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PRODUCED BY4/C | FULL PAGE | WITH BLEEDBLEED: 8.625” W X 11.125” HTRIM: 8.375” W X 10.875” HSAFE: 7.875” W X 10.375” HPDF/X-1a:2001
1F1418-26 11/18/13
LSR_ProducedBy_4CFP_1F
MATERIALS DUE: TUESDAY, 11/19THIS AD RUNS: FRIDAY, 11/29
universalpicturesawards.com© 2013 UNIVERSAL STUDIOS
“A POWERHOUSE. ‘LONE SURVIVOR’ LACES ACTIONWITH MORAL QUESTIONS THAT HAUNT AND PROVOKE.”
Peter Travers, ROLLING STONE
“EXTRAORDINARY! A SINGULAR TRUE STORY OF INCREDIBLE COURAGE WHEN IT COUNTS
THE MOST. BRILLIANTLY ACTED AND DIRECTED.‘Lone Survivor’ is action-packed, unforgettable, tense and inspiring.”
Pete Hammond, MOVIELINE
“THE MOST EXTRAORDINARY WAR FILMSINCE ‘SAVING PRIVATE RYAN.’”
Bill Simmons, GRANTLAND
BASED ON TRUE ACTS OF COURAGE
FOR YOUR CONSIDERATION
BEST PICTUREProduced by
PETER BERGSARAH AUBREY
RANDALL EMMETTMARK WAHLBERG
In the past few months, it has become clear that administration of the Affordable Care Act (ACA) and preparation for compliance are highly complex pro-cesses which are stirring up a great deal of confusion. Lack of adequate preparation is going to create chal-lenges for all employers, and none more so than those
of us in the production world. In co-employment relationships, such as those that exist within the entertainment industry, the ACA provides that the co-employer who directs and controls the worker’s day-to-day functions is the responsible employer. This means that the production company typically will be responsible for providing coverage under the ACA, and that has come as a surprise to much of the industry.
42 Produced by
misunderstanding of government reporting obligations, and knowing where to find an insurance plan to meet the requirements. There will be instances in which a producer believes that it might be more cost-effective to pay the pen-alty rather than provide coverage but even this determina-tion is complicated. For instance, though you would only be obligated to provide insurance for those full-time employees not covered under a union or employer health coverage plan, if you opted to pay the per-head penalty for not providing coverage, the penalty would be assessed on almost all work-ers on your production, including union members. A myriad of questions abound regarding what happens when a pro-duction worker is between shows and how COBRA eligibility will work; and while the studios have human resources and benefits professionals who are able to address these ques-tions, we know that a majority of independent production entities will be on their own.
Producing entities had their first ACA obligation begin on October 1 and this will be ongoing when hiring new work-ers. Pursuant to Department of Labor regulations issued in May 2013, employers must distribute a Notice of Exchange (NOE) to all current employees (including union, non-union, full-time, and part-time) stating whether or not they will offer compliant health coverage and informing their employ-
Weathering ChangeUnder the new healthcare Law
by Mark Goldstein,President and CEO, Entertainment Partners
America’s new healthcare law is commanding everyone’s attention these days and has created an entirely new vocabu-lary for employers. One new term — “play or pay” — takes on a different meaning from what the industry is used to; here it is shorthand for the decisions employers must face in 2015. For employers in the entertainment industry, arriving at that decision is not a simple calculation.
For example, the majority of your crew on a given union production is receiving coverage through their union or guild plans. Does your company opt to play by offering compliant coverage to the remaining full-time, non-union crew? Or do you simply pay the no-coverage penalty tax on this small seg-ment of your workforce?
While the latter may seem to be the easiest option, the decision is not as straightforward as it looks and will often not be the most cost-effective choice. Review the infographics on the folowing pages for a more comprehensive breakdown.
Assessing the ImpactAs production companies begin to grapple with the
employer responsibilities, properly assessing their workforce and estimating their play-or-pay options will be crucial to managing production budgets in 2014 and beyond. However, this is only one simplified example of the changes entertain-ment employers face under the ACA. Their jobs are even tougher as they tackle the ACA’s many complex requirements and challenges, including:
• Adapting to changing ACA requirements
• Managing all ACA employer mandate responsibilities
• Evaluating employee status and healthcare eligibility correctly
• Accurate analytics and ACA reporting to the IRS
• Ensuring compliance and controlling costs
the aCa empLoyer mandate • pLay or pay?
*The current regulations are interim and final guidance on the employer mandate is expected to be issued before 2015.
ees about government health insurance exchanges. While any new hires through 2014 must be provided the notice within 14 days of hire, beginning in 2015, the NOE must be provided on the date of hire.
We do not recommend that you attempt to answer all of the ensuing questions on your own, but rather seek the assistance of a trusted and knowledgeable advisor. Though employer compliance is not required until 2015, we are working with a number of studios who are choosing to begin compliance in January 2014. We will be happy to share what we all learn from the experience.
In the meanwhile, following are some essential details and sample scenarios to help you begin to comprehend the new laws. Though by no means a comprehensive set of guidelines, it is intended to assist you in planning your next steps toward compliance. There are a number of resources available to you — please do not hesitate to contact my team or your preferred service provider for more in-depth infor-mation and guidance or visit our online compliance center at www.entertainmentpartners.com/aca/. Though it may ini-tially seem overwhelming, it is important to remember that all businesses are facing the challenge of wading through these new requirements and that we are all in this together.
All employers with at least 50 full-time employees and equivalents must offer affordable and adequate health cover-age starting January 1, 2015, or pay a penalty tax. The IRS issued proposed regulations at the end of 2012 to implement this employer play-or-pay health coverage mandate. The mandate for individuals to obtain minimum essential health coverage, however, begins January 1, 2014. On October 1, the public health insurance exchanges opened for business and it was reported that thousands began signing up. Full-time production employees not covered under union or employer health plans will be required to meet this require-ment or face a penalty, and it is up to all of us to help get the word out to them.
What does this all mean for producers and members of the producing team? How are the unique needs of such a highly transient workforce being addressed? Where does
one begin to assess how they will be impacted by the require-ments and what the best course of action should be?
