The cinema is the activity most affected by the covid: it has lost almost half of its workers

Of the 99 occupations that the INE distinguishes in Spain, 83 have lost employees during the pandemic and only 16 have gained labor

The cinema is the activity most affected by the Covid: it has lost almost half of its workers

One of the cinemas of the Florida Cinemas in Vitoria-Gasteiz, on the day of its reopening after the stoppage caused by the coronavirus.

The pandemic continues to take a heavy toll on the labor market. According to Social Security data, excluding the 740,000 workers suspended from employment through ERTES, January accumulated 335,000 less annual average contributors while unemployment stood at almost four million. Of the 99 occupations in the National Classification of Economic Activities (CNAE) of the INE, 83 have lost workers since the covid made its appearance and only 16 have increased their number as a result of their readjustment to the situation, or their untouchable character (public sector), accumulating 165,000 more average affiliates than there were before, but they have not prevented 431,604 net average employed persons from being lost since February (-2.40%).

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In relative terms, that is, as a percentage (it serves to make a more homogeneous comparison), the industry of cinematography, video, television programming as well as other related occupations (from film or series recordings to dubbing, acting, scriptwriters, technicians, specialists or rooms) has lost almost half of the affiliates it had before the covid. Thus, if in February 2020 it accumulated about 82,000 members between the general regime and the self-employed, now it only has 44,000. Therefore, it has decreased its numbers by almost 46%. It is followed by the accommodation service (hotels), which has reduced its employees by 23%, almost one in four.

For its part, the leather and footwear industry, also facing the drop in demand for its products, has almost 18% fewer workers. Employment in sports, recreational and entertainment activities (the bulk are gyms and sports halls) has fallen by 16% (one in six). The same figure has occurred in the group of the food and beverage service, that is, in bars and restaurants. Meanwhile, travel agencies and tour operators have shed 14.4% of their workers in this period and artistic activities and shows have reduced their workforce by another 13%.

Membership in cultural activities has decreased by 12% and the decrease in air transport has reached 10%. To a lesser extent, the 6% reduction in the number of employees in gambling and gambling activities as well as in associative activities stands out.

In absolute terms (numerical quantity), waiters are the activity most affected. According to CNAE figures, between February 2020 and January 2021, 207,003 affiliated waiters have volatilized, excluding ERTES. Thus, if at the beginning of the pandemic Social Security had 1,291,102 contributors in this group, now it only has 1,084,099. In second place are the almost 62,000 disappeared from the staff of accommodation services (hotels, hostels or rural houses). They are followed by the almost 41,000 fewer contributors from the retail trade (dependent and self-employed), or the almost 37,000 fewer from the cinema, as well as the 35,000 fewer from sports activities. These five groups add a decrease of almost 400,000 affiliates.

The 20,272 less from the construction of buildings also stand out; 18,408 less for “other professional services” (hairdressers for the most part); the almost 17,000 fewer members of the wholesale trade; 15,000 less from specialized construction activities; or the 11,000 less of the activity of sale or repair of cars and the almost 10,000 of the private education. Also striking is the drop of 9,000 employed in travel agencies and also in apartment rental activities (real estate).

Widespread job decline

By sectors, it is observed that the labor deterioration has been generalized. For example, the hotel industry (adding accommodation services and food and beverage services) have accumulated 268,929 workers (-17.2%) lost in this period. For its part, services directly associated with tourism also added 13,141 fewer affiliates (-12.7%) due to the decline in air and maritime transport or travel agencies and tour operators.

The sum of these activities shows a joint decrease of more than 282,000 workers. For its part, trade (wholesale and retail) has lost 57,643 employees (-2%). It is the activity with the highest number of employed persons. It has gone from 2,867,825 contributors to 2,819,182. Construction, and satellite sectors such as real estate, have shed more than 53,000 employees. More than half corresponds to the decrease in workers in the construction of buildings, specialized construction and civil engineering.

In addition, the textile and footwear industry accumulates a drop of 12,512 contributors in this period (-9.20%) since it has gone from having 138,290 affiliates to 125,778. Metallurgical manufacturing (metal and iron products) has lost 12,006 (-3.5%); the manufacture of motor vehicles has shed 8,474 workers (-4%); and food, despite being one of the essential sectors, has fallen from 7,655 (-1%). In addition, the wood industry loses 3% of its workforce; 3.2% decrease the number of affiliates of the sale and repair of cars (10,690 fewer people); and 4.9% remains the graphic arts industry.

