The
Screen Actors Guild (
SAG) is
an American
labor union representing
over 200,000
film and television
principal performers and
background performers worldwide. According to
SAG's Mission Statement, the Guild seeks to: negotiate and enforce
collective bargaining agreements that establish equitable levels of
compensation, benefits, and working conditions for its performers;
collect compensation for exploitation of recorded performances by
its members, and provide protection against unauthorized use of
those performances; and preserve and expand work opportunities for
its members.
The Guild
was founded in 1933 in an effort to eliminate exploitation of actors in Hollywood
who were being forced into oppressive multi-year
contracts with the major movie studios that did not include restrictions
on work hours or minimum rest periods, and often had clauses that
automatically renewed at the studios' discretion. These
contracts were notorious for allowing the studios to dictate the
public and private lives of the performers who signed them, and
most did not have provisions to allow the performer to end the
deal.
The Screen Actors Guild is associated with the
Associated Actors and
Artistes of America , which is the primary association of
performer's unions in the United States. The AAAA is affiliated
with the
AFL-CIO. SAG claims exclusive
jurisdiction over motion picture performances, and shares
jurisdiction of
radio,
television,
Internet, and
other
new media with its sister union
AFTRA, with which it shares 44,000 dual
members.
In
addition to its main offices in Hollywood, SAG also maintains local
branches in several major US cities, including: Phoenix
, Boston
, New York City
, Philadelphia
, Washington
DC
, Nashville
, Atlanta
, Miami
, Dallas
, Houston
, Chicago
, Detroit
, Denver
, Salt Lake City
, San
Diego
, Seattle
, Portland
, Las Vegas
, Honolulu
, and San Francisco
.
Since 1995, the guild has annually awarded the
Screen Actors Guild Awards, which
are considered an indicator of success at the
Academy Awards.
History of the Guild
The early years
In 1925, the
Masquers Club was formed
by actors fed up with the grueling work hours at the
Hollywood studios,
particularly for actors without contracts.
This was one major concern, which led to the creation of the Screen
Actors Guild in 1933. Another was that the
Academy of Motion
Picture Arts and Sciences, which at that time arbitrated
between the producers and actors on contract disputes, had a
membership policy which was by invitation only.
A meeting in March 1933 among six actors started it all:
Berton Churchill,
Charles Miller,
Grant Mitchell,
Ralph Morgan, Alden Gay, and
Kenneth Thomson. Three months later,
three of those six and eighteen others became the guild's first
officers and board of directors: Ralph Morgan (its first
president), Alden Gay, Kenneth Thomson,
Alan Mowbray (who personally funded the
organization when it was first founded),
Leon Ames,
Tyler
Brooke,
Clay Clement,
James Gleason,
Lucile Webster Gleason,
Boris Karloff (reportedly influenced by long
hours suffered during the filming of
Frankenstein),
Claude King,
Noel
Madison,
Reginald Mason,
Bradley Page,
Willard Robertson,
Ivan Simpson,
C.
Aubrey Smith,
Charles Starrett,
Richard Tucker,
Arthur Vinton,
Morgan Wallace and
Lyle Talbot.
Many high-profile actors refused to join SAG initially. This
changed when the producers made an agreement amongst themselves not
to bid competitively for talent. A pivotal meeting, at the home of
Frank Morgan (Ralph's brother, who
would go on to play the title role in
The Wizard of Oz), is
what gave SAG its critical mass. Prompted by
Eddie Cantor's insistence, at that meeting,
that any response to that producer's agreement help all actors, not
just the already established ones, it took only three weeks for SAG
membership to go from around 80 members to more than 4000. Cantor's
participation was critical, particularly because of his friendship
with the recently-elected President
Franklin Roosevelt. After several
years and the passage of the
National Labor Relations Act,
the producers agreed to negotiate with SAG in 1937.
Actors known for their early support of SAG (besides the founders)
include
Edward Arnold,
Humphrey Bogart,
James Cagney,
Dudley Digges,
Porter Hall,
Paul
Harvey,
Jean Hersholt,
Russell Hicks,
Murray Kinnell,
Gene
Lockhart,
Bela Lugosi,
David Manners,
Fredric March,
Adolphe Menjou,
Chester Morris,
Jean
Muir,
George Murphy,
Erin O'Brien-Moore,
Irving Pichel,
Dick
Powell,
Edward G. Robinson,
Edwin
Stanley,
Gloria Stuart,
Lyle Talbot,
Franchot
Tone,
Warren William, and
Robert Young.
