The Screen Actors Guild and its smaller sister union, the
American Federation of Television and Radio Artists, have been trying to hammer
out individual contracts with the Alliance of Motion Picture and Television
Producers for several weeks now. Unfortunately, the unions despise each other,
which leaves working actors caught in the middle of a political cat fight. And
that’s a tough predicament for many since, well, most Hollywood actors aren’t Will Smith. Consider
this: According to a Los Angeles Times
analysis, 72.1 percent of actors make less than $5,000 per year, and less than 2
percent of them make enough to own a Bentley.
While SAG and AFTRA duke it out, many actors have been
trying to make sense of the current situation. So on July 1, TroyGould attorney
and former WGA counsel Jonathan Handel met with about 35 actors at the Actors’
Network headquarters in Studio City, Calif., to help them help them sort out union facts from spin — which
is especially important to those who are members of both unions. Instead of
focusing on its own negotiations, SAG has been trying to persuade dual
cardholders to vote against AFTRA’s tentative agreement. The results of that
vote, which are due July 8, will likely influence what SAG does next: get back
to the negotiating table or ask its members for strike authorization.
During Handel’s run-through, most actors took notes on a
slew of topics. More on those and a deeper look at the sample of actors in
attendance, after the jump.
Handel discussed many subjects in his talk. SAG’s leadership.
How the union’s hard line may have led to the present circumstances. How the
producers were able to play SAG and AFTRA against each other as a result. Why
the WGA made a good deal, but not a great one (it achieved gains on new media,
but not big gains). Why a merger of both unions would be beneficial to actors
(more manpower, for starters). The areas that SAG and producers need to
realistically compromise on. Why it might be difficult for SAG to strike (they
need a strike authorization vote of 75 percent), even though only a small percentage
of the union would be truly hurt by one (about 90 percent of SAG
members aren’t actively working). And how SAG doesn’t have a hard deadline to
hold over producers’ heads the way the writers did with the Oscars.
While the actors at the meeting learned about the current
situation, EW.com learned more about them and some of the circumstances they
are facing. At least five of them said there have been years in which they
could not meet the threshold for their health care and pension plans, because the
unions operate separately. About 10 actors said they have received robo-calls
from stars on behalf of each guild, appealing to them to vote for or against
the AFTRA contract. When Handel asked actors whether any of them had recently
auditioned for a studio movie job, not one person raised his or her hand. This
is a sign that studios are not putting projects into production for fear that
they would be interrupted by a SAG strike (a situation Handel characterized as a
de-facto lockout). About six actors did say they had recently auditioned for an
independent film (most indie producers received waivers from SAG to continue
production whether there is a strike or not). And no matter what happens next
with the AFTRA contract, none of the actors felt that the additional gains SAG is
pressing for would be worth striking over, at least during this
negotiations cycle.
By no means were the actors passive; several, in fact, stood
up to voice their concerns and opinions. “It’s not that we’re wimpy”
for thinking a strike “is unjustified,” one insisted.
Said Kevin West, founder and president of the Actors’
Network: “If all we’re going to do every three years is pretty much get
2.5 or 3 percent [on minimum pay], which is the basic rate of inflation, you
could almost [phone] this in. It’s just like standard stuff that we go through
all of these fights every three years, and quite frankly, nothing since the
time I moved to California has really changed. We get our 2.5 [percent], threaten a strike, and here we go
again. I don’t get why our unions aren’t discussing [a possible merger], as
opposed to barking over the same cross-jurisdictional stuff we’ve been arguing
over for 20 years.”
Actor Phil Kaufman, who is a member of SAG, AFTRA, and the stage
union Actors’ Equity, added: “About six months ago, I was the most
pro-strike guy. Before the writers’ strike, I thought the writers’ strike was a
just cause, I stood by it. The current SAG leadership has shown that they are
not leadership capable of taking us into a strike. They’ve made strategic and
tactical errors along the way that even if I thought it was a good idea on
paper, this isn’t the gang to do it, and this isn’t the time to do it. That
ship has sailed. So I think that reflects a lot of people I know, and others
who have been on one side of things and have felt like whatever the justice of
the cause, sadly, it’s analogous to the Iraq war. Whatever you think about
how we got into it, we’re mired and there’s not way out but a series of lousy
choices.”
