I asked those in SAG critical of the AFTRA-AMPTP tentative deal to supply me with what are their point-by-point problems with it and how they see it negatively impacting their own union. Here is what I was emailed:
Gave Up Significant Jurisdiction in New Media
AFTRA accepted the DGA pattern that gave up jurisdiction over made for new media productions costing under $15,000 per minute. This would allow our signatory AMPTP companies to produce non-union.
SAG has signed more than 500 made for new media productions in the last several years – nearly all of them produced for less than $15,000 per minute. This also negatively impacts our existing contracts and marginalizes union work with our major employers. Gave Up Residuals in New Media
AFTRA gave up residuals on made for new media productions, except in one very narrow, and very rare instance (only when produced for more than $25,000 per minute for a consumer-pay platform.)
AFTRA’s tentative deal does not secure adequate residuals for television shows that stream over the Internet on an advertiser-supported platform.
This is a huge problem for SAG members because the new media platform could cannibalize some existing residuals models for both motion pictures and television when product moves to the Internet. AFTRA’s abandonment of residuals in new media means the beginning of the end of residuals in new media.
Made No Significant Gains for Middle Class Actors
Actors need real wage gains. Under AFTRA’s tentative deal, actors could be making less over three years, in adjusted dollars than they are today. AFTRA’s increase in minimums amounts to about 10% over three years. This is less than the current rate of inflation and below the projected rate for the term of the contract. Provisions for major role performers were not significantly improved. The money breaks provide little improvement. The trailer money break in the third year is less than weekly scale. All money and schedule breaks under the tentative deal become effective only in the second year and the schedule break increases do not include corresponding overtime breaks.
In fact, achievements claimed by AFTRA for major role performers are actually diminished in the third year of the contract when these performers are moved into a new pay schedule where they actually lose some of the overtime and travel pay benefits. Did Not Protect Actors on Clip Consent
AFTRA may have a tentative deal on clip consent but we don’t yet know the impact because their deal is contingent on the development of a process for securing consent. Because the process does not yet exist, we don’t know how it will work. What we do know is that the tentative agreement allows for clip consent at the time of hire without any conditions or protections. SAG believes that consent at the time of hire must have strong protections that prevent employers from retaliating against actors who refuse to give their consent. Without strong protections in place – AFTRA’s right of consent at the time of hire could easily become “Right to get fired at the time of hire.”
Did Not Advance Background Performer Proposals
AFTRA increased the number of covered background actors in television… by 1 -- just enough to truthfully claim to have achieved something. More importantly, the deal failed to measurably advance other Background Actor issues. This deal also does not include any gains for stand-ins. So Called “Groundbreaking” Get in Background Rest Provisions is a Fantasy
AFTRA’s original list of “groundbreaking” gets for members included a line about securing rest provisions for background performers in Los Angeles. This has recently disappeared from AFTRA’s list of “groundbreaking” improvements. Why? Because the rest period covered in the “groundbreaking” deal point is actually only the minimum already mandated by California state law. Gave Up On DVD Gains
AFTRA dropped the proposal on DVD’s. SAG has not. After more than 20 years of ridiculously low DVD residuals on which SAG members pay their own P&H, SAG believes that asking the employers to pay P&H on top of residuals is a fair proposal.
Mileage – AFTRA withdrew this proposal.
Mileage reimbursement hasn’t changed in nearly 30 years while the cost of gasoline has gone up by nearly 700% -- and is approaching $5 per gallon. If Disney can pay Bob Iger $90 million per year, and the other companies can pay the fat packages they give their CEO’s, SAG thinks they can increase the reimbursement for mileage so our members can get to the jobs.
Coverage – Differences between SAG and AFTRA.
SAG covers 100% of theatrical motion pictures and more than 90% of scripted primetime network and pay television series. SAG covered 92 TV series over the course of the 2007/2008 season.
AFTRA covered 5 scripted primetime network and pay television series in the 2007/2008 season. AFTRA previously negotiated with SAG on its Exhibit A contract before abandoning the joint negotiation relationship in late March just days before entering negotiations.
This is exactly the approach Patric and David should have taken with the DGA deal, instead of adapting its poison for writers.
