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Posts Tagged ‘residuals’

SAG Press Release Re: SAG Board Approving Tentative Agreement

Posted by Dana Kaminski on 20th April 2009 in SAG Strike + SAG Negotiations

Here’s the Press Release that was issued by the Screen Actors Guild

…After the SAG board approved sending out these AMPTP terms, to all SAG actor-members,  to vote on.

I will be writing more about the terms of the contract, the SAG member vote, and the ramifications, in the near future.  My goal is to make the information easy-to-comprehend; and to put it in ‘laymen’ terms, and to talk about how it’s going to play out, in real life, for actors.

I’d also like to expose some double-speak, or  bull***t, where there is some.  In other words,  there’s a few points that look like wins for actors, but are actually losses.  There is hype about some things, and it’s really not the truth, nor the bottom line.  I’m not looking to make any wars or take any sides, I just wish to present the facts.

 

The Actors Will Vote On Whether To Ratify This Contract In May.

That gives SAG, and all actors, plenty of time to get a good understanding of what this all means, thoroughly.  For now, and for the future.

When the terms are sent to the SAG membership, there will be both pro-and-con arguments, sent along with that.  I’ll be posting that.

If there’s more necessary, such as things not covered, details, or simply what that means, in terms of work-a-day experiences for working actors, or pay, or even ramifications of increases, losses, and all that subtext of “putting off ’til tomorrow” stuff.  (…Uh, the Renegotiating-Later-Theme, that has been underlying this whole deal.)

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SAG’s Press Release:

SAG NATIONAL BOARD OF DIRECTORS APPROVES TENTATIVE TELEVISION AND MOTION PICTURE CONTRACTS AND RECOMMENDS RATIFICATION

Bargaining for a successor agreement to the 2005 SAG TV/Theatrical Contract began on April 15, 2008.

Los Angeles (April 19, 2009) - The Screen Actors Guild National Board of Directors today voted 53.38 percent to 46.62 percent to approve and recommend to members, new, two-year successor agreements to the 2005 Producer-Screen Actors Guild Codified Basic Agreement and 2005 Screen Actors Guild Television Agreement.

The proposed agreement, covering actors in motion pictures and television delivers 3.5% effective annual increases comprised of a 3% wage increase and a .5% pension and health contribution increase upon ratification, and a 3.5% wage increase in year two.

The board passed the below motion shortly after 4:00 p.m. today:

It was moved and seconded that the National Board directs the Interim National Executive Director to send the tentative agreement between the Producers represented by the AMPTP and the Screen Actors Guild for successor agreements to the 2005 Producer-Screen Actors Guild Codified Basic Agreement and the 2005 Screen Actors Guild Television Agreement to the membership for ratification, with a recommendation from the Board to vote ‘Yes.’
Approved: 53.38% -46.62%

“I urge members to carefully review both the pros and cons in the referendum materials, and exercise their right to vote,” said Screen Actors Guild National President Alan Rosenberg.

Interim National Executive Director David White said: “We are pleased that Screen Actors Guild members will soon be voting on a deal for television and motion pictures. We’re eager to get our members back to work and to focus now on the challenges ahead, particularly on initiating a comprehensive effort to thoughtfully plan for the future.

“Our negotiating committee, task force and professional staff have worked countless hours on this agreement over the last year. On behalf of the National Board, I thank them for their time, commitment and expertise.”

Chief Negotiator John McGuire stated: “This tentative agreement delivers increased contributions to the SAG pension plan, increased minimums, a significant gain in background actor numbers from 50 to 55 over the term of the contract, and it tracks the new media provisions achieved by other entertainment industry unions. The term of the agreement puts SAG in sync with the other unions, and does not include the extended term recently proposed by the AMPTP.”

Provisions of the proposed deal include:
• A two-year term of agreement concluding June 30, 2011.
• Effective annual increases comprised of 3.0% in wage increases and .5% in pension contributions upon ratification, and a 3.5% wage increase one year following ratification.
• A new media structure that tracks those achieved by other industry unions, resulting in gains for actors including:
o Jurisdiction on all derivative, made-for new media productions; automatic jurisdiction on all high-budget, original, made-for new media productions; plus jurisdiction on low budget original, new media productions that employs at least 1 covered performer.
o Residuals for exhibition of TV and Theatrical motion pictures on consumer pay platforms (Electronic Sell Through) at a greater percentage than those paid for DVD distribution.
o Residuals for ad-supported streaming of feature films and television programs.
o Residuals for derivative new media programs.
• Additional 5 covered background actors in feature films. From 50 to 53 covered background positions upon ratification of the contract, and from 53 to 55 covered background positions in year 2. Adds 1 covered background position in TV, from 19 to 20, upon ratification.
• Increased compensation for guest star premium from 7.5% to 10%.
• Increased trailer money break from $2,500 to $3,000, or more per week.
• Increased overtime money break for three-day performers from $2,700 to $3,000.

