And Now a Word from Your Local Leaders Cheryl Gaysunas, President I remember hearing about the entertainment unions for the first time in college and thinking, "When I am a member of Equity and SAG and AFTRA, then I will be a professional actor." And when I got my card for each of these unions, I genuinely felt the pride I longed to feel back in school. For years I worked in New York City as an actor, and by my own (and Webster's Dictionary's) definition, I was indeed a professional. I thought of my union memberships as a status thing, something all actors who were working frequently simply
had to have. I thought of the cards I carried as proof of my right to be paid: to be paid a certain amount and on time; to be paid for breaks and residuals and holding fees. My membership represented my right to be paid what I was due. And that was all.
I joined three unions with my eyes only And then suddenly along came the on how I might benefit from them. commercials contract strike of continued on page 8 2000, and I was suddenly faced with the realization that my union Inside this issue: wasn't run by some separate entity 2 Letters to the Members designed solely to check how many times my Tums commercial was 2 Initial Board of Directors running. In the absence of all those 4 Stunt & Safety auditions I used to go to that now 5 Co-Executive Directors Letters didn't exist, I discovered that my Casting 101 7 fellow SAG and AFTRA members
Anne Sward, National Board Member History has been written. SAG and AFTRA have merged into one union. The new union is in an interim period of restructuring our governance, financials, staffing and all the fine details to make this work. Due to merger, many Branches of former SAG and Locals of former AFTRA were redefined into new Locals. Utah was one of them. The Utah and Arizona Boards will be combined, creating a larger Local, which will give us more strength. It was 30 years ago that the Utah Branch was established and now we must restructure our governance. This month the Local Merger Committee comprised of members of the former Utah and
were the ones on committees and boards, trying to fight for fair contracts. Trying to inform members about contracts. Trying to strengthen our union through awareness to all members of both how and why we have a union in the first place.
Arizona Boards had their first meeting to draft a new Local Constitution. How this will work is yet to be determined. There is a great deal to be discussed, many issues to be considered, and fair and equitable changes to representation at the National Board level and conventions. The challenges will be unprecedented in trying to envision what is good for Utah now and for years to come. We not only are merging two unions, but merging three former boards of directors into a one Local Board. The reality of how this will work quite frankly concerns me, but because Utah for years has had experience working together with some of the Arizona members during National Board meetings and Regional Branch Division meet1
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ings, these personal relationships will help in the changing process. Utah and Arizona has to be open to new ideas and processes and see the strengths of becoming a larger Local. Geographic diversity is definitely a challenge, but new technologies and the Internet can be useful tools. Utah membership services have always come from a different state, so services should not be affected. Simply, we are used to not having a physical office located in Utah. It is governance issues and how we are represented at a National Board level that will change. I will, however, remain Utahâ€™s National Board representative until September 2013, before the first SAG-AFTRA Convention. Rest assured, I will be fighting for Utah all the way to the last day. Like my fellow National Board members in Arizona, it is important to continued on page 6
Dear SAG-AFTRA Utah Members, During the process to merge SAG and AFTRA, the G1 (Group for One Union) spent a significant amount of time developing a roster of Locals that could provide appropriate local communities of interest while keeping the size of the national governance and fiscal responsibility in mind. There were days and days of deliberation on how to structure the new union in light of the very different organizational structures of former SAG and former AFTRA. The group looked at many different proposals and at the forefront of their minds was the overriding goal to be a strong, national union focused on organizing more work for members. The leadership ultimately decided to recommend that certain Locals be consolidated resulting in 25 locals for SAG-AFTRA if the merger was approved. As part of the new recommended structure, the Salt Lake City Local and Phoenix Local are working towards consolidating into a single, larger Local. With more than 1,300 active members combined, this newly formed Local will be considered midsized and will continue to have staff dedicated to the needs of members and the production community in the area. There have been a lot of changes at SAG-AFTRA in recent months, as we seek to redeploy resources for maximum efficiency. The union is being molded into a streamlined organization that will ultimately be better able to serve members and organize more work. Organizing is of the highest priority. We have
increased staffing in the organizing department and the team is eager to work closely with Locals like ours to assess where and how we can make inroads with employers. Improving member service and focusing on legislative areas like the so-called “right-to-work” laws are also high on the list. There are many challenges ahead and the leadership is excited about the potential this new, stronger organization has. For the near-term, officials from Utah and Arizona will continue to serve in their current capacity until the next election. On Aug. 18, elected officials from both Locals met to determine a clear definition of the governance structure of the entity that will represent Utah’s interests within the combined Local. In addition, the official constitution for the combined Local is being created. Rest assured, your local leaders are working diligently to keep Utah’s voice strong and a vibrant part of this new union. As your staff, we will make every effort to make this transition as seamless as possible, and will continue our 30-year legacy of representing Utah members, as we have in the past. We remain available to work with you during this time of change. If you have questions, call Don Livesay at (480) 264-7696 or Roxanne Chaisson at (623) 687-9977. In Unity,
Roxanne Chaisson, Co-Executive Director Don Livesay, Co-Executive Director Dear Utah Members,
2012-2013 Initial Utah Board of Directors With the merger of SAG and AFTRA, the local board formed the Initial SAG-AFTRA Utah Board.