The industry has looked to my company for answers and solutions that will help mitigate their exposure. Fortunately, because of our role as a statutory employer of production workers, we are uniquely qualified to assist. For the better part of the past year, Joe Scudiero, our Senior Vice President and Chief Labor Counsel, and I have been analyzing how the ACA will affect our industry. We’ve been meeting with all of the studios and many major and commercial independent production entities and hosting seminars and webinars in order to discuss what we have learned.
Among the top concerns we have heard from the indus-try are confusion over what is affordable and adequate cov-erage, determining eligibility, lack of consolidated report-ing across productions and production payroll companies,
November – December 2013 43
In the past few months, it has become clear that administration of the Affordable Care Act (ACA) and preparation for compliance are highly complex pro-cesses which are stirring up a great deal of confusion. Lack of adequate preparation is going to create chal-lenges for all employers, and none more so than those
of us in the production world. In co-employment relationships, such as those that exist within the entertainment industry, the ACA provides that the co-employer who directs and controls the worker’s day-to-day functions is the responsible employer. This means that the production company typically will be responsible for providing coverage under the ACA, and that has come as a surprise to much of the industry.
42 Produced by
misunderstanding of government reporting obligations, and knowing where to find an insurance plan to meet the requirements. There will be instances in which a producer believes that it might be more cost-effective to pay the pen-alty rather than provide coverage but even this determina-tion is complicated. For instance, though you would only be obligated to provide insurance for those full-time employees not covered under a union or employer health coverage plan, if you opted to pay the per-head penalty for not providing coverage, the penalty would be assessed on almost all work-ers on your production, including union members. A myriad of questions abound regarding what happens when a pro-duction worker is between shows and how COBRA eligibility will work; and while the studios have human resources and benefits professionals who are able to address these ques-tions, we know that a majority of independent production entities will be on their own.
Producing entities had their first ACA obligation begin on October 1 and this will be ongoing when hiring new work-ers. Pursuant to Department of Labor regulations issued in May 2013, employers must distribute a Notice of Exchange (NOE) to all current employees (including union, non-union, full-time, and part-time) stating whether or not they will offer compliant health coverage and informing their employ-
Weathering ChangeUnder the new healthcare Law
by Mark Goldstein,President and CEO, Entertainment Partners
America’s new healthcare law is commanding everyone’s attention these days and has created an entirely new vocabu-lary for employers. One new term — “play or pay” — takes on a different meaning from what the industry is used to; here it is shorthand for the decisions employers must face in 2015. For employers in the entertainment industry, arriving at that decision is not a simple calculation.
For example, the majority of your crew on a given union production is receiving coverage through their union or guild plans. Does your company opt to play by offering compliant coverage to the remaining full-time, non-union crew? Or do you simply pay the no-coverage penalty tax on this small seg-ment of your workforce?
While the latter may seem to be the easiest option, the decision is not as straightforward as it looks and will often not be the most cost-effective choice. Review the infographics on the folowing pages for a more comprehensive breakdown.
Assessing the ImpactAs production companies begin to grapple with the
employer responsibilities, properly assessing their workforce and estimating their play-or-pay options will be crucial to managing production budgets in 2014 and beyond. However, this is only one simplified example of the changes entertain-ment employers face under the ACA. Their jobs are even tougher as they tackle the ACA’s many complex requirements and challenges, including:
• Adapting to changing ACA requirements
• Managing all ACA employer mandate responsibilities
• Evaluating employee status and healthcare eligibility correctly
• Accurate analytics and ACA reporting to the IRS
• Ensuring compliance and controlling costs
the aCa empLoyer mandate • pLay or pay?
*The current regulations are interim and final guidance on the employer mandate is expected to be issued before 2015.
ees about government health insurance exchanges. While any new hires through 2014 must be provided the notice within 14 days of hire, beginning in 2015, the NOE must be provided on the date of hire.
We do not recommend that you attempt to answer all of the ensuing questions on your own, but rather seek the assistance of a trusted and knowledgeable advisor. Though employer compliance is not required until 2015, we are working with a number of studios who are choosing to begin compliance in January 2014. We will be happy to share what we all learn from the experience.
In the meanwhile, following are some essential details and sample scenarios to help you begin to comprehend the new laws. Though by no means a comprehensive set of guidelines, it is intended to assist you in planning your next steps toward compliance. There are a number of resources available to you — please do not hesitate to contact my team or your preferred service provider for more in-depth infor-mation and guidance or visit our online compliance center at www.entertainmentpartners.com/aca/. Though it may ini-tially seem overwhelming, it is important to remember that all businesses are facing the challenge of wading through these new requirements and that we are all in this together.
All employers with at least 50 full-time employees and equivalents must offer affordable and adequate health cover-age starting January 1, 2015, or pay a penalty tax. The IRS issued proposed regulations at the end of 2012 to implement this employer play-or-pay health coverage mandate. The mandate for individuals to obtain minimum essential health coverage, however, begins January 1, 2014. On October 1, the public health insurance exchanges opened for business and it was reported that thousands began signing up. Full-time production employees not covered under union or employer health plans will be required to meet this require-ment or face a penalty, and it is up to all of us to help get the word out to them.
What does this all mean for producers and members of the producing team? How are the unique needs of such a highly transient workforce being addressed? Where does
one begin to assess how they will be impacted by the require-ments and what the best course of action should be?
The industry has looked to my company for answers and solutions that will help mitigate their exposure. Fortunately, because of our role as a statutory employer of production workers, we are uniquely qualified to assist. For the better part of the past year, Joe Scudiero, our Senior Vice President and Chief Labor Counsel, and I have been analyzing how the ACA will affect our industry. We’ve been meeting with all of the studios and many major and commercial independent production entities and hosting seminars and webinars in order to discuss what we have learned.
Among the top concerns we have heard from the indus-try are confusion over what is affordable and adequate cov-erage, determining eligibility, lack of consolidated report-ing across productions and production payroll companies,
November – December 2013 43
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November – December 2013 47
Employers may have one year before they must comply with their employer mandate obligations under the ACA, but this is not so for individuals. As of January 1, 2014, individuals must enroll in “minimum essential coverage” or pay an annual penalty of $95 or up to one percent of income, whichever is greater. The yearly penalty increases in future years.
