Former Digital Domain CEO & Auditors Sued For Fraud By … 
Fox Acquires ‘Narc’; Zac Efron Attached To Play … 
ABC’s ‘Nashville’ Undergoes Production … 
CBS Wins Season & Ties Sweep In Demo; ABC Tops Adults … 
Mike Lobell Adds Cast To ‘Eisner,’ Plots … 
Sony Shares Rise On Report That It Will Consider … 
Alki David Agrees To End Name Games With Aereo And Barry … 
Next-Gen Xbox One Unveiled With Content Including … 
UPDATE: Apple CEO Challenged For Moving “Crown … 
CAA Signs ‘Robocop’ Joel Kinnaman 
Cannes: Fleming Q&A With Steven Soderbergh: … 
ESPN Layoffs Could Reach 400 As Part Of Latest Disney Cuts 
UPDATE: Broadcast Nets Expand Nightly News For Tornado … 
Cannes: Weinstein Co Acquires Keanu-Reese Sci-Fi Pic … 
RATINGS RAT RACE: ‘Dancing With The Stars’ Up … 
Hot Trailer: ‘The Wolverine’ 
Ric Robertson Taking Paid Summer Hiatus From Movie Academy … 
Obama Scandals Bring MSNBC 7-Year Low While Fox News Rises 
Season Finale Of CBS’ ‘Mike & Molly’ … 
Ang Lee Departs FX Pilot ‘Tyrant’ 
DreamWorks Eyes January For ‘Glimmer’ And Dylan … 
I have been wondering how any honest campaigning can be held in the ongoing SAG election what with this ludicrous anti-free speech SAG-AFTRA Non-Disparagement Agreement in effect. It forbids any criticism of either guild’s current leadership written or verbal — which in effect silences not just any public dissent but also any public discussion during this election. But last night, the SAG electioneering began to intensify with the website MembershipFirst.com’s outreach effort to campaign against SAG’s status quo. Turnabout is fair play. After all, the website UniteForStrength.com representing SAG’s so-called National Majority was first to attack its opposition MembershipFirst. And then there’s the anonymously run Sagwatch.net which regularly bashes SAG’s MembershipFirst (even though everyone is well aware there’s an AFTRA Board member behind it). And its loyal opposition Sagwatchdog.net which is also anonymous. Clearly, all sides now intend to campaign, albeit some in the shadows. Here’s the latest:
Editor-in-Chief Nikki Finke - tip her here.
Loading ...
Nikki, I’m just impressed that you’re up this late. you truly are the hardest working woman in town. It’s 3am, get some sleep!
Can somebody briefly explain, or point me somewhere which can explain, what this conflict is all about? I’m a little new to the world of Hollywood, so just the basic points like what these two entities two, why there is a disagreement, and what the possible ramifications are? Would be very grateful.
Read the MBA of each guild.
Jack, that’s a very big and complicated question, but I’ll try. SAG and AFTRA both rep actors, and the majority of actors are card-carrying members of both. SAG, however, has much higher wages, so for dual members, a SAG show is much better than an AFTRA show. That said, SAG really has itself to blame. During the 08 round of contract negotiations, SAG first tried to scuttle AFTRA’s deal (by a campaign to have dual members vote it down) but the deal passed. It should be worth noting this was the first time in 20 or so years that the two acting guilds did not negotiate together. Then, SAG kept threatening a strike that
AMPAS[AMPTP] (the producers/other side of the bargaining table) knew they couldn’t get the numbers for (as shooting down AFTRA’s deal required far fewer members). So SAG wound up working for about a year on an expired contract (sans things like new-media residuals) and threatening to strike.AMPAS[AMPTP] took the opportunity to sign up as many AFTRA deals as possible, citing the possibility of a strike (which was a joke) as their reasoning. Realistically, they got the same actors at cut-rate wages. Now, there’s a movement to merge SAG and AFTRA, but many inside SAG feel like if the merger passes,AMPAS[AMPTP] will want it on AFTRA’s (cheaper) terms and it’ll be bad for dual members. I personally think it’ll give them more bargaining leverage to have all actors under one roof, but I guess I’m in the minority here.Nikki was saying, during the last round of talks, that 2011 would set up for a major showdown between
AMPAS[AMPTP] and the guilds, with a potential of an across-the-board work stoppage looming very large. Lately she hasn’t been feeding that particular fire, but it’s worth noting that the guild that wanted more than the three other creatives (AFTRA, WGA, DGA) is now going into the negotiations first, and if they get the vote for a strike, it wouldn’t surprise me to see the others follow suit. Plus, actors on strike has a much more immediate impact than writers striking. In 08 there were two huge issues for the guilds: the DVD residual and new media. The amount writers, directors, and actors get for a DVD sale hasn’t changed since 1986 (VHS) despite DVDs ballooning into a 27 billion dollar industry at their height. Creatives want it doubled, from 4 cents per unit to 8. And new-media: prior to 2008, no creatives got a dime of revenue from shows streaming online. And they were being forced to do original online content that the studios filed under ‘promotional’ material, which meant they literally worked for free.AMPAS[AMPTP] created a new media residual but didn’t touch the DVD formula and the writers made it clear that this year, that will be addressed if they want to prevent another work stoppage.Whew, that was a little long-winded but I hope it helps. I’m sure someone on here will correct any mistakes I made. I don’t claim to be any kind of authority on the matter – I just read DHD a lot.
