SAG-AFTRA NY - SPRING 2016

N.Y.

Spring 2016

Organizing Commercials

By Anne Gartlan

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he Best in the Biz campaign is also known as the Commercials Organizing and Recapture Initiative. At our national convention, National Executive Director David White called it SAG-AFTRA’s “job one.” Best in the Biz was initiated by New York members alarmed about decreasing work opportunities under our commercials contracts and who perceived an increase in nonunion commercial production. The initiative was spearheaded by the National Commercial Performers Committee and has been enthusiastically embraced by commercial performers nationwide. It has become our largest SAG-AFTRA organizing campaign, directed nationally and executed locally. The national launch of the Best in the Biz campaign was held in April 2015, hosted out of the New York and Los Angeles boardrooms, and was attended by more than 1,500 members nationwide via livestream.

Many national departments are involved in Best in the Biz, but the lead commercials strategist and organizer, Gary Saxe, and the associate strategist, Garrett Hall, are located at the New York Local. The seat of the ad industry is Madison Avenue, and the SAG-AFTRA commercials negotiations are our only major contract negotiations conducted here in New York City. The most recent negotiations were just completed, co-chaired by National and New York Board member and CPC National Chair Sue-Anne Morrow and then-Acting President Gabrielle Carteris of Los Angeles.

According to Saxe, there are many factors that have contributed to the increase in non-union ads over the last five to 10 years, including major changes in the ad industry itself. But what matters most is not how we got here, but how we move forward to secure more work opportunities for SAG-AFTRA members.

Effective organizing of this work is done in two ways: top-down (bringing in more employers) and bottom-up (bringing together the work force). continues on page 11 >>>

Carteris Damon

Board Elects Carteris President, Damon Executive Vice President

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he New York Local congratulates Gabrielle Carteris on her election as SAG-AFTRA president and Rebecca Damon on her election as executive vice president. Both were elected by the national board on April 9, following the death of Ken Howard, who passed away in March. Including Secretary-Treasurer Jane Austin, the top three SAG-AFTRA officers are now women, a historic first.

“I am deeply honored to be chosen by the SAG-AFTRA National Board to serve the union and its members as president,” said Carteris. “Ken was a great union continues on page 8 >>>

Letter from N.Y. President Mike Hodge > p3 In a Virtual World > p4 Broadcast Spotlight: Robin Lundberg > p5 “I Am a New York Actor” Barbara Rosenblat > p6 Perspective: Mary McColl > p9 Staff Spotlight: Josh Mendelsohn > p10

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AG-AFTRA members have overwhelmingly approved

successor television, audio and

TWO MAJOR AUDIOBOOK ORGANIZING TRIUMPHS

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digital commercials contracts. The three-year contracts, negotiated with the advertising industry will result in more than $200 million in wage increases and other payments for all categories of performers and an increase in the pension, health and retirement contribution rates, among other gains. In national voting completed May 9, the membership of SAG-AFTRA voted 92.25 percent in favor of the new agreements.

Integrity Voting Systems, an impartial election service based in Everett, Washington, facilitated the voting and certified the final count. The new contracts go into effect immediately, retroactive to April 1, 2016, and remain in force until March 31, 2019.

Visit SAGAFTRA.org for more information on the contracts.

ur thriving community of national audiobook narrators continues to unite and fight to organize new audiobook employers across the country and in Canada.

Brilliance Audio is a large and important audiobook publisher located in Grand Haven, Michigan. The publisher often flies New York narrators out to their studios in Michigan to record audiobooks and also rents studio time here in New York City when they need a voice from the rich talent pool of New York narrators. Until 2015, Brilliance Audio paid union narrators under a union paymaster but had no agreement with SAG-AFTRA. The company also had a talented group of non-union narrators closer to home who recorded for them regularly. However, they paid their non-union narrators wages below the union standard with no health or retirement benefits. But all that has changed.

Brilliance’s cohort of local narrators, along with union narrators from across the country, joined together in 2015 to stand for what they know is true — all performers deserve the dignity of living wages and health and retirement benefits for their hard work. These brave performers mounted a letter-writing campaign, making it clear to the employer just how much they needed improved wages, benefits and working conditions. Eventually,

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o Country for Black Men was the title of a broadcast and live stream at radio station WNYC in February,

hot on the heels of the #OscarsSoWhite controversy.

SAG-AFTRA member and host of All Things Considered Jami Floyd, right, moderated a candid and entertaining discussion about race and exclusion in Hollywood with, from left, creator of #OscarsSoWhite April Reign, professor of film at Vassar College Mia Mask, SAG-AFTRA National Director of EEO & Diversity Adam Moore and playwright/screenwriter Jose Rivera.

The conversation examined the relevance of awards shows within the larger context of the entertainment industry and ways that diversity can be fostered so stories will reflect the American Scene.

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with the date of an official do-not-work order looming, performers put their livelihoods on the line to get a union contract. It worked. The local Brilliance narrators now proudly count themselves as SAG-AFTRA members and all narrators working for Brilliance Audio can count on union wages and benefits.

