In London recently BECTU (Broadcasting Entertainment Cinematograph and Theatre Union) formally requested recognition to represent the compositing department at MPC. fxguide spoke with Paul Evans from BECTU as well as Joe Pavlo, an artist who has been heavily involved in the effort.
Overtime abuse is clearly the biggest issue that has brought this to a head. BECTU has spent three years trying to get the companies to introduce paid overtime, to stop abusing the buy out model. Paul Evans: “Our view is that a properly managed company would be able to manage it’s staff, allow them to have a work/life balance while getting the same level of productivity out of them…”. There are other issues, but they are all dwarfed by the overtime issue.
“There is a real buzz around it”, Paul said, mentioning that they had over 100 people turn up at a weekly lunch, “this has reached it’s peak, it’s gone over the tipping point”. Paul was very clear to point out that they are eager to work with the company but “They have been treating us like we’re some sort of nihilistic, a bunch of animals who want to come in and turn their business over… we don’t. They have been very high handed with us, very patronizing, patting us on the head saying ‘you don’t know anything about our business, we’re the grownups in this and it’s very sweet you’re worried about overtime but really the grownups know we can’t run the business without it’ ”.
“We believe that the solution to this is that every vfx company in London be unionized and we’re urging every member, everybody who works in visual effects to join BECTU now”
“We represent others companies, we are a moderate union… “I’ve worked with companies where they use their union relationship to make sure they have a very highly engaged work force and that they are the best employer in the country.” “There is more work to do in London than there are people to do it, it’s a competitive job market, and our view is that if they were prepared to negotiate properly with the union we’d make MPC the company that everyone wants to work for.”
“When people are prepared to go this far, it’s because they care about something. The employers have simply brushed us aside for too long and said ‘yeah, no, we’re not doing anything about this, we don’t have to’ – they’ve brushed us off.” “The big issue for our members is they want to be heard, they want to have a dialogue, they want to have a voice, this isn’t about them going in and mugging the company. It’s about going in and knowing that the companies can’t just fob them off.”
“We believe that the solution to this is that every vfx company in London be unionized and we’re urging every member, everybody who works in visual effects, to join BECTU now”
In the UK there is Trade Union Recognition. If you can show you have sufficient strength, you can force the employer to have to bargain with you. They have to negotiate hours, rates, holidays, redundancy program, etc. … working conditions. To demonstrate that the union has sufficient strength the union has to show they have 10% or more employees as members and that can be used to force a ballot. If they achieve over 50% in that broader election, the company has to negotiate with the union. It’s very similar on the surface to US trade unions but there are a lot of differences in the details.
One of the big differences is that in the US companies often employ union busting techniques, Paul commented that those type of activities would “completely backfire here”.
Since June artist Joe Pavlo has been holding weekly meet ups, a Thursday lunch (follow @VFXUnionUK on twitter for updates). I spoke to him after the most recent one: “It was really exciting today because so many people came from other companies as well, and other departments that were not even on our radar.” “We usually get 20-30 people there… today we had well over 100 people”. Joe mentioned the tremendous concentration of companies in London capable of doing the blockbuster movies level work “if we can unionize London, the rest of the world is going to follow… and by the rest of the world I don’t just mean North America, but I’m really interested in getting the people in India involved because they are more fed up than we are in London.” “This could be a global thing.”
Joe explained how he came to be involved with organizing efforts. “I joined the union around the Life of Pi, Rhythm and Hues who-ha… and I thought ’this is great when is everything going to start happening? And then, nothing happened”. About a year later Paul encouraged people at a meeting to start a committee and Joe joked that everyone else stepped back. Another year passed with the committee designing leaflets, holding occasional meet ups. He finally realized “nothing was happening and the reason nothing was happening is no one was fucking doing anything… everyone is either hoping that something happens or pretending that if you invite someone out to a beer something is going to happen.” It’s the same experience we observed in Los Angeles with organizing efforts, people think of unions as an organization that is going to come in and do something magical when it is an organization made up and driven by it’s members. Joe made it a mission to not wait for committees or other people and just started having weekly meet ups. Ask someone to bring someone new next time and he started getting 20 or so people every week. “You have to have a grass roots, you have to meet people”.
MPC has received a formal request for union recognition from BECTU, which we responded to Wednesday [Dec. 2]. The request is seeking recognition for collective bargaining in respect of the MPC film compositing group. BECTU are requesting that they represent the compositors on discussions for pay, hours and holidays. MPC will engage with BECTU in more detailed discussions on their request for recognition
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