HOLLYWOOD ACTOR PREP by Dana Kaminski

SAG President Alan Rosenberg Emails Actor Members

Not an April Fools joke…

 

 

 

 

April 1, 2009

Dear Screen Actors Guild Members,

As you read in a SAG email sent to you this morning, the Joint SAG/AFTRA Commercial Contracts Negotiating Committee reached a tentative agreement with advertisers early this morning in New York City.  I would like to thank and congratulate the hard-working staff member team for their unity and collaboration over the past months starting with the W & W meetings, and especially during the long 6 weeks of negotiations.  They who worked tirelessly on behalf of SAG members and I know each of them sacrificed time with their families, and work opportunities.

The advertising industry displayed a willingness to have labor peace, and to make compromises even during these challenging economic times, to keep actors working,

It is clear that when SAG members work together, unified and focused on common goals to benefit actors, we really can accomplish many things.

I’m gratified that we were able to reach an agreement with AFTRA and conducted these negotiations together. More details of the tentative agreement will be released once the Joint SAG/AFTRA Board has met. Please watch the SAG website at sag.org for updates and email your comments and questions to Contract2009@sag.org.

Again, congratulations to the professional women and men who gave their time and expertise to these critical negotiations.

In unity,

Alan Rosenberg
National President

Best, 

:Dana

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SAG Actors were picketing, and so were members of other  industry unions…

Ed Asner, David McClennon, and other recognizable actors were there.  As were the networks and journalists, reporting for the media.

And, other unions! IATSE, most notably, which is the cinematographer and cameraman’s union.  (Their own AMPTP-offered contract isn’t looking so good, either.  Unlike AFTRA, they’ve noticed…)

 

Actors In New Media

Why was this Actor Rally held at 20th Century Fox, in Los Angeles? Because Rupert Murdoch owns Fox, and Hulu. Murdoch’s head guy, who runs Fox, is Peter Chernin.  Peter Chernin recently made an announcement that the Fox TV network, will no longer show re-runs. That means that  actors will not get residuals for shows that they had appeared in.

Why  is that so important?  Well, big reason.  Mr. Chernin bought Hulu for Mr. Rupert’s organization. Hulu is on the internet.  All the Fox shows, and others, will be re-run on Hulu.  Hulu pays nothing to actors.  Hulu has advertising.  Whatever money Hulu makes on these shows that they air, actors get nothing from that.  Nothing, no part of profit, no payment, for performing in these shows.  Hulu can replay television shows numerous times, and collect advertising dollars.  And keep it all.

 

Knowledge vs. Fear and Lack of Information

Do you notice the ’sea-change’?  Finally, the AMPTP Final Offer Contract, and the facts about it, are beginning to be realized.  In the public, throughout the rest of the industry, in the press…and throughout SAG itself.  The ugliness of the AMPTP contract terms, either ignored by the press, or obfuscated, by all the coverage of the SAG drama. Even by power-tripping within the ranks of SAG, including within it’s Board.  Some crazy backstabbing and underhandedness there, too. 

Facts are facts. Numbers are numbers.  Conditions are conditions.

The Studios are looking awfully greedy, and by all appearances, seem to be intentionally squeezing the Actors, so badly…  and radically, out of sync with the nature and conscience of our times.  As individuals, and for their companies, the studio heads and producers of the AMPTP, make a righteous play in the media about how they “give back” and may be even “green”. But  the truth is, they are exploiting actors, notably, with the contract. 

Bulldozing the arts, bulldozing an entire artistic profession, from middle-class on down.  Taking advantage of the public’s lack of knowledge, and lack of tech. That’s right, technology and the internet.

 

‘The Bad Contract’ terms are also ‘Re-runs’

The “bad terms” started to come to light, when the SAG board, even with the new mediator: rejected their contract offer. (From the Film Studios and Producers Union: The AMPTP.) The truth is winning out: and this truth is, that the terms are backwards (from a whole other era, from a long ago time period) and those terms weren’t good enough, even in an economic era of the past! That’s why those terms were improved, way back when! Way back then!

To go back to that pre-1960 way of paying actors, (pre-inflation, and economy changes)…what would you call that kind of offer? That type of “take it or leave it”…?  

