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The Screen Actors Guild’s National TV/Theatrical Negotiating Committee today passed the following advisory motion to the national governing board by an 11-to-2 vote. The employers’ AMPTP statement is below. I will have an analysis containing a lot of new information as soon as possible:
“Whereas, Screen Actors Guild has been and remains willing and able to continue formal and continuous negotiations with the AMPTP and the employers, with the intention of reaching a mutually-acceptable deal; and
Whereas, the National Board has unanimously identified the core principles of new media jurisdiction and new media residuals as essential elements of any agreement in the Television/Theatrical contract negotiations; and
Whereas, preservation of longstanding force majeure protections for actors is of self-evident importance; and
Whereas, the President and Chief Negotiator have communicated this view to the AMPTP and the employers, and have requested that they return to the bargaining table to negotiate a fair deal; and
Whereas, the AMPTP and the employers have refused to change their position and have continued to refuse to meet to attempt to advance the negotiations; and
Whereas, in the opinion of the National Negotiating Committee, the AMPTP and the employers will only seriously engage in further negotiations after the members of the Guild express their confidence in their leadership by authorizing them to take all actions necessary to protect the interests of the membership, including a strike; and
Whereas, although the National Board has already unanimously delegated the authority to take a strike authorization vote to the National Negotiating Committee, in the opinion of the Committee, the strong and public support of the National Board for the necessity of a strike authorization at this time is a necessary prerequisite for its success;
NOW, THEREFORE, BE IT RESOLVED by the National Negotiating Committee that:
A strike authorization vote of the membership is necessary to overcome the employers’ intransigence, and the Committee therefore recommends that the National Board authorize such a vote be taken; and further recommends:
That the National Board adopt a resolution strongly supporting such an action, and recommending that the membership vote in favor of a strike authorization; and
That the National Board endorse an educational campaign advocating a “yes” membership vote, to give the authority to the National Board to call a strike only if the National Board deems it necessary and unavoidable to do so. “
Adopted: October 1, 2008
—
Big Media’s Association of Motion Picture And Television Producers immediately issued this statement:
Is this really the time for anyone associated with the entertainment business to be talking about going on strike? Not only is the business suffering from recent economic conditions, but if ever there was a time when Americans wanted the diversions of movies and television, it is now. The DGA, WGA and AFTRA reached agreement on comparable terms months ago, during far better economic times, and it is unrealistic for SAG negotiators now to expect even better terms during this grim financial climate. This is the harsh economic reality, and no strike will change that reality.
- SAG National Negotiating Committee To Discuss AMPTP’s Rejection This Week
- AMPTP Rejects Today’s SAG Overture
- SAG Sends Letter To Chernin/Iger/Counter To Restart Formal Negotiations
- So What Do SAG Election Results Mean?
- SAG Election Results
- SAG Members Overwhelmingly Support Guild Leadership’s Negotiation Strategy
- SAG Issues Special Bulletin & Polls Members About AMPTP Negotiations
- Finke/LA Weekly: Calm Down. SAG Will Not Be a WGA Strike Sequel
- Finke/LA Weekly: The Details the Moguls Don’t Want You to Know
Editor-in-Chief Nikki Finke - tip her here.
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Sag and Mike Ovitz have something in common. They both love Japanese tactics. Now, Sag is a believer in Hari-Kari.
It isn’t selfish to demand a fair deal. And SAG has repeatedly made it clear that they are willing to negotiate. It’s the AMPTP that refuses to even sit at a bargaining table.
“Enough”, you may not care about SAG but I do. And I’m not a SAG member. But I’ve seen what happens when union members fail to stand up for themselves, and take lousy deal after lousy deal. A little bit less every bargaining cycle, until there’s nothing left. And the promised payoff down the road never materializes.
If you think the studios can’t easily afford what SAG is asking for, I suggest you Google “Chernin” and “Hulu” and read some of the quotes that pop up. Eye opening.
