SAG-AFTRA NY, Fall 2013

SAG-AFTRA NY Angela Weiss/SAG-AFTRA

Fall 2013 • Volume 2 • No. 2

New York Local delegation at the inaugural SAG-AFTRA National Convention

SAG-AFTRA Convention Makes History

“T

his might be the most important thing I’ve ever done,” remarked Ken Howard of merger and his SAG-AFTRA presidency. Then he deadpanned, “This might be the only important thing I’ve ever done.”

On the final day of the first-ever SAG-AFTRA National Convention, exuberant delegates rose to their feet in thunderous applause. Ovations like that were plentiful during the four-day gathering at the JW Marriott Los Angeles L.A. LIVE conference center and hotel.

The festivities kicked off the night of Sept. 25 with a welcome reception hosted by the Los Angeles Local, giving delegates from all across the country a chance to mingle in a social setting. N.Y. Delegate Christine Bruno said, “I am so excited to be here to represent New York and performers with disabilities nationwide.”

Business began the next morning, and from the

By Liz Zazzi

drop of the gavel at 9 a.m. on Sept. 26 to the noon adjournment on Sept. 29, spirits were high. The L.A. Singers Committee started the first day with a beautiful rendition of our national anthem. President Howard declared, “We are taking the first, early steps on a remarkable journey. There will only ever be one first SAG-AFTRA convention.” A rousing keynote speech by AFL-CIO President Richard Trumka followed. “Labor makes possible the joy and wonder that I feel, and all of us in the viewing public feel when we’re transported by the magic that you do.” The recurring theme of the long weekend was United for Our Future. Delegates were addressed via prerecorded video by Sen. Elizabeth Warren, who noted, “Unions have led the fight to build America’s middle class.”

The afternoon session featured the elections of the national vice presidents. Gabrielle Carteris (L.A.) was elected executive vice president. Clyde Kusatsu continues on page 10 >>>

Asian-American Filmmakers Luncheon page 2 BROADCAST SPOTLIGHT: John Hockenberry page 5 “I AM A NEW YORK ACTOR” Krysta Rodriguez page 6 2014 Negotiations Calendar page 8 STAFF SPOTLIGHT: Huseina Sulaimanee page 9 Walter Grinspan Remembered page 11

SAG-AFTRA Hosts Asian-American Filmmakers Luncheon

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C. Bay Milin/cbaymilin.com

n Aug. 3, the SAG-AFTRA Equal Employment Opportunities & Diversity Department, along with the National Asian Pacific American Media Committee, hosted a luncheon as part of the 36th Asian American International Film Festival (AAIFF). The event took place at the New York Local office at 360 Madison Ave., and offered producers, directors, performers and all those associated with AAIFF projects an opportunity to learn from and network with one another in a stress-free and informal environment.

Experiencing tremendous growth each year, AAIFF programs now include exclusive screenings of films and videos Member and Asian American Film Lab President originating in more than 30 countries, Jennifer Betit Yen and SAG-AFTRA National Director staged readings, receptions and a variety of EEO & Diversity Adam Moore of panel, interview and workshop events.

Presented by the nonprofit media arts members to work in these short films. As a result, organization Asian CineVision, AAIFF was the first many of the filmmakers involved in the Shootout festival in the United States to showcase the film utilized union talent for the first time and were and video work of artists of Asian descent, filling a invited to the luncheon to share their experiences. void for greater cultural diversity and awareness in Also present was Asian American Film Lab independent cinema.

President and SAG-AFTRA member Jennifer Betit Asian CineVision also sponsors the 72 Hour Yen, who addressed how the union’s involvement Shootout, a competition organized by the Asian increased the number and quality of the films American Film Lab, in which small teams of submitted to the competition, creating a successful filmmakers are given 72 hours to script, shoot, edit partnership for all involved, and hopefully inspiring and finish a short film, with an opportunity to the filmmakers to produce their future projects under have that film screened at the AAIFF. This year, SAG-AFTRA contracts. The event exemplified SAG-AFTRA was proud to announce that an SAG-AFTRA’s continuing efforts to diversify the agreement had been reached allowing SAG-AFTRA entertainment, news and media industries.

IMPORTANT NOTICE:

New York Offices are Closing and Moving to a New Location!