Handel discussed many subjects in his talk. SAG’s leadership.How the union’s hard line may have led to the present circumstances. How theproducers were able to play SAG and AFTRA against each other as a result. Whythe WGA made a good deal, but not a great one (it achieved gains on new media,but not big gains). Why a merger of both unions would be beneficial to actors(more manpower, for starters). The areas that SAG and producers need torealistically compromise on. Why it might be difficult for SAG to strike (theyneed a strike authorization vote of 75 percent), even though only a small percentageof the union would be truly hurt by one (about 90 percent of SAGmembers aren’t actively working). And how SAG doesn’t have a hard deadline tohold over producers’ heads the way the writers did with the Oscars.
While the actors at the meeting learned about the currentsituation, EW.com learned more about them and some of the circumstances theyare facing. At least five of them said there have been years in which theycould not meet the threshold for their health care and pension plans, because theunions operate separately. About 10 actors said they have received robo-callsfrom stars on behalf of each guild, appealing to them to vote for or againstthe AFTRA contract. When Handel asked actors whether any of them had recentlyauditioned for a studio movie job, not one person raised his or her hand. Thisis a sign that studios are not putting projects into production for fear thatthey would be interrupted by a SAG strike (a situation Handel characterized as ade-facto lockout). About six actors did say they had recently auditioned for anindependent film (most indie producers received waivers from SAG to continueproduction whether there is a strike or not). And no matter what happens nextwith the AFTRA contract, none of the actors felt that the additional gains SAG ispressing for would be worth striking over, at least during thisnegotiations cycle.
By no means were the actors passive; several, in fact, stoodup to voice their concerns and opinions. "It’s not that we’re wimpy"for thinking a strike "is unjustified," one insisted.
Said Kevin West, founder and president of the Actors’Network: "If all we’re going to do every three years is pretty much get2.5 or 3 percent [on minimum pay], which is the basic rate of inflation, youcould almost [phone] this in. It’s just like standard stuff that we go throughall of these fights every three years, and quite frankly, nothing since thetime I moved to California has really changed. We get our 2.5 [percent], threaten a strike, and here we goagain. I don’t get why our unions aren’t discussing [a possible merger], asopposed to barking over the same cross-jurisdictional stuff we’ve been arguingover for 20 years."
Actor Phil Kaufman, who is a member of SAG, AFTRA, and the stageunion Actors’ Equity, added: "About six months ago, I was the mostpro-strike guy. Before the writers’ strike, I thought the writers’ strike was ajust cause, I stood by it. The current SAG leadership has shown that they arenot leadership capable of taking us into a strike. They’ve made strategic andtactical errors along the way that even if I thought it was a good idea onpaper, this isn’t the gang to do it, and this isn’t the time to do it. Thatship has sailed. So I think that reflects a lot of people I know, and otherswho have been on one side of things and have felt like whatever the justice ofthe cause, sadly, it’s analogous to the Iraq war. Whatever you think abouthow we got into it, we’re mired and there’s not way out but a series of lousychoices."
It could very well be that the poorly executed use of negotiating time by SAG will end up being the catalyst to focus membership back on the advantages of consolidation. Looking back at that campaign all of the divisive issues that were predicted if we did not merge, are what is driving the culture and posturing of SAG right now. As a member of both unions and a dedicated proponent of merging, it’s difficult to not say “told you so.”
We are doing management’s work for them,make no mistake.
THIS STRIKE SHOULD NOT HAPPEN-THE MATTER SHOULD GO TO BINDING ARBITRATION WHILE EVERYONE KEEPS WORKING. THREE RETIRED JUDGES WHOSE DECISION WOULD BE FINAL FOR SAY THREE YEARS.