Another recent audiobook organizing triumph proves that being hired by an international company to do work that takes place right here in the States means that work can and should be covered by a SAG-AFTRA contract. Established in 2013, Podium Publishing, based in Ontario, Canada, wanted to hire SAG-AFTRA talent, but was not a union signatory.

A cohort of brave and dedicated members organized to get Podium under the SAG-AFTRA umbrella, so that whenever performers work for Podium they are assured union wages, benefits and protections.

Podium’s first SAG-AFTRA contract went into effect on Dec. 17, 2015. In a short time, Podium has grown to become an important player in the audiobook industry, and SAG-AFTRA narrators play a key role in its continued growth and success.

The audiobook industry has come into the SAG-AFTRA fold at a rapid pace over the past several years, and our talented, courageous and dedicated SAG-AFTRA narrators have been leading the charge.

THE GREENE SPACE AT WNYC

Members Ratify Commercials Contracts

LIFTING ALL BOATS Dear Member, Work in New York is exploding. We have

more. So even though this job in your hand might pay a really nice fee, there will be

so much work here that the city is having

no residuals, there will be no pension, no

to make sure very desirable neighborhood

health care. But what has me even more

locations are not overused. There has been

concerned than those three things is the

growth in almost every area of our work

inevitable lowering of the rates.

— film, television, commercials, co/ed,

A LETTER FROM THE NEW YORK PRESIDENT

MIKE HODGE

As I understand it, the rates that are

unsanitary conditions or do a dangerous

audiobooks and new media. But two areas

being paid for some non-union jobs are

stunt. There won’t be overtime or timely

I would love to see more of here in the city

better than what you would be paid for

lunch breaks — all the things SAG-AFTRA

are music recordings/videos and interactive

a union job, though when it comes to

fights for on your behalf. Several studies

(aka gaming).

commercials, union work on average easily

have been done that prove that when

pays 10 times more than non-union work.

there is a union present in a community or

thing, what is becoming more and more of a

Also, consider that your union job includes

industry, the standard of living is always

problem is producers, agents and managers

payment into the pension and health plans

higher, even for the non-union work. But kill

who encourage members to work off the

on your behalf. And of course your taxes are

the union, and all bets are off.

card or discourage potential pre-members

handled, while a lot of the non-union work is

from getting their card. I believe both

1099. This means, among other drawbacks,

to-work for less, there are now 26 so-called

of these will contribute to the eventual

your taxes are not handled until the end

“right-to-work” states. It’s really important

downhill slide in earnings and protections.

of the year. But more than that, when

to understand that the corporations want

Performers may think that right now it

corporations can find enough good people

us to work for less, and it’s our job as union

feels great to do this non-union job and it

to do non-union work, I will guarantee you

members and as a union to make sure all

pays more than the union job, so what is

the pay is going to go down. And once they

of our workers are taken care of. We are a

the possible downside? I can tell you, as

are far enough away from the union and its

collective. Non-union work and working off

one who has had a fairly successful and

rules, all of your protections will go out the

the card represents a really big hole in the

long career, at this point in my life, residuals

window, and there will be nobody to fight

boat. We have to plug the hole. You are a

mean a lot. My health care and pension

for you when your check is late, or when

part of the solution. Let’s join hands.

mean just as much and sometimes even

you are being asked to work in unsafe or

In this age of union-busting, and right-

— In solidarity

MATT PETIT

While all of this work is a wonderful

New York National Board members and convention delegates at the 2015 SAG-AFTRA National Convention in Los Angeles.

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IN A VIRTUAL WORLD …

T virtual reality could be a $50-150 billion business by 2025.

So what does this mean for SAG-AFTRA members? It means jobs — in content that spans across entertainment, news and broadcast, education, industrial and more.

The first content that is expected to dominate the marketplace is interactive, with virtual reality video games being a natural evolution from current 2-D video games. Music concerts and sports are also expected to be major sources of revenue. Users can experience the event from anywhere in the world, and supplemental features will allow them to go backstage or into the locker room, giving them more access than the people who actually attend the event.

Major studios already have virtual reality departments, and have begun producing these experiences based on popular films like The Jungle Book.

Advertising will not be left out of this new world. Ads can play within virtual spaces, and virtual pitchmen can lead potential buyers through, for example, real estate properties.

Avatars of performers

or a voiceover narrator can guide users through industrial and educational experiences. Kaleidoscopic images are already being designed to accompany the musical output of our recording artists.

Especially at this moment, SAG-AFTRA members will be necessary for the growth of this new platform, as high-profile names will drive the marketing, and inspiration and imagination will expand the art form.

Remember to confirm that any virtual reality project is signatory with the union.

If you are not sure which contract a project falls under, start with the new media team at (323) 549-6446.

SOUND RECORDINGS CONTRACT

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AG-AFTRA recording artists and singers attended an informational meeting at the New York office on Jan. 13 to learn about the new Sound Recordings Code Contract, which includes groundbreaking worldwide payment formulas for use of member work in streaming media and significant improvements to contributions to the AFTRA Health & Retirement plan.

