By Alexa Morden

In 2024, Film Industry Watch published a piece titled “The Disappearance of TSG Casting and Talent Status: A Tale of Uncertainty and Loss”, which raised important questions about the sudden vanishing of an agency that left some actors and parents of child actors unpaid, confused, and misled. At the time, there was no clear answer as to where TSG Casting had gone or what had happened to the people behind it.

Now, after weeks of investigation, victim outreach, and independent reporting, I have that answer: TSG Casting didn’t disappear, it rebranded. But the allegations and reports of withheld pay and unpaid fees followed. What started as a solo investigation into a agency sparked a BBC primetime news feature across the UK, exposing the scale of exploitation behind the fraudulent ‘Lucy Harrison Casting.’ This piece digs deeper, uncovering how the same behaviour was able to persist and resurface under new names for years – despite having already been exposed.

TSG Casting and Talent Status Group became Lucy Harrison Casting (LHC) — an agency that, as of 2025, is at the centre of multiple allegations of financial misconduct, fraud, misrepresentation, and legal intimidation. It seems the same woman who ran TSG is operating LHC under the alias “Lucy Harrison” — a name not connected to any Companies House filings or legal ownership of any business. In fact, “Lucy Harrison Casting” and its CEO “Lucy Harrison” don’t appear anywhere online outside of their own website, Facebook, and Instagram page.

It appears that this fabricated persona was used to continue a pattern of financial abuse with a layer of plausible deniability. I discovered all of this because I recognised the red flags in comments on social media, having already been at the heart of unearthing other industry malpractice over the past 18 months. This included the “Bodhi Talent Scandal,” where a con-artist agent used actors’ work and fake cancer charity workshops to steal money before being exposed, filing for bankruptcy, and disappearing.

I’ve learned to pick up on patterns of bad practice and the emotional manipulation that usually comes with them. It’s not hard for a rogue agent to take advantage of the hierarchy that exists in this industry — a hierarchy that often leaves actors feeling that if they speak out or ask questions, even when warranted, they are “rocking the boat” or risking their careers.

Through my experiences helping creatives facing wrongdoing in the entertainment and performing arts industries, I’ve found that malpractice and exploitation are not only rife but also enabled by an unregulated system that leaves those affected isolated, unsupported, and often silenced. Reports, if made, aren’t taken seriously, or if they are, organisations claim there’s only so much they can do.

So, it seems to come down to those of us outside the traditional structures being forced to do what no one else is doing — collecting evidence, connecting the dots, offering support, and making noise in the hope that the silence finally breaks.

This isn’t a job I ever expected, or wanted, to be doing, but when the industry refuses to protect its most vulnerable, we have no choice but to protect each other. That’s why I’m writing this article: so you can be equipped not only with this information but also with a roadmap of red flags to look out for — so you don’t become unwittingly caught up in something like this.

Even now, with regulatory bodies investigating LHC, reports being made to the police and Action Fraud, and an eye-watering running total of money owed, industry organisations still feel they can’t let LHC clients left in the lurch know why their agent is under investigation — or warn them about the steps they likely need to be taking if they’ve booked work via this agency.

LHC is even claiming to some clients that they intend to continue working as an agency, and to rejoin casting directories, under a new name. With no public notice, no safeguarding guidance, and no duty of care being shown to those still potentially at risk, what’s to stop them?

I’m just an actor — an actor who, seven years ago, started a podcast and online platform that speaks honestly about the realities of working in this business, and the parts that no one else tends to spotlight. I never set out to become an investigator, whistleblower, or advocate. But when people come to you with nowhere else to turn, or no one else who will listen — you listen. And you act.

Because silence, in this industry, protects abusers and enables cycles of exploitation. Speaking out protects others. It creates ripples, it gets people talking, and it helps to break harmful patterns.

When I began my sleuthing into “Lucy Harrison Casting” and the “well-known scammer” behind the agency (as described in an article I found on this very website), I was prepared to find dodgy dealings, questionable pasts, and mishandled money. What I didn’t expect was to hear mothers of child actors as young as two telling me stories about financial fraud.

What began as a few familiar warning signs soon grew into an archive of testimonies, documents, emails, and inconsistencies that could not be ignored.

There is so much to share in regards to this case, and you can hear the most important findings in “Lucy Harrison Casting: A Cautionary Tale” on The 98% podcast. But in a nutshell: Lucy Harrison Casting is not who, or what, it claimed to be. It is the latest in a string of agencies used to exploit actors, conceal financial misconduct, and avoid accountability.

What started as a few comments in a Facebook group regarding late payments and invoicing confusion around this agency led me to discover that LHC was using a company called “Happy House Productions” to handle their finances. Actors were told to invoice HHP in order to be paid for jobs. This is not standard practice and seemed to blur the lines of accountability over who was actually responsible for paying actors — a tactic that benefitted the agency, not the talent, who were waiting months, and in some cases years, for money owed.

Payments ranged from small recall fees to huge commercial buyouts. Typically, an agent invoices the production company directly. The payment is then deposited into a client account — a protected fund that the agent has no legal right to dip into. Once the agreed commission is taken, the remaining fee is sent to the actor, along with a remittance — a document showing the original payment amount, what was deducted, and what the actor has received.

When actors started chasing Lucy Harrison Casting for payment from jobs they had worked on, LHC claimed they had nothing to do with the finances and directed them to Happy House Productions instead, insisting the two companies were totally separate and unrelated. This has since been proven false, considering the director of HHP appears to be married to Marianna — the woman who seems to be operating Lucy Harrison Casting, and the same person previously behind TSG Casting.

Now that Happy House Productions has entered liquidation and is under investigation by regulatory bodies, LHC has shifted the narrative — stating they’ve been suspended from casting platform Spotlight due to HHP’s financial situation. LHC even tried to blame me (through unfounded legal threats) for “them” going into liquidation, with no mention of HHP at all. So, were they connected to Happy House or not? It seemed they couldn’t keep their own story straight.

They were also clearly unaware that I had already discovered a charge filed in January 2025 showing that Happy House Productions had entered into a financing agreement with Apollo Business Finance — a company that provides invoice financing, where a business receives most of the value of an invoice upfront from a third party, who later collects the full amount from the client and keeps a percentage as their fee.

We can learn a lot from this situation, which is why in my podcast episode I break down my armchair investigation from start to finish — so you can learn how to do your own due diligence when working with an agent. I walk through the red flags I spotted on the LHC website, what I uncovered through Companies House, and how to access public records that anyone can find. I also explain some of the laws and legalities around payments — things every actor should know, but that no one ever really teaches us.

For example, in the UK it is unlawful for an agent to hold onto an actor’s money for more than ten days. If a production company sends your fee to your agent, and that agent fails to transfer it to you within ten days, that is illegal. There is no reason for you not to have that money right away.

