Would Movies Be Better If No One Got Paid Upfront?

The film industry is not just struggling. It’s changing at a level most people don’t want to admit.

Studios are still handing out massive checks to actors before anything even gets shot. Robert Downey Jr. made $75 million for Endgame. Meanwhile, VFX artists behind those same scenes worked unpaid overtime. Something about that should bother all of us.

So here’s the question that stopped me cold last week.

Would movies be better if nobody got paid upfront?

Imagine a world where directors, actors, producers, even the intern who gets the coffee like nobody gets a dime until the film is profitable. It sounds wild. But it also sounds kind of fair.

What if everyone’s paycheck depended on the success of the film?

Let’s break down how this would work, why it doesn’t, and what actually needs to change if we want a film industry that values people over hype.

How Hollywood Movie Productions Pays Right Now

Right now studios dump millions into salaries before the camera ever rolls. Actors, directors, and producers are paid upfront. Most crew are not.

And when a movie flops? That money is gone. Happens all the time.

Here are a few examples:

• Red Notice had a $200 million budget. The Rock, Gal Gadot, and Ryan Reynolds each got over $20 million. Reviews were mediocre at best.

• The Gray Man followed the same formula. Similar budget, similar reviews.

• Jungle Cruise paid Dwayne Johnson $22 million before a single ticket was sold.

Now compare that to:

• Clerks. Shot for $27,000. Made $3.2 million.

• El Mariachi. Shot for $7,000. Made $2 million.

Those returns are insane. But they were also made by people working on deferred pay. So yes, the scrappy, no-budget approach can work. But it’s not a solution that scales without problems.

The Dream: Shared Risk and Shared Reward

So let’s imagine this dream scenario. A film wraps. Nobody gets paid until it turns a profit. Everyone from the grip to the costume designer is fully invested. The waste disappears. Every dollar is spent with care. Every person is chasing the same outcome.

That kind of creative alignment could lead to bold, memorable films. Nobody’s playing it safe when their income depends on the outcome. You’d see more passion. More risk. Less fluff.

But it falls apart real fast once you look closer.

The Reality: Why This System Would Collapse

Here’s why it doesn’t work. And I say this as someone who’s lived the indie grind.

1. Union contracts make upfront pay non-negotiable

SAG-AFTRA, IATSE, and others require minimum upfront payments. That’s not just policy. It’s law. You can’t legally pay everyone on backend points only.

2. Insurance won’t back unpaid productions

Most films are backed by completion bonds — a kind of insurance that protects investors. No bond company will sign off on a film where nobody is guaranteed to be paid. That’s an automatic shutdown.

3. Distributors want guarantees

If you want money up front through gap financing or pre-sales, you have to show proof that key roles are paid. No pay, no deal. Simple.

4. Freelancers cannot afford to wait

Most of us in this industry are freelancers. That means no salary, no benefits, no safety net. We depend on deposits and retainers to survive. Backend pay is not a plan. It’s a gamble.

And let’s not pretend deferred payment always works. Often the film never gets distributed. The crew never sees a dollar. And even when it does turn a profit, they’re usually last in line.

I’ve Been Burned By This Too

I’ve worked gigs where I’m still chasing checks months later. One job had a net 30 payment term and never paid me. I had to escalate it legally.

And I know I’m not the only one. That’s the kind of situation that breaks people. And the truth is, when creatives are worried about groceries, they’re not focused on telling better stories. They’re just trying to survive.

What’s the Real Fix?

The answer isn’t pay nobody. The answer is fair pay.

Here’s what that looks like:

• Modest upfront pay that covers basic living

• Clear and fair backend shares, not just for stars

• Contract terms that define when everyone gets paid

• Reversion clauses so rights return to creators if nothing happens within 18 months

• Capped points so the math actually works

That’s what trust looks like. That’s what leadership looks like. You don’t need to be a studio to do this either. Indie filmmakers can apply this right now.

The Bigger Problem No One Wants to Talk About

Even if you fix pay structures, we’re still in trouble.

Theaters are closing. Streaming platforms are cutting budgets. AI is replacing real jobs. Work is leaving Los Angeles. Freelancers are burning out or walking away. And no one at the top wants to admit how bad it really is.

The industry will survive, sure. But it’s not going back to the way it was. The dream factory has cracks in the foundation. And those cracks are growing.

Back to the Question

Would movies be better if nobody got paid upfront?

In theory, yes. In a perfect world, maybe. In real life? Not even close.

Because behind every great film are real people with real bills, real lives, and real talent. Passion doesn’t pay rent. But fair pay can fuel great work.

Keanu Reeves shared his profits with the VFX and stunt teams on The Matrix. That wasn’t PR. That was values. He saw the people who made the magic possible and he valued their work.

That’s the model we need more of.

Not “pay no one.” Pay everyone fairly. Especially the ones doing the work.

Final Thoughts

If you’re an indie filmmaker, get real about how you structure your deals. Use clear contracts. Be honest about the odds. Always offer something upfront when you can. And above all, respect the people working with you.

If you’re in the industry right now, you’re probably feeling the pressure too. The game is changing fast. You’re not imagining it. But don’t forget your worth. You have value. And your film has value. Lead with that.

And if you found any of this helpful, I’d appreciate it if you’d subscribe to the youtube channel and check out the latest video.

I’m dropping deep dives like this every Friday. Let’s start building the kind of film industry we actually want to be part of.