End long hours culture in film & TV “I cried at work from pure exhaustion, it was humiliating. I never see my family, I neglect most of my personal life to be able to keep up with the hours.”Anonymous Behind the glitzy image of film and TV is a workforce pushed to the limit. Workers are routinely asked to "break turnaround". A worker is considered to have ‘broken turnaround’ when they are required by their employer to return to work within less than 11 consecutive hours in each 24-hour period. This is in breach of workplace rights. Freelancers across the industry are routinely working 14-16 hour days, often with little rest, few breaks, and no meaningful increase in pay. Long hours culture is the norm. Bectu's Broken Turnaround survey revealed widespread breaches of basic turnaround times, alongside testimonies that expose a culture putting workers at risk. Despite years of promises, the industry has failed to act.Talk of work life balance means nothing without real change. Enough is enough. We are calling on the Producers Alliance for Cinema and Television (Pact) and the wider industry to: Enforce safe working hours and proper rest periods Guarantee regular, protected breaks Make overtime voluntary, not expected Apply premium penalty rates to minimise its use Commit to collective agreements that protect crew Sign this petition to demand safer, fairer working lives for everyone behind the camera. Why is this important? Long hours are dangerous. Fatigue leads to accidents, harms mental and physical health, and puts lives at risk on set. Enough is enough. SIGN THIS PETITION to demand safer, fairer working lives for everyone behind the camera. Why is this important? Long hours are dangerous. Fatigue leads to accidents, harms mental and physical health, and puts lives at risk on set. Enough is enough.

This 2-day invaluable workshop is open to the following GBCT and non-GBCT crew: Who have stepped up Who have experience but want to up their skills 2nd Assistant Camera, who have step-up days as a focus puller Date: 14-15 July, 8am start 'til 6pm Location: Sunbelt Rentals, Wembley Workshop fee: £350 incl VAT Limited no. of workshop places: 12 (Attendees will be divided in to groups) Tutor Bio: Dean Thompson is a well-respected features focus puller, who has worked with many well-known and established cinematographers and directors. His knowledge is invaluable and learning from him is not to be missed. Learn the skills Dean uses and has used over the Please register your interest under the Training tab by sending your CV to info@gbct.org The revised Deadline to register your interest:: Friday 3 July

A practical, stress‑free networking workshop for people working in film and TV Source: The Film & TV Charity Hate networking? Avoid it? Or feel stuck not knowing where to start? Networking – The Cheat Codes is a free, online workshop designed for people working across the film and TV industries who want to build meaningful connections – without the awkwardness, small talk exhaustion, or wasted emails. This session is particularly helpful if you’ve ever struggled with unanswered emails, felt unsure who to talk to at industry events, or found networking overwhelming or unclear. Event details Date: Wednesday 3rd June, 11:00am – 2:00pm Format: Online (Zoom) Cost: Free Availability: spaces are very limited The event is already sold out, but there is a Wait List Overview This event is for people who hate networking or feel stuck. If emails go unanswered and events feel awkward, this is for you. This workshop is packed with practical tips, mindset shifts, and industry‑tested hacks to help you network with confidence, both in person and online. You’ll explore: Networking in person How to work a room, start conversations naturally, and get what you actually need from them - including why success can sometimes come down to a single small detail. Networking attitudes and hacks that work The biggest secret people don’t talk about, how to stand out from the majority, and the one mindset shift that can change everything. Finding the right people Where to start, how to branch out, who you might be overlooking, and which industries may need your skills during tougher times. Getting emails opened and answered A proven formula for reaching out to people you don’t know — one of the most popular sections of the session. Networking online How to build relationships, collaborate, and get noticed through social media and online platforms, including tips rarely shared within the industry. Read less Important: If you’re unable to attend after booking, please let us know as soon as possible so we can offer your place to someone on the waiting list.

