July 16, 2023 • 20 mins
Defending Creative Livelihood: The Fight Against AMPTP's Proposal and Understanding the Impact of a Hollywood Strike
Imagine a world where executives own the likeness of background performers for eternity without consent or compensation. This is the chilling future we could face if the AMPTP Alliance of Motion Picture and Television Producers have their way. I'm TIwana Floyd, and during this episode, I'll shed light on the significance of SAG AFTRA's solidarity with the WGA in their fight against this dystopian proposal. We'll discuss how a strike, akin to the writer's strike of 2007, will not just impact actors but also have far-reaching consequences for the global economy. And we will address the uninformed objections from non-industry folks about actors' earnings and the need for us to stand together in this battle.
But the world of acting isn't just about strikes and struggles. It's also about the investment actors make towards their craft, from headshots to subscription websites, and the professional image they maintain for auditions. We'll explore the financial implications of the SAG-AFTRA strike, including how withholding performance from struck employers can affect the industry. As we navigate this tumultuous period, I'll share tips on supporting our show, preserving our professional images, and joining the fight for creative livelihood. Let's embark on this journey together and remember to tune into Actor Business School on YouTube for more insights into the world of acting.
*Links For Financial Assistance
CalFresh - https://benefitscal.com
entertainment community fund - https://entertainmentcommunity.org
sag-aftra foundation - https://sagaftra.foundation
*must qualify for each
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tiwana Floyd (00:04):
Welcome back to Acting Lessons Learned.
I'm Tiwana Floyd and I sharepersonal experiences of the
lessons I've learned and stilllearning as a working actor in
Los Angeles.
It's official SAG AFTRA hasjoined the WGA, the rightest
field of America in fighting forour creative livelihood against
the AMPTP Alliance of MotionPicture and Television Producers
.
This is a significant event, asthe last time SAG AFTRA then
(00:28):
known as SAG and the WGA went onstrike together was back in
1960.
And the goal back then was toobtain residuals.
Can you imagine?
I don't know how actors wereable to support themselves
without residuals, but I am sograteful for those who fought
for us back then and I am happyto be in solidarity with SAG
(00:50):
AFTRA and the WGA for thiscritical negotiation.
If you haven't already, listento Episode 124, life After
Strike, where I talked about howI survived my first writer
strike in 2007 and predictedthat we'd join the writers in
the current strike when ourcontract ended on June 30th.
Not because I'm clairvoyant,but because of the invention of
(01:13):
AI and how the producers want toutilize emotionless software to
replace us and take away ourability to earn a living, to
feed and support our familiesjust to live.
One example of how theexecutives want to use AI was
shared by SAG AFTRA's chiefnegotiator, duncan Crabtree,
ireland.
Duncan stated the executiveshad proposed that our background
(01:36):
performer should be able to bescanned, get paid for one day's
rate, and the executives'company should own that scan,
their image, their likeness, andshould be able to use it for
the rest of eternity in anyproject they want, with no
consent and no compensation.
This is a terrifying notion.
(01:56):
So, yeah, we're out here.
We have to strike and fight forour image and likeness and fair
wages.
Now, I can't call what I'm aboutto say a prediction.
It's simply foreshadowing basedon history repeating itself.
But we, meaning the UnitedStates, may need to brace
ourselves for a pendingfinancial crisis.
(02:18):
One, because we are already indebt, having yet to rebound from
the negative financial impactof the pandemic fully.
And two, if Hollywood goes onstrike, it's not just the people
residing in Los Angeles whowill feel the effect.
Just like the writer strike of2007 was felt worldwide, so
(02:38):
shall be this one.
Hollywood is a significantcontributor to the world's
economy.
Pre-pandemic.
In 2020, hollywood contributed$504 billion to the US GDP.
The US and media entertainmentindustry accounts for 6.9% of
the total US GDP.
(02:59):
There were 1.4 millionAmericans employed in the media
and entertainment industry in2022.
Now, it's likely not all ofthis 1.4 million falls under the
WGA or SAG after jurisdiction,but I'm betting a high
percentage of industry workersare going to tighten their purse
strings until production startsagain.
(03:21):
So when you think of capitalismor consumerism and its impact
on the world economy, with ahigh number of entertainment
folks tightening their pursestrings, you're right.