Comment by Writer Bob — June 12, 2008 @ 2:54 am
Let the shit storm begin!
Comment by Captain Obvious — June 12, 2008 @ 4:14 am
My being unemployed for even one day due to some of these petty SAG issues - especially during the worst economy since the great depression - costs me more than the gains from nearly ALL their grievances. Mileage reimbursement? It’s not the producers’ fault that gasoline is expensive. If the drive is outside the TMZ there is reimbursement. I’d rather drive a little extra and keep the films/shows in LA, rather than lose them to Shreveport! As for AFTRA’s 10% salary increase over 3 years: Sounds good to me!!! What’s wrong with that? Again, people, we’re in a bad economy and the producers are making some concessions. Seriously, cooler heads must prevail. I’m not saying the producers are angels, but this is all so relatively petty compared to the big picture and all the people who are, or will be, unemployed the ENTIRE SUMMER. We must resolve this now!!!!!!!
Comment by BenjaminButton — June 12, 2008 @ 6:09 am
This shows how out of touch the MeFirsters are. Those aren’t items on which SAG has made any gains or that SAG is going to make any gains on.
This is all about them throwing their weight around. They’ve been pulling this sleight of hand ever since they decided they didn’t want to negotiate in Phase 1.
If you want to work, you vote Yes on Exhibit A.
If you want to strike, you vote with MeFirst.
Comment by Working Now — June 12, 2008 @ 6:31 am
The institution of AFTRA - that bargain basement bunch of clowns calling itself a union - doesn’t care at all about its members. Vote NO on this, or it’s gonna force SAG to sign the same cheap-ass deal, and you can kiss any chance of making a real living as an actor good-bye.
Comment by VOTE NO IF YOU WANT A CAREER — June 12, 2008 @ 8:16 am
Comment by Roenigk — June 12, 2008 @ 8:59 am
Nikki - looks like you were spot on when you said “What heavy duty bargaining by AFTRA, eh?” on 5/29. Yikes.
Also, question for anyone who wants to respond: as the future moves toward digital, what’s to keep AFTRA from taking over more and more shows? Dirt, Cashmere Mafia, Angela’s Eyes, etc. Shot on HD digital, AFTRA shows. That’s only going to become MORE prevalent. Which makes this contract MUCH more dangerous. Am I mistaken about that?
Comment by Hollywood Satire — June 12, 2008 @ 9:16 am
AS A WORKING IATSE MEMBER WE ARE ALL SO SICK AND TIRED OF THE POOR WRITERS THE POOR ACTORS. PERSONALLY I THINK THEY SHOULD BE PAID BY THE HOUR JUST LIKE THE REST OF US AMERICANS. THEY ARE SO BUSY COMPARING THEMSELVES TO THE CEO’S OF STUDIOS SO WHAT ABOUT THE CREW THAT MAKE THEM LOOK LIKE THEY ARE DOING A GOOD JOB AND LOOK AS GOOD AS POSSIBLE. THEY ARE SELF CENTERED PEOPLE WHO BELIEVE THEIR OWN PUBLICITY. GRANTED IT IS NOT ALL ACTORES BUT A LARGE MAJORITY THAT FOR SOME REASON THINK THEY DON’T BLEED OR PEE THE SAME AS US PIONS
Comment by RCS — June 12, 2008 @ 9:22 am
I’ve just found out that the AFTRA deal has no Most Favored Nations requirement regarding SAG’s contract.
This is significant. If AFTRA had this requirement which the DGA and WGA have with SAG. If SAG negotiate for a better contract in New Media or DVDs or Residuals or Background Actors, AFTRA’s contract does not improve. In fact, if SAG gets better compensation or terms on its contract, they are negociating themselve out of TV jurisdiction. The moguls will go with the cheapers deal.
AFTRA is a disgusting union. They are holding actors hostage. I have yet to meet any actor that prefers AFTRA over SAG.
I support any efforts to vote down this terrible AFTRA deal. SAG has 95% of all scripted TV and 100% of Motion Pictures and some crappy union, run largely by agressive New York announcers and voice actor, is dictating the term of SAG’s contract! The tail IS wagging the dog.
