Reel Profits,

Real Poverty
How Major Hollywood
Studios Are Leaving Security
Officers Behind
EXECUTIVE SUMMARY

H
ollywood studios are some of the largest users of private security in Los
Angeles, with hundreds of predominantly African American and Latino officers
serving as the first line of defense, protecting employees and property 24 hours
a day, seven days a week. Despite the high importance of security to the film business,
Hollywood lags behind other industries in terms of security standards. The industry’s
security provider of choice, Andrews International, is driving down standards by
creating poverty wage security jobs and through repeated alleged violations of wage-
and-hour and other employment laws. These destabilizing practices can promote high
turnover and unprofessional standards.
African American and Latino security officers live in poverty. Earning just over $11
per hour, security officers at Hollywood studios live in poverty conditions and face
violations of their legal rights. In Hollywood, as in the rest of Los Angeles, most security
officers are African American and Latino, and low wages contribute to racial inequality
in our city. In Los Angeles, rates of inequality are the highest for any of California’s
largest cities, with African American and Latino families making an income that is two-
thirds less than that of white households. Hollywood’s choice for a security contractor,
Andrews International, is contributing to this inequality by paying low wages. “With the
low income from this company, I’ve learned to live basically a poverty lifestyle,” says
John Macias, a security officer who has worked on the Sony lot for 12 years.
Low security standards put everyone at risk. Low security standards don’t just hurt
officers. By contracting with a company that is driving down standards through low
wages and ongoing violations of wage laws and other workplace protections, studios
risk promoting high turnover that can endanger the safety of their employees and
the public. Additionally, some Andrews International officers, including officers at
film studios, have reported that they receive no relevant job training and lack the
equipment necessary to do their jobs.
While officers and their families live in poverty, Hollywood had a blockbuster year. In
the midst of one of the worst economic downturns in U.S. history, the film industry
has had its most successful year ever, bringing in $10.7 billion— surpassing the $10
billion mark for the first time and shattering the previous year’s record by 10 percent.1
Hollywood also won big in government supports and tax breaks. In 2009, state and local
elected officials in California, in response to efforts of other states and municipalities
around the nation to attract film production, passed multiple measures to promote
film and television production. While these measures are intended to keep good jobs in
Los Angeles and California, minority security officers are being left out of Hollywood’s
success story.
Hollywood can, and should, do better for all Hollywood workers and the city of Los
Angeles. Studios must take care that workers are not being left out of our city’s
economic recovery. Improving the quality of security jobs will provide better safety to
the studios and the public, and Hollywood will become a better economic engine for
Los Angeles, benefitting thousands of working families and our communities.

Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind 1
I Hollywood Behind the Scenes: Minority Security
Officers Provide Valuable Services

H
ollywood studios are some of the largest users of private security in Los
Angeles, with hundreds of predominantly African American and Latino officers
serving as the first line of defense at studios, protecting employees and property
24 hours a day, seven days a week. And with good reason: as an $80 billion industry
with many high-profile, culturally significant sites, the studios have much to protect.
Day-to-day concerns range from protecting high profile stars and expensive equipment
to guarding against pirating and the theft of intellectual property valued in the millions.
In more extreme cases, film studios have faced the threat of large-scale violence, as in
September 2001, when the Federal Bureau of Investigations (FBI) warned Hollywood
studios that it had received a threat of an attack against an unnamed film studio in
response to planned military action in Afghanistan.2
While other industries are working with officers to ensure the highest quality security
and to bring quality jobs to Los Angeles, many Hollywood studios have hired Andrews
International, a security contractor with a record of breaking the law. Andrews is
driving down standards by creating poverty wage security jobs and through repeated
alleged violations of wage-and-hour and other employment laws. These destabilizing
practices can promote high turnover and unprofessional standards. Additionally,
Andrews International officers, including those at film studios, have reported they
receive no relevant hands-on training and lack the equipment necessary to do
their jobs.
Despite the high importance of security to the film business, in many respects
Hollywood lags behind other industries in terms of security standards. In cities
around the country, responsible business leaders and security officers have been
working together to improve the quality of private security and officers’ working
conditions. Experts estimate the turnover rate in the security industry
between 100 percent and 300 percent a year—on par with the fast food
industry, making it hard for officers to get the training, experience and
knowledge of buildings and tenants they need to advance professionally.
To change this, responsible security clients and contractors have been
working with security officers and community leaders to improve
standards in the industry. Hollywood, however, has yet to step forward to
take part in this progress.