The Fox Rally wasn’t over the AMPTP Contract, even though Peter Chernin has been very involved with that whole part, too. This Actor Rally, though, was specifically at Fox, because a ‘related deed’ is already done.  No more reruns, no residuals for actors, at Fox.  Currently and in the future.  

The shows will be re-run, yes; but only so Rupert Murdoch, and his companies can pocket all the money. Plain language.

 

The Wild Bunch Of Hollywood

There is a group that shows up, reliably, at every SAG Rally, called the Wild Bunch of Hollywood.  Special shout-out to that special stunt and character actor group, who really care;  and because they show up, rain or shine, they are strong contributors to positive change for all actors, altogether.  Thank you, Wild Bunch of Hollywood, for being in-the-know, involved…and for being so brave.  (Know this: I’ll be producing soon, and you bet… and I will not forget you, when hiring.)

Keep your faith and stay strong,

:Dana

Share this please to inform your actor-friends and the public.  Knowledge and solidarity, is power.  Email, or post on your Facebook page, by  using the “Share/Save” below.

Some Professional, Middle-Class Actors Made Videos About Issues Of Grave Concern.

Do you recognize some of these professional actors, in these videos?

They Are Not From The Press, And That’s A Solid Blessing, In This Case

The good news is, these videos talk about the real issues; and just how imperative they are…How damaging it will be to accept this ‘AMPTP contract’, for the future of all actors, and to the profession altogether.

 

These middle-class actors did the math.  

For you.

They looked over the legalese, and all the boring stuff, so you don’t have to…

Maybe it’s because they are real working actors.  

And, they’re not obscuring what is important, with all that other stuff…gossipy-drama that most of the press puts front-and-center; when discussing SAG, altogether. And, yes, even most of the bloggers do that too.  Even those that claim to be “an expert” on the topic.  (Um, those people that write those articles, aren’t actors usually.)

 

Like I say, often, here at Hollywood Actor Prep…it takes a professional actor…

It takes an actor to understand an actor’s life.

It takes one to know one.  It takes one to understand one.  And, it takes one to inform  and advise another.

It takes an actor to explain what the issues are, and how it can impact all actors…now, and in the future.  

So, here they are.  Here we are. 

 

The Actors. You. Me. All Of Us…Solidarity.

I appreciate you watching these videos, and thank you for taking a look at the issues.  And I hope you will tell others.

….That’s far more than what the journalists have been doing. Ironically.  (It appears to me, that most journalists may not even know what the issues are, or that there are issues and conflicts.  Is it reporter-laziness?  Is it just easier to make fun of Alan Rosenberg, or talk about this star or that one, than to research about the AMPTP? Or do they think it attracts more readers?? Lots of people say that the reporters are also paid by the same people as those on the AMPTP, like Rupert Murdoch…That may be true, but I don’t think it’s that complex….I think it’s just laziness.  It takes time & effort, to look into a contract. Takes none,  to ‘throw mud around’. )

 

I think that actors, profoundly,  contribute to our culture.

And, to be redundant, because I will say this again and again, happily.  

(And then… once more with feeling!)

I think that actors are valuable.  

I think that actors deserve to be paid. And to be regarded as valuable professionals.  

I think that actors deserve to be treated with dignity, and allowed to earn money and healthcare…a living.

I believe that every time an actor performs, that actor should receive payment.

And that includes performances live, OR recorded.  

I firmly believe, that when any venue, studio, channel, or internet station, : especially when they make money from sponsors/advertising, and the sponsors are paying for productions that feature actors, that the producers should compensate the actors.  

Elementary, right?  Well, they don’t plan to.  

That’s what this is all about.  

Surprised?

 

Call me a “hardliner”, but I don’t think exploitation is ever acceptable.

And, I do believe the AMPTP contract is exploitative. And, I think they are quite aware of that.  I think they know the inherent implications that come along with it.  

Are you aware that they are clear, that they, flat out,  intend to keep all earnings for themselves. While using the work of actors, to earn it.  And there are earnings, and these earnings are increasing, all the time.  Especially on the ‘net.

All the while, the actors, will be unpaid and impoverished, as a result. Really. Impoverishing them individually, and their families, and all the ramifications that come with that.