Not that it matters. The studios don’t have to be rational or honest. They don’t have to do anything at all, except sit back and watch people like you do their work for them. Blame SAG. And why don’t you spit shine Nick Counter’s car while you’re at it.
Who would authorize a strike now?
I would.
And for you BT liners, I don’t really give a shit. I learned during the writers strike you only care about yourselves. So, we should only care about ourselves.
Why don’t SAG members just go out and give flyers to the crews and support staff — along with the employees of entertainment-industry small businesses too numerous to mention — on how to apply for unemployment and file for bankruptcy? It sure would save a lot of time later. And with the credit crunch, it’s assured none of them will get loans, so there should be lots of open office space for acting workshops to keep SAG members busy during their downtime — that is, unless they’re the 80 percent that wasn’t working anyway.
May as well strike now, because production is going to drop regardless as a result of the credit collapse and many will be out of work anyway.
Put the grapefruit in their face!!!! It is up to the actors!!!! The others are cowards!!!
SAG is a moronic union.
Change leadership now.
They will *never* get a 75 percent authorization in this diastrous economy. Never. Things were far different last November. This isn’t the time to strike. It’s time to live to fight another day.
Finally. It’s all been tedious, annoying bullshit. Till now. For the producers, here’s what this is about: “50 billion is better than 47.” That’s it. That’s their entire beef. There’s not a single thing SAG is asking for they can’t afford and they know it. They just won’t give it to us, unless we make them. It’s all about money – they have absolutely zero interest in middle class actors suffering under this contract. They could give a rat’s ass. So now SAG actors have the chance to tell all the people who have weighed in on this process what matters – the only thing that has ever mattered in spite of all the conjecture, rhetoric, anger, and threats: what WE want to do. We can allow ourselves to be treated like cows: milk, milk, milk you for what you’re worth, then Javier Bardem is at the end of the shute they walk us through with that airgun and the oxygen tank, and it’s BLAM! Goodnight Bessie. And off the the meat factory. We have the chance now to tell the producers what we think of their offer, and we have the chance to tell those whose knees are shaking at the thought of strike, that everybody is scared, but it’s the only way we’ll even get their attention, let alone their respect and a decent deal. Remember: the AMPTP has been banking, all along, on our inability to stand together, our constant need to fight amongst ourselves, our second guessing every single move our leadership makes, this group, and every group we’ve had before them. You want a fair shot at a decent living in the internet age? You’re gonna have to fight for it.
You know, this may be the best thing for the below-the-liners and local businesses. Right now, how many crew people are working? And of those that are working, how many IATSE members are working at scale, regardless of their deal precedents?
There is no end in sight to the de facto strike, the producers know people are hungry and are willing to work for union minimums, and the studios are pleading poverty on tons of expenditures — money that should be in the hands of those local businesses.
If a strike ends the stalemate, I say go for it.
Not only do I hate SAG for pulling this crap, but I hate the WGA all over again. Nice job going early and not waiting for SAG – now we get two strikes. Maybe some more writer deals (whatever ones are left) will get canceled.
On the bright side, when they fail to get 75%, SAG will collapse.
But ‘Enough’ what I’m saying is rather than suggesting SAG ‘suck it up’ and take the deal for now and come back another day to work on bettering it, why don’t you instead suggest the studios come back to the table and discuss and negotiate this deal further? SAG feels strongly about their position and they probably realize that it’ll be even more difficult to make changes to this arrangement once it’s done and signed. They know that now is the time for them to work on this and get changes made. If you look at what SAG is trying to correct in this deal, it’s clear that it’s the studios who are not being reasonable. I wasn’t seeing the point to this situation until I did that reading and saw it myself. The studios really are forcing SAG to stand up for the actors they represent in these matters. It’s the studios you should come down on here, in my opinion.
I hope SAG members realize how important it is to get behind their elected leaders now. This is an important moment for the union and its members. And if they fail in this effort, it’ll be horrible for them and the members as they will be weakened for good if they lose this one. That’s the newest reason I’m supporting this union on this.