2 Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind
Hollywood Prosperity for Most,
But Not for All II
F
or years, Hollywood has been an economic
driver and provider of high quality jobs for
Los Angeles and California. Every midbudget
film in Los Angeles creates more than 900 jobs,3
with the majority of these jobs ensuring high
standards for workers and the community. A
self-described provider of middle-class jobs,4 the
entertainment industry contributes more than
$38 million a year5 to the Los Angeles economy.
Average wages in the film industry far surpass
those in the rest of Los Angeles, thanks in large
part to Hollywood unions which represent nearly
every person working at film studios, from
projectionists, writers and make-up artists to big name Hollywood actors. For more
than 70 years, Hollywood guilds have stood up for justice in attaining high quality jobs
for those who work on and off the silver screen. Throughout the past decade, a number
of labor disputes seized the entertainment industry and brought pay raises, significant
compensation deals6 and various other financial gains7 for Hollywood workers. These
victories have helped Hollywood keep its reputation as a provider of quality jobs.

African American and Latino workers in Hollywood struggle

to make ends meet
Despite these momentous victories for Hollywood’s workforce, there’s a largely African
American and Latino workforce at these studios that have historically been left out in
the cold. In many cases, service workers—including the janitors and security officers
working every day and night at studios—have not been a part of Hollywood’s history
of providing high-quality jobs. In contrast to other Hollywood workers, security officers
earn as little as $10 per hour. On top of that, officers get no sick days, forcing them to
choose between their health and a day’s pay.
This disparity in Hollywood is part of a larger problem of racial inequity in the city. One
study recently found that African American and Latino families in Los Angeles have an
income two-thirds less than that of white households.8 The same study showed that
Los Angeles had the most income inequality of all of California’s largest cities and a
higher poverty level than California as a whole.9
Security officers are the remaining segment in Hollywood who work without a union
and, as a result, face poverty wages and unfair working conditions. These officers are
now organizing to win respect in the workplace, a living wage and decent healthcare,
just as makeup artists, actors and the rest of unionized Hollywood have before them.
Here are some security officers sharing their stories on the struggle to gain respect in
Hollywood.

Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind 3
 For John Macias, a security officer on the Sony lot, poverty has sadly become
a way of life. “With the low income from this company, I’ve learned to live
basically a poverty lifestyle,” John says of his 12 years working for Andrews
International. After more than a decade working for Andrews, John still only
gets paid $11.72 per hour, bringing his yearly income to less than $25,000.
John’s economic hardships often force him to make difficult decisions, such as
choosing between having to pay for medication or having a decent meal.
At Sony, John isn’t the only Andrews officer forced to make difficult decisions. “Two
security officers, a mother and her daughter, got fired recently,” John recalls. “They
had lost their apartment and were living on the studio lot. They got fired when they got
caught.” Despite providing valuable security services to a high-profile site such as Sony,
John’s economic struggle continues. “I make barely enough to pay the bills,” he says.
On top of the already meager wages that Andrews’ pays officers such as John, the
company has a track record accusing them of stealing officers’ wages—worsening the
poverty these officers already face. In 2005, John filed a suit alleging that Advanced
Tech Security Services, Andrews’ predecessor, not only required employees to regularly
work off the clock, but went so far as to destroy time cards to avoid paying owed
wages. The company paid $815,000 to settle the suit, affecting 1,500 security officers
statewide. Yet across the country, the legal record and worker testimonies indicate
Andrews continues to steal workers’ wages.
Cynthia Rincón,a security officer who works on the Fox studio lot, is also
familiar with Andrews’ low standards and illegal practices. Not only has
Cynthia been forced to live on Andrews’ low wages, but she has experienced
firsthand how the irresponsible contractor shortchanges officers by not
providing meal and rest breaks, which are required by state and federal law.
“Sometimes filming lasts 10 hours and we don’t get breaks,” says Cynthia, who
works two jobs to make ends meet. Cynthia’s partner, Rogelio Garcia, is an
officer at Fox who guards the studio gate. He recalls going through the same thing when
he worked on the production lot. “If they felt like giving us a break, we were given a
break. We had no radios; we couldn’t use our phones, so if I wanted to use the restroom
I had to wait for one of the supervisors to pass by.”
Female security officers face additional unfair treatment based on their gender. “They
asked me if I wanted to work where they were filming Avatar,” Cynthia recalls, “but the
branch manager said they didn’t want any girls there.” The discrimination doesn’t go
unnoticed by other officers at Fox. “Women earn less,” Rogelio says. “They are less
appreciated. I’ve heard managers say stuff like, ‘I’d rather a guy work than a girl.’”
Rogelio Garcia has been working as an Andrews security officer at Fox for two
years. After that much time on the job, Rogelio says he’s never received any
hands-on training from Andrews International and is not given the equipment
necessary to keep people safe.
“When I started out, they tell you to just stand there,” Rogelio says as to the
extent of the training he received from Andrews. “Andrews’ branch managers
tell Fox they don’t have money to pay old guards to train new guards.”