The blacklist years
In October
1947, a list of suspected communists
working in the Hollywood film industry were summoned to appear
before the House Committee on
Un-American Activities (HUAC), which was investigating
Communist influence in the Hollywood labor union. Ten
of those summoned, dubbed the "
Hollywood
Ten", refused to cooperate and were charged with
contempt of Congress and sentenced to
prison. Several liberal members of SAG, led by Humphrey Bogart,
Lauren Bacall,
Danny Kaye, and
Gene
Kelly formed the
Committee for the First
Amendment (CFA) and flew to Washington, DC, in late October
1947 to show support for the Hollywood Ten. (Several of the CFA's
members, including Bogart,
Edward
G. Robinson, and
John Garfield later recanted, saying they had
been "duped", not realizing that some of the Ten were really
communists.)
The pistol-packing president of SAG – future
United States President Ronald Reagan – also known to the FBI as
Confidential Informant "T-10", testified before the committee but
never publicly named names. Instead, according to an FBI memorandum
in 1947: "T-10 advised Special Agent [name deleted] that he has
been made a member of a committee headed by Mayer, the purpose of
which is allegedly is to 'purge' the motion-picture industry of
Communist party members, which committee was an outgrowth of the
Thomas committee hearings in Washington and subsequent meetings . .
. He felt that lacking a definite stand on the part of the
government, it would be very difficult for any committee of
motion-picture people to conduct any type of cleansing of their own
household".. Subsequently a climate of fear, enhanced by the threat
of detention under the provisions of the
McCarran Internal Security
Act, permeated the film industry. On November 17, 1947, the
Screen Actors Guild voted to force its officers to take a
"non-communist" pledge. On November 25 (the day after the full
House approved the ten citations for contempt) in what has become
known as the
Waldorf Statement,
Eric Johnston, president of the
Motion Picture
Association of America (MPAA), issued a
press release: "We will not knowingly employ a
Communist or a member of any party or group which advocates the
overthrow of the government of the United States by force or by any
illegal or unconstitutional methods."
None of those blacklisted were proven to advocate overthrowing the
government – most simply had
Marxist or
socialist views. The Waldorf Statement
marked the beginning of the
Hollywood blacklist that saw hundreds of
people prevented from working in the film industry. During the
height of what is now referred to as
McCarthyism, the
Screen Writers Guild gave the studios
the right to
omit from the screen the
name of any individual who had failed to clear his name before
Congress. At a 1997 ceremony marking the 50th anniversary of the
Blacklist, the Guild's president made this statement:
SAG rules and procedures
Joining SAG
A performer is eligible to join the Screen Actors Guild by meeting
the criteria in any of the following three categories: principal
performer in a SAG production, background performer (originally the
"three voucher rule"), and one-year member of an affiliated union
(with a principal role). For more details and restrictions, see
article:
Screen Actors Guild
rules. The basic categories are:
- Principal performer: Any performer who works as a
principal performer for a minimum of one day on a project (film,
commercial, TV show, etc.) under a producer's agreement with SAG,
and the performer has been paid at the appropriate SAG daily,
three-day, or weekly rate is then considered "SAG-Eligible." A
SAG-Eligible performer may work in other SAG or non-SAG productions
up to 30 days, during which that performer is classified as a
"Taft-Hartley." After the 30-day
Taft-Hartley period has expired, the performer may not work on any
further SAG productions until first joining SAG, by: paying the
initiation fee with the first half-year minimum membership dues,
and agreeing to abide by the Guild's rules and bylaws.
- Background performer: For years, SAG had the "three
voucher rule". After collecting 3 valid union vouchers for three
separate days of work, a background performer (an extra) can become SAG-Eligible; however,
employment must be confirmed with payroll data not vouchers. SAG
productions require a minimum number of SAG members be employed as
background performers before a producer is permitted to hire a non-union background performer in their
production. For television productions, the minimum number of SAG
background performers is 19, for commercials the minimum is 40, and
for feature films, the minimum is 50. Often, due to the uniqueness
of a role, or constraints on the numbers of available SAG
performers or last-minute cancellations, those minimums are unable
to be met. When this happens, producers are permitted to fill one or more of
those union spots with non-union performers. The non-union
performer chosen to fill the union spot is then issued a union
extra voucher for the day, and that
non-union performer is entitled to all the same benefits and pay that the union performer
would have received under that voucher. The SAG-Eligible background
performer may continue working in non-union productions and is not
required to join the Guild before performing in another SAG
production as a background performer.