It will have a devastating effect on the profession of acting, altogether.  A career that is regarded as perilous already. Rendered utterly, truly, impossible.

The AMPTP, quite consciously,  created this situation.  They knew, all along,  that they were offering actors a terrible, lessening, deal.  

They also used a lot of PR, they hired marketing experts, even for the internet.(Look it up on Google, if interested in more details.) They knew that the timing was terrible for a SAG Strike; and they were able to use the current public economic fear, to their advantage.

So they’ve been paying a lot to feed the public some very persuasive, and mostly, obfuscating information.

To the max, they power-played… They played on the public’s insecurity about the economic situation of our country, to somehow flip it around…and make the actor the “bad guy”. They played on the fear that every actor lives with, and professional insecurity. 

(And, some of the problems were waged between actors themselves…because like any lesser class in any social social system, in terms of wealth or power; when the lowest classes can’t fight back, they fight who the ones they can. Themselves.  Especially when the pressure, anxiety, and potential loss, is so high.)

 

Generally, the acting profession is a mystery, for the public.

Unfortunately, that has served to weaken the interest, and the severity of the actors’ side, in this conflict.

 

The public regards the acting profession, in one of two ways:

• Illogical, and fruitless, as far as income.
  • or
• Overpaid movie stars.

That’s just not so.  There are many, many actors who earn a living; just a living, in the acting profession.

 

As for actors, well…most don’t even know the issues, themselves.

I hate to admit that, and to see such lack of interest too.  But, I think I know why that is…

That has to do with their professional stature. Because, at different caliber levels, the professional experience vastly differs. As does the actors’ personal life. Social experiences, too.

Interests, and goals, too.  Perspectives.  

Younger actors,  who are just beginning, only can focus on trying to get a foothold in, professionally.  They aren’t concerned with livlihood, not yet.

And, the very successful stars, well, you’ve heard some of their opinions…but the truth is, they can’t relate.

It’s so very far from their experience…They just don’t need to worry about dollars-and-cents, in their lives. Things like residuals, and even the internet, are not issues that have anything to do with them. And they do live pampered, cloistered lives. (They actually do.)  So they just don’t get it.

Even though they may appear to be wise, it is within the realm of their “blindspot”.  Their perspective is just too far removed from actors, on the other strata.

 

As actors, we can always use support, but it’s very necessary, now.  

And, we need solidarity.  So please, connect with each other, and inform each other. 

And public awareness. (Because if the issues & facts & ‘the math’ doesn’t make it into the press, then we can get the knowledge out there, right?)

Please send this post to your friends who act, or wish to. Professional or not.   

Because if it’s your profession, your life, then they should know.  And, it would be good for you to support that profession…

It may be that if we don’t consolidate, there may not-be-an-acting-profession in the future.

We must get the issues out to the public, because it isn’t happening in the media, otherwise.  

…The actors’ stance and SAG  is losing power, every day, as a result.  

Please email this post to your friends, it’s so-o easy and takes a second, only.  Send it to all of them, because it’s very important to get the public to know the facts. Put it on your Facebook page…Your MySpace…

Use the “SHARE” widget down below, the white one…it will take you right to your email or Facebook page, etc. Directly, too, no clicking around or filling in stuff…

Thanks, for all of us…

And keep the faith. 

Follow me on Twitter, if you don’t already….my Twitter name is __dana__.  (Twitter registration is the shortest…!)

 

[youtube]http://www.youtube.com/watch?v=mkmKbRSfTlI[/youtube]

Once again, I ask you to please share by emailing to your actor friends, and to others, as well. Actors need the public to know, and to be in support of the profession, right now.

Best,
Dana

My Advice To Actors Hasn’t Changed, Nor Has Any News About A Strike Authorization:

When you see “SAG news” in the press, ignore it.

It’s not news.

At SAG, they must be so busy, just trying to combat all the false reporting.

The good part of this is, for me, is that I felt the press was representing SAG, and it’s actors, as overly-dramatic and off-center. And that’s not all…

And, I thought that they were doing that, not only out of ignorance to a culturally-accepted bias; but because they needed to make some drama, in order to have material to publish.

