SAG-AFTRA NY - Spring 2018

Spring 2018

N.Y.

Penning, Producing & Performing Your First Short

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n an age when multi-hyphenates abound and smartphones are pocket-sized production studios, the world is an actor’s oyster to create his or her own content. Such possibilities are thrilling, yet daunting.

Where do you begin? How do you devise crisp, unique storytelling that celebrates your talent, and looks and sounds professional, on a shoestring budget?

SAG-AFTRA Foundation’s The Business program has developed and produced a comprehensive educational series to provide actors with a roadmap for creating their own low to no-budget short films.

Titled Penning, Producing & Performing Your First Short, the popular series took place from October 2017 to February 2018 at the Robin Williams Center and consisted of eight sessions: Idea Generation, Character Development, Storytelling, Rewrites and Polishing, Pre-Production, Production, Post-Production, and Release and Promotion.

“Over the past several years, time and again I’ve heard the actor-creators, casting directors, agents and directors who’ve participated in our panel discussions encourage actors to create their own opportunities. After these programs, I would speak with actors who were energized by the idea of being in the driver’s seat but also overwhelmed and not sure where to begin. So, through the lens of an actor, we decided to develop and produce a series that would break down storytelling and producing into manageable steps,” says Melissa Zakri Zareh, the Foundation’s New York program director.

Now available online, the eight sessions consist of actors, writers, filmmakers, producers, cinematographers, composers and attorneys offering information and expertise to demystify the process and give actors a primer on how to create their own content. SAG-AFTRA actor, voiceover continues on page 2 >>>

Letter from N.Y. Local President Rebecca Damon > p3 Print Waiver > p4 Broadcast Spotlight: Shaila Scott > p5 “I Am a New York Actor” Geneva Carr > p6 The Actors Fund Home > p8 Perspective: Len Egert > p10 Staff Spotlight: Andrew Garofalo > p11

>>> continued from page 1 artist and writer Lori Hammel moderated the entire series, providing continuity. Actors can watch her guide them from the first video — Idea Generation — all the way through the process to the final video, Release and Promotion.

“My job as the moderator was to help the experts on the panel break down the information for the actors in the room and those watching online,” says Hammel. “The goal of the series is to provide actors with the tools to create their first short, because when you’re working with limited resources, you have to be really smart about it.”

More than 650 SAG-AFTRA members took advantage of the free series and attended at least one of the Penning, Producing & Performing Your First Short sessions live at the Robin Williams Center.

“The Release and Promotion panel was so informative,” says SAG-AFTRA actor Colleen Cosgrove, who attended the workshop. “The panelists really gave a plethora of suggestions, tried and true. There’s no one way to make things happen, but learning from those who have gone before is so helpful, and hearing from [panelist] Megan [Costello] from the Hampton International Film Festival was an added bonus, to see how the selection process works on an organic level.

I’m looking forward to checking out the other

PHOTO BY WAI NG

… YOUR FIRST SHORT

SAG-AFTRA NY VOL. 7 • NO. 1

EDITORIAL STAFF Richard Baldwin Bernadine Robbins

CONTRIBUTORS Sarah Howes Caroline O’Connor

Moderator Lori Hammel with panelists Zack Phillips, Timothy Michael Cooper and Keisha Zollar panels online.”

The entire series can be found on the Foundation’s YouTube Channel. Films developed through this program can be submitted to the Foundation’s New York Short Film Showcase, and of course must be produced under a SAG-AFTRA contract. The next Showcase will be held in late September, and the deadline for submissions will be in mid-July, date TBA. SAG-AFTRA members can create a free user account with the Foundation and join the New York email list to receive notifications about the Showcase and all of the Foundation’s free programs.

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NEW YORK COMMUNICATIONS COMMITTEE Liz Zazzi, Chair Jeff Spurgeon, Vice Chair Christine Bruno Nick Fondulis Anne Gartlan Joseph Melendez

Find out more at sagaftra.foundation.

Performer/Producer: Crossing the Threshold re you one of the many SAG-AFTRA members who is both a performer and a content creator? Once you don that producer’s hat, you become financially responsible for your production, so it is important to understand your financial obligations to the cast. Moving a project from a film festival to a wider platform may trigger new payment requirements, so make sure you are familiar with the terms of the contract you have signed.

SAG-AFTRA offers different contracts to cover projects of different size budgets. Some, like the Student, Short Film and Experimental New Media agreements offer deferred payments to the performers, so there is no salary unless the project is shown on a commercial platform. These projects may be shown at film festivals without triggering payments, but should they be picked up for a theatrical release, a premium cable channel, a streaming service or other similar platforms,

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then the producer ­— you — would be obliged to compensate the performers.

Ultra Low Budget, Modified Low Budget and Low Budget Theatrical agreements mandate initial compensation, but residuals would not apply until the project is shown on a commercial platform as described above.

