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IN THIS ISSUE • Member Orientation


• Dancers’ Alliance Miami First Anniversary Party • Connie Zimet Voice Acting Conservatory • Dancers’ Alliance Town Hall Meeting • Mixers in Orlando and Miami • 2012 Annual Membership Meeting • Leslie Krensky’s 30TH Anniversary • Film Florida


ORLANDO The Miami Local held its New Member Orientation in Orlando and Miami on Nov. 14. If you have not been to an orientation, you are behind on the latest news. The orientation lasts about two hours. During the orientation you will learn about: updates on SAG-AFTRA, benefits, available training, promoting your talent locally and in other markets and making the most of your union membership.

New Member Orientations are not just for new members! All members in good standing are welcome. During the Q&A section you can ask about anything. This was the first event held via video conference.

• From the Miami Local Co-Presidents • From the Miami Local Executive Director • Members Corner




The most recent event of Dancers' Alliance Miami was the Unity Ball held on Nov. 19 - and it was a huge success! The entire South Florida dance community came to The Stage to be part of Dancers' Alliance Miami's first-year anniversary celebration in recognition of the organization's successes and unity within our Miami dance community. There were amazing live performances at the Unity Ball by: Brian ”Bzo” Bailey, Raw Miami Crew, David Mayorga, Tatiana K, U4ria, P.K., Ben Solomor and Illmatik Phlow. The show will go on, so stay tuned for more to come in 2013!


SAG-AFTRA and Dancers 'Alliance Miami hosted their first official town hall meeting on Sept. 30 at FIU North Campus in North Miami. Dionne Renee, Miami Local Board member, and Galen Hooks, Los Angeles Local Board member, focused the presentation on educating dancers about the new SAG-AFTRA Music Video Agreement and addressing local issues specific to the Miami dance community.

CONNIE ZIMET VOICE ACTING CONSERVATORY The Connie Zimet Conservatory has just graduated its sixth class and continues to carry on in Connie’s footsteps by offering members the opportunity to improve their voiceover skills, many of which easily translate to on-camera acting as well. In four classes of four hours each on consecutive Sunday afternoons, a small group of no more than six students take their turns behind the mic at Audacity Studios in Hollywood, Fla. to hone their talents and discover new ones based on Connie’s techniques. There’s a waiting list, so contact to sign up.

Top, from left, Tim Large, Katherine Kanitsch, Drew Daly, Cookie Colletti, Rick Blitman (from Tinsley Advertising), Samantha Skye. Bottom, from left, Darryl Gilley, John Jay Martyn


MIXERS The Spotlight was on Rick Blitman at the Miami Mixer As a copywriter, producer and associate creative director at Tinsley Advertising, Rick has been putting words in people’s mouths for more than 25 years and creating awardwinning work for a diverse portfolio of clients, including The Florida Keys and Key West, Nova Southeastern University, Miami Children’s Hospital, Roadhouse Grill, Hedonism Resorts and a bunch of others.

Top, from left, Donna Preudhomme, Paul Bodie. Bottom, from left, Kevin Dean-Hackett, JoMarie Payton, John Archie

Miami hosted its most recent mixer on Aug.29, 2012, at Soyka’s restaurant and lounge. At the wellattended event, members enjoyed the opportunity to get together and network in a non-business setting. Members also had the opportunity to talk to our guest, Rick Blitman, associate creative director at Tinsley Advertising.

Rick has also taught writing for radio at the Miami Ad School, and directed Regis Philbin at the height of “his Regisness.” And while he’s a writer by trade, his real passion is the bad art he has been creating for decades. Rick’s Bad Art became a minor global sensation last year by climbing on the bandwagon of the YouTube viral phenom “Baby Monkey Riding Backwards on a Pig.” He didn’t create it, but he’s happy to ride it right into the ground.


From left, member Tory Wynter, Martine Wynter, Nancy Clark of Nancy Clark Talent, member Tracy Frenkel and Herta Suarez.

