WEBVTT - Hollywood Begins to Reopen After Coronavirus

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<v Speaker 1>It's Monday, June eight. I'm Oscar Emiras from the Daily

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<v Speaker 1>Dive podcast in Los Angeles, and this is Reopening America.

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<v Speaker 1>We're changing the focus of the Daily Coronavirus Update to

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<v Speaker 1>reflect what is happening right now while we try to

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<v Speaker 1>get through this pandemic. We'll still bring you all the

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<v Speaker 1>latest news about the virus and vaccine development, but will

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<v Speaker 1>also be highlighting the stories of how we come back

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<v Speaker 1>and reopen America. One industry that has yet to formalize

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<v Speaker 1>a plan to get back is the entertainment industry. What

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<v Speaker 1>we do know is that whatever the plan is that

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<v Speaker 1>eventually comes out, it will be expensive to restart production.

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<v Speaker 1>There will be shorter shooting days and longer shooting schedules.

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<v Speaker 1>Cass and crews will be put in quarantine. There will

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<v Speaker 1>be breaks for temperature checks and COVID testing, a new

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<v Speaker 1>personnel dedicated to health and safety. Adam be Very, senior

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<v Speaker 1>entertainment writer at Variety, joins us for the pricey plan

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<v Speaker 1>to restart production. Thanks for joining us, Adam, thank you

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<v Speaker 1>for having me. You know, we're continuing to talk about

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<v Speaker 1>reopening America, getting back to normal, and one of the

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<v Speaker 1>biggest things that was still looming, is how Hollywood is

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<v Speaker 1>gonna get back, How movie TV production, which happens across

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<v Speaker 1>the whole country, how was that gonna be handled? Because

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<v Speaker 1>it's an industry that has a lot of close contact

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<v Speaker 1>and all aspects of production, and it was just gonna

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<v Speaker 1>be a huge undertaking. And you know, they had a

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<v Speaker 1>huge hit too to the industry. Everything got halted with

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<v Speaker 1>regards to the entertainment industry. So one of the first

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<v Speaker 1>big things that came out just recently was Tyler Perry.

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<v Speaker 1>He announced that he's going to be beginning production in

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<v Speaker 1>Atlanta and his studios on two shows that he was

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<v Speaker 1>working on, starting on July eight. And he has this

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<v Speaker 1>plan of testing and re testing people, quarantining the cast

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<v Speaker 1>altogether so that hopefully nobody comes down with it while

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<v Speaker 1>they're in production. Let's start there and then we'll get

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<v Speaker 1>into what's happening industry wide, because there's a lot of

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<v Speaker 1>stuff that still yet has to be nailed down. So

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<v Speaker 1>Tyler Perry has his own sound stage facility outside Atlanta

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<v Speaker 1>called Tyler Perry Studios. It's a decommissioned army compound that

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<v Speaker 1>he converted into a giant sound stage complex. And because

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<v Speaker 1>of the nature of that facility. He can house people

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<v Speaker 1>there while they're making his shows, and he converted his

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<v Speaker 1>largest sound stage into the sort of mess hall where

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<v Speaker 1>people can socially distant while they're eating their lunch. He's

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<v Speaker 1>said that he will fly past who's out of town.

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<v Speaker 1>Is private planes. They don't have to deal with commercial

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<v Speaker 1>air travel. So the biggest thing that he's doing really

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<v Speaker 1>is implementing a whole sort of roster of protocols that

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<v Speaker 1>have at this point still remained at least in the

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<v Speaker 1>United States, largely theoretical as ways to start production back

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<v Speaker 1>in as much of a safe and healthy environment as

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<v Speaker 1>can be managed given what's going on now. Georgia was

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<v Speaker 1>one of the first states to start reopening. Obviously Atlanta

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<v Speaker 1>is there. Have they signed off on Tyler Perry's plans

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<v Speaker 1>so far? Yes. He was very clear that he had

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<v Speaker 1>been working with the state of Georgia on coming up

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<v Speaker 1>with plans that would be safe for the state, and

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<v Speaker 1>then also coordinating with the network that broadcasts his shows,

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<v Speaker 1>b ET and their parent company Viacom CBS, Because what