The SAG-AFTRA New York offices (260 and 360 Madison locations) will be closing at 5:30 p.m. on Dec. 20 and will be completely closed until we re-open in our new office space on Jan. 6.

New York staff will be unavailable, either in person, by phone, or by email.

For on-set emergencies, the hotline number will still be available: (212) 517-0909.

You may also call the SAG-AFTRA national office in Los Angeles during this time.

General questions: Agency: Commercials Contracts: Sound Recordings: Television Contracts: Theatrical Contracts:

(323) 954-1600 (323) 549-6745 (323) 549-6858 (866) 912-3872 (323) 549-6835 (323) 549-6828

PLEASE NOTE: As you can imagine, the construction zone is both busy and physically hazardous. For safety reasons, the site must remain off-limits to all members until construction is complete and we have received our official Certificate of Occupancy. This applies to all members, including officers, board members, committee members and others. If you have any questions regarding this policy, please contact Roe Badamo at (212) 863-4213 or Jae Je Simmons at (212) 827-1474. Thank you.

We look forward to welcoming you to our brand new space on the 5th floor at 1900 Broadway, across from Lincoln Center between 63rd and 64th streets.

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SAG-AFTRA NY NEW YORK COMMUNICATIONS COMMITTEE Liz Zazzi Chair Sam Freed Anne Gartlan Mike Hodge John Metaxas Jeff Spurgeon Sharon Washington //////

EDITORIAL STAFF Richard Baldwin Communications Coordinator Bernadine Goldberg Manager, Member Outreach

QUESTIONS? COMMENTS? COMPLIMENTS? We’d like to hear from you!

Send them and your suggestions for topics you’d like to see covered in future issues to newyork@sagaftra.org Please write

NEWSLETTER

in the subject of your email.

Convention Interaction

S

o after our historic first election, we’ve had our historic first convention. It was fun, it was educational and it was enlightening. It was also very busy.

I would like to give a great shout to four New York Board members who worked tirelessly throughout the convention to make sure it all went smoothly: Janette Gautier and Sue-Anne Morrow of the Credentials Committee and Rebecca Damon, National Chair, and Anne Gartlan of the Constitutional Amendments and Resolutions Committee. Though the most important part of our business was electing eight national vice presidents and voting on constitutional amendments and resolutions, I found the most exciting part of the convention to be meeting and interacting with members from across the country, many of whom have very different work experiences than we do here in New York.

About two weeks before our convention, I went to the national convention of the AFL-CIO, where we discussed the future of

labor and the labor movement. As often as I have spoken over the years about the need for unity, I now fully understand what that means to the broader union landscape.

What I realize is how much we need to back unionism of all sorts in this country, not just for the SAG-AFTRA New York Local. I know that diminishing middle class income is directly tied to the diminishing of unionism in the country.

What this means for us as workers is that the more we unionize all of our jobs, the better off we’ll be. We should view every non-union job offer as an opportunity to unionize. Understand, every time you choose to work off the card, the harder you make it for yourself and all of your friends to earn a living. Your short-term gain will be very short-lived. If it’s a commercial, there is a great possibility that you will have a conflict for life. If it’s TV or a film, you will never make any more money from it and it will live forever. There will be no possibility of pension or health benefits based on that

A LETTER FROM THE NEW YORK PRESIDENT

MIKE HODGE work. But most importantly, you lose the right for the union to fight for you if you don’t get paid, if you are asked to work in unsafe conditions or if you deserve overtime.

Both the SAG-AFTRA and the AFL-CIO conventions reinforced my belief that a union only works as well as the members’ commitment to it. I thank all of you who make your voices heard, and I encourage more of you to participate in union service.

Our industry is the most union dense in the country. It is up to us to help increase that density. It seems that right now the country is looking to SAG-AFTRA to raise the level of pay across the board. I say we are up to the challenge. Are you willing to help?

— In Solidarity

SAG-AFTRA New York Local Board 2013-2015 FALL 2013 // SAG-AFTRA NY //

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Conservatory Registration Now Open This promises to be another great year for the N.Y. Conservatory, filled with excellent workshops, seminars and weekly classes. You must be a paid-up member of SAG-AFTRA to join.

Annual membership is $30 and the season runs Sept. 1 through Aug. 31, regardless of when you join.

