This was what organized labor had been fighting for: a minimum wage (25 cents an hour), a 44-hour work week with eventual reduction to 40 hours a week in three years, and paid overtime at the rate of time and a half.
Studio workers and stagehands generally made more than the minimum wage already, so that part of the law did not affect them. But the overtime provision made a major difference.
Many studio worker contracts called for workweeks in excess of 50 hours. If the industry complied with the law, the producers would have to spread the work out or unwillingly pay what they viewed to be a fortune in overtime. By the end of 1938, the studios had rearranged production schedules to fit the 44-hour workweek.