As with all contracts, there are exceptions, finer points and legalese. The best source of information is your SAG-AFTRA staff. The Theatrical Contracts Department offers a monthly signatory workshop on all low budget contracts.

Call (212) 827-1553 for theatrical contract questions or for the schedule of workshops. For TV and new media contract questions, call (212) 863-4270.

Don’t be a victim of your own success. If your project starts generating revenue, be prepared for the resulting financial obligations. After all, we’re talking about sharing the wealth with your fellow union members.

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.

1900 Broadway, 5th Floor New York, NY 10023

New York State of Mind Dear Member, Since the passing of New York Local President Mike Hodge last September, we have gone through the process of grieving, renewal and the rededication of purpose to carry on his legacy. Although he’s no longer with us, Mike’s presence is still deeply felt.

As my friend, mentor and colleague, he taught me so much through his sage advice and jovial, empathetic demeanor. I will always carry those lessons with me, and I remain uplifted by the sterling example he set for me and so many others.

We both shared the belief that the New York Local can do more on every front.

We can provide more services for members, create more work opportunities and get more involved in influencing legislation that affects our professional lives.

But we can’t do any of it without you.

Mike knew and I know the union is not a building at 1900 Broadway or 5757 Wilshire; it’s the people that give it life. I’m proud that New York members are some of the most active and engaged in the country, but we can’t stop there. There are so many ways to get involved, and all of them in one way or another help to build better lives for you or your fellow members.

With your help, the New York Local

has been expanding programs and serving members better than ever. The Conservatory is a tremendous resource for performers looking to hone their craft and take their careers to the next level — and it just keeps getting better. We have started a series of seminars co-sponsored

by MORE/MOVE and the local Background Advisory Committee to empower members and create opportunities for members doing background work. We have connected with casting directors to expand education, mentored young broadcasters, worked with the music community to provide more educational and inspirational programming, and released a new set of best practices for stunt coordinators to increase on-set safety. I could not be more proud of all the member leaders who have worked tirelessly to make this happen.

Let’s keep that momentum going.

Whether you’re a next generation performer, a senior or anything in between, I urge you to come, get involved in the wages and working conditions process that helps shape your contracts, attend an #AdsGoUnion meeting, take advantage of the educational opportunities offered

by SAG-AFTRA and the SAG-AFTRA Foundation, or take part in any of the many other things your union has to offer.

A LETTER FROM THE NEW YORK LOCAL PRESIDENT

REBECCA DAMON In the coming months, we will need your help with the fight to reform New York’s right of publicity laws. Our state does not have post-mortem protections, meaning companies can profit off of the likenesses of our members after they pass away, using them to sell products, services or endorse political points of view. For most SAG-AFTRA members, whether we are performers or broadcasters, our images are our brand. We spend a lifetime building them and they should be ours to control. I hope you’ll take the time to follow this issue and keep an eye on your email in the coming months, as the union will be reaching out to you. If you don’t follow SAG-AFTRA on all its social media accounts, today is the day to follow, like, retweet and join the conversation.

No matter how you choose to participate, the union is stronger when you get involved. We can’t be our best without you.

— Onward together

BUMPERS, OPENS AND TAGS: A PROMO SHINDIG

By Anne Gartlan

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an. 29 brought a gathering of past and present members of the New York promo announcers community to the local office. The feelings of camaraderie and genuine affection were unmistakable, sentiments blunted by the migration to home studios for both voiceover work and auditions. A member once said of auditions, where we would also visit and share our family news, “We were best friends — 15 minutes at a time.” That delicious feeling was rekindled for a brief few hours on this special evening. Old friends and new enjoyed a renewed sense of allegiance to their union and affection for their colleagues. For many, it was the first time they’d been “in the

house” at 1900 Broadway.

A highlight of the evening was a gathering of attendees in the boardroom to celebrate the 79th birthday of promo and voiceover icon Robb Webb. Webb’s legendary tongue-firmlyplanted-in-cheek read has been emblematic for innumerable commercial campaigns like Avis, GEICO and DIRECTV. His vocal gravitas has branded news and entertainment promos for the likes of the NFL and The CBS Evening News, and for decades his singular read has been the vocal signature of 60 Minutes, which he still voices at 79. Webb was also the first member of the group of voiceover actors engaged by Late Night with David Letterman. His straight-laced read stood as counterpoint

to the comedic content and earned him a “Letterman Jacket” from the host. It was delightful to see the look of recognition on the faces of younger members who knew the voice, and now the face.

