Anything with any kind of realistic budget, you are likely to witness some rather steep efforts to make your search for qualified personnel more than a bit difficult.
I do not know your experience roster or work profile in this industry, but if you HAVE any significant experience in the business, you can't deny this fact because IATSE has repeatedly demonstrated its ability to grind a production to a halt if they feel it is necessary.
Yes, more so in the L.A. TMZ but anyone in the industry can point to locals all over the country making their presence known in the face of egregious violations of accepted saftey and work condition standards.
We are not talking about five thousand dollar one man band shoots here, we're talking about real movies, with the usual complement of crew, gear, trucks, talent and crafts.
That is why stories about people like Robert Rodriguez pulling off something like
"El Mariachi" for seven thousand dollars via maxed out credit cards and second mortgages are so amazing. It could have been filmed stateside but for much more money, hence Rodriguez felt compelled to shoot in a Mexican border town in order to AVOID scuffles with the unions.
God's sake, the man had to shoot on Super16mm in order to avoid the cost of 35mm kit, did a one light workprint transfer in film-to-video so he could do the edit on a cuts only kitchen table linear videotape edit bay instead of cutting film. He used almost NO film crew whatsoever and even opted to use a wheelchair instead of a dolly.
So let's really work on defining "What a movie really IS" as opposed to "What a movie is NOT", because El Mariachi is significant because it was something of a miracle in how he pulled the whole thing off.
And Columbia spent a fortune on both redoing post AND even more on promotion, otherwise it would have wound up in some obscure direct to video bargain bin seen by maybe 2000 people.