President Cheryl Gaysunas Vice President open Treasurer Peder Melhuse Secretary Betty Carr National Board Member Anne Sward
Members-at-Large Charles Frost Morgan Lund Joey Myashima Don Shanks Katie Sciuto Alternates Frank Bare Joyce Cohen
As many of you know, I will be retiring at the end of the year. I will be on the job until then, and I want very much to continue as long as I can to help plot the course of action that will lay the foundation of unity in the years to come. I am very confident that with the leadership of your board and Executive Director Roxanne Chaisson, you will see success. Please know that Roxanne has my deepest respect and confidence. You are most certainly in good hands. It has been an honor to serve you. You are friends and you make it my personal pleasure to work each day on your behalf. Don 2
From Behind the Camera by Amanda Melby, Arizona Co-Secretary, Co-Member-at-Large As a SAG-AFTRA actor here in a so cal l ed “r i ght -t o work state”, I’ve often found myself talking to film producers and directors about the ins and outs of the SAG Low Budget contracts. “It’s really easy,” I’d say, “Just a few forms to fill out. SAG scale is $100 a day for the Ultra Low -Budget Agreement and the Short Film Contract payment can be deferred.” This past fall, I directed my first short film and had three SAG actors in the cast. Because my producer hadn’t ever done the SAG Low Budget Agreement paperwork before, and because I wanted to find out first-hand what the process was really like, I said I would be the signatory. Most of the forms are now online, so really, that was a breeze. There were some redundancies with the paperwork, and some of it was in .pdf format, so I needed to retype them, but everything they asked for were items that we already had (a full budget, a shooting script, a cast list). So any
filmmaker who says that SAG AFTRA requires too much is either lazy or doesn’t know what he/she is doing. These were basic pre production items that SAG requested. Overall, my experience with becoming a signatory was a piece of cake and now I know from whence I speak: “It’s easy for a filmmaker to hire a SAG-AFTRA actor — signing a union contract is not hard.” While most of the parts were cast from people I’ve already worked with, I did audition actors for four roles. Here’s where the surprises started to pile up. I posted an audition notice and asked actors to submit a headshot under 1 MB in .jpg or .pdf format and a resume in .pdf format. I asked them to title the documents with LastNameFirstName.filename. I was AMAZED at how many actors sent me photos called DSC111.jpg or Smiling One.jpg or how many resumes I got in .wps (a file that I can’t open) or .doc (a file I can open). As a director now, I can’t imagine that this actor is going to follow direction on set with me if s/he can’t even submit using the directions I provided. I also looked on iActor and AFTRAPhoenix.com to find local actors – perhaps
people I didn’t know. I was surprised at how few actors were actually on these sites. Here I am, specifically looking for local union talent and I can’t find any because they haven’t taken the time to list themselves online. Perhaps they don’t want work? Assuming that you DO want to work, I suggest that you check your electronic documents for both file size and names, and regularly check your online profiles for iActor and AFTRAPhoenix.com And, if you aren’t on these sites, get on them! There will probably be some changes coming with these sites due to the merger, but pay attention and get online. Lastly, I highly suggest that you read up on the SAG Low Budget Agreements so you can speak with confidence about them. Knowing how easy it is and what SAGAFTRA requires from the filmmaker can easily turn a nonunion project into a union one. Get proactive and get some bookings! Article reprinted with permission
Don’t know how to rename or resize your photos? Here’s a primer. Open your photo in whatever photo program you have on your computer. In the “file” menu, you’ll probably have something like “rename” or “save as.” Simply click on that and rename it with your stage name. If your file is very large and your headshot photographer didn’t give you a “low rez” version for emailing, you can 1) email your photographer and ask for a low rez version, or 2) resize it yourself. To re-size it, again open the photo in your photo program. Look for a “Tools” menu bar and something like “adjust size” or “image size.” If you’re working with the original photo, it’ll be something like 36 inches wide by 54 inches in height and 4.1-5 MB. This is HUGE! A photo to email needs only to be 8 x 10 inches. By reducing the dimensions, the file size will reduce to somewhere around 100 KB. Your “resolution” size can be from 72 pixels/inch to 300 pixels/inch. The higher this number, the higher the file size. 3
