The film industry in Atlanta has been experiencing a significant decline in recent months. For over ten years, the city has been a bustling hub for the entertainment industry, earning it the nickname “Hollywood of the South.”
With Georgia’s generous tax breaks, major film and television projects have flocked to the area, making it a hotspot for both aspiring and seasoned professionals looking to break into the industry.
However, the COVID-19 pandemic has caused a significant slowdown in production, with many workers finding themselves out of work.
To make ends meet, some have turned to odd jobs, such as mowing lawns or teaching guitar. Others are even considering shifting careers altogether.
Despite the challenges, many in the industry remain hopeful that production will pick up again soon, and Atlanta will once again be a thriving center for film and television.
In light of the recent developments in the entertainment industry, it is imperative to address the current situation faced by numerous Atlanta-based performers and members of the International Alliance of Theatrical Stage Employees.
While writers were able to reach a deal late last month, the ongoing actors strike has left these individuals grappling for financial survival and questioning their future in the industry.
The implications of this predicament are far-reaching, not only for the individuals directly affected but also for the broader artistic community and the economy as a whole.
It is crucial to acknowledge the immense challenges faced by these performers and stage employees and to explore potential solutions that can help alleviate their financial burdens and provide them with a sense of security moving forward.
Ed O’Hare, a 29-year-old set lighting technician, expresses his profound enthusiasm for his work, exclaiming, “I wake up every morning and I’m like, s—-, I wish I could be on set right now.” O’Hare’s journey into the industry commenced shortly after his college years, when he initially began by undertaking janitorial duties at a local studio.
However, it was his unwavering thirst for knowledge and eagerness to learn the various crafts that propelled him up the ranks.
As he delved deeper into his profession, O’Hare discovered a profound passion for lighting, a revelation that ignited a fire within him.
The camaraderie amongst his fellow technicians proved invaluable, as they readily embraced him and provided guidance, ultimately assisting him in securing roles on notable productions, such as the Benicio Del Toro-led thriller “Reptile.” Remarkably, O’Hare achieved this feat despite his relative lack of experience, a fact that he proudly emphasizes by stating, “I’ve been told by multiple people that I couldn’t have done that in L.A. or New York.”
After a prolonged period of nearly five months devoid of any film-related engagements, O’Hare finds himself in a precarious financial situation, relying on a combination of his personal savings, unemployment benefits, and odd jobs he has been undertaking for his grandmother’s neighbors, such as lawnmowing and pressure washing.
While this has allowed him to make ends meet, he contemplates the possibility of seeking employment as a bartender, reminiscent of his college days.
In the interim, O’Hare has taken the initiative to attend classes organized by the International Alliance of Theatrical Stage Employees (IATSE), where he has had the opportunity to reconnect with fellow industry professionals while honing his technical expertise and acquiring new skills, including the art of soldering.
Amidst the camaraderie, a recurring jest has emerged during these classes, as O’Hare reveals that whenever the instructor opens the floor for questions, someone inevitably interjects with the quintessential query that lingers on everyone’s mind: “When will we resume our work?”
In line with the steadfastness demonstrated by his union, which has organized and participated in numerous unity rallies, O’Hare unequivocally expresses his unwavering support for the writers and actors who are courageously fighting for their rights and just compensation.
With a deep-rooted belief in the importance of fair treatment and equitable remuneration, O’Hare remains hopeful that the actors will soon reach a mutually beneficial agreement.
However, recent setbacks and a breakdown in negotiations have dampened some of the optimism that initially prevailed. O’Hare acknowledges that even if a deal is eventually struck, the arduous process of returning to the set may still consume several months.
Nonetheless, his unwavering commitment to the cause remains unyielding, as he firmly believes in the necessity of standing up for what one deserves.
Alex Buhlig, a 34-year-old individual, made the decision to relocate from Atlanta to Los Angeles in 2015 with the fervent ambition of becoming a camera assistant.
However, despite his relocation, Buhlig found himself inundated with job offers originating from Georgia. Consequently, he returned to Atlanta in less than a year and began immersing himself in a multitude of projects, predominantly focusing on commercial endeavors, independent films, and reality television shows.
It was during this time that Buhlig became affiliated with the International Alliance of Theatrical Stage Employees (IATSE) in 2017, which subsequently led to an opportunity to work on the highly acclaimed blockbuster film, “Godzilla: King of the Monsters.”