National Director, Sound Recordings Stefanie Taub presented an overview of the contract, answered questions and led a discussion of current issues and ideas for the future. The union expanded its organizing efforts for recording artists this year with the addition of a new staff organizer, Craig Baylis, who also attended the meeting.

The Sound Recordings Code covers work done by singers, announcers, comedians, narrators and more, working in new and traditional media for major record labels, sub-labels and signatory independent record labels.

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From left, Janice Pendarvis, National Board member and vice chair of the Singers Committee; Kimberlee Archie, business representative; and Carlos Ricketts and Lenesha Randolph, both Singers Committee members.

THINKSTOCK.COM

he concept of virtual reality has been around for several decades, but it is about to explode in terms of its presence in the marketplace and its creative possibilities. This work falls under SAG-AFTRA’s jurisdiction, so it is important for members to verify that a potential employer is signatory with the union. It is critical that these employers understand right from the start that they must hire union talent under union contracts.

If you haven’t tried it, virtual reality is an immersive experience where the user dons goggles and headphones and enters into a virtual world. This world can be constructed of either video captured from a real environment or animation crafted by a team of designers. Users can explore and interact with the virtual world in a 360-degree space by turning their heads or by the use of a connected device.

Last year, Google introduced the Google Cardboard headset and distributed 5 million units to consumers. One million of those units were distributed to subscribers of The New York Times, which created several short virtual reality documentary films, indicating that journalists and broadcasters, not just actors, will be a part of this new frontier. This year has brought the debut of Oculus Rift, expected to be the most sophisticated virtual reality headset available. Mark Zuckerberg is so bullish on its potential that Facebook purchased Oculus back in 2014. And panelists at this year’s Digital Hollywood Media Summit in New York estimated that

Robin Lundberg

By Alex Silverman

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ith one hand gripping a plastic fork, Robin Lundberg balls the other into a fist and pounds it down on the table just forcefully enough to draw some curious glances at the mostly empty salad shop a few blocks from Grand Central.

He does this to demonstrate what he is not. “I don’t follow the typical sports guy script of banging on the table,” he explains. “If you do that, either you’re faking it or something’s wrong with you. If I’m going to lose my mind about something, it has to be real.”

It’s fortunate, then, that Lundberg is passionate about quite a few things. His pre-dawn show on ESPN Radio (98.7 FM) one recent morning began with some NBA trade talk, which quickly morphed into a colorful back-andforth involving characters from The Lord of the Rings and Star Wars.

This, to Lundberg, was not a particularly extraordinary turn of events. “That stuff comes naturally to me because it’s the stuff I dig,” he says. He traces this versatility to his upbringing in a small town in Maryland. “I was an athlete but also a nerd,” he recalls. By his mid-teens, he had started thinking about a career at that crossroads.

Working his way through the ranks at the University of Maryland’s student radio station, Lundberg remembers studying up on the rules of field hockey on his way toward more prestigious football and basketball assignments. He parlayed that experience into internships at ESPN and a behind-the-scenes job at a television show in New York, but as dramatically as he had begun to rise, Lundberg soon found himself in a jarringly unfamiliar position: out of work.

“I had to bartend and wait tables for a year and a half maybe,” he says, recalling a period that seemed interminable at the time, but now seems light-years away. “There was a lot of frustration, but I always maintained a level of self-belief. I just kept throwing wood on the fire to keep it flickering.” And flicker it did — into a behind-thescenes gig at ESPN Radio, and eventually onto the air in the early morning timeslot.

“If you can do solo radio, you can do almost anything,” he says with a smile. “I have fun doing my job. I’m not sure I’d do it for

free though, given the time slot.”

Lundberg credits SAG-AFTRA with setting a fair wage floor when he easily “could have been taken advantage of.” Now 34, living in Midtown East with his wife and young son, he is grateful for the health insurance AFTRA Health & Retirement provides for his family.

Lundberg is perpetually working.

Even when he’s not watching a game or reading up on the latest sports news, “there’s a lot of conceptualizing going on,” as he puts it. He sleeps a split shift — three to six hours during the day, and anywhere from 90 minutes to four hours before rolling in to the studio in what is, to most of us, the middle of the night. “You know how your phone’s on 15 percent battery and you plug it into the charger to get 37 percent before you leave the house? That’s me,” he jokes. Indeed, a shortage of juice is an occupational hazard for the morning radio host, but when he cracks the mic at 4 a.m., Lundberg is charged up. His style is more analytical than ostentatious, staying upbeat even in his moments of disagreeableness (as when, on one recent morning, he put his producer in “time out” for voicing an opinion he deemed beyond the pale).

Asked what he enjoys most about his work, Lundberg barely hesitates. “It’s the connection with the audience. We’re the same,” he says of the New Yorkers who light up the phone lines every morning. He seems to light up himself when he reflects on the notion of cultivating a loyal following of kindred spirits.

