Dear actor,
Begin with the end in mind when it comes to staying Non-Union, becoming Union or going Ficore. Everyone's situation and path is unique. Each situation has its pros and cons. Do what is right for you at the right time for you. Learn about what each is before making your decision. Whatever 'status' you are, treat people well, be professional and prepared. Don't be a jerk, be cool. Remember that everything in your life comes down to this: "choices, decisions, consequences"
Sincerely,
The other side
Let me give a disclaimer and say I am a full SAGAFTRA actor I am also a member of the American federation of musicians. I have been asked a few times by actors about joining the union, staying non union or going ficore.
Everyone's situation and path is unique. Do what is right for you.
I'll break down the status designations based on my own experiences with actors/producers. Take what you will from it. Do your own additional research, make your own decisions that are right for you and live with your own consequences.
Remember that everything in your life comes down to this: "choices, decisions, consequences." Also remember that details change from time to time so make sure you do your own research.
Non union
I've found that the ratio of listed non union projects to union projects are about 30 to 1. That's a lot of opportunities there for non union work. Voice-overs, industrials, principal work for non union features, shorts, student films, your own youtube without going the sag new media route.
I know one sag-E friend (non union) who does a lot of industrial films(internal films for companies) who says he pulled in 95k last year.
I started off as non union. At that time, I did several projects that built up a reel. There are a lot of non union productions that are done VERY well. I worked some really cool professionally run non union jobs
Then.... there are a ton that are, to be charitable, "amateurish" (meaning they don't have very much together: from casting, to writing, to directing, to production value to, knowing what to do with the finished project, or how to treat their actors and crew)
I put up with a lot of crap from some (bad conditions, not being able to get footage, bad acting, bad writing, bad directing, bad lighting, bad camera work... I mean, both actors and directors have to start from somewhere, but sometimes that is a VERY low bar).
If I were non union, I wouldn't do non union background work, personally. It may be cool to do to get some experience and an introduction to the industry, but after a few times, if you want to act. (deliver lines on camera) then go do short films, student films. Get into voiceovers and industrials.
Union sagaftra.org
There are perks to being a union actor. Pay is generally much better. the benefits once you qualify are a bonus. The safety conditions and conditions on set are generally better than non union sets. There are always exceptions to anything, but you generally work with people who are very professional about what they do and have done a lot of nonunion work before joining the union.
SAGAFTRA background work starts off as nearly double what a non union actor would make, and all the safety and monetary designations do add up(smoke pay, night pay, overnight premium, money for auto, special ability pay, meal penalties, money for having you bring changes of clothes: these are not available to non union)
At this point in my career, I still to BG work from time to time, when I am not writing or auditioning when I have the time. It's legit work that contributes to my health and pension. I'm generally very quiet and don't talk much to people when I am there as I take that time to check out the cast and crew and see how the director works with his actors and crew. I see how the director of photography (DP) sets up his shots. I check out the gaffers and the lighting. I try to see how each department handles itself. I discreetly observe the principals to see how they work.
(BTW "Do not fire unless fired upon" meaning you really shouldn't talk with the principals unless they talk to you first and you are replying. They have processes to go through and are trying to work on their lines and delivery. They don't need distractions. and for heavens' sake: DON'T TAKE PICTURES!)
I check out the assistant director(AD) and how he communicates with the crew. Its like trying to figure out how each production is run without having to intern or be on crew.
For principal work that I've done, you are paid and have the opportunity for residuals. (which vary depending on what and how much you've done: Residuals are generally not part of non union work) It is satisfying to have done your part as a union actor, to have delivered lines and performances at that level.
Once you are union, you are not supposed to accept
ANY non union work.(Of course, you could suggest that they organize themselves under a union contract, I have helped several do so) That means: A lot of voiceovers, student films, shorts, industrials that are non union are off limits. Print campaigns that have a video component you would have to turn down too. Much of the industry is union work, network television, large feature films, that would require you to be union or Ficore to be cast as a principal actor. (If you were non union, you'd have to be waivered in to work, but eventually you would become a SAG must join)
As a SAG actor, you do have other benefits, once qualified for, as well: such as Pension and health plans. Credit union, sag foundation classes and events, I-actor, discounts for subscription to backstage, AT & T telephone plan discount, etc
How do you become eligible to join the union?