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<v Speaker 1>we looked at in our cover story was that all

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<v Speaker 1>of these protocols and changes that are going to be

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<v Speaker 1>implemented across the entire and entertainment industry are not going

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<v Speaker 1>to come cheap. That there's going to be an added

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<v Speaker 1>cost to all of this to make sure that people

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<v Speaker 1>can make content safely. So the entire period worked with

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<v Speaker 1>Viacom CBS to make sure that they would back him

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<v Speaker 1>up in paying for these procedures. The cost is going

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<v Speaker 1>to be so crazy, the extra stuff, because a lot

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<v Speaker 1>of places are going to be scaling back on certain

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<v Speaker 1>parts of the crew but increasing other parts of the

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<v Speaker 1>crew health advisors and consultations and things like that. So

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<v Speaker 1>the effects of this, you know, there might be shorter

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<v Speaker 1>shooting days, but longer shooting schedules. Casting from are going

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<v Speaker 1>to be put in these quarantines, temperature checks, breaks for

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<v Speaker 1>these things will interrupt shooting and filming and all that

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<v Speaker 1>and then all the COVID testing and a lot more

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<v Speaker 1>special effects. Is what people are saying too. But the

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<v Speaker 1>industry as a whole is still waiting from guidelines from

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<v Speaker 1>the a MP T p D Alliance of Motion Picture

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<v Speaker 1>and Television Producers. What do we know about what their

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<v Speaker 1>plans are and when they might be released. That is

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<v Speaker 1>a question that is being asked across the entire industry

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<v Speaker 1>right now as we speak. You know, when we published

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<v Speaker 1>this story, the AMPTP was still working with a sort

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<v Speaker 1>of industry group that included the Screen Actors Guild SAGA, AFTRA,

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<v Speaker 1>the Director's Guild of America IATSI, which is the union

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<v Speaker 1>that represents essentially all of the kind of crew members

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<v Speaker 1>that are the backbone of any production, to come up

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<v Speaker 1>with guidelines that could be industry wide. Unfortunately, what's ended

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<v Speaker 1>happening is that each of those guilds were also working

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<v Speaker 1>with their own experts and internal teams to come up

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<v Speaker 1>with guidelines that made sense for their specific disciplines. And

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<v Speaker 1>what seems to be happening is that there's some real

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<v Speaker 1>disagreement about how to move best to move forward with

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<v Speaker 1>what those guidelines look like. So what we may end

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<v Speaker 1>up seeing in the next few weeks is not one

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<v Speaker 1>set of guidelines, but perhaps several, and hopefully they'll still

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<v Speaker 1>be in parallel and they'll fit together in harmony and

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<v Speaker 1>there won't be any confusion. But what the mp PTP

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<v Speaker 1>is really spearheading here as sort of an industry wide

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<v Speaker 1>group that was the plan was that they would take

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<v Speaker 1>these guidelines to the governors of New York and California

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<v Speaker 1>to get you know, a government sign off, to make

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<v Speaker 1>sure that the governments and public health officials were happy

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<v Speaker 1>with the way that they were going to be proceeding.

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<v Speaker 1>Not to get to in the weeds, but one of

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<v Speaker 1>the major sticking points here, and something that is as

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<v Speaker 1>yet really unresolved aolved, is the size of the cruise

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<v Speaker 1>that will be going into production. Because for decades, every

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<v Speaker 1>job that you could do on a major studio film

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<v Speaker 1>or television set was very clearly delineated in longstanding union

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<v Speaker 1>contracts and best practices, like to the point where a

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<v Speaker 1>director couldn't move the chair that they sat in, that

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<v Speaker 1>was somebody else's job. And you know, director couldn't operate

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<v Speaker 1>the camera unless he was also part of the cinematographer skill.

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<v Speaker 1>It was. It's a whole, very clearly delineated set to

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<v Speaker 1>protect the jobs of as many people as possible. Well,

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<v Speaker 1>on a set where you want to minimize the number

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<v Speaker 1>of people who are in a closed space together, that

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<v Speaker 1>could possibly mean that people are double or tripling up

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<v Speaker 1>on jobs in sort of contradiction to some of these contracts.