Thanks for the explanation!
Nicely done – Thanks.
I was gonna stay out of this, this time around but…
Chris, it’s [the] AMPTP, not AMPAS – The Alliance of Motion Picture and Television Producers, which is essentially a group of highly-paid lawyers hired to negotiate with the entertainment guilds (or break them, as has been their doctrine).
Further, your assessment of what has happened in the past is your point of view, and I guess we can all agree to disagree on why things happened in the past. But you/we cannot change facts. AFTRA aggressively and with malice, came after SAG work that was/is not within their jurisdiction – period. It’s my opinion that they (led by Roberta Reardon) did it to save their union from being dismantled by the government a short few years ago. So far, it’s worked – and professional actors, the very people AFTRA is supposed to protect, have paid the price.
Further, [most of] the leaders of SAG have not only broken SAG Constitution rules, but federal laws as well by not working in good faith for the membership that elected them. This sad fact can and should be changed this coming election. Out with both factions – in with open-minded leadership which will do what they’re elected to do: fight for SAG, not kill it from within.
Everything in Nikki’s attached announcement above is correct. We, the citizens of this country, are supposed to have the NLRB to step in and fight for the unions and the betterment of the union’s members. For whatever reason, the NLRB has turned a blind eye not only to this SAG/AFTRA issue, but to their duty as well. The facts are all there in black and white. AFTRA should really still be AFRA (no “T” for television) and should keep their greedy nose(s) out of what it took generations of SAG members to organize, fight and sacrifice for, and to be paid fairly for work.
The two unions don’t necessarily have to merge – just all actors should, must really, be under one union/guild. And AFTRA has no business organizing recorded television and feature films. (AFTRA leadership can’t even organize their sock drawers. Ever tried to call the AFTRA office on the phone? I rest my case.)
This ain’t over yet.
Great response, Chris.
Also, JACK S, to address another issue, it’s a part of health/pension benefits as well.
Back in the day when SAG handled most of the shows on-air, a middle-class, working SAG actor could qualify for health benefits because if the needed amount was (just making up a figure here) $10k per year in earnings, an actor with a steady dose of bookings could earn that.
But with two separate unions now representing actors, if those actors work contracts throughout the year that are split, it’s possible to earn $7500.00 for one union and $2500 for the other thereby not qualifying for either plan.
AFTRA also represents a wide-range of “talent”…
News Anchors
Dancers
Actors
Radio DJs
So that’s a bit of a problem for “Actors” too. It’s viewed a lot like allowing a member of a Plumber’s Union to vote on contracts affecting Electricians.
Also, AFTRA is an “open” union that anyone can walk in and join off of the street. Whereas SAG is a place you have to more or less “earn” your way into. Sure, there are always stories of people who got “lucky” (getting in to SAG) but if it was as easy as just walking in with a check, SAG’s numbers would be a lot higher.
It is not anti-free speech, this is the single most misunderstood concept in American law. Constitutional protections of free speech only apply when the GOVERNMENT seeks to restrict speech. There is absolutely no right of free speech among private persons or companies, they can set whatever rules they want.
There is great latitude in Federal law when it comes to campaigning for office. Any such ‘union’ non-disparity clause is pre-empted by Federal Law which allows again very great latitude to criticize Union members running for office. If either Union would be clearly separate and there would be no ‘parties’ within those Unions crossing Union lines, this would be a think the Union could enforce. Theoretically AFTRA issues should be confined to that Union and SAG issues to that Union, but because conflicts in the way in which each Union operates are clear and because there are factions within each union that support either AFTRA or SAG issues (yes factions in AFTRA that are also in SAG that support AFTRA over SAG, as they are mainly voice over people, as well as factions in AFTRA and SAG that mainly support SAG’s point of view in terms of protecting actors not announcers), a fight that has been going on for 25 years, it is only logical that criticism of either AFTRA or SAG would be allowed in a Union election campaign, because the lines cross in terms of political affiliation. In other words, the political party and it’s affiliations and actions could clearly be criticized for that they have done to undermine the other Union. End of story.
Um… No. Free speech is impinged whenever someone impinges your right to free speech. It doesn’t matter who is doing it.
