The Directors Guild of America represents more than 13,400 members working in U.S. cities and abroad. Their creative work is represented in theatrical, industrial, educational and documentary films and television, as well as, videos and commercials. Following is a brief history of their Guild.

2006

DGA marks its 70th Anniversary, including a special issue of DGA Quarterly profiling the Guild’s founders, history, long-time leaders, members and staff. Guild also celebrates the 40th Anniversary of the Movie for Television, culminating in a gala featuring many of the genre’s most distinguished directors. DGA prevails in lawsuit filed in 2002 against four companies that mechanically edit and distribute “sanitized” versions of movies. DGA completes a multi-year overhaul of its computer infrastructure with a system integrating databases covering membership, signatories, credits, residuals and other departments.

2005

Michael Apted re-elected DGA President by acclamation.  The Guild negotiates and ratifies a new four-year national commercials contract with substantial increases in health plan contributions and in minimum rates for Directors and Assistant Directors. The DGA institutes a new Award for Outstanding Directorial Achievement in Reality Programs.  The first issue of the DGA Quarterly is published.  Collected residuals reach $250 million.

2004

DGA negotiates and ratifies the 2005 Basic Agreement, Freelance Live and Tape Television Agreement and Network Agreement nine months before the expiration of the 2002 contracts, resolving the crisis facing the DGA Health Plan and protecting the health benefits of DGA members, retirees and their families. The Guild negotiated the largest total economic benefits package in its history, along with significant gains in creative rights. DGA's five-year legislative campaign to reduce runaway film and television production reaches fruition when Congress and President Bush sign into law The American Jobs Creation Act - the first-ever federal tax-incentive legislation to stimulate film and television production.

2003

Michael Apted elected as DGA President by acclamation. Collected residuals reach $200 million. DGA New York Theater and Headquarters completely renovated. DGA "late script" initiative in episodic television reduces the number of scripts delivered late to directors, according to tracking at mid-season. DGA joins seven other English speaking Directors' organizations in setting forth the Dublin Declaration - a unified joint declaration asserting the creative and economic rights of film and television directors worldwide - and forms a new affiliate organization (The International Association of English Speaking Directors' Organizations) to advance and protect the rights of directors.

2002

The membership of the Directors Guild of America ratifies the new three-year collective bargaining agreements between the DGA and the AMPTP. The new Agreements take effect on June 30, while the Interim Settlement Agreement takes effect immediately upon ratification. The DGA National Board elects Martha Coolidge first woman President of the Guild. The Film Foundation and The Artists Rights Foundation consolidate under The Film Foundation, Inc. with Martin Scorsese serving as Chair. Guild represents 16 director members in lawsuit filed by companies engaged in unauthorized editing of films. DGA joins National Coalition on Health Care. DGA Magazine wins Second "Folio" Magazine Editorial Excellence Award.

2001

The Guild negotiates the 2002 Basic Agreement and Freelance Live and Tape Television Agreement contracts more than six months before the expiration of the 1999 contracts, avoiding an industry production slowdown. Among the significant gains achieved by the Negotiating Committee is an historic interim agreement that adapts outmoded agreements to new technologies, modernizing the method of television production. The AMPTP agrees to convene a meeting to discuss remedies for runaway production with the DGA and other affected guilds and unions. A Department of Commerce Report is released concluding runaway production threatens U.S. Economy. The United States Independent Film and Television Production Incentive Act of 2001, a bill designed to stem runaway production, is introduced in the Senate and the companion bill is introduced in the House. DGA Honors is postponed due to the September 11 terrorist attacks in New York, Washington and Pennsylvania. DGA donates $100,000 to assist the victims of the attacks. DGA, SAG and WGA meet with the Bush Administration to discuss a possible role for the industry in the War Against Terrorism. DGA holds the first International Conference of English Speaking Directors. Residuals reach $180 million.

2000

The DGA's Task Force on Violence and Social Responsibility calls for an overhaul of the current ratings system and a "zero-tolerance" policy towards underage admissions by theatre owners. A 5-year extension of the foreign levies agreement is negotiated increasing the Guilds' portion of revenues from 20% to 33%. The DGA's National Board unanimously approves new 4-year national commercial contract. Through prosecution of arbitrations and court actions the Guild's legal department collects in excess of $5.5 million. Residuals exceed $165 million. DGA continues to monitor and encourage increased diversity in the industry.

1999

DGA members ratify new three-year film, tape and network contracts. Jack Shea re-elected President of the Guild by acclamation. The DGA, in conjunction with SAG, releases the Monitor Company report on The Economic Impact of U.S. Film and Television Runaway Production, and spearheads efforts to pass state and federal runaway production legislation. Over 800 people attend the inaugural DGA Honors in New York, celebrating the value and importance of American film and television production, with a particular focus on the Eastern region of the United States. DGA Honors Filmmaker Award given to Martin Scorsese. The Guild's Independent Directors Committee establishes The Director's Finder, a screening series of unreleased independent films made under DGA agreements. Four films find distribution due to the series. Residuals exceed $150 million.