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<v Speaker 1>So that is something that I think is going to

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<v Speaker 1>be a major sticking point and as far as I

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<v Speaker 1>understand right now, there's no wheel clear or sense of

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<v Speaker 1>how that is going to be able to move forward.

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<v Speaker 1>There's so much involved in this, and as you wrote,

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<v Speaker 1>a lot of this is going to be a shift

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<v Speaker 1>in mindset. There is going to be risks throughout this

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<v Speaker 1>whole process. It's about minimizing it and really just kind

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<v Speaker 1>of making things as safe as possible. We've already seen

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<v Speaker 1>that a lot of pre and post production can be

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<v Speaker 1>done from home. My wife works in prose production and

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<v Speaker 1>she's luckily thankfully been working still throughout some of this,

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<v Speaker 1>and that part can be done. But the filming obviously

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<v Speaker 1>is the tricky part with so many people involved in there.

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<v Speaker 1>We're talking about costs major movies can see as much

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<v Speaker 1>as increases. We talked about health departments, expanded health departments

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<v Speaker 1>that could be fifteen or more extra people involved in

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<v Speaker 1>all this. So this is a lot of stuff. Let's

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<v Speaker 1>talk about briefly, large scale productions versus smaller scale productions

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<v Speaker 1>and TV on the larger side, these big productions are

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<v Speaker 1>gonna be harder to come by, and as you wrote

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<v Speaker 1>as well, some people are saying we could see a

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<v Speaker 1>resurgence of indie filmmakers because of this. This is one

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<v Speaker 1>of the examples of how the current circumstances the industry

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<v Speaker 1>is facing. There's no real clear good options because on

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<v Speaker 1>the studio side, you've got the studios have been making

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<v Speaker 1>all of these giant hundred two hundred three hundred million

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<v Speaker 1>dollar movies that require hundreds of people to make them

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<v Speaker 1>happen and often historically have shot in multiple locations across

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<v Speaker 1>the world. Those kinds of productions, it's almost basically prohibitive

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<v Speaker 1>to be able to move that kind of production forward

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<v Speaker 1>in the current environment, or at the very least, the

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<v Speaker 1>costs to make those productions safe we're going to be

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<v Speaker 1>enormous or possibly taking on like an untenable degree of

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<v Speaker 1>personal risk. On the flip side, you've got these independent

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<v Speaker 1>productions that are leaner, smaller, often kept to just a

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<v Speaker 1>few small locations that are much easier to control, and

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<v Speaker 1>you can see that being very attractive to people who

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<v Speaker 1>want to turn out content so that there's stuff for

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<v Speaker 1>people to see. The issue there is that all of

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<v Speaker 1>those productions have to get in short before they can

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<v Speaker 1>move forward. They have to buy insurance for a whole

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<v Speaker 1>host of reasons that we're getting into but the companies

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<v Speaker 1>that sell that insurance are not putting in any provisions

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<v Speaker 1>where they cover a shutdown based on a COVID outbreak.

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<v Speaker 1>So you're then assuming in a great deal of risk

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<v Speaker 1>as a producer, because there's a fairly good chance that

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<v Speaker 1>a lot of these productions will have to shut down,

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<v Speaker 1>at least temporarily if one or more of the people

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<v Speaker 1>working on them tests positive for COVID while they're in production.

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<v Speaker 1>So that becomes for these small independent films that are

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<v Speaker 1>running on a very lean budget and tight margins, it's

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<v Speaker 1>unclear whether that's going to keep them from also being

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<v Speaker 1>able to move forward. So it's in both directions. The

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<v Speaker 1>circumstances of the COVID nineteen pandemic are really putting the

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<v Speaker 1>industry in a tight bind. You spoke to dozens of

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<v Speaker 1>people throughout the entire industry, studio exacts, actors, directors, producers.

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<v Speaker 1>All that tell me a little bit about kind of

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<v Speaker 1>the difference in mindset where maybe some studio executives might

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<v Speaker 1>be wanting to get production back and going, I know

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<v Speaker 1>there's some that are saying we're moving a little too

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<v Speaker 1>fast though, and where the actors are, because obviously they

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<v Speaker 1>will bear a big brunt of this, whether they're doing

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<v Speaker 1>romantic scenes really up on somebody or I think you

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<v Speaker 1>spoke to Zoe Kravitz, who was going to be in

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<v Speaker 1>the new Batman movie, talking about getting in the catwoman

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<v Speaker 1>suit and having multiple people toucher just to get started

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<v Speaker 1>with the day, not even the acting part of it.