Who let Dr. Laura into this discussion?
Then I guess every NDA ever signed by anyone anywhere is null and void?
You’re not a lawyer, are you?
The Non-Disparagement Agreement that SAG and AFTRA worked out under the auspices of the AFL pertains only to elected members and committee members of both unions – ie, the leaders of the unions. Plus, the NDA DOES NOT APPLY TO CANDIDATES RUNNING FOR ELECTION in either union.
In other words, the two-site message business is clearly a ploy by Membership First and represents their attempt to “have it both ways.” In their official statements they laud merger (because THAT is the only way to get members’ votes this season) and the “86 AFTRA” page is to reveal their true Heart Of Darkness toward merger.
Jennifer you don’t know what your talking about, the Constitution is a contract not only between us and the Government, it’s agreement between us as Individuals. If your a Lawyer go back to school because you failed…
Take the gags out of everybody’s mouth and let the discourse rain free, we’re all adults. I never ceases to amaze me the very people who’s purpose it is to express themselves without reservation. Are the first to try too suppress it.
Are you a lawyer? Have you even read the Constitution?
First Amendment: CONGRESS shall make no law…
Doesn’t say anything about NDAs or private organizations or a contract between individuals. Doesn’t even say anything about states, which is why state constitutions have their own free speech amendments and free speech law varies from state to state.
Stop berating people with your ignorance.
Chris, not a bad analysis, but one glaring mistake that is common. AFTRA Exhibit A and the SAG TV Theatrical contract(for Network broadcast TV) Contracts were, with the exception of some different language here and there, exactly the same. AFTRA’s Exhibit A is currently 3% richer than SAG’s for a scale player. Wage differentials come into play in the Cable arena, and AFTRA covers most daytime and kids programming under a different contract. One cannot compare an AFTRA cable contract with the SAG TV theatrical contract, but with SAG’s Cable contract(AFTRA has 4 templates, SAG one) which is no great contract either. digests of all the contracts can be found on both web-sites, and it’s important to know when accepting a job, which contract one is working. In addition, the commercials contracts are the same for both unions.
Thanks for clearing that up.
This election is remarkably simple and boils down to one question:
If you want SAG and AFTRA to merge, vote UFS
If you don’t want them to merge, vote MF
you are absolutely wrong. There is a difference between merging two business entities in theory and making it into a reality. There is massive due dilligence and analytics involved that are time consuming and costly…nontheless it must be done. Would you dive into a pool without checking if there was water in it? Membership First has asked that an analyst be hired to start the process. Unite for strength members along with our President have refused to comply. Does that sound like Membership First does not support a merger? We have initiated an action that would asses the feasability of potential terms and conditions of a merger and also to analyse weather merging the financial structure of both unions would even be synergistic. If you do it wrong it would be like trying to mate a cow with an onion…it certainly would cause ireparable harm to one of the entity’s…my guess it would be the onion. Kindly stop talking about what you know nothing about. Go to http://www.membershipfirst.com and get educated to MFS merger plan for ALL actors. Then write an educated post. Thank you.
Peter Antico / Membership First Candidate for the National Board
Actually SAG Watch Dog is run by Arlin Miller…it’s not anonymous.
And the ‘nondisparagement agreement’ becomes a free speech issue because the federal government has jurisdiction over labor unions & labor issues via the National Labor Relations Board, so if anyone wants to enforce a ‘nondisparagement’ agreement fully (and it’s a nice question whether per the four corners of this agreement it is still in effect as there is a legitimate question as to whether it expired once the last round of other ‘Phase 1′ like contract negotiations had been completed) once it’s challenged before the NLRB, it is a question of whether the fed gov will bless it (I doubt they can because it is so important for labor union members to have their genuine employment issues addressed fully & fairly in among other things the context of wages & working conditions meetings, the conduct of union elections and also ultimately in putting to a vote exactly which union if any the workers want to represent them). Federal labor law always trumps petty union politics. And some of those people running for office currently serve as union officers and/or committee members which means (at least theoretically) they are subject to the NDA and at a minimum a genuine question of what they can & cannot legitimately say on the campaign trail.
There’s a bit of revisionist history in Chris’s post…a search of Nikki’s site will turn up a story on how AFTRA first agreed to the current craptacular deal for actors in TV/Theatrical and moreover chose not to brief SAG’s then leaders on what they agreed to in much detail because ‘Phase I’ was ‘broken’ (and I note with suspicion that post a highly politicized election the 2 unions acted as if Phase I still existed for contracts negotiated subsequent to but other than TV/Theatrical). AFTRA negotiated (or basically took exactly what the AMPTP offered with little discussion or haggling) first and very quickly (in about a week’s time AFTRA’S leaders were done…contrast this with how long it took the WGA to hammer out a more realistic but not much better deal. Part of the delays in the WGA strike had much to do with the AMPTP leaders refusing to negotiate in good faith at all with the WGA…they tried to make this into a totally one sided take it or leave it proposition).