Comment by joe brown — June 12, 2008 @ 9:50 am
The IA raises are 9% over a three year contract
Comment by just a thought — June 12, 2008 @ 10:42 am
SAG isn’t going to get a bigger minimal wage jump or an increase in DVD payments (not after DGA, WGA and AFTRA have backed down on that issue) or an increase in mileage from the producers. They can probably get slightly better terms on New Media jurisdiction and clip consent. So is it worth it to strike over wages, DVD and mileage when the producers hang tough?
Comment by Richard — June 12, 2008 @ 10:46 am
I have the feeling that both unions are making some terrible mistakes now. AFTRA preoccupied with power plays to become the only union in town, SAG can’t even figure out who should be SAG and who shouldn’t, when their only priority should be to get the best deal possible out of the AMPTP for their members.
And that’s not easy at the best of times, and it’s even harder when the Hollywood business model of spend everything then screw everyone, is coming back to bite the whole industry. Hollywood is pricing itself out of the entertainment business, when new technology and distribution outlets should be making things easier.
I think the whole industry needs to get its head on straight.
Comment by Furious D — June 12, 2008 @ 10:50 am
While I think that actors deserve their fair share of Media conglomerate profits, I have to agree with RCS about rates and work.
SAG actors get paid a higher base rate than anyone on a set. Their pay should not be based on a yearly average total. It should be based on what they make per hour of work. The fact is that most actors don’t work, or don’t work very much, and it’s ridiculous to suggest that they should get a higher rate because they don’t work. IATSE workers bust their hump day in and day out for less than the rate of an actor who comes in for one hour, get a massive day-rate, then residuals forever. Writers, producers and directors as well, do weeks, months, years of work on projects just to get them made, and little of that work is included in their rates. Meanwhile Actors get paid a full (excellent) day rate for one hour of rehearsal…
Comment by TSK — June 12, 2008 @ 10:53 am
Here is the deal. I have been around Union negotiations for many years. Here how it goes, First the management cries “poor economy” and ask you to take concessions. You do, cause your a team player. Than next time, they ask to re-negotiate your benefits, thats taking away, in management talk. Than they say, we’ll raise you a $1.00 but your health premiums go up. The new young guys say, “Yeah more money, I’m never gonna get sick anyway”. Pretty soon, your are on the short end of the stick. Mind you, it didn’t take one cycle, it took many. Oh, and guess what, while the workers were taking all these concessions, the big wigs were still getting raises and stock bonuses. Those who wish to receive immediate gratification, be my quest, why worry about your future. If the workers get hammered, than so should Producers. That is a fair deal, when everyone gives up something, or better yet, gets something.
Comment by summer — June 12, 2008 @ 10:56 am
Well, during the first strike I dropped 5 network scripted series from my dvr. If there is another one, I will maybe watch 1 or 2 shows on network. Then it’s all cable, sports, books. Good thing I work in a library and authors don’t go on strike!
Comment by sigh — June 12, 2008 @ 11:02 am
I just want to say, as a middle-class actor who’s watched the entire proceedings with a skeptical eye, that I went to the SAG town hall yesterday to see for myself what these rabid, strike-happy Membership Firsters were up to — and came away impressed with their candor (no matter what, we’ll get a not-great deal, the question is, how crappy will it be), consideration (they don’t seem to be knee-jerking, but working nubmbers and eye-glazing provisions out to see their future ramifications) and calm resolve.
Here’s what I’d like to answer to the above posters, and anyone who thinks actors (and writers) are a bunch of overpaid whiners:
It sure does look good — $6K for a week of sitting around the set of some series and saying a few words here and there. And now we’re whining about not making our quotes, or stars taking the guest star parts, etc. The truth is that, yeah, the business has and will continue to change. Burkha makers in Afghanistan are S.O.L. as well. But remember that, while the realities of the work we do changes, one fact remains the same that makes it different from most other work done for pay — it gets reused (rerun, put on dvd, posted online) to MAKE MORE MONEY. If the product we made immediately entered the public domain and was free to all, you’re right, it would be ridiculous to expect or ask for additional compensation. But it continues to be a live revenue stream — at reduced cost — for the producers. We are asking to get a pittance of that (and a pittance to the AMPTP can and does make a difference to my life, for example, paying into my health insurance and covering mortgage payments). Theatre actors are paid for the work they do at the time they do it because their work is ephemeral — but a tv or film actor’s work can live, and be used, forever.
