Philadelphia Sessions - Summer 2014

Summer 2014

The Official Publication of the SAG-AFTRA Philadelphia Local

Harrisburg Welcomes SAG-AFTRA

By Meagan Hill, SAG-AFTRA Philadelphia Board of Directors

Photo by Mark McNutt

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wenty-five members representing the Philadelphia and Pittsburgh-Ohio locals of SAG-AFTRA met May 5 in Harrisburg, where state Rep. Thomas Murt sponsored House Resolution 691, designating May 2014 as SAG-AFTRA Month. The resolution recognizes SAG-AFTRA’s efforts to improve compensation and working conditions for its members, and its contributions to the commonwealth in attracting and expanding media and entertainment industry opportunities.

Speakers included SAG-AFTRA members David Morse, Melissa Fitzgerald, John Wooten and state Sen. Mike Stack, D-Philadelphia, who credited the union with ensuring fair wages, health benefits, pension and safe working conditions for those who work in TV and film productions. State Rep. Jerry Stern, R-Blair, spoke about his bill that would release $22 million of unused film tax credits. Murt also thanked the union for its help in passing House Bill 1548, which updated the old child labor laws by creating more stringent protections for child performers who work in the entertainment industry in Pennsylvania.

SAG-AFTRA members with state Rep. Murt and Casting Director Diane Heery.

SAG-AFTRA members concluded the day by visiting numerous state representatives and asking for their support to uncap the film tax credits.

2014 MEMBERSHIP MEETING REPORT

By Sam Clover, SAG-AFTRA Philadelphia Board Member

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ver 100 members attended the SAG-AFTRA membership meeting held May 16 at the IATSE Banquet Hall in South Philadelphia. Local President John Wooten presented the new SAG-AFTRA logo, now available to members on T-shirts and hats.

The Friends of SAG-AFTRA Award was presented to David Hadad, chairman of the Pennsylvania Film Industry Association. The award was accepted by local Casting Director Diane Heery. Hadad has been in film production transportation for 30 years and was instrumental in getting more film projects to Pennsylvania.

The evening also featured local retired TV newsman Mike Strugg, who spoke of his experiences as a Temple University graduate and his years in the local broadcast news business. Strugg then did

Photos by Chuck Varesko

an interview with local member Evan Jonikeit, who is also a Temple graduate and a Philadelphia native and has acted locally and on Broadway. He is now a featured actor (Toad) in the X-Men film series.

Jonikeit’s advice to working actors regarding auditions was to “over-prepare for the audi tion and ar r ive wi th the conf idence that you alr eady have the r ole .”

President’s Message

2014 Union Plus Scholarships go to SAG-AFTRA Families

Winners Honored for Achievement & Union Values

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ellow members, SAG-AFTRA is your union, and your involvement is what makes it work. When you par ticipate in committees, conservatories, local events and other oppor tunities, your experience enriches these programs for other members. Additionally, voicing your concerns and priorities helps leadership understand the needs of local members, making us a more effective organization.

Several recent events have served as a testament to your diligent service to our local, including the declaration of SAG-AFTRA Month by Pennsylvania state Rep. Tom Mur t and fellow legislators, and the 2014 Annual Membership Meeting. Next up are the members’ vote on the TV/Theatrical contracts and the upcoming negotiations in our broadcast shops.

Your local leadership is proud to serve you, and we have recorded testimonials about what being a SAG-AFTRA member means to us. Watch the video on our local Web page at sagaftra.org/philly and continue to make the Philadelphia Local strong through your par ticipation.

Continue greatness, Philadelphia.

In Solidarity, John Wooten

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nion Plus recently awarded $150,000 in scholarships to 116 students representing 39 unions, including seven winners representing SAG-AFTRA, in the 2014 Union Plus Scholarship Program. In this 23rd year of the program, more than 5,300 applications were received from union members and families in all 50 states.

Congratulations to Philadelphia SAG-AFTRA member Kelsey Fowler of Barnegat, New Jersey, who has been a SAG-AFTRA member since 2008. Kelsey has been awarded a $4,000 scholarship.