AFTRA’s leaders high-tailed it out of town just a little too conveniently to call what they did good faith negotiations on the part of their actor members.
I highly recommend anyone unfamiliar with the history of the WGA strike and the SAG TV/theatrical negotiation impasse (there was no actors strike) read Nikki’s extensive coverage of the situation right here on this site.
I wasn’t trying to be revisionist…I forgot a couple of details, that’s all. I was trying to be accurate and not revisionist, so thanks for that. I never claimed to be the end-all and be-all of union negotiations.
Wow. Cool. “Houston, we have a pulse.”
Look, this “road we’re on” has been planned since, oh, 2007, at least. You know, when the producers declared in the NY TIMES, BY NAME – they “wanted to end residuals?”
Probably prior to that.
Here’s the perfect example of someone going to the dark side.
James Cromwell, who, until middle-age, and 50 other actors passing on playing opposite a CGI pig, was the epitome of a middle class actor, fell in the honeypot and got an Oscar nod.
Then, being a good actor (no argument there) he started to get other feature roles. Then, he decided merger was a FANTASTIC IDEA!
Why? The same reason all other (not all, most) A-list actors, as well as many top TV names and B-level regularly working names are for it:
THEY DON’T WANT A WORK STOPPAGE TO EVER THREATEN THEIR GRAVY TRAIN. AND THAT HAPPENS TO NEATLY COINCIDE WITH THE PRODUCERS FONDEST WISHES. NO WORK STOP THREATS OR STRIKES. EVER.
Many A-listers ARE producers. “7 projects in the pipeline, 3 as a lead in an A-list film,” and you are going to go to bat for a fair deal for the middle-class actor?
Unfortunately, the answer to that is, largely, no.
It USED to be THE trump card of SAG, and the very reason SAG has NEVER agreed to merge with AFTRA in 60 years, despite many attempts within SAG that were tabled, and two full votes of both memberships, AFTRA and SAG.
The “stars” used to put their foot down for actors they considered co-workers, up and through the studio era, and for a couple decades after. They felt very strongly they were part of a collective, and the producers needed to know the A-list stood with their UNION BRETHREN FIRST.
Now? Forget it. There’s Tom Hanks, telling everybody in his “vote for this shit contract” video in ’09 to “sign the deal!” because “times are changing!”
But Tom Hanks, despite his reputation as “the nicest guy in Hollywood” is a PRODUCER. Among his credits? That incredible piece of work (no argument there) “Band of Brothers” which Tom produced, and conveniently produced NON-SAG.
Yup. NON-UNION. He got it in JUST UNDER THE WIRE of “Global Rule 1″ which would have required a SAG contract. Imagine that?
AND, guess what the actors get every time that timeless classic runs ANYWHERE?
ZIP.
They got a paltry up-front buy-out from BILLIONAIRE Tom Hanks and his BILLIONAIRE co-producers, including Steven Spielberg.
Back to Cromwell. Cromwell said to actor Dave Clennon, a staunch M1st member (who used to be virulently pro-merger, until he… did some homework)
“The plan is to SO weaken SAG that it will HAVE to merge with AFTRA.’
He ALSO said, some time later to Dave Clennon “Dave, don’t forget – WE are the one percent” meaning “you and I are A-list” (flattering to Clennon, a brilliant actor, but a middle-class working actor, being buttered up by Cromwell).
In other words, the ONE percent of actors Cromwell was referring to is what THIS IS ALL ABOUT.
The A-list. You, schmuck middle-class actor reading this, you think it’s about P&H? Or double dues, or double initiation fees?
IT’S NOT. it’s about a multi-billion dollar business, one of the ONLY businesses that came through and continues to come through this recession just fine, CRUSHING DISSENT.
UNION BUSTING. Once (if) we merge, the “New Union for a New World!” will be about making non-stop DEALS to keep production on a never slowing assembly line.
You, middle-class actor, are having trouble with residuals? (there aren’t any, or FAR, far less) or, a workplace problem? or a force majeure claim? like recently when, you know RUSSIA WAS ON FIRE and they had to shut down Emile Hirsch’s set? (THAT’s “Force Majeure” Understand now?) or any of a dozen other concerns SAG would have gotten ALL OVER FOR YOU?
“New Union for a NEW World?”
GO FUCK YOURSELF. THAT union will be about compliance with producers, not tough, hardened vet actors, like, oh, Jimmy Cagney, and Dennis Weaver and Patty Duke, past SAG presidents, who FOUGHT the good fight and got SAG actors EVERY SINGLE BENEFIT AND UPGRADE WE HAVE SINCE THE INCEPTION OF THE UNION IN 1933 – EVERY SINGLE ONE, as a direct result of THREAT OF STRIKE or STRIKE.
