Producers and directors

In 2004, actors, producers, and directors held about 157,000 jobs, primarily in motion picture and video, performing arts, and broadcast industries. Because many others were between jobs, the total number of actors, producers, and directors available for work was higher. Employment in the theater, and other performing arts companies, is cyclical—higher in the fall and spring seasons—and concentrated in New York and other major cities with large commercial houses for musicals and touring productions. Also, many cities support established professional regional theaters that operate on a seasonal or year-round basis. About one-fourth of actors, producers, and directors were self-employed.

Actors, producers, and directors may find work in summer festivals, on cruise lines, and in theme parks. Many smaller, nonprofit professional companies, such as repertory companies, dinner theaters, and theaters affiliated with drama schools, acting conservatories, and universities, provide employment opportunities for local amateur talent and professional entertainers. Auditions typically are held in New York for many productions across the country and for shows that go on the road.

Employment in motion pictures and in films for television is centered in New York and Hollywood. However, small studios are located throughout the country. Many films are shot on location and may employ local professional and nonprofessional actors. In television, opportunities are concentrated in the network centers of New York and Los Angeles, but cable television services and local television stations around the country also employ many actors, producers, and directors.

A growing number of actors and other entertainers appear on the payrolls of firms who do accounting and payroll work. Frequently film production companies will hire actors through casting agencies or contract out their payroll services to accounting firms. Similarly, many actors arrange with a company in this industry to collect their pay from producers or entrepreneurs; make the appropriate deductions for taxes, union dues, and benefits payments; and pay them their net earnings for each job. The result of these increasingly more common payroll arrangements is that many actors appear to be working for accounting offices, rather than for the theatrical production companies or studios where they actually perform.

Median hourly earnings of actors were $11.28 in May 2004. The middle 50 percent earned between $7.75 and $30.76. The lowest 10 percent earned less than $6.63, and the highest 10 percent earned more than $56.48. Median annual earnings were $15.20 in performing arts companies and $9.27 in motion picture and video industries. Annual earnings data for actors were not available because of the wide variation in the number of hours worked by actors and the short-term nature of many jobs, which may last for 1 day or 1 week; it is extremely rare for actors to have guaranteed employment that exceeded 3 to 6 months.

Minimum salaries, hours of work, and other conditions of employment are covered in collective bargaining agreements between the producers and the unions representing workers. The Actors’ Equity Association (Equity) represents stage actors; the Screen Actors Guild (SAG) covers actors in motion pictures, including television, commercials, and films; and the American Federation of Television and Radio Artists (AFTRA) represents television and radio studio performers. Some actors who regularly work in several media find it advantageous to join multiple unions, while SAG and AFTRA may share jurisdiction for work in additional areas, such as the production of training or educational films not slated for broadcast, television commercial work, and interactive media. While these unions generally determine minimum salaries, any actor or director may negotiate for a salary higher than the minimum.

Under terms of a joint SAG and AFTRA contract covering all unionized workers, motion picture and television actors with speaking parts earned a minimum daily rate of $716 or $2,483 for a 5-day week as of October 1, 2005. Actors also receive contributions to their health and pension plans and additional compensation for reruns and foreign telecasts of the productions in which they appear.

According to Equity, the minimum weekly salary for actors in Broadway productions as of June 30, 2005 was $1,422. Actors in Off-Broadway theaters received minimums ranging from $493 to $857 a week as of October 23, 2005, depending on the seating capacity of the theater. Regional theaters that operate under an Equity agreement pay actors $531 to $800 per week. For touring productions, actors receive an additional $777 per week for living expenses ($819 per week in higher cost cities). New terms were negotiated under an “experimental touring program” provision for lower budget musicals that tour to smaller cities or that perform for fewer performances at each stop. In an effort to increase the number of paid workweeks while on tour, actors may be paid less than the full production rate for touring shows in exchange for higher per diems and profit participation.

Some well-known actors—stars—earn well above the minimum; their salaries are many times the figures cited, creating the false impression that all actors are highly paid. For example, of the nearly 100,000 SAG members, only about 50 might be considered stars. The average income that SAG members earn from acting—less than $5,000 a year—is low because employment is sporadic. Therefore, most actors must supplement their incomes by holding jobs in other occupations.

Many actors who work more than a qualifying number of days, or weeks per year or earn over a set minimum pay, are covered by a union health, welfare, and pension fund, which includes hospitalization insurance to which employers contribute. Under some employment conditions, Equity and AFTRA members receive paid vacations and sick leave.

Median annual earnings of salaried producers and directors were $52,840 in May 2004. The middle 50 percent earned between $35,550 and $87,980. Median annual earnings were $75,200 in motion picture and video industries and $43,890 in radio and television broadcasting.

Many stage directors belong to the Society of Stage Directors and Choreographers (SSDC), and film and television directors belong to the Directors Guild of America. Earnings of stage directors vary greatly. According to the SSDC, summer theaters offer compensation, including “royalties” (based on the number of performances), usually ranging from $2,500 to $8,000 for a 3- to 4-week run. Directing a production at a dinner theater generally will pay less than directing one at a summer theater, but has more potential for generating income from royalties. Regional theaters may hire directors for longer periods, increasing compensation accordingly. The highest-paid directors work on Broadway and commonly earn $50,000 per show. However, they also receive payment in the form of royalties—a negotiated percentage of gross box office receipts—that can exceed their contract fee for long-running box office successes.

Stage producers seldom get a set fee; instead, they get a percentage of a show’s earnings or ticket sales.

(from the Occupational Outlook Handbook: Actors, Producers, and Directors)

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