The result has to affect theworld economy adversely, and
it's already been rumored thatthis will be a long strike, as
the producers have publiclystated in a variety article that
(03:42):
they are willing to starve outwriters to the degree of losing
their homes, and I'm sure thesame holds true for the actor's
guilt as well.
Although there are so many ofus, when we don't go to work, it
really is problematic to theirbottom line.
Now let's consider how consumerspending is the key driver of
the economy that fuels economicgrowth and, without going too
(04:04):
deep, the United Statesdominates the IMF, the
International Monetary Fund,which promotes high employment
and sustainable economic growthto reduce poverty worldwide.
When SAG-AFJA, one of thelargest unions in the world, and
the WGA pushed Hollywood tocease television production, the
(04:24):
impact is felt worldwide.
And when we, sag-afja, fightfor fair wages and win, our
fight helps the plight forsmaller unions everywhere.
Okay, that was a lot, but Iwanted to paint how far reaching
a strike can go globally.
On another topic, since I'malready seeing posts on social
media from let's call themcivilians people who don't work
(04:49):
in this industry or any union oreven own their own business,
who are speculating that weactors and writers are greedy,
why are we crying for more moneywhen we already make so much
money that we should go back towork and just be happy with what
we earn?
It's the equivalent of fanstelling King LeBron to just shut
(05:10):
up and dribble.
No, you don't get to tell uswhat to do because you have no
idea what we do.
Civilians lock the knowledge ofthe 10 plus years of
preliminary work we put in forfree before we even get to
collective bargaining wage jobs.
And if you're an actor gettingthis uninformed pushback from
civilian friends and family,feel free to use this as an
(05:32):
argument.
But honestly, I don't try toget someone who has no idea what
I do to understand my plightwhen they are committed to being
ignorant.
I find it futile.
Is it futile or futile?
I like futile?
I think it's futile.
Like many actors, my journeystarted with the courage to even
choose the path of creativity.
(05:53):
We go against our parents'wishes to earn a safe and stable
living, and most creatives walkthis journey without their
parents' support, which isdisheartening to me.
Some of my peers are ridiculedthe entire time that they are in
the pursuit, withpassive-aggressive jabs like
how's your little acting careergoing?
(06:14):
Or when are you going to makeit big?
Like fill in the blankcelebrity name.
Or, as one of my exes once saidto me, why are you willing to
throw your life away for a pipedream?
I can't keep waiting on you.
You know you should go back toschool and get a job to fall
back on.
You're getting older.
First of all, I didn't know youwere waiting on me.
Second of all, that statementwas the beginning of our fast
(06:37):
approaching end.
Now let's go back to discussingthe expenses involved in
pre-production for our actorjourney, and I know I'm
preaching to the choir, but I'mjust reminding us just in case
we forgot what we're fightingfor Our initial cost to fund our
business, our startup costs, ifyou will, because as actors, we
are essentially entrepreneurs.
(06:58):
The sooner we realize this, thebetter equipped we will be to
run our businesses.
Hopefully, I hope we are betterequipped.
The initial entry, the lineitem on the expense sheet,
pertains to training andeducation.
This may include conventionalschooling financed through
student loans leading tolong-term debts lasting 20 to 30
(07:19):
years.
Alternatively, it could benon-traditional training that
costs $400 to $500 per monthwith continuous payments until
we feel confident in our actingabilities.
But do we ever feel confidentin our acting abilities?
No, we continue to stay inclass and pay $400 to $500 a
month.
Many actors spend a lot of moneyon marketing I know I do and
(07:42):
the largest culprit is headshots.
That can cost $500 to $1,000every six months.
Because, aside from our craft,we feel that new headshots are
the only thing we can controland we often say things like you
know, I need new picturesbecause the last ones didn't
work.
However, the last ones didn'twork because we didn't take the
necessary marketing steps tomake them work effectively in
(08:05):
our favor.
Getting new headshots mightfeel like it makes a slight
difference, but when it doesn't,we feel defeated, when they
don't produce more opportunitiesand I'm not trying to criticize
anybody, because I'm batchedinto that as well and it took me
time to learn that, until Ithoroughly planned out my
headshot sessions, that I coulduse my photos for years until I
(08:28):
changed my look drastically or Iswitched agents and they wanted
new photos.
Then we need to factor in thecost of submission sites, which
makes everybody pissed, becausewe have to subscribe to at least
two, usually three.
So there's actors access, andthen there's the two commercial
sites that are owned by onesoftware company.
(08:48):
How is that even possible?
