DGA: Joseph Kosinski, Judd Apatow, Sara Dosa, Eric Appel and others on the need to address residual, “systemic inequities” in upcoming contract negotiations

The need for more backlog and more diversity were among the key issues raised by filmmakers at tonight’s DGA Awards ahead of the Guild’s discussions with the AMPTP.

DGA’s contract expires on June 30, the same date as SAG-AFTRA and two months after WGA’s contract expires on May 1.

Eric Appel – a first-time nominee for the Roku film Strange: The Story of Al Yankovic – noted on a personal level that while he’s managed his fair share of television over the years and remembers “a time” when he was able to collect “a lot of scraps” for that job, income of that kind ” doesn’t really exist​​​​”. This is about projects he has taken on lately in the brave new world of streaming: “I definitely want it [the industry] to just rethink how those relics work, so it’s not an isolated case when you’re doing your project,” the director said. “These things are sold and resold and traded from streamer to streamer. I think we have to definitely get a piece of it.”

Judd Apatow, who returns tonight for his fourth round as host of the DGA Awards, agreed that “there are all kinds of problems with how people are paid and residuals,” with Top Gun: Maverick Like Appel, DGA candidate Joseph Kosinski notes that “the whole landscape of media consumption is changing, so it’s important to ensure that the agreements keep pace with it:

“I have a film I’m preparing at the moment, so I hope everyone can agree soon,” said tonight’s nominated director Top Gun: Maverick“so we don’t have to think about anything else, and [can] Just go back to filmmaking. Kosinski’s next film from Apple Studios is an untitled Formula 1 racing film starring Brad Pitt.

While Apatow also pointed out that there are currently “creative rights issues with how much time directors working in television have to edit their episodes,” the only other filmmaker to point out was a non-financial issue for Directors Guild Dosa member Sara , a first-time winner of today’s DGA Award, who is also nominated for an Oscar this year for her critically acclaimed documentary, fire of love.

As Dosa considers the future of the guild, Dosa’s priority is to ensure it addresses the “systemic inequalities” that “remain” within its ranks.

“I think structural changes that can really support women and filmmakers of color are essential,” Dosa told Deadline this evening. “There’s a lot of talk about action, but not a lot of structural support, so I’d like to see that discrepancy rectified in a meaningful way. I could talk endlessly about what that means, but it’s something I’ve personally experienced as a filmmaker and it’s something I’ve seen in my friends of color, and changes are definitely needed.”

Among the others who spoke to Deadline ahead of today’s ceremony were dismissalsaid Ben Stiller, who expressed his solidarity with the WKV as it prepares for its own negotiations, though without discussing specific policy changes. “I just feel like the writers in Hollywood throughout history have always been the ones who deserve the credit,” Stiller said, “and we stand with them as a unit.”

In the last three rounds of negotiations, the DGA chose WGA and SAG-AFRTA. Which guild goes first is decisive as it sets the bargaining pattern for others, though each guild has its own needs. But issues such as annual salary increases and residual rates are usually decided by the first person at the bargaining table and are usually passed on to the next two guilds when they take their turn.

DGA, in a February 3 release from its 80-member negotiating committee to its members, signed by Jon Avnet (Negotiations Chair), Karen Gaviola (Negotiations Co-Chair), Todd Holland (Negotiations Co-Chair) and Russ Hollander (National) Executive Director), said her guild would not be the first at the negotiating table with the AMPTP as “studios are not yet ready to address our key issues”.

The note added: “The date on which we begin negotiations is far from the most important issue. The main question at hand is whether the studios will decide to adequately address the concerns of our members. These concerns include wages , flow residue, safety, creative rights and diversity. If the studios don’t address these issues, they know we’re ready to fight.”

For the WGA, which has not yet published a required template, a minimum level of television writers and higher compensation are known to be the main issues for the guild when sitting with AMPTP.

The DGA only went on strike once: in 1983 for a period of 3 hours and 15 minutes.