The ravages of the pandemic are more evident in the activities and sectors linked to services and, in particular, in small-sized entities or the self-employed. For example, it is striking that 84% of the affiliates in the field are self-employed. Something similar occurs in activities such as computer repairmen (60% are self-employed) or 58% of those who carry out an artistic activity or in hairdressers.

Activities in which employment improves

In any case, employment has improved in these 11 months of the pandemic in 16 activities (one in six of the total), which have had to reinvent themselves, or which have benefited from their essential status or being among the most demanded in these moments. And also that, as happens in all crises, activities that are never affected by catharsis in the labor market, on the contrary, increase their workforce. This is the case of the Public Administrations (only general services) that accumulate 3% more members (31,000 more employees).

In relative terms (percentage between two variables), postal and postal activities are the ones that have added the most affiliates between February 2020 and January 2021. It has risen by almost 13%. It has gone from 85,797 to 96,721 contributors in this period. It is due to the parcel component, which has abounded in most commercial purchases (online in general) that have been made during all these months, especially in the harshest months of the pandemic. Healthcare activities, in particular public contracting and to a lesser extent private contracting, occupy the second place by increase in employment.

It rose by 87,100 to a total in January of 1,203,470. On the other hand, decontamination activities (wastewater) increased their employment by almost 4%, while in computer consulting, as a consequence of the increase in teleworking and public online operations, it grew by 3%. At the same time, and also associated with the confinement, the jobs in the services of the buildings of gardening activities increased 2.3%; 2.2% increased in telecommunications; 2.1% in the manufacture of pharmaceutical products; 2% veterinary activities by increasing pets; and, for example, 1.5% in the manufacture of computer products.

In absolute terms, health activity (public and private) registered an increase of 87,910 contributors; Public Administrations (general services) increased their workforce by almost 31,000, while services in buildings increased their membership by almost 14,000 and parcel delivery services by 10,000 and consulting and IT activities by 10,000. Also striking is the increase in more than 2,500 jobs in social activities without accommodation (not residences), or, for example, 1,326 in research and development and almost 1,000 in business management activities.

Michael Greyeyes is a Canadian actor, director, writers, and educator

Michael Greyeyes is a Canadian actor, director, writers, and educator, charged with portraying Qaletaqa Walker on the series Fear The Walking Dead.

Michael was born in the small town of Saskatchewan, Canada, where he completed his Master of Fine Arts in the School of Theater and Dance at Kent State University as the top student in the class. In addition to being a graduate of the National Ballet School in 1984, Michael gave up his passion for ballet to become a choreographer at the Eliot Feld Company in New York. Upon abandoning dance altogether, Michael found his taste for acting in 1993, beginning his artistic career playing Juh in the film Geronimo, and his passion for acting led him to found the Signal Theater, a company seeking intercultural performance. and live transdisciplinary.

Michael married actress Nancy Latoszewski where they had two children named Eva and Lilia.

Selected Filmography

Among his most outstanding works are television series such as Saints & Strangers, The Jury, Numb3rs, among others; and films like The New World, The Battle of Passchendaele, Crazy Horse among others.


CBS-Hallmark Production mini-series
Directed by: Karen Arthur
Character’s Name: Tarantula

An epic saga about three generations of women in Texas who change the face of the American West in the 1800s, based on a true story.

Michael says, “‘True Women’ was a challenging film because my character, Tarantula, was so interesting. In the script it might have been easy to see Tarantula as a bad guy, one-dimensional. But I knew that there was more to him than that. Karen Arthur was the director and she really encouraged me to show those other sides of him. He didn’t have many lines, so I made them more interesting for me to say them by making him unable to speak English very well. Of course he was fluent in Comanche, his own language. Since I made it a real struggle for him to speak English, it made you really listen to understand him. I got a big compliment from Dana Delaney, the star of the film, who said, after doing our first scene together, ‘Wow, I really didn’t know what you were going to say next.’ As if I was making up the lines instead of reading them from the script everyone knows. That was nice of her to say. It was funny because I left that set to go back to ‘Rough Riders,’ then I came back a week later and the crew was imitating me in the way my character spoke. What’s the saying: ‘Imitation is the highest form of flattery’?!! I had a good laugh with that. But at the same time I learned an important lesson: often in Hollywood films, the dialogue given to Indians is rudimentary at best, childish or ignorant at worst—hardly the eloquent way they actually spoke. After this experience and the support Karen Arthur gave me, I decided never to remain trapped as an actor by the limitations of the dialogue, but to seek some way to make it more interesting, dynamic, and therefore, true to life.”