They pulled us down, but not only do they look overly-dramatic and off-center, too…

But they look absolutely unprofessional, amateurish, and incompetent.

Really, how much can they continue to make up?

This Is How Real This False News Appears On Google, As It Does In The Papers It Is Published

It ISN’T!

Here’s SAG’s Press Release Regarding This Latest, Just-In, False News

SAG Statement Correcting an Erroneous Wire Service Report

Screen Actors Guild has taken no action to suspend the national board of directors’ October 19 resolution regarding the strike authorization referendum.

National Executive Director Doug Allen has proposed to the national board that the strike authorization referendum be suspended and that management’s offer be put to the membership in a ratification vote after meeting with the AMPTP to determine to what extent, if any, they are willing to improve their last offer, to maximize its chances for ratification.

The National Board has not yet acted on NED Allen’s proposal.

SAG’s national board of directors has not suspended the strike authorization referendum and the board’s October 19 resolution is the last national board decision on this matter.

Better news for all actors: Now a win-win-win situation?

New SAG Plan: instead of putting out a “strike authorization”, for the professional actors, of SAG to vote on…they are sending out something different…an AMPTP contract authorization. Directly, to the SAG members, to see it for themselves, and to vote on whether to accept it or not.

What IS the AMPTP CONTRACT, actually?? Well, it states the “bottom line” level, (the lowest pay scale) that they are proposing: to pay for acting…now and in the future.

(….What they are ‘offering’ is “bupkus”…)

It’s not much different, now, it’s just a direct choice for actors, instead of the representative leadership.

(This is according to Nikki Finke’s column: ‘Deadline Hollywood’ and if you really want the skinny on the underhanded moves of the AMPTP during this, and during the prior Writer’s Strike (WGA), she’s the one with the real goods, and the guts…)

The SAG Strike would’ve been about whether or not to accept the same contract.

If the SAG strike is what is causing such terror and public uproar, then…

My own vote, on this changed-SAG-vote, is that it’s brilliant!

So much wasted energy, and actor leverage/actor-power has been spent on internal arguing and blaming. Blaming the people that are available and safe to be blamed. (Can’t bite the hand that feeds, right?)

Ridiculous, I have always thought…for actors to blame the Alan/Allen leaders of SAG.

(BTW…SAG Leadership didn’t compose the AMPTP CONTRACT ! That was created by the hands that won’t feed you, Actors. Those that think you will do anything for a job, and actually…besides not paying you for your work, the AMPTP contract —the new “final” contract, according to the Producers/Movie Studios side—literally takes away meal breaks. While working. So, under the new terms, not only will you not be able to afford food, to eat at home…you won’t even get a food break on a 10 hour day, on the job. Is it okay, with you, not to eat? Dieting, aside, I do mean.

It’s called “French Hours” by the way, having no set meal-breaks. You just nibble when you can, if there’s time. Apparently, they film that way in France…Fine, I’d agree to it, here, if they’d start serving fine French food on movie sets.

You know what would really win me over?? If the AMPTP started to give actors a teeny tiny bit of the honor that France gives to their actors, and artists of all kinds. Or how about just a bit of respect. (Even a false showing, that would be better than anything I’ve seen yet. )

Oh, and if they create a national, official government office called “Ministry Of The Arts”–Just as they have in France…

Ahhh, oui, I digress. I rannnntttt.)

I do think that SAG’s new tact is a great turn of events. Let all the actors read over exactly what they won’t have. Let them see who the real boogeyman is. Let all see the real numbers..I mean, the real money offered. And who is not willing to spread it around, to those who they even call: “the Talent”.

…Some actors may not ‘get’ how this all applies to them, at all…

And I urge you, all, to-think-as-successful-working-actors. And if you are not one, now, then think “as-if”.

(Because I know that part of this conflict has to do with all different economic levels of actors, all trying to agree on the same contractual items, and they all mean different things to different actors

Example: For an actor who has never worked, the $28 dollars that the AMPTP is offering for per-show (with no residuals for any re-play)…well, that may seem great to a young actor who has never had a paying job. Or who has spent a year, breaking their back, suffering indignities, and maybe doing “background”/extra work, so as to get their “3 jobs” so they could qualify for eligibility for a SAG card…)

To them, a real job, any job, feels like reward enough.**

It’s not.

