chicago playback - summer 2012

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FLiPPinG THE JOB SPECiAL iSSuE ...

MEMBERS AT WORK

FLIP THAT JOB!

BROADCAST CONFERENCE

NE W HEALTH CARE OPTION FOR SAG-AFTR A CHICAGO MEMBERS AND FAMILIES

SAG-AFTRA CHICAGO SUMMER 2012

Live your beliefs and you can turn the world around. Henry David Thoreau

SAG-AFTRA Chicago members doing what they

love to do: peRFoRminG & woRkinG!

1 playback www.sagaftra.org

MEMBERS AT WORK

The SAG-AFTRA Chicago Singers performed One Voice at the Chicago Federation of Labor’s June meeting.

Boss Director Jim mckay, kelsey Grammer and Rotimi shooting in Chicago.

on the set of Boss, from left: Jim mckay, nicole Forester, Jeff Hephner, kelsey Grammer, Daniel J. Travanti, and Connie nielsen. Li

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DiD yOu knOw that in the days when Chicago radio was it from the ‘20s through the ‘50s, the actresses, (that’s what they were called then) never entered a studio for work sans hat and gloves, even for rehearsals? In the evening, the actors wore tuxedos for live audiences, ladies in formal gowns, indeed the orchestra was also in full dress!

mercita Demonk, parker Gronwold, Connie Foster and Don Stroup on the set of unSHACkLED!Li

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January Stern on location for a walmart commercial.

SAG-AFTRA Chicago members

Headline First wiFC emerging Talent

Series The Chicago chapter of Women in Film (WIFC) launched a new series, Emerging Talent: Females in Focus. Profiling Chicago’s emerging female filmmakers, the inaugural event featured the short films of award-winning filmmakers and SAG-AFTRA members Mary Kay Cook (Wednesday’s Child) and Grace McPhillips (Fitting).

mary kay Cook, nancy Sellers and Grace mcphillips at wiFC emerging Talent event.

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Jay Disney on the set of A Man of Limited Emotional Means.


FLIP THAT JOB

producer LoRRAine SeeBURGI’ve worked with some wonderful non-union talent, but my preference is always to use a union professional. When my project budget allows me to cast union talent, I find that I have access to more diverse, high-caliber performers with more experience. I have more options and know I will get a professional who does the job well. Overall, budgets have been declining the past several years, and we have to be creative to get the job done. Voiceover seems to offer more opportunities for me to go union, and I’ve found it easier to negotiate with franchised talent agents versus non-union talent agents. The ever-changing field of Internet use and wide range of distribution channels can cause some problems in determining a bottom line. We look at the Internet as the primary delivery format on every project these days. Most of our work starts there! The costs for a union vs. non-union performer are not so different, and I’m very open to working with SAG-AFTRA talent.

Franchised Talent Agent LinDA JACkThere are more non-union Corporate/Educational & Non-Broadcast (Co-Ed) jobs than ever these days, and I intervene with some frequency. My goal is to make it simple for the client to use a union performer. I always try to determine if that is possible when a non-union project is brought to me. If a performer has been contacted directly by a producer for a non-union project, I will contact the producer and try to determine the project’s budget. If the amount reserved for talent payment is somewhat comparable to union rates, I calculate H&R or P&H payment and agency commission for the job. I present the producer with one bottom line amount. I point out to the client that by going union, even when it’s a few dollars more, they are guaranteed not only a much broader selection of talent from which to choose, but superior, professional talent that always get the job done efficiently and with style. Performers should always contact their agent or the union office for help in flipping that job.

Actor TeRi SCHnAUBeLTSAG-AFTRA Chicago Local memberAt least two steps are involved in flipping a job. First, do some preparation. Always collect contact information from every producer for whom you work or even audition. Ask questions, insist on contracts or releases (usually through your agent), and keep track. If they are not a signatory (this applies to an audition), have they used union talent before? What was their experience? This is a chance for friendly conversation. I find it best not to give up too much information, but to learn as much about the job or the producer as I can. You don’t want to argue or be defensive. Have the phone number for the union office handy, in case they need some answers from the experts.

Second, the flip itself. If you get a non-union inquiry, ask the right questions before saying you won’t work non-union. How and where will it be used? Is it Co-Ed or a commercial? Co-Ed category 1 or category 2? How many other actors will be on the job? When you are asked your rate, make it easy for your client by giving them one bottom-line figure that already includes your fee (scale or above), the required health and pension contribution and an approximate calculation of the taxes that must be paid by the employer. If it’s Co-Ed and the client is NOT already a signatory, you should also include a third-party signatory fee. There is also a “One Production Only” contract which can be used if the client is a first-time producer, is unwilling to become a full signatory or is unwilling to use a third-party signatory. You can learn more about OPOs from the SAG-AFTRA staff. And, of course, you can always first quote an overscale fee for yourself and then reduce it (to no less than scale) as a favor! Just keep it businesslike and don’t feel you need to “fix” their viewpoint. Most of all, be POSITIVE: “I’d love to do this project! Let’s find a way!”