ROCHESTER, N.Y. April 10, 2026 Eastman Kodak Company today announced the availability of VERITA 200D 5206/7206, a new color negative motion picture film stock, which will be offered in 65mm, 35mm, and 16mm formats. Developed in close collaboration with writer, director and producer Sam Levinson and cinematographer Marcell Rév, HCA, ASC, VERITA 200D was commercialized in motion picture format to achieve a distinct visual aesthetic for the third season of HBO's original drama series Euphoria . The stock has also been selectively trade‑tested by cinematographers worldwide over several years. VERITA 200D delivers detailed highlights, high color saturation, deep blacks, and warm, natural skin tones. Compared with Kodak's VISION3 color negative films, it features a shorter yet exceptionally rich dynamic range for a more classical cinematic look. Levinson and Rév exposed more than one million feet of VERITA 200D in 35mm and 65mm formats during production of Euphoria Season 3, which premieres April 12, 2026 on HBO and HBO Max, and was shot entirely on KODAK film. The series is also the first television production to shoot significant volumes of large‑format 65mm film. "VERITA has the richness and density curve that reminds me of the golden age of color film, with the flexibility and latitude of modern negative stocks," said Rév. Additionally numerous commercials and music films utilized VERITA 200D in advance of its formal release as well as A24's upcoming The Death of Robin Hood , written and directed by Michael Sarnoski, starring Hugh Jackman, and lensed by Pat Scola, ASC. "In addition to recent advancements to VISION3 with a new anti‑halation undercoat film structure, the commercialization of VERITA 200D underscores Kodak's continued commitment to providing filmmakers with a variety of the highest‑quality creative tools possible," said Vanessa Bendetti, Vice President and Head of Motion Picture at Kodak. As a specialty motion picture stock, VERITA 200D 5206/7206 is available by request through a Kodak sales representative. For more information, visit kodak.com/go/verita . Download high resolution images .   About Kodak Kodak (NYSE: KODK) is a global manufacturer specializing in commercial print and advanced materials & chemicals. With 79,000 worldwide patents earned over 130 years of R&D, we believe in the power of technology and science to enhance what the world sees and creates. Our innovative, award-winning products, combined with our customer-first approach, make us the partner of choice for commercial printers worldwide. Kodak is committed to environmental stewardship, including industry leadership in developing sustainable solutions for print. For additional information on Kodak, visit us at  kodak.com , or follow us on  LinkedIn .

The government is paying up for the mistakes of the producers - this is not why I pay my taxes' one anonymous crew member said Source: Jacob Stolworthy, Thursday 19 March The British government will pay back crew members left out of pocket after a new Simon Pegg film was forced to cancel production due to financial problems. Approximately £600,000 ($800,000) is owed to those working on the independent period drama, titled Angels in the Asylum , which filmed for half a month in February 2025 before grinding to a halt. According to Deadline , the UK government’s Redundancy Payments Service (RPS) , funded by national insurance payments, told crew members to expect a form of remuneration The report claims that crew members are not expecting to receive the full amount, with one noting they believe they will be paid back a third of the money owed to them. Simon Pegg The RPS aids those who are owed money when businesses run into financial trouble. Last year, the service helped out almost 70,000 people left in the red, and the amount that’s given back is funded by national insurance payments. “It’s absolutely outrageous,” the anonymous person told the outlet. “The government is paying up for the mistakes of the producers. This is not why I pay my taxes. Pegg and the executive producers could write this off in a second and pay everyone off.” Mission: Impossible actor Pegg was an executive producer on the film, as well as its lead star, but he was not paid for his work and didn’t have any involvement with the film’s finances. The Independent has contacted Pegg for comment. A spokesperson for AITA Films, a production company that’s been in administration since April 2025, said: “Crew payments are being handled through the standard insolvency process.” At the time the company went into administration, Angels in the Asylum director Rob Sorrenti and producer Heather Greenwood said: “We have been forced into appointing an administrator as a precaution. We hope this is temporary while we continue to raise the funds for the film.” However, one year on, creditors are owed approximately £3.8m ($5m). Angels in the Asylum is a true story about a group of women who were