Grève des acteurs à Hollywood : IA, salaires... Pourquoi ils sont furieux !

POP NEWS

Cette vidéo est l'intégrale de Pop News épisode 15. Pop News, c'est l'émission qui récap l'actualité Pop Culture du moment. Ici, Adrien et Thomas évoquent la grève du syndicat des acteurs américains, la SAG AFTRA, qui tente de défendre les droits des comédiens face aux studios hollywoodiens. Avec la grève des scénaristes de la WGA en cours, cette double grève va avoir des conséquences importantes sur les sorties cinéma et série des prochaines années. Il est question de contrôler l'usage des intelligences artificielles, d'assurer un minimum de salaire pour les acteurs et, globalement, d'endiguer le recul des droits de la profession.  POUR NOUS SOUTENIR : Vous pouvez laisser un like, un commentaire et vous abonner à la chaîne. Pour nous faire connaître, vous pouvez aussi parler de l'émission autour de vous. Enfin, vous pouvez nous suivre sur les réseaux sociaux :   YOUTUBE : https://www.youtube.com/channel/UC3YWOR2GIhcNpoLF5PnGblQ  TWITTER : https://twitter.com/PopTierCast ❤️ FACEBOOK : https://www.facebook.com/PopTierCast  TIKTOK : https://www.tiktok.com/@poptierpodcast  INSTAGRAM : https://www.facebook.com/PopTierCast  DAILYMOTION : https://www.dailymotion.com/dm_197cf419df7f1b64e6b15c70aa20db0b   ÉCOUTER LE PODCAST : Pop Tier liste la pop culture tandis que Pop News fait le récap des news pop culture du moment !  Sur Apple Podcasts : https://podcasts.apple.com/fr/podcast...  Sur Spotify : https://open.spotify.com/show/4UWmaJp... Partout ailleurs : https://smartlink.ausha.co/pop-tier-avis-et-news-cinema-series-et-jeux-video  #movie #news

Transcript

00:00 We're going to talk about the Sagaftra strike, which is now joining the WGA

00:10 to push their claims against the Guild of Producers and especially the studios

00:21 who are obviously not particularly fond of their claims.

00:25 That's why the Sagaftra, the main actors' union in the US, decided to strike.

00:33 We're going to explain a bit why, the reasons for this strike.

00:39 There are two main reasons for the Sagaftra strike,

00:45 which are closely related to the reasons why the American screenwriters

00:49 went on strike last May, and are still on strike at the time of this podcast.

00:55 The first reason is simply because the ecosystem has been broken

01:00 by the arrival of streaming platforms that don't really pay the small hands

01:05 who make the series or the movies, but rather pay for a kind of package,

01:11 if you will, the purchase of the various licenses to broadcast movies or series.

01:16 And so it's more on the studios that all this money is spent.

01:22 And then there are what we call "residuals", which are basically copyrights

01:28 to make sure that when you appear in a movie or a series

01:34 and that this series is re-broadcast on TV or on a streaming platform,

01:39 you get a small check for each of these appearances.

01:45 Obviously, with the appearance of streaming platforms,

01:48 all of this was really questioned, and the residuals,

01:52 the residual checks that now come to the actors are really very, very, very low.

01:59 For some who are part of very, very big series, well watched on Netflix, for example,

02:05 we're talking about a few cents. So really, it's very, very little.

02:09 So that's the first part of the claims of the Aftra saga and also of the WGA.

02:18 And the second big part is artificial intelligence,

02:22 which is really starting to have a somewhat predominant place in future productions.

02:28 And the studios are very interested in it, in particular to write scenarios,

02:33 but also to potentially use the image of the actors, to use them and digitize them.

02:43 And that's obviously something that the Aftra saga and the WGA want to frame,

02:48 to try to make sure that the studios don't do anything with this kind of technological possibility.

02:53 These are the main reasons for the strike.

02:57 It's heavy, because there are two things that are facing each other at the same time.

03:01 In any case, they're facing two big problems head-on.

03:07 Because we could think that AI is something that happens quietly, but no.

03:12 As you said, it's already in place and it's taking up more and more space, and it's going very, very fast.

03:16 And we see it in our daily lives too, just without being a movie maker or without working in the cinema.

03:24 So we know that AI is the thing of the moment.

03:27 And I think this strike will obviously last much longer than the one in 2007-2008,

03:33 which lasted 101 days, if I remember correctly.

