# IATSE? Yes, or No?



## bull (Nov 16, 2010)

I can't seem to decide for myself, and would like to get some opinions from those that know more on the subject. There is an IATSE union house right in my city, and also about ten movies filming at any given time in my area. I have the option of joining the IATSE as a day trader since I have classes two days a week, and I could really use the money and experience. Should I go for it? or no?


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## mstaylor (Nov 16, 2010)

That is a personal choice. Some will tell you it is the only way to go, others tell you it sucks. Whatever gives you more opportunities is the way to go. If the union gets you work in one building and nonunion gets 10 buildings you have to decide what gets you more work or better connections. You have to decide what is best for you personally.


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## Footer (Nov 16, 2010)

Yup, you should. Are they offering you a card or just overhire work? You are in a right to work state, you can do whatever you want when it comes to work with the union. The union won't really have any control over where else you work which is the one negative to how many IA locals work. Go for it, take the cash, learn a lot.


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## Van (Nov 16, 2010)

If you can gt work, even as an 'Extra' go for it. If there is that much movie work in your area, go for it. There are usually two seperate union houses , however, for film and Stage. You can be a memeber in one and work in the other, usually, without any issues. The only area that becomes a concerns is when it comes to dues, and working in non-union houses. Some areas have very liberal policies they allow you to work almost anywhere some will tie you to union gigs only and that can starve you. The dues issue comes up when it's time for anual and or monthly dues. Some places ony charge dues when you are working and they are drwawn off you check other require you to maintain current dues whether you're working or not. Look at these options and weigh for yourself about how much work you will get. There simply is no beating the contacts and experience you will garner during your tenure as a Union hand.


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## bishopthomas (Nov 16, 2010)

To add to the responses here at CB, here is a post on PSW where I asked the exact same question almost exactly a year ago. PSW Sound Reinforcement Forums: LAB: The Classic Live Audio Board => Is IATSE Right for Me?


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## Esoteric (Nov 16, 2010)

Here in Texas there is no downside. I joined my local and worked at union and non-union houses. It was just another call list to be on. Well that and I learned a lot as a apprentice rigger (I learned more electrics on the road, but our local was very badly run outside the riggers).

Mike


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## ship (Nov 16, 2010)

Agreed with the work / overhire in points, how much work there is verses how many are already in, ability to do other stuff while not working etc. Very personal choice in weighing your options.

IA' is a golden standard for both education and income level plus benefits - just as important. On the other hand, while on overhire, talk to those about you and learn not just from them but what you can learn in your trade which is worth learning. Do you have a chance of getting in no matter how many shows worked or in working for the union shop? How long have others about you been waiting? For me it was probaby not much a chance - at least at best for many years but that was Local #2. Believe it was 8% of my pay taken out for working union gigs at least while working for a union shop and learning from them might have been fair for the education that I took with me. Might have been, what wasn't fair was in working gigs associated with a union shop but I was free lance and not on-call, but that pay still got taken out of my pay - for someone else's retirement. This at a time when I as free-lance and non-union, and often laid off, I could bairly afford donuts for dinner in a right to work state but somehow on a "union gig" even if I was from another company that was non-union in managing the event and the Union was only helping that. Past Chicago Marathon gigs... Was the only person on-site, union or not that could drive the stick shift Union company truck to the gig, and I paid for the privalige for doing so at like 4AM.

Anyway, if you can get into your local, do so. Can't hurt and will get you stuff often you otherwise cannot get on your own. A Crosby inspection of shackles class costs a lot of money to go to, this much less other further certification classes. Thru the local you can not just get benefits, but further education often non-union companies will hemm and haw about, this much less in providing benefits. Union is a good thing if you can get in.

On the other hand, if you get in, often your local membership won't transfer so in moving you start from scratch and unless you can keep active your old local, you will loose what you put into it. If the movie union, you might not get stage calls etc.

Stuff to consider but overall, heck yes if I could get in, I will have. Doing great as non-union but an exception perhaps in making my way and lots of my own study. Where I work, the management would rather close shop than go union - long standing statement, and also where I work, were we to become union, I would as sub-management would probably be replaced for someone else of the status in looking for a cushy job - this as opposed to my career I worked hard for. Lots of job offers elsewhere on my part in having to moove, but given a lot of the staff is local labor, not sure they would understand where they now would be on the food chain in growth for a career either. I fear they would be much like I was when I got into the industry at a Union shop and for years later in still working the gigs at times - even if not on the overhire list.

Yes if you can get in and it's within your career path say in staying local, them movies are not long term employment - look into that, and path and ability for you to get in and sustain you. And if not the leanancy for you to work other gigs. Plus as mentioned the due date for dues - gig or monthly or worse yet yearly.

If / when you do go either way, get yourself a good tax agent as for now you are an indipendant contractor and all you buy for work or expenses are important to write off instead of loose money in just getting. That was another of my failings early on in my career. So many tools, no recipts etc. Wish I had one - thought I couldn't afford one but could have at least broken even if not better.

Get yourself the Moody book "The Business of Theatrical Design". Not specifically about what you do but does help a lot in mention and concepts. Watch over your end of year like you do a pay check as often you will have a big bill at the end of the year unlsss taken care of. This even if eating donuts for dinner in that's all the change you have in your pocket in making it, you will most often owe a lot short of help. That tax person will be your best friend in also continuted learning and tools for the trade written off if you save your recipts.

I have a drawer for recipts and at the end of the year all the books or tools I buy no matter how old, qualify for such a writing off. The heck if I don't use Fuch's 1929 almost weekly for work, this much less an antique monkey wrench. That beyond the various modern tools I bought this past week that will be written off.

Beyond union or not, you are getting into contractor status now and need to watch the business end of that if you want to keep your head above water. Concentrate on learning the business end of what you are doing as much as union or not in status or employment in doing so. Employment for either on a A' list takes time anyway in name getting out there, during a recession, years. Watch your income and perhaps play both for now. Where you can get the work in eating at night.


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## ArthurRiot (Jan 2, 2011)

In my area I'd always suggest the union. If you can get your card, you get it. But it's not for everyone, and some unions can be protectionist.

If getting in the union means getting consistent film work DO IT. There's no debate. Long hours, but great pay. I'd also suggest to get advanced education in a specific skill set. It's one thing to plug in sound cables and entirely another to understand the intricacies between EQs and gates. If you can run a camera and understand the various lighting boards, you can work a light hang and focus, then work show calls with a camera on your shoulder. 

But it really depends on the union. As a very pro labor guy, I prefer the security of the union, long-term, though.


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