Now, NOBODY EVER wants to strike. But in a “New Union for a New World” there will BE no strikes. EVER.
And if you are not willing to come together, cast your lot in with your fellow actors to deprive the producers of our services until we get a fair deal (we HAVE a RIDICULOUSLY LOW set of FIXED residuals in new media – that is the BIGGEST item – by far. It DWARFS the DVD raise attempt – we MUST have a profit participation deal in new media (a piece of the pie a SMALL slice, that’s all) – if we don’t turn the last contract COMPLETELY AROUND, the middle-class actor becomes a ghost.
Most of us are already turning. Stand in front of the mirror, SAG middle-class actor. Can’t you see just a LITTLE bit right through yourself already?
FUCK AFTRA – poaching, lying, predatory shitbag of a union. Why the FUCK do we want to MERGE with THAT?
You want to make a living? Maybe (is it too much to ask in this “New Union for a New World” environment?) a GOOD LIVING? With RELIABLE pay, benefits, P&H, clip consent (gone) product placement protections (gone) force majeure (gone) and a piece of new media (forget it, unless we throw these weak-ass ballerinas out).
ONE UNION FOR ACTORS THAT STRIKES WHEN ABSOLUTELY NECESSARY (we’re not strike happy – it’s been 1980 since the last TV/Theatrical).
PROTECT AND DEFEND SAG AND TELL AFTRA TO FUCK OFF.
ONE UNION!!
THE SCREEN ACTORS GUILD!!!!!!
Chris–
“SAG, however, has much higher wages, so for dual members, a SAG show is much better than an AFTRA show.”
That’s a gross overgeneralization, and certainly simply not true for TV/Theatrical (SAG) vs Exhibit A (AFTRA). It was the same contract, jointly negotiated, until last round. . . at which point AFTRAs contract actually improved vs SAGs because SAG lost a year of yearly increases.
It’s typically outside that main TV/Theatrical area (basic cable, etc) where AFTRAs contracts and mode of doing business vs SAG is different and thus open to attack as “inferior”. But right now, TV/Theatrical for SAG is *inferior* to AFTRA Exhibit A, and there is no reasonable debate on the matter.
Chris,
Not going to get into your explanation except to say it is NOT AMPAS which the the Academy of Motion Pictures Arts & Sciences which has nothing to do with this.
I believe you mean the AMPTP which is the Alliance of Motion Picture and Television Producers which is the bargaining agent that all these guilds deal with for contract negotiations.
Calling AFTRA a scumbag union? How tacky.
Even IF an AFTRA/SAG merger referendum should pass this time, which might happen (but I hope it won’t)it would simply be due to the fact that most rank and file members are just ‘fed up’ with the constant, intra-union, and/or internal political squabbling.
However, the fact is that the same cast of Actors and Others who are squabbling now will continue to squabble whether or not there is a merger.
These two very different cultures, (Broadcasters and Actors) will never find peace in a merger.
But, nevertheless, a few very naive advocates, who tend to be more pro-AFTRA than SAG, seem to believe that merger is ‘cure all’ for all that ails the unions and AFTRA, especially. And, since AFTRA has always been number two they’ve always tried much harder.
The root of the problem may stem from the fact that AFTRA keeps trying to be something it’s not! A premiere Actors’ union: The Screen Actors Gui
To your comment, “These two very different cultures, (Broadcasters and Actors) will never find peace in a merger.” Everyone should remember that it’s not just the culture of the two union’s members – it’s the culture of the guilds themselves. SAG created the culture of union actors in the first place. AFTRA has merely ridden SAG’s coattails for decades, benefiting and profiting from a true union’s tough contract negotiations. AFRA cum AFTRA would have been shit without the power of SAG constantly working to better [both] union’s members. And how does AFTRA repay SAG? By sticking a knife in SAG’s back.
Here’s the AFTRA “culture” in a nutshell: do anything to survive, even if we have to bite the hand that fed us for so long, make up lies and blame them for everything; leave the membership in the dark about contract rollbacks so they don’t know enough to say ‘no’; offer our smaller faction of members (non residual-generating broadcasters) special incentives (okay, bribes) to vote ‘yes’ on a contract that has no value or loss to them; absolutely no shows of strength at the negotiating table, so the AMPTP won’t fear a strike and our little actors can keep on working – for peanuts, but at least they’re working; “What are ‘dailies’, again?”; bend over – way, waaaay over – and keep your mouth shut.
Does any of this sound like a union (or guild) to you? This group is not about improving its members’ wages and working conditions. It’s about appeasing management to try to stay alive. So far, their plan is working but it’s a house of cards – smoke and mirrors (and without a smoke bump).
