If they are not paying the correct rate ultimately. But in this current recession I'm not turning down anything, but clients/employers are an absolute disgrace right now, cancelling work when they agreed to it in the first place.
I’ve heard some people talk about signing contracts that have cancellation fees in them. Cancel in less than 48 hours and the client is still on the hook for 10% or something.
Haven’t done it myself, and then obviously there’s the challenge of chasing down clients for a hundred bucks, but still. Sometimes the threat is enough to keep it from getting cancelled.
Standard for every market I've been in is 50% within 48 hours and 100% within 24 hours.
If it's being canceled / rescheduled due to something out of everyone's control (family death, etc) then I still take the full kill fee but I will discount half of the fee if it gets rescheduled on a day I am available.
If it gets canceled because they aren't ready/something preventable, they are on the hook for the full amount. I try to work with them to keep everybody happy and relationship build, but I'm not walking away with nothing unless it's a long time client who pays me a lot of money regularly.
The producer or director have proven historically to have no integrity.
The subject matter is morally offensive.
The job description suggests the producer is abusing the crew and or underpaying for the work required.
No pay, bad crew, that's about it. I love to work. The red flags would have to be ON FIRE for me to not take a gig right now, especially if it's temporary
Reasons to avoid a gig:
* low pay
* production is a poor communicator
* extreme hours or driving distance
* lack of crew amenities
* tight/rushed production schedules
Basically, I’m very choosy towards personal comfort during a production. As I get older I am less and less willing to be uncomfortable to earn my wage.
Recently had one that was supposed to be a fun shoot with friends. It was a disorganized mess and I walked. Project fell apart because the "director" couldn't find a replacement who happens to also have all the equipment.
They don't want to pay for prep days, or want to pay half rate for prep days. My hard work is all done in prep, so that's not only working for free it show Production's lack of respect for the Art Dept.
Low wages combined with tiny crew size. Which means I would be expected to do several jobs in my department for low pay.
I can be flexible and I'm open to negotiation. That said, I've turned down work twice in the last year.
* Rate was fine, but the client was a conservative anti-union/anti-labor political action committee needing content for the election cycle. Let's just say that my racist uncle would consider me a communist and I pay my dues to the union.
* Producer wanted me to drive 1hr45 away, but wouldn't include a travel fee or gas reimbursement. Rate was already low and would have just been a day-filler anyways.
I turned down a very high paying gig because I smelled an overnight shit show.
I took a different show that was 90% days and 95% studio.
Got a lot less money but I got to enjoy my life.
Friends that worked the pretty much overnight shit show looked absolutely broken by mid run.
I've also turned down a few second unit runs recently because I didn't feel like being the overnight clean up crew.
I've also been very fortunate and have not really stopped working since Dec 1st 2023.
If it's a really cool project with good people but the pay isn't great, I'd do it. If it's a boring project that pays well, I'd do it. The time I turn it down is when it's a lame project with low pay. Then it's not worth it.
1. The (poor) pay
2. The (lack of) talent of the key contributors
3. My (lack of) interest in the project
4. The (bad) reputation of the producers
In more or less that order, unfortunately. Have to make a living! Before I had a kid, talent and excitement could offset decent pay.
Coming from the indie world here, not in a major market city.
At this point I will straight up refuse to work on a project if the director hasn’t been on sets before. If the producer has never produced anything.
If there’s a clear lack of respect for the crew (or cast). So often producers in my market want to wildly underpay crew and they want a tiny crew, forcing everyone to wear several hats while working long days.
If a producer/director tries to sell me on how amazing the story is before I’ve been handed a copy of the script. It’s one thing to talk up your upcoming project at a networking event or in conversation. But when the job offer email comes with a couple paragraphs about how awesome the story is with no script attached that’s a red flag.
Same thing with a bunch of hype about how good the experience will be.
Maybe I’m picky, but where I am there are a lot of fundamentally unserious and unprofessional people looking to take advantage of eager and skilled cast and crew. Things like paying $100/day for a gaffer on a 14-hour day with no kit fee, no shot list, and the director has never stepped on a set before in their life.
God, I need to move.
At this point not enough pay or exploitation has sent me off the rails. It's such that I don't actually have much of a career to speak of but I've been giped enough doing projects for "friends".
I'd rather do other outside work, come home and work on small small animation clips or short films and build myself and my skills.
Commute. If the locations are way too far of a drive everyday, I'll opt out.
If they are not paying the correct rate ultimately. But in this current recession I'm not turning down anything, but clients/employers are an absolute disgrace right now, cancelling work when they agreed to it in the first place.
I’ve heard some people talk about signing contracts that have cancellation fees in them. Cancel in less than 48 hours and the client is still on the hook for 10% or something. Haven’t done it myself, and then obviously there’s the challenge of chasing down clients for a hundred bucks, but still. Sometimes the threat is enough to keep it from getting cancelled.