The main thing is safety, safety, safety. It’s only a movie and there is no reason for anyone to get hurt unnecessarily. As an actor, you have the right to say no if you don’t think you can do a stunt and to request a stuntperson. If you cannot do something, don’t say that you can. For instance, if you are afraid of heights, are not a strong swimmer, or can’t ride a horse, don’t say that you could do something just to land the job. You just might be putting yourself and others in danger. When stunts are involved in a production, always make sure there is a qualified stunt coordinator on the show/set and know that you have the right to ask him what his qualifications are. If you are not sure about something, ask questions and understand exactly what is going on. Do not let production rush you.
By Don Shanks, Member-at-Large
can kill just as easily as a real bullet. Never, ever point the gun directly at the person you are shooting at, it’s always directed off to the side. A safety meeting should be conducted with cast and crew. When the scene is over, hand the weapon back to the prop man. Before you reshoot the scene, review the weapon again to make sure it is alright. If you are being shot at and you have a squib on, make sure you know what you should do. The squib is a blasting cap and if you get your hand or face in front of it there is a potential for injury. Make sure you have protective gear on and the precautions are explained thoroughly. Prior consultation of the performer with the stunt coordinator and the qualified special effects person is required.
an adjustment. As you read the script and it looks like you are doing a stunt, you and your agent should negotiate a stunt adjustment. Do not go to the stunt coordinator. If on set the stunt exceeds what is stated in the script, you may be entitled to additional compensation. For example, if the script states ‘John falls down’ and then on set it turns into ‘John falls down a flight of stairs.’ Call your local SAGAFTRA office for assistance. Injuries — If you should get hurt on a set, make sure you report immediately to the first assistant director and that it is noted on the production report. If you are injured on a set and are unable to work as a result of an injury sustained at work, you should notify the employer as soon as possible to apply for worker’s compensation benefits. You should also report any injury to the SAG-AFTRA Local office because you may be entitled to receive additional compensation.
Fight Scenes — If you are doing a fight scene, it should be choreographed and rehearsed time after time to make sure that each person knows what they are doing. Do not improvise or change anything. If it The main thing is to be safe, know what Working with firearms — Make sure is not going right, they can always shoot it you’re doing, and know that you have the the property master is qualified. You have again. right to say no. If you have any stunt rea right to look at a weapon to make sure Stunt Adjustments — As an actor, if you lated questions, ask the stunt coordinator that there is nothing in the barrel. A blank are doing a stunt, you may be entitled to or contact your local SAG-AFTRA office.
The Utah Film Incentive In support of the film industry in the State of Utah, Gov. Gary Herbert and the state Legislature approved the Motion Picture Incentive Program (MPIP). The state of Utah may provide a post-performance financial incentive to production companies in order to help develop a strong motion picture industry presence in the state that will contribute substantially to improving Utah’s economy. The MPIP is a post-performance, fully refundable tax credit or cash rebate of production dollars spent in the state of Utah. An approved production will be rebated 15 percent to 25 percent on every dollar spent in the State of Utah. A production must spend a minimum of $200,000 in the state for the 15 percent cash rebate and a minimum of $1 million in the state to qualify for the up to 25 percent tax credit or cash rebate. The cash rebate has a cap of $500,000 per project. The tax credit has no per
project cap. An application must be completed, submitted and approved for each project prior to the start of principle photography to qualify.
the entire year, even if temporarily outside of Utah for an extended length of time (years in certain situations); or maintains a permanent home in Utah, even if you lived outside Utah, and spent a total of 183 or more days of the taxable year in Utah; and is required to pay tax income in the state of Utah.