- Once was neutral
W. Bush,
You are right- I checked it out regarding multiple employer unit. I guess this goes to my ultimate cause which is the creative unions will have no power unless they all negotiate together. The idea that actors, writers and directors have different “needs” and need different unions is why they all get a bad deal. It’s such stupid backwards thinking. They all want the same basic things and until they all walk out together they’ll never get anything.
FlyBy
Is this one of the all-time stupidest lines??? “..if ever there was a time when Americans wanted the diversions of movies and television, it is now.”
It’s time to do this. Historically, when the depression hit, everyone turned to escapism in movies. We will never as a union be stronger than now. I agree that there is an evil inherent in the timing, but the alternate is to assume the position of weakness. In crisis is opportunity. Why do you think all the fat warren buffet cats are buying up all the stocks right now? Get real.
The studios could end this tomorrow and not even flinch. Some of these guys (let’s face it, they are guys) get individual bonuses that are well in excess of the amount of money it would cost the industry to resolve this.
They foreclosed on my house…My 401-k is in the tank…and now, worst of all, SAG wants to take away the lame TV shows and shitty movies that I have a Constitutional right to waste my time watching!!!!!
Is the AMPTP seriously trying to make SAG look unpatriotic for striking when Americans need entertainment?
Are they seriously saying this is a bad economy and then making a case that entertainment will do even better because Americans go to entertainment in times of economic hardship, yet still they can’t afford to pay us?
Are they seriously forgetting that SAG JUST tried to sit down at the negotiating table, and they said, “No thanks – we don’t negotiate, we just make final offers”?
Here’s an idea – get back to the table, AMPTP, and understand that actors don’t want to see any hope of a livelihood disappear as you insist on nonunion provisions and freebie windows and try to get rid of residuals and put in free advertising in the form of product placement and free clip usage to cut together our work into whatever money grubbing way that you wish! Negotiate with us ACTORS and not with some cookie cutter deal that doesn’t address any of our concerns but screws us into the ground because it is our FACES that the public sees, and that doesn’t make us any better than other creatives as you like to imply we think we are for saying no, but it DOES make us VERY DIFFERENT!
And don’t anybody say the AMPTP has negotiated a deal with and for actors yet – they made a handshake deal with a sad sack union claiming to represent actors even as it sells them out to keep its finances afloat and attempts to stay relevant.
And BTL people – don’t be mad at SAG, be mad at the AMPTP. SAG is just fighting for decent livable wages. Start looking into some of the other areas you can transfer your skills to now, because the entertainment biz is up and down, and sorry the timing doesn’t work for you, but this is OUR WHOLE FUTURE we are fighting for. And if you think we should take the deal, I find it hard to believe you guys are seriously going to be into even the “French hours” when they bring that to your door…
Nobody WANTS a strike, but when the AMPTP refuses to talk or budge, why should Actors have to put a gun to our own heads and pull the trigger to make everyone else in this town happy. Try supporting us other creatives and BTL, and maybe that solidarity would be enough to make the AMPTP actually play, because to ask them to play fair would just be too much.
Something has been overlooked here.
I believe the AMPTP has just made a lasting contribution to American literature.
Sometimes, in the rush to put out a simple press release, words may be strung together in a way that could only be divinely inspired.
In my opinion, this AMPTP-crafted line is immortal. It captures the deep empathy which the studios and networks feel for the American people.
I break it up, to emphasize the pure poetry of it, but these are the exact words:
“NOT ONLY IS THE BUSINESS
S U F F E R I N G
FROM RECENT ECONOMIC CONDITIONS,
BUT
IF EVER THERE WAS A TIME
WHEN AMERICANS WANTED THE DIVERSIONS
OF MOVIES
AND TELEVISION,
IT
IS
NOW.”
*******************************
In the face of that raw, naked feeling and that simple, soaring eloquence,
WHO
COULD VOTE
TO STRIKE?
FROM S.A.G WEBSITE
http://www.sag.org/sag-timeline
1933
* March 4: Franklin Delano Roosevelt begins first term as President and declares “Bank Holiday”, closing all banks for several days.