It is also illegal for an agent to access or use any money held in the client account. That money belongs to you, the client — not the agent. So, if an agent ever says they’re having “cash flow problems,” or are unable to pay invoices themselves, that is not to be taken lightly. An agent should never have cash flow issues, because the money coming in should be going directly back out to the actors who did the work, minus the agent’s agreed commission.

When Lucy Harrison Casting launched, some actors were told they needed to pay for headshots through the agency in order to be represented or put forward for work. It is unlawful in the UK for an agent to require any sort of fee or paid-for service to join the agency. No agent should ever make you pay upfront for classes, workshops, headshots, coaching, or admin fees as a condition of signing with them.

Dozens of actors have now reported tens of thousands of pounds in unpaid earnings. Some have discovered discrepancies between what LHC invoiced production companies and what they were told they were paid. Children have had wages withheld or stolen entirely. Some clients had no idea they were owed buyouts or re-air fees that were paid to the agent months ago — until they contacted production directly.

When challenged, LHC and Marianna seemed to resort to gaslighting, manipulation, and, in some cases, intimidation. As well as not being transparent with clients and misleading industry professionals (including casting directors), LHC even sent emails to Equity and Spotlight about a former client, in what appeared to be an attempt to keep her quiet about her experience. I’ve seen these shocking emails myself, described by the actor as “slanderous.” Instead, this actor thankfully used her voice to warn others in a whistleblowing interview on The 98%.

I also received threats personally — emails that seemed to be AI-generated legal jargon. They were sent, I believe, to scare me into not releasing the information I had gathered after I offered them a right to reply for the podcast episode, which I had aimed to release in good faith and in the interest of the public. I was somewhat expecting this kind of threatening language and intimidation, having seen it used as a tactic to silence people I had helped in the past. (I have since learned that just because someone threatens you with legal action doesn’t mean they have a case.)

I’ve even heard from other actors, and parents of child actors, about agents elsewhere threatening legal action for things such as speaking directly to production, or sharing their opinion on social media. (Things you are well within your rights to do. And FYI — there can be no “defamation case” if what you are sharing is true, especially when you have evidence.)

From small suggestions and prompts to clients, we now have investigations by government bodies and yet another liquidated company to add to the list of this rogue agent’s operations. But this story is not yet over, and many involved feel not enough is being done. More victims are coming forward each week, and legal proceedings may follow. But the main worry is that the people behind this years-long scam will simply continue, as they have before, while those they have exploited are left to deal with financial instability, shame, regret, a loss of confidence, and a sense of distrust that may never fully leave them — without much assurance that something like this won’t happen again.

Hopefully we, as an industry, can learn from this. Not just in regard to specific individuals from rogue agencies, but by looking more critically at how the system itself is allowed to operate. There must be change: actual regulation around who can become an agent, stricter codes of conduct, more safeguarding in place when things go wrong, and more scrutiny regarding people with sole management of other people’s money.

In the meantime, we as actors can start to take our power back. As Karis, the former LHC client, said on The 98%:

“I understand my worth. I understand my value. I have enough self-respect and integrity, confidence and dignity, to know when I can stand up and shout loudly. I won’t be taken advantage of.”

Speaking out makes a difference. Don’t let fear keep you small. Anyone who makes you feel like speaking out against wrongdoing will “ruin your career” is someone who benefits from the fear that myth creates. A good agent wouldn’t want you to feel intimidated — they would want you to feel empowered.

This all started unravelling because a few actors began speaking online, and then joined together to figure things out and seek help. Those who take advantage of others in this industry have benefitted from a system built on silence and fear for too long. The best way to dismantle that system is to use your voice — for yourself, and for others. Because the more we shine a light on what certain people would rather keep in the dark, the fewer places they have left to hide.

If you have been affected by Lucy Harrison Casting or an agency acting similarly, you are not alone. In the episode description of The 98% podcast exposing LHC, you’ll find a link with clear, practical next steps to take if an agent is withholding payment you are entitled to.

Listen to The 98% podcast wherever you get podcasts.
Follow @the98percentpod.

The 98% is now a newly registered Community Interest Company, created to continue advocacy, education, and awareness for actors navigating an unregulated industry. If you, or someone you know, is interested in financially supporting a grassroots organisation with the aim of protecting performers, promoting transparency, and providing support — please get in touch: the98percentpod@gmail.com.

Timeline

OCT 2022 — TSG Casting applied to voluntarily dissolve the agency on Companies House (believed to be due to complaints surfacing regarding late payments).

DEC 2022 — Some TSG clients receive an email from “Lucy Harrison” (reportedly Marianna — the woman who ran TSG — posing under an alias) saying she was “leaving” TSG and “starting her own agency,” Lucy Harrison Casting. No formal announcement is made to clarify TSG’s closure.

EARLY 2023 — LHC becomes active. Actors are pressured into purchasing headshots directly from the agency to be considered for work — an unlawful and unethical practice. Marianna attends certain photography sessions but introduces herself as “Lucy.”

MARCH 2023 — People are told Lucy is off on bereavement leave after the “sudden death of her mother.”

EARLY FEB 2024 — The 98% helps expose the conman agent behind “Bodhi Talent” and raises awareness around the issue of rogue agencies and bad practice.

LATE FEB 2024 — The 98% receives the first email from a former LHC client detailing how actors were required to pay for headshots with “Lucy” in order to be represented and put forward for work. LHC is reported to UK actor union Equity, but the complaint is dismissed.

JAN 2025 — Happy House Productions (the company handling the finances of LHC and payments to actors) enters into a charge agreement with Apollo Finance, a third-party financing company. This indicates the agency had borrowed against future earnings while still owing money to actors.

EARLY MAY 2025 — Social media chatter opens a dialogue regarding late payments and questionable correspondence from LHC and Happy House Productions.

MID MAY 2025 — LHC clients receive a round-robin email saying Lucy is “off work with PTSD after a sudden bereavement.” People are told on the phone it is Lucy’s mother that has died (again). Maz and Allison (the “bookers” at LHC) claim they do not have access to the accounts to pay people, but that Lucy will return at the end of June.

LATE MAY 2025 — Alexa of The 98% begins her armchair investigation into LHC, TSG, and the woman behind the agencies, Marianna. Advice is posted on social media about how to recover money owed. LHC clients begin requesting remittances from production companies. Discrepancies are confirmed between what was invoiced and what actors received — if money was ever received at all.

JUNE 2025 — Legal threats and libellous emails are issued from LHC in an attempt to silence those speaking out. The 98% publishes the episode unveiling information gathered. Regulatory bodies confirm that LHC and Happy House are the same entity. Investigations begin, and LHC is suspended from UK casting directory Spotlight. Happy House goes into liquidation, but some LHC clients receive an email saying LHC intends to continue under a new name (the same pattern as with TSG) and that Lucy won’t be returning. LHC cites an “online smear campaign.”