Due to the current limited availability of funds in the cash rebate, it will be at the discretion of The Utah Film Commission and the Utah Governor’s Office of Economic Development to determine which Q: What is a state-approved production? type of incentive could be offered when a A: “State-approved production” means a fully completed application has been remotion picture, television series, or madeceived. for-television movie approved by the adMotion Picture Incentive Program Q&A ministrator and ratified by the board that Q: What qualifies as “dollars left in state”? is produced in the state by a motion picture company. A: A qualified Utah expense is a production expense that is subject to Utah taxes. All Q: Can expenses count for days shot in goods and services must be domiciled and another state? used in Utah and are directly attributable to A: No. The purpose of the MPIP is to the physical production of the feature film encourage the use of Utah as a site for the or television program. “Dollars left in the production of motion pictures, television state” means expenditures made in the state series and made-for-television movies. for a state-approved production. The only expenses, including payroll to a Utah resident, that are qualified as Q: What is a Utah resident? “dollars left in state” must have taken A: A “Utah resident” has lived in Utah for place in the state of Utah. 4
SAG-AFTRA Utah Putting the Pieces Together Don Livesay, Co-Executive Director
As We Look to the Future Roxanne D. Chaisson, Co-Executive Director
I recently attended a showcase where actors were presenting scenes they had worked on to members of the industry. In several scenes, everything flowed, relationships were established between the characters and their environment with the actors’ lines of action moving toward achieving a singular goal. For every defined action made on stage, the “why” was clear to the actors, and therefore clear to us.
Hello SAG-AFTRA members in the beautiful state of Utah. Congratulations for overwhelmingly passing the merger of our two unions into one of the largest, most powerful, entertainment unions. It is the culmination of that effort that brings us to where we are today. As we evolve into the new Arizona/Utah Local, we realize that you may have many questions. Change is scary for everyone, but working together, be assured that we will be making our Local the best that it can be. There are a lot of changes occurring across the country and right here in your own backyard. As Don has announced his retirement at the end of the year, moving forward I will be your executive director. I eagerly look forward to continuing to protect the artistic rights of performers in Utah and Arizona, while assisting signatories, producers, advertisers and agents in understanding the contracts. Don and I are working closely to ensure the transition will be gradual, so as to not disrupt any of these services. We are here to help you through the process and encourage you to ask any questions you may have. On a recent trip to Salt Lake City, your elected leaders, along with leadership from Arizona, began the process of drafting the new Local constitution. The possibilities of our stronger, larger Local are endless. We will be forging ahead, and while we do, it is essential that you take on an active role in your career. Attend every meeting you can, read your mail, newsletters and e-blast’s from SAG-AFTRA. I encourage you to get involved in a committee that interests you. A strong union presence can be built with a strong active membership. Through an effective board, committees and members, our Local will remain steadfast in organizing in the 21st century. To coin a meaningful thought, ask not what your union can do for you, ask instead what you can do for your union. I look forward to meeting and working together with you in this exciting time in our history. Keep informed by making www.sagaftra.org your home page. Through constant contact, I believe great things are possible. Do not hesitate to connect with me at any time.
It reminded me of what I learned as a student at The Goodman when the school was located at Columbus and Monroe in Chicago. The following might be familiar to you, too. The story goes that when the great teacher of acting Konstantin Stanislavski of the Moscow Art Theatre came to America, his lectures were difficult to understand due to his thick Russian accent. In particular, the word “bit” was understood as “beat,” the musical term, as in keeping the beat. What he was teaching, however, was how every scene required the performer to define his or her character’s goal or motivation in small, decisive bits. Once those bits were defined, woven together and acted upon, the character for each role would be created and the play would flow believably from scene to scene and accepted by the audience. As our new union SAG-AFTRA now prepares to put its character onstage, it seems to me that this metaphor can be applied to what is taking place right now. Elected leadership and staff around the country are working together on the bits. Getting all the pieces defined and structured together is absolutely important, each bit crafted in such a way that when they are connected, the overarching motivation is achieved, the goal met. We are in a real sense creating the character of our new union. We are defining and redefining the pieces or bits and putting them together. Each piece — how we govern ourselves, organize employers and performers, and negotiate and enforce our contracts — must work with every other piece so that SAG-AFTRA can effectively deal with all the things our members care about most. Every one of us wants that. Let’s work hard. Share your concerns with your elected leadership. And let us please determine to be patient. Like rehearsals, it might be messy at times, but the end result is worth it. As the curtain goes up, it’s about the character of our union and we all want a long run.
