How Movie Producers Make Money to make money in Hollywood? Sadly, the odds of becoming a movie star are about 1 in 1,190,000, according to the The Book of Odds. But your chances are much better for finding work behind the camera, and even if these jobs don’t pay millions, you can still earn a decent living. So much do people working in the business really get paid? The Hollywood Reporter recently rounded up a list of salaries typically earned by a variety of employees working on small- and big-budget movies.
Here’s what you can truly expect to make if you break into Hollywood. 20 million for top roles in big-budget films. 75,000 a year, per The Hollywood Reporter. 79 per hour, according to Payscale.
120,625 for big-budget movies, according to Hollywood Reporter estimates. But if you direct a big-time hit, your earnings can soar. Money may receive compensation for some links to products and services on this website. Offers may be subject to change without notice. Quotes delayed at least 15 minutes. Market data provided by Interactive Data.
How Movie Producers Make Money Now
ETF and Mutual Fund data provided by Morningstar, Inc. P Index data is the property of Chicago Mercantile Exchange Inc. Powered and implemented by Interactive Data Managed Solutions. Who are the highest-paid TV stars? And how much can you make working in an agency mailroom? In its Money Issue, THR reveals how much people are earning now, from stars including Robert Downey Jr. How bad is the decline in actor salaries over the past decade?
Despite the huge sums still being raked in by such superstars as Robert Downey Jr. If you’re , you’re getting well paid,” says one top agent, “but the middle level has been cut out. Before breaking out the violins, though, remember that even mid-level stars are far better off than most other actors. Like everyone in Hollywood, the talent agencies have been tightening their belts.
CAA generally pays more than WME, UTA, Gersh, ICM and Paradigm, yet salaries increasingly are tied to what an agent brings in. At most agencies, you start in the mailroom, hope an assistant’s desk opens up, then dream of ascending the assistant ladder so you can be on the receiving end of middle-of-the-night email rants from top agents. 108,000 in 2012 for appearing in nine episodes of NBC’s Animal Practice. 30,000 a week on movies that shoot up to 12 weeks — maybe even a little more, according to insiders.
The middle range doesn’t exist anymore,” one studio executive says of the current financial landscape for feature film directors. Either you’re paying for a modern master, or you’re paying a lot less. 4 million, knowing they’re just doing the job, that doesn’t exist. The going rate for modern masters?
10 million for auteurs like Paul Greengrass and Ridley Scott, more if the film is considered a tentpole. 20 million against 20 percent of gross for Interstellar. TV directors, of course, are an entirely different species, and get paid in a different way. But unlike writers, directors sometimes helm all 22 episodes of a season — it’s just too much work.