JULY 2025 — As actors and parents of child actors chase payment and ask production companies for remittances, evidence emerges that all manner of money had been withheld or stolen.

AUGUST 2025 — EASI continues to investigate. Some actors prepare to take Marianna and Edward Lightfoot to small claims court. LHC attempts to continue operating under “Happy House Media.” The website and Facebook page for LHC remain live — until the BBC covers the story.

Alexa Morden is an award-winning actor and founder of The 98% CIC — a newly registered Community Interest Company dedicated to advocacy, education, and systemic change in the entertainment industry. Through her coaching and consultancy service Acting With Alexa, Alexa supports actors in their craft and careers with empowerment and confidence. Through her podcast, online platform, coaching, and investigative work, she champions transparency, accountability, and the changes needed for a safer, fairer industry.

@alexa_morden | @the98percentpod | @acting.with.alexa

Legal Disclaimer

This article is an investigative report written by the author and published by Film Industry Watch for the purposes of public interest, transparency, and education within the entertainment industry. The content of this article is based on information obtained from publicly available records, direct communications, and accounts provided by individuals. Every effort has been made to verify the accuracy of the material presented.

All statements contained herein are made in good faith and are based on evidence available at the time of publication. Any expressions of opinion are those of the author alone and do not necessarily reflect the views of Film Industry Watch. Neither the author nor Film Industry Watch intends to harm the reputation of any individual or organisation. If subsequent evidence emerges that materially alters the facts as reported, corrections or clarifications may be issued.

Nothing in this article should be taken as legal advice. Readers are encouraged to seek independent legal or professional guidance where necessary. If you find any error in the article, please contact us immediately.

To the fullest extent permitted by law, Film Industry Watch and the author disclaim all liability for any loss, damage, or inconvenience arising from reliance on the information contained in this publication.

The post Changing Names, Not Behaviour: Inside the LHC Scandal (The Disappearance of TSG Casting) first appeared on Film Industry Watch.

A group of more than 40 set builders and scenic painters are alleging that they have been left unpaid for work on two major television projects, the working title “Fixer” and a separate series referred to as “The Associates.” Both projects involved Helix 3D, a construction company now reportedly facing liquidation, which has left workers collectively owed over £250,000. Concerns are mounting that crew members will not see any of this money, despite completing the set work over the summer and right up to the start of filming.

Multiple crew members claim to have been hired by Helix 3D to build and paint sets for “Fixer” (a big-budget gangster drama said to include stars Tom Hardy, Dame Helen Mirren, and Pierce Brosnan) and “The Associates.” The workers, many of whom put in overtime and six-day workweeks, report that they have not been paid for up to a month’s worth of labor. This news is particularly distressing as it unfolded just before the holiday season.

People are missing up to a month’s wages, and just before Christmas, it’s absolutely disgusting,” said one scenic painter.

For many, the problem is compounded by the fact that Helix 3D allegedly has a history of unpaid invoices and has “done this before,” according to several individuals who have previously worked with the company.

Helix 3D’s Apparent Liquidation and Shuttered Operations

Helix 3D’s chief executive, Brian Dowling, reportedly informed crew members via WhatsApp that it was unlikely they would be paid before Christmas. Helix 3D’s website and social media have been taken down, and its workshop is said to be up for sale.

• Helix 3D had been paid by the production companies behind the shows, 101 Studios and MTV Studios, for the construction work.
• A “devastating” message from Dowling signaled that the company could not fulfill the owed wages, citing financial difficulties and the impending sale of its offices.

Bectu (the broadcasting union) has been contacted by several of the unpaid workers to coordinate a “mass claim” against Helix 3D. The union is urging all those affected to get in touch and share details about when and where they worked, in hopes of negotiating with production companies and applying collective pressure.

Tom Hardy’s Intervention and Paramount’s Response

In a surprising turn, actor Tom Hardy, 47, reportedly offered to personally cover the wages owed to the crew on “Fixer,” in which he is set to star. According to a source close to Hardy:

“He offered to [pay]. But the production and Paramount have sorted the payment.”

Paramount, upon learning of the crew’s plight, stepped in swiftly to ensure the workers would receive compensation in time for Christmas. A source at Paramount said it was “outraged” to hear about the non-payment situation and acted to rectify it immediately.

Chris Hudson, an official representing Bectu, wrote a letter to Brian Dowling criticizing Helix 3D’s treatment of its workers. In the letter, Hudson stated:

“Our members deserve to be treated with dignity and respect and compensated on time for their work. It is wholly unacceptable that they are facing significant financial precarity, particularly ahead of Christmas.”

Hudson emphasized that financial liquidity problems—caused by an office sale or other issues—were not valid justifications for withholding wages. He further noted the lack of transparency regarding Helix 3D’s finances, saying such a situation should have been foreseeable.

Bectu continues to collect statements and documentation from the unpaid workers, encouraging them to share details via email. The goal is to compile a detailed timeline and push for direct contact with the relevant production companies, increasing the likelihood that affected workers will eventually be compensated.

As Helix 3D reportedly heads into liquidation, many crew members are left uncertain about their prospects of receiving the full amount owed. Some worry that individuals associated with Helix 3D might form a new entity and proceed with future projects—like a second season of “The Associates”—while crew members from the first round remain unpaid.

The high-profile involvement of Paramount and Tom Hardy signals that major stakeholders are taking the issue seriously, at least for “Fixer.” However, the unsettled debts for “The Associates” and other ongoing or past Helix 3D projects remain in limbo. In the meantime, Bectu and affected workers are coordinating to ensure that this situation does not go unnoticed, calling on the film and TV community to spread the word and advocate for fair payment practices.

How to Help and Get Involved

• Spread the Word: Those affected hope to pressure Helix 3D and any future spin-off companies to address unpaid wages.
• Contact Bectu: If you or someone you know has worked for Helix 3D without payment, email Bectu with details (dates, project names, locations).
• Stay Informed: Monitor film and TV industry forums or union newsletters for updates on collective actions or possible legal remedies.

SOURCES:

Tom Hardy offers to pay wages of crew on Guy Ritchie series after company failure:
https://www.standard.co.uk/showbiz/tom-hardy-offers-pay-set-crew-guy-ritchie-series-the-associate-paramount-b1200454.html

The statements made in this article are based on first-hand accounts, statements from crew members, union representatives, and publicly available information. While Paramount has confirmed that it is stepping in to pay wages for “Fixer,” details regarding Helix 3D’s financial status have not been independently verified, and no definitive ruling of wrongdoing has been made by a legal authority. Readers are encouraged to conduct their own research, seek professional advice where necessary, and approach the information presented here with due diligence.

The post UK: Construction Crew Left Unpaid on Major TV Projects, Helix 3D Faces Liquidation first appeared on Film Industry Watch.