4 Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind
Rogelio is aware that Andrews’ apathy toward training can affect his performance on
the job. “I wish there was hands-on training. You’re at a place where a lot of things
could happen in a second. Just in the past two months, I’ve had incidents where people
fall on the stairs and I’m just standing there. They told me not to touch anybody,
because I could get in trouble.”
Because Rogelio didn’t have a radio and wasn’t allowed to use his cell phone, he had to
run to let someone know what had happened. “I had to go back and just wait. If he had
gotten more injured, what was I supposed to do?”
The stories of security officers in Hollywood stand in stark contrast to the world in
which they work. Officers are among the few working in the film industry forced to
choose between paying for medicine and putting food on the table, and among the
few who work without the protection of a union to ensure that their legal rights are
respected.
Now, security officers are following in the footsteps of other film industry workers and
other security officers across the country, by organizing for better working conditions
and higher security standards for Los Angeles.

The Union Difference: SEIU member Robert Branch

ROBERT BRANCH is familiar with the lack of respect that John, Cynthia and Rogelio have
experienced. “In the past, you had no recourse, you were at the mercy of the employer,”
Robert reflects on his six and a half years working as a security officer. Two years ago,
Robert and thousands of other security officers in Los Angeles partnered with responsible
contractors, community leaders and their union to form an alliance to raise standards for
tenants and security officers such as he. “My co-workers and I have
more rights now. We’re just in a better place; we don’t have to
take the abuse.”
Robert has experienced firsthand how the fight to gain respect
has made a difference at work. Sick days, for example, have
made a big difference in Robert’s job. “You basically worked
coughing on folks, passing germs. You went to work and were
miserable, but you knew if you stayed home, it’s zero money, so
I usually just sucked it up. Now you’re able to take a day or two
and recuperate without losing wages.”
Robert can relate to the struggle of security officers on
Hollywood lots. “We are the first responders, called on when
there’s a crisis. It’s just unconscionable to make millions
upon millions of dollars on a movie, and the security
officers that are on these sets to keep the
order and keep the peace get paid little to
nothing. What sense does that make?”

Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind 5
III Hollywood’s Blockbuster Year:
Studios Can Afford to Do The Right Thing