Ratification ballots will be mailed to eligible SAG members in early May, with an expected return date at the end of the month. Tabulation will occur immediately upon the conclusion of balloting.

 

I urge you to please share Hollywood Actor Prep Blog with any and all of your friends that are actors, whether SAG or not; and to anyone in the industry.  All of the unions will now have the same deadline to re-negotiate terms, in two years; should this contract be accepted by SAG’s membership.  All unions, in that case, would have an opportunity to work together for better terms in two years.  

I do not take a Pollyanna approach that two years will be a better time to renegotiate these terms,  just so you know… But that carrot-on-the-stick does seem to have a strong effect on those that are in favor of these terms…

I am looking to present both sides, or all sides as best as I can.  So far, the United For Strength people have never wanted to present their side, when I approached them.  Even actor-friends and professional-acquaintances from that side, who I personally wrote to, did not wish to speak out, here;  on what the UFS position was, overall, and on separate items of the AMPTP offers.

Again, please share with your friends.  Email this to them, easily…You can do so by the “Share/Save” button below, which is very secure and private, even I don’t have access to the email addresses that you may send this blog to. (Nor do I wish to have those addresses, I am a stickler for privacy, obviously.)

Sign up to receive updates, yourself, by subscribing by email–that form is way at the top of the right-hand sidebar.


Best, 

;~Dana

So it’s up to you to spread the word.  Share the info and the goodwill, since you will be sharing important information.  For the future of the acting profession, the arts, and to your friends whom you send it to….

Scott Wilson Does The Math On The Actor Contracts :: Video

Posted by Dana Kaminski on 26th March 2009 in SAG Strike + SAG Negotiations

Did I hear you correctly, Mr. Scott Wilson?

How many hundreds of millions of dollars, did you say?  

(That won’t go to actors…)

Instead, then, who does that money go to? 

 

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Just so you know, this video was just a general overview, off-the-cuff.  The specifics are coming shortly.

But, just a second…

Does this actor look familiar? Have you been following Hollywood Actor Prep this week? Monday’s Post?… 


Best,

;Dana


Please share on Facebook! You can also email this to your friends, as with all my posts, by using the white “SHARE/SAVE” widget below. It’s 2 clicks to your Facebook page, or to your email, from there.  All secure, too.

Twitter? You bet. Here’s a link to my page, so you can follow me.  My name is __dana__ on Twitter.

Pro-Actor:: Ed Asner’s Rousing Speech From Actor Rally At CBS

Posted by Dana Kaminski on 25th March 2009 in SAG Strike + SAG Negotiations

This is a second video, a different one with Ed Asner featured, from the CBS Rally… 

…That I edited and posted for Hollywood Actor Prep, that is.  (The first is an interview and can be viewed by clicking here.)

I find this speech powerful.  

I  am typing out his words here; because they are so true, and so very moving for me.

Maybe all actors should keep this and play it back, from time-to-time. If you know any, please send it on to them by email, or post it on your Facebook page.

You can use the white “share/save” widget down below, and it takes just two clicks only for the whole deal.

 

What Ed Asner says into the megaphone:


…Warriors,

Keep up this wonderful demonstration, every week,

Thanks to Scott Wilson.


And I’ll be with you each time as much as I can

Right now I am going to get a blood transfusion

So that I can come back next week

Know that this is the righteous cause that  you are fighting for fairness

In an industry that’s usually been fair


But the great leaders of the past are gone

So by your demonstrating here

Hopefully you will make them produce leaders

Who have compassion

Who understand this business

And who appreciate actors 


Rather than machines

Don’t let the robots take us over

Either in management  or performance


You are artists

Never forget it 

Never forget it

         ***

I’d love for you to let me know what you think of this….

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What Kind Of Money Do Actors Make? Actress Frances Fisher Tells You::Video

Posted by Dana Kaminski on 20th March 2009 in Professional Actor MythBust

The public thinks one-of-two-things about what acting professionals earn:

1. Actors make millions.  Actors are rich…20 mill, per movie.

                                             **OR**

2. You’d have to be a nut to choose acting as a career. Ever hear: ’starving actor’?

 

Many actors think this about their chosen career’s earning promise:

“I don’t care. I don’t even want to hear about money. I just want to w—o–u–u–r-r-k!