We Need You! Join the Producers/Actors Forum Committee, which is hard at work planning the 10th annual event in conjunction with the Sundance Film Festival. For more information, send an email to email@example.com.
Your Voice is Your Vote. Be Heard!
National Board member’s report continued from page 1
Registering to vote and voting are the most important things you can do to protect your own interests and those of your family, friends and community. If you are not currently registered to vote, register online at: https://secure.utah.gov/voterreg/index.html In order to vote in the general election on Nov. 6: Mail registration deadline: Oct. 9 In-person & online deadline: Oct. 22 Valid photo ID is required when voting In order to be allowed to vote, you must present valid voter identification to the poll worker before voting, which must be a valid form of photo identification that shows your name and photograph or two different forms of identification that show your name and current address.
me that all National Board members understand so called “right-to-work” issues, small local markets, the need for waivers in initiation fees and local contracts. Organizing is going to be delivered in a new way. Plans now are being laid out on how Utah will benefit from this. First, however, we will form this new Local and then leadership and the members of both Utah and Arizona can work together on an organizing plan. I’m not going to kid anyone: There is much work to be done, and once again I reach out to you for guidance so the best decisions and input comes from the membership. Please contact me at firstname.lastname@example.org if you want to be involved. As we celebrate our 30 years as a Branch, we must move on with the tenacity and voice we have always had as a new Local.
For more information, log onto http://vote.utah.gov/
An Invitation to SAG-AFTRA Members from Michael Moore, Utah Film Commissioner Registered in the Film Directory? If you are, then please remember to check the latest Utah productions for the most current information. But if you are not registered, here’s our invitation to find the latest production information. Go to: http://ut.reel-scout.com/crew_registration.aspx. Registering will enable you to receive special eblasts and timely news about industry events and productions shooting in our state. Here a quick peek at some items you might be interested in.
Active Clients/Production: - 5 Independent features - 3 Network Television Series - 2 studio features
Producer Scouts: - Lifetime network
- Flip Men
Recently Completed Production: - Granite Flats - Lone Ranger - 3 days in Vegas - Breaking Pointe
Coming soon … Arizona/Utah Talent Website … Member Benefit With ever-changing and newly created technology, it is more evident than ever that we must keep up with the times. General audition notices are sent by email and agents increasingly refer casting directors or producers to their websites when looking for talent. We are hard at work on a new, Arizona/Utah online talent directory that will be made available to production companies and ad agencies in 2013. Busy producers and agencies know that online directories like ours are one of the easiest ways to cast professional talent. There is no cost for Arizona/Utah members in good standing to participate. If you’re interested in participating, complete the registration form and submit a color headshot, a complete resume, a one-minute MP3, and a two-minute video. To request the website registration form, send an email request to Utah@sagaftra.org. Requirements for submitting will be included with the registration form. Don’t wait until the last minute: Request your registration form today and join your fellow members in the 21st century. 6
Casting 101 – Meet Jeff Johnson
Jeff Johnson is one of Utah’s busiest casting directors. His projects have included the first three High School Musical films, 12 Dogs of Christmas — Great Puppy Rescue, John Carter, Age of the Dragons and many more. Most of you need no introduction to Jeff Johnson, who I’m sure you have auditioned for countless times. If you are new to Utah or haven’t had the opportunity to meet Jeff yet, Jeff has shared some valuable insight to the audition process. What types of productions do you cast? Anything that needs casting. I have cast films, TV shows, commercials, video games, etc. How do you find your actors? Through talent agents. I find that professional actors usually have an agent. How many actors audition for roles? That’s not an easy question to answer, but on average for a film with about 25 roles to fill, I will see around 1,000 actors. What do you look for in an actor? Professionalism and training. Every project I have worked on
from huge studio pictures to lowbudget indies, want professional actors who know what their job is. I also find that the actors that book the most, take the time to train on a consistent basis.
being unprepared. Not understanding an actor’s job. Not listening when a director gives you direction.
How do you determine if an actor is right for a role?
What are your top three suggestions for actors?