Casting networks and castingfrontier, and if we opt for the
premium packages, all threecould cost around $500 annually.
As performers, we incur groomingexpenses to maintain a polished
appearance that inspires thepeople who watch us to be like
us.
This includes haircuts, haircolor, manicures, pedicures, gym
(09:10):
memberships, well-fittingclothes and up-to-date fashion
choices.
We invest in these to preparefor auditions before we even
land the job.
Let's add in transportationcosts.
Depending on the city, it couldeither be fuel expenses or
maybe a monthly metro card.
We pay taxes on variousexpenses like agent manager fees
(09:30):
, we pay rent, food utilities,and all of this can easily be
from $5,000 to $20,000 a year.
But you know what the mostexpensive item is on our list?
It's time and energy.
As aspiring and veteran actors,we spend 10 years chasing our
(09:51):
dream and aging during theprocess, and some of us even
sacrifice our personal lives bynot taking vacations or
attending family functions, allfor the possibility of being
available for an uncertainopportunity.
Now, while we may book the job,it may never air or our work
may not make the final cut.
Moreover, if we are notregularly booking jobs, we
(10:15):
either pay exorbitant healthcare costs or work soul-sucking
jobs just for a working wage andhealth insurance.
The compensation negotiated bySAG-AFTRA is to make sure that
we are taken care of when wefinally get to the destination
of being able to work.
Under the collective bargainingagreements, the compensation is
(10:37):
determined by the amount ofrevenue generated from
advertising or ticket sales,which amounted to let me go back
$504 billion in 2020.
Meanwhile, the executives aretaking million-dollar incomes.
Now, when I book a singlenational commercial that airs
frequently, thanks to residuals,I can use the earnings to pay
(11:01):
off any outstanding debt fromthe previous year, live
comfortably in the current year,maintaining good health and
energy, to pursue more work andor contribute to my retirement
and savings plans.
And that's in commercials, andit used to be the case in
theatrical, not to the samedegree, but now, with streaming.
It's damn near impossible toearn a living because there are
(11:23):
no residuals, or actually let metake that back the residuals
are nominal.
So, yeah, this is my tangentand my gripe to all the civilian
friends and families who arenot even willing to invest in
their own creative outlets.
But then they want to criticizeus for not succeeding.
Well, the mere boldness to startis success.
(11:46):
To be courageous enough to getup after every unspoken
rejection is the success.
And once we get to the placewhen we are working, whether
sporadically or regularly, wedeserve to be paid well, based
on how much money our industryearns.
(12:06):
All the creatives deserve to bepaid.
They're worth and I know I'mgetting all upset and I'm
talking to you about this as ifyou're the civilians, but maybe
a civilian will be listening andthey can be educated on what it
is that it takes to fund acareer.
But you know what?
Honestly, let me let this go,because the opinions of non
(12:26):
creatives are really trulyirrelevant.
If they have talent but are tooscared to pursue a creative
career, why should I beinterested in their thoughts?
This may sound blunt, but it'snot as bad as someone asking me
when am I going to make it bigor that I'm getting too old or I
should go and work for Marvel.
(12:46):
I can only speak for myself.
But I'm in too deep to turnaround now.
And even when we have to dealwith producers trying to impede
on our wages and our livelihoods, I still love what I do, but
not to the deficit of earning aliving wage Above and beyond,
actually.
Okay, I've got that off mychest.
(13:07):
Back to what I was saying.
So the writers have beenstriking for almost two months
and, from what I can see, theirendurance is still high.
Now, actors, we get to come inas reinforcements to fight the
good fight with our combinednumbers.
We are not going to berailroaded.
So now that we are in a strike,the question is does this mean
(13:29):
that SAG-AFTRAs can't workanywhere?
No, we can work, but we arewithholding performing for
struck employers, and thatincludes producer SAG-AFTRA
codified basic agreements,sag-aftra television agreements,
including new media, specialnew media agreements, low budget
, moderate low budget, ultra lowbudget agreements, known as LBA
(13:52):
, mpa and UPA.
That's a list of what we cannotwork, but here's a short list
of the contracts that areunaffected, meaning you can work
, we can still work.
Union on-camera commercials, tvnetwork code, which includes
daytime serials, also known asSOAPS, variety shows, talk shows
, game shows.
We can do music videos, unionindustrials, corporate education
(14:14):
, audio books, union approvedstudent films, interactive video
games that are not produced bythe AMPTP studio, animation,
dubbing.
