This is a copy of a speech I wrote and delivered at the 2019 Women in Production Summit in Atlanta, GA. I have some awesome slides to accompany it; my promise is to learn the world of blogging so I can update with the visuals!
INTRODUCTION AND CALL TO ACTION
Work Life Balance. What does that even mean? It is elusive, it is fleeting, and perhaps, actually, it is a great fiction, a figment of the imagination that really, truly doesn’t exist.
I’m here today, on the dark side of my 30s, and I have spent the last 10 years of my life knee deep in the trenches of television production, happily working 60 hour weeks that started at 6a Monday and ended at 3am Friday night. While doing this, I’ve found myself wondering, why do we work these insane hours? Isn’t there a better way?
Sadly, the struggle is real, and I am not here to offer an immediate answer. But I am here today to challenge everyone in this room to join me in the pursuit of the “other”. To challenge you not to accept the established norm of 12 hour days. It is 2019. The industry is in the midst of a huge disruption; but the disruption is felt in distribution – how our audience connects to and watches our work product.
We must now disrupt how we ourselves produce the content.
EXTREME JOBS AND THEIR EFFECT ON WOMEN
By definition, what we do is considered an Extreme Job. And globally, researchers find that this creates a barrier for women in the workforce.
According to the just released data from the Study of Women in Film and Television, women comprised 32% of the Director, Writer, Producer and Editor positions in Independent films released in 2018. This number is actually up from 31% in 2017 – but obviously it is nowhere near parity with our male counterparts.
When I plot this number against the results of a global study of “extreme jobs” and see something as abysmal as “of high earners working extreme jobs – 2% were women”, I am almost proud of what we have done as women in film! We’re persevering against some pretty terrible odds!
But, it is also terrifying as we try to press forward towards parity on set.
We do not like to talk about the price of working a so-called “extreme” job, because, I think I speak on behalf of many in this room when I say, Its OUR DREAM JOB. I know for me – it is something I wanted to do as a kid – be a filmmaker. And some days, our jobs feel like play – we’re certainly not earning a living in a stuffy cubicle!
But sadly, I think we also know that there is a very real price to pay for this dream.
MYTH BEHIND THE 12-HOUR DAY
In order to change, we must start by challenge the assumption that 12-HOUR DAYS ARE THE ONLY WAY TO CREATE QUALITY FILM AND TV PRODUCTIONS.
I believe that this practice stems from the early days of production, say, the 1950s. At that time, stage space was limited, and there was a scarcity of equipment. In order to make the most content in one year, we needed both the stage space and equipment working as many hours as possible. The cost of labor was not nearly as important as the cost of equipment. 12-hour days were born.
But things have changed. We can create content in our iPhones, and digital camera technologies have greatly increased the availability while decreasing the cost of professional camera packages.
In terms of capacity to create content – look at Atlanta alone – we’ve essentially doubled the sound stage supply of the United States in 10 years.
So why do we continue to work 12 hour days? When I look at the myths outlined, I do not see any consideration for the impact of this production schedule on the very real people who comprise the labor workforce.
I believe these are archaic assumptions based on an industry that has failed to change with the time. I think it has become an established “it is just the way it is” industry norm. If you work on set, you accept the extreme hours in return for the “privilege” of working on set.
THE REALITY
The reality is – when we start with the assumption that it is the only way to ‘make’ film or tv – then we budget 12-hour days. We even budget 13 – 14 hour days when the company is on location. And we budget OT. And meal penalties. In short, we start with a game plan that accommodates and expects extreme work conditions for the crews on set.
The second consideration is, and I hate to bring it up before the union panel – I swear I get it – but I wish that union leadership could be the voice for change. I fear that it is not because there is an entrenched interest in keeping the status quo in place…
But when you factor in the way benefits are calculated – by the days worked for IA in the Area Standards Agreement – or the “double time after 14” provision for pilots and 1st season series – then the contract negotiators are effectively negotiating against a shorter (say 10 hour) day. The first provision creates an incentive to work fewer days, while the second does not punish or discourage Producers for working punishingly long hours.
And, now, I’m speaking to everyone, because I think at some time or other we are all guilty of this – but particularly the Directors out there – when we procrastinate decision making or when we’re not prepared for the day, we slow down the pace of production on set.
$150,000 from 20 to 24
So what happens when we move from a 12-hour day to a 10-hour day? Using a budget I wrote for a Tier 1 independent feature, I plugged in a couple of numbers to get this spread. All things equal – it costs about $150,000 to move from twenty 12-hour days to twenty-four 10-hour days. This is just a broad strokes estimate, but in the grand scope of things, it is not a huge cost to production – and there is a lot of production value that get added on to those extra 4 days – not least of which is a slightly more refreshed crew, and a Director who has 4 extra days to plot out that last complicated sequence.
The Challenge: Disrupt the process, ask for change
So what is the point?
My challenge to you is simple – partner as a workforce and a community of filmmakers, and just talk about things. We must work together. We cannot expect change overnight, but incremental change is possible.
I challenge you to be a vocal advocate for your needs. As a team, we have power. As individuals, we risk being “difficult” and not hired for the next production.
I challenge you not lay blame on the long day on the Actor, or point fingers at the Producer, instead, work to support your fellow crew members – you’re all in it together – and perhaps even find ways to help other departments who are lagging behind to finish the day.
I challenge you to test shorter hours on your short film. Challenge yourself to find ways to be more efficient with time. Take a look at what you can control, and instead of accepting the status quo, start questioning, and ideating and testing ways to change the system.
In close, I dream of a day when we can say “I want to be an Oscar winning Director, but I also want to have a healthy relationship with myself, my family, and my partner”.
These should not be conflicting ideals and dreams.
Lynn Hylden 