 

Before you see the video below, I’d like to bring up some things.

Below, is Frances Fisher (‘Unforgiven’, ‘Titanic’, ‘The Shield’) busting the actor salary myth.  I filmed her at the SAG Actor Rally at CBS, Los Angeles, on March 18.

The topic of money makes most actors change the subject.

It may be because the creativity section of the brain is far away from the portion that deals with nuts-and-bolts stuff.  Like money stuff.  (Remember when I said that “actors are different”, like a different breed? Especially from those that are the “money-people” in our culture?  Well, it is biologically true, in a sense.)

Another explanation can be that when you choose a goal, such as an acting career; because an overriding passion propels you, it isn’t a choice that is based on logic. Or sense. Not anything to do with dollars and cents.

Professional acting careers are so difficult to create, that denial almost seems necessary.  Do actors fear that logic, and dollars-and-cents, will create too strong of a rationale against pursuing the dream? A creative career?  

I can tell you it isn’t so. Learning about the money; taking care, in advance, of the money aspect of your acting career, as much as you can…

…Will actually assist you in support of your professional acting career. It will relieve your nerves and some of that natural actor anxiety.

Preparing for your future is always a solid way to go about getting there.

 

For many actors, choosing acting isn’t a conscious choice at all.

For me, it wasn’t a choice in any way.  When I started acting, there was just nothing else I would’ve done. Could’ve done.

I’ve always said: It chose me.

That’s right, acting chose me.  I don’t know if that is true for all actors, but I have talked about this, over the years with other actors. For many it is the same.

It is not a decision.  More like a recognition of a “calling”.

It also feels good, this recognition.  And it feels great to go and get it, to make your acting career happen.

Part of being a professional, though, involves being paid.  The definition of ‘professional’ means to be paid.

 

Deny, or  not; money is part of the whole package.

You may not want to read on.  I would like to ease you all into being a little more aware about money, and actors salaries.  In the long run, I think you all will be grateful that I did.  I know that my vantage point, as an actor, is very different from most of yours.  

Additionally, I  do ask that you show up at the Actor Rallies.  (No, it will not hurt you in your acting career, there are far more famous faces that will be noticed, and remembered there, if that is what is stopping you.) I will post some information about the rallies, as they are announced.  You, then, can be responsible for the outcome of your future.  

(It won’t all take care of itself, once you get work.  Go to the rallies, so you can take care of it now, for later. )

You don’t have to be in SAG to attend an Actor’s Rally.  You’ll learn a lot, just by hanging out with the 100 or so other actors that will be marching and hanging with you. They are always talking “Actor Talk”, and sharing professional-level information there…

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The more you are involved in the security of your future, the more secure you will feel, as you pursue your career.  That means, that you will be more solid when you go to get auditions, agents, etc.  

You can make your career.  That’s in your ability. If you get involved, now, about how you will be paid in the future, then you are making a commitment that you are going to have a future, in this business.

It says, to yourself, and to the universe, that your connection, sense of responsibility, and commitment to your professional acting career is so solid, that you know there will be a future for you as an acting professional.

I am telling you, that I know that’s how acting careers happen. It was always those actors, that had that kind of commitment, that succeeded.  I can name names, but I won’t right now. (Later on, when I get into specific career-path stories + examples…)

“Household names”, as these actors are now known; but way back when, they had a clear level of commitment that set them apart, from the other actors that were also starting out at the same time.

I am not saying that they all had a clear idea of the dollars-and-cents of acting.  No, but they all had iron-clad commitment.  

And the dollars-and-cents stuff is what is current, right now, in the business.  At conflict.  So take a step now, and involve yourself, so you can be more secure later.

If you think you love this business now, and then you do start to get a career going, but you can’t make enough to stay in it…even after you get working a lot…well, at that point, it really will be a hopeless career.  Monetarily.

 

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Stay in touch.

Follow me on Twitter.  To sign up there, all  you need to give is a name and email. Here’s a link to sign up: Twitter.

Then, click here to get to my page there, so you can be a part of the actor clan I have going there…almost 1200 people, as of today! 

I post all kinds of actor notices and news to my people on Twitter, including when I  post a new blog piece.  

I converse with people there too.  In real time.

 

Keep the faith,

:~Dana

 

I sincerely say:  If you find this blog worthwhile, then you can give value back, to me, by telling at least 3 friends about this blog.  This weekend. 