FLip THAT JoB Turn non-Union Acting Jobs

into union workWouldn’t it be great if all acting jobs were union work? Until we achieve that utopia, let’s talk about how to flip a non-union job into union work. Nancy Sellers, national and Local board member, and Ilyssa Fradin, Chicago co-president, interviewed a wide range of Chicago’s entertainment industry professionals to get their advice and experience on the subject. Here are a few points to remember as we begin the discussion:

First, the successful creation of SAG-AFTRA means that those who were formerly a member of just SAG or AFTRA are now eligible for work under all of the SAG and AFTRA contracts. It’s a great time to consider work that you previously weren’t eligible to do. Tired of the expression “think outside the box”? OK, but it is time to think creatively. How can you apply your skills to all of the union contracts?

Second, although as a SAG-AFTRA member you cannot accept non-union work, nothing prohibits you from auditioning for this work and seeking the opportunity to turn non-union work union.

Third, there is work out there. It can be turned to your benefit. The SAG-AFTRA Chicago Local staff wants to help you do just that.


Casting Director DAViD o’ConnoR

There is no norm to getting projects on my end. If it’s commercial, 95 percent of the time they are crystal clear that it is a union project. Typically, it’s the smaller productions — mostly from out of state — that discuss which way to go, union vs. non-union. If it is Co-Ed, which way to go is discussed unless they are already familiar and comfortable doing union projects. But I always ask upfront. It is one of the first things I want to know when taking on any project.

Depending on the overall budget, the client may consider the costs — non-union vs. union. When they are on the fence, we discuss the difficulties of casting the project. I’ve been around too long to know that you can’t easily find some non-union talent for certain roles. Is there lots of copy? Is it MOS (mit out sound)? The ages and ethnicity of the performers required can make it difficult. I give them the options and they make the ultimate decision based on the level of their content or budget or both. The client always has the final say. There are great advantages to hiring union talent which I make clear. If I know they won’t be able to produce the project because of overall budget limitations, then we cover the non-union topic thoroughly. I did just have a commercial campaign that had the option to go either way. We discussed the level of talent they needed and they smartly went the union route. Understand, casting for union is the easiest for me or any casting director. The rates are laid out, very little negotiating is needed and it gives me access to all talent for a project. And I like choices. Choices bring about better casting. Clients like choices.

Because of Chicago’s talent market, we do see many non-union performers for union projects. We have to, as many of the union performers leave town for the coasts, unfortunately. There are a fair amount of Taft-Hartleys done out of Chicago. Of course, we always give union performers first priority when casting union projects.

Actor SHeLDon SmiTH, SAG-AFTRA washington-Baltimore Local member

Having presented workshops all around the country on How to Make Any Job a Union Job, I must tell you it’s totally doable! You will not “get into trouble” if you contact your union office for information and assistance, so let that “you’ll never work in this town again” fear go. Be sure to communicate with your client in person or on the telephone — not by email. Personal contact is essential for success on this. Here are the three responses I advise you say to clients when asked to do a non-union job:

1. “What do you have in mind?”/ “Tell me more about it.” Get as much information as you can about the job before saying anything about terms or availability. DO NOT get into a discussion of whether you’ll work non-union; simply get information from the producer. You don’t need to give yes or no answers.

2. “May I call you back?” It buys you some time to call your union office for help, and it changes who’s in charge of the conversation.

3. “I have good news!” Set an affirmative tone before delivering the bottom line: “I CAN do the job for you — we’re only $50-75 apart!”

My best advice is to ALWAYS call the SAG-AFTRA office. There are a host of tools and mechanisms they can offer to assist you. And finally, TRY! Always audition for anything you’re right for, because you CAN make that job UNION.

Actor Anne JACQUeS, ACT one STUDioS owner, teacher and SAG-AFTRA Chicago Local memberI sometimes have students who are concerned that they will lose work from their corporate film clients once they become union members. I advise them to call the union office right away for some assistance in flipping that job to a union production. The client has the motivation — your work is good, reliable and efficient, and they like you! It’s not hard for the client to do: The SAG-AFTRA office will walk them through the flip. I think it’s critical that actors who are skilled enough to be re-booked by clients not be cheated out of the pay and benefits they deserve. In the indie film realm, preunion actors may also have relationships with producers and directors who want to continue using them even after they achieve union membership. This is a no-brainer. There is a contract for every job, especially the Ultra Low Budget contract, one of the simplest for producers. You CAN flip that job!

How to Turn a non-Union offer into a Union Job featuring SHeLDon SmiTH

Don’t miss this opportunity! Smith will help you understand the dynamics of negotiating with a

producer, even providing a script for you to follow. Learn how to flip that job!

6 – 8 p.m. Monday, Sept. 17KMRC, 1 East Erie, Suite 660, Chicago, IL 60611

Watch The Activator for more details.


Flipping Commercials and Corporate/educational & non-Broadcastby Jamie Marchi

Q: A friend of mine flipped a job by just calling the union. Is it really just a phone call?

