Amid the ongoing strikes that have brought Hollywood to a halt, Billy Porter is opening up about the financial toll of the work stoppages. In a recent interview with the Evening Standard, the Pose star admitted that he has had to make some cutbacks after some of his upcoming projects were put on pause when writers and actors took to the picket lines.
Porter revealed, “I have to sell my house because we’re on strike. And I don’t know when we’re gonna go back [to work]. The life of an artist, until you make fuck-you money – which I haven’t made yet – is still check-to-check. I was supposed to be in a new movie and on a new television show starting in September. None of that is happening.”
The actor also addressed a report from Deadline last month that quoted an anonymous studio executive, who said studios won’t return to the table with the Writers Guild until “union members start losing their apartments and losing their houses.” Porter’s response to that Hollywood executive was strong and defiant: “To the person who said, ‘We’re going to starve them out until they have to sell their apartments,’ you’ve already starved me out.”
Porter went on to highlight how the industry has changed, especially with the advent of streaming, compared to how it operated decades ago. He emphasized the need for a new contract that reflects the evolving landscape: “In the late Fifties, early Sixties, when they structured a way for artists to be compensated properly through residual [payments], it allowed for the two percent of working actors – and there are 150,000 people in our union – who work consistently. Then streaming came in. There’s no contract for it… And they don’t have to be transparent with the numbers – it’s not Nielsen ratings anymore. The streaming companies are notoriously opaque with their viewership figures. The business has evolved. So the contract has to evolve and change, period.”
Related Post
The Our Son actor also did not hold back on his thoughts about Disney head Bob Iger, who received criticism following an interview with CNBC last month where he expressed concern over the strikes and their effect on the business. Iger said, “This is the worst time in the world to add to that disruption,” and called for unions to be realistic about the business environment. In response, Porter said, “To hear Bob Iger say that our demands for a living wage are unrealistic?… I don’t have any words for it, but: fuck you. That’s not useful, so I’ve kept my mouth shut. I haven’t engaged because I’m so enraged. I’m glad I’ve been over here [in London]. But when I go back, I will join the picket lines.”
The strikes in Hollywood have brought attention to the financial struggles that many artists face, even those who have achieved considerable success. Porter’s candid statements shed light on the challenges of working in the industry and the need for fair compensation and support for all performers. As the landscape of entertainment continues to evolve, it is crucial for contracts and agreements to adapt accordingly to ensure that artists are fairly compensated for their work. The strikes serve as a reminder that the entertainment industry, like any other, is built on the hard work and dedication of its workers, and their voices and needs must be heard and addressed.