wrongly imprisoned in a mental institution in Surrey after being deemed to be typhoid carriers in the first half of the 20th century. The film also starred Katherine Waterston, Minnie Driver , Aurora Perrineau, Rose Williams and Alex Jennings. Deadline reported that, when the film went into production, its budget was set at £4.9m, but it started shooting without all of its money in place. Just 15 days into the shoot in February, a gap in the budget emerged and production was paused. In an email update, reportedly sent by Sorrenti and Greenwood in March 2025, the crew were told: “We appreciate how difficult this is for everyone. We’re incredibly sorry. We endeavour to give you all an update as soon as possible, but the situation is incredibly complex … Please know we are in this with you, neither of us intended to be in this situation and have been personally affected by it too.” A further statement from Sorrenti and Greenwood said: “It has taken 15 years to bring the film into production. It was devastating when we were forced to halt filming due to our second round of financing failing to materialise. After being let down, we were forced into hiatus. “Since that time, we have been desperately trying to raise finances with the goal of addressing our outstanding obligations to both our cast and crew. We have also put some of our own funds into the project, but sadly, it hasn’t been enough to rectify the situation. We remain determined to find a solution. We also want to make it very clear that we, the producers, have not been paid for our work on the production.” Pegg reportedly told his colleagues: “We’re making something really special here, something important. This is a crisis, but it’s also an opportunity, and we’ll be back soon.” There are currently no plans to resume production on the film.

Stepping Up: Amy HC Wilson’s journey from 2nd AC to Director of Photography Making the leap to Director of Photography rarely has a single moment of confidence or certainty. For Amy, it was a long, thoughtful journey shaped by years of assisting, self-doubt, preparation, and ultimately, commitment. Amy admits she wanted to make the move around five years before she actually did.Yet despite this momentum, the decision to formally step up took time. Amy admits she wanted to make the move around five years before she actually did.  “It’s terrifying, especially financially,” she says. “You overthink everything – where your life is at, what the industry looks like, what support is around you.” That turning point came after working on The Diplomat: Series 1. The seven-month shoot was a period of reflection. “I kept thinking,”maybe this is the last one,’”  she recalls. By the end of the series, something clicked.  “It was such a brilliant job, I felt it was time to end my assisting career on a high and start the next step”.  As the months rolled into Christmas, she knew the time had come. She stopped actively looking for assisting work and finally made the ultimate commitment: selling her kit. “ That was the proof to myself” Owning the Title One of the hardest parts of stepping up wasn’t the work itself, but the identity shift. “As assistants, we’ve worked with many DOPs that we look up to,”  Amy explains. “Suddenly I’m doing that job. It’s a huge commitment and responsibility to your peers.” At first, others helped bridge the gap. A couple of Christmas party’s ago, a friend became her unofficial mouthpiece, telling others, “Amy’s a DOP now.”  Confidence grew with experience, recently she stood up at Operators’ Night when DPs were asked to stand – despite a surge of imposter syndrome. “What fights the fear is that I love the role” she says.  “I hope I’m a good HOD. I’ve worked with people I respect, and I want to make people feel the way they made me feel, when I was assisting”  Amy believes assistants bring a unique insight to leading departments – knowing what to take on, what not to, and understanding the pressures of high turnaround schedules.  “It’s a role to be proud of and to take seriously’ Choosing Her Own Route The journey to DOP is different for everyone. Amy didn’t formally call herself a focus puller, despite doing focus pulling work when asked – short films, the odd commercial and cover days & step-up days on films and HETV. “I never actively sought work as a focus puller,” she explained. “I enjoyed it when the opportunities came but my brain capacity outside work was always focused on shooting shorts as a DP.” Amy also felt a deep respect for the craft. “I didn’t feel I could call myself a focus puller and do it justice in the way the people I worked with did” She also spent a period of time pursuing Steadicam, using it on her short films to gain hours in the rig and even doing some commercials. She knew that stepping up always came with a step backwards, and chose to put that energy into developing her voice as a cinematographer instead. “After so many years of shooting short films, it