I played a very tiny role in a movie many years ago. I was told this film would play once on NBC in a t.v. miniseries.  I was later without compensation after the film played hundreds of times since the first showing on NBC.  Ann Rule (Writer) told me this film would play once on NBC.

They continue to use my body, brain, voice and soul to make money on me, albeit a very small part, but, still, why am I not compensated?  I hope to hear from someone with an opinion on this. I have spoken to the Screen Actors Guild Law department S.A.G., also; lawyers who want big retainer money and many others to no avail. I would love to find justice for all actors/tresses who have been swindled by the big money making producers and directors.

Dead By Sunset with Annette O’toole and Ken Olin

Book: by Ann Rule: The true story of Bradley Morris Cunningham (Brad Cunningham) and Cheryl Keeton Cunningham

Karen Arthur (born August 24, 1941) is an American television and film director, producer, and actress.^[2] She directed more than 40 feature and made-for-television movies, miniseries, and television series. In 1985 she become the first woman to win a Primetime Emmy Award for Outstanding Directing in a Drama Series.

Sincerely and Kind Regards

April Arwood

The post I Was Swindled By the Film Industry first appeared on Film Industry Watch.

Damian Chapa (Blood In, Blood Out, Money Talks, Under Siege) is now pretty well-known for making really bad low-budget straight-to-video movies that leverage his popularity in the Latino community for his role of “Miklo” in Blood In, Blood Out.  He was once married to Natasha Henstridge.  Years ago, I worked for one day as an actor in his film Vatos Locos which was released in 2011.  Besides being sold on DVD at Wal-Mart, it was posted on YouTube where it garnered 2 million views.  I and other cast and crew were never paid for our work.  At this point, he owes me thousands of dollars in late fees.  I have reached out to him on social media to ask about the money he owes me and he has blocked me.William Ngo, M.A.

Reels on IMDb

Jaren – “Witness” (867,000 views)How War Ends (12 film festivals)Five Points: Viral Video (27.8M views)

IMDb.me/WilliamNgo

The post Damian Chapa – Alleged Non-Payment first appeared on Film Industry Watch.

• Work for less than minimum wage without loading
• Be considered a casual employee but provide 4 weeks notice 

She also wanted me to:

• Be available all of the time with no set schedule or work days
• Travel to across multiple regions and cities, without appropriate notice, payment for travel time and appropriate accomodations for my disability

On my first day, she changed the date and then the city, meaning I had to cancel flights at my own expense, drive to a regional town despite not having a car, and then work in a dusty, unkempt environment on a broken laptop. 

I was asked to do an additional ~100 hours of unpaid work viewing international and documentary submissions. I learnt that all submissions to the festival are reviewed by unpaid workers, then she single handlely makes the decision of what films are entered into the festival. I understand that it’s her festival, but the unpaid work for dozens of people is unconscionable. 

Because she would not advise when I was working, I was unable to make any other work plans and therefore could not make a living wage with the festival. It was also extremely stressful not to know where I was working and when. As such, I declined the job offer. The position was likely filled by someone who is more desperate to get into the industry and willing to accept less than the legal wage.

Thank you for your time.”

The post Flickerfest Australia – Alleged Misconduct first appeared on Film Industry Watch.

New this month:

Paul Morrissey Ltd (Paul Morrissey as a director) 7 Frobisher St, London, England, SE10 9XB, official: Yann Allsopp

Be Part of It Productions Limited, trading under ‘Sneaky Experience'(Julia Benfield as a director) 8 Fusion Court, Aberford Road, Garforth, Leeds, West Yorkshire, LS25 2GH official: YA

Brand Fuel Limited (Michael David Ball, Andrew Michael Mitchell and Susan Mary Sawyer as directors) Elgin Lodge, Eversley Road, London, SE19 3PY official: Carwym Donovan

City Girls Productions Ltd (Lee Beasley and Alan Latham as directors) Highfield Grange Studios, Bubwith, Selby, YO8 6DP official: Stefan Vassalos

Cypherpunk Studios (Hashim Alshubbar as a director) 64 Nile Street, London, N1 7SR official: Jessica Glaisher

Glow Arts Ltd (Lisa Carpendale as a director) Unit A 82 James Carter Road, Mildenhall, Bury St. Edmunds, Suffolk IP28 7DE official: Simon Nightingale

Looped Films Ltd (Sarmad Varraich as a director) 517 Mappin House, Winsley Street, London W1W 8HF official: Sean Kelly

NBL Film Limited (Adam Rolston, David Simon Braithwaite as directors) (Company Number 11730180) Suite A, 82 James Carter Road, Mildenhall, Suffolk IP28 7DE, formerly of c/o Twickenham Studios the Barons Twickenham TW1 2AW, officials: Paul Evans and Spencer MacDonald

New Gen Entertainment aka New Gen Cipher CIC (Daniel Lukokombo Nzena as a director) 18 Caro House 6 Watteau Square, Croydon, CR0 3FE official: SK

Orbit Staging (Carl Ryderas a director), Horton Grange Farm, Horton in Craven, Skipton, BD23 3JT official: Adam Flanders Pinch Media Film Ltd (Enrico Tessarin, Mirko Pincelli, Winnie Wongas directors) 1 Tollard House, 388 Kensington High Street, London, W14 8NL

Rebel Sister Films (Siobhan Cleary) 4 Marina House, George’s Quay, Waterford, Ireland official: SN
Saints and Savages Ltd (John Pavlakos formerly a director), 31 Holtwhite Avenue, London EN2 ORS (also trades under Purple Lion Pictures (dissolved), Saints Cinema Ltd, JPictures Ltd) official: JG

Serran Ltd (Randell Sergeant as a director), Studio A401, Almond Building, Biscuit Factory, 100 Drummond Road, London SE16 4DG official: SK

Spark Content formerly trading as GoTV Media Ltd, (Marc Hayward)
64 Newman Street, Fitzrovia, London, W1T 3EF

SOURCE:

The post Bectu list of alleged failures to properly observe obligations to members (UK) – December 2023 first appeared on Film Industry Watch.

The National Youth Film Academy, a name that once inspired confidence in film and media education, now faces serious allegations. A mentor has come forward with claims of unpaid wages and a lack of responsiveness from the leadership. This comprehensive exploration delves into these allegations, offering a detailed account of the mentor’s experiences and their potential impact on the industry’s professional standards.

The Mentor’s Journey: High Hopes to Alleged Disappointment

In 2018, a mentor with a strong background in teaching and low-budget films was recommended to the National Youth Film Academy. They joined the SetReady program, eager to bring a more organized approach to training. Despite early concerns about the CEO’s alleged lack of educational expertise, the mentor was committed to helping the young people who trusted the organization.

