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Transportation and Housing for Stunt Performers in Film Production Across States

February 10, 2025Workplace2013
Transportation and Housing for Stunt Performers in Film Production Acr

Transportation and Housing for Stunt Performers in Film Production Across States

Stunt performers play a critical role in film production, often requiring unique skills and physical prowess. When a film is being shot in one state, such as Wyoming, and the stunt performer lives in another state like New York, the logistics of transportation and accommodation can be a significant challenge. This article explores the considerations involved and the rules governing these matters, particularly within the context of the SAG-AFTRA union.

Logistics and Cost Considerations

The decision to transport a stunt performer across states primarily hinges on the specific needs of the production and the associated costs. If a stunt performer can justify the expenses through their unique skills and expertise, it is often arranged for them to be flown to the location, provided with on-site accommodation, and covered for meals when not on set. These costs include airfare, hotel stays, and meal allowances, all of which add up, especially for multiple days or weeks of filming.

However, it’s important to note that if the production is on a tight budget, or the skills required are basic and can be fulfilled by local performers, then a local candidate may be preferred. The prioritization of the production budget is a critical factor in these decisions. For instance, if the job involves a simple stunt that can be performed by a local, hiring someone from closer proximity might be more cost-effective for the production.

SAG-AFTRA Transportation Rules

To ensure fairness and consistency, SAG-AFTRA (Screen Actors Guild - American Federation of Television and Radio Artists) has established specific transportation rules for its members. These rules apply to both actors and stunt performers and vary based on the distance of the filming location from the member's residence. In the Los Angeles (L.A.) area, for example, the union's rules are more stringent, requiring transportation for distances over a certain threshold.

When a stunt performer from outside the L.A. area is needed for a job, they will typically be provided with transportation, accommodation, and meals. This applies even when shooting takes place in another state, such as Wyoming. The union's transportation guidelines help ensure that members from various parts of the country can be reliable contributors to the film industry.

Exceptions and Considerations

It's worth noting that the above rules apply to unionized productions. Micro-budget, non-union independent films are often exempt from these rules. In such cases, producers have more flexibility to make hiring and logistical decisions without adherence to the SAG-AFTRA regulations. Additionally, cost remains a significant factor. If the production has a limited budget, hiring a local stunt performer, even if their skills are less specialized, might be more feasible to save on expenses.

For instance, if a production requires a stunt that can be performed by a local performer without specialized skills, the decision to use that local talent is often a budget-driven one. While the union rules provide a baseline for fair treatment of performers, the overall budget of the production can supersede these guidelines in many instances.

Conclusion

In summary, the transportation and housing of stunt performers for film productions across states is a complex process influenced by the production's budget, the availability of skilled performers, and union rules. Stunt performers from outside the immediate production area can be flown to the location if their skills justify the costs, but local options are often prioritized to manage expenses. Understanding these dynamics is crucial for both performers and production teams.

The SAG-AFTRA union plays a significant role in ensuring that members are fairly treated in terms of transportation, but the ultimate decision often comes down to what is best for the production's budget and success. Whether a performer is flown in or not is ultimately a strategic choice that balances the quality of the performance with financial constraints.