My first paying job was as a child in Jamaica — was the star of a detergent commercial around 1972. I got (I think) $100 — but they continued to play that ad (and, presumably, make money from it) well into the 80s. I never saw another dime.
Truth is, you guys, actors (as opposed to reality tv celebutants), really would work for free, in dangerous situations, without breaks or protections because all we want is to tell the story. And before the advent of celluloid, we did — no-one was hitting the series regular lottery doing dinner theater. But since an entire industry has grown and profited off our talents (and yes, sometimes we suck, but even people you think are untalented have something they’re offering) and our faces, we are not unjustified in asking to be compensated for it.
Lastly (and yes, I know this is crazy long), the other reason actors need a strong union is because the commodity we offer can get used up (we should all be so lucky). But if you grab the brass ring and are known for your endearing-but-wacky portrayal of Mork, you could become an international movie star, but you could just as easily be a Jeopardy answer that never works again.
I know that no-one wants another strike, but I also know that working an Aftra show is not a way to make a living. I’m a dual card holder, and I would love to see Aftra go back to the table and get a stronger deal (relative, of course, to the sucky precedent we’re all working from — that 17-day internet window is truly a death knell) so that we can work and bargain from a position of strength in the future.
But maybe I’m just a hopeless optimist.
Comment by Roxanne Beckford — June 12, 2008 @ 11:12 am
Dear fellow IATSE member,
I feel your pain. Here in NY we get to negotiate our contracts based on yours. We get to experience the strikes and unlike you, all we lose is work and wages.
I can hear you going wait, its the same for me. No, it isn’t. One of the big things I learned during the Writers Strike was that IATSE gets residuals on dvds. Mind you my local doesn’t, but apparently yours do.
From what I can tell, and I could be wrong here, those residuals are contributions to your benefits funds. Meaning that you, and every other IATSE member out there, are facing a huge wage cut over the next ten years if the experts are correct, for instance Netflix is now saying DVDs will be history in ten years. You won’t see it when you get your paycheck, until you retire, or when your health benefits decrease even more then the others around you. But it will be big.
Much of what the writers fought for, and the actors are discussing here has little relevance to those us who labor below the line. But those new media things are big. Maybe not as much for me, but they should be of a great deal of interest for you.
And personally I wouldn’t be waiting on Tom Short to make sure that you are okay.
Everyone, no matter what the craft, is going to have to fight to make sure they aren’t working longer and harder for less. And we are all better off if we can all hang together in this. All of us.
Comment by NY and way below the line — June 12, 2008 @ 11:13 am
Oh, RCS, forgot to say that I love the crew, and any actor who doesn’t understand that without you, we’re nothing, has a lot to learn. That said, you guys can go from job to job to job, but there are very few actors that can do that without people (and producers) tiring of them quickly.
Comment by Roxanne Beckford — June 12, 2008 @ 11:14 am
It’s a shame that Writer Bob is still unable to let go of the argument he lost back in February regarding the DGA and the WGA. Even now, he is unable to articulate any positive solution to the impasse that existed between the WGA and the AMPTP at that time. Calling other guilds names or referring to contracts as “poison” does not constitute an informed rebuttal argument. It is startling to me to see a purportedly experienced writer unable to make such an argument.
As for the current SAG leadership approach, it mystifies many in the industry. There is currently only 18 days left to the current contract and instead of concentrating on the negotiations at hand, the energy appears to be going into rallies and meetings designed to bash AFTRA. When asked why there is little progress in negotiations, fingers are again pointed at AFTRA. This is unfortunate and disheartening.
A crucial issue now is the fact that no Strike Authorization Vote has been called. If a strike were to occur, this vote will take at least 3 weeks to conduct and count, as Alan Rosenberg has acknowledged. So we’ve already passed the point where SAG could walk out on July 1. There is still a question of whether a vote will be called. In spite of the theatrics this week, it’s quite possible for SAG to attain a new contract without any work stoppage. I continue to hope that SAG will be able to do so.