I’ve been on both ends of the acting career spectrum.

And all in-between….Trust my words: time keeps moving. And so does your acting career, with the right amount of determination. You can get acting work, with the right amount of skill, determination, and intelligent focus. Yes, you can, and you will, then.

And…if and when you make that happen… you will want to earn a living, and even live well…you will want payment, adequate, just payment…for your work. For your talent. As an actor.

It’s hard work.

Almost certainly, you will still love it.

And…because you will be eating, too; you will be glad you did.

Best,

:Dana

Here’s recent excepts from SAG’s website:

Subject: Message from Doug Allen, SAG National Executive Director

January 14, 2009

Dear SAG National Board Members and Alternates,

Because the executive session of our recent extraordinary National Board meeting occurred without my presence in the room, I want to directly communicate several points to all board members and alternates.

I began and ended my report to the National Board on January 12 by stating that I have followed and always will follow the directives of the National Board expressed by a unanimous or majority vote. Under my leadership all SAG staff has complied and will comply with those directives as well. I also said that I am by SAG constitution and by employment contract accountable to the board for my performance.

I welcome your review of that performance and respectfully request only that, in the interest of fairness, such review include the opportunity for me to discuss with the board any comments, questions or issues you wish to raise, not in lieu of executive session discussion, but prior to such discussion.

It is unfortunate that the important matters contained in the National Board meeting ag enda were not accomplished at the meeting January 12 and 13. I know that opinions vary sharply on why that happened. From my perspective, to the extent AMPTP positions or actions are the problem, the solution cannot be determined by how intensely you fight among yourselves.

Regarding the TV/Theatrical negotiations, and the sharply divided opinions on the board about how to proceed, I offered the following suggestion to a cross section of Guild leaders during the period of the executive session. I asked that they discuss the suggestion with other board members in attendance. I proposed that the strike authorization referendum be suspended and that management’s offer be put to the membership in a ratification vote. I also proposed that, before that membership ratification vote, we meet immediately with the AMPTP to determine to what extent, if any, they are willing to improve their last offer, to maximize its chances for ratification. I further proposed that the offer then be sent to the members with Pro and Con statements from National Board members and that otherwise the Guild would remain neutral during any member debate regarding ratification. This process will give Screen Actors Guild members the opportunity to formally express themselves on the bargaining issues.

This suggestion was communicated to some, but not all board members in attendance, and apparently was rejected by some who heard it, at least in part, because they believe I could not be “trusted” to implement it. Since I am the one proposing it and since I have never acted contrary to the directives of the National Board, that is not a reasonable objection. In any case, if it is the decision of the National Board to proceed as I have proposed, I assure you that the staff and I will carry out your decision faithfully and diligently.

I will convene an Officers’ call this week to discuss this suggestion and how it might be considered and implemented. I encourage all board members to discuss these issues with the Guild officers or with me in advance of the call.

There are no more important issues before us than the conclusion of the TV/Theatrical Contract negotiations and the initiation of the Commercial Contract negotiations. Super-heated rhetoric through the press will not contribute to our success on behalf of the members. Working together to resolve your differences will.

Doug Allen

Two days before, Alan Rosenberg sent out this to the SAG board members:

Los Angeles, (January 13, 2009) — SAG National President Alan Rosenberg sent the following message to Screen Actors Guild national board members and alternates today:

“At the end of the National Board plenary meeting this afternoon, a group of board members submitted a document to the Guild that purports to deal with the employment of the National Executive Director and the continuing approach to negotiations. After analyzing the document, Screen Actors Guild’s in-house and outside counsel have concluded that the document does not constitute a valid written assent, for several reasons, including a lack of sufficient signatures and the absence of any language on the document demonstrating the intent of the signers to grant their assent to the proposal. Guild National Executive Director and Chief Negotiator Doug Allen and the National Television and Theatrical Contract Negotiating Committee remain committed to advancing the cause of actors and our crucial contract negotiations.”

No substantive actions were taken by the Guild’s national board, which met at SAG’s national headquarters January 12 and 13 for almost 30 hours straight.