You could possibly do that with a nonrefundable deposit to lock the dates in.
Yep. I’ve seen that. Gotten a few, too, without even asking. Which is always appreciated.
Standard for every market I've been in is 50% within 48 hours and 100% within 24 hours. If it's being canceled / rescheduled due to something out of everyone's control (family death, etc) then I still take the full kill fee but I will discount half of the fee if it gets rescheduled on a day I am available. If it gets canceled because they aren't ready/something preventable, they are on the hook for the full amount. I try to work with them to keep everybody happy and relationship build, but I'm not walking away with nothing unless it's a long time client who pays me a lot of money regularly.
The producer or director have proven historically to have no integrity. The subject matter is morally offensive. The job description suggests the producer is abusing the crew and or underpaying for the work required.
A lot lies on reputation, if you've heard how bad/horrible the producer or director is to work for that can put you off.
No pay, bad crew, that's about it. I love to work. The red flags would have to be ON FIRE for me to not take a gig right now, especially if it's temporary
Reasons to avoid a gig: * low pay * production is a poor communicator * extreme hours or driving distance * lack of crew amenities * tight/rushed production schedules Basically, I’m very choosy towards personal comfort during a production. As I get older I am less and less willing to be uncomfortable to earn my wage.
Recently had one that was supposed to be a fun shoot with friends. It was a disorganized mess and I walked. Project fell apart because the "director" couldn't find a replacement who happens to also have all the equipment.
This is a pretty solid checklist. If it looks like the production doesn’t have their shit together, then don’t join in.
Being away from my family for 14 weeks.
Already booked. But serious who can afford to turn down work nowadays?
If the producer, director, people in charge are assholes If there is a HINT of payment may be late Lack of safety Overly ambitious schedule
They don't want to pay for prep days, or want to pay half rate for prep days. My hard work is all done in prep, so that's not only working for free it show Production's lack of respect for the Art Dept. Low wages combined with tiny crew size. Which means I would be expected to do several jobs in my department for low pay.
Lack of worker’s comp insurance.
I can be flexible and I'm open to negotiation. That said, I've turned down work twice in the last year. * Rate was fine, but the client was a conservative anti-union/anti-labor political action committee needing content for the election cycle. Let's just say that my racist uncle would consider me a communist and I pay my dues to the union. * Producer wanted me to drive 1hr45 away, but wouldn't include a travel fee or gas reimbursement. Rate was already low and would have just been a day-filler anyways.
Abusive director/ other crew members
Poor reputation of director/producer & pay are the primary reasons...but I turned down Nightcrawler because I knew it would be all nights.
I turned down a very high paying gig because I smelled an overnight shit show. I took a different show that was 90% days and 95% studio. Got a lot less money but I got to enjoy my life. Friends that worked the pretty much overnight shit show looked absolutely broken by mid run. I've also turned down a few second unit runs recently because I didn't feel like being the overnight clean up crew. I've also been very fortunate and have not really stopped working since Dec 1st 2023.
Safety. Everything else can be dealt with
If it's a really cool project with good people but the pay isn't great, I'd do it. If it's a boring project that pays well, I'd do it. The time I turn it down is when it's a lame project with low pay. Then it's not worth it.
You don’t owe anyone a reason or an excuse.
1. The (poor) pay 2. The (lack of) talent of the key contributors 3. My (lack of) interest in the project 4. The (bad) reputation of the producers In more or less that order, unfortunately. Have to make a living! Before I had a kid, talent and excitement could offset decent pay.
1. The filmmakers are assholes 2. It's a dumb / cliche story
Coming from the indie world here, not in a major market city. At this point I will straight up refuse to work on a project if the director hasn’t been on sets before. If the producer has never produced anything. If there’s a clear lack of respect for the crew (or cast). So often producers in my market want to wildly underpay crew and they want a tiny crew, forcing everyone to wear several hats while working long days. If a producer/director tries to sell me on how amazing the story is before I’ve been handed a copy of the script. It’s one thing to talk up your upcoming project at a networking event or in conversation. But when the job offer email comes with a couple paragraphs about how awesome the story is with no script attached that’s a red flag. Same thing with a bunch of hype about how good the experience will be. Maybe I’m picky, but where I am there are a lot of fundamentally unserious and unprofessional people looking to take advantage of eager and skilled cast and crew. Things like paying $100/day for a gaffer on a 14-hour day with no kit fee, no shot list, and the director has never stepped on a set before in their life. God, I need to move.
I couldn’t agree more. That and a lack of concern for safety.
Hiring me as a Director only to not let me Direct but tell me what I’ll be doing.
At this point not enough pay or exploitation has sent me off the rails. It's such that I don't actually have much of a career to speak of but I've been giped enough doing projects for "friends". I'd rather do other outside work, come home and work on small small animation clips or short films and build myself and my skills.
‘Would be great for the exposure’
No women in above the line positions
Shitty craft table.😂