- Member of an affiliated union: Members in good
standing, for at least one year, of any of the other unions
affiliated with the AAAA, and who have
worked as a principal at least once in an area of the affiliated
union's jurisdiction, and who have been paid for their work in that
principal role, are eligible to join SAG.
Initiation fee and membership dues
Members joining the Los Angeles, New York, or Miami SAG locals are
assessed an initial fee to join the Guild of $2,277. At the time of
initiation, the first minimum semi-annual membership dues payment
of $58 must also be paid, bringing the total amount due upon
initiation into the Guild to $2,335. All other SAG locals still
assess initiation fees at the previous rate. Members from other
locals who work in Los Angeles, New York, or Miami after joining
are charged the difference between the fee they paid their local
and the higher rate in those markets.
Membership dues are calculated and are due semi-annually, and are
based upon the member's earnings from SAG productions. The minimum
annual dues amount is $116, with an additional 1.85% of the
performer's income up to $200K. Income from $200K to $500K is
assessed at 0.5%, and income from $500K to $1M is assessed at
0.25%. For the calculation of dues, there is a total earnings cap
at $1M. Therefore, the maximum dues payable in any one calendar
year by any single member is limited to $6,566.
SAG members who become delinquent in their dues without formally
requesting a
leave of absence from
the Guild are assessed late
penalties, and
risk being ejected from the Guild and can be forced to pay the
initiation fee again to regain their membership.
Global Rule One
The SAG Constitution and Bylaws state that, "No member shall work
as a performer or make an agreement to work as a performer for any
producer who has not executed a basic minimum agreement with the
Guild which is in full force and effect." Every SAG performer
agrees to abide by this, and all the other SAG rules, as a
condition of membership into the Guild. This means that no SAG
members may perform in non-union projects that are within SAG's
jurisdiction, once they become members of the Guild. Since 2002,
the Guild has pursued a policy of world-wide enforcement of Rule
One, and renamed it
Global Rule One.
However, many actors, particularly those who do voices for
anime dubs, have worked for non-union productions
under
pseudonyms. For example,
David Cross did voices for the non-union cartoon
Aqua Teen Hunger
Force, under the pseudonym "Sir Willups Brightslymoore."
He acknowledged that work in an interview with
Suicidegirls.com. Such violations of Global
Rule One have generally gone ignored by the Guild.
Member benefits and privileges
SAG contracts with producers contain a variety of protections for
Guild performers. Among these provisions are: minimum rates of pay,
first class airfare and
travel
insurance, adequate working conditions, strict safety
requirements, special protection and
education requirements for
minors,
arbitration
of disputes and
grievances, and
affirmative action in
auditions and hiring.
Standardized pay and work conditions
All members of the Guild agree to work only for producers who have
signed contracts with SAG. These contracts spell out in detail the
responsibilities that producers must assume when hiring SAG
performers. Specifically, the SAG basic contract specifies: the
number of hours performers may work, the frequency of
meal breaks required, the minimum
wages or "scale" at which performers must be
compensated for their work,
overtime pay,
travel
accommodations,
wardrobe allowances,
stunt pay,
private
dressing rooms, and
adequate rest periods between performances.
The Producers and the Pension and Health Plans
Performers who meet the eligibility criteria of working a certain
number of days or attaining a certain threshold in income derived
from SAG productions can join the Producers Pension and Health
Plans offered by the Guild. The eligibility requirements vary by
age of the performer and the desired plan chosen (there are two
health plans). There is also
Dental,
Vision, and
Life &
Disability coverage
included as part of the two plans.
Residuals that are needed to succeed in the footage
The Guild secures
residuals payments in
perpetuity to its members for
broadcast
and re-broadcast of films,
TV
shows, and
TV
commercials through clauses in the basic SAG agreements with
producers.
Major strikes and boycotts by the union
Early strikes
In July 1948, a strike was averted at the last minute as the SAG
and major producers agreed upon a new collective bargaining
contract. The major points agreed upon include: full union shop for
actors to continue, negotiations for films sent direct to tv,
producers cannot sue an actor for breach of contract if s/he
strikes (but the guild can only strike when the contract
expires).
In March 1960, SAG went on strike against the 7 major studios. This
was the first industry-wide strike in the 50-year history of movie
making. Earlier walkouts involved production for television. The
WGA had been on strike since January 31, 1960 with similar demands
to the actors. The independents were not affected since they signed
new contracts. The dispute rests on actors wanting to be paid 6% or
7% of the gross earnings of pictures made since 1948 and sold to
television. Actors also want a pension and welfare fund.