03:36 Because there are a lot more claims, there are a lot more actors,

03:40 but I'm not just talking about the movie makers, there are a lot more people on the front of the stage too,

03:44 who come to explain the why and the how, who come to claim what's going on.

03:49 And when I say actors, there are also real movie makers who come.

03:53 There are more and more.

03:55 We recently saw David Duchovny from X-Files who released a sign with the graffiti that was great.

04:01 "The residuals are out there."

04:04 So the residuals are not...

04:06 - Out there. - Out there, exactly.

04:07 In reference to X-Files.

04:09 So they all come to complain and they're all very afraid.

04:13 You can feel it for their profession, for the future of cinema in general.

04:18 In France, we're not yet impacted to that extent because we've been much more legislative

04:23 and we've managed to better deal with certain things.

04:27 So it protects us, or at least it protects French screenwriters a little more than American screenwriters.

04:33 But if it happens to them, it could very quickly happen to us too.

04:38 And all of that means that there's a lot of tension between the studios and, of course, some actors in the industry.

04:45 Of course. We'll be clear that the Aftra saga represents 160,000 members.

04:50 So it's obviously actors and actors, but it also represents stuntmen, stunt managers on set.

04:58 It's a lot of people and it's obviously a lot of impact, much more than the WGA,

05:03 which I think is about 12,000 screenwriters, which is already huge.

05:07 But it's very important.

05:09 In fact, when we heard the little song at the time of the WGA strike,

05:15 saying "It's okay, we can continue shooting because the scripts were already finished",

05:20 well, when you don't have actors to shoot your movies and your series,

05:24 it has very, very direct consequences, because your movie or your series stops.

05:29 There's no more shooting.

05:32 So that's obviously very important and we'll come back to that later.

05:36 But before that, we wanted to talk about what some people say.

05:40 Very recently, I came across George R. R. Martin,

05:43 who you obviously know because he's the author of the Iron Throne saga,

05:47 who has expressed himself a little bit about this on his blog.

05:50 You know he's very active on his blog.

05:52 And he says that these strikes don't really concern the leading authors,

05:56 where most of the producers are doing very well.

05:59 There's no problem with that.

06:01 We're striking for the authors at the beginning of their careers,

06:03 who hope to make a name for themselves.

06:04 The actor who has four replicas, and then the guy who's at his first job

06:07 and dreams of creating his own show one day, as was the case in the 1980s.

06:11 It's true that at the moment, it's a real questioning.

06:14 When you start in this career and you see the problems that the profession is facing,

06:21 it's true that it's the kind of thing that can possibly ask you questions

06:25 and say "I should maybe do something else".

06:27 And it can be a problem in the decades to come.

06:31 If you have a shortage of creative people, it's not a problem.

06:35 Because of AI.

06:36 Because of artificial intelligence.

06:38 And I think studios and platforms also count on it, even a lot.

06:41 We'll come back to AI in more detail later.

06:44 But that's where everything is at stake, I think.

06:46 But George R. R. Martin is totally right.

06:49 Because it's been very precarious for years,

06:51 the writer's job in particular.

06:53 We know it's very complicated to validate a show, to greenlight it in Hollywood.

06:57 Just take the example of Breaking Bad.

07:00 It was complicated to sell Breaking Bad.

07:02 All the studios refused until the AMC channel said "OK".

07:05 And even during the production of the show,

07:08 we had to fight to keep it going.

07:10 So even if we're Vince Gilligan and we're recognized today,

07:13 when we're not recognized, we have to put up our arms.

07:16 And so today it's even more complicated because the platforms need it.

07:19 They're ogres, they need content all the time.

07:23 We can see it with Netflix, but we can also see it with Disney+.

07:26 And everyone is complaining about all the Marvel series that come out

07:31 and no one watches them anymore.

07:33 It's a mess because there's too much of it.

07:35 There's no more marketing around it because it's too much content.

07:39 It's over-the-top.

07:40 And so people are starting to understand a little better, I think,

07:47 what the writer's job is, what content creation is.

07:50 Because on the one hand, we also have content creators on the Internet,

07:53 with YouTube, etc.

07:54 We're starting to better grasp the reverse of the setting.

07:57 And I think this strike has a more direct and easier to understand impact

08:04 for people, Lambda, than the ones from 2007, 2008,

08:07 or the previous strikes that there were in Hollywood.