Over time, the mentor’s role expanded to developing and delivering a core skills program. They worked diligently, guiding young producers in creating short films, and were proud of the students’ achievements in completing multiple film projects. However, the mentor alleges a troubling turn of events. According to them, the academy failed to manage its finances effectively, leading to the alleged loss of 2022 members’ money and unfulfilled promises for crowdfunding campaigns. This reportedly resulted in many actors and industry mentors not receiving their due payments.

A Widespread Issue: Other Professionals’ Alleged Experiences

This situation, the mentor claims, isn’t unique to them. They suggest that other professionals associated with the academy have faced similar issues of delayed or non-payments. This pattern, if true, hints at a deeper problem within the academy’s financial management, undermining its credibility and the trust of its staff and partners.

The mentor describes their attempts to reach out to the academy’s CEO, only to be allegedly met with silence. Adding to their frustration, they claim they were advised against going public with their concerns, with the alleged implication that speaking out could jeopardize their chance of receiving any future payments. This situation presents a significant ethical dilemma and highlights the importance of transparency and accountability in educational institutions.

The mentor also expresses their disappointment and alleges that the academy’s actions may border on illegal activities such as operating a Ponzi scheme or trading while insolvent. They mention that the academy continued recruiting for new programs despite allegedly being unable to pay existing debts, which raises questions about its operational ethics.

In a surprising turn, the mentor alleges that they were offered the opportunity to take over the Set Ready program by the academy’s CEO. This offer came at a time when the academy was still planning future programs despite the outstanding financial issues. The mentor declined this offer, choosing to distance themselves from the organization.

No Resolution in Sight: The Ongoing Struggle for Payment

Despite promises of installment payments, the mentor claims they only received partial payments and are still owed a significant amount. They describe this as a frustrating and disheartening experience, one that has left them and others in a challenging financial situation.

The mentor’s decision to share their story is a brave one, considering the alleged risk of losing their payment. This decision underscores the need for stronger protections and support systems for educators and mentors in the film industry. It’s not just about getting paid; it’s about ensuring respect and fairness for those who dedicate their time and expertise.

Reflecting on Ethics and Accountability

The comprehensive allegations against the National Youth Film Academy paint a concerning picture of the challenges faced by educators and mentors in the film and media sectors. While these remain allegations, they emphasize the necessity of ethical business practices and the fair treatment of professionals. The mentor’s experience calls for a serious reflection on practices in the film and media education sector to ensure fairness, transparency, and respect for all its members.

In conclusion, the mentor’s detailed account of unpaid wages and unresponsive management at the National Youth Film Academy highlights significant concerns. While these allegations have yet to be proven, they demand attention and action to ensure that educational institutions uphold their responsibilities and maintain the trust of their staff, students, and the wider film community.

Feedback and Corrections
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The post Unpaid Wages at The National Youth Film Academy: A Mentor’s In-Depth Account first appeared on Film Industry Watch.

The Perils of Unfulfilled Payments

Mastermind Productions, a relatively small player in the film industry, has allegedly garnered some negative attention for its handling of payments to freelancers. Several individuals have shared their experiences of working with the company and facing difficulties receiving compensation. These incidents highlight the broader issue of late or unpaid invoices that plague the freelance film community.

In an industry where many professionals rely on project-based work, timely payment is crucial for financial stability. Late or unpaid invoices can cause significant hardships for freelancers who depend on these earnings to cover their living expenses, bills, and other financial commitments. It is allegedly essential for freelancers to be aware of their rights and take proactive steps to protect themselves from potential payment issues. By establishing clear payment terms, communicating effectively with clients, and seeking legal recourse when necessary, freelancers can navigate the challenges of the industry and ensure they receive fair compensation for their work.

A Shared Experience

One freelancer, who preferred to remain anonymous, shared their experience with Mastermind Productions and their project, ‘Snatching Sanity,’ which was filmed in London. The freelancer described the challenges they encountered when trying to secure payment for their work on the project. They emphasized the importance of freelancers receiving their pay in advance, especially when dealing with unfamiliar or potentially unreliable production companies.

Another individual echoed these sentiments, reinforcing the idea that timely payment is crucial when collaborating with production companies like Mastermind Productions. They expressed disappointment at being mistreated and blamed when things went awry on set, all while not receiving the compensation they were promised.

Navigating Payment Challenges

For freelancers in the film industry, navigating payment challenges is an unfortunate but often necessary aspect of the job. Here are some tips for mitigating such issues:

Get It in Writing: Whenever you accept a freelance project, ensure that the terms of your agreement, including payment details, are documented in writing. A clear contract can be a reference point if payment disputes arise.

Request Advance Payment: If you have concerns about a production company’s reliability, consider negotiating for an advance payment or milestone payments throughout the project. This can provide you with some financial security.

Research the Company: Before accepting a project, research the production company and its reputation. Online forums, reviews, and social media can be valuable resources for gaining insights into their track record.

Network with Peers: Connect with other freelancers in the industry to share information about production companies and their payment practices. This community support can help you make informed decisions.

The Bigger Picture

While unfortunate experiences with production companies like Mastermind Productions are disheartening, they shed light on the broader issue of payment challenges in the film industry. Freelancers, the lifeblood of many film projects, deserve to be treated fairly and professionally.

By sharing their stories and offering guidance on how to navigate these challenges, freelancers can empower one another to make informed decisions, protect their interests, and continue pursuing their passion for film while avoiding the pitfalls of unscrupulous production companies. The film industry thrives when all its participants are respected and compensated for their hard work and creativity.

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In the world of marketing and advertising, Ruckus Marketing is a name that has garnered attention, but not always for the right reasons. While they may have a talented team, a darker side of the company has recently come to light. Freelancers who have allegedly worked with them have shared their stories of mistreatment, delayed payments, and contractual disputes. This exposé will delve into the troubling narrative surrounding Ruckus Marketing and its production arm based in Allentown, PA.

The Promise and the Reality

Like many agencies, Ruckus Marketing often lures creative professionals with the promise of exciting projects, collaborative teams, and competitive compensation. However, the reality for some freelancers has been far from what was initially presented. Tales of discrimination, mistreatment, and delayed payments have cast a shadow over the company’s reputation.

One former producer’s experience with the agency serves as a testament to the challenges allegedly faced within the company. This individual spent a year working for the agency and has since taken legal action for discrimination. While the specifics of their case are not detailed here, it sheds light on deeper issues within the company’s culture.

Another freelancer detailed an experience working with them and never receiving payment for the work done.

In addition to discrimination claims, Ruckus Marketing is also under scrutiny for its payment practices, or lack thereof. Freelancers who have contributed their time and talent to the company’s projects have found themselves waiting for months to receive their due compensation. This delay in payment has left many in financial distress and forced them to fight for their rights as per their contracts.