1998

The Guild celebrates 50th anniversary of DGA Awards for outstanding directorial achievement. The DGA successfully champions historic legislation in the US Congress that ensures that when films are transferred to new owners or distributors, directors, performers and writers are legally guaranteed payment of residuals as provided by their collectively bargained agreements. The Guild’s outreach efforts to new members continues to grow with the creation of an Independent Directors Committee and wider participation in film festivals. Residuals exceed $150 million. DGA announces collaboration with Sundance Channel on a four-part series of television specials. The first of the specials, The Director’s Vision: Hollywood’s Best Discuss Their Craft, debuts in December. The Robert E. Wise library is dedicated in the Guild’s Los Angeles headquarters. The DGA completes sound and projection system upgrades in its Los Angeles and New York theatres. The 5th Annual John Huston Award for Artists Rights is presented to Tom Cruise. The DGA French-American Cultural Fund continues its program of exchange between professionals and students from the two countries.

1997

The DGA holds its first Diversity Summit, bringing top industry executives and directors together to discuss the employment situation facing women and minorities in DGA categories. DGA Diversity Award, honoring producers or employers in the industry who have demonstrated consistent commitment to and leadership in the hiring of women and ethnic minorities in DGA categories, goes to Bruce Paltrow and the team of John Wells and Christopher Chulack. In an effort to reach out to more independent filmmakers, the Guild extends its participation in film festivals and the National Board adopts revisions to the Low Budget Agreement. Membership exceeds 11,000 and residuals exceed $130 million. Membership programs and workshops initiated in Guild's New York Theater. The 4th Annual John Huston Award for Artists Rights is presented to Milos Forman. As part of the DGA French-American Cultural Fund, the Guild co-hosts the City of Lights, City of Angels Film Festival.

1996

DGA members overwhelmingly approve new three-year film, tape and network contracts, including a Code of Preferred Practices for Creative Rights. National Board designates “year of diversity” as theme for Guild's sixtieth anniversary celebration. Guild publishes first Creative Rights Handbook. The 3rd Annual John Huston Award for Artists Rights is presented to Martin Scorsese by the Artists Rights Foundation. The Guild continues its outreach program to independent filmmakers through the sponsorship of the first Sundance Film Festival Directing Award and the first Los Angeles Independent Film Festival Directing Award.

1995

The Guild achieves its first contracts covering interactive media. Membership exceeds 10,000, and residuals exceed $100 million (plus an additional $7 million collected from foreign countries through videocassette levy agreements). The DGA Speakers Roster is created, with members offering their services to film schools nationwide. The Artists Rights Foundation honors Steven Spielberg with its John Huston Award for Artists Rights.

1994

The Guild reaches out to prospective members among the independent filmmaking community at the Sundance, Toronto and Hampton Film Festivals, and Independent Feature Film Market. DGA-supported Artist Rights Foundation presents first annual John Huston Award for moral rights to Fred Zinnemann. DGA approves Assistant Unit Production Manager designation in the West. DGA African-American Steering Committee founded. DGA Latino Committee celebrates Hollywood's Hispanic Heritage. DGA opens a Southern Regional Office in Hollywood, Florida.

1993

In an early negotiation, the Guild successfully negotiates a three-year contract which includes increased ceilings for health fund contributions, and a qualification list for the Third Area. Improvements are made with respect to the Guild's jurisdiction and to employment criteria for Associate Directors and Stage Managers. Second presentation of the Preston Sturges Award, given to Blake Edwards for outstanding achievements in both writing and directing; presented jointly with the WGAw.

1992

Guild receives first foreign levies payment and initiates a campaign to rejuvenate production in New York. The first annual Meet the DGA Feature Nominees Symposium held in March. Residuals reach $82 million.

1991

AD/UPMs and Women/Minority members create mentor program. National Film Disclosure Act, an objection labeling bill, introduced in Congress. The Guild's pension assets exceed $600 million. Residuals reach $76 million. The Guild lobbies for new immigration bill. First presentation of Preston Sturges Award to Billy Wilder for outstanding achievements in both writing and directing, presented jointly with the WGAw.

 

1990

The 1990 DGA Basic Agreement, Freelance Live and Tape Agreement, and ABC and NBC contracts are negotiated a full four months prior to the expiration of the 1987 Agreement. This early negotiation avoids an industry production slowdown. The Artists Rights Foundation is created with initial donations from the Getty Foundation, Steven Spielberg, and Fred Zinnemann. The Foundation is created to continue the fight to protect artists' works throughout the world. A WGAw/DGA Lifetime Achievement Award is presented to Richard Brooks. The DGA Women's Committee celebrates its 10th anniversary with a special issue of our magazine. First presentation of DGA Student Academy Award.

1989

The Guild moves into the new home of its national headquarters, a Hollywood landmark with three state-of-the-art theatres. The fight for moral rights charges ahead with congressional hearings on copyright issues. Membership surpasses 9,000. The Guild prepares for 1990 negotiations.