* March 7: Producers Association announces temporary salary cuts of 50% for studio employees-including actors. Academy of Motion Picture Arts & Sciences soon proposes sliding scale of cuts.
* Six actors [Berton Churchill, Grant Mitchell, Ralph Morgan (all three members of Actors’ Equity Council), Charles Miller (Actors’
Equity’s West Coast representative, Kenneth Thomson and his wife Alden
Gay) meet in the Thomsons’ Hollywood hills home to discuss formation of self-governing organization of film actors-membership would be open to all, as opposed to the “by invitation only” membership of the Academy of Motion Picture Arts & Sciences.
* Roosevelt’s National Industrial Recovery Act (NIRA) passed June 16, creating the National Recovery Administration (NRA).
* June 30: SAG Articles of Incorporation filed. 21 actors become the Guild’s first officers and Board of Directors, with Ralph Morgan as President.
* Actor Ivan Simpson gives the Guild a motto: “He best serves himself who serves others.”
* Protests against provisions in NRA’s proposed Motion Picture Code of Fair Competition result in mass exodus of stars from the Academy in October.
* All officers, including President Ralph Morgan, and 2/3 of the SAG Board of Directors resign to allow bigger stars with “clout” to take as many Board seats as they will — Morgan yields SAG presidency to Eddie Cantor, one of the most popular theatre, film and radio stars in the country.
* FDR suspends objectionable provisions of this Code after persuasive visit from Cantor, who knows Roosevelt well.
* Screen Actors Guild agrees to admit extras as members, but they will not be “voting members”, primarily because the Guild believes their greater numbers would give them too much control over Guild matters.
* First SAG newsletter, Screen Actors’ News issued.
* Geo. Raft, Warner Oland, Fredric March, Adolph Menjou, J. Cagney, Groucho Marx join Guild
* July 10, 1933 – group application signed by 17 SAG founders
* Mar. 8, 1933: the “50% cut”- catalyst for forming the Guild
* NRA Code of Fair Competition for the Motion Picture Industry
Inserted by ff:
1935 (WAITING FOR LEFTY is a 1935 play by American playwright, Clifford Odets. Consisting of a series of related vignettes, the entire play is framed by the meeting of cab drivers who are planning a labor strike. The framing situation effectively utilizes the audience as part of the meeting.
While this was not the first play written by Odets, this was the first of his plays to be produced. It was staged by the Group Theatre, a New York theatre company founded by Harold Clurman, Cheryl Crawford and Lee Strasberg, of which Odets was a member. The company was founded as a training ground for actors, and also to support new plays, especially those that provided social and political commentary.)
1937
* Negotiating Committee: Robert Montgomery, Aubrey Blair, Franchot Tone, Kenneth Thomson, and Guild attorney Laurence W. Beilenson
* Screen Actors Guild recognized May 9 after thousands of stars, contract players and extras vote 96% to strike at midnight, May 10, if Guild not recognized.
* Willie Bioff, the International Alliance of Theatrical Stage Employes (IATSE) “Hollywood Representative” encourages movie moguls Louis B. Mayer and Joseph Schenck to accept Guild demands
* President Montgomery declares Guild recognition “the victory of an ideal.”Thirteen producers sign first SAG Contract, pay minimum $25 per day; $35 for stunts, $5.50 for extras, and portions of the 1935 contract of the Academy of Motion Picture Arts and Sciences become part of the new SAG contract
* SAG opens New York office June 21
* American Federation of Radio Artists (AFRA) founded with Eddie Cantor as first president
* August: IATSE’s Bioff puts pressure on President Montgomery to reinstate a suspended Guild member, Montgomery refuses, Bioff threatens him
* September: Bioff announces IATSE intends to take over jurisdiction of all motion picture workers (including actors), and demands producers place IA “logo” on all motion pictures
* Interim Labor Committee launches investigation of IATSE, Robert Montgomery testifies for the Guild.