Comment by Kevin — June 12, 2008 @ 11:27 am
It’s SAG LEADERS GONE WILD. In their desparate measures to bring SOMETHING home to members that won’t get their asses voted off the Board this Fall, they’ve gone too far.
AFTRA’s just-negotiated contract is for AFTRA Shows and is based on the patterned negotiations of the DGA & WGA.
AFTRA’s Primetime contract:
1) Won the right to keep Consent on performers’ excerpts/clips.
2) Won jurisdiction over new media.
3) Current SAG & AFTRA Primetime program scale raised 10.33% over life of contract.
4) For Broadcasters a .5% increase in H&R from employers.
5) Increase in number of covered background performers.
91% of SAG/AFTRA members on AFTRA Board recommend a “YES” vote.
Vote “YES” on the AFTRA contract.
Don’t let the in-fighting at SAG waste YOUR AFTRA dues money by torpedoing this contract.
Comment by ichbinaucheinwerkungactor — June 12, 2008 @ 11:58 am
So RCS I take it you are happy that IATSE gave away 30% pay on Movie of the week, 3% on First year Drama’s, gave up Vacation/Holiday pay on some shows, No Milage for one location and the rollbacks keep coming.
Comment by Yosemite Stokesberry — June 12, 2008 @ 12:20 pm
Is SAG negotiation with AFTRA or AMPTP? Move on. AFTRA has reached an agreement for their union. SAG leaders should reach the best possible deal for their union. ALL I hear is but AFTRA did this and AFTRA did that? Grow up. Yes, there are dual card holders. But they are not the same union. AFTRA has made it clear they do not wish to re-negotiate with you. They cut ties with SAG. They broke up with you. “They’re just not that into you.” Please quit mouthing them and START doing your freakin jobs for five minutes. SAG is just coming off as whiny little babies. No strike. Not even for a minute.
Comment by cyberelf — June 12, 2008 @ 12:48 pm
Have to admit, I was on the fence about which way I was going to vote until I saw the summary here, in fact I was probably leaning towards ratification, but now that I’ve seen the point-by-point SAG analysis, I don’t see where there’s any other choice…
I’m voting NO.
Comment by Dual Cardholder — June 12, 2008 @ 1:39 pm
RCS
Try to be an actor, writer or director, get into the unions, and then make a living.
There’s a reason you’re wrapping cable.
I’m an actor with a long list of mainstream credits and I’ve written and directed two indie films, one of which went to Sundance and made Ebert’s “Best of” list a few years back. And I said to my 1st AD, “you know, the funny thing is, I wrote this and I’m directing it, and every single crew member has spent exponentially more time on movie and tv sets than I have.”
He laughed.
You want a challenge? I’m not saying you’re not good at your job, and you could be anything from a driver to a focus-puller, you don’t say in your post, BUT, there is NO COMPARISON between getting into IATSE and getting into SAG, the DGA or the WGA. You don’t believe me? Try it.
AND, once you’re in? Once you’ve broken your ass, and trained, then waitered for years, you, under the current SAG contract, if you come up to the level of the “average” working actor, according to Alan Rosenberg’s testimony to congress during the WGA strike, get to make 40 thousand dollars a year. Wow! What a pay-off! I’m so blessed! And, I should just shut up and count those blessings and not complain if the SHITTY actors union I’m also in (AFTRA) tries to make a deal with the suits that undercuts SAG and guarantees me about a third of what I’d get on a SAG contract, IF I beat out those 50 other guys for the chance to play Brad Pitt’s neighbor with two lines in his next film, and get paid scale!! And that will be one of, maybe, oh, 10 days I spend on any set in a whole year! I’m so lucky! Now, nobody put a gun to my head and said “do this for a living,” BUT, since I trained, suffered through long, long stretches of unemployment (still do) then EARNED my way into the unions I’m in, doing good work and working hard every time, I think I’ve also EARNED the right to notice when I’m getting cornholed by the suits, yet again! These MF’s made 44 BILLION DOLLARS in ‘07, yet they’re pleading poverty, and giving us this: “The internet? Oh my God! What’s THAT? We have NO IDEA HOW THAT WORKS! WE CAN’T PAY YOU FOR SHOWING YOUR WORK ON THIS NEWFANGLED INTERNET THING. Do you want us to GO OUT OF BUSINESS?!”
