Entertainment

President of the Cinematography Association Baird B. Steptoe Sr. talking about safety – The Hollywood Reporter

Safety, including adequate rest during production, is a priority for camera technician Baird B. Steptoe Sr., who begins his term this week as national president. newly elected member of the International Association of Cinematographers (IATSE Local 600), representing 9,000 members.

The first Black guild member to be elected to office, Steptoe began his career in the industry in the mailroom at Walt Disney Studios, while also attending night school in the film department of the City University of Los Angeles. The first work he worked on as a paid professional was Disney’s 1976 TV series Gray Wolf Flight, produced by Roy Disney Jr. Since then, he has earned over 100 credits on projects including Dawn of the Planet of the Apes, Sign, Sixth Sense, Young Sheldon and Real blood.

Steptoe took office because safety was a priority, after the death of Halyna Hutchins, cinematographer and member of Local 600 was killed by a shot by star Alec Baldwin on the set of the independent film Rust in October. He is also starting his new role after months of controversial negotiations in 2021 for a new Basic Agreement between IATSE (Local 600 is the largest of the 13 Contracting Locals) and AMPTP.

At the start of her new role this week, Steptoe spoke to The Hollywood Reporter about his priorities and agenda.

What motivated you to run for the ICG presidency?

Some thing. Once our former president (videographer John Lindley) decided not to run, I thought, it’s time for me to stand up, for my membership and the passion I have for all of these people. what we needed – for safety and respect on set. And that’s the whole industry.

Of course, a big theme this year is the ratification of the 3-year Basic Agreement with AMPTP. (The 600 Locals narrowly rejected the contract with 52% “no”, even though it was passed by 13 Affected Locals by a small margin.) When will you get started. talk about priorities for the next phase of negotiations? What are some of the top concerns?

We started last year, right after this happened. We’ve had conversations about that all along. This contract, I supported it. I know there’s disagreement with it, but it’s not backing down. We achieved a number of things in terms of quality of life and work and safety on set. We must continue. We will be sending out a survey soon. … But it’s still hours, you work 14, 16 hours. It’s not the optimal choice for someone’s life. We work in all types of weather. When a storm passes through a city and the power lines go down, or it rains, it snows – we’re the crew out there also filming. We don’t stop. that is a difficulty. We have to think about everyone. I’m not just thinking about the camera department.

I want to hear. What do I need to know? [the members’] The need is, know what their concerns are, and we’ll discuss it.

Since the Final Basic Agreement is divisive, should the reunification of localities be a priority? And if so, how are you going to solve that problem?

Right. As long as we don’t say “reunion” local. We are united, we are moving forward. We had our first in-person national board meeting this weekend and it started right there. We’ll be reaching out to everyone with our communications department and getting everyone involved. Personally don’t think we’ve gone far enough. We know with inflation and everything, how it has skyrocketed since the contract [was ratified]. We will prepare with the bargaining unit, not just Local 600, we all must unite to get back to AMPTP. You cannot normalize what we do. It’s a unique industry to say the least. And it’s so rewarding to make movies and make movies. We must be able to unite with all the other locals. Our outreach must be with other unions and with solidarity.

Do you think there are generation problems with some of this?

Not really. They may think it is. I do not think so. When I entered Local, I was a teenager, and the people around me supported me. That’s who I learned from; I have learned from individuals who have more experience than me. And that’s what we need to try and give to our younger members.

What are your main priorities at the start of your term this week?

Well, for one thing, the on-site store management program has just been initiated. We have 12 individuals. This will be the first time in Los Angeles, Local 600 has store managers on site who will support the crew. And they will contact their field representatives directly for safety and respect. And of course, all kinds of problems can appear on set.

Safety 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 come Friday morning or Saturday – Saturday – it just hangs on to the body and mind. [Among the efforts currently in place], we have an initiative in our alliance, trip and room. If individuals feel that they cannot get home safely, they will go to a hotel or motel and get some rest and then they will send us a receipt.

Our biggest thing is safety. Brent Hershman (second camera operator who died in a car accident while driving home after what is believed to have lasted 19 hours a day on set) Pleasantville), when he was tragically killed, he was about five cars behind me on the 105 freeway. I was so tired. I have never even seen it. And then we have a situation where we have Sarah Jones (the camera assistant who died in 2014 on the set Midnight driver when she was hit by a train), and then Halyna. That makes it all the more important to have a store manager on set, because they can report things right away.

Will you solve gun safety? And which of the two Sacramento bills, including the one Local 600 supports, appear to have stalled?

We will keep trying to get it [passed]. Our local now has a video that we show all of our members about safe practices, about firearms. It was a tragic incident that happened (on the set of Rust) and we can’t let it happen again. We must inform our employees and the industry on how to be safer. And that’s what we’re doing. … I made a lot of war movies, with a lot of guns. So I’ve been around it and you have to have a competent armored team to take charge.

You co-chair the committee included. Do you talk about diversity and inclusion initiatives?

In our last contract, we had a DEI agreement with the manufacturers, to reach out to underrepresented and underserved communities. Our local has been doing it for years. We are engaged with Hollywood CPR; It’s probably been 26 years since we started with them. We reach out to other programs around the country, here in Los Angeles, Atlanta, Chicago and New York.

Can you provide us with an update on your plans to replace outgoing CEO Rebecca Rhine?

Her contract expires at the end of September. We are currently in contact with the search companies to start the whole process, which will take a long time. Rebecca will be here until that person arrives, so this will be an orderly transition. She can connect with that person and get them involved in this incredible combination – and in this incredible industry, if they weren’t from this industry. I’m so glad she’ll be here for that.

Let’s talk about your resume. I think you are the first member of your family in business, and your sons are in business.

I am the first member of my family. I started working in the mailroom of Disney studios, Roy Disney Jr., Ron Miller… Joe Nash, head of camera services, basically just [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] both worked with me on different projects we’ve worked on. They went into their own field and were very successful. I am really proud of them. My wife did a great job. I always go to the right place. That’s one of the hardest things about the industry. I used to be gone six, seven months out of the year. It’s hard for the family.

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

I’m not doing anything right now. I just played all day in a few shows. I was on an untitled one Chip as an additional camera.

This interview has been edited for length and clarity.

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