Sony Pictures Classics
Director: John Sayles
Character’s Name: Billy Trucks

“Sunshine State,” by the acclaimed director John Sayles, deals with the lives of people residing in a beachside community in Florida facing the choice of holding on to its traditional way of life, or welcoming the prospect of development and modernization. Sayles has put together a fine ensemble cast including Edie Falco, Angela Bassett, and Timothy Hutton.

Michael says about the immensely respected filmmaker, John Sayles. “He was a wonder to work with. He was the most relaxed, assured, and generous director I have ever worked with (even more so than Bruce McDonald, if that was possible). The script was written by Sayles and deals with a large ensemble who are involved in one way or another with real estate development on the Florida coast. It is a complex drama that interweaves numerous storylines and characters. Only a filmmaker as accomplished as Sayles could make this kind of movie, but he has influenced so many American directors. Films like ‘Boogie Nights’ come to mind as another film that uses this kind of ensemble cast. (By the way, I really liked ‘Boogie Nights.’) I played a character named Billy Trucks, who worked on the land-clearing crew for the real estate developer. The character John wrote was interesting and multi-dimensional. It is a small supporting role, but the chance to work with John was so appealing that I would have played a smaller role just to be part of the cast.”

Michael gives a strong performance, delivering a number of sardonic lines with great comedic timing. This fine film opened in North America in the summer of 2002.


CBS Movie-of-the-Week
Directed by: Jerry London
Character’s Name: Tokalah

A western love story set on the plains of Kansas in 1868. Tokalah is a warrior who is mysteriously drawn to a white settler named Anna, whom he had seen in a vision when he was a boy. After being captured, Anna first refuses his overtures, then gradually adjusts to her new life and begins to feel a connection to him.

Some 12.4 million homes watched this movie when it first aired on CBS. It won as that night’s most highly-rated program.

Michael says, “The response to this movie was overwhelming. People loved the movie, but also were impressed with me as well. CBS told me that they’ve never had the kind of response for a single actor ever. How cool is that?”

Michael later wrote, “Playing Tokalah was one of my favourite experiences as an actor. I had just finished filming ‘Crazy Horse’ for TNT the year before, and I was asked to co-star with Janine Turner in this MOW (Movie of the Week). I naturally jumped at the chance to play a romantic lead–which is a rarity for any non-white actor, especially a native one. I felt the experience of playing Crazy Horse gave me the confidence to portray a leading man like Tokalah effectively. He was a complicated character, but motivated to discover who Anna is and why he needs to be with her. From this, I believe I was able to create a character that had passion and intelligence. The director, Jerry London, gave me a lot of room to portray him with a certain degree of sensitivity instead of only ‘strength,’ which can also be translated as ‘stoic.’ In period portrayals of Indians, this is an all too common trap–a portrayal Hollywood filmmakers have now accepted as truthful and authentic. I remember, for example, charting the script to see how quickly Tokalah would have to learn English. I wanted to reveal the difficulty of learning the language without impeding his ability to communicate effectively with Anna. Subsequently, I think his progression from speaking no English, to broken English, to being quite articulate is believable, even though it occurs in about three scenes.

“‘Stolen Women’ was a hugely important role for my career–especially since it was seen by so many people here in North America and, of course, across the globe. The response to the film continues to amaze me.”

Photo © Michael Greyeyes, personal collection

NOTE FROM MICHAEL’S WEBSITE ADMINISTRATORS: The most frequent question from Michael’s fans is: “Where can I buy a copy of ‘Stolen Women, Captured Hearts’?” Unfortunately, CBS Television never released this film on home video or DVD in the U.S. or Canada. It is not available for purchase in North America. The Lifetime cable network in the U.S. has been re-airing it every couple of months. Check your local television listings, or Lifetime’s website, to see when it might re-air.

If we receive information on upcoming broadcast dates, we will post in the News section on Michael’s Home Page.