You know what?
There is a list published onthe SAG-AFTRA strikeorg website
or you can call SAG-AFTRA andask the staff member if you are
curious or feel confused aboutanything.
(14:35):
The bottom line there is noscabbing in TV and theatrical
productions and scabbing meansno performing of duties or
working for a struck companywhich is produced by the AMPTP,
and any evidence of scabbing canprevent you from becoming a
union member in the future.
And I'm sure there are somerepercussions for union actors
(14:55):
who choose to work and scab forproducers as well, and I know
how tempting it can be.
But, sag-aftra members, it isrecommended to avoid working on
non-union commercials orvoiceovers, particularly during
the strike, because thesecontracts, they are essential
for maintaining the SAG-AFTRApension and health, and I didn't
forget about you non-unionactors.
(15:15):
If you're thinking well, thisdoesn't apply to me.
The union won't even let me in.
It's important to know thiscontract is essential for your
future as well, including rightto work states, regardless of
whether you plan to join theunion later or not.
These projects that are filmedin right to work states fall
under SAG-AFTRA's minimums andprotections because they are
(15:36):
signatories.
The negotiations of thiscontract will establish the
foundation for your futureearnings, protections, pension
and health care as well.
So if you're looking to supportthe strike, no matter where you
are in the world, here are a fewsuggestions SAG-AFTRA has
offered.
One you can join a picket linein your city, and all are
welcome.
Two help to get the word out,which is kind of like what I'm
(15:59):
doing here.
And three you can donate tostrike funds by purchasing merch
or making fiduciarycontributions.
Finally, if you have beenearning a living from acting,
the times have gotten bleak andthey have gotten tough, and
during this strike, this is atime to figure out other
employment options until thestrike ends.
(16:20):
And if commercials orvoiceovers or industrials aren't
happening for you, considergetting a job, whether you go
into a location, an office, orconsider remote jobs inside and
outside of your state.
The sooner you can get moreincome flowing in, the less of a
deficit you'll encounter as thestrike continues on.
(16:40):
And if money becomes an issue,apply for CalFresh or EBT in
your city.
There is no reason to go hungry.
If you qualify for temporaryassistance and if you pay taxes,
you shouldn't feeluncomfortable receiving the
benefit you pay into If you needto pay your rent.
Check out the EntertainmentCommunity Fund.
They offer financial support toindustry participants, and the
(17:01):
SAG After Foundation offers afund you can apply to as well,
and don't be too proud.
If you qualify, the assistancecould give you a month of relief
from stress and worry.
I know personally.
I've used the services and itwas just what I needed at the
time to stay afloat and gave mepeace of mind.
And I'll link all of thesethings in a description and I
feel like it goes without saying, but I'm just gonna say it
(17:25):
anyway.
Unless you have discretionaryincome, you might want to fall
back on paying for classes rightnow.
Keep as much available liquidcash in your bank account as
possible.
You just experienced thequarantine what it's like to
deal with the loss of income butduring the quarantine, there
were services that were helpingus with our finances.
(17:48):
Look, I understand you want tobe in a class, but listen, there
is so much free informationonline on YouTube, so find a
creative outlet in other waysthat are free, if possible.
Find creative ways to fulfillyour passion, like, maybe
there's a podcast that youwanted to start, there's that
(18:09):
script.
We all have a script, right, weall have that script in our
head, so maybe this is the timeto start it.
Or how about filming thosecharacters for TikTok that
you've been thinking of?
And no matter where you are inthe world, seek out free outdoor
events that take place in yourcity.
It's warm out, it's summertime,being the sun, being the energy
of living.
Stay healthy.
Actor friend, a strike feelseasy in the beginning, but
(18:33):
remember the undercurrent is theproducers are diabolically
committed to wearing us down sothat we accept whatever they
give us.
Do everything in your power tomaintain positive mental health.
It's very important, like thequarantine, find your group of
people, be with others.
Whether you've experienced astrike before or this is your
(18:56):
first time, isolation is neverour friend.
So reach out to your friends,your peers and your colleagues
and stay connected and incommunity.
Thank you for listening toActing Lessons Learned.
I'm going to remind you to goback and check out episode 124,
life After Strike, and I'll befiguring out how I plan to
navigate the strike this timearound.
(19:18):
Thank you for listening.
If you'd like to support theshow.