First, it’s about the look. Does the actor fit the role physically?
Relax in an audition, we are rooting for you. We want you to be the one.
Next, is the actor’s performance believable and realistic? Do they listen and respond in the audition? Did the actor make believable and interesting choices? What are your top pet peeves at auditions?
Bring yourself to the role as much as possible. Keep your skills up. Train, do a play, or do a student project. Do anything to keep from getting rusty.
Not knowing the material and
SAG-AFTRA members: Protect Your Security Protect yourself from the growing problem of identity theft: Avoid using your Social Security number on any public document. Use your SAG-AFTRA performer ID number whenever you fill out audition sign-in sheets, member reports, or send correspondence to the union. Do not put your Social Security number on resumes or head shots.
The following productions have initiated the signatory process to produce under a SAG-AFTRA collective bargaining agreement. It is the responsibility of each member to confirm that each producer has signed the applicable contract before making an agreement to render services. Failure to confirm the signatory status before rendering services may lead to disciplinary charges being filed. If you have any questions, please contact the office at (623) 687-9977.
Point B – Ultra Low Budget Red Coral Films Location: Salt Lake City Tentative Start Date: 8/27/12
Annabelle – Short Film Alan Groves Locations: Sandy, West Jordan, Salt Lake City, Midvale Tentative Start Date: 9/7/12
Friend Request – Modified Low Budget Front Gate Films Location: Salt Lake City Tentative Start Date: 8/28/12
XYZ – New Media Contract Another Language, Inc. Location: Salt Lake City Tentative Start Date: 12/15/12
Sound Recording Artists — Are You Owed Royalties? SAG-AFTRA encourages all musicians and singers who have ever done a recording (including a cast album) to register with these two organizations: SoundExchange (www.soundexchange.com) is a nonprofit performance rights organization that collects statutory royalties from satellite radio (such as Sirius XM), Internet radio (like Pandora), cable TV music channels and similar platforms for streaming sound recordings. The Copyright Royalty Board, which is appointed by The U.S. Library of Congress, has entrusted SoundExchange as the sole entity in the United States to collect and distribute these digital performance royalties on behalf of featured and non-featured recording artists, master rights owners (usually record labels), and independent artists who record and own their masters. AFM and SAG-AFTRA Intellectual Property Rights Distribution Fund (www.raroyalties.org) was formed for the purpose of distributing royalties from various foreign territories and royalties established by government statute under U.S. copyright law. Registration with both organizations is free, it’s easy, and it’s important. Sometimes you don’t know when your recordings are going to generate royalties — don’t miss out on any of them.
The SAG-AFTRA Prescription Discount Card Group Benefit Associates (GBA) is excited to announce the expansion of the SAG-AFTRA Prescription Discount card to all SAG-AFTRA members. This program is free to all members of the union, friends and family. This added benefit has no monthly fee or additional premium for SAG-AFTRA members. Simply present the SAG-AFTRA Prescription Discount Card at the register to receive the discount. There are no annual discount limits Everyone qualifies for the prescription card – there are no restrictions The Rx card never expires An entire family can use one card Cardholders save on drugs not covered by other plans Members can locate a participating pharmacy and obtain discount pricing information at www.wellcard.com Mail order pharmacy service is also available The Best Price Card program is just one of the ways that GBA is helping SAG-AFTRA members control their benefit costs as part of its continuing effort to provide members access to additional benefits. To get started, go to: www.groupba.us/GBASite/RxCard/AFTRA.RxCard.html, print out your card and present the card to the pharmacist at time of purchase. 8
President’s report continued from page 1
Now we all have a chance to stand behind SAG-AFTRA with an eye on how to be active participants in our union. It is so much easier to just carry a card and collect residuals. But maybe being a professional in this industry is about more than that, maybe it is about creating more opportunities for ourselves as well as our fellow union members. If we seek to be protected by our union, it stands to reason that we, too, must protect our union. Where do you fit in? If you benefit from the work you do under union contracts, what are you willing to do to support your union to ensure that those contracts remain? In our so-called “right-to-work” state of Utah, maybe you don't just choose to serve on a committee ... maybe the least you can do is only work under union contracts. By turning down non-union work or helping turn a job union, you are serving your union in the most professional way of all.