io n Lo o m s , H o ll y w o o d B o oms
Rece s s

W
hile Hollywood security officers live in poverty and the United States faces
one of the worst economic downturns in its history, the film industry has had
its most successful year ever. In 2009, Hollywood set a record for box office
sales, bringing in $10.7 billion domestically—the industry’s first time surpassing the
$10 billion mark and shattering the previous year’s record by 10 percent.10 Hollywood
ended the year with the largest single box office weekend ever, with box office receipts
in the United States and Canada reaching $278 million during the Christmas weekend.
It was also the first time that three separate movies—Fox’s Avatar and Alvin and the
Chipmunks 2, and Warner Brothers’ Sherlock Holmes—grossed $50 million each in the
same weekend. Summing up the year, Warner Brothers’ head of domestic distribution
Dan Fellman said, “It couldn’t get any better.”11
Hollywood shows no sign of stopping. In 2009, there was an upsurge in production from
the previous year, with film and commercial production increasing 16 percent and 19
percent, respectively.12
While Hollywood has boomed in this recession, African American and Latino security
officers continue to face extreme hardship. Conditions for Hollywood security officers
contribute to larger trends of racial inequality citywide. In Los Angeles, African
Americans have the lowest median household income of any racial group, bringing
in $31,905 annually, compared to the $53,978 for whites. 13 Latinos have a median
household income that is 80 percent of the income for Los Angeles County as a whole,
as well as having the highest poverty rate (22 percent) among any other ethnic group. 14
This isn’t the first time Hollywood has excelled despite harsh economic conditions.
History has proven the film industry to be recession-proof.15 During the Great
Depression, movie attendance shot up, with 4.6 billion movie tickets sold a year.16 The
National Association of Theatre Owners reports that box-office revenue has gone up
during five of the seven recessions during the past 50 years.17
Film industry executives are well aware of the power of film on movie-goers when times
are tough. As Fellman of Warner Brothers admits, “When the economy gets a little bit
sluggish, our business seems to do well or even pick up.”18
Fellman’s observation has held true for his studio and others. Here are some of the
success stories of 2009:
n Warner Bros. was one of two studios to shatter previous worldwide box office
records, with $4 billion in worldwide ticket sales. The previous annual record
was $3.66 billion, set by Warner Brothers in 2007. Claiming the top spot at the
domestic box office for 12 weeks this year, the studio’s success was the result
of major releases, including Harry Potter and the Half-Blood Prince, which took
$929.4 million internationally.19

6 Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind
 n Fox was the other studio to crack the $4 billion mark, with at least $4.04
billion in worldwide ticket sales. This included a record-breaking (for any
studio) $2.45 billion overseas.20 Avatar, which brought in more than $1 billion
in the first three weeks of its release, may become the No. 2 worldwide
grosser of all time, after Titanic. Meanwhile, in late 2009, Fox television
network touted a 20 percent increase in ratings over the same period in
2008.21
n Sony also enjoyed an extremely strong year, grossing $3.59 billion
worldwide.22 The studio had eight No. 1 films in 2009 and did especially well
in international markets.23 The studio’s two top pictures were the disaster film
2012, grossing $590.7 million internationally and $162.3 million domestically,
and Angels and Demons, which grossed $352.6 million overseas and $133.4
million domestically.24
n Disney had a strong year, with $2.93 billion in worldwide grosses. Cartoon
Up was a critical and commercial hit, bringing in $293 million domestically
and nearly $420 million overseas, where the film is still in release. Disney
also recently acquired another well-known brand in the family entertainment
world – Marvel Entertainment Inc.—and has high hopes for developing films
under that brand.25
Despite the depressed state of the economy, the public finds a way to afford going
to the movies. The success of 2009 makes clear that Hollywood has the resources to
improve security standards for its employees and to create good jobs that will help
rebuild California’s economy.

Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind 7
IV Taxes Go to Hollywood: State and Local Subsidies
Should Benefit All

A
long with Hollywood’s numerous financial gains this year, the entertainment
industry has much to gain from several public incentives meant to contribute to
our economy and our communities. California elected officials, in response to
efforts of other states and municipalities around the nation to attract film production,
recently passed necessary measures meant to keep good jobs in Los Angeles and
California.
In October 2009, Los Angeles City Council approved measures meant to keep filming
production in L.A. These measures would lower the costs of filming for studios through
a number of specific measures, including:
n Encouraging property owners to provide free or reduced-rate filming on
private property;
n Providing tax refunds for purchases made in Los Angeles during production;
and
n Giving productions permission to park in city garages after hours at no
charge.26
In addition, the City Council approved a plan to work closely with state lawmakers to
further develop legislation meant to keep good jobs in Los Angeles. In January 2010, the
Council voted to study the creation of a municipal film commission, which would be
charged with preventing the flight of production from the city.27
Studios are also receiving a helping hand from Sacramento. In mid-2009, Gov. Arnold
Schwarzenegger signed into law the California Film and Television Incentive Program.
The program went into effect July 1 and has set aside $500 million in tax incentives for

ANDREWS INTERNATIONAL, HOLLYWOOD’S CONTRACTOR OF CHOICE, provides security for four of the “Big Six” film
studios as well as a number of smaller studios and exemplifies the problems in the private security industry.

As one of the largest privately held security firms in the United States with hundreds of millions of dollars in annual
revenues, Andrews International has both the ability and the responsibility to provide professional security services to its
clients and good jobs that can sustain families.