We had a surprise guest, President Gabrielle Carteris, whose presence and warmth was greatly appreciated by the members. The evening was coordinated by the New York Local Promo/Trailer Steering Committee, which includes myself, Holter Graham, Mason Pettit, Jeff Wilburn, Chris Cook, Gabe Doran, Elena Hurst, Lannon Killea, Henry Leyva, Kobie Powell, Mhari Sandoval and Tom Spackman. It was supported by Director, Television continues on page 4 >>> SPRING 2017 // SAG-AFTRA NY //

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A Waiver That’s Fit to Print

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Women Lead Broadcast Brunch Over 40 of the most recognizable female voices in New York gathered for SAG-AFTRA’s first annual Women in New York Radio Brunch on March 20 at The Smith Restaurant at 1900 Broadway.

EVP and New York Local President Rebecca Damon, National Board member Christine Nagy, New York Board member Cheri Preston and Chief Broadcast Officer Mary Cavallaro led a conversation on topics such as work-life balance, gender pay disparity, sexual harassment and contract enforcement. Preston encouraged the attendees to bring their concerns to the union and help develop a strong, unified response to their shared challenges.

BUMPERS, OPENS & TAGS

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and New Media Entertainment Contracts Steve Meicke; Director, National Voiceover Department Treslyn Williams; and Director, New York Special Projects and Events Maura Walker. Our thanks to the staff who made us all feel welcome and valued. We left with a warm sense of our promo family.

Success is often measured in the desire of an audience for more. Members attending kept asking to “please be included the next time” we have such a gathering. If that was the measure, this event was a hit!

— Anne Gartlan is a SAG-AFTRA National and New York Local Board member and chair of the New York Promo/Trailer Steering Committee.

President Gabrielle Carteris, EVP Rebecca Damon, National Board Member Holter Graham, National Board Member Anne Gartlan and guest of honor Robb Webb.

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AG-AFTRA protects commercial performers who work in front of a camera and behind a microphone, but we do not cover work in print ads. Sometimes, however, a print ad campaign may involve shooting behind-the-scenes video — “B-roll” — which is covered by our contracts.

Some producers have been reluctant to hire our members for print ads because shooting any behind-the-scenes video has meant everyone appearing in the print campaign must then be compensated under a SAG-AFTRA contract. Because we don’t want our members to miss out on lucrative modeling/ print work, SAG-AFTRA has developed a waiver specifically for these situations.

The new waiver requires producers only to compensate “qualified professional performers” who appear in the print campaign. SAGAFTRA members will continue to receive appropriate payment and protection, but producers will not have to compensate everyone hired for the campaign under the same terms. Each waiver will apply to one production only.

SAG-AFTRA members are the first choice of casting directors and signatories who want to work with the best, and we want to ensure the best have access to as many job opportunities as possible, while still enjoying the benefits and protections of our contracts.

This waiver is another example of how the union is adapting to a rapidly changing industry. If you have any questions about the new waiver, please call (212) 827-1454.

Shaila Scott

By Jeff Spurgeon

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haila Scott has a lot to celebrate in 2018. This is her 30th year on the radio in New York City, currently as midday host on WBLS, the station this Harlem native grew up listening to.

While in high school, Shaila was inspired to be a broadcaster when she met longtime ABC-TV weatherman Spencer Christian at a career-day event. She asked him for a tour of ABC’s Channel 7 studios. “The people I met there said they never felt they worked a day in their lives because they loved what they did,” she said.

Shaila attended SUNY College at Buffalo. “I knew that I was going to major in broadcasting, but I didn’t know if it was TV or radio or journalism. At a contest at school, one of the judges was a disc jockey at WBLK, and he said there was a part-time job. So I went to the radio production center, did a couple of spots and a commercial.

I also had to change my New York City accent. For a supermarket commercial, I said, ‘ahr-un-jezz’ for ‘oranges’, and was told you can’t say ‘ahr-un-jezz’ here! A month later, they offered me overnights, so I took that and went to school part-time. I finished college a year later than I would have, but it was worth it.”

She was frustrated in her early attempts to come back to New York City. She sent 11 audition tapes to WBLS and never got a response, even though one of the tapes had been hand-delivered by a friend who worked at the company. She decided to train to be a flight attendant and look for work in other markets: “I’ll drop my tapes all over the country for free,” she said.

Then came the break she was hoping for. “My last day in Buffalo, I told my listeners I was leaving and opened up the phone lines. On the request line was [WBLS Program Director] B.K. Kirkland.” She thought the call was a prank, but became a believer when Kirkland mentioned Sylvia Schoultz, the friend who had delivered her audition tape. Shaila returned home to New York to start working one day a week at WBLS, where she was mentored by, among others, legendary New York disc jockeys Vaughn Harper (“my radio daddy,” she calls him) and Frankie Crocker. In the 30 years since, she’s worked at WBLS, KISS-FM and now on a second stint at WBLS.

