Alec Baldwin says his ‘heart is broken’ after accidentally killing cinematographer with a ‘gun that was loaded with LIVE and not blank rounds’ on set of Western movie Rust: Victim’s husband says the actor is being ‘very supportive’
Alec Baldwin shared his grief on Friday after accidentally killing the female cinematographer from his new movie Rust, tweeting: ‘My heart is broken.’
Hutchins, a married mother-of-two, died shortly after being shot by Baldwin around 1.50pm Thursday at Bonanza Creek Ranch, near the city of Santa Fe in New Mexico, where they were filming the movie Rust. Joel Souza, 48, the film’s director, was also hurt and spent several hours in hospital, but was released later the same evening.
It remains unclear how exactly the accident played out – movie productions are supposed to use blanks or dummy bullets, but witnesses and a prop masters’ union have suggested it was a live bullet that struck Hutchins and the film’s director.
A tearful Baldwin, 63, was interviewed at the sheriff’s department shortly after the accident and was then pictured in the department parking lot, buckled over with grief, while on the phone. It’s unclear if he remains in New Mexico, or if he is preparing to leave the state. Production has been halted indefinitely.
In two tweets on Friday, Baldwin said: ‘There are no words to convey my shock and sadness regarding the tragic accident that took the life of Halyna Hutchins, a wife, mother and deeply admired colleague of ours.
‘I’m fully cooperating with the police investigation to address how this tragedy occurred and I am in touch with her husband, offering my support to him and his family.
‘My heart is broken for her husband, their son, and all who knew and loved Halyna.’
OCTOBER 14, 2021
Is Thomas Jeffrey Hanks a Steely Mogul-Bossman or a Union Loyalist?
Can the Beloved Icon be Both?
HISTORY AND LEGEND
Once upon a time . . . in Hollywood, of all places … there was a feisty, robust labor union. It had a fighting spirit and it took pride in its achievements. It was made up of an unlikely crew of eccentric drifters and dreamers and passionate idealists from all over America — from the comfortable center of American society, and from its very fringes. This labor union was called the Screen Actors Guild. It could have been called the “Screen Actors Union,” but some of the founders believed “Guild” had a classier ring.
Nevertheless, many members of this union had no illusions about class. They knew quite well they weren’t “artists.” They weren’t “artisans” or even “craftsmen.” They were semi-skilled industrial workers. They were day-laborers, most of them, doing mental and physical work in a manufacturing process mostly less dirty and dangerous, but no more glamorous, than an automobile assembly line or a steel mill, or the orange groves of the San Fernando Valley or the docks of nearby San Pedro harbor.
Because they knew what unions are for, and because they had no illusions about “artistry” or middle-class respectability, these screen-entertainment workers succeeded in changing the Screen Actors Guild into a fighting labor organization, much to the displeasure of their powerful mogul-bosses (as well as some of the more financially successful members of “The Guild” itself). And these militant worker-unionists began to win real labor-struggle victories that improved their lives and the lives of the worker-performers who came after them.
It sounds fanciful, but I believe there have been moments when the Screen Actors Guild was a shining “citadel of labor.”
(For the record, the Screen Actors Guild — S.A.G. — no longer exists. In 2012, a confused and demoralized membership voted overwhelmingly to be absorbed into a larger, alien body, along with another, somewhat less admirable, and markedly less robust, performers’ union, the American Federation of Television and Radio Artists — AFTRA. The larger, alien entity was named “SAG-AFTRA.”)
HOW TO BREACH A CITADEL OF LABOR
The Screen Actors Guild was flexing its muscle in a period of militancy. In 1980, the post-War generation of actors had ascended to authority and they were imbued with the spirit of the labor struggles of the 1930s and ’40s. They had already won landmark victories: they had established health and pension funds; employers were compelled to make contributions to those funds; the leadership and and the motivated membership had sacrificed greatly to achieve a huge milestone — royalties, or “residuals,” for previous work whenever television stations broadcast feature films or repeats (“re-runs”) of television programs.
This citadel of labor was strong, maybe impregnable, at least from the outside.
Thomas J. Hanks was an ambitious entrepreneur. He emigrated to Hollywood from Cleveland and tried his luck at the acting game, under the name “Tom Hanks.” His luck was very, very good. And the entrepreneur’s sights were set far above acting stardom.
But just before that incredible run of luck, just as his career was about to take off, he suffered a setback. More about that dark period after we flash-forward to 2021.
Fran Drescher, star of “The Nanny” and owner of one of the most distinctive voices in Hollywood, now has a distinctive
story to go with it. According to The Huffington Post, the actress said that both she and her ex-husband saw aliens as children, and matching scars on their hands mark where the extraterrestrials embedded some kind of chip. (Tracking, not potato, we assume.)
It’s hard to read this story without wondering if The Huffington Post is using it as a test run for a possible Onion-like publication, or if Drescher is putting them on — she is a comic actress, after all — but writer Rob Shuter says Drescher told him the story “in all seriousness.”
The Huffington Post headline says Drescher was “abducted” by aliens, but in the quotes from her, the actress only says she “saw” them. But when discussing the fact that she and her husband both have a scar in similar places on their hands, she seems to hint that she was not only abducted, but implanted with the chip.
Matthew Modine is running for president of SAG-AFTRA again as the leader of Membership First, the union’s opposition party. Joely Fisher, a former national board member, is running for secretary treasurer as his running mate.
Modine was defeated for the presidency by Gabrielle Carteris in a highly contentious election in 2019. In that race, Carteris received 13,537 votes to Modine’s 10,683, with a third candidate, former SAG-AFTRA secretary-treasurer Jane Austin, receiving 5,048 votes. Only 21.2% of the union’s eligible members cast ballots last time.