You can rate the show 5 stars.
You can leave a loving review.
You can share this episode withas many actor friends as you
think would enjoy this content.
You can also buy me a coffee.
And now you can check out mylatest launch Actor Business
School on YouTube.
Right now it's being populatedwith shorts and over time I'll
(19:40):
be adding long term educationalcontent as well.
So go there and subscribe andhit the notification bell so
that you can be notified when Ipost things.
I'm on Instagram and you knowwhat.
All of the links are in thedescription.
I'll be back in two weeks, butin the meantime, in solidarity,
actor friend, we are here tofight because the future is
(20:03):
calling and it's trying to saythat we're unwelcome, but we're
here to say we are welcome andyou're going to pay us for it.
Be well.
Welcome back to Acting Lessons Learned.
I'm Tiwana Floyd and I sharepersonal experiences of the
lessons I've learned and stilllearning as a working actor in
Los Angeles.
It's official SAG AFTRA hasjoined the WGA, the rightest
field of America in fighting forour creative livelihood against
the AMPTP Alliance of MotionPicture and Television Producers
.
This is a significant event, asthe last time SAG AFTRA then
(00:28):
known as SAG and the WGA went onstrike together was back in
1960.
And the goal back then was toobtain residuals.
Can you imagine?
I don't know how actors wereable to support themselves
without residuals, but I am sograteful for those who fought
for us back then and I am happyto be in solidarity with SAG
(00:50):
AFTRA and the WGA for thiscritical negotiation.
If you haven't already, listento Episode 124, life After
Strike, where I talked about howI survived my first writer
strike in 2007 and predictedthat we'd join the writers in
the current strike when ourcontract ended on June 30th.
Not because I'm clairvoyant,but because of the invention of
(01:13):
AI and how the producers want toutilize emotionless software to
replace us and take away ourability to earn a living, to
feed and support our familiesjust to live.
One example of how theexecutives want to use AI was
shared by SAG AFTRA's chiefnegotiator, duncan Crabtree,
ireland.
Duncan stated the executiveshad proposed that our background
(01:36):
performer should be able to bescanned, get paid for one day's
rate, and the executives'company should own that scan,
their image, their likeness, andshould be able to use it for
the rest of eternity in anyproject they want, with no
consent and no compensation.
This is a terrifying notion.
(01:56):
So, yeah, we're out here.
We have to strike and fight forour image and likeness and fair
wages.
Now, I can't call what I'm aboutto say a prediction.
It's simply foreshadowing basedon history repeating itself.
But we, meaning the UnitedStates, may need to brace
ourselves for a pendingfinancial crisis.
(02:18):
One, because we are already indebt, having yet to rebound from
the negative financial impactof the pandemic fully.
And two, if Hollywood goes onstrike, it's not just the people
residing in Los Angeles whowill feel the effect.
Just like the writer strike of2007 was felt worldwide, so
(02:38):
shall be this one.
Hollywood is a significantcontributor to the world's
economy.
Pre-pandemic.
In 2020, hollywood contributed$504 billion to the US GDP.
The US and media entertainmentindustry accounts for 6.9% of
the total US GDP.
(02:59):
There were 1.4 millionAmericans employed in the media
and entertainment industry in2022.
Now, it's likely not all ofthis 1.4 million falls under the
WGA or SAG after jurisdiction,but I'm betting a high
percentage of industry workersare going to tighten their purse
strings until production startsagain.
(03:21):
So when you think of capitalismor consumerism and its impact
on the world economy, with ahigh number of entertainment
folks tightening their pursestrings, you're right.
The result has to affect theworld economy adversely, and
it's already been rumored thatthis will be a long strike, as
the producers have publiclystated in a variety article that
(03:42):
they are willing to starve outwriters to the degree of losing
their homes, and I'm sure thesame holds true for the actor's
guilt as well.
Although there are so many ofus, when we don't go to work, it
really is problematic to theirbottom line.
Now let's consider how consumerspending is the key driver of
the economy that fuels economicgrowth and, without going too
(04:04):
deep, the United Statesdominates the IMF, the
International Monetary Fund,which promotes high employment
and sustainable economic growthto reduce poverty worldwide.
When SAG-AFJA, one of thelargest unions in the world, and
the WGA pushed Hollywood tocease television production, the
(04:24):
impact is felt worldwide.
And when we, sag-afja, fightfor fair wages and win, our
fight helps the plight forsmaller unions everywhere.