On Sept. 28, 2012, the SAG-AFTRA Miami Local held a mixer at Le Rouge Wine Bar and Tapas in Orlando. The 72-plus members and industry guests had a great evening of socializing and networking while also enjoying fantastic tapas and live music. Among the industry guests in attendance were various franchised agents, producers, casting directors and Orlando Film Commissioner Sheena Fowler. SAG-AFTRA Miami Local Executive Director Herta Suarez, was also at hand with Assistant Director/Central Florida David Fazekas meeting and chatting in person with Central Florida members.


From left, Karen Weiss; Carlina Rodriguez; National Vice President, Los Angeles, Gabrielle Carteris; South Region Director/Contracts and Operations Leslie Krensky; and Executive Director/New Orleans Local Broadcast Director Herta Suarez

About 120 members gathered at the Cinema Paradiso in Ft. Lauderdale to be part of the historic first Annual SAG-AFTRA Membership Meeting on Oct.16. Members enjoyed a fabulous dinner, planned and coordinated by Debbie Howard, Local Board member – thanks Debbie! At the meeting, they received reports about the merger transition, the new music video agreement and more. Lucky members took home some pretty amazing door prizes and new members were in the spotlight. At the conclusion of presentations, SAG-AFTRA members in attendance had the opportunity to ask questions of staff and local board members. It was indeed a joyful event celebrating the merger of SAG and AFTRA, and the initial successes of our new union. Our guest speaker for the night was Gabrielle Carteris, who flew in from Los Angeles to be with us on our special night. Following is an excerpt of what she shared with us at the meeting: “I have been offered union and non-union work. There are times when I have been able to turn non-union work to union, and there are times when I have had to turn down the work because they would not turn it union. Believe me, that is difficult every time. I have a family that depends on my making enough money to at least help with

the health insurance. Seven years ago, I was injured working on a film and I had to stop working for several years. That affected my earning capacity dramatically. So, when I say no to non-union work that is being offered, sometimes at incredible rates, it is tough. But, I know I have to say no. If I were to start taking those non-union jobs, I would be building the case for employers that they can get professional talent without having to deal with the union and the union contracts. I would be building their case that they don’t have to pay into pension and health because they can get a professional to do the work without a union contract. I would be building their case that they don’t have to have professional stunt persons to do the dangerous actions because they can get an untrained professional performer to do it (let the chips fall where they may). I would be building their case that they can pay whatever, or more importantly as little as they want, because professional performers are afraid and will not stand by their contracts when work is offered. “I say NO TO NON-UNION WORK, even when I am offered large sums of money because I know it would be the beginning of the end. I am here to be part of strengthening our futures in this industry –to build careers, not to tear them apart. What we are doing today, will be shaping our tomorrow.

“YOU are an important part of SAG–AFTRA. This new union has given us all the opportunity to change the course of our futures. As we stand together and do the work, participate in our union activities and outreach to draw pre-union members into our fold – we will truly be part of the strongest union in our industry.”


South Region Director/Contracts and Operations Leslie Krensky celebrated a big milestone with our SAG-AFTRA family. She has completed 30 years of service as of Nov. 15, 2012. We congratulate her on her milestone celebration and thank her for her dedication and commitment to the union and our members throughout her tenure.

South Region Director/Contracts and Operations Leslie Krensky


Herta Suarez attended Film Florida (FF) meetings held in Orlando Dec. 5-6, 2012. Herta sits on the Executive Board of FF and chairs the Labor Council of the organization. These meetings focus on the development of means to attract and retain more production and industry participants in the state of Florida.

From left, David Fazekas, Miami Local assistant director/Central FL; Leah Sokolowsky, president, Film Florida; Dave Caserta, attorney/lobbyist FAME; Herta Suarez, Miami Local executive director; and Andy Schefter, producer/director, at the WIFT/FL (Women in Film & Television) event.