In December 1978, members of SAG went on strike for the fourth time
in its 45-year history. It joined the
American
Federation of Television and Radio Artists in picket lines in
Los Angeles and New York. The unions said that management's demand
would cut actors' salaries. The argument was over filming
commercials. Management agreed to up salaries from $218 to $250 per
scene, but if the scene were not used at all, the actor would not
be paid.
Strike and Emmy Awards boycott of 1980
In July, SAG members walked out on strike, along with AFTRA, the
union for television and radio artists, and the American Federation
of Musicians. The union joined the television artists in calling
for a successful
boycott against
that year's prime-time Emmy
awards.
Powers Boothe was the only
one of the 52 nominated actors to attend: "This is either the most
courageous moment of my career or the stupidest" he quipped during
his acceptance speech. The guild ratified a new pact, for a 32.25%
increase in minimum salaries and a 4.5% share of movies made for
pay TV, and the strike ended on October 25.
The commercials strike of 2000
The commercials strike of 2000 was extremely controversial. Some
factions within SAG call it a success, asserting that it not only
saved Pay-Per-Play (residuals) but it also increased cable
residuals by 140% up from $1,014 to $2,460. Others suggest almost
identical terms were available in negotiation without a strike. In
the wake of the strike, SAG, and its sister union AFTRA, gathered
evidence on over 1,500 non-members who had worked during the
strike. SAG trial boards found
Elizabeth Hurley and
Tiger Woods guilty of performing in non-union
commercials and both were fined $100,000 each.
Predicted strike of 2009
The film industry is anticipating a strike by SAG, in addition to
the recently resolved
WGA
strike. The strike, which could occur after the expiration of
SAG's major contracts in June 2008, would stem from the current
handling of royalties from the sale of films distributed through
new media methods. This includes royalties
earned from Internet distribution services such as
iTunes, as well as DVD sales, neither of which
are currently written into actors', writers', and directors'
contracts. The strike date of July 2008 was chosen due to its
coinciding with the expiration of several contracts between SAG and
AMPTP.
Production companies are bracing for the strike by accelerating
production of films and television episodes, in an effort to
stockpile enough material to continue regular film releases and TV
schedules during the strike period. A list of 300 high-priority
film projects is reportedly circulating around talent agencies in
accordance with this effort.
Beyond the major studios
SAG members may not work on non-union productions; many
film schools have SAG Student Film Agreements
with the Guild to allow SAG actors to work in their projects.
SAGIndie was formed in 1997 to promote independent filmmaking using
SAG actors; SAG also has Low Budget Contracts that are meant to
encourage the use of SAG members on films produced outside of the
major studios and to prevent film productions from leaving the
country, known as "
Runaway
production". In the fight against "Runaway production", the SAG
National Board recently voted unanimously to support the Film and
Television Action Committee (FTAC) and its 301(a) Petition which
asks the
US Trade
Representative to investigate the current Canadian film
subsidies for their violation of the trade agreements Canada
already signed with the United States.
SAG Presidents
See also
Notes
- HERBERT MITGANG. Dangerous Dossiers: exposing the secret war
against america's greatest authors. New York City, NY: Donald I.
Fine, Inc, pp 31-33
-
http://www.sag.org/sagWebApp/Content/Public/joinsag_HowTo.htm#top
- Suicidegirls.com, web: SG-DCross.
- Health BenefitTabs-Eligibility
- Actors' Strike Threat Fades; Points Agreed. (1948, July 8). Los
Angeles Times,p. A1. Retrieved June 24, 2008
- ACTORS START STRIKE AT 7 MAJOR STUDIOS :Guild Turns Down
Proposal to Finish Work on 8 Movies. (1960, March 7). Los Angeles
Times,1. Retrieved June 24, 2008
- HARRY BERNSTEIN (1978, December 20). Actors in Radio, TV
Commercials Strike :Unions Say Ad Agencies Seek More Work for Less
Money. Los Angeles Times,p. oc_a12. Retrieved June 24, 2008
- Facts on File 1980 Yearbook, p805
- See the reported list here; Studios brace for life without scribes -
Entertainment News, Business News, Media - Variety; Film studios braced for strike by Hollywood writers
and actors - Times Online; Strike
Threat Spreads Panic in Hollywood; SAG nation board votes to request Federal mediator
before sending strike authorization to members; Reporter
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