AFTER HOURS SET EMERGENCY HOTLINE

If you are on the set outside of business hours and believe there is an emergency requiring immediate attention, you may call the emergency phone number on the back of your membership card.

(323) 954-1600 or (212) 517-0909.

SESSIONS

SAG-AFTRA LOCAL STAFF

LOCAL BOARD MEMBERS

Executive Director:

CAST & CREW

President ­— John Wooten Vice President Actor/Performer — Sylvia Kauders Vice President Broadcast — Catherine Brown

National VP Broadcast Secretary — Sam Clover Sara Jane Blazo Mike Kraycik Paul Kurtz Gail Lewis Susan Moses Rob Charry Ed “Skip” Fisher Dick Sheeran Meagan Hill Harvey Jaffe Chuck Varesko National Board Member — Helen McNutt

Official publication of SAG-AFTRA Philadelphia www.sagaftra.org/philly

Editor: Shelley Figures Contributing Editors: Stephen Leshinski Chuck Varesko

Stephen Leshinski

Associate Executive Director:

Shelley Figures

Contracts/Signatory Administrator:

Lynn Koenigsberg

Benefits & Membership Administrator:

SAG-AFTRA Philadelphia

Michele Dooley

230 South Broad St., Suite 500 Philadelphia, PA 19102 (215) 732-0507

Executive Director’s Report

By Stephen Leshinski, SAG-AFTRA Philadelphia Executive Director

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ereo. Netflix. iTunes. Amazon. Comcast. You’ve read about these companies in the news and online. Content is being created and consumed at historic levels, but who pays whom how much and why isn’t always so clear. Our new union is facing a new world of media and content — one where the old dividing lines are increasingly less relevant.

As staff, we are constantly being updated on this brave new world, including not only technological changes and emerging markets, but legal issues and the latest in union bargaining tactics and strategies. But where this new world is really happening is with you: the people creating the content, the people auditioning for a chance to be part of that content, the people being told what the going rates are in the non-union world and trying to figure out how that relates to our world.

On the plus side, there is not a jurisdiction that SAG-AFTRA doesn’t cover when it comes to existing contracts: audiobooks, new media, dancers, video games and the list goes on. Our members are creating content for all jurisdictions and, even in the world of new media, quality and talent still command premium compensation.

But our challenge is to decide the best way to be proactive when it comes to organizing new work in each of these jurisdictions, not only to provide more work opportunities for union

members, but also to set the “area standards” for content providers when it comes to wages, health and retirement, and other aspects of compensation.

Recently, our local board began looking at each jurisdiction in order to determine where the focus should be. TV/Theatricals, which can provide dozens of jobs but only come along a few times a year? Commercial work, which can require a tremendous amount of energy and may lead to one job? New media, which produces unlimited content but may not always generate sufficient revenue? All of the above? Something completely different?

We have national departments charting a course for the new union in this new world. But it’s the local membership that drives the agenda, and that’s where you come in. If you haven’t already signed up for a committee and/or participated in other union events throughout the year, bring your experience to the table and offer what you can to the process of making us stronger.

From the beginning of each union through the short history of SAG-AFTRA, members have had one thing in common: The work is always changing. Let’s make that change work for us.

Member Profile — Volieda Webb

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ormer AFTRA and SAG-AFTRA Board member Volieda Webb lives in Philadelphia but travels throughout the region to work. She was appointed to the AFTRA board in June 2010 and served on the SAG-AFTRA merged board until August 2013.

When and why did you get into the acting business?

I first got into the acting business the moment I was born, or is that too cliché? I was always that kid pretending to be a part of TV shows, whether it was acting out the opening scene or the “pivotal” scenes. When I was in high school, I was in the drama club, which ignited my passion for performing. I also took teen acting lessons at Freedom Theater of Philadelphia. When I became a mom, I decided to take a break to raise my daughters.

When my youngest daughter was a high school freshman, I still felt that hunger for acting, so I decided to pursue it again. My passion for acting is actually stronger now, chock full of life experiences that make my performances even more real.

When did you join SAG and AFTRA? I joined AFTRA in 2009. I became SAG eligible with a principal role in Silver Linings Playbook in 2012.