No mailing date has been set for the previously approved TV/Theatrical strike authorization referendum.

We have no further comment.

ABOUT SAG, FROM THEIR WEBSITE;
Screen Actors Guild is the nation’s largest labor union representing working actors. Established in 1933, SAG has a rich history in the American labor movement, from standing up to studios to break long-term engagement contracts in the 1940s to fighting for artists’ rights amid the digital revolution sweeping the entertainment industry in the 21st century. With 20 branches nationwide, SAG represents over 120,000 actors who work in film and digital television, industrials, commercials, video games, music videos and all other new media formats. The Guild exists to enhance actors’ working conditions, compensation and benefits and to be a powerful, unified voice on behalf of artists’ rights. SAG is a proud affiliate of the AFL-CIO. Headquartered in Los Angeles, you can visit SAG online at www.sag.org.

Please continue to share on Facebook, and MySpace, and with all your friends. Especially, to actors. It’s important to get the messages out, it really is! Thanks very much!

And, follow me on Twitter for updates, and info- (link below)

http://twitter.com/__dana__

Did Hollywood Industry Rags Really Report False Stories? Knowingly?

SAG negotiator Doug Allen was the subject of some false reporting, yesterday, in these three journals, apparently:

1. Backstage Magazine (link to false SAG article, dated today, which is day after!…Means they published something that was known not to be true, publicly, by that time-of-publish!)
2. The Hollywood Reporter (link to false SAG article-note same authors!)
3. Variety (link to false SAG story)

All three of these reported “Late Breaking News”.

Problem was, their “news flash” was not true. Not when they reported it, anyway. (I can’t know what is happening today, which is the second day of the Screen Actor Guild National Board Meeting.)

They said that Doug Allen was fired, by SAG’s national board. Their articles continued to detail the history of internal strife at SAG.

Please don’t pay attention to the Hollywood Press.

…How crazy is that, that I am forced to advise that!

“Don’t be naive, Dana, these rags never are accurate for news.”

That’s what some people have responded, to my shock about their journalistic fabrication.

(If it is, as is reported by Nikki Finke, in her ongoing column called “Deadline Hollywood Daily”...)

I say this, I don’t like lying anywhere. I especially don’t appreciate, being a member of the public, and assuming that journalism is adhering to a certain set of standards. Of truth. The public goes to these journals for facts. Factual, truthful, information. Journals are supposed to be the source of such.

Now, if it’s accepted in Hollywood that “entertainment news” can be trumped up and falsely reported, well, that’s up to them.

But, when it becomes socially persuasive, or influences people to one side or another; or is disseminated for some kind of personal gain, and in exchange, could cause others harm…I find it unconscionable.

What harm can come to actors from this?

Well:

It affirms what has been going on since this began: a portrayal, overall, of actors as dumb, silly, out of touch, out of control. In other words, furthering a tangential view of the actors’ stance as something obscure and abstract. Allowing this actor-bias to control the public attention, and veering the public away from the real issues. Issues that are concrete and very logical. Substantial.

In other words, a bashing smokescreen.

AMPTP Is Only Offering A Low or No Money Deal To Actors

This whole AMPTP/SAG issue has become far off-the-mark of what it truly is about. (Uh, paying actors for work.)

Instead it has been about so much that isn’t related, and the public has no way to decipher what the heck it is about.

It all looks like something the actors are doing to themselves, and doing to others; or rather if SAG does choose to strike, then they are out to destroy the world, the country, the economy, you-the-common-man.

That is absolutely nuts.

And, in this era of acceptable false reporting: it is simple propaganda.

That’s heinous, for those reporters to do that. According to Nikki Finke, the Variety reporter was asked, by SAG, to state a retraction. He did not.

What’s the gain for them, you may ask…I am not sure. Read Nikki Finke’s take on it.

Maybe, like many journalists, he has been working on a screenplay, or even has one on the studio desks, right now? I have no clue.

It’s a hell-of-a-lot more dramatic to report all this drama, I guess…then the truth of how difficult it is to survive as an actor. What the life really is.

‘Hollywood’ is a one-factory town. ‘ With Powerful Bosses Running It.