All actors should stop being cry-babies, wise up and walk away from this group, and take comfort in the knowledge that SAG will fight for your rights. The U4S (Unite For Strength) people within SAG who want to merge with AFTRA are AFTRA people. And they’re dismantling SAG from the inside to make you think that SAG is over. More lies, smoke and mirrors – go figure, it’s the AFTRA way.
And I’ll post script my above post with an apology. For whatever reason, I now see my response posted – four hours after it first appeared, and then disappeared. Crazy, man!
As someone else who merely reads DH a lot (since the ’07-’08 WGA strike), I’m certain that by AMPAS (the Academy of Motion Picture Arts and Sciences; the organization that gives out the Oscars) you meant to say AMPTP (the Alliance of Motion Picture and Television Producers; the collective bargaining body representing the major networks and studios).
Listenup is right and wrong. Wrong that it does not applied to committee members. It does. I had to resign from the National Background Actors Committee in SAG because of my anti-AFTRA rants.
He was right about it not appling to those who are running but only while running.
And Nikki, Sagwatchdog.net is run by Arlin Miller. He never hid that fact.
As the ant said to the ant eater.
WE JUST WANT TO EAT.
Actors may fool each other into thinking this merger will work.
But any fool will tell you that when you work and don’t get paid it was time to go on strike.
Unfortunately, control begins and ends with the money. AFTRA Talent Deals have exceeded SAG Deals in what I believe to be a deliberate plan by Moguls to have a viable business model during any SAG led labor dispute. Desperate performers will opt for any money deal if they can have a job that pays their bills today. The long term view of future income and benefits have little relevance if you are unable to support yourself in the present. It’s not to say it should be marginalized; it’s expected when you can’t work, you’ll accept almost anything if it results in a paycheck today.
I also opine to say the studios have already drawn their plans for sustaining any battle with labor unions. They have the money to outlast any strike and divert production into whatever necessitates a business option for income. The money will dictate the outcome in the end; he who grabs it first will get the spoils. AFTRA has figured this out. Just MHO, not looking to debate, just a viewpoint for others to consider…
WOW! That’s a brilliant, insightful analysis of Cromwell there, “Strength”! Thanks for that!
Also, “Strength”, just curious: is your “weak-ass ballerinas” comment directed at members of only one faction of SAG’s board?
RE calling it AMPAS, yeah, I got my acronyms mixed up – I was kind of half-awake. RE the other stuff, I promised I wouldn’t be totally accurate, so thanks for clearing that up. I wasn’t pushing an agenda, just trying to help someone understand. And I’m very embarrassed about getting the last 2 letters wrong (AMPAS/AMPTP = very close).
United we stand and divided we fall. We are labor; hence we need union. If you are a union member ask yourself these simple questions:
Who wants this turmoil among labor?
Who stands to gain if we bicker and fight?
Who wants to reduce our pay, benefits and residuals?
Who would like to see each “poor player” negotiate alone?
Who wants to see us give away our historical contract gains?
Who wants to pit the day player against the recognizable actor?
Just like the “Red State vs. Blue State crap” that we’ve been spoon fed as a nation, this “anti actor agitation” is driving us further apart so we can no longer see the big picture and the corporations profit by our labors and our lack of cohesion. Wake up. We are screwing ourselves with infighting.
Merger is in our best interest. We should have merged at the dawn of Television. We began to lose power in the beginning years of video-tape. By the late 70’s when I last fought for merger it was already getting too late. What are we waiting for? Read your history. It will be 1930 all over again for actors.
Actually, I don’t really care if you screw it up. So what? I used to be one of those mythical “middle-class actors” with a home and a family, working under all contracts and all media and banking my residuals. Now I collect Social Security and pick up a few days of extra work where I am treated like a “non-union bozo” because I work background. I can collect from SAG & AFTRA Pensions but I am among the lucky last generations vested in both. Good luck to my son, and all you young members, but you haven’t got a chance against the AMPTP and their Machiavellian schemes to divide and conquer.
Proud )but sad) SAG-AFTRA-AEA member since 1976
Larry Vigus says:
“We should have merged at the dawn of Television.”
WRONG!
“At the dawn of Television” the Screen Actors Guild should have crushed AFRA and TVA (AFTRA) when they invaded its jurisdiction over ALL Screen Actors, big or small screen!
However, “at the dawn of Television,” the BIG SCREEN ACTORS Guild was not in the least interested in acknowledging even the existence of Radio/TV Soap Actors, little screen actors, let alone accept these Actors into the BIG SCREEN Actors Guild.
It may be more factually correct to say that Radio/TV Soap Opera Actors have, since the dawn of TV, wanted to be and have tried to be accepted by the BIG Screen Actors Guild BUT the SAG have always rejected them. THIS was/is SAG’s biggest mistake, IMHO.