Reflecting on his journey, Buhlig humorously recounts how he transitioned from working on independent films with minuscule budgets of a mere $10,000 to being involved in a colossal production such as “Godzilla.” This transition serves as a testament to the thriving entertainment industry in Atlanta during that period.
However, in recent months, Buhlig, now occupying the role of a second camera assistant, has found himself relying on sporadic opportunities within the realms of commercial and music video work.
Nevertheless, he expresses concerns about the sustainability of his current situation should the ongoing strike persist into the following year.
With a sense of urgency, Buhlig acknowledges the necessity of devising an alternative plan, recognizing that he cannot solely depend on his current line of work.
In the past, he had resorted to teaching guitar to supplement his income, a role he has previously held, as he endeavors to avoid returning to the demanding nature of the restaurant industry.
As Buhlig navigates through this challenging period, he remains determined to find a viable solution that will enable him to continue pursuing his passion within the entertainment industry.
In light of the ongoing strike, Buhlig acknowledges the fortunate position he finds himself in, despite having to withdraw funds from his pension due to a dwindling bank account.
He recognizes that he is privileged to have health care coverage and not have the added responsibility of supporting a family.
However, Buhlig is acutely aware of the hardships faced by others in the industry. He believes that the strike will inevitably force individuals to leave the profession, and he suspects that it may have already done so.
Buhlig empathizes with those who have recently entered the industry or have been out of work, as he cannot fathom the challenges they must be facing during such a tumultuous time.
The city of Atlanta has garnered significant praise from actors who highlight the strong sense of community and the relatively low cost of living, despite the recent increase in affordability challenges.
Actor Ethan Embry, known for his roles in films such as “Can’t Hardly Wait” and the Netflix series “Grace and Frankie,” expressed his admiration for the sense of community in Atlanta, stating that he has found more connection in the city over the past five years than he did in his four decades residing in Los Angeles.
Embry further emphasized that Atlanta provides a different atmosphere compared to Los Angeles, where everything feels like a competitive struggle for survival. In contrast, Atlanta fosters a collective spirit, where individuals feel united in their endeavors.
Bethany Anne Lind attributes her early success in acting to Atlanta’s filming boom after 2008, which provided her with small roles that studios didn’t want to spend money to fly someone else out for.
However, as she has become more established, with a notable supporting role in Netflix’s “Ozark,” Lind has found it challenging to secure more substantial parts.
She believes that casting agents still tend to overlook Atlanta-based actors, focusing instead on talent pools in New York and Los Angeles.
Despite being a prominent speaker at local rallies, Lind admits to feeling envious of her Hollywood colleagues, who frequently picket outside studios.
Despite having the second-most number of soundstages in the nation, picket lines are a rarity in Atlanta because studios are headquartered elsewhere.
Lind, who recently added her name to an open letter imploring SAG-AFTRA to reject an unfavorable agreement, expresses a peculiar sentiment as she observes her friends in bustling cities like Los Angeles and New York, where they toil away in the sweltering heat day after day.
She laments not being able to partake in such an experience, yearning for the cathartic release that comes with immersing oneself physically in the pursuit of their craft.
This sense of longing for a more tangible connection to her work is something Lind believes is sorely lacking in her current environment.
During the summer months, as her attention shifted towards her children and tending to her burgeoning vegetable garden, Lind found herself contemplating a potential shift in careers.
It was a moment of reflection that marked the first time in her nearly two-decade-long career that she earnestly considered alternative paths that could not only provide her with a sense of fulfillment but also offer a greater degree of stability.
With the added benefit of flexibility, Lind hopes to strike a balance that would allow her to continue pursuing her passion for acting alongside other endeavors.
In her candid conversation with the AP, she revealed her desire to explore new avenues that could potentially bring her both joy and a more reliable source of income.
In spite of the setbacks she faced earlier in the year, it was by the time October rolled around that she found herself back in the limelight, gracing the stage once again.
This time, she had secured the coveted lead role in a local production of the esteemed British play, “Home, I’m Darling.” While she remained open to the possibility of pursuing further education, she couldn’t quite pinpoint what alternative path she might embark upon.
With a sense of hope and optimism, Embry believed that once the actors finalized their contracts, the entertainment industry in Georgia’s capital would experience a resurgence, albeit with a fairer treatment for all involved.
Recognizing the studios’ existing investments in Atlanta, Embry emphasized the realization that Georgia possessed unique qualities that drew filmmakers to its doors.
It was not solely the tax incentives that enticed them, but rather the abundance of talent, picturesque scenery, and diverse landscapes that catered to the artistic vision of these filmmakers.