08:09 And so it has more impact.

08:11 And today, there's a lot more ease of speaking about it on social media

08:15 when you're an actor in the industry than before.

08:18 So yeah, it's complicated.

08:21 And on top of that, there are some arguments and arguments

08:24 between actors and studio directors.

08:26 You can maybe talk about that recently.

08:28 I was just going to bounce back on the fact that you mentioned

08:31 the fact that the Marvel series are coming out,

08:34 it's an uninterrupted quantity, and no one watches them

08:37 because it's not of good quality.

08:39 By the way, one day I'll have to talk to you about Secret Invasion,

08:41 but that day hasn't come yet.

08:43 What we want.

08:44 Bob Iger, the president, general director of Disney,

08:48 old but new, has the same observation, oddly.

08:53 He says that the Marvel brand suffered from this omnipresence

08:57 of series on Disney+, and he also made himself noticed

09:02 for a bit off-the-ground speech, very honestly,

09:06 at the time of the launch of this strike,

09:08 since he says that for him it's very disturbing

09:11 that actors in the industry, like screenwriters or actors,

09:14 are going on strike, while the film industry

09:18 has a lot of problems.

09:21 We have a lot of trouble paying people to make a profit.

09:26 We'll remember that this man should have about

09:29 $27 million on the 2023 exercise.

09:32 He has about 15 million on the 2022 exercise.

09:36 When studios want to pay people, they know how to pay people.

09:42 That's not the problem.

09:44 There's a real faction, I'd say, of studios and platforms,

09:50 who want to maximize profits.

09:52 That's their prerogative, I'd say,

09:55 since they're all companies listed on the stock exchange.

09:58 So, of course, you have to maximize profits.

10:00 How do you maximize profits?

10:01 By paying as little as possible to the small hands

10:03 who help you do all this.

10:05 That's what these two strikes highlight.

10:08 The artisans behind these works,

10:12 whether they're of quality or not,

10:15 the people above them prefer to reduce them to poverty.

10:20 For some, that's the case.

10:22 We're not talking about Leonardo DiCaprio in this kind of situation.

10:26 We're not talking about Craig Mazin or George R.R. Martin.

10:29 We're talking about people who are already having a hard time

10:32 paying their bills.

10:35 These are people who are very impacted

10:38 by what studios and platforms want to do right now.

10:41 Of course.

10:42 There was the example of Ron Perlman, who played Hellboy,

10:45 who also wanted to respond in his own way,

10:48 saying, "You want to get us out of our homes

10:50 and make us poor."

10:52 "We can do it for you too."

10:54 "We'll get our big arms out and we'll come and beat you up."

10:58 There's a kind of class struggle going on.

11:03 It's been going on for years, no doubt about it.

11:06 But the machine, we feel like it's getting a little bit of a hold on Hollywood.

11:10 It wants to feed itself even more than usual.

11:12 It wants to devour everything in its path,

11:15 but it's at risk of losing a lot.

11:18 We'll come back to that later on the AI side.

11:21 It's a door for them, but I don't think it's the right one.

11:24 We'll just say that it's the first time since 1960

11:28 that the Aftra saga and the WBJS are at war at the same time.

11:31 Which obviously shows the extent of the problem.

11:34 I wanted to quickly talk about Shun Gun,

11:37 an actor that you've seen in Guardians of the Galaxy,

11:41 but who's also in Gilmore Girls,

11:44 and who talked about one of the many pickets in Hollywood,

11:48 saying that even if Gilmore Girls is extremely streamed on Netflix,

11:52 he doesn't earn anything at all in residual checks on all his streamings.

11:57 So it shows the extent of the problem too.

11:59 The problem is that the money stays in one place,

12:02 it never goes down.

12:04 It's the famous "streaming theory" but it never happens.

12:07 - That's funny. - It's funny.

12:09 - It doesn't exist. - There you go.

12:11 So that was to finish on residual checks.

12:13 We'll talk a bit about AI,

12:15 since it's obviously one of the big problems

12:18 that's being announced for all these artists.

12:24 You have to know that Tom Cruise tried to lobby

12:29 the studios and producers' union,

12:33 saying that it would be good to frame AI

12:36 and to highlight a bit the positions of SAG-AFTRA

12:40 on artificial intelligence.

12:42 Obviously he didn't succeed,

12:44 since it didn't convince them enough

12:46 to sign the contract,

12:48 and to have a deal signed between SAG-AFTRA and the studios.

12:52 But it shows that there are people in a position

12:57 of relative power in Hollywood

12:59 who are aware of this kind of problem.

13:02 James Cameron also spoke about it,

13:05 saying that obviously AI didn't see

13:08 how a machine could make it so intelligent,

13:16 so touching, as humans can be.

13:19 I'll quote what he said.

13:21 "I can't believe that a disembodied mind

13:23 that regurgitates what real human minds have to say

13:26 about the life they've had, about love, lies, fear and death,

13:30 can put all these ideas together in a salad

13:32 to better regurgitate them.

13:34 I don't think that these things could move an audience.

13:36 You have to be human to write something like that.

13:38 I don't know anyone who thought about

13:40 having a script written by an artificial intelligence."

13:43 So it shows that we're trying to face this problem,

13:48 that artists, writers, directors, actors,

13:54 understand the problem.

13:56 But it's so much easier for an executive to say,

13:59 "It's okay, we don't even have to pay,

14:02 it's a machine that will do it."

14:04 So it's very easy for them to be blind

14:07 to this kind of claim.

14:09 That's the solution.

14:11 If you're in the head of an executive,

14:13 in the head of a studio,

14:15 it's obviously the best solution.

14:17 Because you're going to save money.

14:19 Short-term.

14:20 Short-term, yes, but you're saving money.

14:22 You're backing off some actors in the middle,

14:25 but it's not a big deal,

14:27 because you're going to keep making money.

14:29 I'd just like to continue on Cameron,

14:31 because he also said something else that's interesting.

14:33 "I think we're going to enter the equivalent

14:35 of a nuclear weaponry race with artificial intelligence.

14:37 You can imagine an artificial intelligence

14:39 in a combat arena fighting against other computers

14:41 at such a speed that humans could do nothing.

14:43 I think there will be no more backing off."

14:45 And in fact, it's perhaps the premise.

14:48 Obviously, it's very dark, what he says.

14:50 And he's a director of Terminator,

14:52 so he knows his stuff.

14:54 But it's still the premise of something dark

14:56 that's happening.

14:58 Not only in the cinema, unfortunately.

15:00 We're going to have to do a lot of things

15:02 to legitimize all of this.

15:04 The fact that it's so exposed right now

15:06 is because it's Hollywood,

15:08 and so obviously it allows for a much easier

15:10 and more direct vision of the problem.

15:12 But it's going to impact us in the years to come,

15:14 even in the months to come, very quickly.

15:16 And I don't think we realize yet

15:18 how much it's going to change

15:20 our way of consuming culture,

15:22 our way of living, of seeing things.

15:25 It's going to be pretty intense.

15:27 Ultra interesting to follow, of course.

15:29 But it says a lot about our time,

15:32 that we're getting to such a big strike,

15:35 and that studios, for now,

15:37 because we're recording on July 24th,

15:39 studios aren't moving from Iota.

15:41 They're in the mood, we do what we want.

15:43 By the way, there were a number of sources

15:46 who talked about the attitude of studios

15:48 about, at the time, it was still

15:50 only the strike of the screenwriters,

15:52 and people who said, quietly,

15:54 in the studios, "It doesn't matter.

15:56 We're getting to a point where they're

15:58 really not going to have any money,

16:00 where they're going to lose their homes,

16:02 they're not going to be able to support themselves.

16:04 But it doesn't matter, that's what we want.

16:06 So that they stop being on strike."

16:08 Ultra-public.

16:10 That's the problem.

16:12 The human being in this situation

16:16 is no longer a consideration for corporations.

16:20 It's a real problem.

16:22 An example of the AI that Hollywood and studios can use

16:26 is to take, you talked about it a little bit earlier,

16:29 but to take the image of a figure

16:31 and use it as a vitam.

16:33 We're going to take the movements of a figure,

16:36 his face, his body, etc., his expressions,

16:39 and we can use it in any other content.

16:41 It's just been paid once for this shot.

16:44 For a day of work.

16:45 A day of work, this shot, and it can appear

16:47 in hundreds, thousands of movies,

16:49 even after his death, etc.

16:51 So that's more or less dramatic,

16:53 it's a little scary.

16:55 It's still something that,

16:57 I would be afraid of, personally.

16:59 We're starting to talk about it with great actors

17:02 like Bruce Willis, who had given up

17:04 his rights to images to certain studios.

17:08 So that we can use his image later in other movies.

17:11 I don't know, what do you think?

17:14 I think it's terrifying, as you say.

17:17 Obviously, when it's done under these conditions,

17:22 you think that no one can accept that.

17:25 The problem is when you're a new actor

17:28 and you're already happy to have your salary as a actor,

17:33 at what point are you not obliged to accept

17:36 this kind of condition?

17:38 And to say, "Well, maybe in 20 years,

17:40 you're a world-famous star,

17:42 but there's a studio that paid you for a day of work

17:45 and that can use your image of Vita M'Eternam

17:47 because you were obliged to be able to pay your bills,

17:50 to sign this contract."

17:52 And that's why this kind of thing

17:54 absolutely needs to be framed.

17:56 So it's not just about doing the left-wing mentality.

17:59 It's just to say,

18:01 there are things that we shouldn't be able to do recently.

18:06 If people are okay with the use of their image,

18:09 that we can generate it with artificial intelligence

18:12 for very precise visual effects,

18:16 but there's a very precise contract for a movie.

18:19 We've seen it recently, a lot of times, on the Marvel side.

18:22 We've seen it, and we'll talk about it soon,

18:25 in a pub-tear for Harrison Ford and Indiana Jones.

18:28 I doubt Lucasfilm has him sign a contract

18:31 to tell him, "Now that we've digitized you well,

18:34 we'll be able to reuse Indiana Jones in five years

18:37 to make a movie, even if you're dead."

18:40 There are people who have enough power

18:43 to be sufficiently surrounded by legislators,

18:48 lawyers, etc.

18:50 But the actor, the actor who's at the bottom of the ladder,

18:53 he doesn't have a choice, basically.

18:56 And it's those people that we have to protect.

18:59 Absolutely.

19:01 And it's going to be very complicated, that's why there's the strike,

19:04 and I can't wait to see what it's going to be like.

19:07 What's going to come out of it? It's very difficult to negotiate all that.

19:10 And they're putting pressure on us right now.

19:13 Will they not come back in a few months, a few years,

19:15 to do the same thing?

19:17 Will they not find a flaw in the system to succeed?

19:21 The members won't give in at some point,

19:26 because you have to work hard, you have to eat well.

19:29 So it's a bit complicated.

19:31 I have another example, just so people understand

19:34 what the dangers of AI are.

19:36 It's Jet Li's example with Matrix.

19:38 I don't know if you remember.

19:40 I found an interview with Jet Li,

19:42 who at the time had to work on Matrix Reloaded and Matrix Revolution.

19:45 And he explains that he hesitated when he realized

19:47 that the Americans wanted him to participate in the film

19:49 for three months, but with a team for nine.

19:51 The next six months, they wanted to record my martial arts movements,

19:54 copy them digitally to keep them in a database.

19:57 At the end of this recording, they would have obtained the rights to these movements.

20:00 I told myself that I had trained all my life to succeed,

20:03 and that we, martial arts enthusiasts, were doomed to age,

20:06 while they could keep my movements forever as an intellectual property.

20:09 I told them I couldn't do that.

20:11 So that's it. That's exactly what it is.

20:13 It's work, it's a labor.

20:15 It's a whole life, as Jet Li explains, as a martial arts specialist.

20:18 And in two seconds, the guy says, "No, you're useless."

20:21 "You gave us what you had to give, and now we can throw you in the trash."

20:25 "The computer will do the work for you."

20:27 It shows that this kind of struggle doesn't date back to yesterday.

20:30 At the time, it was used punctually

20:33 against individuals who had the presence of mind not to accept it.

20:37 But when you generalize this problem,

20:40 we can see that there is only one solution for trade unions

20:45 to try to put pressure from a global point of view on these studios.

20:49 Because we can see that most studios,

20:53 well, let's say that studios and streamers,

20:56 really want to reduce costs as much as possible.

20:59 We talked a lot about this in the previous Pop News,

21:02 saying that there were a lot of licensing,

21:05 real waves of several thousand people who have licensed,

21:08 especially at Disney, but we saw it at Amazon, it's the same.

21:12 So it's really something that is extremely important

21:15 and that we will follow with great interest.

21:18 So that's for all these reasons that there is a strike,

21:21 from the point of view of the Aftra saga and the WGA.

21:24 We will now talk about the consequences,

21:26 since obviously all this has very clear consequences.

21:29 It's the shutdown of the shootings,

21:31 especially of the blockbusters,

21:33 since on the side of independent productions,

21:36 there are a number of, let's say, "let it go",

21:39 which were made available.

21:42 Very few, about thirty.

21:44 Yes, but there are notably the productions "A24",

21:48 which was the producer of "Everything Everywhere" last year,

21:53 because "A24" is not part of the union of studios,

21:57 of the "AMPTP" as I think that's the acronym.

22:02 But anyway, that means that there are a number of films and series

22:05 that were currently being shot,

22:08 or that were going to start shooting,

22:10 and that can no longer be shot,

22:12 no matter if they had one day of shooting left,

22:14 or two weeks, etc.

22:15 Simply because there were Aftra saga actors

22:17 who had to shoot and who can't literally enter the studios.

22:21 So it concerns "Deadpool 3", which we talked about earlier.

22:24 It obviously concerns "Mission Impossible 8",

22:26 which had already started its shooting,

22:28 which was in pause to be able to promote "Mission Impossible 7",

22:32 "Mission Impossible", "Dead Reconning", "Part 1",

22:35 and "Part 2", which is due to be released in 11 months,

22:38 will very likely be postponed.

22:41 Or if it's not postponed,

22:43 there will be very close cuts, in my opinion, on the film.

22:46 "Venom 3" is concerned.

22:48 - It's not too serious. - It's not too serious.

22:51 "Gladiator 2", which we had already talked about in "Pup News",

22:54 is also impacted.

22:57 "Lilo & Stitch", from Disney.

23:00 Obviously, it's not the only ones.

23:02 On the film side, it's the big ones.

23:04 There are a number of series that are impacted.

23:07 I'm thinking of "Andor", season 2,

23:10 which only had one week of shooting left.

23:13 Currently, it's being shot in the UK,

23:16 and we'll see that the UK has a very particular specificity

23:20 on this strike.

23:22 A number of actors from the Aftra saga were on the Andor shooting,

23:27 and the Andor shooting continues,

23:30 with actors that are not affiliated with the Aftra saga.

23:34 So it means that the big names of this series

23:38 will probably not be seen on this end of shooting,

23:42 and they will end up at the end of the day.

23:45 We will also say that the showrunner,

23:47 and main screenwriter, and director, sometimes,

23:50 Tony Quinroy,

23:53 has not been on the shooting since May.

23:56 Because he respects the strike.

23:58 Because he's on strike too.

24:00 So we were very, very hot for the rest of Andor.

24:04 Season 2, in these conditions,

24:06 scares me a lot.

24:08 The end of season 2, anyway.

24:10 Because if they shot in chronological order,

24:12 it can be complicated.

24:14 That's scary.

24:15 We're going to talk about "House of the Dragon",

24:17 which is obviously one of the most awaited series

24:20 for the next few years, for 2024, to be very precise.

24:24 "House of the Dragon" is not impacted.

24:26 Why? Because it's a production

24:29 that is mostly done with British actors.

24:33 And the British actors depend on the union,

24:36 the union called Equity.

24:38 And Equity, who would like to be able to strike

24:43 in support of the actors of "Sarghaf Tra",

24:46 is not legally allowed to do so.

24:49 Because in the United Kingdom,

24:52 there are a lot of rules and laws

24:55 that make it not really possible.

24:57 So if an Equity actor starts to strike

25:02 on the shooting of "House of the Dragon"

25:04 or on any other shooting

25:06 in support of the members of the "Sarghaf Tra",

25:08 they can be prosecuted for breaking their contract.

25:14 And so we can ask them for damages and interest.

25:18 So you can imagine that it's a break in the strike.

25:21 That kind of condition.

25:23 So that's it for "House of the Dragon",

25:25 which continues its shooting,

25:27 even if we specify that there is no rewriting of the script

25:30 that can be done from the beginning of the shooting,

25:33 since the actors, the screenwriters are also on strike.

25:37 Even if the scripts, I know,

25:39 were finished from the beginning of the shooting.

25:43 That's it for "House of the Dragon".

25:45 And just a particular example,

25:47 at the moment the shooting of the "Spinoff" series "Alien" has started.