From the Miami Local Co-President

STEVE GLADSTONE Both born in the 1930s, SAG and AFTRA have merged together after almost two dozen attempts to do so over the past 60 years. And it appears to be a seamless transition without a fuss from our employers. Now, with our first major contract imminent (commercials contracts), SAG-AFTRA will negotiate with the advertisers as a single union with only one thing in mind – you, the SAG-AFTRA card-carrying member. With no ability to “shop the contracts” any longer, our employers must now negotiate with only one entity; one contract for all entertainers and media artists providing the best wages, residuals, working conditions, and health and pension contributions. Our product is portable – lensed and recorded everywhere, distributed everywhere. And our union protects our voices and images everywhere. SAG-AFTRA now boasts more than 165,000 members living in 25 locals, Los Angeles and New York being the two largest. We are the actors, broadcasters, recording artists, singers and dancers – we are the faces and voices on camera and microphone in entertainment and media. In four years, I will start receiving several hundred bucks monthly from SAG-AFTRA, and a few hundred more from Actors’ Equity, which will help boost my monthly cash flow. As a younger actor, I wasn’t thinking about a pension fund; I’m glad my union was. And as far as those pension plans are concerned, from my limited perspective, they will eventually blend together and fill one pot. However, it is going to take time for the powers to line up the ducks properly. Keep reminding your non-union actor buds that the only reason the non-union employers are not signing contracts is because of them. Let them know that when they’re ready to stop playing “Let’s Make a Deal” and want to stop giving up their rights to their image, start receiving residuals for their work, and start building a pension, that it’s time to join the union. Everyone likes a good story. Since sitting around the fires sharing the tales by way of oral tradition to Edison’s first recording device to silent films to radio dramas to the big and small screens, the lust for storytelling continues. As well as spinning the yarn, people gotta sell their products and deliver the news. They need us to do that. There are splendid days ahead for all of us.

From the Miami Local Co-President


YOU are telling ME how to read a line?! From my private files – “One of those tough sessions”

We’ve all encountered someone (director, producer, family member, annoying person at a party, etc.) that tries to show us how to do our job as performers, and fails miserably. In their minds, they are giving you an award-worthy performance, but in reality, what comes out of their mouths is what a first-grader sounds like when reading in front of his class. And of course, we’ve all felt that burning desire to imitate them, so they can hear what they really sound like, but please ... don’t. If you succumb to that impulse, don’t be surprised if you never hear from them again, and it would be very sad indeed to stop seeing Uncle Bob. So, what to do in a conundrum like this? Well, you have several options, but first things first — you need to change in your mind the “YOU are telling ME how to read a line?!” to “I’m going to figure out what you really want.” This small change will open yourself to a “learning experience” that will make you a better performer. Your mission in a situation like this — should you choose to accept it — is to become a detective and find the clues that will allow you to “read” the person giving the direction, and decipher what they really want, but can’t exemplify. 1st tactic: The ABC If you are totally lost on what they want, then ask to do an ABC (three takes - A, B & C): one low, one medium and one high. You can say something like, “Can I do an ABC for timing and also to know which version works best for you?” After doing so, when they say, “The read we are looking for is more like your second take,” you’ll have your first clue, and you should write at the bottom of the script the word “medium.” 2nd tactic: Find out why they liked it You could say something like, “So ... it’s like I’m talking to a friend?” and they might agree or they might say, “No, it’s like Luke Skywalker talking to Princess Leia after finding out she’s his sister,” and that is your second clue, so you should write at the bottom of the script “talking to sister.” 3rd tactic: Read them two options Of two different ways that you would talk to your sister (if you don’t have a sister, pretend you have one — you are a performer). If they like one of the takes then you have your third clue, and you