While the digital proliferation has left some traditional broadcasters scrambling to adapt, Lundberg says his show is perfectly suited for 21st-century platforms. Twitter is as much a part of the program as the phone lines, and a daily podcast exposes Lundberg to a virtually unlimited audience.

Based on his own path, Lundberg knows there is no surefire formula for young sportscasters hoping to land a dream job in the business. His advice is threefold: practice the craft, establish connections, and — he stresses this one — be easy to work with.

“You can’t be too much of a pain in the ass if you’re not already at the top.”

COURTESY ESPN

BROADCAST SPOTLIGHT:

“If you can do solo radio, you can do almost anything.”

— Alex Silverman is a New York Local Board member.

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COURTESY BARBARA ROSENBLAT

n the Emmy-Winning Netflix original series Orange Is The New Black, Barbara Rosenblat is part of an extraordinary cast that has been honored with two SAG Awards for Best Comedy Ensemble. But when Barbara stands alone at a microphone to record an audiobook, she is the ensemble.

Her ability to inhabit countless characters and recreate any kind of dialect has led AudioFile magazine to rave, “Barbara Rosenblat is to audiobooks what Meryl Streep is to film.”

How did you get involved with OITNB? I heard there was a new TV show about women in prison and thought there has to be something for me. I auditioned for Red originally, and they hadn’t decided if she would be Russian or Greek, but I’m a dialectician and knew I could handle whatever. Then they asked if I would shave my head to play Miss Rosa, and I said uh, no!

What am I going to do? Play Daddy Warbucks in regional theater during my downtime? Ultimately they got a special makeup artist to make me bald, which takes two to three hours every day.

Anne Gartlan Interviews BARBARA ROSENBLAT

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What sort of reactions have you gotten from fans of the show?

I never could have predicted that Miss Rosa would become a folk hero. I was so grateful. I just tried to bring my A-game every time I showed up. One of the wonderful things about OITNB is the disparate demographics it appeals to. That’s what I think makes it so compelling.

And it’s international! I was in Alsace-Lorraine [France] to visit family, and during lunch in a bistro two young waiters asked me to take a selfie with them.

When did you first become interested in acting?

In third grade at Yeshiva, my teacher made me get up and read aloud a story about a Douglas fir tree. When I finished, I could hear a pin drop; everyone was staring at me. That’s when I discovered show business.

What sort of training have you had?

On the job, kind of; I just kept doing it. My drama teacher in high school, Kenneth Goldberry, was a mentor to me. He believed in me as an actor. At City College I belonged to a musical comedy society and had a show on the college radio station called Front Row Center. My first job was playing Yente in Fiddler on the Roof at non-equity dinner theaters in Kentucky, West Virginia and Ohio — God’s Jewish heartland. I was born in London, but grew up in New York.

I went back to London for about a decade, appearing in both West End and fringe theater, cabaret, BBC radio and television, and countless voiceovers.

How did you get your union card?

I’m a member of three unions: SAG-AFTRA, Actors’ Equity and British Equity. I got my provisional British Equity card as an understudy in Godspell. British Equity is an umbrella entertainment union, so all the acting work I did was under one union. I got my Actors’ Equity card with a Don Nigro play called Cinderella Waltz, and got my SAG and AFTRA cards through commercial work.

Why is union membership important to you?

A union is your last, best hope against the vagaries of employment.

Look at the early days of Hollywood and what actors had to put up with from the bosses. I’m a very grateful union member. Health care — yeah!

Has the union ever helped you with a problem?

Yes, it had to do with the length of time we had to wait to be seen for a voiceover audition. We have lives, somewhere to be.

You’re working steadily now, but how have you handled periods of unemployment in the past?

I cry a lot … and then go have lunch.

What advice would you give to actors starting out?

Be prepared to be more wildly disappointed than you ever thought possible. You need to walk into an audition with confidence and make a choice. You always need to see yourself, not so much as a performer, but as a collaborator. You need to provide the trust, the skill and the options to the director.

What advice would you give to actors who have been struggling for a while and might be discouraged?

That’s when you find out what you’re made of. If you practice the “discipline of gratitude,” you are able to keep moving on. I’ve been banging my head against the wall for years; then a role like Miss Rosa comes along.

How did you develop your skill with accents?

I can’t help it; wherever I go I start talking like the locals. In London I played a “tart-with-a-heart” with a Northern English accent and got no negative mention of my accent from the critics. I’ve always had a musical ear. I listen and I mimic everything I hear and file it in my brain. When I did A Secret Garden on Broadway, I again played a character from Northern England, but I also became the production dialect coach for the show’s two-year run, training all the new actors, plus those for the first national tour. I’ve never worked so hard in my life. That show provided the seed money for my career.

You are one of the most sought-after voices in audiobooks. You have eight Audie Awards (the Oscars of the industry), as well as many other citations for a distinguished body of work that numbers more than 500 titles. How did you get started?

I started in audiobooks in England. I thought, “Oh goodie, I get to play everybody.” In New York I worked for The Foundation for the Blind for the Library of Congress. At first they gave me a lot of Holocaust stories to record, memoirs and astonishing tales about

Eastern Europe. (Barbara’s parents were survivors.)