To register, please visit SAGAFTRA.org/nyconservatory for the downloadable registration form and class schedule.

Or, if you prefer, please stop by the SAG-AFTRA Committees Department located at 360 Madison Avenue, 12th floor (entrance at 45th Street) to pick up an application.

Completed applications along with payment can be mailed to, or dropped off at, the following address:

SAG-AFTRA NY Committees Department, 12th Floor 360 Madison Ave. New York, NY 10017 (Online registration is not available at this time.)

IMPORTANT: Please PRINT clearly and COMPLETELY fill out your application including your professional email address and make your check/money order (cash is not accepted) payable to SAG-AFTRA in the amount of $30 ($20 for members over 70).

Your card will be mailed to you within four to six weeks.

SIGN UP FOR CLASSES Members sign up in person for one regularly scheduled class per week. Sign-up sheets are posted Monday of the week prior to the scheduled class. Classes usually fill up a week in advance. You may sign up for classes while you are waiting to receive your conservatory membership card.

Share Your Craft as a N.Y. Conservatory Teacher

S

AG-AFTRA N.Y. Conservatory instructors say teaching makes them better actors. Have expertise and experience?

Volunteer for the SAG-AFTRA N.Y. Conservatory Studio. Can’t commit regularly?

There is always a need for substitute teachers. Subs, when called and available, cover a class in their area of expertise when a teacher is unavailable. Assistants are needed as well to help with classes. As an assistant, you will also audit and learn the different requirements of a particular class.

You can download the teacher application at SAGAFTRA.org/nyconservatory and send it to: SAG-AFTRA Committees Department, 360 Madison Ave., 12th Floor, New York, NY 10017. Applications must be received

by Dec. 13. Interviews for teachers will commence shortly after that date.

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COMMERCIALS CONTRACTS 101 On July 29, SAG-AFTRA hosted a 2013 Commercials Contracts Industry 101 webinar to educate our industry partners about the new contracts negotiated earlier this year.

The event was open to commercial producers, ad agencies, advertisers, casting directors and payroll companies. Participants were invited to attend via webinar or in person in the Leon Janney Boardroom in New York. Two sessions were held, with the later session adding participants from the Los Angeles Local by videoconference. In-person and Internet attendance combined for more than 200 participants. Director of Commercials Contracts Lori Hunt commented, “Not only is this a great teaching tool, but we as staff get to meet in person those people we talk to every day about claims, and making a personal connection is helpful in maintaining a positive working relationship.”

BROADCAST SPOTLIGHT:

John Hockenberry

J

ohn Hockenberry has reported the news from across the nation and around the world, on radio and on television. He has worked for National Public Radio, ABC and NBC, winning four Emmys and three Peabodys.

He has written a novel and a memoir. I sat down with John in his current home: the studios of New York Public Radio, SAG-AFTRA’s largest New York broadcast shop.

I asked John to describe himself, and he did so quickly with a single word: Storyteller.

“I’ve always had a mind filled with junk knowledge from various attempts: to be a musician, a mathematician, this, that or the other thing.

What I retained from those experiences is the set of stories that comes with a good try. I was finishing college in the midst of a musical education when I got into journalism.

I’d had a terrible car accident and I was sort of struggling with how to get around in a wheelchair, which was going to be a lifelong thing. I was open to just about anything, and I got connected to a public radio station, telling stories and learning how to use audio equipment. I think it really bonded with who I was: a curious person who had a lot of interests.” That led John to a career at NPR in Washington, which led to a career at NPR around the world. He went off to the first Gulf War in ’91 and spent 12 years at ABC News and then NBC News.

Hockenberry is currently host of The Takeaway, a radio news program produced in New York and heard locally on WNYC-AM/FM and on other public radio stations around the country. The show has evolved during its five-and-a-half years on the air. “I think it’s fair to say we began as the most outlandish idea in public radio history: Let’s do a show on a tiny budget and compete directly against NPR’s Morning Edition.

We got some stations to go along, and we did have an impact, but it just wasn’t viable. About a year ago, we shifted to a one-hour, midday program. But those lessons we learned during four years of morning drive really paid off in terms of our identity and clarity of purpose. I think that’s the reason why we’ve grown from under 50 stations to over 200 stations in just a year.”

Hockenberry has held a union card for many years, but not always as a broadcaster.