Suffice it to say that had SAG accepted Television Soap Actors into the Screen Actors Guild “at the dawn of Television,” Actors would not even be having this discussion NOW.
Screen Actors Guild must NOT BE FORCED or COERCED into ever having to consider merger with ANY “Scumbag union.”
Furthermore, the Screen Actors Guild must NOT reward AFTRA (with a merger) for raiding its jurisdiction and holding dual SAG/AFTRA Actors for ransom.
“UNITED FOR STRENGTH” is a lie. They forced the split between SAG & AFTRA for our last contract negotiations themselves completely on purpose — but now they are claiming it was SAG President Alan Rosenberg and Membership First that did that. There is plenty of information from the last contract negotiations STILL ONLINE to prove that claim is totally untrue and that “UNITED FOR STRENGTH” will literally LIE to everyone to achieve their blind agenda.
DO NOT SUPPORT “UNITED FOR STRENGTH” and their completely IGNORANT plan to merge SAG & AFTRA ***BEFORE*** we iron out any legal issues like Pension & Health, contract rollovers to the new union, etc.
MEMBERSHIP FIRST IS RIGHT — we ***MUST*** resolve such issues BEFORE MERGER. Waiting until afterward is an IGNORANT PLAN & A PLAN FOR DISASTER.
SPREAD THE WORD — “UNITED FOR STRENGTH” IS PRINTING LIES TO CONVINCE SAG & AFTRA MEMBERS TO VOTE THEIR TICKET. THEY DON’T CARE THAT A NEW UNION WOULD PROTECT ACTORS — THEY WANT A NEW UNION REGARDLESS OF ANY LEGAL ISSUES. MANY OF THE HUGE STARS THAT SUPPORT “UNITED FOR STRENGTH” ALSO OWN PRODUCTION COMPANIES — THEY MAKE SO MUCH MONEY THEY DON’T NEED SAG OR AFTRA — AND THEY WILL BENEFIT FAR MORE FROM THE PRODUCERS HAVING MORE POWER THAN THE ACTORS, THAN THEY WOULD BENEFIT FROM A STRONG ACTING UNION THAT WON’T LET THE PRODUCERS RUN OVER US WITH EVERY NEW CONTRACT.
MAKE NO MISTAKE — THE CURRENT CIRCUMSTANCE WAS PURPOSELY CAUSED BY “UNITED FOR STRENGTH” IN AN EFFORT TO DESTROY SAG & AFTRA AND CREATE A NEW UNION ***BEFORE*** THE ACTORS ARE ABLE TO IRON OUT ANY LEGAL ISSUES THAT ARE IMPERATIVE TO OUR FUTURES.
PLEASE DO NOT VOTE FOR THE LIES OR LIARS OF “UNITED FOR STRENGTH”. EXPOSE THEM FOR WHAT THEY ARE INSTEAD. THEY HAVE PUT SAG & AFTRA ARE UNDER A “HUSH CLAUSE” THAT FORBIDS EITHER UNION FROM TELLING THEIR MEMBERSHIP WHAT IS REALLY GOING ON — BUT IT IS YOUR RIGHT TO KNOW BEFORE YOU MAKE A DECISION ON YOUR VOTE. DEMAND YOUR RIGHTS — DEMAND THE TRUTH — DON’T LET THE PRODUCER STARS WHO SUPPORT “UNITED FOR STRENGTH” F**K THE WORKING ACTOR AGAIN (sorry, but what they are doing is truly THAT ugly).
Actually, I said “shit-bag” union, not “scum-bag” union.
And “weak-ass ballerinas” refers specifically to David White, Ken Howard, Amy Aquino, Ned Vaughn, and, oh, ALL of UFS in our SAG government.
And, I actually DO think the merger-heads are in such a frenzy, they’re beginning to lose their minds. Today, Sagwatch.net, the propaganda arm of “moderate SAG and AFTRA,” has actually come out with a piece saying the failing P&H SAG program is Alan Rosenberg and Doug Allen and Membership First’s fault.
Wow, that’s just… that’s surreal.
UFS’s Ken Howard, Amy Aquino and, especially, our ferocious watchdog of a National Executive Director, David White, have been in power two years. THE two years practically ALL TV has been given to AFTRA by the AMPTP.
Their response?
NOTHING. NOT A SINGLE WORD. NOT A CLAIM TO PROTECT SAG JURISDICTION FILED WITH THE NLRB. NOTHING.
Now, 40% of SAG’s P&H contributions COME FROM TV.