Okay, that was a lot, but Iwanted to paint how far reaching
a strike can go globally.
On another topic, since I'malready seeing posts on social
media from let's call themcivilians people who don't work
(04:49):
in this industry or any union oreven own their own business,
who are speculating that weactors and writers are greedy,
why are we crying for more moneywhen we already make so much
money that we should go back towork and just be happy with what
we earn?
It's the equivalent of fanstelling King LeBron to just shut
(05:10):
up and dribble.
No, you don't get to tell uswhat to do because you have no
idea what we do.
Civilians lock the knowledge ofthe 10 plus years of
preliminary work we put in forfree before we even get to
collective bargaining wage jobs.
And if you're an actor gettingthis uninformed pushback from
civilian friends and family,feel free to use this as an
(05:32):
argument.
But honestly, I don't try toget someone who has no idea what
I do to understand my plightwhen they are committed to being
ignorant.
I find it futile.
Is it futile or futile?
I like futile?
I think it's futile.
Like many actors, my journeystarted with the courage to even
choose the path of creativity.
(05:53):
We go against our parents'wishes to earn a safe and stable
living, and most creatives walkthis journey without their
parents' support, which isdisheartening to me.
Some of my peers are ridiculedthe entire time that they are in
the pursuit, withpassive-aggressive jabs like
how's your little acting careergoing?
(06:14):
Or when are you going to makeit big?
Like fill in the blankcelebrity name.
Or, as one of my exes once saidto me, why are you willing to
throw your life away for a pipedream?
I can't keep waiting on you.
You know you should go back toschool and get a job to fall
back on.
You're getting older.
First of all, I didn't know youwere waiting on me.
Second of all, that statementwas the beginning of our fast
(06:37):
approaching end.
Now let's go back to discussingthe expenses involved in
pre-production for our actorjourney, and I know I'm
preaching to the choir, but I'mjust reminding us just in case
we forgot what we're fightingfor Our initial cost to fund our
business, our startup costs, ifyou will, because as actors, we
are essentially entrepreneurs.
(06:58):
The sooner we realize this, thebetter equipped we will be to
run our businesses.
Hopefully, I hope we are betterequipped.
The initial entry, the lineitem on the expense sheet,
pertains to training andeducation.
This may include conventionalschooling financed through
student loans leading tolong-term debts lasting 20 to 30
(07:19):
years.
Alternatively, it could benon-traditional training that
costs $400 to $500 per monthwith continuous payments until
we feel confident in our actingabilities.
But do we ever feel confidentin our acting abilities?
No, we continue to stay inclass and pay $400 to $500 a
month.
Many actors spend a lot of moneyon marketing I know I do and
(07:42):
the largest culprit is headshots.
That can cost $500 to $1,000every six months.
Because, aside from our craft,we feel that new headshots are
the only thing we can controland we often say things like you
know, I need new picturesbecause the last ones didn't
work.
However, the last ones didn'twork because we didn't take the
necessary marketing steps tomake them work effectively in
(08:05):
our favor.
Getting new headshots mightfeel like it makes a slight
difference, but when it doesn't,we feel defeated, when they
don't produce more opportunitiesand I'm not trying to criticize
anybody, because I'm batchedinto that as well and it took me
time to learn that, until Ithoroughly planned out my
headshot sessions, that I coulduse my photos for years until I
(08:28):
changed my look drastically or Iswitched agents and they wanted
new photos.
Then we need to factor in thecost of submission sites, which
makes everybody pissed, becausewe have to subscribe to at least
two, usually three.
So there's actors access, andthen there's the two commercial
sites that are owned by onesoftware company.
(08:48):
How is that even possible?
Casting networks and castingfrontier, and if we opt for the
premium packages, all threecould cost around $500 annually.
As performers, we incur groomingexpenses to maintain a polished
appearance that inspires thepeople who watch us to be like
us.
This includes haircuts, haircolor, manicures, pedicures, gym
(09:10):
memberships, well-fittingclothes and up-to-date fashion
choices.
We invest in these to preparefor auditions before we even
land the job.
Let's add in transportationcosts.
Depending on the city, it couldeither be fuel expenses or
maybe a monthly metro card.
We pay taxes on variousexpenses like agent manager fees
(09:30):
, we pay rent, food utilities,and all of this can easily be
from $5,000 to $20,000 a year.
But you know what the mostexpensive item is on our list?