A: It all starts with a phone call from you or your agent to SAG-AFTRA. Please have a name and number of the person that contacted you and the type of work you’re being asked to perform. Commercial work can be difficult to flip, however the union office has been successful many times. Corporate/Educational & Non-Broadcast is usually easier.

Q: Don’t I just give the person calling me a paymaster’s name and number then just wait for the booking?

A: It would be great if it was that easy. Paymasters can only act as signatory for Corporate/Educational & Non-Broadcast work. The paymaster must be signed to that agreement and willing to act as signatory for the job. When a signatory paymaster acts as another company’s signatory, they are accepting the full responsibility for the life of the material. Whenever you’re told that a paymaster is acting as the signatory, you must call the union office to confirm this. There are horror stories about performers that did not confirm that there was a signatory attached to the job and most ended up not being paid for their work.

Q: What’s an OPO?

A: OPO means One Production Only. This type of contract is available for the Corporate/Educational & Non-Broadcast agreements. The One Production Only agreement is utilized by production companies not interested in signing the full agreement or using a paymaster as their signatory. The OPO agreement means that the production company or whomever signs the agreement will be fully responsible for all payments, etc., but only for the one production indicated on the agreement. OPOs are also given for some commercials if the producer is a foreign entity and the spot is to air in a foreign country only. Again, be sure to call the SAG-AFTRA office when you’re told that this is the agreement under which you will be working to confirm signatory status.

A Filmmaker’s perspectiveby Nick Wilson

Working with SAG-AFTRA member Shannon Brown has been the smoothest element of making my most recent project, Photographic Memory. Upon casting Shannon, he explained the proper channels and instructions to navigate the Student Film Agreement. After exchanging a couple of emails with Kathy Byrne at the SAG-AFTRA office, I received the contract, filled it out, and returned it to the SAG-AFTRA office.

An Actor’s perspectiveby Shannon Brown

Recently I had a discussion with a director while working on his project, Photographic Memory. His name is Nick Wilson, a bright, up-and-coming director from Chicago. We were discussing the stigmas attached to getting a SAG contract for low-budget projects, as well as student films. When I auditioned for his project, I explained to him that he needed to sign a SAG contract. He was pleasantly surprised at how much easier it was to sign a SAG agreement than he had anticipated.

The experience was wonderful, as it is most times when I work with young, independent filmmakers. It got me wondering as to how many other young, independent filmmakers out there avoid SAG-AFTRA actors due to the misconception that it is too difficult to sign SAG agreements? As an actor, I relish the opportunity to work with young, up-and-coming filmmakers — not only is it great experience, but it’s great for my reel and resume.

Nick explained to me that some of his peers would love to cast professional actors, but they fear the “paperwork,” and the “red tape” is too much of a pain. I know that Nick has enlightened his fellow students — in fact, a director called me two days after I wrapped on Photographic Memory and offered me the lead in his project after hearing about the work I did with Nick. This particular director has a few films under his belt, however, I will be the first SAG actor he has worked with. This will be his first SAG contract and he was also pleasantly surprised at how easy it was.

Flipping Film Work

FLIP THAT JOB


The Five Steps to Flipping Film workby Kathy Byrne

As a member of SAG-AFTRA (or AEA), if you work on a student film, short film, or micro/low/no budget feature film, you MUST make sure the project is under a SAG contract. For the Student and Short Film Agreements, there is minimal paperwork and the $100/day rate in the contract is deferrable, should you choose to work for free. So, when you hear a maker of short films talk about how it is going to be “too expensive,” or there is “too much paperwork,” please send them our way for clarification — all it takes is one phone call!

For ultra-low budget feature films (under $200,000), there is a little more paperwork, and the $100 minimum rate is non-deferrable. Pension and Health Contribution of 16.8 percent must be made as well. So, with 10 percent going to your agent, a filmmaker is looking at about $125 a day minimum to work with a professional actor — what a bargain!

If you hear about an audition for a short film and you are interested in working on it, but it says “non-union,” please take a moment and educate the filmmaker about the Short Film Agreement — have them call the TV/Theatrical Department to get the full details. If you see a feature film project that is already offering $100/day to their actors, there is no reason that they shouldn’t consider working with SAG-AFTRA actors.

The Five Steps to Flipping Film work

Hear about audition and/or audition for a short or 1. feature.Get the part —now you must make sure it’s under 2. contract.Have filmmaker call the SAG-AFTRA Chicago 3. TV/Theatrical Department, (312) 573-8081, to get the proper paperwork.Filmmaker fills out paperwork, you get to work.4. Everyone is happy!5.

It is that simple! The TV/Theatrical Department has quarterly seminars for filmmakers on these low-budget contracts, so if you know of a filmmaker who might be interested, have them call to get put on the list for future events.

The process of getting contracts and the paperwork that comes with using a SAG-AFTRA actor was a breeze. The time it takes to read it, fill it out and return it is no more than it takes to read an article. It is simply and directly laid out, and you can work with a SAG-AFTRA actor, which to me has been a gift. Shannon and I were soon reading the script and putting together this project. Shannon’s insight into his character for Photographic Memory was invaluable. As a lead actor, Shannon brought a great energy to the team. It makes for a better production. He has inspired me to always work hard, knowing that “if it were easy, everybody would be doing it.”