“Long before I was in a wheelchair, I was a union welder in Chicago

Katherine Wolkoff

By Jeff Spurgeon

with the Brotherhood of Bridge, Structural and Ornamental Ironworkers. I worked union jobs in the summer to pay for college.

So when I first started working at NPR and joined AFTRA, I knew all about unions. I would say I actually come from a neutral or anti-union background. My grandfather, who oddly enough was a labor-management mediator, had a bookshelf full of biographies extolling J.P. Morgan and Henry Ford. Nothing about Samuel Gompers or Walter Reuther.”

What does he think of the current labor situation in the United States? “I think this sacred American idea that all jobs flow from economic growth, that economic growth is always benign and that wealth trickles down from above, is something people don’t question as much as they should.

Unions are on the defensive, but that doesn’t mean we should be defensive about our mission. I believe SAG-AFTRA should aggressively articulate the value of union representation in media.

The fact that media is changing so rapidly is only an argument for unions. Make the argument loud

and don’t stop.”

As for aspiring broadcasters, Hockenberry believes there is still a ground floor, but it is in new technology, such as Internet video, podcasts or blogging. “I think people should be finding their voice in platforms that allow ease of entry. Develop your voice so it has value and you can be paid for it. I do see value in journalism school. Platforms are so multifaceted you really need to be able to write, make videos, run a server, operate an ISDN line, etc. and school can help with those technical skills.”

John lives with his wife and five children in a former warehouse in Red Hook, Brooklyn. “As a guy in a wheelchair in New York, you’ve gotta have some real estate chops to find accessible housing.

Accessibility means wide-open spaces for wheelchairs, big doors, that sort of thing. But as my kids become teenagers, this idea of no shut-able doors is kind of an onerous existence for them. They bemoan the lack of privacy that comes from my interest in really cool apartments.”

Any final thoughts? “I just keep acquiring storytelling skills. It has taken me a long time to really believe I’m a journalist. It’s been pretty exciting, but my kids constantly ask me, ‘What is it that you do, Dad?’” – Jeff Spurgeon is a SAG-AFTRA National Board member and New York Local Board member.

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Krysta Rodriguez in First Date

Joan Marcus

Anne Gartlan Interviews Krysta Rodriguez

oung and glamorous, chatty and accessible: That’s Krysta Rodriguez. But don’t let her easy personality and gift of gab fool you into thinking she is anything but a solid professional actress with focus and drive. Her career path has been a remarkably successful example of the typical N.Y. actor career cobbled together with film, cabaret, concerts, commercials, TV and theater.

Rodriguez currently has her first above-the-title leading lady role in Broadway’s First Date, a musical comedy with Zachary Levi (NBC’s Chuck), which she came to fresh from a co-starring role in NBC’s Smash.

Born in Orange County, Calif., she had an accountant mom (“totally creative but with crippling stage fright”) and a dad who was a parole officer (“and a total ham”). When she was a kid, they traveled the country in an RV, including two trips to New York, where Rodriguez got hooked by a production of Fiddler on the Roof and eight other shows by age 13. After seeing Beauty & the Beast, her career goal became to be in the chorus and play “a napkin.” Not Belle? “No! I want to be a napkin and dance around.”

OK, perhaps that was a classic beginning, but then Rodriguez attended a professional high school where she starred in the title role of Gidget, written and directed by Francis Ford Coppola for his 13-year old

“I AM A NEW YORK

ACTOR”

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granddaughter, Gia. She describes Coppola as “obviously a genius, but not all napalm and horse heads. He rode around on a scooter.”

Her professional training continued at NYU for two years but was cut short by her Broadway debut in the ill-fated musical Good Vibrations, where she was the swing for nine roles, including two leads. Further attempts to return to NYU were cut short by more Broadway shows: Spring Awakening (more swinging), Bebe in A Chorus Line and Wednesday in The Addams Family.

Her first film, The Virginity Hit, she describes as a Borat-style improv movie, and her first TV show was Gossip Girl, in which she says she had a great make-out scene. The 2008 episode was written by Josh Safran, who became the showrunner for Smash. Austin Winsberg, another writer on Gossip Girl, went on to be one of the writers on First Date. Safran also knew her from one of her Joe Iconis & Family concerts (Iconis is a musical theater composer with whom Rodriguez has collaborated for years and whose music she got to sing in the second season of Smash). Laughing heartily, she said, “Basically that job on Gossip Girl got me every job I’ve had since then!”