Then I worked for Recorded Books, then audiobooks for anyone who would have me.

Then Broadway and TV came along.

Any advice for audiobook work specifically?

I collaborated on a Kindle book, Audiobook Narrator: The Art of Recording Audio Books. I wanted to share how I do what I do, how I prep what I do. I didn’t have the opportunity to ask those questions when I started out. I’ve also done critique sessions for the SAG-AFTRA Foundation at their New York voiceover lab.

How does one expand the tools in one’s toolbox?

Study the areas you want to get into. Expose yourself to the craft. I believe New York City is the best city in the world, and there is always a way to put yourself in front of art. Audiobooks are a craft.

I’ve been at it a long time, and I come at it with a great reverence. I consider myself a genre-free recording artist. I’ll do whatever it is in front of me.

Tell us about adapting to new technology and making it work for you.

Last week, I did an audiobook and I was privileged to have a director and a studio engineer with me.

That used to be standard — not any more. At home I have a mic, an interface and a recording program for auditions only. But I’m not clever enough to record long-form alone. I applaud those who are.

How do you feel about the roles women in Hollywood are offered, especially as they age?

It’s a great time to be a woman in this biz. Over 400 individual episodes of content were shot in New York last year. That’s amazing!

You’re the perfect interviewee for I Am a New York Actor because your resume is a classic example of a New York actor who cobbles together a successful career in multiple areas of work.

Why, thank you! You have to have more than one string to your bow to survive. For me, audiobooks are one string to my bow.

— Anne Gartlan is a member of the SAG-AFTRA National and New York Local boards.

See related article on audiobooks organizing on page 2.

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STUNT & SAFETY & SAG-AFTRA

GETTING LIT

AG-AFTRA is committed to protecting the daring men and women who risk life and limb to create thrilling stunt sequences for audiences around the world. As part of its ongoing commitment to stunt performers, SAG-AFTRA last year created the position of director, stunt, singers & dancers and dedicated two new business representatives specifically for this category. Also in 2015, the National Stunt & Safety Committee established a New York Subcommittee, chaired by New York Local Board member Nitasha Bhambree, who was instrumental in its formation. The committee addresses issues of importance to New York stunt performers and works with staff to ensure that employers always follow our contracts and maintain the highest safety standards.

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AN EXAMPLE: Back in January, a major studio production wanted two stunt performers to do a high fall from a ship into the waters of the Gowanus Canal. The studio assured SAG-AFTRA that the water had been tested and met safety

ELECTION >>> continued from page 1 leader, friend and mentor. He left big shoes to fill, but with the support of the national board of directors and the membership, I am committed to improving the lives of all SAG-AFTRA members.” Carteris was elected to her first term as executive vice president at

“Ken was a great union leader, friend and mentor.

He left big shoes to fill, but with the support of the national board of directors and the membership, I am committed to improving the lives of all SAG-AFTRA members.”

— Gabrielle Carteris

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standards, but longtime New Yorkers had their doubts (as would anyone looking at the Gowanus Canal). SAG-AFTRA has a longtime safety consultant who is a professional industrial hygienist, and we requested a meeting between her, the union and the studio. After resisting at first, the studio eventually agreed to the meeting, but further discussion failed to satisfy our concerns about the water. About an hour later, our industrial hygienist obtained a report from the New York Health Department which confirmed that the water did not meet safety standards. Once presented with this report, the studio’s legal department cancelled the stunt and the performers were spared from having to jump into the polluted water. The two stuntmen, as well as the entire stunt team, members of the crew and several high-profile members of the cast thanked SAG-AFTRA for stepping in.

All performers should remember that you never have to do anything on a job that you feel is unsafe. Call your union at the number on the back of your membership card whenever you think you are being placed in a dangerous situation.

the inaugural SAG-AFTRA Convention in 2013 and re-elected at the convention in 2015.

She has extensive board experience from both SAG and AFTRA, and served on the G1 (Group for One Union), which developed the plan to merge SAG and AFTRA in 2012.

New Yorkers can take special pride in the selection of New York Local Fourth Vice President Rebecca Damon to the union’s second-highest office. “It’s an honor to serve our members, and I’m grateful for Gabrielle’s trust and the support of my colleagues,” said Damon. “As executive vice president, I will continue working to expand SAG-AFTRA’s reach and to increase opportunities for members across the country. Following the peerless example of our beloved late president, Ken Howard, we will focus on member outreach to maximize the solidarity and bargaining strength of our remarkable union.” Damon is a longstanding national and local board member, and currently chairs the national Governance Review Committee and MOVE N.Y. Committee. She also serves on the board of the SAG-AFTRA Foundation and is the primary elected liaison for Foundation programming in New York.

o one goes to acting school to become a stand-in, but stand-in work can be a consistent and useful source of income.

Stand-ins substitute for principal cast members for purposes of lighting and placement. They often have to hold poses for long periods of time, so patience and endurance are necessary qualities for a successful stand-in. And unlike background performers, whom producers will rotate in and out, standins can be employed for the run of a show if they resemble one of the leading actors.