Shannon Brown and Nick Wilson on the set of Photographic Memory.

THE INDUSTRY


For nearly 20 years, Darlene Hunt has cast background performers for Chicago’s television and theatrical productions. She founded ExtraOrdinary Casting seven years ago immediately prior to working on Prison Break, and has cast more than 100 projects, including ER, The Beast, The Chicago Code, and features such as Public Enemies. Recently, Darlene began casting SAG-AFTRA commercials, which was a shift going from a totally non-union casting environment to one that had both union and non-union members.

Q: How did you start casting SAG-AFTRA commercials?

Darlene: By accident! Someone asked me to do one, so I started with that commercial, then the production people referred me to someone else, and that led to more. So I hadn’t planned on it, it just happened.

Stepping into Union Territory by Jay Disney

Darlene Hunt

Q: Do you find that the union structure makes your job easier or more difficult?

A: Any time there are guidelines established and in place, it makes things easier because I have something to refer to. Staff at the SAG-AFTRA office has been very helpful anytime I’ve needed clarification about anything, so it’s been a very friendly experience.

Q: As you know, Chicago doesn’t have SAG-AFTRA jurisdiction over background performers in TV/theatrical productions. Do you think it would be a good idea if we did?

A: Remember that we’d be going from a totally non-union environment to one with union involvement, so I think having union background would be good for many reasons. If we had union background, it would allow more actors the opportunity to work more in the industry, so there would be a core group of people who might be able to earn a living doing it — or certainly supplement their incomes substantially. As it stands now since everything’s non-union, most background actors have primary jobs and working on films and TV is secondary — or even a hobby. It would be nice to have a BG community that could make a living doing nothing but background work — like they have in New York and Los Angeles.

Q: Do you notice any differences between union vs. non-union talent?

A: The union talent is always professional and reliable. The non-union talent can be equally professional, depending on their experience. Many non-union people have worked for years here, so they’re just as dependable and know the ropes — but with the non-union factor, you’re always encountering beginners, and some of them may be doing a job for the fun of it, for the experience, because a friend is doing it — so there can be a learning curve (or lack of professionalism) with some of them.

Q: How do you book a SAG-AFTRA job?

A: First, I get an order from the production company regarding what their needs are for the project. Then I pull submissions from what I’ve got on hand — if it’s a SAG-AFTRA commercial, I’ll pull the talent I have on the books who I know are SAG-AFTRA. Then I contact the union-franchised talent agencies in town for their submissions as well (this is where it differs quite a bit from the non-union casting). The agents/agencies will give me their submissions, I’ll put everything together and give those who fit the criteria to the producers/director. We’ll have to check availability, and so on — but that’s about it.

Q: You’re fairly new to dealing with SAG-AFTRA talent, what has been the biggest challenge — and the biggest surprise?

A: The biggest challenge is finding a broad range of available ethnicities willing or able to do background work. Plus, there aren’t a lot of children who are union members either. But what’s nice is that if we go through our list of union talent and we still need other people, I can start a search through my non-union talent and submit them. So everyone gets a crack at the work, depending on the spot. I recently did a T-Mobile commercial that needed around 100 female singer-dancers — and that gave me the chance to organize a lot of local SAG-AFTRA

people, as well as get talented non-union people, too. Some of the non-union people were Taft-Hartleyed for the job — some may have joined the union because of it. It’s not been an exclusionary experience — but one that’s had opportunities for everyone.

Q: What can you recommend to BG performers to improve their professionalism?

A: Bring LOTS of clean wardrobe. You may even want to have a stand-by suitcase filled at all times with various articles of clothing. Many times we’ll get a cancellation and will have to make calls at the last minute, so being prepared with lots of options is vital — then you can just pick up the suitcase and leave for set. Plus, if you’re being used in multiple scenes in one day, the more wardrobe options you supply, the better chance you’ll have, not only of being used frequently, but getting placed noticeably in frame.

Note: In Chicago, SAG-AFTRA does not have jurisdiction over background actors in theatrical motion pictures and has limited jurisdiction in television. This means union members may work non-union background jobs on union productions signed to a contract that doesn’t cover background actors. Background casting companies in Chicago are primarily non-union. SAG-AFTRA does have background jurisdiction in commercials contracts.


KMRC

Above: John Lordan, standing, leads a discussion at June’s KMRC and Conservatory event, Everything You Wanted to Know About Working on Low-Budget Films, but Were Afraid to Ask. SAG-AFTRA Chicago Director of Television and Theatrical Kathy Byrne also discussed how to flip a non-union film to a SAG-AFTRA work.

As we go to press, SAG-AFTRA Chicago is mourning the passing of Fern Persons, who died on Sunday, July 22, five days short of her 102nd birthday. Fern enjoyed a successful acting career spanning more than 70 years. She worked in live radio, on stage, in TV series and theatrical movies, commercials, and more. Fern represented Chicago members for over 40 years serving on the Local Board and Branch Council. She was a National Board Member and 5th National Vice President of SAG.