Shaila has an inviting, easygoing and enthusiastic on-air sound, but her audience connection goes deeper. Even at the beginning of her career, she would conclude each airshift with an uplifting message, a “progressive thought,” as she calls it. One day a listener told her, “I was contemplating suicide and hearing what you said made me look at things differently. It changed my life.” Another listener, recognizing her in a store, burst into tears, telling Shaila that one of those messages (now called the “Sisterly Kiss”) had helped restore her relationship with her son. The deep reach of these listener connections inspired Shaila to create Shaila’s Sisterly Kiss, an organization that has raised money and awareness for breast cancer research, HIV prevention and other charities. This year will mark the 10th annual Sisterly Kiss Mother’s Day Spa Party, a benefit for victims of domestic violence who are treated to a day of manicures, makeovers and motivational speakers.

Shaila is increasingly grateful for union presence in her career. “[SAG-AFTRA Assistant Executive Director, Labor Counsel] Peter Fuster is such a blessing in my life.

I was glad that I joined the union, but I didn’t really understand what they do for us until I saw how [then-] AFTRA helped Vaughn when he got sick and had challenges on the job. Vaughn held the union in such high regard. He said, ‘If it wasn’t for the union, I don’t know what I would do.’”

As she celebrates three decades on New York’s airwaves, Shaila is grateful for the people she’s met along the way, starting with her mentors. She’s helping to build the next generation of performers, too. Her daughter, Scottie Beam, is a radio and television personality, podcaster and social-media “influencer,” who, Shaila says, is finding her own path to success in today’s media environment. And she treasures the colleagues of her own generation. “One thing about New York radio, to me, it’s all been like family. We can be on competing radio stations, we’re all trying to get the best ratings we possibly can, but at the end of the day, we’re just genuine friends. I am so grateful for those friendships.”

WBLS

BROADCAST SPOTLIGHT:

I was glad that I joined the union, but I didn’t really understand what they do for us until I saw how [the union] helped Vaughn when he got sick and had challenges on the job.

— Jeff Spurgeon is a SAG-AFTRA National and New York Local Board member.

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Liz Zazzi Interviews Geneva Carr

“I

’m really not terribly bright,” says selfdeprecating actor Geneva Carr, but a look at her fascinating life and career tells us otherwise.

Born in Jackson, Mississippi, Geneva found herself moving almost every eight months. “My dad couldn’t hold down a job. Constantly moving can be upsetting for kids. It can make them shy. But it made me quite the opposite. It also taught me that home is wherever I make it.”

While she did some acting in high school plays, she found her passion in language, when she saw the Truffaut classic film Jules and Jim. This led her to pursue her degree at Mount Holyoke, where she also studied German and Arabic. “But French was offering a full scholarship to study in Paris and I won it.” For her junior year, she attended Sciences Po in Paris.

This “not terribly bright” scholarship winner then

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became the first American to graduate with an MBA from prestigious ESCP (École Supérieure de Commerce de Paris), which eventually led to an internship at a French bank. When her work permit ended, she returned to the United States. “I was selling derivatives in New York and I went to see an off-Broadway play at EST [Ensemble Studio Theatre]. I was floored. I realized that this was what I really wanted to do. Make art. Tell stories. So I basically offered myself as an intern, reader, usher, cleaning lady!” She describes EST as “the equalizer — a hidden gem where actors, writers and directors all work together to create plays. They don’t do revivals. It’s all new work. So many great playwrights started there.”

Geneva studied, worked day and night, volunteering at EST, but also holding down various day jobs. “You wouldn’t believe some of the jobs I’ve had. I’ve waited tables, I’ve translated, and done all kinds of trade shows and events as all kinds of characters. I’m short, so I was the go-to Tweety bird! My passion kept me alive.” She will always come back to her work ethic, and advises next generation performers to do the same. “Volunteer. Find a place to work. Theater in New York is so exciting because it is colorblind, age-blind and gender-blind. And it is the best training for everything that follows.”

As Geneva continued to work in theater, both in New York and national tours, she began to do commercials. “I’d done some non-union commercials early in my career, but

DAVE THOMAS BROWN

once I earned my union card, I realized how different everything was.

And it wasn’t just the money. It was safety, cleanliness, privacy when you were dressing and breaks!”

It was on union sets that she also learned to stand up and fight when something wasn’t right. “I’ll never ask for more than I deserve, but I will fight for what I am entitled to.” She cites one example where she refused to sign a contract during a Saturday shoot. Her agent wasn’t available and the producers had done four setups but were trying to pay for one ad. “It was settled and I got paid properly, but eventually I ran into the casting director who’d handled background for the shoot. She said, ‘You’re an idiot. You’ll never work again.’

And I said, ‘I’ve already shot two more commercials for the same producers.’”

Geneva encourages actors to fight for what they are owed under union contracts.

“We’re peanuts compared to what these corporations spend on these ads,” she said.