Instead, Andrews is helping drive a race to the bottom by creating poverty wage jobs. A review of public documents
related to Andrews International and its predecessor companies reveals a disturbing pattern of legal and ethical lapses and
concerns, including:

n Repeated, widespread and ongoing complaints of wage theft, including a recently launched investigation of Andrews by
the Massachusetts attorney general and four wage-and-hour suits, including two class actions, pending as of January
2010. Since 2005, Andrews has paid a cumulative $1.8 million to settle two class action lawsuits.

n Complaints of alleged sexual harassment and racial discrimination, including at least eight lawsuits against Andrews
and its predecessors since 2003. In seven of the eight cases, Andrews’ workers allege that reporting the discrimination
resulted in retaliation. Four harassment and discrimination actions are pending as of January 2010.

n A record of dishonesty with public sector clients, including an instance in New York City in which Andrews was found to
have violated its contract with a public agency by failing to provide site supervision as required by the contract.

8 Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind
film and television productions for the next five years. 28 As of December 2009, at least
45 productions had been approved to participate in the program,29 with 19 of them
being produced or distributed by a major studio or television channel or a subsidiary
of one.30 “I fought hard for economic stimulus measures,” Schwarzenegger said,
“including the film and television production incentive; because we must do everything
in our power to stimulate the economy and put Californians back to work.”31
State and city officials have pushed for these incentive measures to promote film
production and, thus, create jobs in California. In return, the film industry should
ensure that it is creating quality jobs in every aspect of its operation. Instead, turning a
blind eye to the state of security on its lots, the film industry is returning the favor by
giving California poverty jobs that do nothing to strengthen our economy or improve
the lives of hardworking families.

Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind 9
V Only Hollywood can write
a happy ending

B
ehind Hollywood’s glamorous award shows and record-breaking box office
receipts is an ugly back story. Despite government subsidies and supports to
help the film industry, the largely African American and Latino workforce that
protects the studios and studio employees is being left out of Hollywood’s boom.
Irresponsible contractors such as Andrews International leave security officers
that protect the studios to make difficult choices between paying their rent, getting
necessary medications and feeding their families.
Low security standards don’t just affect officers. By contracting with a company that
is driving down standards through low wages and ongoing violations of wage laws and
other workplace protections, studios risk promoting high turnover that can endanger
the safety of their employees and the public.
There is a better way, as janitors in Hollywood and security officers in other industries
have shown in recent years. In 2006, janitors cleaning film studios followed an old
Hollywood tradition by organizing to win decent wages and health insurance. Then, in
Los Angeles, in 2008, 4,000 security officers in Los Angeles’ commercial office buildings
came together with leading buildings owners and responsible security contractors and
created a historic agreement to improve training and reduce turnover by providing
officers with decent wages, healthcare, sick days and a career ladder to professionalize
the security industry. In doing so, they joined 30,000 security officers across the
nation who have won similar agreements in cities such as New York City, Boston, San
Francisco and Washington, D.C.
Leaders in the commercial real estate industry and other industries across the country
have come together with responsible security contractors, security officers and their
union to forge a path to higher standards. It is time for Hollywood to do the same.
Studios must take care that workers are not being left out of the recovery. Improving
the quality of security jobs will provide better safety to the studios and the public and
will benefit thousands of working families and communities in Los Angeles.