It's time and energy.
As aspiring and veteran actors,we spend 10 years chasing our
(09:51):
dream and aging during theprocess, and some of us even
sacrifice our personal lives bynot taking vacations or
attending family functions, allfor the possibility of being
available for an uncertainopportunity.
Now, while we may book the job,it may never air or our work
may not make the final cut.
Moreover, if we are notregularly booking jobs, we
(10:15):
either pay exorbitant healthcare costs or work soul-sucking
jobs just for a working wage andhealth insurance.
The compensation negotiated bySAG-AFTRA is to make sure that
we are taken care of when wefinally get to the destination
of being able to work.
Under the collective bargainingagreements, the compensation is
(10:37):
determined by the amount ofrevenue generated from
advertising or ticket sales,which amounted to let me go back
$504 billion in 2020.
Meanwhile, the executives aretaking million-dollar incomes.
Now, when I book a singlenational commercial that airs
frequently, thanks to residuals,I can use the earnings to pay
(11:01):
off any outstanding debt fromthe previous year, live
comfortably in the current year,maintaining good health and
energy, to pursue more work andor contribute to my retirement
and savings plans.
And that's in commercials, andit used to be the case in
theatrical, not to the samedegree, but now, with streaming.
It's damn near impossible toearn a living because there are
(11:23):
no residuals, or actually let metake that back the residuals
are nominal.
So, yeah, this is my tangentand my gripe to all the civilian
friends and families who arenot even willing to invest in
their own creative outlets.
But then they want to criticizeus for not succeeding.
Well, the mere boldness to startis success.
(11:46):
To be courageous enough to getup after every unspoken
rejection is the success.
And once we get to the placewhen we are working, whether
sporadically or regularly, wedeserve to be paid well, based
on how much money our industryearns.
(12:06):
All the creatives deserve to bepaid.
They're worth and I know I'mgetting all upset and I'm
talking to you about this as ifyou're the civilians, but maybe
a civilian will be listening andthey can be educated on what it
is that it takes to fund acareer.
But you know what?
Honestly, let me let this go,because the opinions of non
(12:26):
creatives are really trulyirrelevant.
If they have talent but are tooscared to pursue a creative
career, why should I beinterested in their thoughts?
This may sound blunt, but it'snot as bad as someone asking me
when am I going to make it bigor that I'm getting too old or I
should go and work for Marvel.
(12:46):
I can only speak for myself.
But I'm in too deep to turnaround now.
And even when we have to dealwith producers trying to impede
on our wages and our livelihoods, I still love what I do, but
not to the deficit of earning aliving wage Above and beyond,
actually.
Okay, I've got that off mychest.
(13:07):
Back to what I was saying.
So the writers have beenstriking for almost two months
and, from what I can see, theirendurance is still high.
Now, actors, we get to come inas reinforcements to fight the
good fight with our combinednumbers.
We are not going to berailroaded.
So now that we are in a strike,the question is does this mean
(13:29):
that SAG-AFTRAs can't workanywhere?
No, we can work, but we arewithholding performing for
struck employers, and thatincludes producer SAG-AFTRA
codified basic agreements,sag-aftra television agreements,
including new media, specialnew media agreements, low budget
, moderate low budget, ultra lowbudget agreements, known as LBA
(13:52):
, mpa and UPA.
That's a list of what we cannotwork, but here's a short list
of the contracts that areunaffected, meaning you can work
, we can still work.
Union on-camera commercials, tvnetwork code, which includes
daytime serials, also known asSOAPS, variety shows, talk shows
, game shows.
We can do music videos, unionindustrials, corporate education
(14:14):
, audio books, union approvedstudent films, interactive video
games that are not produced bythe AMPTP studio, animation,
dubbing.
You know what?
There is a list published onthe SAG-AFTRA strikeorg website
or you can call SAG-AFTRA andask the staff member if you are
curious or feel confused aboutanything.
(14:35):
The bottom line there is noscabbing in TV and theatrical
productions and scabbing meansno performing of duties or
working for a struck companywhich is produced by the AMPTP,
and any evidence of scabbing canprevent you from becoming a
union member in the future.
And I'm sure there are somerepercussions for union actors
(14:55):
who choose to work and scab forproducers as well, and I know
how tempting it can be.