“I talk to young actors who are so eager to work, they don’t realize how bad working off the card is. If you’re willing to do that, casting people will never see you any other way. Don’t undervalue yourself. Union work will help you build your future with protections, pensions and health care.”

Geneva looks at commercials as another way to tell a story. “They’re 30-second movies. When I was the voice of McCormick, I wasn’t selling spices. I was helping people understand how to season food to make the holidays memorable.

When I played the mom in a series of spots for AT&T, it wasn’t to sell plans, it was to teach my sons the value of a dollar.”

Her devotion to EST continued, and playwright Rob Askins wrote Hand to God specifically for Geneva and actor Steven Boyer. “We did reading after reading and eventually it was a showcase, which essentially paid me in subway tokens, but we were doing it because we believed in the play and in each other. I would take a bullet for those people. When we moved to MCC [Manhattan Class Company], we were thrilled, but the move to Broadway was unbelievable,” she said.

Her Tony nomination was “the cherry on top. The night before they were announced, our company manager told me I might want to get a nice outfit because if I was nominated, I’d be doing 50 interviews at 9 a.m., and I thought, why get my hopes up? It will never happen. And then it did. The next morning, hearing my name announced was an out-of-body experience. And I got to meet Helen Mirren! Her first free night, she was in the audience at Hand to God. She was gracious and gorgeous. Losing a Tony to her was a win for me.”

Her Broadway experience was made even more enjoyable by the support she received from her community. She refers to us as “the usual suspects. Everyone I know from commercials and voiceovers came to see the show. It was heaven. It is so important to have love and support for what you do. This is a brutal business and my work ethic and my friends are what sustain me.”

Currently, Geneva plays Marissa Morgan on CBS’ Bull, her first starring role in a network series. Citing Mariska Hargitay as an inspiration, she says, “I’d worked on a few Law & Order SVU episodes as a guest star and she was my learning curve. Seventeen years on the show

and Mariska is first on set. She’s at the top of her game, yet she is always growing.”

Glenn Gordon Caron is Bull’s showrunner.

Citing Moonlighting and Medium as his signature series, she notes, “Those characters and their relationships are what you remember. He cares about the people that tell these stories.” She also appreciates CBS for valuing diversity and inclusion.

“They cast people who look like people in the world we live in. It’s great to be a woman over 40 and have such a wonderful character to play,” she said.

Geneva has just wrapped season two of Bull, and she’s on a much-needed vacation in Paris, where she is staying with friends she’s had since her ESCP days.

“Doing a TV show is hard work. The money is good, but you earn it. Michael Weatherly [Bull] worked with rarely a day off in nine months. Our crew put in 68 hours in the final week.

People ask me where I get my work ethic, and I say ‘theater!’ I was offered a play where I needed to learn sign language. I agreed to do it only if I could train intensively for three months. I wasn’t interested in learning only what I’d need for the play. I always want to grow.

It’s a beautiful language. Look at Marlee Matlin.

It isn’t just what she does with her hands. Her face is so expressive.

“When I did Hand to God, we were getting rewrites every day before every preview. It’s grueling. In TV, that training helps. It’s like theater but it happens much faster. Season one of Bull was like previews. Season two was ‘opening,’ and season three? It’s exciting. I’m cresting for what comes next for my character.

“I love working. I have friends who love and support me. It’s intoxicating!”

Lucky for us, generous, warm, talented and “bright” Geneva Carr has many more stories to tell.

I talk to young actors who are so eager to work, they don’t realize how bad working off the card is. If you’re willing to do that, casting people will never see you any other way.

Don’t undervalue yourself.

— Liz Zazzi is a SAG-AFTRA national vice president and New York Local Board member.

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The Actors Fund Home Is For Everyone in Performing Arts and Entertainment — and News

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he Actors Fund Home, owned and operated by The Actors Fund, is a gold-standard facility in Englewood, New Jersey, featuring assisted living, skilled nursing (which includes Broadway on Hudson, an accredited dementia care unit) and the Shubert Pavilion, a newly opened sub-acute rehab facility (at right). Coming by the end of 2018 is a new memory care unit. These new facilities received part of their funding from the SAG-AFTRA Motion Picture Players Welfare Fund.

After speaking with members who don’t know anything about The Actors Fund Home or who in their family might be eligible, I don’t want to bury the lead, so: Who can apply? If you got this newsletter, you can! Generally, an applicant over 60 years of age should have a minimum of 20 years of work within the industry with annual earnings of at least $2,000 for 10 out of those 20 years. That means of course actors, but also directors, news writers and reporters, movie prop makers, recording

artists, designers, sound technicians and — wonderfully — their spouses, domestic partners, parents and siblings are eligible for admission based on the employment history of an eligible family member.

term care. The admission process for shortterm rehab care comes after a hospital stay or surgery, with the goal of returning home after rehab is completed. Admission for longterm care is different and there is a waiting list (so don’t wait!). If needed, during the application process you will work with the team at the Home to submit documents so that New Jersey Medicaid may be applied for on your behalf. (Requirements for New York Medicaid and New Jersey Medicaid are different.) The bottom line is this: The Actors Fund is here to help during all phases of your life.