should write the kind of read that you did, for example: “condescending” or “standing up to” on the script. 4th tactic: “Read” what they read If they are still not happy with what you are giving them, chances are they will read the text again to you. At this moment forget about their performance, and focus on where they are putting emphasis. Is it a word? Is it a phrase? Is it several words? This will give away your next clue, so underline those words or phrases, and the next time you read the script, give those underlined words a little extra, based on the clues that you already have at the bottom of the script (yes, that’s why I told you to write them down). 5th tactic: A few more questions If after this read they are still looking for something else, then ask more questions, but this time try to find a pattern on what they say now, and what they said before. When you find the constant in both, write it down (you know where), and try … again. 6th tactic: A few more reads with clue words Well, it turns out this client is a tough one, he’s still not happy with the read. Now is the time to become a little bit esoteric. Read all the words at the bottom of your script, and then write down on the right hand of the script a list of different reads that pop up into your mind, like “secretive” or “introspective.” Have at least three or four, and then say, “Let me try something to see if I’m on the right track.” Do your first read with the first clue word that came to mind, and when you finish, immediately say, “or ...” and start your second read with the second clue word that you wrote. After that, wait for their comments. If they are still not convinced, now say, “I think what you want is ...” and then do a read with clue words number three and four. Wow. That didn’t work. This is officially the toughest client you’ve ever had. Well, I guess it’s time to use the secret weapon tactic. Secret weapon tactic: Get out of the box Say, “Can I just go to the restroom for a minute? I’ve been drinking too much water!” Most likely they will say yes, and that’s a great opportunity to refresh yourself (I like to splash water on my face, like in a soap commercial). And then come back stronger than before because now you are ready ... to start with the tactics all over again! Yes, all over again; never, ever, give up! And the blessing in disguise is that you are being paid to practice patience, public relations and “reading” people — interpreting verbal and nonverbal signals. And all of them will get you more work, because, let’s face it, who would they rather call? Someone that doesn’t follow their directions and on top of that has an attitude? Or someone who is willing to help them find their creative vision no matter how long it takes?

From the Miami Local Executive Director HERTA SUAREZ There’s no more AFTRA and no more SAG. These two amazing unions are now SAG-AFTRA, one union, better and stronger than either of the former unions. But, that’s sort of old news by now, since we have been going through the transition process as part of the initial period of the Merger Agreement nationwide since the day after the merger was approved. Here are some highlights of what has transpired in your local: Name and Jurisdiction The new name of our local is the SAG-AFTRA Miami Local with offices in Miami, Fla. The geographic jurisdiction of the local covers Puerto Rico, the Virgin Islands and the states of Alabama and Florida. Governance In accordance with the SAG-AFTRA Constitution, we are currently operating under the terms of the Initial Local Constitution. The Local Board has approved amendments to the Initial Constitution that are pending review and approval by the National Board. The Initial Local Board is composed of the members of the former AFTRA Local Board and the former SAG Branch Council (please see list of Local Board members in this newsletter). This Local Board will remain in place until the first SAG-AFTRA elections in 2013. Elections will include the election of Local Board members, our representative to the National Board and delegates to the first SAG-AFTRA National Convention. Office In October, the former AFTRA Miami Local office moved into the former SAG office in Miami. With some remodeling and the willingness of staff to relocate within the office, we are now settled to better serve our members from a single location. Staff Herta Suarez is the new SAG-AFTRA Miami executive director responsible for the Miami Local. David Fazekas’ new title is SAG-AFTRA Miami assistant director/Central Florida, and he will continue servicing Central Florida for SAG-AFTRA. Leslie Krensky is now the SAG-AFTRA South Region director/contracts and operations. She is responsible for the administration of the performers’ contracts in the Miami Local and five other SAG-AFTRA locals in the South, covering a total of 11 states, Puerto Rico and the Virgin Islands. (Please see list of staff and their areas of responsibility in this newsletter.) Please do not hesitate to contact me if you have any questions at (305) 663-7089 or (800) 724-0767 option No. 7. I look forward to talking to you soon.