felt like the natural and right step for me to take, I felt I had grown into the role of a DOP as much as I could before making it official”. The First Break Amy’s first TV show came last year – and not where she expected. A message arrived saying she’d been recommended for a BBC project by a DP she’d previously worked with. A meeting and recce followed, then the job itself. The moment carried the weight of a 14 year journey. She’d worked with the recommending DP as a trainee and loader years earlier. “You never know who will recommend you,”  Amy reflects. “If someone likes you and they trust you – it’s then time to prove yourself.” The show was Waffle’s After School Club,  a spin-off of Waffle the Wonder Dog, with a strong existing audience on iPlayer. “I never expected a BBC show to be my first ‘professsional’ job as a DP,” she says. The experience came full circle when she was later offered Series 2. “I’m very proud to be invited back” That first job also led to conversations with agents, ultimately gaining representation with Berlin Associates, and an article in Cinematography World Magazine (Issue 206 March/April 2025). “One TV credit wasn’t a huge amount” Amy acknowledges, “but they could see my trajectory.” Building the World of Waffle Working with children and animals comes with its own challenges – we all know the saying.. For Amy, success came down to preparation. “Our biggest challenge going into the shoot was pace, our camera and lighting approach was streamlined as much as possible in prep so we could be seamless during the shoot, and it worked well.” The brief called for warmth, cosiness and authenticity. With six-year-old performers, a dog at the centre of it all, the approach was reactive and fluid. “We wanted to capture their authenticity” she says. “We needed to be ready for anything during the take.” Equipment Two cameras were essential, and A-camera operator Guido Cavacuiti helped lead the charge in a fast-moving environment. Cameras used were the Alexa Mini’s paired with Panavision PCZ 19–90mm zoom lenses and rolling spiders in the main location, allowing the team to work at pace without constant lens changes. Amy speaks warmly of her crew, many of whom she’d grown up with in the industry. Her Gaffer, Martin Cox, someone she’d previously worked with, joined the project to support her and will return for Series 2. “Finding a gaffer I worked with so cohesively was a relief” she says. “I learned so much. A Safe First Step Looking back, what Amy appreciated most was the environment. “For my first job, I felt safe” she says. “The production company took a risk on me, and gave me the perfect amount of trust”  The project was fun, meaningful, and something people were proud to be part of. “Several of the crew’s children watched the original show. My nephew’s a big fan.” What Comes Next Amy hopes this chapter opens the door to more – particularly film.  “I’d love to maintain a mix of HETV and Film” she says. “I’d love to do a film soon where I can really get stuck into creative prep” She’s candid about the emotional shift of stepping into a new role. “I didn’t foresee missing being on set as much, missing my peers that I’d spend so much time of set with. You go from being an experienced camera assistant to, starting again as the ’newbie.   The identity change and fresh start can be isolating” She’s open about wanting mentorship. “I’d love an established DP to take me under their wing. It can be a lonely place.” Redefining the ‘Right’ Path Amy is passionate about challenging rigid ideas of progression. “I grew up in the camera department where it’s expected you move through every role. I assisted for near on 14 years” While she didn’t officially label herself as a focus puller or operator, she did the work and understands the roles deeply. “ Everyone’s journey looks different and their time in each role varies. I’m very proud of my 14 years as a camera assistant and I’m proud of my journey. I don’t think skimming a role takes anything away from that.” As Amy continues to find her footing as a DP, one thing is clear: the care she brings to her crew, her work, and her craft is deeply rooted in the years she spent learning from others – and that foundation is already shaping the kind of HOD she is becoming. Link to Amy HC Wilson's showreel