Contact Laura White, director of admissions at The Actors Fund Home, at lwhite@actorsfund.org with questions. Laura and the rest of the staff at the Home are an amazing collection of warm and compassionate folks. Take a virtual tour of the new Shubert Pavilion with the fabulous Brian Stokes Mitchell, chairman of The Actors Fund, as your guide on its website at actorsfund.org/TheHome.

DON PEARSE PHOTOGRAPHERS INC.

By Anne Gartlan

Named as one of U.S. News and World Report’s Best Nursing Homes in America and rated 5 stars by the Centers for Medicare & Medicaid Services, The Home accepts Medicare for short-term rehabilitation, as well as New Jersey Medicaid and private pay options for long-

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

EASTERSEALS DISABILITY FILM CHALLENGE

The 55-Hour Challenge

Blood Drive Brings in Record Number of Donors

T On March 9, the New York office hosted a meetup in preparation for the Easterseals Disability Film Challenge. Founded

by SAG-AFTRA member Nic Novicki, the 55-hour-long weekend challenge gives filmmakers — with and without disabilities — the opportunity to collaborate on short films and tell unique stories that showcase disability in its many forms. The meetup allowed creators from the disability community to network, receive advice and recruit cast and crew for their films.

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he New York Health Care Safety Net Committee held its annual blood drive at the SAG-AFTRA office on Monday, April 2. Run by the American Red Cross, this year’s event was named the Mike Hodge Memorial Blood Drive for Entertainment & Media Professionals, and it attracted the largest number of donors since the committee began offering them at 1900 Broadway. Members who donated blood received a special thank you gift from headshot photographer Derek Bergey, who volunteered his time to donate free 15-minute photo sessions and one free image to all SAG-AFTRA members who donated blood at the event.

If Your Song Was Born Before this Date in 1972 …

A LESSON IN MONEY MANAGEMENT

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re you a legacy artist who made music before Feb. 15, 1972? If you are, you should be excited about the pending CLASSICS Act (Compensating Legacy Artists for the Songs, Services, and Important Contributions to Society Act) in Congress.

The CLASSICS Act is part of the Music Modernization Act that was introduced by House Judiciary Chairman Bob Goodlatte, R-Virginia, and ranking member Jerry Nadler, D-New York. The CLASSICS Act just passed the U.S. House of Representatives with a vote of 415-0. Next, the Senate is set to consider the Music Modernization Act. If signed into law, legacy artists will finally have a federal digital performance right to collect royalties from digital radio platforms such as Pandora and SiriusXM. Unfortunately, federal law does not protect pre-1972 sound recordings. Lacking federal rights to their work, The Turtles were forced to file class action lawsuits against the digital radio platforms under California, Florida

and New York state copyright laws. The results were mixed: The Turtles won under California law, but lost in both Florida and New York.

In speaking before the House Judiciary Committee in January, the legendary artist Dionne Warwick noted, “There are entire channels on SiriusXM dedicated to music of the ’60s and ’70s … but we get absolutely nothing for [songs] recorded before [1972].

Isn’t that ridiculous?” The CLASSICS Act recognizes the immeasurable value of cherished pre-1972 sound recordings.

SAG-AFTRA looks forward to continuing our fight with the musicFIRST coalition to achieve fair compensation for all sound recording artists on all music platforms.

Keep an eye out for updates on the Music Modernization Act and the CLASSICS Act.

n Saturday, March 24, the SAG-AFTRA New York Young Performers committee hosted a daylong workshop at the New York office for young performers titled Wealth: The Funds and Financial Future of the Young Performer.

Sponsored by the SAG-Producers Industry Advancement and Cooperative Fund, the workshop taught the young members about how money is earned, spent and invested as part of the day-to-day business of being a professional performer.

Young performer members were given play money from a hypothetical union job.

Union dues and Coogan account money were set aside, and the remainder was left for them to cover the imagined costs of headshots, acting class, self-taping and investment counseling. The day ended with members earning returns on their investments, gaining access to their trust account money and earning residuals, all resulting in a payback of play money along with some chocolate coins for interest.

Parents took part in a morning panel about young performer financial management that included speakers from SAG-AFTRA, the Actors Federal Credit Union and the Actors Fund. In the afternoon, Sandra Karas, director of the New York VITA office and a New York Local Board member, gave a seminar about filing tax returns for young performers. VITA is a tax assistance program for performers.