I really only want to do this, and spend all this effort and time, if this is reaching a lot of actors.  And, that’s just the truth.  

I am saving quite a bit of the best information and experience, for when we get a large community going.

Would you please do your part to make that happen?

Acting Residuals — Why + When — Brief History In Broadcasting

Posted by Dana Kaminski on 6th January 2009 in SAG Strike + SAG Negotiations, Television acting, acting business

Rare Television Acting Clips:

One with Paul Newman, and one with James Dean        

      …at bottom of post…( Heydon’t skip now!  )

 


Acting Residuals Began In Radio Days

Residuals are entirely a “show business” invention, and an American invention. They were conceived in the era of radio broadcasting, when technological advances created a broadcasting dilemma…which arose when recording became possible. 

earth-radio1

Prior, on radio,  all American broadcasting was performed live.  And…just like the regular programming we now have on television, there were regularly scheduled programs, on radio.

Except there was no “recording” yet.

 

Acting Live, Radio Program

Acting :: Radio

All the programs were performed, by actors, live.  

Every show, every time.  Due to the expanse of America, and different time zones; the shows were performed twice a day…Once, for the Eastern part of America,\; and a second for the Pacific Standard Time Zone.

Actors would need to be at a studio, at the time of broadcast, and physically perform the shows over the air. They would get paid for their performance.  Paid for each performance; the same as they would for every live performance in a theater.

joan-crawford

Joan Crawford

Technology Evolved, and Acting Was Able To Be Recorded

In the mid-1930’s, they figured out a primitive way to record the shows.  The actors wouldn’t have to act each performance out more than once, per each episode. 

 

fanny-brice

Fanny Brice, Comedy Actress

Or so it was conceived.  But the recording technology wasn’t reliable enough, not at first.  

 

Actors Still Performed Live, For The First Show, At Least

And it was broadcast that way, with the actors gathered around a microphone, performing in the studio.

But because the recording was such a new technology, and not yet reliable, the actors would have to remain in the studio, waiting around, to be sure that the recording was good enough for the next time-zone broadcast. 

If not, they would act out the entire show,  live, once again.

Superman, Acted Live, On Radio

Superman, Acted Live, On Radio

Thus, the term “residual”.  Actors were paid for their performances for the second show, just like when they performed it live.  Except the residuals were the payment for the recorded broadcast of their performance.   This began in 1941.

 

 Acting Was Live Only, In Early Television Performances

miss_america

When television broadcasting came about, in the 1950’s, all performances were live also; the only thing that broadcast on TV that wasn’t live were actual movies: “re-runs”…which were originally made for, and had played first, in movie theatres.

In 1951, the first TV residuals, were paid. They were compensation for the movie re-runs.  To musicians…who had played music in the films, while in production.  (Like “royalties”)  This was set up by the musician’s union, called the American Federation of Musicians.

 

Actor Ronald Reagan

Actor Ronald Reagan

 

Kinoscope: First TV Recordings

Until a recording technology called kinoscope came into use.  In 1952, an actor named Walter Pidgeon, was the president of SAG.  He called for the first SAG strike, and it was then that actors received residuals for recorded performances.

Here’s James Dean, acting on television, in  an early kinoscope recording:

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Again, kinoscope wasn’t the greatest, but it did allow television to be broadcast and shows to be rerun.

 

frank_sinatra_elvis

Frank Sinatra Show with Elvis Presley

The following is a kinoscope  called “The Army Game”.  It was broadcast on television, and starred a young actor: Paul Newman.  

Director Sidney Pollack (who passed away in 2008) was an actor before he became a director.  He c0-stars in this theatrical “television  special”.  

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More on this, at a later date…

Best,

Dana

                                                                                     © ®  

actorprep

All Rights Reserved.


Thanks for passing the word! (Especially to you: Twitterers!) Follow my update announcements on “Twitter”, my name is __dana__ .

AND, thanks very much for sharing with your actor friends, there is strength in numbers, for sure…All of you who are putting this blog on Facebook and MySpace–you rock + rule. I am smiling at you, right now!

Animation Video About Residuals + SAG Strike

Posted by Dana Kaminski on 21st December 2008 in SAG Strike + SAG Negotiations, acting business

Current Residual Situation, AMPTP’s Offer Explained

Found this animation movie, about residuals, on YouTube. Cute…Short… Simple….Clear?

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Does Acting Have Value?