But, sag-aftra members, it isrecommended to avoid working on
non-union commercials orvoiceovers, particularly during
the strike, because thesecontracts, they are essential
for maintaining the SAG-AFTRApension and health, and I didn't
forget about you non-unionactors.
(15:15):
If you're thinking well, thisdoesn't apply to me.
The union won't even let me in.
It's important to know thiscontract is essential for your
future as well, including rightto work states, regardless of
whether you plan to join theunion later or not.
These projects that are filmedin right to work states fall
under SAG-AFTRA's minimums andprotections because they are
(15:36):
signatories.
The negotiations of thiscontract will establish the
foundation for your futureearnings, protections, pension
and health care as well.
So if you're looking to supportthe strike, no matter where you
are in the world, here are a fewsuggestions SAG-AFTRA has
offered.
One you can join a picket linein your city, and all are
welcome.
Two help to get the word out,which is kind of like what I'm
(15:59):
doing here.
And three you can donate tostrike funds by purchasing merch
or making fiduciarycontributions.
Finally, if you have beenearning a living from acting,
the times have gotten bleak andthey have gotten tough, and
during this strike, this is atime to figure out other
employment options until thestrike ends.
(16:20):
And if commercials orvoiceovers or industrials aren't
happening for you, considergetting a job, whether you go
into a location, an office, orconsider remote jobs inside and
outside of your state.
The sooner you can get moreincome flowing in, the less of a
deficit you'll encounter as thestrike continues on.
(16:40):
And if money becomes an issue,apply for CalFresh or EBT in
your city.
There is no reason to go hungry.
If you qualify for temporaryassistance and if you pay taxes,
you shouldn't feeluncomfortable receiving the
benefit you pay into If you needto pay your rent.
Check out the EntertainmentCommunity Fund.
They offer financial support toindustry participants, and the
(17:01):
SAG After Foundation offers afund you can apply to as well,
and don't be too proud.
If you qualify, the assistancecould give you a month of relief
from stress and worry.
I know personally.
I've used the services and itwas just what I needed at the
time to stay afloat and gave mepeace of mind.
And I'll link all of thesethings in a description and I
feel like it goes without saying, but I'm just gonna say it
(17:25):
anyway.
Unless you have discretionaryincome, you might want to fall
back on paying for classes rightnow.
Keep as much available liquidcash in your bank account as
possible.
You just experienced thequarantine what it's like to
deal with the loss of income butduring the quarantine, there
were services that were helpingus with our finances.
(17:48):
Look, I understand you want tobe in a class, but listen, there
is so much free informationonline on YouTube, so find a
creative outlet in other waysthat are free, if possible.
Find creative ways to fulfillyour passion, like, maybe
there's a podcast that youwanted to start, there's that
(18:09):
script.
We all have a script, right, weall have that script in our
head, so maybe this is the timeto start it.
Or how about filming thosecharacters for TikTok that
you've been thinking of?
And no matter where you are inthe world, seek out free outdoor
events that take place in yourcity.
It's warm out, it's summertime,being the sun, being the energy
of living.
Stay healthy.
Actor friend, a strike feelseasy in the beginning, but
(18:33):
remember the undercurrent is theproducers are diabolically
committed to wearing us down sothat we accept whatever they
give us.
Do everything in your power tomaintain positive mental health.
It's very important, like thequarantine, find your group of
people, be with others.
Whether you've experienced astrike before or this is your
(18:56):
first time, isolation is neverour friend.
So reach out to your friends,your peers and your colleagues
and stay connected and incommunity.
Thank you for listening toActing Lessons Learned.
I'm going to remind you to goback and check out episode 124,
life After Strike, and I'll befiguring out how I plan to
navigate the strike this timearound.
(19:18):
Thank you for listening.
If you'd like to support theshow.
You can rate the show 5 stars.
You can leave a loving review.
You can share this episode withas many actor friends as you
think would enjoy this content.
You can also buy me a coffee.
And now you can check out mylatest launch Actor Business
School on YouTube.
Right now it's being populatedwith shorts and over time I'll
(19:40):
be adding long term educationalcontent as well.
So go there and subscribe andhit the notification bell so
that you can be notified when Ipost things.
I'm on Instagram and you knowwhat.
All of the links are in thedescription.
I'll be back in two weeks, butin the meantime, in solidarity,
actor friend, we are here tofight because the future is
(20:03):
calling and it's trying to saythat we're unwelcome, but we're
here to say we are welcome andyou're going to pay us for it.
Be well.
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