Because of Fern’s decades of union leadership and contributions to the lives of Chicago actors and broadcasters, Chicago Mayor Richard M. Daley declared July 27, 1999 Fern Persons Day. Fern’s dedication to Chicago actors and broadcasters continued after she retired. In May, she dontated $100,000 to the KMRC Endowment Fund. In appreciation, the video suite was renamed The Fern Persons Video Suite.

More about Fern in the next issue of Playback.

Remembering Fern Persons

Like us @ Facebook facebook.com/kmrcchicago

Follow us @ Twittertwitter.com/#!/KMRCChicago

Visit us @KMRCChicago.com

KMRCChicago

putting the kmRC to Use!With audio and video equipment, computers, meeting space and schmooze room available to all SAG-AFTRA members, how do you use the KMRC? Not using the KMRC? Let these members show you how!

Below: Chicagoan and SAG-AFTRA member Lucas Neff, star of Raising Hope, used the video suite to record a message in support of merger.

Below: This spring, the SAG-AFTRA Conservatory and KMRC welcomed Dallas member Sharon Garrison. The Center was packed when Garrison shared her advice and experience with Virtual Auditions: The New Casting Frontier.

Sharon Garrison and Alma washington

Lucas neff

John Lordan, standing


SAG-AFTRA Chicago and Sidney Hillman Health Centre TeAm Up!Providing a new health care option for members of SAG-AFTRA Chicago, including spouse or signifi cant other, and dependent children.

For more than 50 years, the Sidney Hillman Health Centre (SHHC) has striven to keep Chicagoans healthy by off ering accessible comprehensive medical care at the most reasonable cost possible. With the support of the AFTRA Foundation, SAG-AFTRA Chicago members are able to participate in this health care option.

For $63 per month, the SHHC off ers SAG-AFTRA members high-quality complete outpatient health care. Th e fee covers the member, spouse or signifi cant other and dependent children.

Th ere is no additional charge or co-pay for offi ce visits, lab work and most other services. Th is includes primary care visits, OB-GYN, cardiology, physical therapy, counseling, basic X-ray, labs, podiatry and much more. A 24/7 emergency answering service with an on-call doctor is also available.

Th e member, spouse or signifi cant other, and all dependent children are covered for one payment of $63 per month, that’s it.

While eye exams are included, eyewear and dental services are off ered at a greatly reduced cost.

History of SHHCTh e Sidney Hillman Health Centre was fi rst opened in 1956. Named after a founding member of the originating unions (Amalgamated Clothing and Textile Workers), the Centre was established to provide union members, their families and retirees comprehensive outpatient ambulatory services. Hillman, who was a labor consultant to FDR, advocated that his union be involved not only in negotiating wages but also social benefi ts, including health care coverage.

Th e Sidney Hillman Health Centre is proud to continue that legacy and to partner with SAG-AFTRA Chicago.

participation is Limited!Th ere are a limited number of spots available in this pilot program. If you are interested in participating, please call the SAG-AFTRA Chicago offi ce for more information, (312) 573-8081.

Services are administered by entities independent of SAG-AFTRA. Questions must be handled by the providers. SAG-AFTRA does not endorse any of these services.

Services off ered at SHHC (No co-pay or additional fee for these services.)

primary Care:Internal Medicine and Family Practice

Specialty Care: Obstetrics & Gynecology CardiologyEKGGastroenterology General SurgeryOptometry other on-Site Services (Additional fees charged.)OpticalPharmacyDental Services, including:

General DentistryDental HygieneOral Surgery

Sidney Hillman Health Centre333 S. Ashland Avenue

Chicago, iL 60607(312) 738-6170

Basic X-RayCounseling UltrasoundPhysical TherapyLaboratory (phlebotomy)Podiatry

Root Canals Dentures

offi ce Hours and emergencies Monday and Thursday: 1 – 8 p.m.Tuesday, Friday and every other Saturday: 8 a.m. – 3 p.m.Wednesday: 8 a.m. – 2 p.m.

Same-day appointments for primary care available, nurse triage available every day. SHHC has a 24-hour answering service for urgent matters. The physician on call will return your call within 30 minutes.

BENEFITS

GET INVOLVED


BackgroundJay DisneyJanuary SternBroadcast SteeringCraig DellimoreCOCOIlyssa FradinSingersWendy MorganKMRC Elaine Opsitnik Michael Joseph Thomas Ward

CommiTTee CHAiRS Standing Committees

playback coverCover design by SAG-AFTRA Chicago member Jay Disney.Photo: Fotosearch

DiversityTony CastilloCedric YoungEmerging MediaRazz JenkinsSeniors Radio PlayersConnie FosterParker GronwoldConservatoryStephen SpencerAlma Washington

Craig Dellimore, Co-PresidentIlyssa Fradin, Co-PresidentRegan Rohde, Vice PresidentRichard Steele, Vice PresidentCraig J. Harris, Vice PresidentRichard Shavin, Vice PresidentJudy Blue, Recording SecretaryMichael Joseph Thomas Ward, Recording SecretaryJoe Wright, Treasurer