Seeking Accountability

The stories of mistreatment and payment delays at Ruckus Marketing’s production arm raise important questions about accountability and ethical business practices within the advertising industry. Freelancers, who often rely on timely payments to sustain their livelihoods, face significant challenges when confronted with such issues.

As the spotlight turns toward Ruckus Marketing and its treatment of freelancers, it remains to be seen how the company will respond. Will they take steps to address these allegations and improve their work environment, or will the shadows of mistreatment continue to loom over their reputation?

The Freelancer’s Dilemma

One of the most troubling aspects of the Ruckus Marketing situation is the impact on freelancers’ lives. These creative professionals, often working project to project, rely on timely payments to cover their bills, put food on the table, and plan for their future. The delayed payments and contractual disputes have caused immense stress and financial hardship for those allegedly involved.

The experiences at Ruckus Marketing have broader implications for the marketing and advertising industry as a whole. Freelancers make up a significant portion of the workforce, and their contributions are invaluable to the success of many projects. Ensuring fair treatment, timely compensation, and a respectful work environment should be a top priority for agencies and production companies.

One positive outcome of these stories is the power of transparency. Freelancers and former team members have come forward to share their experiences, shedding light on issues that may have otherwise remained hidden. This transparency can serve as a catalyst for change within the industry, pushing companies to reevaluate their practices and prioritize the well-being of their team members.

In the Shadows: Ruckus Marketing’s Freelancer Controversy

The experiences of freelancers who have worked with Ruckus Marketing serve as a stark reminder of the challenges and injustices that can exist within the creative industry. It is crucial for companies to prioritize fair treatment, timely compensation, and a supportive work environment for all their team members, including freelancers. The stories shared here underscore the importance of holding businesses accountable for their actions and striving for a more equitable and respectful work culture in marketing and advertising. Freelancers play a vital role in the industry, and their contributions should be met with the respect and fairness they deserve.

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Cautionary note to anyone considering working with Callan Allen.

Several individuals, including myself, have worked on his previous film ‘Clued Up’, and over the past several months, he has engaged in dishonest behavior by lying, refusing, and ignoring payment for invoices. I have been forced to involve High Court enforcement to chase down payment, and even then, he has been reluctant to pay on time.

Furthermore, Callan Allen has now allegedly started filming a new project as per his Twitter feed, and I want to alert others to his dishonest tendencies. It’s important to be aware of the risks before considering any professional engagement with him.

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Neil Garrett, the Executive Producer at OMG Media, was confronted by Bea about the delay in payment for her invoice after 40 days. Bea was surprised and frustrated by the delay and allegedly asked Neil for an explanation. In response, Neil showed a lack of professionalism, stating, “Bea, we actually have 60 days to pay you. So I suggest you back off or I will ensure you don’t get paid until every one of those 60 days is up.” Bea was taken aback by Neil’s harsh response and was disappointed with his unprofessional behavior.

But that wasn’t the only issue Bea had with Neil. On the shoot day, Neil allegedly disappeared for six hours, leaving the crew without any production support, water, snacks, or anything else they needed. The absence was later revealed to be due to Neil attending his kids’ football game. Bea found Neil’s behavior to be unprofessional and irresponsible, leaving the crew in a difficult situation during the shoot.

Bea’s experience with Neil and OMG Media left her dissatisfied with their lack of professionalism and alleged failure to pay invoices on time. She warns others to avoid working with OMG Media if they value timely payments and professional behavior in their business partners.

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As filming commenced, the person in question allegedly noticed some unprofessional practices on set that they, as a filmmaker themselves, would never do. However, they continued to work diligently, believing that the show must go on.

After completing their work on set, the person in question faced issues with getting paid for their services. One of the directors/producers, Deren Stevens, who was one of the two people in charge of the production, ignored their attempts to contact him regarding their invoice. They were allegedly ignored, lied to, and made to wait.

Frustrated, the person in question then reached out to the other partner in charge, who allegedly eventually paid them for their work in a respectful manner. However, upon conducting further research, the person in question discovered that Deren Stevens had a media company that was supposed to be dissolved years ago, and he was possibly avoiding taxes by running an unregistered company. Moreover, the person in question found that Deren Stevens had no job title or official role with the production company they worked for, and he had signed contracts that were void as his name was not part of the company at the time of their contract being signed.

The person in question reflects that they are glad they had the opportunity to check out Deren Stevens and highlight the importance of conducting thorough research in the entertainment business. They urge others to verify websites, links, and registration details with the company’s house to avoid being taken advantage of by unscrupulous individuals.

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However, as the shooting date approached, the director discovered that there were no signed contracts with investors, despite what had been allegedly promised. Shocked and disappointed, the director pulled out of the project, and many of the crew members followed suit, realizing that the film’s funding was not secure.

Months passed, and some crew members, including the storyteller, had still not been paid for their work in the pre-production phase of the film. The production company, Genlock Films Limited, located at Rays House, North Circular Road, NW10 7XP, had failed to fulfill their financial obligations to the crew, leaving them out of pocket and feeling deceived.

The situation was frustrating and disheartening, as the crew had invested their time and efforts into the project based on the assurance of signed contracts with investors. It was allegedly a clear case of cast and crew non-payment, where promises were made but not fulfilled, resulting in financial hardship and wasted time for those involved.

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I Worked on a feature named “His Master’s Voice” with Michael. The film was released in 2018, yet I, the cast & crew have allegedly not been paid. Michael created a company called Quiet Voice Pictures just before taking on the film. He has always run under the name of Quiet Revolution Pictures, however, Michael’s new company Quiet Voice was allegedly bankrupted. Michel to this day continues to produce.

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If you’re approached by Ananthan for work, it’s recommended that you exercise caution and be aware that his behavior towards freelancers may be unpleasant and unprofessional. While not all experiences may be negative, it’s important to consider the potential risks and make an informed decision about whether or not to work with him.

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Photographer X is now allegedly left wondering if they have any legal recourse against Luigi Masi and DSP Cosmetics LTD, a company that seems to constantly change its name and address but continues to use their work without authorization.

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As the entertainment industry was already struggling, the filmmaker was disappointed to see companies like @YourMovie_official taking advantage of actors in this way. They decided to speak up and commented on several of the votes, expressing their concerns about the harmful impact of such contests. However, their comments were hidden and they were subsequently blocked by the account.

Despite this setback, the filmmaker urged others to think twice before getting involved with such contests and to send a message that it is not acceptable to pit actors against each other in this manner, especially during challenging times for the industry. They hoped to raise awareness about the damaging effects of such practices and advocate for the fair and ethical treatment of actors in the entertainment industry.

