Union & Non-Union Talent Management

Here is how this works in practice. Talent running in Italy is set by the CCNL Cinema Audiovisivo, the national collective bargaining agreement covering film and television performers, with parallel oversight from SAI (Sindacato Attori Italiani) and SLC-CGIL on the union side and ANICA on the producer side. Our team translates these instruments into production-ready contracts for principals, day-players, extras, and stunt performers working at Cinecittà Studios, the rental stages around Rome's Tiburtina corridor, the Milan production scene, and the regional commissions of Apulia, Tuscany, and Veneto. We sort each engagement against the CCNL rate matrix and ENPALS social security categories, register the fitting INPS inputs for intermittent entertainment workers, and confirm working-time entitlements before the first call sheet circulates.

Here is the short of it. During production we run a daily compliance loop that tracks call times, meal breaks, turnaround between consecutive days, and overtime triggers against the CCNL's hour caps and Italian D.Lgs. 81/2008 safety obligations. Time sheets reconcile to payroll with statutory deductions for INPS, ENPALS, INAIL workplace insurance, and Italian VAT (IVA) where freelancers operate under partita IVA.

Here is the breakdown. Records includes signed bilingual contracts, MiC-friendly rate evidence for productions claiming the Italian Cinema Plan tax credit up to 40%, and an audit trail suitable for completion bond and TV networks delivery review with Rai, Mediaset, and Sky Italia. Disputes are routed through Italian entertainment counsel before they reach the labour tribunal. The same workflow scales from a single inbound talent in Rome to multi-hundred crew counts on a regional epic across the Dolomites or Sicilian baroque towns.