Trimark Pictures
Director: Tamra Davis
Character’s Name: Hank Elkrunner

U.K. Title: “The Wonder of Sex””Skipped Parts,” filmed on location in Michael’s home province of Saskatchewan, is adapted from the novel of the same name, part of the GroVont trilogy by author Tim Sandlin. It is set in Wyoming, in 1963. An impetuous, free-spirited young mother, Lydia Callahan (played by Jennifer Jason Leigh), and her 14-year-old son Sam (Bug Hall) are banished to the rural town of GroVont by her domineering father because of her transgressions. It is a coming-of-age story dealing with the love between young Sam and his classmate Maurey (Mischa Barton), and how they have to take responsibility for their actions, in contrast to the more irresponsible adults around them.It is said that opposites attract. The wild Lydia loves to curse, smoke, drink and party. She meets a quiet, confident Blackfeet rodeo rider named Hank Elkrunner (played by Michael Greyeyes). Despite their many differences, they fall in love. Hank brings a sense of stability and calm to the turbulent lives of Lydia and Sam, as they all gradually become a family. Michael’s fine performance in this film is warm, humourous and multifaceted.(Some of this information is from


Wildwood Enterprises, Carlton International Media Ltd., Granada Entertainiment USA, PBS, WGBH
Director: Chris Eyre
Character’s Name: Dr William Stone

“Skinwalkers” is based on a mystery novel of the same name by author Tony Hillerman, and the script is written by James Redford. Actors Adam Beach and Wes Studi play the lead roles as detectives Jim Chee and Joe Leaphorn, respectively, of the Navajo Tribal Police.Michael wrote from movie set in Arizona: “I am truly excited to be part of this new project. I think it is the most challenging part I have played since Tokalah in Stolen Women.”He later said, “I was delighted with how the film turned out. I’ve heard from a number of sources that it was the most highly-rated movie that PBS has ever aired.” 


Q: Even though you are no longer dancing ballet professionally, do you still take classes to keep in shape? What is your favourite way to exercise nowadays? Would you ever consider starting a school for Native American students to learn ballet or would you teach it in the far future?

Dale H.A: I used to take an odd class now and then for a few years after I retired, but I don’t take class anymore. Instead I go to the gym and lift weights and use the exercise bike and elliptical trainer. I used to do Pilates, which is really amazing, but I don’t have the time to pursue it any more. I recommend it to anyone interested in getting fit (but it’s expensive!). As for teaching–I used to teach ballet at CIT in Toronto when Carol Greyeyes was the Artistic Director, but since then I haven’t had the opportunity. CIT (Centre for Indigenous Theatre) is a training centre for native actors, but they incorporated dance as part of the curriculum, and I was invited to be a guest teacher. I loved the students, but being away from home to teach them in Toronto was tough and it became too difficult to co-ordinate it with my schedule. Who knows, maybe another opportunity will come around again.


Q. Dear Michael, I went to see “Smoke Signals” and, although I enjoyed the film, humour and the performances by the actors, I was also wondering why the native people were shown to be spending their time drinking, or Victor’s father hitting his wife and child and leaving his family. Is this really how life is there? It seemed so filled with hopelessness.
From: Teresa

A. “Smoke Signals” is about Indians – yes. There are generalizations in the movie about us that make it easy for the various Indian cultures to see something familiar in the reservation represented in the film. In other words, there are elements in the film that strike a common chord amongst our peoples. But is this film a portrait of all Indian people and families? No. This is a specific portrait of one family, some of the reasons why it broke apart and, most importantly, the consequences that followed. I think you can look at the film in a broader context. Obviously many families in America, both Indian and non-Indian, have problems. Sometimes it is because of alcohol or drugs; sometimes there is abuse—all things the film showed. So you have to think- if I see an ethnic group portrayed in a certain way, can I see what is common between us or do I keep the experiences of one group separate from mine? You asked “Is this what life is like on a reserve? It all seems so hopeless.” I didn’t see the film this way. I looked at the life on the reserve there and saw people’s humour win out again and again over their poverty. In “Smoke Signals” there is comedy and sadness. There are times when the story breaks your heart. But there are other times when the characters make you see how important it is to work through all the pain to love and forgive each other. There is regret as well. Do you remember the scene where Gary Farmer who plays the father tells his young friend, “Yeah, I broke three hearts that day too.” That was one of the most moving and understated lines of dialogue I had ever heard in a film. When I see the film I don’t see hopelessness but redemption. I hope if you see it again, you can come away with feeling that too.