From left, Lee Genick of Sylvia Fay/Lee Genick & Associates Casting, Karen Etcoff of Kee Casting & Associates, SAG-AFTRA President Gabrielle Carteris, EVP and N.Y. Local President Rebecca Damon, Grant Wilfley of Grant Wilfley Casting Inc. and Barbara McNamara of Barbara McNamara Casting.

Background Experts Share Knowledge

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ackground moved to the foreground as four of the most influential casting directors in New York participated in a panel on April 11 titled Background Actors Front and Center: An Evening with Casting Directors. Hosted by the New York Background Actors Committee and moderated by New York Local Board member Avis Boone, the panel provided a lively evening of advice and encouragement from the experts. Panelists shared their insights on how background actors can best present themselves before the job, on the job and after the job to give them the best chance to book the next one. Look for more seminars focusing on background performers.

Young performer members with audio engineer Keegan Monti-Kewley, New York Young Performers Committee Co-Chair Holter Graham and acting coach Kimberly Vaughn.

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PERSPECTIVE:

Len Egert

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or this edition of Perspective, New York Local Board member Joseph Melendez spoke with Len Egert, national executive director of the American Guild of Musical Artists. Egert formerly served as the executive director of the SAG-AFTRA San Francisco-Northern California Local.

Who does AGMA represent?

AGMA represents artists who create America’s operatic, choral and dance heritage. Our members work in multiple categories in these fields as soloists, choristers, dancers, stage managers, stage directors, assistant stage managers, assistant stage directors and choreographers.

Solo singers make up our largest single group nationally, and the chorus and dancers are the largest single groups within the companies.

What region does the New York office cover?

The New York area covers some of AGMA’s largest and most wellknown signatory companies, including the Metropolitan Opera and New York City Ballet and modern dance companies such as Alvin Ailey American Dance Theatre. However, AGMA is a national union with our New York office serving as the national office. We also provide AGMA staff and support to other areas: Philadelphia, Pittsburg, New England, Washington/Baltimore, New Orleans, Chicago/Midwest, Texas/Oklahoma, Southern California, San Francisco and the Northwest.

What are your members’ main concerns?

Overall, our members are deeply interested in maintaining the highest standards of artistic excellence. Many of our contractual provisions are designed to permit them to focus on their art. Of course, wages and health and retirement benefits are important. We strive to obtain meaningful increases in wages and improvements to benefits in each negotiation. Protecting our members’ health and safety are of primary importance. For singers, it could mean limiting the use of smoke and fog effects, which could adversely impact their voices. For dancers, it is important to ensure appropriate flooring and stages as well as physical therapy, which is essential to preventing injury.

How long have you been with AGMA? I started with AGMA in August 2016, so I am coming up on my twoyear anniversary.

Why did you become involved with organized labor?

While working as a public defender in New York City for the Legal Aid Society, I became involved with our union, the Association of Legal Aid Attorneys [now part of UAW, Local 2320]. We were engaged in difficult negotiations and decided to go out on strike. I learned firsthand the power of collective action to make a difference. I wanted to join a movement where I could help empower workers to pursue meaningful change in their lives.

What has the transition from SAG-AFTRA to AGMA been like?

The transition has been great. There are many similarities between the positions — leading and overseeing multiple negotiations,

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managing operations and staff, conducting strategic planning with the Board of Governors and appropriate committees. With AGMA, I am working on the national level with broader scope and responsibility. I really enjoy interacting with our membership throughout the United States.

What are you most proud of about AGMA? The incredible dedication and participation of the membership. I see it every day from the elected leadership, including our officers, Board of Governors and area chairs to those who serve as delegates and on negotiating committees. These members devote considerable time and energy to making a difference for their colleagues. They strive to secure improvements in health and safety, working conditions, wages and benefits, and to enforce contract terms daily. They govern AGMA with care and consideration to ensure a strong and financially healthy union. And they do all this excellent work as volunteers. The other area is AGMA’s recent successes in organizing new companies.

Since I started less than two years ago, we organized three new ballet companies, Sarasota Ballet, Sacramento Ballet and Oregon Ballet Theatre. This represents a considerable shift for AGMA, as our previous organizing efforts were over a decade ago before these companies joined AGMA. How can entertainment unions best support one another?

Many of our industries are facing challenging times and there have been recent widespread attacks on the arts and corresponding funding in Congress. I was privileged to join our sister unions last month in advocating on Capitol Hill for full funding of arts programs and agencies. We have a much greater impact when the 12 affiliate unions speak with one voice representing many hundreds of thousands of members. There are several common issues where this coalition can be effective. We will continue to provide support and seek necessary support in contract, organizing and other efforts.

Unions have become a political target in recent years. How should unions respond to this?