As I’ve written before, this is a small town, as far as the business goes. The bosses are clearly the bosses, and the workers are in the bread lines.

The bosses have the better parties with the celebrities, and can invite you over for a tennis match on their backyard court.

While the actors are leaving town, not able to survive.

…I’ll investigate all of this, and post more with more factual information…

********************************************************************************

Update #1

Newer News On False SAG News!!

Within an hour after publishing this blog post, I am back!

And…Guess what? Now Variety has published a new and different article, on SAG and the results of the 2 day National Board Meeting, and just within the last few minutes!

The Variety reporter, of this current SAG article, is “staff”.

A-hem.

It’s a totally different story.

No retraction on the false one. No comment from them either.

Hey! That’s a solution! Just print another story, um…

…With a whole different ’story’????

Here’s the title, from the new Variety-on-SAG-reportage…click on it to read ‘full SAG story’, this one, I mean!

“SAG status quo proceeds (main title)

Allen keeps job after two-day session (smaller print, subtitle…)

In the last two days, SAG has been full of sound and fury, signifying … the status quo.”

I am reprinting the first line, here, as one example…illustrating what I mean, about “actor bias” and not only from Variety, but in much of the reportage on the AMPTP conflict with SAG.

Look how they portray SAG by ridiculing them, instead of admitting their own mistake.

Actor-bashing as sport, and able to? Due to lower “status” in factory-town??

Have you seen my post where I reprint my comments to the L.A. Times writer?

As well as the article, to illustrate futher, about how this postential actor strike, and the disputed issues, are either twisted, or not listed at all? http://www.hollywoodactorprep.com/blog/2008/11/latimes-blog-on-actors-and-sag-strike-isbiased-incorrect/

Whereas Backstage Magazine (which is supposed to be FOR ACTORS!)

and
The Hollywood Reporter still have this as only title going, on the whole two-day meeting at the Screen Actors Guild, which was supposedly about whether or not to call a SAG strike:

SAG ousting chief negotiator Doug Allen

Move decreases likelihood of a strike

By Andrew Salomon and Jay A. Fernandez

Best and keep the faith; please remember to stay informed…

Dana

And please share this article with your friends, and on Facebook, and other social sites. Actors, and all artists, can only become able to speak for themselves, with knowledge and solidarity.

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Update #2

Oh dear.

Another change!!!

Now, The Hollywood Reporter has a new article on the SAG Board (a link ) meeting and it appears to be an article with the goal of, mainly, making a defense of it’s false, prior article.

This one doesn’t have a retraction either, and no admitting of any mistake.

This one also makes actors look bad. It makes it seem as if the heads of SAG are “oh so sneaky”…Is that why their article wound up not to be true. Are they trying to say, if not for these sneaky actors, then Doug Allen would have been out and the writers wouldn’t have looked like liars. Or bad reporters, writing inaccuracies before fact-checking. This article seems to have, as its main goal, making sure that the reporters aren’t to blame for publishing false article.

Sorry. They still are.

Oddly, this Hollywood Reporter article is a reprint from a Backstage** article.

Is Backstage regarded as a source for factual news and integrity? Except that they published the original article a full-day-after-the-other-journals did, and long after it was publicly known that it just was not true! And never was nor would be!

If you look at this article, also, it makes the Screen Actors Guild leadership look awful, and the membership as well. And the board.

I ask again, isn’t Backstage an actors’ newspaper? Ostensibly. How come this reporting is so annhiliating, about us, then?

I think; calling the actors and SAG misguided, and out of control, and narcissistic; is more accurate about the mudslingers, themselves.

The proof is in the reporting.

Rare Television Acting Clips:

One with Paul Newman, and one with James Dean        

      …at bottom of post…( Hey, don’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. 

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.

 

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.

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. 

 

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.

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

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.

 

 

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:

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

 

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”.  

 

More on this, at a later date…

Best,

Dana

                                                                                     © ®  

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The Screen Actors Guild has decided to postpone the acting strike authorization vote, amongst it’s actor member-base.

Why?

Here’s the statement, straight from the SAG website:

Current Residual Situation, AMPTP’s Offer Explained

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

 

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?

Best,

Dana
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