NATIONAL BOARD John Carter BrownDan Frick Todd HissongNancy SellersCraig Dellimore, National Vice President

CHICAGO BOARD OF DIRECTORSBernie AllenRoslyn AlexanderPaula AnglinBob BaronBrenda BarrieJudy BlueLacy Katherine CampbellJohn Carter BrownTony CastilloWilliam DickJay DisneyAllen EdgeGeorge ElliottDan FrickVince GerasoleMolly GlynnHerb GrahamMartin HalacyCraig J. HarrisTodd HissongDenise JaeckelRazz JenkinsDick KayDennis KellyJohn W. LawsonJane McCreedyGrace McPhillips

Betsey Means WillsPeter MooreDaniel MooneyWendy MorganElaine OpsitnikMatthew O’TooleGreta PopeHarry PorterfieldKathleen Puls AndradeGail RastorferRegan RhodeZandra RiveraMalcolm RothmanRichard ShavzinJack ShawNancy SellersStephen SpencerTammie SouzaMaureen W. SteindlerRichard SteeleDon StroupPat Vern-HarrisMichael Joseph Thomas WardAlma WashingtonJoe WrightAnn Wilkinson

CHiCAGo LoCALSAG-AFTRA Senior Radio players need You!The SAG-AFTRA Senior Radio Players are looking for a few more talented performers who have celebrated at least 50 birthdays. One of the problems in this search is that so many good recruitment slogans have already been used or are inappropriate.

The Marines are always advertising for “A Few Good Men.” Nah, we need both sexes — especially those who can read scripts in a convincing way.

The Navy chimes in with “A Global Force for Good.” Not bad. But it will be a while before the Senior Radio Players go international.

The Army comes closest with “If Not You, Who?” Good, but we have to try to do better. Let’s see, maybe something like “Applause! Just One of the Benefits!” Yeah, that’s it.

To join the Seniors Committee or the SAG-AFTRA Chicago Senior Radio Players call (312) 573-8081 or email Natasha Beals at [email protected].

Don't Miss the next Performancewednesday, oct. 10 - A Drama Doubleheader! Gunsmoke directed by Connie Foster and The Whistler directed by Herb Lichtenstein

7 p.m. (doors open at 6 p.m.) Wednesday, Oct. 10, 2012Claudia Cassidy Theater, 77 E. Randolph (at Michigan Avenue)Admission is free; however seating is on a first-come, first-served basis.


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CHICAGO EXECUTIVE DIRECTOR

Eric Chaudron

Ilyssa Fradin

Well, WE DID IT! We are SAG-AFTRA!

Thanks to all of you. To those who came to info meetings, phone banked, posted online, tweeted, read the merger agreement and constitution, and to everyone who voted — thank you and congratulations.

But…now the real work begins.

When I was first elected president of our SAG Chicago Branch, I wanted to make sure our members were educated,

“If everyone is thinking alike, then somebody isn’t thinking.”

George S. Patton —

I was taking my daughter to school. It’s a great chance for us to catch up and bond in the morning. This particular morning she caught me a little off guard when she said, “Dad what do you do, anyway?” I guess I figured after being here for two years, she understood what I did. So I had to figure out how to answer that question in the three minutes we had left on our drive. I gave her an answer that a 13-year-old understands, or is even interested in hearing, but it got me thinking.

I dropped her off, headed to work and continued to ponder her question. I also asked myself, what, in light of our historic national merger, it is we can do, as a union locally, to change old patterns, to make fundamental alterations in the way we operate, and to renew our collective sense of purpose as a union.

Inventiveness, inspiration and determination should be fundamental qualities we all strive to possess. This job, I believe, requires it. Since I have come to this position, I have asked staff to do one thing, and it begins with a simple question: What can we do today to make our members’ lives better?

The answers from staff are often varied, but the answers always boil down to one word: EMPOWERMENT. We have done our job as staff when we provide opportunities for our members to be empowered in their careers. Over the last two years, with the blessing and leadership of our board and council, our union has become a place of empowerment to our members.

We have started an unprecedented program of training, education and internal and external organizing that has brought a newfound confidence to our membership, while also increasing the profile of our union in Chicago. We have reached out to non-union actors and built bridges to them. We are not ignoring them, we are not treating them as a threat, and what we have found is that they want the same things we do. They want to come along on our new path and we are happy to take them with us.

We have visited non-union facilities to tell them about SAG-AFTRA. We have signed six new advertisers and producers since the beginning of the year through our outreach efforts. We continue our stellar work at film schools and university broadcast departments to educate future filmmakers, actors and broadcasters

We have started to build an infrastructure, not depending on the same “loyal 10 or 20” volunteers every time, but a wider array of our membership who have come for the perks, but stayed for the community that we are building.

We are also empowering our members on the job. We have redoubled our efforts to educate you and your fellow members. We continue to offer ongoing training and seminars to improve and expand our members’ skill sets. We have one message that permeates these meetings: You are skilled, dedicated, professional performing and/or broadcasting talent.