Q: Dear Michael, Thank you for caring about us. It is a measure of the beauty of your spirit. Here is my question: How did you make this transition into acting? Were you always interested in it? Was it a natural progression or an unexpected development? Sincerely, Elaine

A: My transition into acting was aided immensely by the films “Last of the Mohicans” and “Dances With Wolves.” After seeing “real” Indian actors on screen, I thought to myself that this is something I could do. I wasn’t interested in acting until 1991, when I worked with a group of actors in Wisconsin. They were very interesting and reminded me of dancers. We talked about acting, and I realized that it wasn’t so different from dancing, especially the way that Eliot [Feld] approached dance. Looking back, there are many, many differences but those were easy to overcome. A huge debt of gratitude is owed to my agent in Toronto, who took me on without any experience. She is a big talent agent now, but she believed in me and was willing to take a risk. I can’t imagine where I’d be without that lucky break. She’s in a position now where she doesn’t take newcomers, so I was lucky to be starting out just when she was.


Q. Mr. Greyeyes, do you feel that there is a lack of appreciation for the work of Native American or people of color in the film industry? Do you think that there are limited roles or movies for Native Americans in the film industry? I have seen a lot of your work and read some of your interviews and would like to say that I really appreciate you and your work. I think that you have a very kind soul and I wish you and your family the very best that life has to offer any of us. Donya

A. I think that people who make “Indian” movies are unconsciously biased about us, but that doesn’t mean to say that what they are doing sometimes isn’t excellent or well intentioned. I think they’ve simply been brainwashed by other films and media images, and, often, thoughtlessly perpetuate them. Does this mean that what they’re doing is, therefore, forgivable? No, not at all. Shame on them for not knowing the difference. A few years ago I spoke to an audience at Kent State University and I asked the question: What do you think Indians look like? I answered for them. “You probably imagine that they look like me, for example – brown skin, long dark hair, high cheekbones, etc.” I said, “I’m proud of the way I look, but I know that I am only one small example of what native people actually look like. There are Indians who look like Black people, or even white people—they have green eyes, even blue eyes, curly hair, but they are full-blooded members of their tribes nonetheless. Those people would never get hired by the Hollywood establishment because they don’t ‘look Indian.’ Isn’t that sad and ironic?” I told the audience that I am lucky. I am in my 30’s and am exactly the kind of thing that producers, who have the same perceptions of us as the general audience does, imagine when they think of a proud Indian warrior. That has helped me get the roles I’ve landed, but I think I’ve given those characters more depth than the writer or director intended.

I originally answered this question a few years ago, but I’m afraid to report that nothing has changed here in Hollywood. As you know, I wear my hair short and recently came up for a part in a major motion picture—a period western. Unfortunately for me, I didn’t get hired due to the fact that I am no longer stereotypically “Indian-looking”. The director and casting agent told my manager that I was too “clean-cut” and “cerebral” for the role. Sounds to me like they prefer their “Indians” to be “dirty, or dishevelled” and “stupid”. Good grief.

Q. At the beginning of “Stolen Women” it says, “based on a true story.” Do you know any details of this “true story” and how accurately it was portrayed by the movie?
Thanks, Morwenna

Hi, I loved “Stolen Women, Captured Hearts.” Was it a true story? Was the movie based on a book? I would love to read it.

A. The idea for “Stolen Women” comes from a book called “Pioneer Women: Voices from the Kansas Frontier” (by Joanna L. Stratton). Leigh Murray, the producer of the film, originally read this book and saw a brief passage about the true story of two women who were kidnapped by a band of Indians. The woman (Anna) did fall in love with one of the men in the band and stayed with him. From this brief passage, Ms. Murray’s curiosity was piqued by what this story could have been about. Many events soon followed, having the writer create the script, getting CBS interested in the idea and eventually getting a star like Janine Turner also interested in playing Anna. Even then work continued with the cultural advisor Lois Red Elk creating accurate names for all the Lakota characters, like mine: Tokalah (which is a traditional name in her culture). From these interesting beginnings emerged one of my favourite films. I think many of my fans will agree, it was worth all the effort.