Rodriguez joined the union after doing a Pizza Hut commercial.

Despite some sticker shock at the initiation fee, she appreciates the importance of the union to performers. “Actors have to focus on so many things besides making art. It’s great to have the union watching your back on issues like safety, residuals and health benefits.”

SAG-AFTRA was keeping an eye on things on the set of Smash the day Rodriguez performed an aerial act, 25–30 feet above the ground in a silk hammock (created by AntiGravity). “You have to wrap yourself in the silk and turn yourself upside down. No harness or net. My mind was willing, but my body refused to cooperate.” She had about four hours of training over four days. She said that after her breakout moment of crying, she was fine. Then after doing the stunt for 12 hours, “You get to say you’ve just done something only a handful of people in the world have done. It’s pretty empowering.”

I asked her if she had advice for other actors. Without hesitation, she replied, “Dedication and hard work. I teach workshops and master classes for students, for example, at my high school. I can’t open my coat and give you a key. Everyone has a different path. You have to work for it, or it’s not going to happen. You have to sacrifice for it.”

What would those sacrifices be? “A life. Most of the time, I go home after the show. My day revolves completely around this hour and a half: when I eat, what I eat, who I talk to, how long I talk, how long I sleep. For 10 years I didn’t go to a wedding or a graduation or a funeral. I haven’t had Christmas at home with my family in the last 10 years. But those things didn’t matter to me because I had such a supportive family. They’re just the best. We’ve had Christmas all over the world. We have Fake Christmas and Fake Thanksgiving. We pick a day and we do the whole shebang with all these other theater orphans. We have a great time!”

When she was in Spring Awakening, they had Christmas on Dec. 10 at the Westin, taping their socks to the wall for stockings and stringing lights on the lamps. “They were the best Christmases ever.”

I asked if she thought she had made her luck? “Yes, for sure.” Spring Awakening she made happen. The producers decided she was too old and weren’t going to even let her audition. She called every day but they wouldn’t give her an appointment, so she went to an open call that ran so late, she couldn’t stay. She called again; then they gave her an appointment and she got the job. She simply said, “I’m getting in this

show — everybody get on board.

This is not my advice. I was annoying to my agents, myself, everyone.” She describes herself as restless and competitive, always trying to “up” herself. She believes she’s always had a good team around her and that she simply likes to work.

Her fourth Broadway show was The Addams Family, although she didn’t initially get the part of Wednesday. For the show’s first workshop, she was offered the ensemble. She did some soul-searching and ego-checking, and took the offer. Then, when the role opened up in the second workshop, she got it and the producers told her it was because they thought it was noble of her to take the ensemble when she was so obviously right for Wednesday.

She stayed in the role through the out-of-town previews and the first year of the Broadway run.

The last two weeks of The Addams Family, she auditioned for a pilot in New York and flew to Los Angeles for the test. She got the pilot, though it didn’t get picked up. Knowing she was getting older, and that it’s a young man’s game in L.A., she committed to a full-blown pilot season. So then, TV became the goal.

But what she found in L.A. was a “disconnect” with her ethnicity. She wasn’t being considered for the lead, but for the sidekick. Even though she looks “white,” in television she is seen as a minority because of her name and ethnicity. “And there are quotas that must be filled.” So sometimes her ethnicity works for her and sometimes against her.

That’s why she decided to move back to New York, because here “nobody cares.” She’s been Jewish, Hispanic, played typical girls, zombies and dead people. Ironically, she moved to L.A. to get TV work, but got TV work in N.Y.: Gossip Girl and Smash.

“I enjoyed my time in L.A., but the best thing I love about New York is that in New York, people are always making things happen — all the time.” One of her Addams Family co-stars, Wesley Taylor, has done several Web series that Rodriguez has been in. “[Webisodes] are legitimate pieces of work now. All different types of work are available in New York.

If it’s not happening, it’s because you are not making it happen.” She loves being a N.Y. actor because “New York has every medium: You can do TV, film and the best theater is in New York.”

– Anne Gartlan is a SAG-AFTRA National Board member and New York Local Board member.