When you are hired, you are bringing something unique to the table.

Now we are taking another big step in your growth and empowerment. Your fellow union members need you to start “flipping” jobs. You can do this! It takes courage and belief in your ability, but it is possible. We have members who are doing it on a regular basis. It’s done in other entertainment unions. It’s also important to know that you are not alone. We are here to support you when you make the move to demand a reasonable payment for your time and talents. We have staff that will be by your side the whole way to negotiate an agreement with an employer.

Continues on page 14


FROM THE CO-PREsIDEnTs

Craig Dellimore

I echo the thanks expressed by SAG-AFTRA Chicago Local Co-President Ilyssa Fradin. I am grateful for the support our members showed for the One Union referendum. Thanks to all the volunteers who made phone calls, came to meetings, and just talked to their SAG and AFTRA brothers and sisters.

I want to give special thanks to my friend Ilyssa Fradin, and frankly you should too. Ilyssa’s boundless energy and countless

good ideas have been a driving force in the One Union movement, not just in Chicago...but nationally. I have often said I could not have a better partner in THIS union. That has been proven tenfold over the past two years. But, I want to direct my thoughts to those of you who had concerns, questions and even some objections about the creation of a new union. I want to thank you and assure you that we need you. SAG-AFTRA is the union for all of us. I say “thank you” because the ideas and doubts expressed by even those who had qualms about bringing AFTRA and SAG together were valuable to the many people who worked hard to craft this new union of ours. Every question that was raised was an issue that needed to be addressed. And while not everyone will be satisfied with how those questions were answered, it was important that the points were considered. Frankly, even those who flatly opposed the merger helped make the resulting structure and constitution better.

So, at the risk of sounding hokey or insincere, I ask all of our members to continue to ask questions and raise issues. What we have produced — and what we will work with in the coming years — won’t be viewed by anyone as perfect. We have created something new out of two very different organizations, and that means we have compromised. There are parts of the constitution and Articles of Agreement that I don’t particularly care for, but they are things that were important to other members of SAG-AFTRA, and I can live with them. There are items that are important to me and other broadcasters, which some freelance actors may find bewildering. But, that’s what coexistence is about, and we will learn more about each other and this “brave new world” of information and entertainment in which we now work. So let’s get to work, and let’s get to working together. I will always be ready to listen, and I will always be ready to roll up my sleeves.

engaged and empowered in their union. This merger campaign did all that, but we can’t stop now.

YOU have an opportunity to make a difference starting NOW.

Between the jurisdictions of the former two unions, SAG-AFTRA has dozens of contracts — contracts that need member input to make them stronger. The commercials contract is the first agreement to be renegotiated. In Chicago, we call this agreement our “bread-and-butter” contract. If you work this contract, we need you at the wages and working conditions meetings. These meetings will begin sometime in the fall. Please keep a look out for the announcement in The Activator, our e-newsletter. It’s been said,

“If you do nothing at all, then nothing gets done at all.”

SAG-AFTRA also gives us more power to organize more work. We are focusing this issue on “flipping the job” or what it takes to turn a non-union job, union. To do this, you need knowledge of your contract, opening a dialogue with staff and empowering yourself to say NO to non-union and YES to a union contract. Any actor can audition for non-union work, but a union actor must work under a union contract. So, in this age of online casting, it’s important to know how to ”flip that job.” I hope you find this issue helpful.

I would be remiss if I did not end by thanking my colleague, friend and

now SAG-AFTRA Chicago Local Co-President Craig Dellimore. Craig has been a wonderful partner during the merger campaign. He will also be a critical partner in the transition. Thanks also to our Executive Director Eric Chaudron, who has been on my side and yours every step of the way, and to our incredible and dedicated staff. If you haven’t met them, you really should…their doors are always open.

In solidarity,Ilyssa


NEWSWORTHY

The AFTRA Broadcast Conference took place on Saturday, April 21, 2012 at DePaul University. The goal of the conference was to establish community among SAG-AFTRA broadcasters. The conference grew to include members of sister unions, students and pre-union individuals interested in sharing common issues and learning about the various aspects of the broadcast industry. The conference featured several hot-button topics, including safety and civil unrest, the use of social media, and the growth of Spanish-language broadcasting, among others.

Judith Matloff from the International News Safety Institute (INSI) discussed ways reporters can remain safe when reporting during civil unrest. Matloff’s presentation was especially poignant in anticipation of the NATO Summit taking place in Chicago in May. Members of the Associated Press (AP) and International Brotherhood of Electrical Workers (IBEW) were active participants during Matloff’s presentation.

Broadcast Conference

paula weinbaum, Johana Londoño, kayla Hernandez and Richard Steele.

The social media presentation focused on two areas: how to market oneself and how to protect one’s rights when blogging

on behalf of an employer. Luvvie Ajayi, social media consultant and professional blogger, provided an in-depth presentation on how to best utilize Facebook and Twitter as a marketing tool.

