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Directors Guild Reaches Deal With Companies on New Contract

The Directors Guild of America and the Alliance of Motion Picture and Television Producers have agreed to a tentative three-year successor deal on the master contract for directors.

The two sides announced the agreement on Friday night, but provided no details. More information about the tentative agreement will be released once it’s been submitted to the national board for approval at a special board meeting. 

Negotiations had lasted nearly three weeks after starting Dec. 5. Both sides have adhered to a news blackout since Nov. 17, when they jointly announced the start date for negotiations.

The DGA tapped secretary-treasurer Michael Apted and third VP Thomas Schlamme in February as co-chairs of its negotiating committee for the successor deal to the master contract. The guild’s current three-year deal with AMPTP expires on June 30, 2017. The DGA has more than 16,000 members.

Jay D. Roth, longtime national executive director of the DGA, served as the lead negotiator for the guild.

SAG-AFTRA’s current master contract with the AMPTP also expires on June 30, 2017, while the Writers Guild of America’s deal will expire on May 1, 2017. The WGA usually goes into negotiations after the DGA and SAG-AFTRA have completed their deals.

The AMPTP serves as the negotiating arm for the major production companies. AMPTP President Carol Lombardini is the lead negotiator.

In the 2013-14 round of negotiations, the DGA announced that its members had ratified its deal in early January of 2014 — six months before the contract expired. That contract provided for wage increases of 2.5% the first year, and 3% for the second and third years; a 0.5% increase in the pension plan, with the DGA able to divert that increase to wages in the first year if it chose; residuals also increased 2.5% the first year, and went up 3% in the second and third years except for network primetime, which increased by 2% each year.

The pact also included for the first time specific wages, terms, and conditions for “high-budget” original and derivative dramatic new media productions made for SVOD.

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