So what defines a stand-in job?

Stand-ins never appear on camera, which distinguishes them from photo-doubles. Occasionally stand-ins are asked to read lines from off-camera to a principal actor on-camera. While stand-ins are not required to perform this task, many actors appreciate the chance to read a scene with a famous actor. Memorizing lines, however, is not something a stand-in should be asked to do. If you are being asked to memorize, speak to the SAG-AFTRA field rep on set or call the union.

Under the TV and Theatrical Contracts, the daily stand-in rate is higher than the daily background rate. If an actor works as a stand-in and a background performer on the same day, the higher rate applies. For the Commercials Contract, if an actor works as both in the same day, he or she would receive two session payments, one for extra and one for stand-in. Working in both capacities on the same day can sometimes create a conflict with break periods. If you feel you are not being given adequate break times, contact the appropriate contracts department.

In a few rare cases, movie stars will use the same stand-in from project to project, creating the opportunity for a stand-in to negotiate a higher rate. But whether stand-in work becomes a steady source of income or is simply a precursor to on-camera roles, members should know that SAG-AFTRA contracts protect performers in all categories, and the union is here to answer your questions and enforce the rules.

PERSPECTIVE:

Mary McColl

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or this edition of Perspective, National and Local Board member Liz Zazzi spoke with Mary McColl, executive director of Actors’ Equity Association.

Who does Actors’ Equity Association represent?

Actors’ Equity Association represents more than 50,000 professional stage actors and stage managers nationwide.

What are your members’ main concerns?

Like members of any union, our members want good-paying jobs, with benefits and safe working conditions.

Our members are also concerned for the welfare of our industry. Our members share the American Dream with their family, friends and neighbors and want to be able to achieve that dream working in a job that they love.

How long have you been with AEA? I joined Actors’ Equity as its executive director five years ago, at a time when public sector unions were under attack in Wisconsin. One of my first public acts as the executive director was to stand with Equity members at the statehouse in Madison.

We stood in solidarity with the thousands of public sector union members and their families. It was breathtaking to see the passion and union pride of our members in this historic moment.

Why did you become involved with organized labor and with AEA in particular?

I began my career as a dancer. My goal was to be a professional dancer, and I thought if I didn’t earn a spot in a ballet company, perhaps I would work on Broadway.

In my mid-20s I gave birth to my daughter and realized I needed to find stability in employment and salary in order to take care of my family. A performing arts center was opening in my hometown, and I took a part-time ushering job working at night while my husband worked during the day.

In four months I was working there full time.

I spent many years of my career there, moving up the ladder in various jobs and learning about the business inside and out. It allowed me to really delve into what it takes to put together a production. I came in an usher and left as vice president and general manager. During those years, I learned about labor relations and started to work toward fair treatment and appropriate compensation for artists.

When the opportunity to join the Equity family and to make a difference for the members of this great union presented itself, I said yes, and have never looked back. I didn’t make it to Broadway as a young dancer, but I am proud to say that I represent dancer/singer/actors and stage managers on Broadway and in professional theaters across the United States.

carefully to the people with whom we speak. We are flexible and think outside the box. We are proactive rather than reactive.

How can entertainment unions best support one another?

Communication and sharing helpful information among the unions is key. It’s important to be supportive and respectful of each other’s jurisdictions. Working together to address common challenges is also important. That’s why Equity is a member of organizations such as FIA, the federation of international artists. When we sit with our brothers and sisters from around the world, we learn that our challenges are their challenges, and together we can share common and best practices.

What are you most proud of about AEA? The greatest asset any union can have is its membership. Equity members are talented, creative individuals whose dedication to the theater, the union and their fellow members is inspiring. Whether it’s helping people because of a natural disaster, marching in the Labor Day parade or sitting at the bargaining table to get better wages and working conditions into the contract, these members are the reason Equity is a great union.

Unions have become a political target in recent years. How can unions reverse this trend?

Unions, by their very existence, have the ability to improve the lives of workers — whether they are union members or not. There is strength in organizing and enormous potential if we focus on growth opportunities in the new economy. While factories were once the place to organize (think Norma Rae), there are now many more opportunities in which unions can organize, and we must be creative in our efforts. The National Taxi Workers Alliance is an example of thinking outside of the box and was organized by another woman, Bhairavi Desai. A key part of the 21st century economy is digital media, and a perfect example of organizing in that arena is the Writers Guild East’s success at The Huffington Post.

Tell us a bit about your strategies in negotiating and organizing.

We approach every negotiation in a strategic and focused manner. We’re thorough in our preparation, know and understand the issues from both perspectives and use our communication skills as actors and stage managers to great effect at the bargaining table. In organizing, we do our homework; we examine the situation, and we listen

What are your hopes for the future for AEA? I see a future of continued growth for Actors’ Equity. We will continue to organize more theaters and productions. We will continue to strengthen our contracts and benefits. Our membership stands on the shoulders of the amazing men and women who came before them, and they are paving the way for future members.

