Few issues have sparked as much debate and controversy in this year’s fall film festival season as the interim agreement and waivers from SAG-AFTRA. These waivers were granted to union members in order to allow them to promote their films at prestigious festivals such as Venice, Toronto, and Telluride. However, these agreements have divided the indie industry, with some viewing them as crucial support for non-AMPTP (Alliance of Motion Picture and Television Producers) projects, while others argue that they place undue burdens on producers and sales companies trying to strike deals with distributors for finished films.
One of the main conditions of the waivers is that distributors must comply with SAG-AFTRA demands, including those related to subscription revenue and residuals. These are issues that the major studios and streaming platforms have rejected in their negotiations with the union. Producers and sales agents have reported that these majors and global platforms are refusing to consider waivered projects, shutting off a major revenue option for independent productions.
The impact of the SAG waivers will be tested at the upcoming Venice Film Festival, which will serve as the first major indicator of their effectiveness. Two highly anticipated films, Michael Mann’s “Ferrari” and Luc Besson’s “Dogman,” have arrived at the festival with interim agreements in place to generate interest in these projects. During the press conference for “Ferrari,” Adam Driver, who portrays Enzo Ferrari in the film, expressed solidarity with the strike, questioning why smaller distribution companies like Neon or STX International could meet the demands set by SAG-AFTRA while big companies like Netflix and Amazon could not.
Mann also spoke about how his long-awaited project was made possible because everyone involved, including himself and Driver, accepted lower salaries to complete the film. He emphasized that the film was not funded by a major studio, and this is why they stand in solidarity. Similarly, the team behind “Dogman” made a similar calculation and acquired a SAG interim agreement to allow the film’s talent, including lead Caleb Landry Jones, to attend the festival for promotional purposes. However, conversations with potential U.S. distributors were put on hold due to the strike, as the cast wouldn’t have been able to attend the festival, and the movie wouldn’t receive the expected promotional spotlight.
On the other hand, Richard Linklater’s “Hit Man,” an action comedy starring “Top Gun: Maverick” breakout Glen Powell, is set to premiere at the Venice Film Festival without a SAG waiver. The film’s team decided to forgo the waiver in order to maintain flexibility in negotiating domestic distribution deals.
Different strategies are being pursued by industry insiders at the moment. Some are counting on having stars at the festivals to gain attention for their movies, while others believe that securing a big deal with a studio or streamer is what truly matters. In a few months’ time, we will see which approach proves to be the most successful.
In conclusion, the SAG-AFTRA interim agreements and waivers have become a contentious issue in this year’s fall film festival season. While some view them as necessary support for independent projects, others argue that they place unnecessary burdens on producers and hinder the potential revenue for these films. The upcoming Venice Film Festival will serve as a crucial test for the effectiveness of these waivers, and different filmmakers are taking different approaches to navigate this complex situation. Only time will tell which strategy proves to be the most successful in the ever-evolving landscape of the film industry.