What health coverage options do production workers have? With the exception of a minor segment that would fall under public programs such as Medicare and Medicaid, health coverage is available through two primary sources: group plans and public exchanges. Here’s a quick look at these sources:
Group PlansA large segment of the production workforce may already
be covered through the unions and guilds. Others may have coverage through their spouses’ plans. The remaining seg-ment of eligible, non-union workers can obtain a health plan through their employer group policy (if offered) or opt to get their own individual plan through the public exchanges. An obvious advantage to choosing an employer plan is the employer contribution, limiting the worker’s share of the premium to no more than 9.5% of adjusted gross household income.
Transportability is one of the most essential consider-ations when offering health benefits to a transient workforce.
The drawback to a traditional employer-based group plan is when production workers move on to their next project, they’ll face re-enrolling in a new employer group policy likely to involve a different network, doctors, and premium rates. Union members covered by a multi-employer health plan avoid this issue since they maintain the same coverage regard-less of the project or employer if they meet eligibility require-ments. Similar to multi-employer plans, there are employer group plan options available through a private entertainment industry exchange that enable non-union workers to carry coverage from production to production.
Understanding prodUCtion Worker options
C
M
Y
CM
MY
CY
CMY
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ProducedBy_11x4_Choices_Final_CS4.ai 1 10/28/13 11:44 PM
the individUaL insUranCe market
Coverage through individual insurance mar-ket plans may also be an option; however, many carriers are pulling out of the individual market to avoid the uncertainty tied to ACA changes and are directing their administrative and marketing services to the exchanges.
Individual market plans and employer plans specific to the entertainment industry are listed under “ACA Resources.”
for screening info visit
www.sonYcLAssicsAwArDs.com
Best Picture
cardinal communications GraPHics studioFull Page
8.375" x 10.875" Trim8.625" x 11.125" Bleed7.25" x 9.875" Safety
Client: SONY File Page: < > AE:JP
Job #:SONY-JUMI-32_PrdCdBY_FP4C_112913Movie: BlUE JASMINE
last rev:JE date/Time:11/12/13 1:00 PM
Publication:PrOdUCEd BYdate To run:FrIdAY, NOvEMBEr 29, 2013Type: Specs:SAU
line Screen: 133
CGA PrOOF TrAFF A.E.SPEllINGGrAMMArArTWOrKF. TIMESTHEATrESAd SIZErEAdEr
Made in Indesign CS5 Prepared by :
CardinalCommunications
version:B
PDFX1A
November – December 2013 47
Employers may have one year before they must comply with their employer mandate obligations under the ACA, but this is not so for individuals. As of January 1, 2014, individuals must enroll in “minimum essential coverage” or pay an annual penalty of $95 or up to one percent of income, whichever is greater. The yearly penalty increases in future years.
What health coverage options do production workers have? With the exception of a minor segment that would fall under public programs such as Medicare and Medicaid, health coverage is available through two primary sources: group plans and public exchanges. Here’s a quick look at these sources:
Group PlansA large segment of the production workforce may already
be covered through the unions and guilds. Others may have coverage through their spouses’ plans. The remaining seg-ment of eligible, non-union workers can obtain a health plan through their employer group policy (if offered) or opt to get their own individual plan through the public exchanges. An obvious advantage to choosing an employer plan is the employer contribution, limiting the worker’s share of the premium to no more than 9.5% of adjusted gross household income.
Transportability is one of the most essential consider-ations when offering health benefits to a transient workforce.
The drawback to a traditional employer-based group plan is when production workers move on to their next project, they’ll face re-enrolling in a new employer group policy likely to involve a different network, doctors, and premium rates. Union members covered by a multi-employer health plan avoid this issue since they maintain the same coverage regard-less of the project or employer if they meet eligibility require-ments. Similar to multi-employer plans, there are employer group plan options available through a private entertainment industry exchange that enable non-union workers to carry coverage from production to production.
Understanding prodUCtion Worker options
C
M
Y
CM
MY
CY
CMY
K
ProducedBy_11x4_Choices_Final_CS4.ai 1 10/28/13 11:44 PM
the individUaL insUranCe market
Coverage through individual insurance mar-ket plans may also be an option; however, many carriers are pulling out of the individual market to avoid the uncertainty tied to ACA changes and are directing their administrative and marketing services to the exchanges.
Individual market plans and employer plans specific to the entertainment industry are listed under “ACA Resources.”
for screening info visit
www.sonYcLAssicsAwArDs.com
Best Picture
cardinal communications GraPHics studioFull Page
8.375" x 10.875" Trim8.625" x 11.125" Bleed7.25" x 9.875" Safety
Client: SONY File Page: < > AE:JP
Job #:SONY-JUMI-32_PrdCdBY_FP4C_112913Movie: BlUE JASMINE
last rev:JE date/Time:11/12/13 1:00 PM
Publication:PrOdUCEd BYdate To run:FrIdAY, NOvEMBEr 29, 2013Type: Specs:SAU
line Screen: 133
CGA PrOOF TrAFF A.E.SPEllINGGrAMMArArTWOrKF. TIMESTHEATrESAd SIZErEAdEr
Made in Indesign CS5 Prepared by :
CardinalCommunications
version:B
PDFX1A
48 Produced by
Public ExchangesPublicly-run exchanges offer health coverage for those
who are ineligible for or decline group health plan benefits through their union, guild or employer. Some eligible non-union workers also may elect to buy coverage through a public exchange. Once they enroll in a health plan through the public exchange, they carry their coverage with them, and depending on their income level, they may receive a government subsidy to reduce the price of their health plan if they have not declined an offer of compliant health coverage from their employer. Those workers who decline compliant employer-sponsored coverage will pay 100% of the cost on an after-tax basis and will not qualify for a subsidy. When shopping the exchanges, the key variables impacting a plan’s cost and value include tax subsidies, benefits, coverage limits,
*To be eligible for a subsidy, a person (1) must not be eligible for medical insur-ance through an employer-based plan and (2) have a household income of less than 400% of the federal poverty level.
out-of-network reimbursements, stability, and plan adminis-tration and support services. While the federal marketplace has gotten off to an undeniably rocky start, several state exchanges have fared better. Nonetheless, the volatility of the enrollment process and uncertainty of the insurance market should also be factored in when evaluating health coverage options through public exchanges.
