PGA Leaders Tackle Health Benefits & Wildfire Aid Before Awards Night!

EXCLUSIVE: As the Producers Guild of America Awards (PGA) approach, marking a pivotal moment before the final Best Picture votes, the influence of the PGA is undeniable. The Guild not only assesses who can receive the highest Oscar accolade but also supports producers through the complexities of the industry. PGA Presidents Stephanie Allain, Donald DeLine, and CEO Susan Sprung open up about the progress made over the last year and what lies ahead.

DEADLINE: With the PGA Awards imminent, can you share some of the past year’s successes?

SUSAN SPRUNG: Our major announcement last year centered around our healthcare initiative. Over the year, we encouraged production companies to join this initiative, which has greatly benefited producers by providing them with healthcare coverage during production. We now have over 30 major companies on board. The aim is to standardize healthcare coverage for producers actively working on films, especially those not already covered by unions or other plans. So far, the response has been positive, with little resistance to adding healthcare as a budget line item for these producers.

In 1985, when collective bargaining was off the table for us, the studios provided NPI insurance, but it was limited to specific producing roles and only covered AMPTP signatory projects. Our healthcare initiative seeks to broaden this, ensuring that every full-time producer receives health coverage. This can be achieved in three ways: MPI insurance, inclusion in a company’s own health plan, or a minimum contribution to the producer’s health insurance. A notable implementation of this initiative was on Stephanie’s film, Woman in the Yard, a Blumhouse production distributed by Universal.

STEPHANIE ALLAIN: Another significant development was the overhaul of our code of credits. As a nonprofit trade organization, we recently restructured and updated these credits to reflect the diversity of roles within the industry, recognizing 32 unique credits across various formats. This includes consulting with industry professionals, such as those producing major live events like the Grammy Awards, to accurately define these roles. Additionally, we launched the “Producing as a Job” campaign to clarify the role of a producer and address common misconceptions surrounding the title.

DEADLINE: There’s a new group, Producers United, that’s been engaging with studios for better pay and benefits. Will the PGA align with them?

DONALD DE LINE: It’s important to note that many from Producers United are also PGA members. Our histories are intertwined—we faced legal challenges that defined our capabilities, specifically ruling out collective bargaining due to our dual representation of supervisory and non-supervisory roles. We aren’t a union, but we support any efforts towards better compensation for producers.

SPRUNG: Exactly, and while we can’t negotiate fees ourselves, we champion those who do.

DE LINE: Absolutely, there’s a sense of camaraderie. Improvements for one benefit us all.

DEADLINE: With recent wildfires impacting many, how is the PGA assisting affected members?

DE LINE: We’ve set up a fire fund in collaboration with the Entertainment Community Fund, which manages the administration of these funds without any fees. We’ve already raised significant amounts and earmarked a portion of the PGA Awards proceeds to support our members who’ve lost homes or are displaced long-term.

SPRUNG: Our response has been swift and effective, ensuring that aid reaches those in need without bureaucratic delays.

DE LINE: This reflects the proactive nature of producers—facing challenges head-on and finding solutions.

DEADLINE: This year’s honorees are quite eclectic.

ALLAIN: Choosing honorees is always challenging due to the many deserving candidates. We are thrilled to award Taika Waititi the Norman Lear Award for his innovative and inclusive approach to filmmaking.

DE LINE: Taika’s creativity and courage, particularly with projects like Jojo Rabbit, exemplify the boldness we celebrate. Additionally, Chris Meledandri’s contributions to animation and Dana Walden’s impressive career will also be acknowledged.

ALLAIN: We are also honoring Paula Weinstein and Lynda Obst posthumously with the Trailblazer Award, recognizing their significant impact not just on women in the industry but across the board.

DE LINE: Their legacies are profound, influencing countless individuals within the industry.

DEADLINE: Regarding the recent Best Picture nominations, some did not include named producers. Will this change next year?

ALLAIN: It’s dependent on filmmakers submitting their projects on time. This year served as a wake-up call.

DE LINE: Absolutely, and it highlights the importance of adhering to our established timelines.

SPRUNG: We evaluate a vast number of films annually, and our role in identifying key contributors is crucial, especially when submission timelines are respected.