

paid commiserate with what we're

bringing to the table we're not getting

recognized for what we bring to the

table we're being minimized you know we

feel we've been very loyal to our

employers we've been loyal Warner

Brothers and fox and Universal you know

and we deserve like a little better than

yeah whatever

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[Music]