Look, all bullshit aside: we all hang together, or surely, we will all hang separately, as the man said.
Stop bitching about SAG actors asking to have the CHANCE to make a decent living (YOU making 40k a year? I didn’t think so) and get on the f***ing line. Show some support, cause they’re damn sure coming for your throat soon enough.
Comment by MrsWakely — June 12, 2008 @ 2:05 pm
ichbinaucheinwerkungactor said, “It’s SAG LEADERS GONE WILD. In their desparate measures to bring SOMETHING home to members that won’t get their asses voted off the Board this Fall, they’ve gone too far.”
Agreed. No matter what deal we get, good, bad or ugly. I’m still voting off their asses off the Board just for the BS they’ve been pulling. My union dues at work….
Comment by BTL Mom — June 12, 2008 @ 2:07 pm
i just have to say it kind of cracks me up to see the dissimilar posts before the WGA strike and the potential SAG strike. what a difference a letter makes.
Comment by RealityBites — June 12, 2008 @ 3:21 pm
Here is a fun game. Next time you are on a set with a non union crew ask the lighting guy or a grip if they are in the union. You will find a lot of them working off the card. They have no union loyalty.
Comment by Yosemite Stokesberry — June 12, 2008 @ 3:30 pm
No disrespect to Roxanne and Mrs. Wakely and other actors, but do you really expect sympathy for not getting MORE when your work is used over? Not to repeat the famous studio exec comeback that “my plumber doesn’t get paid every time I flush my toilet”, can you think of any other profession that provides a good or service and then gets paid every time that good or service is used? Do you pay your acting coach every time you use his or her technique? Do you pay your lawyer every time you use his or her advice? Do you pay your doctor for every additional day of health? (my doctor just called to follow up on some tests and I know he won’t be sending me a bill). Do you pay your teacher every time you remember something from school?
In truth, actors (and directors and writers) are the only people that get paid over and over for the same work. As Jenna Fischer was quoted today in THR, “You become an actor because you have this little need to be loved or seen or whatever”, yet you talk as if you’re providing some community service. Earning $40,000 doing two commercials and a tv episode, 6 days work total (as a family member did last year) should be cause for gratitude not more grief. The reason the average actor makes $40K is that he/she only works a few days a year, and the reason he/she only works a few days a year is that there are so many other actors who want to make $40K working a few days a year.
Comment by countyourblessings — June 12, 2008 @ 4:01 pm
MrsWakely, did you ever know that you’re my hero? (At least right now, anyway)
You saved me loads of typing, and added your own personal touch to boot!
Comment by Captain Obvious — June 12, 2008 @ 4:42 pm
The FIRST thought is for COUNT YOUR BLESSINGS: It angers me when someone lashes out using ignorant, illogical arguments. I’m sorry to say it, but your rationale is just plain ignorant and uninformed, you obviously didnt think it through - nor did you read the post you were referring to very well. OF COURSE the plumber doesnt get paid over and over again every time we flush the toilet - Flushing the toilet isn’t generating the flusher any money you moron! Every time that episode of your favorite TV Show runs - the network is getting paid from advertisers - and since the actors in that show helped create that “income generating” show, they ought to get a piece of the income generated. Plus, the plumber can go out and fix a damn toilet every day of the year if he chooses to get off his ass and go to work that day - while an actor cannot simply go to work every day he chooses. The rest of your ill-informed ignorant analogies follow the same insane reasoning.
Second thought: As a dual cardholder - I will be voting this crappy AFTRA contract DOWN. I am not a fan AT ALL of the current SAG Board - I’d sooner spend a night in prison than at dinner with them - but thats personal - this is business. I was at the meeting as well - and personalities aside, they do indeed have well reasoned points of contention, and AFTRA negotiators would be hung for treason if their actions were a matter of national allegiance.