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A cautionary tale about Charlie Southall and DragonFly.co.uk has emerged due to their alleged failure to pay invoices. After a year of attempts to contact them, legal action had to be taken in the form of a Small Claims Court letter before they allegedly finally responded. Even then, their behavior was highly unprofessional and included swearing and threats via email, in an attempt to intimidate the claimant. Only once a court date was set did they offer an out-of-court settlement for the full amount owed, despite claiming they ‘didn’t know who I was’. It’s important to exercise caution when dealing with such individuals and companies and to take legal action if necessary to secure payment for services rendered.

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A couple of years ago, the person in question worked on a production called “Driving Force.” However, despite their contribution to the project, they still haven’t allegedly received payment for their work. As time went by, the person in question became aware that there may be others who have experienced similar issues with alleged Rosemary Reed or POWtv, the production company behind “Driving Force.”

The person in question, eager to connect with others who may have faced unpaid payment issues, reached out to anyone else who had worked on the project. They expressed their willingness to speak with others who had not been paid, hoping to find solidarity and support in their shared experiences.

With a sense of determination, the person in question awaited responses, hoping to connect with others who could relate to their situation. Their story was one of seeking justice and fairness for themselves and others who had faced similar challenges in their dealings with alleged Rosemary Reed or POWtv. They were resolute in their pursuit of the resolution, and eager to speak with anyone who could provide more information or support.

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In the world of filmmaking, there are unfortunately some individuals who engage in unprofessional and unethical behavior, leaving a trail of dissatisfaction and financial loss in their wake. One such individual is Don Borza, who allegedly claims to be a “producer” and operates under the company name Milwaukee Junction in Detroit, occasionally shooting industrial and low-budget commercials in Los Angeles.

It has been nearly three years since Don Borza allegedly stiffed a significant portion of the crew on the feature film “Devil’s Junction: Handy Dandy’s Revenge”. As the director-for-hire, the individual sharing this story had their own experience with Don Borza, who not only failed to pay them 60% of their fee but also lied and cut them out of the post-production process, including color grading. The film’s cinematographer, who was supposedly a friend, was also paid an even smaller percentage of their fee.

To make matters worse, Don Borza allegedly took it upon himself to shoot new footage for the film after the director and cinematographer had flown back to Los Angeles. This footage included inane scenes with a killer clown and medieval knights, which had no relevance to the story and were haphazardly inserted into the film, effectively ruining what could have been an above-average small horror film.

Don Borza’s unprofessional behavior, dishonesty, and lack of respect for the creative process and the crew involved in the film project are concerning. Filmmakers and crew members are urged to be cautious and do thorough research before working with individuals or companies like Don Borza and Milwaukee Junction to protect themselves from potential financial losses and disappointment in their projects.

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The person in question, an individual who had alleged dealings with a company called Film Volt, and a person named Mark Busby, were experiencing intense moments due to their recent interactions with this organization. They found that Film Volt and Mark Busby had allegedly breached significant agreements and that these agreements were made in the name of nonexistent companies.

The person in question had encountered issues with contracts and realized that Film Volt and Mark Busby had allegedly misled them by claiming to represent companies that did not actually exist. This raised concerns about the legitimacy and credibility of Film Volt and Mark Busby’s operations.

Feeling frustrated and misled, the person in question sought to share their experience and warned others about their dealings with Film Volt and Mark Busby. They hoped to raise awareness about the lack of proper contracts and non-payment issues in the entertainment industry and encourage others to be cautious when dealing with similar organizations. The person in question was determined to take appropriate action to address the breaches in agreements and seek a resolution for the situation they were facing.

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Uday Ananthan allegedly approached the freelancer for a project, and the freelancer accepted the offer. They worked diligently on the project, putting in their time and effort to deliver the desired results. However, upon completion of the project, Uday Ananthan became allegedly unpleasant and refused to pay the freelancer for their services.

The freelancer was shocked and disappointed by Uday Ananthan’s behavior. They realized that Uday Ananthan may not be a reliable client and wanted to warn others in the industry to be cautious when dealing with him.

The freelancer decided to share Uday Ananthan’s photo as a way to identify him and caution others. They wanted to ensure that fellow freelancers and professionals are aware of Uday Ananthan’s behavior and take necessary precautions when working with him.
The freelancer’s intention in sharing their story was to help others in the industry stay safe and avoid similar situations. They hoped that by raising awareness about Uday Ananthan’s unprofessional behavior, other freelancers would be cautious and not fall victim to non-payment or mistreatment. The freelancer wanted to ensure that Uday Ananthan’s actions were exposed and that other professionals in the industry could protect themselves from similar experiences.

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The Art Director politely pushed back, explaining that it was uncommon for crew members to be personally charged for damages, especially considering the small amount of £100, which was only an eighth of their total fee. However, Stormlight Media was allegedly rude and gaslighted the Art Director, claiming they had already gone out of their way to accommodate them.

Despite being able to cover the cost with the art department budget, the Art Director was unhappy with the way Stormlight Media handled the situation. They have yet to receive a satisfactory response from the production company and are still waiting to be paid for their work. This serves as a cautionary reminder to be wary of how production companies handle damages and fees, and to ensure that clear communication and fair treatment are prioritized in any work agreement.

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To add to the issue, the Line Producer apparently allegedly decided to cut everyone’s pay because the shoot wrapped earlier than expected, and the agreed-upon rate of $150/12 (which was already $50 less than the minimum wage for NYC Production Assistants) was not being respected.

The person in question was frustrated and felt that their rights as crew members were being violated. They had worked the additional shoot time based on the confirmation from the Production Coordinator and the Line Producer’s email. The unexpected cut in pay and failure to honor the agreed-upon rate added to their grievances.

The person in question was determined to seek a resolution for the alleged non-payment issue and the breach of the agreement. They planned to take appropriate steps, such as consulting with a union or seeking legal advice, to ensure that their rights and fair compensation were respected. They also wanted to raise awareness about such practices in the entertainment industry and encourage others to stand up for their rights and fair treatment in the workplace.

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Jay Alpha, also known as J Alpha Productions or Alpha Red, is allegedly under scrutiny by talent agents for potential scam or hoax activities. One client of mine allegedly applied for a job with them after seeing an Instagram post before signing with me as their talent agent. Since then, we have noticed several red flags in their dealings with my client:

• The role offered to my client was initially “Elijah”, but with no notice, it was changed to “Witch”, and then to “Jack” in email communication. My client did not audition for any of these roles.
• My client has not met any of the crew or production team, despite being offered a role.
• He was told he should have received emails, but hasn’t received any information about the production.
• The contract provided had no day rate, only an episodic rate.
• The production was initially presented as a film but was later claimed to be a TV series.
• There is no address or contact information on the contract.
• There are no contracted or production dates specified, and it doesn’t mention the year it started, only assumed to be 2022.
• There is no mention of travel costs, daily fees for ADR (Automated Dialog Replacement), photography, etc. being paid.
• There is no mention of work permit costs being covered by the production.
• There is no mention of merchandise, royalties, etc.
• The TV series is allegedly claimed to be called “Alpha Red” and directed by David Von Ancken, known for directing Vampire Diaries. However, I have contacted David Von Ancken’s agent who confirmed he is not directing this series.