2.1 BILLION DOLLARS WERE LOST TO THE WRITERS’ STRIKE. Those who could not pay their mortgages, rent, school fees, car payments etc. ad nauseum are overlooked in the battle of the Titans. Striking would mean that billions of dollars would be lost to tens of thousands of people nobody even hears about. The crews, drivers, grips, makeup people, wardrobe people, and vendors to the industry such as florists, hotels, restaurants, caterers and the long list of people listed when the credits run in the theatre and you run to your car.
Strikes are called and the little guy gets butchered.
If the Stagehands in New York City had arbitrated instead of shuting down Lion King some kid whose parents saved to take him to Manhattan would have seen the show instead of being locked out and crying on the sidewalk.
Think!
As a proud union member. I am totally disgusted at AMPTP
We give so much of our lives to you, away from our families and our friends. The profits you make in respect to what SAG and the WGA are asking for is absurd. And as a person working below the line. During the last strike I lost everything. I am homeless and my livelihood depends on you guys getting it together.
To the SAG: GROW UP!!! Understand that your actions, should you decide to strike, will hurt more than it will ultimately help. I have already sold houses for people who work behind the camera who were forced to sell due to financial hardship related to the immaturity of the WGA strike. People who are just now starting to recover will be devistated by another industry strike. GROW THE F— UP!
1. Unions weren’t made for a sunny day Quote:Lane Kirkland AFL-CIO.The only thing worse than a strike is a contract you can’t live with ??Shame on SAG & AFTRA & Producer’s UAW 7 Teamster’s always negotiate in order GM FIRST Ford second Chrysler 3rd etc…William Alonso sag / aftra
Residuals are ridicules and outdated. An architect nor an artist does not get a residual when his/hers art gets resold. Cinematographers, the most important entities on movie sets, do not get residuals. Without these guys, a movie would be impossible. But a movie is possible without actors. Sometimes even a better product. And lastly, a message to SAG members. If you want to be respected in the future, please do not choose such ridicules clowns to lead the union. Their luck of intelligence and common sense makes everybody in the union look stupid. Do not strike. Consider the people around you that will get hurt by your selfish stupidity.
You people behind the scenes. You don’t get it. This is a job to you. As such you should stand behind these people who give their lives to get you good work. You think acting is easy? I’ll tell you a secret. When you have to be in love with someone for a movie, you have to find a way to really be in love with them. It wreaks havoc on a person’s emotional life. Also, I don’t know a single cinematographer who has ever been too fat, too skinny, too white, too black, too toothy, or too tall or short to ever do their job. But this is what actors go through every day of their lives. The fact that it’s acceptable is tantamount to a civil rights violation. I work behind the scenes as well, and I have never done so for free. However as an actor I am constantly asked to audition and even work for no pay. Do you think an audition is something that doesn’t take hours to prepare? If you behind the scenes people had to audition for your jobs you would, and rightly so, demand a day rate. And even if it’s just a voiceover, talented actors are essential to making a succesful project. Stand behind us, not against us. We sacrifice so much to do what we do well- and you benefit from it. Look at dusa- she practically killed herself to do the work she did. That’s what it takes. We’re down from the word go- kicking us is just plain cruel.
more more more that’s all i hear no one’s ever happy with what they have. and to the person who wrote we don’t understand how hard it is to be an actor give me a break. Try making your wife and two kids feel like everything is great when your loseing your house know that is acting.
Daria, residuals are outdated? So, when the studio makes over a billion dollars on Friends reruns, only they should profit? Do you know how much DP’s make? Their weekly rate is a hell of a lot more than some scale actor who will probably be there every day the DP is shooting…this strike is about them not the mega bucks actors. Do you know how many recognizable actors make just barely over scale? And really, movies can be better w/o actors? I am curious which movies you are referring to exactly because there are no movies w/o actors unless they are documentaries. Even animation movies use, yep, voice over ACTORS who rates are set by SAG. I think that maybe as someone who visits ew.com, you might actually enjoy the work that actors do, so Daria, and everyone–stop w/the actor bashing or just stick to reading books and watching documentaries. You all enjoy the work that actors do, so quit acting like you don’t. Is SAG making mistakes? Hell yes!!! Just stop the hypocrisy, k?