Remi Adefarasin OBE, BSC accepts his Lifetime Achievement Award. On Saturday 7 February, GBCT member Remi Adefarasin humbly accepted the BSC Lifetime Achievement Award at a ceremony hosted by Edith Bowman, which took place at the Grosvenor House Hotel, London. Congratulations Remi.. The GBCT is privileged to have your support as a member. Extract below taken from Cinematography World (November 2025) Remi’s journey in the field of Cinematography began in 1968 when he was accepted as a trainee for the BBC’s film department at Ealing Studios. His first summer in the job saw him assisting cinematographer Alan Jonas on the BBC project “ The Borderers”  an almost-Western set between the frontiers of Scotland and England in the sixteenth century. Remi became hooked and spent over eleven years as a camera assistant working on documentaries, music programmes and of course his favourite, dramas. During that time he spent five years with Brian Tufano BSC (Lifetime Achievement Award recipient, 2020) who Remi credits as teaching him a great deal. In 1979 Remi was promoted to cinematographer and stayed working for the BBC until 1995. During his time as an in-house BBC cinematographer, he worked with directors ranging from Mike Leigh, Anthony Minghella, Adrian Shergold and Angela Pope on projects as wide-ranging as “ Doctor Who”  and “ Hi-Di-Hi”,  to critically acclaimed Plays- of-the-Week including “ Memento Mori”  (for which he was nominated for a BAFTA in 1993) and Mike Leigh’s “ Home Sweet Home” . In 1997 Remi shot the BAFTA-nominated “ Sliding Doors”  and it was this film that brought him to the attention of director Shekhar Kapur who asked if he would shoot “ Elizabeth” . “ Elizabeth”  would go on to win the BAFTA for Best Cinematography, as well as the BSC Cinematography in A Feature Film Award, however it would be his nomination for Best Cinematography at the Academy Awards that would add him to the history books as he became the first black cinematographer to be nominated in the category. Since “ Elizabeth”  Remi has continued to build an extraordinary body of work working with some of the biggest directors and stars in our industry including “ Band of Brothers”  (for which he was Emmy-nominated): “ Match Point”; “Onegin”, “About A Boy”; “The House of Mirth”  and most recently the BAFTA-winning TV Series “ Mr Loverman” . In 2012 Remi was appointed an Officer of the Order of the British Empire (OBE). Remi Adefarasin with Woody Allen on Match Point from 1:30:52 Watch Remi Adefarasin accept the BSC Lifetime Achievement Award with intro from Lenny James (from 1:30:32)

See HIlda Sealy's speech https://www.youtube.com/live/f26FdzTxhKA?si=piTtOFpJHoRhDyQt&t=2703 Article on Hilda by: British Cinematographer FOCUSSING WITH FINESSE Hilda Sealy GBCT tells British Cinematographer Magazine about her career in the camera department while Black, female and a mum.   What inspired you to work in the camera department?   I was a tutor/mentor in a Saturday school for Black children and wanted to find a different way to teach using audiovisual resources. I took a year out doing various photography and basic media courses, and it was during that time that I met Black Audio Film Collective (BAFC) and began working in their offices in Hackney. I met some great technicians while working with John Akomfrah, Lina Gopaul, Reece Auguiste and Avril Johnson, including Seamus McGarvey ASC BSC ISC who was a focus puller at that time working on a documentary. How/where did you learn the craft?   I was never a trainee, rather I learnt through links that I’d made whilst working at Black Audio. I became a documentary camera assistant on 16mm film cameras and worked on low-budget films and shorts where I met Julian Court BSC. I worked with Belinda Parsons on documentaries as well as Ian Watts, and it was on a documentary that I first met and worked with Oliver Curtis BSC.  I basically learnt by doing and going into rental houses to learn kit.  What was your career progression?   I was a documentary assistant and was also focussing on low/no-budget productions, particularly those produced by the BFI as that was basically the arena that most ‘minority’ (now known as ‘diverse’ crew) found work.  As time went on and the careers of DPs that I’d been working with progressed I quickly realised that if I wanted to continue working in the camera department that I would have to start again and so began my career as a clapper loader in TV drama. It did proffer to me the opportunity to work with and learn from many focus pullers who went on to have successful careers in feature films.  I really enjoyed my time as a clapper loader working on TV drama and commercials with 16mm and 35mm film. There were a few years of overlap as I built up my experience and knowledge as a focus puller doing B camera dailies on TV dramas that I was loading on and working with Oliver Curtis BSC as his focus puller on commercials.  I was lucky to work with a couple of focus pullers that encouraged me to step up and shared their knowledge with me.  What would you single out as your big break?   I’m not the product of a singular big break. Was the first time that I met Black Audio my big break as they gave me my first job and so many opportunities to learn as a young Black woman entering into the unknown? Was it progressing from low budget focussing with Julian Court to loading on TV drama and commercials thus working on mainstream productions? Was it being introduced to Oliver Curtis by a sound recordist called Ron Bailey? Was it meeting Katie Swain when I was a clapper loader and then working on many commercials with her as her focus puller?  