What it basically comes down to is this:  The conglomerate corporations think that “talent” shouldn’t be paid everytime that they provide the audience with entertainment.  With talent.  With their visibility. Every time their likeness and abilities, and even gifts; are what is being watched, on a screen. 

They basically are saying that talent isn’t valuable. 

I value acting and actors.  

I think the general public values actors.  I think they cherish actors, I think that’s pretty obvious.

When anyone has a great theatrical experience; they count it as a wonderful life experience.  Be it live theatre, movie, or television.  Drama or comedy.  How much is that worth?

When they leave a theatre, of any kind, they often discuss the acting. The actors.

Acting has been around since the beginning of civilization, and has been cherished by the public, just as long.

How long have actors not had decent payment? For how many centuries, has this gone on?

It’s far too long.

Do you think acting has value?

me-photo-cheristmas1

Best,

Dana
Please share with your friends…
And treat me to a latte, if you’d like…


Huff Post re: AMPTP: “No Good Faith, No Goodwill, No Good Word”"

Posted by Dana Kaminski on 5th December 2008 in SAG Strike + SAG Negotiations

Robert J. Elisberg is a writer; and he is WGA; he’s worked on the editorial staff there.  He went through the Writers’ Strike against the same opponent that SAG is, now, up against.  The AMPTP. 

If you missed the overview about SAG and what the Actors Strike is all about, please click here on, and Hollywood Actor Prep-”Actors Strike Explained, Simply” and, a  new window will open with information for you.  You can also go to the SAG website, for further details.

The Huffington Post ran this experiential post, with it’s utter ugly truth, on Dec. 4, 2008–and I think it’s the most accurate summation I have found.  Versus: The Los Angeles press, and in all the industry papers. I am very disturbed by the coverage that I have read.  It rarely provides any factual information, which I thought was the point of journalism.  Rather, it does provide lots of “smear”, but only against the actors side.  A side, which by the way, I have yet to see, validly, described.  

Basically, the press coverage on SAG (and only SAG, they don’t even bother to put in an opponent) makes actors appear, to the public: greedy, brainless, nuts, narcissistic, clueless.

I am printing Mr Elisberg’s post entirely.  

Because…I think it’s something that everyone should know. It is the truth of this situation.  And it’s not getting out to the rest of the world. And that’s a shame.

 

 

                                                              The AMPTP Strikes Again

                                                                   by Robert J. Elisberg

                         (Reprinted from The Huffington Post  December 4, 2008)

 


After over four months negotiating with the AMPTP conglomerates, the Screen Actors Guild announced they were finally asking their members for a strike authorization vote.

I can feel their pain.

Admittedly, I know more about the writers negotiations than about the actors. But the response from the AMPTP was instantly familiar, pure déjà vu, and equally swaggering, posturing and manipulative bullying. Even by AMPTP standards.

“SAG is the only major Hollywood union that has failed to negotiate a labor deal in 2008,” the AMPTP blustered. “Now SAG is bizarrely asking its members to bail out the failed negotiating strategy with a strike vote – at a time of historic economic crisis.”

Of course, what the AMPTP conveniently leaves out is that it took writers 100 days on strike to get their deal. And the reason SAG has no deal is because the AMPTP corporations have blocked them for four months. This is like blaming someone for not dating you, when you’re the one who said ‘no.’

Worse, though, is when some corporate PR whiz ludicrously floats the buzz words, “bail out,” to invoke public antipathy of government loans. Not only isn’t it “bizarre” for a union to approach its membership, it would be malfeasance if they didn’t.

But mainly, it is the very point that we are in an economic crisis that every worker specifically needs the basic protections the conglomerates are refusing to give.

The challenge for SAG is that it’s being pounded in a perfect storm. Economic conditions make this is a dismal time to strike. A related union, AFTRA, caved early and signed a very weak agreement. And other unions have settled.

Yet many issues SAG is fighting to get are unique to itself. And writers bettered the deal that directors got.

Ultimately, though, it’s terribly scary to even think of striking. During the three months that the seven AMPTP conglomerates refused to settle with the writers, the entire city of Los Angeles took a huge hit.

For SAG, it’s equally scary to think of the alternative, because of the risks to their future.

Consider: much of old media is shifting to New Media. TV will eventually blend with the Internet. It’s already long-since begun.

(Though the AMPTP corporations cry no profit from the new-fangled Internet, the other day CNET reported that Hulu.com – a joint venture between NBC and News Corp. – just made a $12 million profit, streaming video.)