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<v Speaker 1>That is a common experience for any actor. Zoe Kravitz,

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<v Speaker 1>she was talking about how she's had more people touching

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<v Speaker 1>her than she's ever had in her career, in part

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<v Speaker 1>because she cannot get into the cat suit alone for

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<v Speaker 1>that movie. She needs people to help get her into

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<v Speaker 1>that costume physically. But it really is just a very

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<v Speaker 1>common experience for any actor, any actor working in Hollywood,

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<v Speaker 1>how people touching their bodies multiple times a day as

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<v Speaker 1>a matter of course, whether it's touching up makeup or

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<v Speaker 1>their hair or helping with a costume fitting. And so

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<v Speaker 1>I think zag After especially is really looking hard at

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<v Speaker 1>how to minimize that experience for actress. Is they're moving

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<v Speaker 1>forward the first part of your question on the studio side,

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<v Speaker 1>everyone wants to get back to work as soon as possible.

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<v Speaker 1>It is an enormously painful financial hardship for everyone to

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<v Speaker 1>not be working. Just figuring out how to do that

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<v Speaker 1>in a way that's safe is the question that everyone's asking.

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<v Speaker 1>One studio exact told me that he thought that what

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<v Speaker 1>might end up happening is movies that can be done

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<v Speaker 1>in a sort of more self contained way on a

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<v Speaker 1>sound stage where it's like with your an emotion capture

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<v Speaker 1>suit and you're in front of it, or you're in

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<v Speaker 1>front of a lot of green screens where a lot

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<v Speaker 1>of the work is done in post production and visual effects,

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<v Speaker 1>that you're able to do that more safely, that kind

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<v Speaker 1>of movie may end up becoming more common, at least

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<v Speaker 1>in the next year year and a half as things

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<v Speaker 1>begin to open up again. You were talking about minimizing

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<v Speaker 1>kind of exposure to a lot of people in some

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<v Speaker 1>of these plans, and even in Tyler Perry's plan, it

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<v Speaker 1>just seems like it does make sense to have the

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<v Speaker 1>cast and crew basically living together a period of time

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<v Speaker 1>while they're filming, and some of these movies can take

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<v Speaker 1>a long time to shoot at Somewhere in the article

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<v Speaker 1>that mentioned something about six months possibly that could be

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<v Speaker 1>really tough for a lot of people. That's what I

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<v Speaker 1>sort of was getting at when I was talking about

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<v Speaker 1>these big, big, big movie productions are too big to

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<v Speaker 1>get made right now. They require that kind of person

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<v Speaker 1>power and time frame to get made. It just doesn't

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<v Speaker 1>seem possible to then also house them for that long.

0:12:44.520 --> 0:12:48.120
<v Speaker 1>And television it's even more dire because even for shows

0:12:48.200 --> 0:12:51.439
<v Speaker 1>that have a sort of shortened season from the twenty

0:12:51.480 --> 0:12:54.760
<v Speaker 1>two episode seasons that we were used to on network television,

0:12:55.080 --> 0:12:57.319
<v Speaker 1>even when you're looking at a show like that has

0:12:57.360 --> 0:13:01.760
<v Speaker 1>a ten episode season, those shows still often take many

0:13:01.880 --> 0:13:05.800
<v Speaker 1>months to shoot per episode, and you've got casts in

0:13:05.960 --> 0:13:08.760
<v Speaker 1>every episode for that who then have to commit to

0:13:09.080 --> 0:13:13.040
<v Speaker 1>being in isolation for the duration of that. And that's

0:13:13.080 --> 0:13:16.080
<v Speaker 1>going to be also a big thing for the industry

0:13:16.120 --> 0:13:17.800
<v Speaker 1>to sort of sort out as to how to do

0:13:17.960 --> 0:13:21.840
<v Speaker 1>that in a way that is both safer people's physical