Steve Zimmerman, SAG-AFTRA staff counsel, discussed how to protect one’s intellectual property rights when blogging, tweeting and using Facebook on behalf of an employer. Zimmerman focused on the type of language employers place in Personal Service Contracts (PSCs) to assume ownership of the content produced.

Javier Salas, on-air personality at Univision Radio in Chicago, and Alejandro Escalona, contributing columnist for the Chicago Sun-Times, discussed the development of Spanish media in Chicago. The Spanish-language seminar drew participants from SAG-AFTRA’s Spanish adult contemporary station MEGA (95.5 FM) and from TV Azteca, a pre-union news group that imports original news content from Mexico.

Chicago broadcasters ed Curran, Charlie wojciechowski and Vince Gerasole.


IN AGREEMENT

wJmk-Fm Broadcasters Approve new ContractIn March, SAG-AFTRA members at WJMK-FM overwhelmingly ratified a new agreement with CBS.

The new three-year agreement provides for a 2-percent increase to scale in each year of the contract, and also includes increases to the AFTRA Health and Retirement contribution rate. Two additional floating holidays were also added.

The union managed to beat back a demand from the employer to make substantial cuts to the wages and benefits of part-time employees.

The contract is retroactive to November 1, 2011, and runs through October 31, 2014.

We can answer any questions they, your agent or you might have. We can also take steps to protect you if the employer retaliates against you for asserting your rights. We are ready to take on an employer who exploits Chicago’s performing talent, undermining your ability to make a living. The talent across the city deserves better. That’s why everyone is together in this endeavor.

We need you to stand up for what’s right. If you’re offered a job on a non-union gig, ask that the production be done under a union agreement. Take the time to tell them that your union can walk

CHICAGO EXECUTIVE DIRECTORcontinued from page 11

Other interesting presentations included a discussion led by Charlie Wojciechowski, Ed Curran and Vince Gerasole on the evolution of technology in the broadcast industry and how broadcasters can use technology to facilitate their reporting.

SAG-AFTRA Chicago Local staff was also on hand to share its expertise. Director of Broadcast Paula Weinbaum held a presentation on Personal Services Contracts (PSCs). She highlighted common provisions contained in PSCs and offered tips on how to negotiate the best possible terms. Broadcast representative Tom Ellett discussed legal rights in the workplace, such as the Family Medical Leave Act (FMLA) and Weingarten Rights. Director of TV/Theatrical Kathy Byrne and Director of Freelance Jamie Marchi formed part of a panel, along with Marisa Paonessa, president of Paonessa Talent LLC. This seminar offered an overview of other SAG-AFTRA agreements available to broadcasters.

Judith matloff, in gray, leading a discussion.

the employer through the process easily and without a lot of red tape or difficulty. Take the time to educate yourself on how easy it is to bring a production under a contract, and you will be surprised how much more work we can get under a union contract.

For my part, I am continuing to work to change and expand the definition of my job in order to make your life better. We are coming together as a union. We invite you, if you haven’t gotten involved yet, to come be part of something special happening at the SAG-AFTRA Chicago Local.

SAG-AFTRA/CHiCAGo LoCAL1 eAST eRie SUiTe 650CHiCAGo, iL 60611

office: 312/573-8081Fax: 312/573-0318 800/599-1675email: [email protected] SAGAFTRA.org

DATeD mATeRiAL pLeASe expeDiTe

NON-PROFITU.S. POSTAGE PAID

CHICAGO, ILPERMIT NO. 7794

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SAG-AFTRA COMMERCiALS COnTRACT EDuCATiOnAL MEETinGS TO BE HELD in ADVAnCE OF THE START OF COMMERCiALS nEGOTiATiOnS PREPARATiOn

These meetings will provide members the opportunity to hear a report on the Commercial Trends Every Performer Needs to Know About, and you will also receive an update on the GRP Study and other important topics related to the Commercials Contract. A group discussion will follow the presentation, affording staff the opportunity to hear membership’s response to these findings. We look forward to your participation as your input is vital to our negotiation preparation.

These meetings are being held in preparation and advance of our Wages & Working Conditions process and will in no way replace the process by which we develop proposals. The W&W meetings will occur in Sept. and Oct. after members have had a chance to learn about these important topics. Please contact the Chicago Local if you would like to serve on the Wages & Working Conditions committee, (312) 573-8081.

All paid-up SAG-AFTRA members in good standing are urged to attend these important membership educational meetings. These meetings are only open to paid-up SAG-AFTRA members in good standing, no guests are allowed. Parents/guardians of performers under 18 years old are welcome. SAG-AFTRA members please bring your membership card for admittance.

CHiCAGowhen: 6-8 p.m., Thursday, Aug. 23Social Gathering starts at 5:30 p.m.

where: SAG-AFTRA 1 East Erie Suite #650 Chicago, IL 60611 weBinAR - more information to come.when: 3-5 p.m., Wednesday, Sept. 5 where: Please contact SAG-AFTRA Chicago for location information, (312) 573-8081.

chicago playback - summer 2012

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