SPRING 2016

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Josh STAFF Mendelsohn SPOTLIGHT

By Jeff Spurgeon

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osh Mendelsohn, whose job title is director, news & broadcast, and labor counsel,

enjoys applying a more personal touch than was available to him in his previous job as a government attorney. “You’re able to give people victories that are more meaningful to their day-to-day lives.

You’re advocating for people, as opposed to passively looking at the law and saying, ‘Is this a violation or not?’”

Josh’s work at SAG-AFTRA covers a broad swath. “I do negotiations: gathering proposals, helping members know what to expect and actually sitting down with the employer; also litigation, whether a grievance or an arbitration, getting the documents, determining how a contract is violated and then going to an arbitration hearing or to the NLRB [National Labor Relations Board]. Another part of what I do is counseling people in other locals. Sometimes I find myself educating employers, too.”

His five years at the NLRB — the federal agency that regulates unions and management — are now an asset to SAG-AFTRA. Josh can offer an informed perspective on how to prepare a case going before the board.

Originally from New Rochelle in Westchester County, Josh attended the Cornell University School of Industrial and Labor Relations. “My grandfather was a union furrier in New York City, my mother was in the UFT [United Federation of Teachers], and my father was a university professor. Growing up, I was taught that unions were pretty important.”

BUILDING UP C

onstruction is progressing at two important locations for SAG-AFTRA members in the New York area. Only half a mile south of the New York Local office, the SAG-AFTRA Foundation Screening Room at 247 West 54th Street will be a 4,000-square-foot space dedicated to screenings, performance and educational programming for the Actors Center in New York.

Not only will familiar programs such as Conversations and The Business now have a dedicated home, but the theater’s 154-seat, state-ofthe-art technology will allow events to be recorded and shared with SAG-AFTRA members outside of New York. The theater will include a 4K DCP and HD theatrical sound system, broadcast-quality recording and live streaming system, a 16-foot-by-9-foot programmable LED video wall marquee, and multipoint, multimedia performance integration. Look for a notice about the grand opening later in the year.

Just across the Hudson in Englewood, New Jersey, The Lillian Booth Actors Home of The Actors Fund is expanding its assisted living and skilled nursing care facility. Already recognized as one of the finest care facilities in the region, the home will be adding 25,000 square feet of new space and renovating over 30,000 square feet of existing space. Plans include a new three-story and a new two-story building, with existing structures being rebuilt, expanded and modernized for technology. Aided by donations from several philanthropic organizations, including the SAG-AFTRA Motion Picture Players Welfare Fund, construction is expected to be completed by the end of 2017. The Lillian Booth Home is open to those who worked in the performing arts and entertainment industry and their immediate families.

Those union roots intersect with another of his passions. “I’ve loved sports my entire life. I remember the ’94 baseball strike. I remember when the NBA players tried to decertify in the ’90s. I remember when they got locked out.” So it’s no surprise, because of his unyielding love of sports, that Josh is excited to be involved in a new SAG-AFTRA initiative: building relationships with athletes and coaches who become sportscasters, and therefore, at many broadcasting companies, members of our union. These relationships will help foster solidarity among an important work category and increase the union’s leverage at the bargaining table.

Two years into his work here, Josh appreciates the unique makeup of SAG-AFTRA. “It really does feel like a community. In a different kind of union, the strength comes from similarity of duties. The strength of nurses is that all the nurses do the same thing, so they understand each other.

[SAG-AFTRA members] have something in common, but it isn’t the exact nature of their jobs. So what’s surprised me is the degree to which many members are willing to stand up to benefit others.”

– Jeff Spurgeon is a member of the SAG-AFTRA National and New York Local boards.

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BEST FACES FORWARD

M

AC Cosmetics hosted SAG-AFTRA members at their MAC Pro Studio on West 22nd Street on Tuesday, Nov. 10, for a special free seminar, Basic Beauty and Looking Your Best for MAC Pro Senior Artist Lea Davidson Your Audition. The applies eye makeup to SAG-AFTRA special presentation member Tammi Clayton as part of the provided information live demonstration. about basic beauty, current makeup trends and techniques that work well on camera and that can be used on-the-go. The demonstration was facilitated

by MAC Pro senior artists Regan Rabanal and Lea Davidson.

VOL. 5 • NO. 1 ///////////////

NEW YORK COMMUNICATIONS COMMITTEE Liz Zazzi Chair Jeff Spurgeon Vice Chair Anne Gartlan Mike Hodge Alex Silverman

Questions?

Comments?

Compliments?

We’d like to hear from you!

Send your suggestions and comments to NewYork@sagaftra.org Please write

NEWSLETTER in the subject of your email.

COMMERCIALS

ANNE GARTLAN

SAG-AFTRA NY

>>> continued from page 1 As part of the top-down approach, Saxe and Hall are working to ensure that advertisers who are signed to the union’s commercials contracts (signatories) comply with their agreement to hire performers only under SAG-AFTRA contracts.