So, consider all this when you understand what the AMPTP multi-national corporations have offered to SAG for its future in New Media -

The proposed minimum rate is zero.
The proposed residual structure is zero.
The proposed overtime protections are zero.
The proposed “forced call” protections are zero.
The proposed protections 
for minors are zero.

As I wrote back during the WGA negotiations, the public understands “zero.”

Here we go again.

It is not for me to speak to SAG needs. I can speak to AMPTP history, however. And as George Santayana wrote, “Those who cannot learn from history are doomed to repeat it.”

Back 24 years ago, the AMPTP offered only 4-cents for videocassette payment, because it needed “studying.” A quarter-century later, when writers finally asked to increase this paltry amount for DVDs, the corporations demanded the request be removed. In good faith, the writers did. The studios got what they wanted – and then walked away.

Through the strike, the AMPTP companies kept insisting they needed time to study the Internet. Afterwards, an online interview with a Warner Bros. president was discovered from two years earlier, showing that their Internet division had already cleared 15,000 TV episodes.

Today – the AMPTP companies have repeatedly tried to subvert their agreement with writers. They’ve failed to make proper payments on streaming, blaming “technology problems.” They’ve even claimed that the new rates for downloading doesn’t apply to any material produced before the strike – and therefore insist they owe nothing on the studio libraries.

That is the history of who SAG is negotiating with. It is wise to keep such history in mind. At the very least, it makes four months of getting nowhere understandable.

It’s likely that during these past four months, the AMPTP conglomerates have been playing theater games with SAG. After all, the AMPTP only negotiates seriously when CEOs themselves show up. Negotiating lawyers are only authorized to say, “No.” The Writers Guild had 100 days of “No.” Then, two CEOs appeared, and it was settled in a week.

After that settlement, AMPTP negotiators acknowledged in private that there was a 100-day strike only because they underestimated the writers’ resolve; noting they would have otherwise settled beforehand.

That may be the biggest hurdle SAG faces now. A strike authorization shows that the SAG team has strong support, in hopes of avoiding a strike. This is the only time the AMPTP takes you seriously. Whether SAG members are willing to show that unified support during difficult times is what we will find out.

No doubt, through all this, some will paint the picture that Actors are Rich and Greedy – in reality, most actors scrabble at the edges, slowly pursuing their career, lucky to get a single speech in a single production. There are 120,000 members of SAG. Count the number of Big Stars you recognize. Now, subtract that from 120,000. That’s the picture. It is a union trying to save itself and its middle class. Like most of America.

SAG faces grueling decisions, balancing its interests and future with AMPTP hard lines. Myriad voices in SAG will argue what is best for them. But making those arguments based on the goodwill, good faith and good word of the AMPTP conglomerates is a guarantee of eternal disappointment. The only voices in SAG worth listening to are theirs alone.


Explaining The Actors Strike, Simply

Posted by Dana Kaminski on 30th November 2008 in SAG Strike + SAG Negotiations

A SAG CONFLICT MEANS IT IS BETWEEN THE ACTORS AND THE PEOPLE WHO PAY THEM

The conflict is between the **ACTORS** and the **PRODUCERS/MOVIE STUDIOS**

Actors union: is called **SAG**  (or the Screen Actors Guild)

Producers union is:  known as **AMPTP**  (Yes, the movie studio bosses and producers have a union, also).

It’s called the “Actors Strike” and “SAG Negotiations” because it is about a “contract” renegotiation between the actors and the producers/studios.  It is an, overall, “general contract”, which contains all agreed upon working conditions, as negotiated and agreed upon, between the two unions.  All actors, in SAG, are covered by the terms.

The AMPTP, in real terms, are the bosses.  They are the bosses of the industry, the bosses of Hollywood.  

(**AMPTP** stands for Alliance-of-Motion-Picture-and-Television-Producers)

The“Workers” , in this case,  are the Actors

It’s still the same as any other worker-boss struggle…big guys vs little guys…

 

Why do actors need a union?  

Basically, a union’s job is to make sure the worker gets a fair and just payment for the work that the union member does, and that the work conditions are safe and decent.

Almost everything in entertainment, in Hollywood; and on location, even; is most likely “union”. Nearly all the workers, from the crew, the camerapeople, the sound, the directors, writers, and actors, have a union.

When any actor is hired, no matter  what, if they are in the union, and it is a union job…then they will be paid.  And they will be paid, at least, what the “current contract” scale base pay deems.