Why did you join?

I originally joined AFTRA after poor treatment as a background performer on a feature film set. I felt the conditions could have been better for all performers.

Why is the union important to you?

By joining AFTRA, I felt I was given some protection on the set. It was like an insurance policy.

What was your favorite job and why?

My favorite job was working as a principal actor on the movie American Hustle, directed by David O. Russell. I was able to meet

many seasoned principal actors and watch them perform. My surreal moment was when I sat in hair and makeup with five Academy Award nominated actors at one time. They were very cordial — never believe anything you hear. Bradley Cooper remembered me from Volieda Webb our scene in Silver Linings Playbook and, being the gentleman that he is, gave me a kiss on the cheek on the days we worked on set together. Philly love — what can I say?

What was your most difficult job and why?

I guess the most difficult job/obstacle was repeating scenes when it required walking briskly up and down stairs. You definitely need to have good stamina and energy every day!

What are some tips you would like to share with the membership?

Go to work with a positive attitude — you don’t get paid to bring your emotional baggage with you.

Be prepared but be willing to be flexible — quick script changes happen, just go with it.

People yell on set, don’t take it personally.

No gossiping and don’t get sucked into it.

Always remember that you were hired because of your talent — never feel that you are not worthy.

SELF-FILMING TIPS

By Dana Michael, SAG-AFTRA Philadelphia Conservatory Committee Member

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Photo provided by Sean McKnight

here can be frustration in the acting community on the “how to” of sending a video audition.

When the SAG-AFTRA Philadelphia Conservatory Committee was deciding what our next seminar would be, we thought this commonly broached topic would be perfect.

The well-attended June 28 conservatory workshop, Self-Filming Techniques for Actors, was presented by Sean McKnight. Mr. McKnight is a producer, director, writer, cinematographer, editor, motiongraphics designer and president of Cinema Alliance.

For those of you who missed it or just want to know what producers look for when casting from a video submission, here is my contribution as someone who

Sean McKnight

also works as a producer. And as someone who receives these video submissions, I can tell you what I like to see and what makes me hit the delete button.

I hope it’s helpful!

The Do’s and Don’ts of Self-Filming

By Dana Michael, SAG-AFTRA Philadelphia Conservatory Committee Member

Producers prefer to meet the actor in person. There is something about a face-to-face encounter that makes them more invested. Plus, when they have someone in their office, they have the opportunity to work with them directly. But everyone knows that there are many reasons why a video audition is necessary. Sometimes, distance is an issue or there may be a scheduling conflict that makes getting to the audition impossible. Sending that video just may be your way of booking the gig. When deciding who to cast, the best auditions (emailed or onsite) are compared with each other.

• If you are not well lit and audible, we will move on to the next actor.

• Do not shoot on a location, use elaborate sets, costumes or props.

• Use a solid color background that is not distracting. I like royal colors because they make everyone “pop.” Just make sure they do not clash with what you are wearing.

• Do not sit with the window behind you.

• One of the biggest problems for actors seems to be centering themselves in frame and introducing themselves. Start with a wide shot that shows your entire body and then zoom in for the slate. You should be in the center of the frame with the bottom of the frame at the center of your chest and the top of the frame slightly above the top of your head. Do not show a lot of blank wall space over your head. Now it’s time to introduce yourself (slate). This is the first thing we will see, and more often than you think that moment when you say, “Hi, my name is ...” will tell us if we want to watch further. Make sure your contact information is part of the video itself.

• It is extremely important that you follow all instructions given in breakdown. I cannot stress this enough.

• It’s also helpful if your performance looks like a “work in progress.” Having the script in your hand shows you’re directable.

• Do not focus the camera on any other actor, unless you want your friend to get a role. Your scene partner should be of the right gender and do not let them be louder than you are.

• A minute is enough. Get the best stuff in the beginning, because we don’t always watch the whole thing.

No need to get fancy with editing or shooting. You’re not making a film.

• I don’t have enough space to download your submission on my computer, so you will need to upload files to Web streaming sites like YouTube or Vimeo. Do not send more than one submission. They won’t be watched.

Break a leg!