These discrepancies and misleading information raise suspicions about Jay Alpha, J Alpha Productions, or Alpha Red and their credibility. Talent agents and actors need to be cautious and thoroughly investigate any job opportunities offered by them.

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Maia Films is allegedly run by Andrew Greener, who also ran Spectrecom Films. Unfortunately, Greener has developed an alleged reputation for being a liability in the industry, leaving many unpaid and late-paid workers in his trial over the years. For this reason, it’s recommended that you avoid any company with his name attached.

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The Art Director allegedly politely pushed back, explaining that it was uncommon for crew members to be personally charged for damages, especially considering the small amount of £100, which was only an eighth of their total fee. However, Stormlight Media was allegedly rude and gaslighted the Art Director, claiming they had already gone out of their way to accommodate them.

Despite being able to cover the cost with the art department budget, the Art Director was unhappy with the way Stormlight Media handled the situation. They have yet to receive a satisfactory response from the production company and are still waiting to be paid for their work. This serves as a cautionary reminder to be wary of how production companies handle damages and fees, and to ensure that clear communication and fair treatment are prioritized in any work agreement.

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Evelyn Olamere Obahor, a filmmaker, allegedly approached the person in question to help recruit for her new series called CHANNEL 52 after her DOP, Sound operator, and director dropped out. Desperate for some money before going back to school, the person in question agreed to help Evelyn. However, they soon discovered that Evelyn’s company, FLOODLIGHT BROADCASTING NETWORK, had been allegedly liquidated and declared bankrupt over two years ago.

Despite the financial concerns, the person in question proceeded with the project. However, on the shoot day, they realized that nothing was organized, with no catering, unit base, or coffee table. Moreover, Evelyn had allegedly rented out equipment worth over £3000 per day, promising to reimburse the rental costs, but failed to do so. The entire crew, including the person in question, was not paid, and their repeated follow-ups were met with excuses and promises of payment.

Evelyn allegedly claimed that her investor had pulled out and stopped responding to her calls. She kept changing her story and failed to provide a clear explanation. She even continued to promise actors that shooting would happen, despite owing money to over 20 people. The crew members were left in the dark, and Evelyn asked them to return “updated contracts,” further raising suspicions about her intentions.

Meanwhile, Evelyn continued to post on social media as if nothing was wrong, which frustrated the crew and tarnished her reputation as a producer. The person in question realized that they had been taken advantage of and learned a valuable lesson about being cautious with seemingly lucrative opportunities that sound too good to be true.

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If you are approached by Grofilm or Martin Grof, be wary of potential non-payment for services rendered. One individual reported not being paid for their work as a Production Designer on a low-budget sci-fi feature film, despite doing prep work for the project for several weeks. After the director and producer began to send allegedly rude and controlling messages, the Production Manager encouraged the individual to continue with the project. 

However, when the individual sent their invoice for the agreed-upon amount of £1000, the director and producer attempted to renegotiate and only allegedly offered to pay £350. After allegedly blocking the individual on WhatsApp, it is believed that the director and producer has no intention of paying the individual or other members of the Art Department who worked on the project. The previous Production Designer and Assistant Director reportedly left the project due to the same conduct. If you are approached by Grofilm or Martin Grof, be cautious and take steps to ensure that you are paid for your work.

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There is an alleged warning about Castle Valley Films / Golden Crab Productions, owned by Karim Prince Tshibangu and Alsan Parvez, based in Pinewood. They are currently working on a film called Shepherd and have been allegedly ignoring all crew members who are owed money, totaling around 50 people. This issue has been reported to BECTU and Equity, but the production company has been allegedly unresponsive, despite some invoices being almost 60 days old.

Some crew members have been told that the production company is still awaiting certain invoices, and they intend to pay all invoices at once. However, it is not fair for late invoices to affect the payment of 50 people who are already owed money. It allegedly appears that Castle Valley Films / Golden Crab Productions may be attempting to avoid paying their crew members, and caution is advised for anyone considering working with them.

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One crew member, who had been threatened with a court claim, finally managed to receive partial payment. However, during a screening, they met with other crew members who confirmed that none of them had been paid yet. This situation is incredibly upsetting to them. While they understand that clients can be difficult, they believe that starting a project without ensuring enough funds to pay the crew and others is unacceptable.

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There is someone who is allegedly seeking information about a producer named Chrystal Rose. This person, who works as a First Assistant Director (1st AD) in the film industry, had an alleged experience with Chrystal Rose while working on a feature film called “Faking Fabulous” in April 2021. Initially, Chrystal Rose allegedly hired them to re-do the film’s schedule and officially booked them as the 1st AD through their diary service. However, Chrystal Rose allegedly made several schedule changes even before the official prep started and then suddenly canceled the person’s services just a week before the official starting date in mid-August 2021. The reason given for the cancellation was that the person and their agent had asked for a contract.

As a result of this last-minute cancellation, the person had been booked for four months and had turned down other work offers, as they were committed to Chrystal Rose’s project, which promised to pay BECTU rates. When the person and their agent asked for payment for the amendments made to the schedule and compensation for the financial and professional loss caused by the sudden cancellation, Chrystal Rose started insulting the person’s professional abilities and refused to pay anything, despite having praised their work earlier.

Now, the person is considering taking legal action against Chrystal Rose, as they believe that she is a dangerous individual who has caused them significant financial and professional damage. They suspect that Chrystal Rose may have a history of such behavior and may continue to do so in the future if not stopped. The person is reaching out for anyone with relevant information to share, either by commenting or sending them a direct message, to support their case.

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Frustrated with the delay, the freelancer reached out to Ralle/Moov to inquire about the payment issue. Ralle/Moov had allegedly informed the freelancer that they were experiencing cash flow issues and would be paying the outstanding amount in three installments. The first two installments had been received, but the final installment was due on Monday, and so far, no further action had been taken to pay the remaining balance in full.

The freelancer had also spoken to the production company that had hired Ralle/Moov for the job and confirmed that they had paid all suppliers in full, as per their word. This led the freelancer to trust the production company’s statement. However, upon further investigation, the freelancer found out that other crew members who were also employed by Ralle/Moov had not been paid either, as per their last check a few weeks ago. This raised concerns about Ralle/Moov’s financial situation and their ability to fulfill their payment commitments.

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In the story, the liquidation of Panto Live and Going Live TV is allegedly highlighted by someone who wants to bring attention to the situation. According to this person, several crew members have not been paid, and some are allegedly owed large amounts that do not even cover the costs of hired equipment. The story revolves around the unpaid crew members and the liquidation of the companies, without mentioning any specific individual.

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