0:13:21.840 --> 0:13:24.360
<v Speaker 1>health and also their mental health, you know. As a shorthand,

0:13:24.520 --> 0:13:27.400
<v Speaker 1>the entertainment industry is often referred to as Hollywood obviously,

0:13:27.480 --> 0:13:31.520
<v Speaker 1>but it's countrywide and worldwide of industry. How's this playing

0:13:31.559 --> 0:13:34.080
<v Speaker 1>out in other countries? Because I've seen things that are

0:13:34.080 --> 0:13:36.800
<v Speaker 1>gonna be opening up soon in the UK. I've seen

0:13:36.920 --> 0:13:40.640
<v Speaker 1>things about France starting possibly up in June and July

0:13:41.120 --> 0:13:43.600
<v Speaker 1>and we've been talking about these big productions. A lot

0:13:43.679 --> 0:13:46.160
<v Speaker 1>of the globe trotting productions might be put on hold

0:13:46.240 --> 0:13:49.360
<v Speaker 1>for quite some time, but they're still already gearing up

0:13:49.360 --> 0:13:53.360
<v Speaker 1>to get started as well. Several different territories, especially in Europe,

0:13:53.920 --> 0:13:57.559
<v Speaker 1>have been moving forward with their own sets of guidelines.

0:13:58.120 --> 0:14:01.040
<v Speaker 1>Some countries have already started production up again. Sweden and

0:14:01.120 --> 0:14:05.000
<v Speaker 1>Denmark film film television production is already underway. The soap

0:14:05.040 --> 0:14:09.800
<v Speaker 1>opera Neighbors, which is hugely popular, long running soap opera

0:14:09.840 --> 0:14:14.119
<v Speaker 1>in Australia that started up production in April. British Columbia,

0:14:14.520 --> 0:14:18.199
<v Speaker 1>which is the province in Canada that basically where Vancouver is,

0:14:18.280 --> 0:14:21.840
<v Speaker 1>which is a huge hub for production, they announced that

0:14:21.920 --> 0:14:25.120
<v Speaker 1>that production could begin studying in June. But anybody who's

0:14:25.160 --> 0:14:27.960
<v Speaker 1>coming into the country for those kinds of productions have

0:14:28.080 --> 0:14:30.320
<v Speaker 1>to go through a two week quarantine before they can

0:14:30.360 --> 0:14:33.640
<v Speaker 1>go anywhere, so that might delay things starting up there.

0:14:34.000 --> 0:14:36.480
<v Speaker 1>Are they taking some of the same precautions, let's say,

0:14:36.680 --> 0:14:39.320
<v Speaker 1>for example, as Tyler Perry Studios might be taking. Yeah,

0:14:39.520 --> 0:14:43.360
<v Speaker 1>you're seeing a lot of very similar styles of precautions

0:14:43.600 --> 0:14:49.200
<v Speaker 1>in trying to maximize testing and safety and minimize social

0:14:49.360 --> 0:14:53.640
<v Speaker 1>interaction and very similar kinds of things across the board,

0:14:54.080 --> 0:14:56.440
<v Speaker 1>with a little bit of variation here and there. But

0:14:57.000 --> 0:15:00.520
<v Speaker 1>there's a difference between a globe trotting production which going

0:15:00.600 --> 0:15:03.520
<v Speaker 1>over multiple countries or multiple locations, and some of these

0:15:03.560 --> 0:15:06.080
<v Speaker 1>productions that are starting up that are staying put there,

0:15:06.520 --> 0:15:09.600
<v Speaker 1>starting in an international location, but they're staying there. This

0:15:09.760 --> 0:15:12.760
<v Speaker 1>is such a huge conversation just because of how big

0:15:12.880 --> 0:15:15.600
<v Speaker 1>the industry is, how many people they employ, and then

0:15:15.640 --> 0:15:17.760
<v Speaker 1>beyond that, the entertainment value that it provides the people.