Some production entities may regard offering health insurance or paying the penalty tax as solely a financial deci-sion, while others may view offering insurance an incentive to attract and retain high-quality workers. Either way, it is up to employers to help their crews understand their options and properly assess their choices.
onLine CaLCULatorSubsidy CalculatorThis tool illustrates health insurance premiums and subsidies for people purchasing insurance on their own in new health insurance exchanges (or “Marketplaces”) created by the Affordable Care Act (ACA). Source: Kaiser Family Foundationkff.org/interactive/subsidy-calculator/
CompLianCe gUidesDepartment of Labor (DOL) The DOL’s healthcare reform Web page with links to compliance infor-mation (proposed, interim and final rules, fact sheets, etc.)Source: U.S. Department of Labordol.gov/ebsa/healthreform/
DOL’s Self-Compliance Tool Intended to assist those involved in operating a group health plan to understand the healthcare law and its related responsibilities. Source: U.S. Department of Labordol.gov/ebsa/pdf/part7-2.pdf
Entertainment Industry ACA Compliance CenterThis new online “ACA Compliance Center” provides entertainment employers with industry-specific ACA information and more.
Source: Entertainment Partnersentertainmentpartners.com/aca/
Health & Human Services (HHS) HHS’s website provides updates on complying with healthcare reform rules and regulations. Source: U.S. Department of Health & Human Serviceshhs.gov/healthcare
State-Specific Employer Guidance The federal government has launched a new “one-stop” Health Care Changes website to provide state-by-state com-pliance information and advice to employers of all sizes. Source: A consortium of 14 different U.S. government agencies Business. USA.gov/healthcare
exChangesThe Health Insurance MarketplaceThe new federally-run health insur-ance exchange. Source: U.S. federal governmenthealthcare.gov
State Health Insurance MarketplacesThe federal government’s interactive tool to select and visit each state’s Affordable Insurance Exchange or
“Marketplace.” Source: U.S. federal government healthcare.gov/what-is-the-market place-in-my-state
State Decisions on Health Exchanges Track state-by-state actions regarding health insurance exchanges and access links to all state health exchange sites. Source: Kaiser Family Foundation kff.org/statedata/
EP CaresTMEntertainment Industry Private ExchangeA private exchange for entertainment-industry employers providing a variety of health plan options and features designed specifically for non-union workers. Source: Entertainment Partnersentertainmentpartners.com/epcares/
inFormation For FreeLanCersActors FundThe Actors Fund is the official organi-zation for education and outreach to the entire entertainment community on healthcare needs in NY and CA. They offer free weekly seminars in both New York and Los Angeles on accessing individual policies.Source: actorsfund.org
CARDINAL COMMUNICATIONS GRAPHICS STUDIOFull Page
8.375" x 10.875" Trim8.625" x 11.125" Bleed7.25" x 9.875" Safety
Client: SONY File Page: < > AE:JP
Job #:SONY-BDMI-36_PRDCDBY_FP4C_112913Movie: BEFORE MIDNIGHT
Last Rev:JE Date/Time:11/12/13 11:00 AM
Publication:PRODUCED BYDate To Run:FRIDAY NOVEMBER 29, 2013Type: Specs:SAU
Line Screen: 133
CGA PROOF TRAFF A.E.SPELLINGGRAMMARARTWORKF. TIMESTHEATRESAD SIZEREADER
Made in InDesign CS5 Prepared by :
CardinalCommunications
Version:A
BeforeMidnight
BEST PICTUREProducers
RICHARD LINKLATER CHRISTOS V. KONSTANTAKOPOULOS SARA WOODHATCH
“IF I WERE ONLY ALLOWED TO SEE ONE MOVIE THIS YEAR, I’D WANT IT TO BE ‘BEFORE MIDNIGHT.’ IF I WERE ONLY ALLOWED TWO TRIPS TO A THEATER THIS YEAR, I’D SEE IT TWICE.”-Mary Pols, TIME MAGAZINE
“ONE OF THE GREAT MOVIE ROMANCES–HELL, THE GREAT MOVIE ROMANCE OF THE MODERN ERA.”-Justin Chang, VARIETY
“A MOVIE PASSIONATELY COMMITTED TO THE IDEAL OF IMPERFECTION THAT IS ITSELF VERY CLOSE TO PERFECT.”-A.O. Scott, THE NEW YORK TIMES
GOTHAM AWARDS NOMINEE
BEST PICTURE
FOR SCREENING INFO VISIT WWW.SONYCLASSICSAWARDS.COM
PDFX1A
48 Produced by
Public ExchangesPublicly-run exchanges offer health coverage for those
who are ineligible for or decline group health plan benefits through their union, guild or employer. Some eligible non-union workers also may elect to buy coverage through a public exchange. Once they enroll in a health plan through the public exchange, they carry their coverage with them, and depending on their income level, they may receive a government subsidy to reduce the price of their health plan if they have not declined an offer of compliant health coverage from their employer. Those workers who decline compliant employer-sponsored coverage will pay 100% of the cost on an after-tax basis and will not qualify for a subsidy. When shopping the exchanges, the key variables impacting a plan’s cost and value include tax subsidies, benefits, coverage limits,
*To be eligible for a subsidy, a person (1) must not be eligible for medical insur-ance through an employer-based plan and (2) have a household income of less than 400% of the federal poverty level.
out-of-network reimbursements, stability, and plan adminis-tration and support services. While the federal marketplace has gotten off to an undeniably rocky start, several state exchanges have fared better. Nonetheless, the volatility of the enrollment process and uncertainty of the insurance market should also be factored in when evaluating health coverage options through public exchanges.