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THE WAGES & WORKING CONDITIONS PROCESS IS BEGINNING, IN PREPARATION FOR THE COMMERCIALS CONTRACTS NEGOTIATIONS SAG-AFTRA Arizona/Utah 20325 N 51st Avenue, Ste. 134 Glendale AZ 85308 623-687-9977 623-362-2218 Fax email@example.com www.sagaftra.org Co-Executive Directors: Roxanne D Chaisson firstname.lastname@example.org Don Livesay email@example.com This is the publication of SAG-AFTRA. The appearance of advertising in this publication neither guarantees nor implies an endorsement by SAGAFTRA of the product, service, or company or the claims made for the product in such advertising. SAG-AFTRA disclaims any liability whatsoever in connection the advertising appearing herein. Letters to the editor are always welcome from members in Arizona and Utah. They must be signed with your full name and are limited to 150 words. Letters selected may be edited for accuracy, space and clarity. Every effort will be made to preserve the author’s intended substance. This section is not available to sitting Board members. Send Letters via mail, fax or email: Letters to the Editor SAG-AFTRA Newsletter 20325 N 51st Avenue, Ste. 134 Glendale AZ 85308 Fax: 623-362-2218 Email: firstname.lastname@example.org
SAG-AFTRA is pleased to announce the beginning of the Wages & Working Conditions (W&W) process in preparation for negotiation of the commercials contracts that expires March 31, 2013. Proposals for this important negotiation are developed through the involvement of members like you. Make your voice heard and participate in this very important process. Local W&W Committee Meetings — These formal meetings use the information and ideas gathered from members to create proposals for the 2013 contract negotiations. (Note: Upcoming dates for the W&W meetings in Utah will be emailed soon.) The meetings are open to all paid-up SAG-AFTRA members. Email Suggestions — Can’t make it to a committee meeting? You can still play an active part by emailing your ideas to email@example.com. Please note that the last day for suggestions is Friday Oct. 19, 2012. All proposal recommendations will be reviewed by the Wages & Working Conditions Committee and inform the committee’s final recommendations to the SAG-AFTRA National Board. Upon completion of the national contract negotiations, we will begin the W&W process for the Arizona regional commercials contract. It’s never too early to start planning for the future, so gather your thoughts and ideas about this contract too. The code offers a discount to producers and ad agencies that hire SAG-AFTRA members in commercials that are produced and aired exclusively in Utah.. How can we improve the regional contract so more local commercials are turned into union jobs? Questions, Comments or Suggestions: Please contact Roxanne Chaisson at (623) 6879977 or firstname.lastname@example.org; or Don Livesay at (480) 264-7696 or email@example.com.
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SAG-AFTRA Arizona/Utah 20325 N 51st Avenue, Ste. 134 Glendale AZ 85308
Are You Accessible? Get Connected Today! Over the years, advances in technology have had a major impact on the art of being a performer, as popular media moved from stage to film to radio to television. And with the emergence of the Internet, everything has changed about the business of being an actor, broadcaster and recording artist yet again. Being plugged in has never been more important. If you’re one of the people who has been holding out, it maybe time to reconsider. As a SAG-AFTRA member, you need to make it easy for casting directors and employers to reach you. Like it or not, today that means being reachable online. If you don’t have an email address, register for free with one of the online email services such as Gmail or Yahoo. Also, be sure we have your correct email address so you can receive important member information, casting and event announcements, and members-only deals and discounts. Technology is making inroads into the auditioning process, and members often audition and book jobs without ever seeing the casting director in person. The smart use of technology helps members break down regional barriers and allows them to compete
for a larger pool of jobs. Most importantly, though, technology gives members the tools to take command of their careers. Potential employers know that members have these resources at their fingertips, and that has raised expectations — a simple headshot often isn’t enough anymore; they want to see what you can do, they want to see information that is up to date and they want it all easily accessible. As technology continues to advance, we can expect an increasing amount of member business to take place online — but keep in mind, where there’s change, there’s opportunity. Successful members have to be good salespeople, and with the Internet and related technology, the toolbox for packaging and promoting yourself and reaching potential employees just got a whole lot bigger. So use it. Online isn’t just the future of the entertainment industry, it’s the present. If you need assistance getting connected, contact Roxanne Chaisson at the office at (623) 687-9977. This article contains excerpts from an article that originally appeared in the fall 2011 issue of Screen Actor magazine.