2011 Guild & Union Update

Welcome 2011!

In an effort to constantly maintain the quality of our numbers, Quick Film Budget has updated the film budget wage rates to reflect the 2011 rates for SAG, DGA, WGA, IATSE and Teamsters.

2010 was a fantastic first calender year for QFB. Please keep an eye open for new products and functions on the website in 2011. We intend to continue listening to all of your feedback in order to serve our customers in the best way we can.

Check QuickFilmBudget.com for a sample film budget!

Producing for a Studio- Tip# 1

An arbitrator ruled that producers are NOT agents of the studios, and thus any rewrite a writer for a producer is outside the writer's contract with the studio. If a producer asks a writer to make changes in a draft, the studio is under no obligation to pay for those changes. If a writer wants to be paid, he or she should simply turn in a draft to the executive named in the contract and ask for payment. (Source: WGA.com)

Every payment to a writer needs to be accounted for in the film budget. Check QuickFilmBudget.com for a sample film budget.

WGA Info

Minimums for Low & High Budget Screenplays

Low Budget Screenplay Purchase Minimums:

The following are Screenplay purchase minimums for a Picture with a film budget of
Five Million Dollars ($5,000,000), or less:

Time Period Original Non-Original
5/02/09 - 5/01/10 $40,665 $33,093
5/02/10 - 5/01/11 $42,088 $34,251


High Budget Screenplay Purchase Minimums:

The following are Screenplay purchase minimums for a Picture with a film budget
greater than Five Million Dollars ($5,000,000):

Time Period Original Non-Original
5/02/09 - 5/01/10 $83,242 $68,105
5/02/10 - 5/01/11 $86,156 $70,489

Check QuickFilmBudget.com for a sample film budget.

SAG DGA IATSE WGA PGA

Film unions are good and bad for films. SAG, DGA, IATSE, WGA and PGA all are good for films because they create a clear set of rules and payment so everyone knows the rules. They are also good for films because they signal an expected level of quality of worksmanship (although this doesn't always ring true). The downside to union films is that they increase the cost of wages and the clearly stated union work rules can work against a film producer when they are trying to save money. Producing is all about making choices- shoot on a soundstage or on location? hire another production assistant or spend more on set design?

If the choice is which guild for your film to become a signatory, here is a guide. Keep in mind that all of these unions and guilds have different wage scales depending on the budget of your film (micro level, low budget level, medium budget, high budget). If you still must choose, I suggest the following rational:

Ask yourself what kind of film you are making. If it is a special effect heavy horror film or action film, it is probably wiser to make sure that you have a strong director and strong crew so the special effects and stunts look as real as possible.

If you are making a drama or musical, you want to hire the best actors and director because audiences and film critics will evaluate your film first and foremost based on the actors' performances.

Thrillers are tricky because they usually require great performances (remember Keiser Soseh in "The Usual Suspect") and some action. Overall, thrillers require great directors, actors, writing, and crew to pull off the film. The challenge is to keep it under budget. Try limiting your shooting locations while avoiding a direct-to-dvd "always inside" feel.

Visit here for a For more information, see movie budget guidelines on how much to budget for film producers, writers, directors, crew, and actors.

-Adam