More than five dozen non-union spots have been Garrett Hall, Sue-Anne Morrow, Gary Saxe converted to union shoots already.

Creating stronger relationships with agents and that you are willing to work for less, why would casting directors has also been a priority of the they ever hire you on a union contract again? This Best in the Biz campaign. There have been many is a very destructive choice. Best in the Biz has set meetings large and small with members of these up a completely anonymous, dedicated phone line two communities, which have been enormously and email address to gather valuable information helpful in recapturing SAG-AFTRA jobs. on non-union casting and shoots that help our SAG-AFTRA is also shining a light on the organizers increase union work every day. On practices of non-union digital ad agencies. While occasion, these reporting tools also reveal members most major, longstanding advertising agencies who are working off the card. Members found are signatory to our commercials contracts, many in violation go through the disciplinary review newer digital ad agencies are not. This means procedures set by the union, which can result in those agencies go through third significant penalties that range parties who are signatories to from fines to expulsion from “Our members need employ celebrities under the union. Still, according to SAG-AFTRA contracts for Saxe, “Education is absolutely to understand why some of their ads, but pay far part of the disciplinary working off the card less than union minimums process. Our members need to harms them and their understand why working off for the performers they hire for their non-union spots. The the card harms them and their entire community. union’s recent efforts to expose entire community.”

— Gary Saxe such unfair employment Speaking of education, practices at one digital ad member-teachers play a agency, Droga5, have drawn considerable media critical role in introducing young performers to attention. Says Saxe, “We’re sending the message SAG-AFTRA, and are also a focus of Best in the to all non-union agencies that SAG-AFTRA Biz. Union membership has always represented expects them to step up and pay all performers the gold standard for performers, and guarantees fairly, not just our high-profile members.” fair wages, career protections and safe working As for bottom-up organizing, Saxe, Hall and conditions, as well as access to healthcare and Morrow have been reaching out to young, prepension benefits, all of which are vital to a long, union performers, with a particular focus on healthy acting career. Morrow said, “Teachers New York City’s improv schools and companies, and coaches are uniquely positioned to deliver the which have become a casting resource for nonunion message to their students. Bringing your union producers hoping to get talented performers students into the fold is something you owe to on the cheap. In interactive meetings with them, to yourself and to all your fellow members.” students and teachers at improv houses like the As one actor-teacher said at a member meeting, highly respected Upright Citizen’s Brigade, our “We can’t be training our bargain-basement organizers strive to increase those performers’ replacements. That isn’t good for anyone.” understanding that by taking non-union work, It’s a pretty simple union story — if all actors they are encouraging far-below-standard pay and who can perform in commercials at a professional risking conflicts for life. Hall points out, “You have level stand together to maintain the wages and no control over when that non-union spot may run benefits we deserve, we all benefit. To quote again. It could run forever!” These meetings have one top New York casting director, “At the end been very successful and more events with improv of a union career in commercials, you have a houses around the country are in the works. community and respect and a pension and Unfortunately, though it is a rare occurrence, health care. At the end of a non-union career, some SAG-AFTRA members have violated Global you have … a reel.”

Rule One and worked on non-union commercials.

— Anne Gartlan is a member of the SAG-AFTRA If you have shown an employer or casting director National and New York Local boards.

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Oscars on the Hudson

D

id you know that the Oscar statuettes for this year’s Academy Awards were made in

New York? That’s right, for the first time in history the iconic gold statuettes were cast at a foundry located in the mid-Hudson Valley. Pollich Tallix Fine Art Foundry, located in Orange County, won the coveted assignment when the Academy decided

New Ways to Reach Us The New York Local Professional Representatives Department has new contact information. To better facilitate handling your questions, we’ve created agencyNY@sagaftra.org for email correspondence and (212) 863-4230 for phone inquiries.

Contact us to find out if an agent is franchised with SAG-AFTRA, if you need help interpreting a contract or resolving a dispute, or if you have any questions or concerns about your relationship with your agent or manager.

You can also learn more about what our department offers at sagaftra.org/professionalrepresentatives.

to return to the tradition of casting the figures in bronze. For the past 33 years, the statuettes had been produced by a firm in Chicago using a Britannia metal cast. Slight changes were also made to Oscar’s features to bring him closer to the original art deco style. So on top of our bustling film and television production, New A.M.P.A.S.

York can also claim another little piece of Hollywood glamour.

ELECTION ELIGIBILITY REMINDER In order to meet the May dues period good-standing eligibility requirement to be nominated for election as a national officer, National Board member or local board member, members should ensure that their May 2016 dues bill payment is received by SAG-AFTRA no later than Thursday, June 9, 2016. Payments received after June 9, 2016, may affect your eligibility to vote, nominate and run in elections and participate in referenda.

Timely payment entitles you to participate in union activities and receive member benefits, and also ensures that you will not be charged late payment fees.

If you have not yet submitted a payment, we urge you to make payment of your dues right away through one of our convenient payment options, including our online payment system at SAGAFTRA.org.

For questions regarding eligibility, contact SAG-AFTRA at (323) 549-6614.