Some production entities may regard offering health insurance or paying the penalty tax as solely a financial deci-sion, while others may view offering insurance an incentive to attract and retain high-quality workers. Either way, it is up to employers to help their crews understand their options and properly assess their choices.
onLine CaLCULatorSubsidy CalculatorThis tool illustrates health insurance premiums and subsidies for people purchasing insurance on their own in new health insurance exchanges (or “Marketplaces”) created by the Affordable Care Act (ACA). Source: Kaiser Family Foundationkff.org/interactive/subsidy-calculator/
CompLianCe gUidesDepartment of Labor (DOL) The DOL’s healthcare reform Web page with links to compliance infor-mation (proposed, interim and final rules, fact sheets, etc.)Source: U.S. Department of Labordol.gov/ebsa/healthreform/
DOL’s Self-Compliance Tool Intended to assist those involved in operating a group health plan to understand the healthcare law and its related responsibilities. Source: U.S. Department of Labordol.gov/ebsa/pdf/part7-2.pdf
Entertainment Industry ACA Compliance CenterThis new online “ACA Compliance Center” provides entertainment employers with industry-specific ACA information and more.
Source: Entertainment Partnersentertainmentpartners.com/aca/
Health & Human Services (HHS) HHS’s website provides updates on complying with healthcare reform rules and regulations. Source: U.S. Department of Health & Human Serviceshhs.gov/healthcare
State-Specific Employer Guidance The federal government has launched a new “one-stop” Health Care Changes website to provide state-by-state com-pliance information and advice to employers of all sizes. Source: A consortium of 14 different U.S. government agencies Business. USA.gov/healthcare
exChangesThe Health Insurance MarketplaceThe new federally-run health insur-ance exchange. Source: U.S. federal governmenthealthcare.gov
State Health Insurance MarketplacesThe federal government’s interactive tool to select and visit each state’s Affordable Insurance Exchange or
“Marketplace.” Source: U.S. federal government healthcare.gov/what-is-the-market place-in-my-state
State Decisions on Health Exchanges Track state-by-state actions regarding health insurance exchanges and access links to all state health exchange sites. Source: Kaiser Family Foundation kff.org/statedata/
EP CaresTMEntertainment Industry Private ExchangeA private exchange for entertainment-industry employers providing a variety of health plan options and features designed specifically for non-union workers. Source: Entertainment Partnersentertainmentpartners.com/epcares/
inFormation For FreeLanCersActors FundThe Actors Fund is the official organi-zation for education and outreach to the entire entertainment community on healthcare needs in NY and CA. They offer free weekly seminars in both New York and Los Angeles on accessing individual policies.Source: actorsfund.org
CARDINAL COMMUNICATIONS GRAPHICS STUDIOFull Page
8.375" x 10.875" Trim8.625" x 11.125" Bleed7.25" x 9.875" Safety
Client: SONY File Page: < > AE:JP
Job #:SONY-BDMI-36_PRDCDBY_FP4C_112913Movie: BEFORE MIDNIGHT
Last Rev:JE Date/Time:11/12/13 11:00 AM
Publication:PRODUCED BYDate To Run:FRIDAY NOVEMBER 29, 2013Type: Specs:SAU
Line Screen: 133
CGA PROOF TRAFF A.E.SPELLINGGRAMMARARTWORKF. TIMESTHEATRESAD SIZEREADER
Made in InDesign CS5 Prepared by :
CardinalCommunications
Version:A
BeforeMidnight
BEST PICTUREProducers
RICHARD LINKLATER CHRISTOS V. KONSTANTAKOPOULOS SARA WOODHATCH
“IF I WERE ONLY ALLOWED TO SEE ONE MOVIE THIS YEAR, I’D WANT IT TO BE ‘BEFORE MIDNIGHT.’ IF I WERE ONLY ALLOWED TWO TRIPS TO A THEATER THIS YEAR, I’D SEE IT TWICE.”-Mary Pols, TIME MAGAZINE
“ONE OF THE GREAT MOVIE ROMANCES–HELL, THE GREAT MOVIE ROMANCE OF THE MODERN ERA.”-Justin Chang, VARIETY
“A MOVIE PASSIONATELY COMMITTED TO THE IDEAL OF IMPERFECTION THAT IS ITSELF VERY CLOSE TO PERFECT.”-A.O. Scott, THE NEW YORK TIMES
GOTHAM AWARDS NOMINEE
BEST PICTURE
FOR SCREENING INFO VISIT WWW.SONYCLASSICSAWARDS.COM
PDFX1A
PRODUCED BY4/C | FULL PAGE | WITH BLEEDBLEED: 8.625” W X 11.125” HTRIM: 8.375” W X 10.875” HSAFE: 7.875” W X 10.375” HPDF/X-1a:2001
1F1418-26 11/18/13
LSR_ProducedBy_4CFP_1F
MATERIALS DUE: TUESDAY, 11/19THIS AD RUNS: FRIDAY, 11/29
universalpicturesawards.com© 2013 UNIVERSAL STUDIOS
“A POWERHOUSE. ‘LONE SURVIVOR’ LACES ACTIONWITH MORAL QUESTIONS THAT HAUNT AND PROVOKE.”
Peter Travers, ROLLING STONE
“EXTRAORDINARY! A SINGULAR TRUE STORY OF INCREDIBLE COURAGE WHEN IT COUNTS
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Thanks to two of the entertainment industry’s leading service companies – First Entertainment Credit Union and Entertainment Partners – there’s no excuse for studio employees not to stay on top of their health care. Health Wheels currently visits six studio locations, servicing studio and back-lot employees from MPI, DGA, SAG, WGAw and other payers (studios and freelancers, etc).
The brainchild of the Motion Picture & Television Fund’s (MPTF’s) Bob Beitcher, Health Wheels provides industry members with the same kind of primary-care doctor visits they would get if they came to one of the MPTF health centers. The only service not offered is access to radiology.
The idea grew out of a lunch with MPTF’s Chief Medical Officer, Dr. Janice Spinner, who told Beitcher that a percentage of her patients were saying they were “too busy to take the time to see a doctor.”
“We mused about the possibilities of a
mobile health van,” Beitcher explains. “The next part of the story is particularly fun. We took the idea to a monthly management meeting [45-plus top managers] and posed it as a project. We began by securing funding for the van from the Heartbeat of Hollywood Golf Tournament committee.”