FALL 2013 // SAG-AFTRA NY //

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SCREEN ACTORS GUILD AWARDS simulcast live on TNT and TBS, Saturday, Jan. 18, 2014 Dues must be received

by Monday, Dec. 2 for voter eligibility and For Your Consideration materials.

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Huseina STAFF Sulaimanee SPOTLIGHT Case Manager

H

By Jeff Knapp useina Sulaimanee is a case

manager in the SAG-AFTRA

New York Legal Department.

An important part of the team, Huseina

has myriad duties, from handling claims

to working extensively on legal issues on behalf of the union.

Born in Queens and raised in both New

York and New Jersey, Huseina graduated

Important Information for AFTRA H&R Participants Report Potential Discrepancies for Pre-2009 Earnings Before End-of-Year Deadline

E

ffective Jan. 1, 2014, performers must report any

potential discrepancies in reported

NYU with a degree in psychology and sociology.

earnings — and include supporting

and then working in the Business Affairs Department of the William Morris Agency.

documentation — no later than five

After college, she ended up taking a job as a paralegal

“I always knew I wanted to do something in entertainment. I just didn’t know what I

wanted to do. I really enjoyed that work and it was because of that I decided to go to law school.”

Huseina attended Benjamin N. Cardozo School of Law in Manhattan. In her third

year of law school, she landed an internship at Screen Actors Guild. “I got familiar with the union and that was a great experience for me,” she said. After passing the bar, she

began her career at Screen Actors Guild as a policy coordinator, and upon the merger of

calendar years from when earnings were (or should have been) credited.

Remember, while AFTRA H&R works with SAG-AFTRA and contributing employers to determine

SAG-AFTRA, Huseina moved to the legal department.

and collect contributions on covered

affecting the membership (including labor, employment, intellectual property and

earnings that should be reported

The six-person N.Y. legal department provides advice and counsel on all matters

regulatory compliance) to all New York officers and staff, as well as all locals east of the Mississippi.

Huseina works on all these matters, and on state legislative and policy issues that

affect SAG-AFTRA members. The legislative and policy work includes research,

preparing written and oral testimony and representing the union in administrative

hearings. One recent victory involved child performer regulations. “For many years,

we worked closely with the Department of Labor to implement effective regulations,”

Huseina relates. “We are happy with the final rules and the protections it will provide to young performers.”

The legal department was also instrumental in working together with other

entertainment unions to convince the state to establish tax incentives to bring more work to New York.

The lion’s share of Huseina’s time is spent working on residual claims. The New York

legal staff collects millions of dollars in claims money for members every year. “We’re

responsible for getting the performers paid and taking any legal action necessary. I work on a large volume of claims at a time. They are very time-consuming, but we are very aggressive about going after them. We want our performers paid on time.”

The SAG-AFTRA membership is fortunate to have a woman of Huseina’s qualities

working on their behalf.

to AFTRA H&R, you know best the work that you have performed, and so it is important that you partner with us to make sure the information we have for you is accurate and complete. If you have any questions or need assistance, call (800) 562-4690 or email earnings@aftrahr.com.

For complete details, refer to the August 2013 Benefits Update, available at aftrahr.com.

– Jeff Knapp is a New York convention delegate, actor, writer and spokesperson.

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New York Delegates in Attendance at the First SAG-AFTRA Convention: Polly Adams Dave Bachman Marc Baron Nitasha Bhambree Sandra Bloom Avis Boone Christine Bruno Tandy Cronyn Rebecca Damon Gene DeFrancis Maureen Donnelly Venida Evans Richard Ferrone Anne Gartlan Janette Gautier Mike Hodge Anita Hollander Phoebe Jonas Sandra Karas Verania Kenton Gerald Kline Jeff Knapp Ezra Knight Cathy Lilly James Lurie Gy Mirano Carol Monda Sue-Anne Morrow Jack Mulcahy Jody Myers Christine Nagy Robert Newman Janice Pendarvis Roberta Reardon Nick Sakai Kevin Scullin Matt Servitto Mike Shapiro leslie Shreve Keith Randolph Smith Alice Spivak Jeff Spurgeon Nancy Ellen Sutherland Monica Trombetta Tania Villanueva Sally Winters Rick Zahn Liz Zazzi

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CONVENTION

>>> continued from page 1

(L.A.), Mike Hodge (N.Y.), Ilyssa Fradin (Chicago, midTelevision for Arab American Stories; and Universal size local), David Hartley-Margolin (Colo., small local), Music Group for its entire catalog and roster of artists.