Third Thought: RCS - No one put a gun to your head and made you do what you do for a living. Actors and Writers did not negotiate your contracts for you, and without the writers - none of us would have a f***ing job. If your job is so miserable, or the pay isn’t what you want - DO SOMETHING ELSE - its a free country. Dont spit your venom and self hatred onto others who have chosen another profession - it is not their fault you have the contract you do, that you get paid what you get paid - nor is it their fault that you do something you apparently dont thing you get paid enough for. That’s your union’s job - talk to them. Writers, Actors, and everyone else for that matter - including BTL - have a right to ask for whatever they think is fair - they have a right to bargain, and negotiate, just like YOU DO. You cannot POSSIBLY believe that it is ok for you to ask actors to forego their rights to bargain and negotiate just because you are not happy with what you get paid! It’s our turn to bargain, STAND OFF. We weren’t standing over you, breathing down your throat while your contracts were negotiated - you got a problem with your pay rate? Get another job or talk to your union about it. Don’t blame it on another union doing what they have a right to do. Do you have any idea how long it takes to write a feature film script to completion? do you have any idea how many scripts actually get bought? Writers and Actors are not yelling at you to “quit your bargaining so we can work”. You are overstepping your bounds.
Fourth Thought: IF…….IF this AFTRA contract is voted in, and IF SAG is forced to follow it - I guess the smartest thing to do would be to take whatever money I have left in savings (after having literally NO work available this year for me AS AN ACTOR), and invest in the stocks of these media congloms - because after they are done bending everyone over, they will be laughing all the way to the bank. This way, if these new contract provisions leave me in the future with no way to share in ridiculous profits generated by content I have helped create - I can share in their ridiculous profits that way instead.
Comment by Four Thoughts — June 12, 2008 @ 6:10 pm
First, to answer the question, I can name two; and it’s no coincidence that they’re tangentially related to the current subject: Authors and Musicians. (Copyright law, anyone?)
As was pointed out several times during the Writers Strike, and as I will (perhaps) manage to expand upon ,somewhat, here-and-now (with heavy paraphrasing and alteration):
Talent isn’t the plumber fixing the broken bowl; that might more accurately represent the AMPTP when they pull up their pants, hide the ass (and its hairy crack) that they’ve been showing plenty of ever since they waddled their way into our home, and get down to the business of fixing things instead of lying to the homeowner (the unions?) in an attempt to inflate the repair bill (without much worry, knowing it’s hard for us to wait for a second opinion (negotiate from a position of strength) while the shit storm (strike anxiety) brews).
The water represents content; and it fills the toilet bowl to either entertain, or to simply wash away boredom while (in most cases) generating revenue (WARNING: Blatant invitation for this to devolve into a commentary about entertainment being “In the toilet”). This is similar to when water fills the toilet bowl to allow us to forget what is (or hopefully soon after was) inside while (in most cases) generating revenue for the water company (the entertainment industry).
Make more sense now?
Talent is what the water company relies on to ensure that it can provide (and the customer can receive) a constant stream of clear and potable water. Perhaps something along the lines of: R&D/design (writers), standardizations/filtration systems (directors), delivery systems (actors), and the like. Without these components acting in concert, the water company would just be a twinkle in some civil engineer’s eye. Revenue sharing, in some form, is an integral part of a complex compensation model that finances the whole operation.
Every time the water company delivers water (and revenue is generated) a fraction of this revenue is shared as part of the compensation model I just mentioned. Most of the time the water company can reuse (via film) the same R&D/design, standardizations/filtration systems, delivery systems, etc. to provide plenty of water (and plenty of revenue in the process). When this is not the case, and the water doesn’t flow, there’s little or no revenue to share. New production processes replace that which is no longer able to produce water (and revenue), and the cycle begins anew.
As for the part about actors and $40k/yr: it isn’t simply the number of actors involved in the limited work availability, but other factors; such as the need for specific persons to fill roles that are narrowly-defined by context. Such amounts–usually multiples of that in fact–are demanded by corporations for seconds of airtime every day. Are you trying to say a corporate “person” has a right to such pay for seconds of work, while a flesh-and-blood “person” does not?