“What about those actors that get those high salaries?” Well,  if an actor has an agent that believes the actor can earn more, and that the actors work has a value of a higher amount, that agent can negotiate for a higher pay for that day.  Or the amount of time the actor is working for.  Even though those salaries are the ones that make the news, the overwhelming majority of professional actors never, ever earn anything like that.  Far, far, from it…


 

Why Is SAG Suddenly In The News Again?  

“Haven’t they been without a contract for months?”

  1. SAG has been working “without a contract”, lately, because there has not been any agreement made. SAG kept trying, anyway, to get the AMPTP to meet their demands some.  The negotiations continued on, (long past the original strike deadline) –and even a moderator came and attempted to forge an agreement; but on November 22, 2008 all talks stopped.  
  2. When the Writers Strike was going on, the Writers were striking against the same bosses, and the “deal-breaker” was over one of SAG’s same issues: the one concerning payment in “New Media”.  It was this particular contractual item, and the lack of agreement,  that, broke down all talks, just recently; between SAG and the AMPTP.

Part of what recently ”broke the camel’s back”, and stirred this whole new chapter up– was the current realization and announcement from the Writers Guild:

According to the Writers Guild, the AMPTP is not upholding the terms that they agreed to, the ones that settled the Writers Strike!  They aren’t paying, what they promised, for work in New Media.

…So, when you read or hear some Actor-bashing hogwash, like SAG is just trying to take away everyone’s Academy Awards…by doing all this now…please let them know about the Writers Guild’s current discovery, and announcement.


 

Actors Union Logo

 

 

 

“THE CONTRACT” = Working Conditions That Productions Must Provide On Every Set

There are general rules that govern all movie sets.  All television shows

They are often referred to as “Union Rules” or “SAG Rules”, on a set.

You can see these rules in action, always, on union sets.  Anything of quality, whether film or TV, is shot on a union set.  Most likely.  

Once in place in “the contract”, the rules aren’t variable.  They are written, with the understanding, by both sides, that they will be rigidly followed.

Why are these rules always followed?  

 

  • Both unions know that at one point they had discussed and agreed upon them
  • The rules were written into a contract, and signed by both sides
  • They are, generally, based on a logic of what is considered humane; they are agreed-upon, decent, and fair, working conditions
  • There are penalties for NOT adhering to the rules, and they usually involve paying money.  However, with too many violations, the penalties get harsher.  
  • No one wants to jeopardize their union status. 

 

Examples of these SAG rules, in the “general” contract, are:

Allowing an actor to go home and go to sleep after a very long shooting day, instead of continuing to do more scenes.

There’s always a nurse on set, in case someone gets injured.  

Lunch is always a certain number of hours from the “call time”, or start of a work/shooting day.

All kinds of things are in the ” union actors’ contract”; like dressing rooms, kids and their hours allowed and tutors on the set if they are missing schooling, little babies can only work a little bit of time and are allowed their mother nearby, per diem pay for those on location and not having their own kitchen and food, transportation to the set when working on location..and so on.

 

Are The Actors Creating All This Now?  Or, Are They Reacting?? 

The news media, in calling this anactor’s issue” makes it appear as if actors are the only ones involved.

I find that most people don’t even know what is being negotiated, even actors, have no clear idea of what this is all about.

Worse, the whole thing has been presented by the press (and the AMPTP) as either unnecessary, greedy, or worse, intentionally harmful to the rest of the industry.

 ”Actors out to harm the economy!!!”  (Whaa?)

Other words have been freely slimed: “stupid”, “mad” (as in crazy),  ”crazy” (as in, yes, kee-raa-zzy), and other free-flinging ugliness.

Just like bullies, in a schoolyard.  Some of the press joined the charge.  

(Whatever happened to the journalistic code of fair reporting? Presenting both sides?)

Some of that “PR” has been even been presented to the media, by the most outspoken members of the AMPTP.  And published on the AMPTP site….(see fake-movie-review-poster, below…)

Just today, they took out a full page ad in the Los Angeles Times. 

 

This isn’t a conflict that has been over-dramatized.

Neither histrionic, nor illogical; this conflict is similar to most conflicts that take place in a worker setting, between boss and employees… when a situation becomes untenable, and a strike becomes imperative.

The bosses, who are represented by the AMPTP, will not budge on a few very critical points, on the new contracts for the actors, and how they will treat the actors in their future employ.  How, or how they won’t, pay the actors.

Actually, they say that they don’t want to pay the actors, or devise any pay strategy, until they see how the internet revenue will come.

…Anyone see any commercials or advertising yet, on the internet?  Isn’t that the same way they get money on television?

