Way back when, I represented a client who's workers were "organized" by an industry labor organization. They sought recognition, and when my client politely declined they filed an NLRB petition. After a hearing, the NLRB scheduled an election.
My client called and asked me why I hadn't started a nasty, anti-union campaign, depicting the union reps as thugs and hoodlums, and telling the workforce what a terrible idea union representation would be. I truthfully told my client, "I haven't the faintest idea how to do that!"
I still don't.
But, I certainly realize it happens.
At the very least, all of the press releases about opening facilities is foreign countries and right-to-work states is a subtle part of that process.
The miracle is, that with the incredible cost savings available when work is sent outside the country, the a sizable amount of visual effects work remains here in LA!! Why is that??
My best guess is that YOU are the reason. Producers occasionally need high-quality visual effects; and they know there's still one place to get them.
So, while companies (and my friend Scott Ross) continue to predict that "all the work will eventually leave the US", I continue to remain optimistic. As long as tentpole movies cost $200 Million and more, and visual effects budgets exceed $40 or $50 Million, there will continue to be a few studios insisting that the work be done at the high-end US based facilities.
But, they'll continue to moan and groan about the cost competition from those foreign companies in the hopes that they can scare you guys away from signing union authorization cards.
That's what my old client was counting on.....
what do you think???