As the idea blossomed, Beitcher reached out for more support. One of the strongest responses came from the employee-owned industry service organization Entertainment Partners. “Making sure we keep [industry workers] healthy and providing them an easy way to do so is a project we’re proud to sponsor,” says CEO/President Mark Goldstein, who says EP has always emphasized wellness and community support. “Production workers have hectic schedules, but healthcare is important and this program can help.”
“We wanted patients to feel as comfortable in the mobile clinic as they would be in one of our brick-and-mortar facilities,”
adds Health Wheels Project Manager Karen Vock. “A big part of that is consistency of physician and nurse, and Dr. Dennis Green and Luciana Cordero, LVN, have served as our primary team for more than two years.”
Vock says the team offers virtually all the same services as MPTF clinics: full physical examinations, including an EKG and blood work. “We see patients for well-woman exams, colds, flu and general malaise, diagnosis and ongoing care of chronic conditions such as high cholesterol or blood pressure, diabetes, and more,” she says.
The fact that Health Wheels has seen some 2,200 patient visits is proof of the program’s real-world value. “The convenience factor is appealing,” observes Health Wheels’ patient Barry Grant, who is a paint foreman at CBS Radford Studios. “The way it’s set up, you can call and make an appointment or walk in. It is very important to have a doctor on the lot, even if it’s once a week, and to not only know who the doctor is, but to trust his
Mobile Health Care Hits Hollywoodby Pauline Rogers
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DECEMBER 2013ICG
kindness and bedside manner.”The program is looking out for a range
of those who need or want healthcare but can’t afford it. For those industry members who are uninsured or under-insured, the program offers “Bridge to Heath,” a $25 urgent-care visit.
Recently, Entertainment Partners took things a step further with EP Cares™ – a transferable health plan and innovative solution to the Affordable Care Act for the entertainment industry. “We saw a great opportunity to simplify companies’ obligations to comply with the employer mandate while helping production workers so they wouldn’t have to manage different doctor networks and programs every time they move from one project to another,” Goldstein states.
Thanks to Health Wheels, there is now a very tangible way to see that the industry
really does take care of its own. A calendar of visits is available at http://www.mptf.com/healthwheels.
depth of field
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When asked about the color fidelity of the AREA48s, Heater said: “The color match to daylight wasas close to daylight as I’ve seen on the market, andprobably better than all the other LEDs that I’ve seenout there. I have a more artistic approach to lightingthan a technical one, but to my eye and to the camera,the color is right on the money.”
The powerful light coming from Area 48 LEDfixtures are a function of BBS’ interchangeable phosphortechnology, which allows the fixture to be easilyconverted from daylight, to tungsten to chroma green
all in a matter of seconds. Heater much prefersBBS’ interchangeable panel approach for changingcolor temperature. “When you try to filter tungsten anddaylight bulbs, it takes away lighting power. With theAREA 48 there’s a daylight balance that puts out thesame amount of light as a tungsten balance, and thesame for the other color temperatures available.”
In addition to the difference of weight, size andlight output, Heater also noted the lack of truedimmability with HMI and fluorescent lighting fixtures.“The AREA 48 LED is a very resourceful working toolon a set, because you can dim them down withoutchanging color temperature. Now we can work at really,really low levels while remaining locked on in termsof color temperature.”
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Obamacare causing headaches? Try adapting to law in Hollywood
If thinking about Obamacare gives you headaches, be glad you’re not a member of a film crew in the Los Angeles area.
Imagine you’re a lighting technician who, in the space of a year, works on a Walt Disney Co. DIS film for two months, then moves over to the NBC CMCSK lot nearby in Burbank, Calif. to do a short-lived sitcom for three months.
Then you’re off to Culver City over the Santa Monica Mountains to do another film for Sony
Pictures SNE for another two months, and then on to the Fox FOX lot in Century City for three months as a temporary fill-in on one of that network’s shows.
You’re considered full time in all those jobs, but who insures you? The truth is, none of those four companies are obligated because you didn’t stay longer than 90 days. That’s the trouble that some of the behind-the-scenes workers in Hollywood face as they try to navigate President Obama’s health-care overhaul, says Mark Goldstein, chief executive of Entertainment Partners.
The Burbank-based company contracts out to studios and film producers for payroll and production management services. But finding an answer to the Obamacare question isn’t an easy one. And employers aren’t off the hook. They still employ full-time staffs throughout the year; it’s just that it can be a constantly revolving crew.
“The industry has reached out to see if we could facilitate something,” Goldstein said. With up to 100,000 non-union workers spread out to do as many as 3,000 projects a year, it’s tough to find a cost-effective way to insure those workers.
In an effort to cut through the confusion, Entertainment Partners has set up its own private insurance exchange so that the risk could be spread throughout the entire industry. That way the makeup artist that drifts from job to job can be on equal footing with, say, a camera operator that has been working on “Jimmy Kimmel Live” in the heart of Hollywood for the last five years.
Trouble is, much of the rest of the film industry that doesn’t contract out with Entertainment Partners’ “EP Cares” program can’t participate in the exchange. Until then, however, others in the film industry and its workers may be scrambling to find insurance. Because of the uneven nature of entertainment work, large chunks of workers could be left to get coverage on their own.
“An entire full-time employee base could be subject to penalties,” he said.
Follow Russ Britt on Twitter @russbrittmktw Follow Health Exchange on Twitter @MWHealthBlog
Obamacare comes up short for Hollywood crewsAnna Gorman , Kaiser Health News 1:24 p.m. EST January 8, 2014
Correction: A previous version of this story misidentified Mark Goldstein's title. He is president of EntertainmentPartners, a production management and payroll service company.
Inside the Fox studios in Century City, crews are shooting the latest episodes of some of television's biggestshows, including Modern Family, How I Met Your Mother and Bones. Just outside the lot, crew members onbreaks are lining up at a mobile health clinic in a converted Winnebago, seeking treatment for both chronicdiseases and common ailments.