 

There Is One Main Industry, In This Very Big City

This is a “one-factory” town.  The bosses, are the big bosses.  You don’t hear a lot of outspoken opinions from celebrities and famous actors, even.  Not even low level activist types. Why?  Because the Producers are the ones who pay. AND hire.  It’s hard enough to work in this town, but no one wants to blacklist themselves, by simply asking for their rights. Or rather, for what is right.

Actors make art, businessmen plan, and make money.

All of the major studios, the heaviest players at the top, in this town, have made some very large investments on the future of the “New Media”.  For their very powerful and business-like bosses, who didn’t come from the movie business.  They came from well, business–worldwide, big business.

If you do keep up with business, then, you know that the internet is evolving, at the speed of lightning.  Just a few weeks ago, the Los Angeles Times ran an article that stated that the economy is affecting people so, that they are cutting back their budgets, dramatically. They are even getting rid of cable.  But not internet.  That is correct, we are in a “new day”.  (Link to LA Times article.)

The big businesspeople of this country don’t read business journals first, and then follow.  They are the ones that are making the news in these papers.

All the film studios have invested in securing their futures, on the internet.  Some ACTUALLY assured their stockholders that the economy won’t affect their business, and the future is securely theirs, because they have a solid stake on the internet.

You can look this up, easily, on Google.

How many millions of dollars, do you think they have invested?  So far?  Billions? Maybe a reporter could do some homework, and find out…

Unabashedly, these businessmen, who are making the plans,  are set on not paying the actors. They strategized everything, except that?

 

Variety published an article today, presenting both sides.  (Link to the Variety on SAG here.)

AMPTP:   ”We are standing firm behind our offer because it represents a pattern of hard-fought agreements over the past year, and its construct is vital to the future of our industry,” the CEOs said. “No single guild or union should be allowed to undermine the hard-won consensus over how our industry can experiment and then prosper in the speedily changing new-media marketplace.”


 

Why Is This Setting A Precedent For All Actors…And For All Talent In The New Media?

SAG is especially concerned about setting the precedent, for how actors,  and all talent will be paid, on the internet.  They feel that if they don’t establish the right way, now, it will never be righted.  

When they mention cable, and homevideo (video and DVD’s)…they are referring to the bad deal that was made with the same notion, way back when. No one expected VCR’s, DVD’s, or cable, to become what they did, eventually.  

SAG didn’t either, and so did not negotiate a proper payment “schedule” for what was known as the new and future media, then. It was never recouped.  Or corrected.

Once in place, it wasn’t able to be changed.  And, the profits, from VHS, DVD, Cable reruns and even made-for-cable productions, didn’t provide actors with a decent pay.  Certainly not compatible with network pay, or residuals payment.  That also means that the studios got to keep all the profits, from those areas, mentioned above.  

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In summary, I just find it hard to understand, that in this current time, when we just elected a President because we all voted that it be a time of “Change” and “Hope”… that, still,  business is tromping on the little guy, the artist…Which in this case, are the actors. 

 

There’s an elephant in the middle of this room.  And… he’s not the caterer.

 

Ad On AMPTP Website

Ad On AMPTP Website

 

 

For more and better details: Please go to the website of the Screen Actors Guild

I do welcome comments, and especially from those that have something to say, “from the other side”!  I invite to enlighten, please…!!

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Best,
Dana

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Celebrity Actor in Germany…Video re: Residuals

Posted by Dana Kaminski on 24th November 2008 in SAG Strike + SAG Negotiations, Uncategorized

Andreas Stenschke is a successful actor in Germany.  He put a video, on YouTube, about how important acting residuals are.  American actors count on residuals, as part of their “living”. 

 

Andreas Stenschke, German Actor

Andreas Stenschke, German Actor

 

 

Actors don’t get residuals in Germany.  No one does!

Imagine what it would be like to not be paid, at all.   That is what may occur, and soon.  

It appears that the internet will be the entertainment medium (media?) of the future.  No question…it’s evolving at breakneck speed.

As I’ve stated before, all the major studios have made major investments… developing for the ‘net. They are assuring their stockholders that they are going to be at the helm of entertainment there.

So why don’t they want to pay actors, for “New Media”?  It is over this particular point, which this strike is being assembled.  SAG is maintaining that it is imperative to actors and their future.  I agree with them.

And it’s also the one that the AMPTP doesn’t want to give…

YouTube Preview Image

This video was made during the Writers Strike, but it’s even more pertinent, now–with  the looming SAG strike.

 

 

Best,

Dana

 

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