Robert Newman (N.Y., actors/performers) Catherine The George Heller Memorial Award gold card, given for Brown (Philadelphia, broadcasters), and Dan Navarro exemplary service to the union, was presented to David (L.A., recording artists) rounded out the VP elections.

Hartley-Margolin, national vice president, small locals, On Friday, Rep. Judy Chu addressed the convention and Pat O’Donnell, Washington-Mid Atlantic Local via video and spoke of her commitment to intellectual executive director. There was also a moving tribute to property rights, highlighting her co-sponsored Creative SAG-AFTRA’s founding Co-Presidents Ken Howard and Rights Caucus. An entertainment industry panel Roberta Reardon. Then delegates dined and danced the followed, with presentations and a Q&A on the changing night away. landscape of social and interactive media platforms and Saturday’s keynote speaker was U.S. Secretary of how they affect SAG-AFTRA members.

Labor Thomas Perez. Calling himself our partner, he Delegates then considered praised SAG-AFTRA for shining a light various constitutional amendments on labor. “While I go into the court of and convention resolutions. law, you go into the court that is much Seasoned national board members bigger: the court of public opinion — and brand new delegates debated winning the minds and hearts of the and ultimately voted on measures people,” he said. Vice President Joe that will continue to shape our new Biden addressed delegates via video, union. N.Y. broadcaster delegate Jeff citing intellectual property laws as a Spurgeon said, “I arrived with no priority. “As technology changes, we expectations, but I find convention need to make sure these laws mean incredibly uplifting. We’re getting something for you and protect what you very encouraging reports on the do,” he said. organizing front which make us all Delegates dined outdoors, sampling — Jeff Spurgeon feel unionism is really alive. And a variety of food from L.A.’s famous getting to meet other delegates from food trucks stationed next to the hotel. across the country is a great way to begin making the Saturday afternoon and Sunday morning, delegates bonds that create the culture of our new union.” continued consideration of amendments and resolutions.

The rest of the afternoon, delegates took advantage Reardon noted, “National conventions are a unique of panels and workshops that included such diverse experience unlike any other union gathering. The fare as organizing, new media, social media, broadcast quality of our discussions and the depth of engagement contracts, collective bargaining, casting and auditions, throughout the room are exhilarating. Working together, commercials and voiceovers, audiobooks, equal face to face over a period of days, reaching across employment opportunity, the Affordable Care Act, geographic and work category lines to build consensus government affairs and public policy, agency franchises is democracy at work and I am thankful to have been a and many more. There was something for every part of it.” category, as actors, broadcasters, recording artists, The convention concluded with powerful speeches background performers, singers, dancers and stunt from Howard, Carteris, Secretary-Treasurer Amy performers entered into forums to highlight their Aquino and National Executive Director David White. common ground as well as their unique issues.

“We are all united, for your future and for ours. We are Throughout the weekend, delegates also had the chance thrilled to be your partners in this important work and to explore the Information & Resource Expo, which we look forward to making SAG-AFTRA even greater highlighted SAG-AFTRA’s departments and national — together,” White said. committees, as well as many information booths with New York was well represented by its delegates. A outside resources and programs available to SAG-AFTRA percentage of top vote-getters were funded to attend, members. A press conference was held on SAG-AFTRA’s and many attended on their own dime. Said N.Y. Local groundbreaking study on workplace opportunities and President Mike Hodge, “I couldn’t be more proud of how conditions for LGBT actors, Sexual Orientation and well represented we were in terms of categories, diversity Gender Identity Diversity in the Industry. and leadership. And I was especially moved that so many Friday night, delegates dressed up and purchased of our delegates saw how important this first convention tickets for the Convention Celebration. Emceed by Mary was and elected to attend at their own expense. I thank Hart (Entertainment Tonight), the gala honored members, the entire New York delegation for their dedication and staff and employers. Three American Scene Awards were participation in making history in SAG-AFTRA.” given to employers who celebrate diversity: ABC Family and Brenda Hampton of Brendavision! Productions for – Liz Zazzi is a SAG-AFTRA National Board member The Secret Life of the American Teenager; Detroit Public and New York Local Board member.