I think it starts with one word: organizing! This includes both internal and external organizing. As a movement, we need to educate and empower our membership — they are the union. If we embolden members to fight for issues that they feel strongly about, there is no limit to what we can achieve. Just look at the teachers in Oklahoma, Kentucky, West Virginia and Arizona. They are not only fighting for their own contract improvements, they are bargaining for the common good by joining with community groups to improve conditions for everyone. This type of approach will be the most effective way to rebut cynical anti-union political campaigns. As more people interact with union members seeking to improve their lives, they will gain a better understanding of what unionism is really about.

Andrew Garofalo

STAFF SPOTLIGHT

Business Representative

By Nick Fondulis

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ndrew Garofalo is a relatively new staff member and an even newer New Yorker.

It was a little over a year and a half ago when Andrew started working in the Television and New Media Department of the Los Angeles office, and since coming to the New York Local in August, he’s found ample opportunity to dive deeper into the contracts he helps enforce.

Andrew credits his early baseline knowledge of organized labor to his father, who was a teacher and shop steward for his union, the United Teachers of Los Angeles. However, it wasn’t until Andrew’s second year of law school, while interning with UNITE HERE (a union representing predominantly hotel industry workers), that he gained firsthand knowledge of exactly why unions are so integral. “I got to see the difference between non-union and union workplaces, what that looked like. To me, the most important victory wasn’t just wages or health benefits, but respect and dignity. It was really powerful to see people coming together to organize these workplaces, and that sparked the fire in me.”

Andrew uses that same flame to help enforce the Television Agreement, the Network Code, the Public Television Code, and myriad other television and new media contracts for SAG-AFTRA members. His job is mostly about education, providing guidance to and answering questions from members, agents and producers. He also is responsible for investigating and, if necessary, filing potential grievances to solve disputes. Imparting knowledge is what he finds the most rewarding, and Andrew encourages members to contact his department whenever there is any question or doubt about what is on their paycheck. That can be as simple as wondering what a particular abbreviation on their stub means or how overtime or travel time is calculated, or inquiring about whether or not they got paid correctly. He’s a big believer that well-informed members can help themselves and others get the most out of the contract provisions.

SAG-AFTRA members don’t have to wait for something to go wrong in order to reach out to business representatives like Andrew. “I always like getting calls from members ahead of time when they think there might be a situation coming down the pipeline, so we can try to head it off or give them the tools to navigate it.”

If knowledge is power, then there is a great responsibility in those who wield it. I, for one, am glad to know our membership has Andrew at the helm and at our backs.

Booking Background

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asting directors are afraid of commitment. They want you to keep yourself available for them, but don’t want to speak those three magic words, “You are booked.”

When background actors are explicitly booked for a day, it means they will be paid for the day whether or not the shoot is canceled (although there are exceptions for situations that are beyond the producer’s control). Employers don’t want to pay actors for a day they don’t shoot, but they want to keep actors “available” just in case, without actually booking them.

Actors will often find themselves being asked to remain available for a job and may turn down other jobs, under the assumption they have been booked. When the first job is canceled, they are disappointed to learn the employer is not obligated to pay them.

The best approach in these situations is clarity. If you are willing to keep your calendar open for a potential job, then it is fine to say you are available. But if you are looking at other job opportunities and want a financial commitment, you should ask the casting director directly if you are booked.

A verbal commitment by the casting director is binding, but if you can document the booking in writing through text or email, even better.

SAG-AFTRA contracts provide extensive protections to background performers, but language is key. The difference between being booked and being available is the difference between a paycheck and a “thanks anyway.” Understanding your SAG-AFTRA contracts will help you make informed and empowered decisions about your career.

International Day

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n March, New York Local Executive Director Jeffrey Bennett and Associate General Counsel Justin Touretz met with representatives of professional and trade unions from Kazakhstan who were visiting the United States to learn about the relationship between labor unions, private business and the U.S. government. The visitors asked about the ways SAG-AFTRA protects its members’ rights and advocates on their behalf.

– Nick Fondulis is a SAG-AFTRA New York Local Board member.

From left, SAG-AFTRA Associate General Counsel Justin Touretz, Nazgul Aztayeva, Bolat Abilkassimov, New York Local Executive Director Jeffrey Bennett and Madiyar Sultanov.

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Confronting Harassment and Advancing Equity The union is working to fight the culture of sexual harassment in our industry and beyond, and SAG-AFTRA members are an important part of the solution.

We have a collective responsibility to each other to: • STOP harassing conduct.

• SUPPORT those who speak up.

• REPORT the offensive content whenever possible.

If you see something wrong, or believe you are the subject of unlawful discrimination or harassment, contact SAG-AFTRA at (212) 827-1542 or (323) 549-6644 or by email at diversity@sagaftra.org.

Or call the 24-hour Safety Hotline at (844) SAFER SET. If you are in immediate danger, dial 911 to contact local law enforcement.