These are the ways I know about:
1. Have a line in a TV show or film
2. 3 SAG waivers (special ability, production has given you a sag BG form)
3. Produce SAG a new media project (you need to submit the required forms, your script, listed budget, you need to cast at least 1 union actor) and then cast yourself in the project in a speaking part to become SAG-E.)
After qualifying, you would pay the initial joining fee: The union joining fee is $3500 or so as of this post (there are payment plan options available as of this post). Yearly Union dues start at a few hundred dollars (per half year) and increase the more that you make.
I am producing several SAG new media shows(
vimeo.com/ondemand/changelingstheseries facebook.com/cenotaphtheseries) and the process is fairly straightforward. There may seem like a lot of forms to fill out, but the pre-production, production, and post-production template is actually a good process to follow.
As a producer/director, having a union contract and sag signatory designation on your production seems to attract more seasoned actors and projects a "legitimacy" which helps when you are casting, collaborating and pitching.
Also: I have, as a union actor, been contacted by non union project producers who were interested in hiring me as an actor. I have helped several get in touch with sag to make their productions SAG qualified. Any new media series or film, really can made into be a SAG new media or mail production with just a few steps and fulfilling some requirements (N.B.
You have to do it before you shoot, you can't do it retro-actively. I have literally walked off of several sets, including those run by colleagues, that didn't have their papers or processes in transparent proper order or union status contract confirmed. )
SAG-Eligible (SAG-E) and SAG must join
Once you do a principal job or get your SAGAFTRA waivers, you have 30 days to work union work. That means you can work any union work in that time period. Then afterwards next time you are cast, you become a SAGAFTRA must join. That means that you would have to pay the union initiation rate to work union. In the past, people would keep giving waivers out so they could keep working with the non union actor. SAG has been keeping better track of who is SAG-must join.
The rules and guidelines are different for new media, low budget and higher budget films. As a producer, there are penalties for using non union actors. Make sure you know what your rights and obligations are as a producer and also as an actor. Many non-union actors who have worked one sag job place SAG-E on top of their resumes. If you are a SAG producer, you have to be sure that they are cleared by station 12 to work on your production and not SAG-must joins who won't join the union.
I have produced non union and union productions and each have their advantages and disadvantages based on your point of view and, let's face it, your agenda.
Ficore
If you are union, you do have a legal right to go Ficore, which means you become a "dues paying non member." Your dues would pay for the basics and not go toward any political campaigns. It is your right, and it would enable you to work both union and non union projects. You would mail your card and a certified letter stating that you are going ficore and wish to be a dues paying non member to sagaftra. Your financial situation and/or artistic choice might prompt you to go Ficore.
However, many union actors I know resent those that go ficore, or as some call it, the "F" word because you are potentially "F"-ing your fellow union actors by accepting less. If going ficore was part of a political stand that would be one thing. But if it is to undercut your fellow members so that you can do more jobs and get more money, that is another, they say.
If you are Ficore, you don't get to call yourself SAG on your resume (you'd have to say non union or sag-e or ficore), you don't get sag award screeners, vote in SAG elections that would help determine the future for you and your fellow union actors, or get the online SAG dues paying option. But you have the opportunity to work non union and union work... at the expense of others that got you the right to better pay and safer conditions, some would say... but it is your right by law.
You would potentially accept "lesser paying" work and no union safety regulations which in theory and practice drives the power of the union down. If you are Ficore, it may be better keep it on the down low when you are around other full SAG members. I have heard some casting directors say that it being ficore would make you be shunned by the industry, but I'm fairly certain there is no right for you to be denied work because you are ficore. (discrimination is un-good) Once you go ficore, it's considered a one way trip. If you want to go back to full SAG, you have to go through a process that sag determines if they even let you back in.
I'm not in a position to judge anyone and their personal life's conditions regarding their status choices.
Whatever status you are, I see it as: You either conduct yourself well, treat others well and are prepared... or you are not. As a union new media producer, I am looking for the right actor, that I can work with, that will deliver and conduct themselves professionally.
I've seen and worked with all kinds of actors who are both professional(conduct themselves as a professional regardless of status) or not. Same with crew... but that is for another post...
Break a leg.
Be well,
Vincent
My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.
I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances, others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.
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dearactorfromtheotherside.blogspot.com/
© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved
