2024 State of the Film Industry Report
I’d like to take a moment to address the film industry contraction that has greatly impacted crew around the world. Before I do, it’s important to state that all observations and opinions in this post are expressly my own, and do not reflect the opinion of Art Director’s Guild or The International Alliance of Theatrical and Stage Employees (IATSE), the film labor union to which I belong. I also do not claim to be an economic expert. I am, however, a careful observer of industry happenings and a fierce advocate for my craft.
Why do we need to talk about this?
In 2019, I invented #AGraphicDesignerMadeThat to bring visibility to the incredible contributions that graphic designers make in the entertainment industry worldwide. I recognized then (as I recognize now) that while graphic design for film is an exciting career path, it is also a distinctly challenging one with very few resources available to those who have chosen to pursue it.
In 2023 I released a first-of-its-kind, globally accessible educational curriculum designed to mentor and train designers as they navigate the rigors of launching a film industry career. A Graphic Designer Made That has evolved to become not just a celebratory space, but a place for film designers new and old to ask the hard questions.
Right now, the hard question on everyone’s mind is, “what’s going on with the film industry?”
Honesty lies at the core of every lesson I teach, and it is the foundation of my philosophy as an educator. I never shy away from speaking about the harder aspects of working in the film industry – in fact, I believe it’s an essential conversation to have. When we dig into the tough stuff with honesty, we become more equipped to tackle the real day-to-day challenges that come along with this job. But more importantly, having these hard conversations empowers us to make informed, confident decisions about our lives and careers, and identify the pain points in our industry that need fixing.
So let’s dig into the tough stuff.
Firstly, what’s going on?
In May of 2023, the Writer’s Guild of America (WGA) entered a labor dispute with the Alliance of Motion Picture and Television Producers (AMPTP). Shortly after, The Screen Actor’s Guild (SAG-AFTRA) entered into their own labor dispute with the AMPTP. Members of these labor unions were fighting for fair contracts that included wages that kept pace with inflation, and crucial protections against artificial intelligence, among other things. The combined strikes lasted well into November 2023. During that time, film production around the world crashed to a standstill.
The ripple effects of this rare “twin strike” have coincided with the fallout of what is now known as “The Streaming War” – a multi-year arms race that saw production companies spending incredible amounts of money producing incredible quantities of content. To put this into simple terms, ever since Netflix introduced streaming in 2007, production companies have been competing for a piece of this apparently profitable new business model.
The resources and workforce required to create all that content was immense. For film crew – that meant a lot of jobs. Sometimes, it was more work than we could handle – as crew began to report increasing workloads and decreasing project timelines and budgets compared to previous generations of showmaking.
That is, until the streaming bubble popped. Production companies are scaling back, assessing their projects more carefully, cancelling shows, and clutching dollars. The global film workforce that was amassed to service the industry over the past decade have been left looking for work. Those who are working still feel the squeeze as crews are asked to do more, faster, and with slashed budgets to boot.
What’s it looking like out there?
At the time of writing, the 2023/2024 contract negotiation cycle has ended. The labor unions that represent both “above the line” workers like writers, directors, and actors, and “below the line” workers like lighting techs, transportation drivers, makeup artists, coordinators, costume designers, set dressers, propmakers, and graphic designers like myself – have all secured labor contracts for the next 2-3 year period. These unions represent filmmakers at all levels of the food chain working in the US, Canada, and other countries as well. What happens in these negotiation cycles has a ripple effect that can be felt across the film industry worldwide.
With the strikes and current negotian cycles ended, work is slowly picking back up. However, film production remains well below pre-strike levels. Various outlets have reported on the numbers, citing this report by ProdPro that claims US production is down 40% from 2022 levels, and down ~20% globally. That’s a huge swing – and it’s hitting the American market particularly hard.
On a global level, shows that would have filmed in the US are moving overseas where lower production costs and lack of union restrictions allow production companies to produce content more cheaply. Within the US, this is happening on a micro level too. Shows that would have filmed in a hot spot like Los Angeles are looking to film in other states that offer tax breaks and a cheaper workforce. As an example, since the beginning of 2024, folks I know or have met who normally work on Los Angeles-based productions have been shuttled around to film in Georgia, Montana, Texas, Canada, and Prague. I myself am another data-point in that list, having spent the spring and summer working on a production in Fort Worth, Texas.
So that’s the hard stuff. Production is down globally, and it’s particularly slow in the US. But on the flip side, workers in other markets may see an increase in local projects as productions chase various financial incentives available to them. If you’d like to read about any of this in more detail, I’ve linked a few reference articles from the past two years at the end of this post.
What should I do?
If you’re an industry veteran – stay sharp, and stay nimble. I’ve always been an advocate for intentional skill-building, even when there was plenty of work to go around. But in an economic constriction, your skills and reputation may be more important than ever before. Take this time to re-evaluate your portfolio and workflows. Are there pain-points in your process? Are there areas you could improve in? We all have weaknesses – now is the time to identify yours and seek to grow in those areas.
Some of us will, or already have chosen to leave the industry and pursue other jobs, maybe even other cities. This can be a very hard thing to go through, so I think it’s important to remind ourselves that it is ok to change course. Ultimately we all gotta do what is best for ourselves, our finances, and our health, whether the pivot is temporary or long-term. One silver lining is that it’s been awesome to see new businesses take shape during this time. I love seeing industry veterans creating opportunities and jobs for each other that utilize the unique and hard-earned skills that film work requires, or finding stability in an “IRL” job that film industry life just doesn’t offer.
If you’re new to the industry – stay patient, and stay informed. You may be hitting the pavement, seeking industry connections, developing a portfolio, following all the traditional “breaking into the industry” tips – and feeling like it’s not going anywhere. Remember that it’s not personal. There are people out there who might be happy to hire you – if they had positions to fill. Understand that it is a tough time for everyone, newbies and veterans alike.
You may also have a lot of questions about the future of the industry. The hardest thing about all of this is that it is going to be really hard for anyone to give a definitive answer to those questions. The global economic forces driving these industry shifts are unfolding in real-time – and even long-term industry vets are in the same boat, asking the same questions as you.
Everyone wants to know: what’s going to happen next? While we watch and wait together, take this time to really learn about this industry and the forces that drive it.
Some Unsolicited Advice:
One: If you love the art, keep making the art. As designers we should seek to create the best work that we can, regardless of what industry we’re employed in and even regardless of the medium. Maybe that looks like planting a garden. Or designing a series of graphic props inspired by old painting at an art museum. Or dreaming up a new business idea. Or even writing your own screenplay. (Ok, now I’m just listing my coping mechanisms… )
Whatever it looks like for you, at the end of the day all we can do is create the things that move us forward. And in this process we will learn, create, iterate, learn more, and create again. Challenge yourself to consistently put your favorite work into the world, because you never know where it will lead you. And always ask: “how can I do this better next time?”
Two: Unplug, when needed. Facebook, Reddit, any and all comment threads…most of us know by now how quickly social media can become a breeding ground for collective anxiety. While it’s important to stay informed, it’s also important to know when to take a step back and breathe. There are several social media groups for film industry professionals that have become very heavy places to read and hang out lately. While these are important spaces for the film community to support each other and trade notes on what’s going on in our industry, consider this a friendly reminder that it’s ok to step back, turn it off, and take a break.
Three: Remember: You are more than your job. When the film industry asks so much of us, it can quickly become our whole identity. And it’s so easy to glamorize this lifestyle. We walk through film sets, travel to interesting locales, make props held by celebrities, and get access to a world that a lot of people truly only dream of being part of.
But we can’t forget – this is a job, also. You will have challenging problems to solve, coworkers you don’t like, difficult deadlines, bills that need paying, and global industry economics to contend with.
The truth is, whether you’re already in the industry or hope to be someday, we’re dealing with some tough times. And honestly? It sucks. Speaking from the heart, I know it can feel frustrating, scary, and unfair to be handed this set of circumstances. But as difficult as it is and will be, I like to remember the words of a wise old wizard who inspired my film career journey: “All we have to decide is what to do with the time that is given to us.”
It’s ok to love what we do and also recognize that the industry we do it for could be better. But you, your worth as a person, is so much more than the job that you do. Don’t forget that.
Course Availability and Updates:
At the time of writing, How to be a Graphic Designer for Film + TV, Part 01 is open for enrollment and available to anyone wanting to sharpen their film portfolio and essential on-the-job workflows.
Development of Part 02, which will focus more on navigating the business of working in film, is being revised as I research and observe industry changes. When it is released, it will be in a format that can be easily updated as the industry shifts and evolves in the coming years.
Creating The Future Of Our Craft
My goal as an educator has never been to make bold guarantees that every student of mine will walk out of my classes and straight into a flourishing film industry career. As you can see from the contents of this letter, that would be an irresponsible and unethical promise to make.
Rather, I want to encourage designers around the world to come together, despite our varied levels of skill and experience, to not only celebrate graphic design for film, but to ask ourselves, “how can we make our corner of the industry a bit better next time?”
So let’s continue to ask the hard questions, learn, and support each other through the tough stuff. In doing so, it is my hope that we’ll learn how to build sustainable design careers in the film industry – a crucial step to preserving this craft that we all love. ✸
REFERENCES & RESOURCES
Q2 2024 Global Production Report by Prod Pro
How the Streaming Wars Exposed the Fascinating Evolution of Streaming Services by SIMKL
The Streaming Bubble Has Burst by Vanity Fair
Where’s Work? by Carolyn Hill
With Hollywood Shedding Jobs, Here is Help for Coping with the Slowdown by Los Angeles Times
6ft From The Spotlight: The Home of Mentally Healthy Productions on Instagram
If you are in need of immediate financial assistance, visit The Entertainment Community Fund.
