What Really Happened on the Set of ‘Anora’?

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A day following Anora’s triumph in multiple significant Oscar categories, a mysterious online message aimed to dampen its inspiring storyline about the underdog indie film.

On the platform Crew Stories, a well-known community for below-the-line social media users, an anonymous critic claimed that during the 2023 filming of the $6 million production directed by Sean Baker, they deliberately sidestepped the major crew union IATSE. This move allegedly helped keep costs down by exploiting the crew and reducing their work hours, thereby denying them the opportunity to qualify for union-administered health benefits. When the labor group attempted to unionize the production, which was eventually successful as announced on March 16 of that year, they reportedly met strong resistance from the production team. The post further stated that Baker reacted negatively, throwing a tantrum, and became uncooperative with the crew following this incident.

As a passionate gamer and film enthusiast, I’ve noticed a buzz in the gaming world lately, similar to the whispers about a highly-acclaimed movie. The rumors were spreading rapidly within the industry, questioning the realities behind the scenes of a movie called “Anora.” Days passed, and some crew members, such as the film’s prop master, a grip, and even the best boy grip, stepped forward to defend the production in the comments section. The questions swirled about what the set was like. So, let’s clear the air. The Hollywood Reporter reached out to numerous individuals involved in the production. While many remained tight-lipped, those who spoke up painted a picture of a common occurrence – a flip, or when a non-union production transitions to a union mid-shoot, typical of an independent New York film set.

Despite some unspecified circumstances, IATSE arrived late at the Anora set. However, even though Sean Baker is a renowned figure in independent cinema, recognized for his works like 2015’s Tangerine, 2017’s The Florida Project, and 2021’s Red Rocket (with only The Florida Project being produced under an IATSE contract), the union intervened just a few days before the film completed its nearly two-month-long New York production and relocated to Nevada. It remains uncertain who brought the production to the attention of the tri-state area IATSE Local 52, as they recognized that a non-union film, eligible for their Low Budget Theatrical Agreement, was being filmed on location. The producers declined to comment for this article.

It might be unexpected for some, but Hollywood sets don’t typically flip solely because of poor working conditions. While this could be a factor, it’s not always the case. A single report, or even a worker seeking union wages or union-administered health benefits, can prompt IATSE to consider a flip. For instance, a worker may wish to earn union-standard wages or accumulate work hours for eligibility in the union’s healthcare plan. Similarly, crew members can secure their first union cards by participating in a flipped crew, gaining access to union benefits, contracts, and representatives should they encounter any issues. It is important to note that anyone, not just crew members or union members, can report a non-union production to IATSE.

Two Anora crew members stated that there wasn’t a widespread push from many coworkers to form a union prior to the process starting; instead, as one put it, this decision came as a shock to almost all of us (99.9%). Before the decision, wages were generally at or near the union rate, and working conditions were typical for an independent production in New York that wasn’t part of a union, according to those who spoke to THR. The only complaint from the other crew member was about the catering, but they added that since they were shooting in Brighton Beach, they could often run out to get excellent Russian food, and it was fantastic.

A third team member describes the work environment on set as usual, except for some extended hours worked.

The defenders of Anora online have strongly highlighted that the film’s compensation was fair. Prop master Kendra Eaves stated on Instagram that she was paid a just amount and never misled about the budget. Best boy grip Gabriel Armstrong and grip Rachel Parrella confirmed that the production offered “scale” wages, which means they were paid union rates. Parella further mentioned that “[Baker] paid us a fair wage from the beginning.

Regardless of their initial reason for the report, once they became aware of the Anora predicament, Union Local 52 initiated a unionization vote among the crew members, which was widely endorsed. The IATSE representatives appeared on set while the production team was filming at a private airfield in Amityville, Long Island. Upon their arrival, a short strike ensued and filming came to a standstill as negotiations took place.

During private discussions, team members who conversed with THR recall Baker being quite polite about the situation. There was a meeting where Baker expressed his gratitude towards the group – “He shared how joyful he felt for us and enthusiastic, and it was evident that he was close to tears, though not sobbing, but definitely more than just teary-eyed,” said the first team member, who didn’t remember any outburst. A contract was finalized on March 15.

In a tangible sense, this change implies that the manufacturing process will now contribute to the union’s welfare schemes, and for those who aren’t part of the union, it could facilitate their integration into Local 52.

As a cash-strapped indie game developer, I can’t deny that it’s common for us to steer clear of collaborations with IATSE at first, even if we know it might be a lost cause. After talking to several independent producers about this, I’ve learned that many projects start out without union involvement and plan for a potential switch later on, keeping some funds in reserve for when the unionization happens. It’s not uncommon for a project with a budget of around $6 million to attempt to move forward initially without the union.

As a budding filmmaker like me, Anora, I’ve always been mindful of my contracts, be it with SAG-AFTRA or the Directors Guild of America. However, when it comes to IATSE, I found myself pondering if starting with their deal would have been beneficial. You see, these indie producers mentioned that union minimums and requirements can sometimes clash with how certain independent filmmakers operate. For instance, there are fixed work hours, lunch breaks, and specific task assignments. Plus, productions on a shoestring budget could face penalties for not adhering to these rules.

Some filmmakers opt for non-union production, hoping for more creative freedom and cost savings. In essence, they’re going the unconventional route, aiming to keep their budgets lean while still maintaining some level of artistic control.

A producer working within independent filmmaking notes, “These safeguards are designed for the context of a $100 million production, where most of the crew seldom interacts directly with the director.” In an industry grappling with financing difficulties and a struggling box office, budgets for indie films have never been more constrained.

In an interview with Indiewire in 2017, Baker openly discussed the challenges he encountered while collaborating with a team unfamiliar with his unpredictable, unique filmmaking approach during the production of The Florida Project. “Working with individuals who weren’t acquainted with my directing techniques and were accustomed to a particular method of filmmaking – typically union crews or local teams – indeed presented problems,” Baker admitted. “This inexperience almost led to the film’s halt midway through production as some thought I was reckless and erratic.

He mentioned a part in the movie where two characters were selling perfume to tourists, an incident he aimed to replicate in a similar style to “Candid Camera,” by having the actors approach real people who would later agree to have their responses included in the film. Baker shared with the publication his struggle with executing this when there were around forty people present and he wished they would all leave. “Come on, guys, isn’t it unnecessary for the head of transportation to be here?” he said.

However, as shown by Anora’s case, it’s crucial to be aware that there can still be PR risks when an independent production appears to have avoided union involvement, especially for a filmmaker like Baker who has frequently depicted marginalized groups such as sex workers (Tangerine, Anora) and the economically disadvantaged (The Florida Project). Following the 2021 #IASolidarity movement and the Rust tragedy, which brought attention to crew members’ working conditions, both general audiences and industry professionals are now more vigilant than ever about behind-the-scenes stories. During the 2025 awards season, Baker emphasized the significance of backing indie films and cinemas, possibly aiming to focus attention on those matters rather than the working conditions on his set.

As a devoted admirer, I can’t help but marvel at the fact that Baker has now won the prestigious Oscars for Best Director, Best Film Editing, Best Original Screenplay, and Best Picture. This accolade undeniably brings greater attention his way in the future. He has expressed his desire to intensify our indie, guerrilla filmmaking approach in his next project. The question remains: Will he choose an IATSE contract at the outset or face another union challenge? Time will be the ultimate decider.

Mia Galuppo contributed to this report.

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2025-03-14 21:55