Security is ‘important issue’ for Film Union, says new president

Safety, including adequate rest during production, is the responsibility of cameraman Baird B. A top priority for Stepto, who took over this week as the newly elected national president of the International Union of Cinematographers (IATSE). Local 600), which has 9,000 members.

The first member of the Black Guild to be elected to the position, Stepto began his industrial career at the Walt Disney Studios post office while attending night school in the film department at Los Angeles City College. The first play he worked on as a paid professional was at Disney in 1976. tv movie gray wolf flight, Producer Roy Disney Jr. Since then, he has earned over 100 project credits, including Dawn of the Planet of the Apes, Signs, Sixth Sense, young sheldon s real blood

Stepto takes the job because safety is paramount, following the death of Halina Hutchins, director of photography and member of the Local 600, who was killed by star Alec Baldwin while being shot on the set of an independent film. Oxide In October. He is also embarking on his new role after months of contentious negotiations in 2021 for a major new agreement between IATSE (Local 600 being the largest of the 13 local contracts) and AMPTP.

Starting his new role this week, Stepto spoke the hollywood reporter About your priorities and schedule.

What made you vote for the president of the ICG?

Some things. Ever since our former president (filmmaker John Lindley) decided not to leave, I thought it was time to step up, the buy-in and passion I have for everything we need: safety and respect on set. And that’s across the industry.

Last year’s big theme, of course, was the ratification of an important three-year agreement with the AMPTP. (Local 600 rejected the contract with 52% “no” votes, although it was accepted by 13 affected residents by a small margin.) When will you start talking about priorities for the next negotiation period? What are some of the issues that most concern you?

We started last year as soon as this happened. We talk about it all the time. I supported this contract. I know there was a disagreement, but I wasn’t going to back down. We have some things for quality of life, work and safety on set. we must continue Very soon we will send a survey. …but still hours, you work 14, 16 hours. This is not an ideal choice in one’s life. We work in all types of weather. When a storm hits the city and the power lines are cut, or it rains, snows, we are the group that is also filming. We don’t stop. This is hard. Most have to think. I’m not just thinking about the camera section.

I want to listen. I need to know what [the members’] We need to know what your concern is and we will address it.

As the last big deal was divisive, is local unification a priority? And if so, how are you going to fix it?

Yup. Until we say “unification” of facilities. We unite, we move forward. We had our first National Council meeting this weekend and it started right there. Let’s get in touch with everyone through our communications department and get people involved. People don’t think we’ve gone far enough. We know, with inflation and all, how it grew after the contract [was ratified]. We will be prepared with the transaction department and not just with Local 600, we must all have solidarity to return to AMPTP. What we do cannot be regulated. To say the least, this is a unique industry. And it’s a pleasure to make movies and movies. We need to be able to meet with all the other locations. Our relationship must be with other unions and solidary.

Do you think there are generational problems with this part?

დ Not really. They might think so. I don’t believe. When I entered the bar, I was a teenager and the people around me helped me. From whom I learned; I learned from people who had more experience than I did. And that’s what we should try to give our younger members.

What are your top priorities for starting your course this week?

Well, one thing is for sure, the Store Steward program has just begun. We have 12 people. This will be the first time here in Los Angeles that a Local 600 has store delegates who will be the team’s attorneys. And they will have direct contact with their field representatives for safety and respect. And, of course, all sorts of problems that can arise on set.

Security is our main issue. … You can work 10 hours a day, 15 hours the next day, 10 hours the next day. And then when you arrive on a Friday or Saturday morning, on Fridays, all you have to do is bring your body and mind. [Among the efforts currently in place], We have an initiative in our guild, attractions and rooms. If people felt they couldn’t get home safely, they would go to a hotel or motel and relax, and then they would send us a receipt.

The most important thing is security. Brent Hershman (second camera operator, who was killed in a car accident while driving home after a 19-hour day on set. Pleasantville) When he was tragically killed, there were about five cars behind me on Highway 105. I was so tired. I did not even see. And then we have the situation where we have Sarah Jones (assistant camera, who died in 2014 on set) midnight traveler when he was hit by a train), and then Halina. This further reflects the presence of a store manager in the kit, as they can be notified immediately of anything.

Looking for Gun Security? What about two bills in Sacramento, including support for Local 600, that seem to have stalled?

We will continue to fight to achieve it [passed]. Our location now has a video where we show all our members safe practice, firearms. It was a tragic incident that happened on set. Oxide) And we cannot repeat that. We need to inform our teams and the industry how to be safer. And that’s what we do. I made a lot of movies during the war, with a lot of weapons. So it was close to him and you have to have a competent team of armored vehicles in charge.

You co-chaired the engagement committee. Would you talk about diversity and inclusive initiatives?

In our recent contract, we have a DEI agreement with manufacturers to serve underrepresented and underserved communities. Our location has been doing this for years. We are involved in CPR in Hollywood; It’s probably been 26 years since we started. We have relationships with other shows across the country, here in Los Angeles, Atlanta, Chicago and New York.

Can you give us an update on plans to replace CEO Rebecca Rain?

His contract ends at the end of September. We are now turning to companies to start the whole process, which will take time. Rebecca will be here before that person arrives, so it will be a nice jump. You can connect with that person and involve them in this amazing union and this amazing industry if they’re not from that industry. I’m happy to be here for this.

Let’s talk about your past. I believe you are the first member of your family in the business and your children are in the business.

I am the first member of my family. I started at Disney Studios Post Office, Roy Disney Jr., Ron Miller… Joe Nash, who was the head of the camera services division, mainly [said, “Let’s go,” and taught me everything. And the first project I worked on was Flight of the Grey Wolf, which was a Disney production. And then it became union. I was given an incredible opportunity. That’s where it started. 

[My sons] They both work with me on various projects we’ve done. Somehow they went to their fields and they are very successful. I’m very proud of them. My husband did a great job. I always walked in place. This is one of the other challenging things in this industry. I went for six, seven months a year. It’s difficult for families.

What are you working on now or what is your next project?

I’m not working on anything right now. I only did a few shows. I was in the untitled Chip Ann Dale As an additional camera.

This interview has been edited for length and clarity.