\n
\n\tStunt Performer<\/strong>
Pay rates start at $1,200 per day or $4,500 per week but can go up depending on the performer.\u00a0<\/p>\n\n\tMakeup Artist<\/strong>
Glam squads typically charge $1,000 to $1,250 to make a star glow ahead of an event, with an additional 20 percent paid out to their booking agency.<\/p>\n\n\tStylist<\/strong>
An established stylist can charge on average $1,500 per event, plus additional fees for extras like alterations. Studios, which typically cover the promotional run, are known to pay a premium during awards season.\u00a0<\/p>\n<\/div>\n<\/li>\n\nContent Creator<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-contentcreator.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tA picture (um, post) can be worth a thousand dollars, and often a lot more. Some micro influencers charge a couple hundred dollars per post, while top-tier creators can charge thousands. Collegiate gymnast and Instagram \u201cIt\u201d girl Livvy Dunne made $500,000 off a single brand deal.\u00a0<\/p>\n<\/div>\n<\/li>\n
\nGaffer<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-gaffer.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tAn IATSE-organized chief lighting technician makes $60.59 per hour minimum and a weekly guarantee of $3,647 on studio projects.<\/p>\n<\/div>\n<\/li>\n
\nAgent<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-agent.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustrations by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tAgents are feeling the squeeze. Entry-level staffers typically pull in between $80,000 and $100,000 annually, while mid-career agents top out around $600,000, not including discretionary bonuses. Heavy hitters can make eight figures. The Pay Up Hollywood movement helped notch small gains for agency assistants, though rates are still astonishingly low. Per recent job postings, a CAA mailroom trainee earns around $20 per hour \u2014 the same as California minimum wage for fast food workers \u2014 while assistants at all the major agencies should expect to make less than $25 per hour (not including overtime).\u00a0<\/p>\n<\/div>\n<\/li>\n
\nIntimacy Coordinator, Actor<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-intimicayactor.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tIntimacy Coordinator<\/strong>
SAG-AFTRA has taken steps toward organizing this newer Hollywood job, but until then, most make a similar day rate to stunt performers, around $1,200, and can be hired for the duration of a project or to help with select scenes.\u00a0<\/p>\n\n\tActor<\/strong>
The most in-demand stars can still command top dollar. Just look at Robert Downey Jr. and the $80\u202fmillion-plus he\u2019s reportedly making as Dr. Doom. Someone on the level of Ryan Reynolds, meanwhile, is looking at $30 million per picture. TV actors making $1 million per episode still exist, and there are plenty of big names bringing in between $400,000 and $600,000 an episode. Series background actors make $216 for an eight-hour day.<\/p>\n<\/div>\n<\/li>\n\nAnimator<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-animator.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustrations by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tA member of the Animation Guild can expect to make $1,800 a week as an assistant staff comic strip story artist, while a supervising animation writer earns nearly $3,000 per week.<\/p>\n<\/div>\n<\/li>\n
\nProducer<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-producer.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tFirst-look deals are still lucrative \u2014 in the mid seven figures and up \u2014 if you\u2019re lucky enough to land one. Otherwise, veteran producers can make as much as $2 million up front and more on the backend. On the TV side, non-writing producers without studio deals don\u2019t earn a dime until the pilot fee, which can range from $15,000 to $50,000. \u00a0<\/p>\n<\/div>\n<\/li>\n
\nTV Writer\/Showrunner<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-showrunner.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tWorkaday scribes got raises after the WGA strike, and now staff writers make $4,940 per week for a guaranteed 20 weeks. Writers who are exec producing and running their own shows can sell a pilot script into development for between $225,000 and $500,000. If it\u2019s ordered to series, they\u2019ll make $60,000 to $75,000 per episode on average to produce, on top of WGA scale for any episodes they write. Meanwhile, those $40\u202fmillion overall megadeals are now in the $10 million to $15 million range \u2014 and the $15 million ones are closer to $8 million.\u00a0<\/p>\n<\/div>\n<\/li>\n
\nScreenwriter<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-screenwriter.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tThe average draft sells for between $350,000 and $500,000, though established feature writers can make more than $1 million on the high end. Final credit comes with a $150,000 to $500,000 bonus.\u00a0<\/p>\n<\/div>\n<\/li>\n
\nUnion Leader<\/h2>\n
\t\t\t![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-unionleader.jpg?w=790\")
\n\t\t\t\t\tImage Credit: Illustration by Peter Oumanski\t\t\t\t<\/p>\n
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\n\tSAG-AFTRA president Fran Drescher doesn\u2019t take a salary, but chief negotiator Duncan Crabtree-Ireland does, and he\u2019s paid more than $1 million for helping lock down the guild\u2019s contracts. Russell Hollander at the DGA makes $775,000, while WGA West\u2019s Ellen Stutzman makes $683,000. On the low end, Animation Guild business representative Steven Kaplan takes home $215,000. \u00a0<\/p>\n
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<\/p><\/div><\/div>\n![\"illustration](\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/10\/31fea_salaries-EMBED-CEO.jpg?w=790\")