Who or what are your biggest inspirations or mentors?   Visiting Panavison NY and seeing an all-African-American camera team prepping 35mm kit for a TV feature film. I’d spent some time previously at Panavision Wembley doing work experience and learning about camera equipment and had never seen Black camera crew.  What are the key qualities of a star focus puller?   What’s a star focus puller? Key qualities of a focus puller that gets involved is to care about their performance, care about their crew and care about the production that they’re working on.  What are the fundamentals of a successful 1 st AC/DP relationship?   Trust. Trust me to do my job and have your back and for me to be able to trust that you will listen to what I have to say and support me in discussions with the production office. Also got to be able to have fun.  How would you describe your technique?   Mama Bear – or so I’m told.  Which production was the most challenging and why?   Death at a Funeral . It was my first feature film up front as a focus puller on 35mm film and using Master Prime lenses. Frank Oz was the director and Oliver Curtis the DP was trusting me to be able to step up and deliver.  Which production are you most proud to have worked on and why?   Death at a Funeral . I was a Black Swan. Although to this day I still don’t have a poker face, I show worry, anger, concern and my Paddington hard stare.  What is your favourite memory of working on set?   From which decade? Meeting a paramedic who had his own business supplying medical care to the film and TV industry who had been a student of mine at the Saturday school.  The jokes and camaraderie between actors and crew.  What kit have you been impressed by?   Cine RT and my old leatherbound tape measure.  What obstacles do you face in your career and how do you overcome them?   Not enough hours in the day. Being a present parent and keeping up with the rigours of working, often having to write equipment lists, read scripts and look for crew outside of contracted hours.  How do you balance family and work life?   Still trying to work that one out. I’m very lucky that I’ve been supported by Annie (Tricklebank), the executive producer on Call The Midwife , who made it possible to return to work on a job share basis since 2016. Parents can miss out on so much because they are working. I’ve had to make a lot of tough decisions and when pregnant I lost a whole day’s pay every time I had to attend an antenatal appointment. Being a focus puller, you can’t pop out for a couple of hours and get someone within your team to cover you, you just about get time to go to the toilet. I also never attended NCT antenatal classes because of shoot hours.  What advice would you give aspiring 1 st ACs?   Never be afraid to ask questions or for ¼ of a stop.  What inspires you outside of the world of film?   The tenacity of those who continue on despite the negativity of those around them. An image that I recently saw during UK Black History Month with the phrase ‘Well Behaved Women Seldom Make History’. My name, Hilda, which means battle maiden.  What are the biggest recent changes you have seen in the world of filmmaking?   I would rather see lasting change than biggest change.  Executive producer Annie Tricklebank says: “I have worked with Hilda as an operator and a focus puller and whichever job she is doing she clearly communicates the vision of the director and tells the story well. Hilda’s operating and focus pulling always connect directly with the story and hence her movement of the camera, its placement, and focus are always exceptional. Hilda always makes the right decision as to when and what the camera should be focussing on during a scene. This kind of skill can only be achieved through hard work and a mountain of experience. When I have been directing Hilda has inspired me. I have watched her many, many times and learned a huge amount.  Hilda is not only an inspiration to her directors but also to her crew. There is no better teacher or crew leader.”   Cinematographer Oliver Curtis BSC says: “Hilda is everything a DP could want from a 1st AC – technically superb, intuitive and knowledgeable. A great team leader and nurturer of the next wave, she has blazed a trail in our industry and remains the first on my list when a new project comes up. Unsurprisingly, she is much in demand.”     Cinematographer Katie Swain says: ”I first met Hilda when I was a fledgling DP and she was a clapper loader back in 1999 and was immediately impressed by her work ethic and efficiency. It was at a time when women in the camera department were few and far between and I felt proud to have her on my team and as a woman really valued her support. Over the subsequent years we’ve continued to work together when availability allows and her years of experience and positivity are an asset to any production. Oh, and she’s fun!”