0:15:17.800 --> 0:15:20.320
<v Speaker 1>There's so much that goes into this. The last question

0:15:20.400 --> 0:15:23.800
<v Speaker 1>I have for you is what about all these productions

0:15:23.880 --> 0:15:28.200
<v Speaker 1>that were halted when the pandemic started and hit really

0:15:28.240 --> 0:15:30.880
<v Speaker 1>hard rehiring people Because we're talking about costs, it's just

0:15:31.000 --> 0:15:34.000
<v Speaker 1>such a huge part of this. What about rehiring all

0:15:34.040 --> 0:15:37.800
<v Speaker 1>those and restarting those productions. That is a really good

0:15:37.920 --> 0:15:39.400
<v Speaker 1>question that I think a lot of people are trying

0:15:39.440 --> 0:15:41.800
<v Speaker 1>to sort out. You had a movie like one of

0:15:41.840 --> 0:15:45.520
<v Speaker 1>the Marvel Studios movies, Shoung Chi and The Legend of

0:15:45.600 --> 0:15:48.800
<v Speaker 1>the Ten Rings, that was in the middle of production

0:15:48.880 --> 0:15:53.320
<v Speaker 1>in Australia when the pandemic hit and its director destined.

0:15:53.360 --> 0:15:56.800
<v Speaker 1>Daniel Creton even announced that he went into self quarantine

0:15:56.840 --> 0:16:00.920
<v Speaker 1>because he had been exposed to somebody who had tested

0:16:00.960 --> 0:16:03.680
<v Speaker 1>positive for COVID. He did not end up testing positive

0:16:03.720 --> 0:16:05.680
<v Speaker 1>for COVID. But when your director has to take two

0:16:05.720 --> 0:16:08.760
<v Speaker 1>weeks off, that automatically shuts things down at least for

0:16:08.800 --> 0:16:11.560
<v Speaker 1>those two weeks, and that production hasn't started up again yet.

0:16:11.840 --> 0:16:15.080
<v Speaker 1>Any production that shuts down you have to then rehire people,

0:16:15.160 --> 0:16:18.760
<v Speaker 1>you have to re establish your location. Sometimes that can

0:16:18.840 --> 0:16:21.480
<v Speaker 1>piles on costs on top of everything else you're doing.

0:16:21.880 --> 0:16:24.520
<v Speaker 1>On a smaller scale, we talked to a producer in

0:16:24.600 --> 0:16:28.800
<v Speaker 1>the UK who estimated that the costs of halting a

0:16:28.920 --> 0:16:32.320
<v Speaker 1>show and then starting it up again based in Manchester,

0:16:32.680 --> 0:16:36.280
<v Speaker 1>who's going to run her three dollars roughly in American money,

0:16:36.640 --> 0:16:39.320
<v Speaker 1>and that's just a small television show. You can compound

0:16:39.400 --> 0:16:42.840
<v Speaker 1>that amount of money several times over for the bigger productions.

0:16:43.240 --> 0:16:45.000
<v Speaker 1>Like I said, there's so much going to this. We're

0:16:45.040 --> 0:16:48.120
<v Speaker 1>starting to get back and seeing the plans formulate, but

0:16:48.360 --> 0:16:50.040
<v Speaker 1>it's still very much seems like it's going to be

0:16:50.080 --> 0:16:53.240
<v Speaker 1>a slow rollout for the entire industry to get back

0:16:53.320 --> 0:16:55.640
<v Speaker 1>up to whatever the new normal will will be for

0:16:55.840 --> 0:16:57.600
<v Speaker 1>the time being. As soon as we get started again,

0:16:57.680 --> 0:17:00.400
<v Speaker 1>so we'll definitely have to see how this rolls out.

0:17:00.840 --> 0:17:04.760
<v Speaker 1>Adam b Very, Senior entertainment writer at Variety, thank you

0:17:04.880 --> 0:17:06.800
<v Speaker 1>very much for joining us. Thank you so much for

0:17:06.880 --> 0:17:12.040
<v Speaker 1>having me. I'm Oscar Ramrors and this has been reopening America.

0:17:12.560 --> 0:17:15.159
<v Speaker 1>Don't forget today's big news stories. You can check me

0:17:15.200 --> 0:17:17.760
<v Speaker 1>out on the Daily Dive podcast every Monday through Friday,

0:17:18.119 --> 0:17:20.399
<v Speaker 1>so follow us on I Heart Radio or wherever you

0:17:20.480 --> 0:17:21.320
<v Speaker 1>get your podcast