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.

The Israeli film industry, once celebrated for its groundbreaking work on both local and international stages, now finds itself at a critical crossroads. Recent government reforms spearheaded by Minister of Culture and Sport, Miki Zohar, aim to overhaul the funding structure of Israel’s cinema funds, raising alarm among filmmakers. Critics argue that these reforms, introduced during a time of war and economic uncertainty, threaten to dismantle the very foundation of Israeli cinema. The controversy intensifies as these changes seem poised to bolster a system already rife with alleged corruption and monopolistic practices.

Related new article published July 10th 2025 – 11 Female Nominees, One Male: Inside Israel’s Chaos & Derangement

The Reforms: Prioritizing Commercial Success

At the heart of Zohar’s proposed reforms is a shift in funding priorities. The reforms, which include revised criteria for film fund allocations, favor commercially-oriented films over artistic and niche productions. Documentaries, short films, student projects, and independent art-house films—long the hallmark of Israeli cinema—face severe funding cuts.

Zohar argues that public funds should support films with broad audience appeal, eschewing those that cater to limited or international audiences. “Public money should return to the public,” he stated, emphasizing a focus on profitability and accessibility over critical acclaim or festival recognition. Yet, filmmakers caution that commercial success is inherently unpredictable, and forcing art to fit into a profit-driven model risks stifling creativity and diversity.

Industry Outcry: An Attack on Freedom of Expression

The proposed changes have sparked widespread backlash from filmmakers and industry professionals. A petition signed by over 1,500 filmmakers, including prominent names such as Ari Folman and Eran Kolirin, calls for an immediate halt to the reforms. The petition describes the move as a “cinematic coup,” accusing the government of attempting to control creative content and suppress artistic freedom. “After the reform, the stories of Israeli cinema will disappear, along with the industry that employs thousands,” the petition warns.

This crisis is compounded by ongoing challenges, including the war’s disruption of productions and an international boycott of Israeli films. Many fear that the reforms could deliver a fatal blow to an already struggling sector.

Alleged Corruption in the Film Funds: The Rabinovich and Gesher Foundations

Compounding the controversy is the revelation of alleged corruption within Israel’s two largest film funds: The Rabinovich Foundation for the Arts and the Gesher Multicultural Film Fund. Investigations have uncovered claims of systemic misconduct, including alleged conflicts of interest, insider favoritism, and financial irregularities.

Giora Eini, head of the Rabinovich Foundation since 1995, is accused of leveraging political connections to maintain control over hundreds of millions of shekels in film funding. Allegations include employing journalists as script readers to prevent negative coverage, manipulating evaluation processes, and fostering a monopolistic environment. The Rabinovich Fund, along with United King, a production and distribution company tied to Moshe Edery, allegedly controls a disproportionate share of the industry’s resources. Moshe Edery is also a good friend of Benjamin Netanyahu and Israel’s Right Wing parties. Nearly 50% of Rabinovich’s funding over recent years went to projects tied to Edery’s company, raising concerns about cronyism and mismanagement of taxpayer money, particularly in political context, in a country that is already going through a slow but constant erosion of its democratic institutions.

Connecting the Dots: A Systemic Takeover

Zohar’s reforms appear to funnel even more resources into this already embattled system, further empowering the alleged “cinema mafia.” By prioritizing commercial projects, the reforms align with the interests of those who have historically benefited from questionable practices. Critics argue that instead of diversifying funding and supporting emerging voices, the reforms will consolidate power within a small, insular group accused of draining public funds for personal gain.

Moreover, insiders claim that these reforms mirror long-standing patterns of favoritism and corruption. Members of the Israeli Film Council, tasked with oversight, have allegedly received funding from the very funds they regulate. Projects with low evaluator scores have mysteriously secured financing, and insider deals between fund managers and council members have eroded trust in the system.

The Bigger Picture: A Threat to Israeli Culture

This unfolding crisis raises broader concerns about the future of Israeli culture. Filmmakers warn that Zohar’s reforms, combined with alleged corruption, risk transforming Israeli cinema into a vehicle for commercial mediocrity, sidelining the artistic and critical voices that have defined its global reputation. As war and political turmoil continue to disrupt the nation, the creative sector finds itself fighting not only for survival but also for its integrity and identity.

For now, the Israeli film industry stands at a tipping point, with its fate resting on whether public outcry and international attention can halt the reforms and hold those responsible for alleged corruption accountable. Without systemic change, the vibrant, diverse stories of Israeli cinema risk being drowned out by a chorus of commercialism and cronyism.

FURTHER READING:

Articles from the Israeli press. You may automatically translate the articles using Chrome. Right click, and then “Translate Page.”

https://www.haaretz.co.il/gallery/galleryfriday/2024-04-25/ty-article-magazine/.highlight/0000018e-ffca-d64a-a9ae-ffebd7e40000

https://www.maariv.co.il/culture/movies/article-1121414

The post ISRAEL: The Takeover of Israeli Cinema: Politics, Corruption, and Cultural Erosion 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.

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.

Background

The saga begins with an unassuming photographer roped into what was initially described as a simple interview shoot for musicians signed to a small record label. The production manager, “Bill” (a pseudonym), boasted of his experiences on major film projects like “GI Joe 2” and “Django Unchained”. The first red flag arose when Bill, lacking transportation, requested a ride to Atlanta for the shoot.

Despite logistical hiccups, including a last-minute change in transportation and unanticipated smoking in the vehicle, the crew made their way to Atlanta. The team comprised “Steve,” a National Guard member and former bouncer, and “Elizabeth,” both inexperienced in film production but roped in by Bill’s promises of compensation.

When the photographer arrived, a significant shift in the scope caught him off guard: the shoot was now for a comprehensive music video with a complex narrative, a sharp departure from the anticipated promotional content. This revelation set the stage for a series of escalating problems.

Additional Challenges

The shooting location, a house belonging to an elderly lady with peculiar sons, proved less than ideal. Not only was the house ill-equipped for the demands of the production equipment, but it also had cleanliness issues, including an overwhelming smell of dog feces.

The photographer faced further challenges with accommodations. Contrary to prior arrangements, Bill had canceled hotel reservations to cut costs, leaving the crew to stay at the shoot location. The photographer’s room was in dire condition, with unclean bedding and a floor littered with dog feces.

Disagreements over creative direction, uncooperative equipment, and a glaring lack of professional expertise marred the 14-hour shooting schedule, which went well into the early hours. Bill’s insistence on particular lighting choices led to unsatisfactory visual results, further aggravating the strained crew.

As the shoot concluded, financial disputes came to light. Bill allegedly failed to pay several crew members, leading to confrontations and law enforcement involvement. Upon discovering Bill’s misrepresentations, the record label’s producer terminated his involvement and unsuccessfully attempted to salvage the situation by offering the photographer Bill’s job.

In conclusion, based on alleged events, this account underscores the myriad challenges independent artists and crews face in the industry. The lack of professionalism, inadequate planning, and financial irresponsibility depicted here serve as a stark reminder of the importance of clear communication, proper planning, and ethical conduct in any creative endeavor.

Feedback and Corrections
If you believe your or company’s name was listed on this website unjustly, please CONTACT US.

The post An Investigative Report on Alleged Mismanagement in Independent Music Video Production first appeared on Film Industry Watch.

Feedback and Corrections
If you believe your or company’s name was listed on this website unjustly, please CONTACT US.

The post Going Live TV first appeared on Film Industry Watch.