Comment by Captain Obvious — June 12, 2008 @ 7:18 pm
I attended last night’s SAG Town Hall meeting in LA, which was called to update members on the status of SAG contract negotiations and to educate dual-cardholders on the deficiencies of the proposed AFTRA contract. The text of the main handout was published by DHD.
I’d like to offer a few of the opening statements, paraphrased here unless quoted.
Alan Rosenberg:
“We’re not here to vilify AFTRA. I was an AFTRA member before I was a SAG member.”
In reference to the current situation – AFTRA’s proposed deal, SAG’s negotiations - “That’s what’s at stake here. The future of the acting profession”.
Doug Allen:
He reiterated that it’s not about politics or institutions or personalities, rather, “It’s all about actors”.
After recapping briefly recent history, he said on May 6 – after AFTRA, WGA, AFM, and the Teamsters were invited to and attended most SAG bargaining days – negotiations were suspended by the AMPTP and “We handed the ball off to AFTRA transparently….”
SAG gave AFTRA all of the sensitive internal documents to help AFTRA negotiate.
SAG observers did not have the same access to AFTRA negotiations that SAG gave AFTRA. AFTRA kept SAG observers out of negotiations the last seven days before AFTRA came to their agreement with the AMPTP.
SAG is opposing the AFTRA agreement because unequal contracts for the same covered work allows producers to pit one union against the other at the expense of actors. “Competition in this environment (between unions) is bad, not good”. Companies will of course pick the union contract with the lowest terms, not the highest.
The AFTRA deal does not address actors’ priorities, including many which the two unions agreed upon in the joint wages and working conditions meetings.
If AFTRA members vote down the deal, it forces AFTRA back to the table, and it actually makes a strike by SAG less likely. It also makes it more likely both SAG and AFTRA will get a better deal.
Questioners also had a few interesting things to ask and/or share.
One questioner said he has friends being pressured by their agents and/or managers to ratify the AFTRA contract. The response was that some of the agents or managers may not be entirely disinterested players in this, as AFTRA allows them some level of investment in production. IMHO, every actor should keep in mind that your agent and manager work for you, not vice versa. Why would they encourage you to ratify a deal that gets you – hence them – a smaller chunk than SAG should be able to get, and mortgages New Media forever (sunset clauses notwithstanding; the AMPTP conveniently forgot their promises to revisit VHS and later DVD), unless they have competing interests? Agents & managers work for us; we can ask these questions of them.
Another questioner – a dual-cardholder – shared that he received a robocall from James Cromwell extolling the virtues of the AFTRA deal. Apparently this person wasn’t the only one, and a suggestion was made to initiate robocalls against the AFTRA deal. No commitment was made by SAG leadership in relation to that suggestion.
At least two, possibly three actors asked where the stars are. IMHO, each SAG card is worth one contract vote, so star wattage is of limited relevance to me. However, after these queries, a prominent actor who quietly waited her turn in line did step up, announce herself, and pose a question to the presenters about clip use from the floor. Mr. Allen explained SAG’s proposal includes a range of protections on how the clips may or may not be used. The actor asked about clip use in commercials. Mr. Allen said SAG’s proposal would prevent that.
Force majeure also came up. AFTRA has deferred to SAG on this. SAG’s position is that force majeure is sacrosanct, and the AMPTP needs to pay up on the 80+ productions with outstanding claims from the WGA strike.
SAG has not yet asked for a strike authorization. Mr. Rosenberg reiterated that nobody wants a strike less than he does. He’s unemployed, as his SAG duties have taken up all of his time, and he doesn’t want to put his wife – Marg Helgenberger of CSI - out of work.
Most of the attendees are dual-cardholders. I would characterize almost all of the questioners as being very concerned about various aspects of the AFTRA deal, and about the future of union representation for actors. Mr. Rosenberg actually invited anyone who would like to defend the AFTRA deal to step to the front of the line. No takers.
These are my primary recollections from the town hall, FWIW.
I remain vehemently opposed to the AFTRA deal first and foremost because of the New Media non-union exemption, and from what I saw last night, apparently I’m not alone.
Comment by mheister — June 12, 2008 @ 9:35 pm