The Hollywood film and television industry relies heavily on freelancers and independent contractors who rarelyare offered health insurance from an employer. Throughout Southern California, producers, writers, actors,editors, camera operators and prop makers move from gig to gig and hold numerous jobs each year. Some get
insurance through the industry's unions — after paying hefty fees and dues and working enough hours on union jobs. Others pay for private policies — orsimply go without.
The nation's health law will offer financial help for those who buy policies through new insurance marketplaces and whose incomes are within the limits.But contract workers, freelancers and seasonal employees in a variety of industries across the USA will fall in and out of eligibility for subsidies, causingconfusion and possible tax consequences at the end of the year.
Entertainment workers face an additional challenge on top of the constant job turnover and temporary nature of their employment. Crew members oftenwork long hours rigging lights, moving gear and building sets, which can lead to injuries and high levels of stress.
Because their employers don't often provide insurance, entertainment professionals say they have to get creative. They stock up on medications. Theyrely on spouses' insurance. They take flexible day jobs. They even get married just to have steady coverage. They see all their doctors while they arecovered — and then go weeks or months without medical care.
'UNIQUE' INDUSTRY, CHALLENGES
"They try to stay employed," said Bob Beitcher, chief executive officer of the Motion Picture & Television Fund, a charity that provides health and socialservices for entertainment workers. "Then they pray they don't have health issues when they are not employed."
The health law was not designed for the entertainment industry, Beitcher said. The fund offers a temporary program for uninsured production workers toget affordable doctors' visits. "This industry is unique," he said. "Getting it right for this group the first time around was unlikely."
Cat Rhinehart, a comedian living in Los Angeles, hasn't had regular coverage for years. When she paid $400 a month for insurance, she went to thedoctor frequently. Now uninsured, Rhinehart receives most of her medical care at Planned Parenthood. "I used to be a hypochondriac, but now I can'treally afford to be," she said. At the same time, Rhinehart said she knows she needs to be vigilant about her health, especially since her sister wasdiagnosed with breast cancer at 28.
Gretchen Somerfeld, who works as a script supervisor, production manager and a voiceover artist, pays for her own insurance. She has worked in theentertainment industry for 26 years, mostly in commercials, and typically works about 50 different jobs in the course of one year. Occasionally, she worksenough hours on union jobs that she qualifies for coverage, but Somerfeld said she can't depend on it. Her current insurance, which costs more than$600 a month with a $3,000 deductible, doubled after she started taking medication for high cholesterol.
Somerfeld supports the Affordable Care Act but doubts it will help her. She is single and earns on average about $50,000, which puts her just above thelimit to receive insurance subsidies through the state's health exchange.
"At first, I was excited about Obamacare," she said. "Now I think I might fall between a rock and a hard place. It is very frustrating."
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(Photo: Anna Gorman, Kaiser HealthNews)
Dennis Green, the doctor who goes from studio to studio with the mobile health van known as Health Wheels, said that many of these workers — eventhose with insurance — don't get to a doctor regularly. He treats patients with high blood pressure and diabetes, many of whom can't afford to miss workfor a medical appointment, or risk losing their jobs if they do. The 35-foot clinic run by the Motion Picture & Television Fund has two exam rooms, abathroom and a small bench where patients can wait to see the doctor.
On a recent morning, Megan Cannon, a set decorator on Bones, wanted a referral to a dermatologist. Cannon, who is covered through a union, saidbeing able to go to an appointment while at work helps her take better care of herself, she said. "It's difficult for me to take time to see a doctor," she said."Our schedules are ever-fluctuating."
Green said aside from the convenience, the mom-and-pop nature of the mobile center helps crew members feel more comfortable. And he is able to seethem quickly on their breaks, regardless of their insurance.
"We'll roll onto the lot with one person on the schedule," he said. "And we'll fill up."
Nurse Luciana Cordero at the Health Wheels van.(Photo: Anna Gorman, Kaiser Health News)
'A WHOLE NEW WORLD'
Hollywood production companies, too, are trying to figure out how to comply with the Affordable Care Act's employer mandate, set to begin in 2015.Production companies typically don't know much about insurance and will have to figure out who they have to cover and how to avoid penalties, saidMark Goldstein, president of Entertainment Partners, which provides production management and payroll services to companies.
"For many of them, this is going to be a whole new world," he said. "Everyone is definitely scrambling to figure out how it is going to apply to them."
Entertainment Partners is planning to provide its own insurance for production workers. About 35%-40% of production workers are not covered byunions, Goldstein said.
Having insurance is critical for Dean Menta, a music editor who underwent two heart surgeries in his 30s. A few years ago, Menta took a corporate job ata video game company to have more steady insurance after it became harder to get enough union jobs to stay covered. But then the company closed.
Menta said he has already started talking to an insurance broker and is looking into plans for him and his family through the Affordable Care Act. Rightnow, between his COBRA plan and the plan for his wife and children, Menta's family pays more than $1,000 a month. He recently landed a television job,which he is hoping will give him enough hours to get less expensive insurance again.
Jim Westrick, 35, isn't sure yet whether he will qualify for subsidies because his income as a television assistant editor fluctuates from year to year.Currently, he pays for his own insurance — about $170 a month with a $3,000 deductible. Despite the cost, Westrick said he wouldn't give it up becausehe worries about getting hurt or sick and ending up bankrupt.
Westrick said he considers having to pay for his own coverage an "occupational hazard." "The freelance film and television world — that's how it has
always been," he said.
Kaiser Health News (http://www.kaiserhealthnews.org/) is an editorially independent program of the Henry J. Kaiser Family Foundation, a nonprofit,nonpartisan health policy research and communication organization not affiliated with Kaiser Permanente.
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(/media/cinematic/video/5027637/crippling-storms-of-the-past-usa-now/)
Crippling storms of the past | USA NOWJan 29, 2014
USA NOW
This Health Wheels van travels from studio to studio reachentertainment-industry workers (Photo by Anna Gorman/KHN).