// SAG-AFTRA NY // SAGAFTRA.ORG

“We’re getting very encouraging reports on the organizing front which make us all feel unionism is really alive.”

FREE GENERAL ADMISSION FOR SAG-AFTRA MEMBERS AND A GUEST Museum of the Moving Image is dedicated to the art, history and technology of film, television and digital media. It offers permanent and changing exhibitions as well as educational programs, interactive experiences, conversations with leading industry figures and more than 400 screenings each year. Its core exhibition, Behind the Screen, contains more than 1,400 artifacts dating from the 19th century, and immerses visitors in the creative process of making moving images. The museum will appeal to creative professionals, families, fans and anyone who wants to learn more about the most influential art form of our time.

A complete description of the museum’s programs and resources can be found on its website, movingimage.us. The museum is located at 36-01 35th Ave., Astoria, NY 11106.

Directions are available on the website.

Any SAG-AFTRA member from any local may take advantage of this special offer. Admission to screenings and special events is extra. You must show your current SAG-AFTRA membership card for admission. Offer good through Feb. 28.

Register for the New York SAG-AFTRA/WGAE Film Society!

T

here are still openings available to join the New York SAG-AFTRA/WGAE Film Society. The current season began in September and runs through August 2014. Don’t miss this exciting opportunity to see many first-run films at members-only screenings.

Movie tickets in New York City average $14.50 per ticket, meaning it would cost $1,392 for you and a guest to see 48 films a year. Your annual membership allows you and a guest to attend upwards of 48 films a year for a one-time annual membership fee of only $140. That averages out to only $1.46 per person for each screening!

Go to SAGAFTRA.org/nyfilmsociety for details and rules and to download a paper application.

Check out the selection of Academy Award-nominated films screened over the last few seasons:

2012/13

2011/12

Argo Amour Lincoln Django Unchained Les Miserables True Grit Silver Linings Playbook Zero Dark Thirty The Help

The Artist The Descendants Extremely Loud & Incredibly Close Hugo Midnight in Paris Moneyball War Horse

2010/11 IN REMEMBRANCE

Walter Grinspan

R

etired Executive National Representative Walter Grinspan passed

The King’s Speech The Fighter Black Swan The Social Network True Grit 127 Hours

away on Aug. 24 at the age of 87.

Walter worked at AFTRA for 37 years, beginning in 1955. He spent

much of his time traveling around the country negotiating and administering broadcast contracts and organizing stations. Records indicate that he negotiated more than 1,000 contracts for AFTRA and likely logged more travel miles than almost any other staff member.

According to his daughter, Randy Grinspan Klein, Walter was most proud of his family, his Navy service, and his career fighting on behalf of working people. He taught his children (daughters Randy and Jinny, and son Jeffrey), not to cross picket lines and to honor fair and equitable contracts between parties. He loved his time at AFTRA and established many strong friendships with his colleagues. Walter retired in 1992 and spent his remaining time with his beloved wife of 61 years, Mona. She was at his side to the end. We thank Walter for his dedication and service to our members.

And in recent years prior, we screened Oscar-winning films The Hurt Locker (2009), Slumdog Millionaire (2008) and No Country for Old Men (2007).

DON’T MISS OUT! FALL 2013 // SAG-AFTRA NY //

11

Non-Profit Org. U.S. Postage

PAID New York, NY Permit No. 9313

260 Madison Avenue, 7th Floor New York, NY 10016

SAGAFTRA.org/NY @ sagaftrany

/sagaftrany

NEED TO CONFIRM THE SIGNATORY STATUS OF A COMPANY OR PROJECT?

IMPORTANT NOTICE! Change Of Membership

WINDOW HOURS Effective Monday, Sept. 16 – Friday, Dec. 20: ***

The membership windows at

For information regarding the signatory status of all SAG-AFTRA jurisdictional projects, productions and contracts, New York Local members can contact the Signatory Department at (800) 431-7447 or (212) 827-1425.

360 Madison

will be open from 9:30 a.m. – 5 p.m. ***

The membership windows at

260 Madison

will be open from 9 a.m. – 6 p.m. ***

You can also reach the Membership Department by phone at (212) 944-6243.

See page 2 for information about our move to 1900 Broadway.