WHO LOST TV? MODERATE SAG. ON THEIR WATCH. BECAUSE THE PRODUCERS KNOW IT WILL HELP SAG MERGE WITH AFTRA. THAT’S WHY KEN HOWARD, AMY AQUINO AND DAVID WHITE DID NOTHING. THEY WANTED TO LOSE ALL TV TO AFTRA TO WEAKEN SAG TO MERGE WITH AFTRA.
Hellooooooooo?
And SAGWATCH.NET prints this! Can we PLEASE out the guy who runs this propaganda site? He has a reckoning coming, as do the top AFTRA and some SAG officials who KNOW he runs the site and say nothing. What he does, would, and will, I believe – get him thrown out of AFTRA, thrown off the AFTRA national board and fired as an AFTRA trustee and fined up to two million dollars.
Any mad-skills peeps out there? Find out who is ACTUALLY behind Sagwatch.net
THAT ALONE could bring the entire merger push crashing down around the heads of these liars and thieves.
Anyway, here’s Sagwatch.net(‘s) “take” on the damage to our SAG P&H program. Unbelievable:
________________________________
Sagwatch.net, today:
Health Plan Next?
Posted on August 27, 2010, 10:19 AM, by admin, under SAG Politics.
We’re hearing the next shoe to drop as a result of the Membership First led debacle in the 2007 TV-Theatrical negotiations will be a substantial hit to participants in the SAG Health Plan. An announcement is expected shortly from the Plan outlining higher prices and reduced benefits.
The reason for the cuts is a reduction in contributions to the plan from employment under SAG contracts combined with the effects of the continuing turmoil in the investment world. The lower contributions on earnings followed the migration of new television work away from SAG when the union, under the leadership of the Allens, couldn’t conclude the last round of TV-Theatrical negotiations. The deal wasn’t done until Spring 2009, after the Allens were ousted by the National Board, and as a result most of the recent new production has been signed to AFTRA contracts.
Hey, “Strength”:
I don’t know why it’s taken four days for your reply to appear on here?? At any rate, I chose my profile name in response to “Dan Gilvezan’s” comment about the “scumbag” label above.
Also, don’t you think that, especially in light of what has happened in the last week, there are at least some leaders of Membership First who are also beginning to behave in a “weak-assed” manner?
The group that’s controlling SAG now will create a new union that will never strike.
Period.
When us actors are told they can get what we deserve in terms of wages and benefits, BUT,
we may have to stand up for ourselves . . . maybe even strike . . . we get all rubbery.
In general, we get a little scared when pondering a work stoppage and we start listening
to any scumbag who tells us there’s an easier way and we will never have to strike.
These people have cobbled together a brilliant coalition of series regulars,
deeply embittered people from the regions who have carved out little niches for themselves
and frightened people in Hollywood and NY who work pretty regularly, but who may not
have a lot of financial cushion.
One reason they don’t have a lot of financial cushion is that we keep accepting contracts
that have rollbacks.
Remember when actors had “QUOTES” ?
The corporations are having great success.
You don’t see the executive salaries being slashed do you ?
Sure, maybe one year Bob Iger will only take 30 million in cash and prizes as opposed to the
50 mil he took home the year before, but you know what I mean.
All of these networks are owned by the same corporations.
They say, “Oh, those are completely different companies!”
But in fact, they are just different rooms in the same houses.
The money is all going one way.
The really sad thing is, if, as actors we would stand together, get a strike authorization
before negotiations and be willing to strike, we would get almost everything
we want.
Any strike would last a week or two.
But the hatred in NY and the regions for all things Hollywood
and the drive and ambition of truly creepy, scummy Union politicians who just want to win . . .
they don’t really give a shit about the common -man, joe blow actor . . .
they just hate the progressive faction of SAG so much they will do anything to kill it.
This is a decades old feud. Hatfield and McCoy stuff.
And the Membership First side of things is unorganized,
but their hearts are in the right place.
They are over-worked and have no money.
Where does UFS get all of it’s dough ?
Movie star producers who don’t want any work stoppage to mess with their plans.
Not for nothing, there is a prominent UFS person who is married with 5 kids.
If you look at his credits, you see he does 2, maybe 3 guest spots in a year.
How does a guy support a family of 7 in Los Angeles on that kind of money ?
Maybe he or his wife are independently wealthy, I don’t know.
And if he is, why is he promoting an agenda that seeks to accept
whatever the AMPTP offers actors?
Maybe he just wants to be a politician and this is a stepping stone.
Having one union with one set of dues and fees would be great.
But actors still won’t qualify for pension and health
if we accept contracts that offer less and less every time we “negotiate”.
And today’s series regulars tend to forget they will likely be
tomorrow’s unemployed actors auditioning like everyone else.
Residuals come in really handy in that scenario.
The moguls have gone down on record saying residuals WILL be phased out.
Our fate is in our hands.
The third line in my previously posted screed should have read:
“When us actors are told we can get what WE deserve . . . ”
Sorry.