In Hollywood, Health Coverage PresentsUnique ChallengesTOPICS: DELIVERY OF CARE, STATES, UNINSURED, HEALTH REFORM
By ANNA GORMANKHN Staff WriterDEC 15, 2013
This KHN story was produced in collaboration with
Inside the Fox Studios in Century City, crews are shooting the latest episodes of some of television’sbiggest shows, including “Modern Family,” “How I Met Your Mother” and “Bones.” Just outside the lot,crew members on breaks are lining up at a mobile health clinic in a converted Winnebago, seekingtreatment for both chronic diseases and common ailments.
The Hollywood film and television industry relies heavily on freelancers and independent contractorswho are rarely offered health insurance from an employer. Throughout Southern California,producers, writers, actors, editors, camera operators and prop makers move from gig to gig and holdnumerous jobs each year. Some get insurance through the industry’s unions – after paying hefty feesand dues and working enough hours on union jobs. Others pay for private policies – or simply gowithout.
The nation’s health law will offer financial help for thosewho buy policies through new insurance marketplacesand whose incomes are within the limits. But contractworkers, freelancers and seasonal employees in avariety of industries will fall in and out of eligibility forsubsidies, causing confusion and possible taxconsequences at the end of the year.
Entertainment workers face an additional challenge ontop of the constant job turnover and temporary nature oftheir employment. Crew members often work long hoursrigging lights, moving gear and building sets, which canlead to injuries and high levels of stress.
Not Exactly Glamorous
Because their employers don’t often provide insurance, entertainment professionals say they have toget creative. They stock up on medications. They rely on spouses’ insurance. They take flexible dayjobs. They even get married just to have steady coverage. They see all their doctors while they arecovered – and then go weeks or months without medical care.
Nurse Luciana Cordero and Dr. Dennis Green discuss the benefitsof bringing the mobile health clinic to the studio lots (Photo by AnnaGorman/KHN).
“They try to stay employed,” said Bob Beitcher, chief executive officer of the Motion Picture &Television Fund, a charity that provides health and social services for entertainment workers. “Thenthey pray they don’t have health issues when they are not employed.”
The health law was not designed for the entertainment industry, Beitcher said. The fund offers atemporary program for uninsured production workers to get affordable doctor’s visits. “This industry isunique,” he said. “Getting it right for this group the first time around was unlikely.”
Cat Rhinehart, a comedian living in Los Angeles, hasn’t had regular coverage for years. When shepaid $400 a month for insurance, she went to the doctor frequently. Now uninsured, Rhinehartreceives most of her medical care at Planned Parenthood. “I used to be a hypochondriac, but now Ican’t really afford to be,” she said. At the same time, Rhinehart said she knows she needs to bevigilant about her health, especially since her sister was diagnosed with breast cancer at 28.
'A Rock And A Hard Place'
Gretchen Somerfeld, who works as a script supervisor, production manager and a voiceover artist,pays for her own insurance. She has worked in the entertainment industry for 26 years, mostly incommercials, and typically works about 50 different jobs in the course of one year. Occasionally, sheworks enough hours on union jobs that she qualifies for coverage, but Somerfeld said she can’tdepend on it. Her current insurance, which costs more than $600 a month with a $3,000 deductible,doubled after she started taking medication for high cholesterol.
Somerfeld supports the Affordable Care Act but doubts it will help her. Somerfeld, who is single,earns on average about $50,000, which puts her just above the limit to receive insurance subsidiesthrough the state’s health exchange.
“At first, I was excited about Obamacare,” she said. “Now I think I might fall between a rock and ahard place. It is very frustrating.”
If You're Sick, You Don't Work
Dennis Green, the doctor who goes from studio to studio with the mobile health van known as HealthWheels, said that many of these workers – even those with insurance – don’t get to the doctorregularly. He treats patients with high blood pressure and diabetes, many of whom can’t afford tomiss work for a medical appointment, or risk losing their jobs if they do. The 35-foot clinic run by theMotion Picture & Television Fund, has two exam rooms, a bathroom and a small bench wherepatients can wait to see the doctor.
On a recent morning, Megan Cannon, a set decorator on“Bones,” wanted a referral to a dermatologist. Cannon,who is covered through a union, said being able to go toan appointment while at work helps her take better careof herself, she said. “It’s difficult for me to take time tosee a doctor,” she said. “Our schedules are everfluctuating.”
Green said aside from the convenience, the mom-and-pop nature of the mobile center helps crew members feelmore comfortable. And he is able to see them quickly ontheir breaks, regardless of their insurance.
“We’ll roll onto the lot with one person on the schedule,”he said. “And we’ll fill up.”
'A Whole New World'
© 2014 Henry J. Kaiser Family Foundation. All rights reserved.
Hollywood production companies, too, are trying to figure out how to comply with the Affordable CareAct’s employer mandate, set to begin in 2015. Production companies typically don’t know much aboutinsurance and will have to figure out who they have to cover and how to avoid penalties, said MarkGoldstein, CEO and president of Entertainment Partners, which provides production managementand payroll services to companies.
“For many of them, this is going to be a whole new world,” he said. “Everyone is definitely scramblingto figure out how it is going to apply to them.”
Entertainment Partners is planning to provide its own insurance for production workers. About 35 to40 percent of production workers are not covered by unions, Goldstein said.
Having insurance is critical for Dean Menta, a music editor who underwent two heart surgeries in his30s. A few years ago, Menta took a corporate job at a videogame company to have more steadyinsurance after it became harder to get enough union jobs to stay covered. But then the companyclosed.
Menta said he has already started talking to an insurance broker and is looking into plans for him andhis family through the Affordable Care Act. Right now, between his COBRA plan and the plan for hiswife and children, Menta’s family pays over $1,000 a month. He recently got a television job, which heis hoping will give him enough hours to get less expensive insurance again.
Jim Westrick, 35, isn’t sure yet whether he will qualify for subsidies because his income as atelevision assistant editor fluctuates from year to year. Currently, he pays for his own insurance –about $170 a month with a $3,000 deductible. Despite the cost, Westrick said he wouldn’t give it upbecause he worries about getting hurt or sick and ending up bankrupt.
Westrick said he considers having to pay for his own coverage an “occupational hazard.” “Thefreelance film and television world -- that’s how it has always been,” he said.