Step inside the creative world of Academy Award–winning DP James Friend ASC, BSC in this exclusive, first-of-its-kind masterclass. Go behind the scenes on his short film The Transaction – shot entirely on the VENICE 2 – and follow James through every stage of the filmmaking journey, from the first page of the script to the final colour grade, across ten immersive, never-before-seen episodes. Vie w Sony Masterclasses f eaturing James Friend ASC, BSC Episode 1: Script to Screen Episode 2: Choosing Locations and Crew Episode 3: Blocking and Actors Episode 4: Lighting Episode 5: Lighting Breakdown Episode 6: Camera and Camera Movement Episode 7: Using Lenses Episode 8: Filming in Cars Episode 9: Post-Production Episode 10: Closing Remarks 'Short film: The Transaction'

Longtime friends and collaborators have reunited for their newly produced movie, ‘The Rip’ Inga Parkel in New York, Thursday 15 January 2026 Ben Affleck and Matt Damon know that a collaborative on-set environment is key to motivating all those involved, which is why they brought back an old-school back-end bonus model for the 1,200 crew members working on their new movie, The Rip . Directed by Joe Carnahan, the crime thriller, out Friday on Netflix, will see the famous duo reunite on screen as Miami cops who become distrustful of those around them after discovering a stash of millions in cash. The longtime friends and collaborators also produced the movie through their production company Artists Equity. During a recent joint appearance on The Tonight Show Starring Jimmy Fallon , Affleck, 53, and Damon, 55 , explained how they implemented their company’s main objective of profit-sharing to pay the movie’s crew members. “Netflix is obviously a streaming platform, business is obviously changing, there’s been a lot going on,” Affleck said, referring to the film industry’s controversial shift to streaming , “and what we’re kind of trying to do is, in the old days, you knew how a movie did and you could get bonuses based on the box office performance.” He continued: “And what we wanted to do was try to adapt that model to what’s happening on streaming. For a bunch of reasons, but basically one of the things that was important to us is we really believe that it’s not just the cast and the writers and director, but that the environment, every single person involved, that if they’re committed to making the movie good, it’s very likely to be better. It’s really a collaborative art form.” Noting that “the more people that watch the movie, the more levels it will hit,” Affleck said that what was most important to them was that the monetary success be shared with the “1,200 crew members, every standby painter, greensman, camera [operator].” His remarks were met with uproarious applause, as Damon chimed in with a joke , adding: “The more you guys watch this movie…” “Not that we could suggest that you just leave it on, unless you’re a good person,” Affleck laughingly echoed with host Fallon joining in. “You would never say to turn on the movie and put it on loop,” he teased. “But if you happened to do that, crew members would make a lot of money.” Affleck and Damon have starred in numerous movies together throughout their careers, including their Oscar-winning romance drama Good Will Hunting (1997), comedy fantasy Dogma (1999), and sports drama Air (2023). In 2022, the pair co-founded and launched Artists Equity, an artist-led studio, focused on sharing a movie’s profits with all involved. It replaced their now-defunct production studio, Pearl Street Films, which they operated from 2012 to 2022.