25:51 And this "Spinoff" series is shot in Thailand,

25:56 and it's an Equity production.

25:59 Some actors were dependent on the "Sarghaf Tra",

26:03 and these actors don't shoot.

26:06 On the other hand, all the other British actors,

26:08 we can think of Alex Lothar and Samuel Blankin,

26:11 who are both members of the casting of "Black Mirror",

26:14 they are shooting, since they are not affiliated with "Sarghaf Tra".

26:18 They are not affiliated.

26:20 We can imagine that in the next months and years,

26:25 there will be a certain number of productions,

26:29 but the shooting conditions will be very complicated for the actors,

26:33 because if Alex Lothar had to shoot a scene

26:38 in front of a member of the "Sarghaf Tra",

26:40 he will probably shoot it in front of someone else

26:42 who gave him the line,

26:44 and conversely, the member of the "Sarghaf Tra",

26:46 when the strike is over,

26:48 will probably not shoot his scenes in front of Alex Lothar.

26:51 So it can also give shots where someone will be stuck later,

26:58 in post-production.

26:59 These are things that are being done,

27:01 but that may have to be generalized later,

27:05 because the studios want to continue producing.

27:08 Of course, there is a good chance that it will become the norm.

27:10 And we must not forget that the studios have been eating COVID in their faces for years,

27:13 so it's complicated for them.

27:14 Cinema is barely going back,

27:16 the series are fine,

27:18 but the shooting of the series is a bit quiet,

27:21 without too many problems to isolate the actors, etc.

27:26 So it's something that puts a stop to it a little bit.

27:31 We didn't expect it necessarily,

27:32 but it's complicated for cinema for the last 3-4 years.

27:35 Of course.

27:36 And so we can also imagine that in this context,

27:38 there is a more focused resort to foreign productions,

27:43 outside of the United States.

27:46 This is already the case a lot with Netflix,

27:49 which will draw in South Korea,

27:51 which will draw in Europe, etc.

27:53 But we can imagine that it will be even more the case in the coming years,

27:57 since we will have to continue, as you said,

27:59 to feed the content that streaming platforms are.

28:03 That's it. And a little clarification before we finish on the subject,

28:06 that we must not be surprised if we no longer see actors in promotion,

28:09 because the fact that the actors are on strike

28:11 prevents them from making films.

28:13 We had a rather shocking example,

28:16 but in any case quite interesting, very recently with Oppenheimer,

28:18 where the actors in the film

28:21 left the London premiere in the middle of the screening

28:25 because they couldn't do the film promotion anymore.

28:27 They let Christopher Nolan alone talk about the film

28:30 because they are on strike

28:32 and therefore no longer have the right to talk about the films they are in.

28:36 So it's pretty interesting too.

28:37 And I think we won't have too much marketing in a few weeks.

28:41 It's going to be tough for Hollywood too.

28:43 That's clear. That's why we can imagine that a certain number of productions,

28:47 that's why I was talking about one part of the two earlier,

28:49 could be postponed precisely because this kind of project,

28:53 which costs extremely expensive,

28:55 needs the promotion of the actors.

28:58 So we can imagine that there are already a number of festivals

29:02 at the end of the year that will be held by American stars.

29:05 Mostra in particular, which is about Zendaya and Challengers,

29:09 the film whose heroine she is.

29:11 They decided to stop and not to put it forward.

29:14 Exactly. So we imagine that a part of Conte is also a little bit on these things.

29:19 It should perhaps be postponed potentially to 2024,

29:23 hoping that the strike will not last as long as that.

29:26 Or they will have to count only on Denis Villeneuve to promote the film.

29:30 The Saver. I don't think it will be enough because he is not well known in addition to the general public.

29:34 Olan can work, but otherwise I have a solution.

29:37 We make a Miyazaki.

29:39 We don't promote the last Miyazaki film,

29:42 which does not prevent the film from working, to be screened in Japan.

29:45 It was released without any ads, no promotional images,

29:49 except for a poster. And yet the film works very well.

29:52 I say that to place the fact that we discovered the film in preview in Japan a few weeks ago.

30:01 And we delivered our opinion in video and also in podcast.

30:05 So don't hesitate to go listen to it. It will make us very happy.

30:08 Yes, all this without spoilers of course.

30:10 Thank you Adrien for your report on the extreme.

30:12 I was on the field. I was on the field.

30:14 Exactly.

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