Correct me if I’m wrong, but isn’t the controversy regarding residuals only pertain to new digital media outlets (internet screenings, mac sales, etc)? Residuals for syndicated shows, television, movies, and DVDs would remain the same. There is no way 75% of members will approve of a strike with the economy so bad and the effects from the writers strike. SAG leadership is weak and should concentrate on negotiations to help its members rather than their own little political whirlwind with AFTRA.
1. There needs to be no distinction between nonunion and union actors in backgroud work. Both do the same job and both deserve the same pay.
2. There needs to be no such thing as non union. If you work as an actor, one should be allowed to join the guild.
3. All actors need to get a percentage bonus based on the highest paid actor in the credits. They would not be making millions without the benefit of those around them. Those around the million dollar actors need to be paid for their contribution.
4. If there wasn’t such a pay inbalance, their may not be a need to strike in the first place.
5. I accept the fact that I am an idealist.
The WGA strike was difficult to endure but completely justified. It is unfortunate that there are millions of other jobs that are caught in the crossfire, but they need to be on our side. There are causes higher than our own, and that principle is that actors, writers, directors, the crew and everyone else that works SO HARD to put a concept on a screen should NEVER be coerced into accepting below the line payments. What people don’t realize is that people involved in production usually work 12 hour days or more, and they deserve to be paid a decent amount when producers, studios, and networks make exorbitent amounts of money over and over and over again based off of our work. The unions are there for a reason. AFTRA leadership has behaved like a word that rhymes with wussies like they always do. We need to tell the AMPTP that we will not be taken advantage of. If ever there was a year to hit them with a strike, now is the year! It is the AMPTP’s fault for not giving us a fair deal!
Finally, I’ll make something clear to people like Daria which should be abundantly obvious already, but I don’t want to overestimate her intelligence. If SHE wants to be respected, or anyone else for that matter, don’t write something that is mispelled repeatedly. The only one that looks stupid, whoever she is, would be her. Yes, a strike will hurt everyone, but the populous is so anesthetized these days that they don’t care about anything but themselves. If they really wanted to avoid a strike, they’d grow a pair and write the AMPTP and tell them to negotitate a fair deal! And by the way, the current proposal is NOT a fair deal, given the gains SAG and other unions have made over the years. If there is a strike, get out there and strike with them! The more the better. Fight for a cause higher than your little existance for once!
To the anonymous commentor. People behind the scenes do get it, we understand how hard it is for the little guys, but you want to talk acting? Try listening to a director b-ing at you for something that isn’t your fault for hours upon end and smiling the whole time. You actors get to go home after the last scene you shoot. Try being on set 2 hours before any actor gets there and leaving only after everything is broken down. We don’t get residuals, we don’t get perks, yes this is a job to us, we do a lot of work.
I recently worked on a movie set in the 50s and we couldn’t cast black actors for the roles because of the prejudice back then, we can’t cast large women because the vintage clothing we rented won’t fit them. Is that a civil rights violation? So yes you sacrifice but don’t EVER say we benifit from it more than you, we are there far before you get there and far after you leave. We have talent we work hard and some of us get paid a lot less and sometimes not at all.
“Wed, Jul 2, 2008 at 11:04 PM EST
You people behind the scenes. You don’t get it. This is a job to you. As such you should stand behind these people who give their lives to get you good work.” — bullsh#t. Us people behind the scenes do get it. What we do isn’t just a job. A lot of us do what we do because we’ve always wanted to do it – it’s a dream for a lot of us – just as acting is for you. It’s also a lot of work. You try dealing with writers and producers so pissed at the actors (that they can’t go off on) that they take it out on you. The last strike broke my heart and spirit. Nothing’s been the same since we returned to work. I don’t think this town can take another strike – just cause or not. And yes, I understand that we need to band together for the good of all, but I’m a non-affiliate. I don’t have a union. I have no choice but to look out for myself. God knows WGA, SAG, AFTRA and AMPTP aren’t.