* 1937: Montgomery, Blair, Tone, Thomson announce Guild recognition
* 1937: Schenck/Mayer letter recognizing Screen Actors Guild
The public will be cheering on the Actors? I went to college in the Midwest and I can’t see how those people will agree that a strike is a positive thing.
Actors are the visible face of the industry and people believe they are overpaid as it is. You’re talking about the middle class actor like everyday fans care about them anyway.
It’s the stars that drive this business [in acting, writing, directing, producing]. Always have, always will be.
Batter up, AMPTP!
Here comes the pitch…
Wait for it….
Swung on and missed! Steeeeeeeeee-RIKE!
First of all, no one can really predict the economy right now. Most analysts think that the market oversold last week in a panic. If the bailout passes I think there will be a correction. We will then see if the bill actually is any good, there should be some indication right away. If the bill doesn’t pass it will get worse before it gets better. I don’t think a call for a strike comes before that shakes out either way.
In the mean time it’s a high stakes game of chicken. SAG’s been working without a contract since June. AMPTP made a final offer and walked away. I think any reasonable person can accept SAG’s been patient. I think if anything this will force the gov’t to intervene and mediate which they are more likely to do now because of this move versus if they would have done it any other time.
I will vote in favor of the strike authorization.
To our brothers and sisters in the other creative guilds and the BTL unions – yes, we’re going to ask for your support during uncertain economic times. SAG walked side-by-side with the WGA, and when it comes time for IATSE, or the Teamsters, or the other locals, we will walk with you as well.
During the WGA strike, every story I heard about a Teamster-driven truck refusing to cross a picket onto a studio lot brought a smile to my face; not because I enjoy disrupting commerce, but because I knew every truck that turned away took us one step closer to a better contract for the writers.
Our strength as labor rests in our solidarity. Each within our own union, to be sure, but with our fellows as well. When it comes to contracts, to respect, to our future viability as a labor movement, if we do not hang together, we will most assuredly hang separately.
A stronger contract for SAG means a higher bar for the other creative guilds, and for other unions as well. This is true not only for wages and benefits, but working conditions as well.
We must recognize the importance of sharing short-term pain for long-term gain. Make no mistake – it is the AMPTP that has forced us to this place, forced us to call for a strike authorization by their complete intransigence, their total lack of reason or compassion. They have proven again, as they had shown the writers, that they respect nothing but a real show of strength.
The AMPTP has done everything in its power to dishearten us. Their shills are even out in full force tonight in this comment section. Nothing they have said or done, however, could blind us to the evils of their so-called last best final offer. We polled ourselves, and we reconfirmed what our elected leadership already knew – the membership would resoundingly reject the AMPTP’s so-called last best final offer.
It is time now for SAG to demonstrate clearly its resolve.
“The AMPTP is making more money now than it did prior to the WGA strike”??? “The studios can afford what SAG is asking for”?? “Let’s bloody their nose!”???
what planet are you people from?
are you too busy watching tmz to notice that media stocks are down across the board?
banks are frozen which means that there won’t be any completion bonds for the majors or small business loans for the independents.
costs are up all around, from locations, to fuel to above the line talent riders that are eating up larger and larger chunks of the budget.
want more money? put fee caps on sag a-listers and scale back their ridiculous contract stipulations to leave a little bigger piece of the pie for the rest of us.
no one else in the world would someone get $130 a day for doing the same amount of work as a background player or $759 a day for the work of a featured performer.
you’ve got to admit we’re all pretty well compensated here no mater how you look at it. its not exactly rocket science and you’re not lugging around heavy objects all day like the grips or working 18 hours a day like the teamsters.
it’s like everything else in america. manufacturers are being crippled by their payroll to the point that its cheaper to build it china and ship it over.
romanian effects houses, jordanian tax credits, russian extras….the world’s getting smaller every day and holding out for a couple extra perks that makes us that much less competitive will only speed up the inevitable and soon only the above the line will have a job and the rest of us will all be out of work.