10 Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind
 Endnotes
1
“Cameron caps 2009,” Variety, January 3, 2010.
2
“Studios react to terror threat”, Los Angeles Daily News, September 21, 2001.
3
“Film Industry Profile of California/Los Angeles County,” Los Angeles County Economic Development Corp. 2005.
<http://www.laedc.org/reports/Film-2005.pdf>
4
Motion Picture Association of America. Pulled December 22, 2009. http://www.mpaa.org/researchStatistics.asp
5
“Roadmaps to Industry Clusters, 2004,” Los Angeles County Economic Development Corp. 2004. http://www.laedc.
org/reports/roadmaps/Entertainment.pdf
6
“Hollywood Writers Return to Work After Ending Strike,” Bloomberg, February 13, 2008. http://www.bloomberg.com/
apps/news?pid=20601103&sid=aKdwR9oC54WM
7
Los Angeles Times, “Behind-the-Scenes Events Dictated Guild Settlement,” May 7, 2001. James Bates; Claudia Eller.
8
“Poverty, Jobs and the Los Angeles Economy: An Annual Analysis of U.S. Census Data and the Challenges Facing
Our Region,” Los Angeles Alliance for a New Economy. August 26, 2008. Pages 3 and 6. http://www.laane.org/
downloads/PovertyJobs.pdf
9
“Poverty, Jobs and the Los Angeles Economy: An Annual Analysis of U.S. Census Data and the Challenges Facing
Our Region,” Los Angeles Alliance for a New Economy. August 26, 2008. Pages 3 and 6. http://www.laane.org/
downloads/PovertyJobs.pdf
10
“Cameron caps 2009,” Variety, January 3, 2010.
11
“Cameron caps 2009,” Variety, January 3, 2010.
12
“Productions returning to Hollywood,” The Los Angeles Independent, December 9, 2009. http://www.laindependent.
com/news/78926162.html.
13
“The State of Black Los Angeles,” United Way of Greater Los Angeles, Los Angeles Urban League. July 2005 http://
www.unitedwayla.org/getinformed/rr/socialreports/Documents/SBLA_Continental_final_071305.pdf Page 8.
14
“2006 Latino Scorecard: Road to Action,” United Way of Greater Los Angeles. January 2006. <http://www.
unitedwayla.org/getinformed/Documents/LSC06_Full_Rpt_012305.pdf>
15
“Sky isn’t falling, Hollywood moguls maintain,” Hollywood Reporter, September 18, 2008. http://www.reuters.com/
article/idUSN1832580220080918?feedType=RSS&feedName=entertainmentNews&pageNumber=1&virtualBrandChann
el=0.
16
“Recession Looms, Hollywood Booms,” San Diego Union-Tribune, March 11, 2008. http://legacy.signonsandiego.com/
uniontrib/20080311/news_1b11film.html
17
“Recession Looms, Hollywood Booms,” San Diego Union-Tribune, March 11, 2008. http://legacy.signonsandiego.com/
uniontrib/20080311/news_1b11film.html
18
“As Economy Dips, Hollywood Usually Booms,” David Germain. Associated Press, March 10, 2008.
19
“Cameron caps 2009,” Variety, January 3, 2010.
20
“Cameron caps 2009,” Variety, January 3, 2010. Note: The Fox number includes $261 million in Fox Searchlight
grosses, of which at least $171.9 million represent grosses from films directly distributed by Searchlight. That
puts big Fox’s domestic tally at roughly $1.57 million. (Sony numbers do not include numbers from Sony Pictures
Classics).
21
“A Fox sweeps surprise,” Forbes, November 25, 2009. http://www.forbes.com/2009/11/25/fox-television-ratings-
business-entertainment-fox.html
22
“Cameron caps 2009,” Variety, January 3, 2010.
23
“2009 Is Sony Pictures Entertainment’s Best Box Office Year Ever Worldwide as Sony Pictures Releasing International
Prepares to Pass $2 Billion Overseas,” Sony Pictures Entertainment press release, December 3, 2009.
24
“Cameron caps 2009,” Variety, January 3, 2010.
25
Walt Disney Co. fiscal full year and Q4 conference call transcript, Pages 6 & 7. http://corporate.disney.go.com/
investors/presentations/2009_11_12_q4-fy09-earnings-transcript.pdf
26
City Council file number 08-1783.
http://clkrep.lacity.org/onlinedocs/2008/08-1783_ca_10-07-09.pdf
27
“L.A. Moves to Form Film Commission,” The Los Angeles Independent, January 6, 2010.
http://www.laindependent.com/news/local/hollywood/80858877.html
28
“Bill to end runaway production does just what it is intended to do,” Los Angeles Daily News, October 18, 2009.
http://www.dailynews.com/opinions/ci_13662367
29
“Assemblyman hails bill,” Glendale News Press, October 29, 2009. http://www.glendalenewspress.com/
articles/2009/10/30/politics/gnp-pollandscape103009.txt
30
Number of approved productions from list provided by the California Film Commission, received by SEIU via e-mail
December 28, 2009. Studio and television channel relationships identified by searches of corporation filings with
California Secretary of State, the International Movie Database, and Variety.
31
“Arnold Schwarzenegger gives Hollywood tax incentives,” Politico, July 29, 2009. http://www.politico.com/news/
stories/0709/25556.html

Reel Profits, Real Poverty: How Major Hollywood Studios Are Leaving Security Officers Behind
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