1988

The moral rights movement achieves victory on Capitol Hill with the passage of the National Film Preservation Act. Collections from grievances, arbitrations and court actions hit $3.7 million.

1987

The Guild's first industry-wide strike lasts three hours, five minutes in the East and five minutes in the West before negotiations yield an agreement with the Alliance of Motion Picture and Television Producers. Despite pressure from the major studios to roll back minimum residual compensation and other minimum terms and conditions, the Guild gains three-year freelance contracts in film and television.

1986

The Guild celebrates its anniversary with a Golden Jubilee birthday parties, film productions, retrospectives, among other events. Eight years of difficult, sometimes acrimonious negotiations result in a collective bargaining agreement with Home Box Office.

1985

Low-budget feature film contract provides for unilateral reduction in minimum compensation, an industry first. Membership approves construction for a dramatic six-story Hollywood headquarters. San Francisco office opens.

1984

The Guild successfully negotiates new freelance and staff contracts with significant gains in all membership categories. Affirmative action-related lawsuits against Warner Bros. and Columbia continue. Special Projects launches classes and seminars to help members polish existing skills, or acquire new ones.

1983

The Guild commences intensive negotiations with major studios and production companies with a goal of eliminating discriminatory hiring practices. Warner Bros.' refusal to negotiate affirmative action program with timetable triggers the Guild legal action. Pension assets exceed $200 million. The Guild prepares for 1984 collective bargaining negotiations.

1982

Despite a national recession that reduces industry employment rates, growth continues: Pension assets hit a record $150 million; membership rises to more than 6,700; assets exceed $10 million; residual collections surpass $25 million; and grievance-and-arbitration produce more than $5 million.

1981

Negotiations in film, and live and tape television, conclude without a work stoppage. Agreement yields not only significant monetary and creative gains, but also affirmative action provisions for women and ethnic minorities. Residual collections climb to more than $23 million. Membership reaches 6,582.

 

1980

Administrative improvements result in record residual collections of $20 million. More computer upgrades address membership needs. Grievances and arbitrations increase. The Film Society, a program of the Special Projects Committee, continues to present a selection of diverse films. The Guild prepares for 1981 collective bargaining negotiations.

1979

The Guild strictly enforces new contract through grievances and arbitration, drawing a record $3 million. Residual collections reach $12 million, 60 percent more than in 1978. New computer system goes on-line.

1978

Film negotiations conclude; the Guild wins its most significant contract. In addition, tape negotiations yield agreement with independent producers and networks. Both contracts scheduled to expire on the same date in 1981.

1977

The Guild begins the most difficult film negotiations in its history, working to address economic inequities and obtain artistic rights.

1975

The Guild negotiates first industry-wide live and tape television contract covering employment with independent production companies.

1973

Film agreement provides for payments for supplemental markets, a separate scale for network prime-time shows, and representation of Technical Coordinators.

1972

The Guild renegotiates motion picture and television contracts, gaining jurisdiction over U.S.-backed foreign film production. In its continuing effort to honor members and encourage young people to pursue film careers, the Guild programs retrospective screenings and seminars.

1971

After six years of negotiations, the Guild achieves a cultural exchange with the Soviet Union's Association of Film Makers.

1969

The establishment of the DGA Health Plan.

1968

With the cooperation of New York signatories to DGA film contracts, the Guild institutes a training program for potential Assistant Directors. The West Coast program had started in 1964.

1966

The Guild purchases a building in New York that serves as East Coast headquarters. Publication of the Guild magazine ACTION, and the annual Directory of Members, begins.

1965

The eight-year-old Screen Directors International Guild, whose members in the East functioned in much the same way as DGA members, also merges.

1964

Unit Production Managers, who briefly had been a part of the Screen Directors Guild, merge with the Directors Guild.

1963

Assistant Directors Local 161, IATSE, which formed in New York in 1944, merges with the Directors Guild.

1960

The merger of the Screen Directors Guild and the Radio and Television Directors Guild forges the Directors Guild of America, Inc. The RTDG, formed in 1947 as the Radio Directors Guild, had grown to include television Directors, Associate Directors, Stage Managers and Production Assistants working in live and taped television. This year also marks the establishment of the DGA Producer Pension Plan.

1955

The Directors Guild sets up headquarters in its own building, which includes a private theatre, in Hollywood.

1950

The Guild negotiates the first television film contract. In addition to outlining basic wages and working conditions, the contract recognizes the Director's right to share in revenue from filmed shows on commercial television.

1944

The 1939 agreement is extended to include minimum salaries for Directors.

1939

An agreement is signed that recognizes the Directors' creative function and right to screen credits, as well as establishes minimum wages and working conditions for Assistant Directors.

1937

The Guild admits Assistant Directors. By 1938, the Guild represents 95 percent of film Directors and Assistant Directors in Hollywood.

1936

Thirteen outstanding motion picture Directors, hoping to achieve proper recognition and creative freedom for their fellow Directors, creates the Screen Directors Guild, representing about 75 Director members.