STUNT COORDINATOR/PERFORMER JENNIFER BADGER HONORED IN LOS ANGELES Many accomplished stunt coordinators and performers are members of the Miami Local. One of the leading stuntwomen in the industry is Miami Local member Jennifer Badger, who recently was honored by the Diamond in the RAW Foundation during its fifth annual Action Icon Awards & Stuntwomen’s Coordinating Conference held in October 2012 in Los Angeles. The Diamond in the RAW Foundation is a nonprofit devoted to transforming the lives of at-risk teenage girls. Badger is currently in her 20th year performing stunts. She began her career as a performer at 13 in sitcoms for Nickelodeon, pilots for ABC and PBS, and hosting a children’s series on World Cup Soccer. At the age of 16, she attended a stunt workshop in Tampa and began training and learning more about what would become her life’s work. Her first employment as a stunt performer was a combination stunt/acting role for the Batman Stunt Spectacular at Six Flags Over Georgia. Her first big opportunity in the film world was stunt doubling for Angelina Jolie for the film Hackers, which was shot in New York. Badger was part of the stunt ensemble nominated for the Screen Actors Guild Award for the film Public Enemies in 2009. She is also a fourtime nominee for the Taurus World Stunt Awards for her work on Scream 3 (2001- two nominations), The Hitcher (2007), and Pirates of the Caribbean: On Stranger Tides (2012). Badger has an extensive resumé as a stunt coordinator and stunt performer, including the films Anaconda, The Big Lebowski, Iron Man 3, the first three Scream films, Talladega Nights and the television series America’s Most Wanted, Baywatch, Dawson’s Creek, Necessary Roughness, One Tree Hill, Revolution, Vampire Diaries and commercials for BP, Disney Theme Parks, Gatorade, Pepsi, and Toyota. She has doubled for many lead actors, including Courtney Cox, Drew Barrymore, Diane Lane, Megan Fox and Penelope Cruz. Asked about her mentors, Badger cited two established stuntwomen, Sophia Crawford and Julie Michaels. “While several people served as mentors with advice and encouragement, the kindness of these two special ladies meant so much to me along the way,” said Badger. “I keep them in mind and try to exhibit their character in reaching out to other up-and-coming women in the stunt community.” Badger counsels women interested in a career as a stuntwoman to “put a lot of thought into their choices. While there are many wonderful aspects of performing action sequences, the dangers are also very real.” Union membership runs in Badger’s family, as her mother Donna is a longtime member and her husband, David Brian Martin, is a SAG-AFTRA stuntman in the business for 20 years. Their son, Nicholas, is following in his parent’s footsteps as a performer and has worked on several films.


MIAMI LOCAL BOARD MEMBERS Guillermo Sauceda Co-President Steve Gladstone Co-President Ellen Wacher Co-Vice President Dave Corey Co-Vice President & AtLarge Rennie Rodriguez Co-Secretary Patrick Mickler Co-Recording Secretary

Estimados miembros de SAG-AFTRA, Queremos hacerles saber que tenemos planes de reunirnos en la Isla del Encanto en el 2013. Les mandaremos información sobre el evento con anticipación. También nos gustaría poder reunirnos con ustedes por medios electrónicos. Recientemente efectuamos una reunión conjunta entre miembros en Miami y miembros en Orlando vía conferencia de video la cual fue muy efectiva. Estamos investigando la posibilidad de usar el mismo sistema de conferencias de video para poder incluir a Puerto Rico en reuniones, orientaciones y otras actividades.

F. Darryl Gilley Treasurer

Próspero Año Nuevo!

Adam Vernier

Steve Gladstone y Memo Sauceda

Barry Brandt

Co-Presidentes de la Local de Miami de SAG-AFTRA

Brett Rice Carmen Lopez Charles Ferrara Chris Beekie David Scott

NEW SAG-AFTRA MEMBERS WELCOME! Adam Lytle, Alex Ullrich, Alexander Marley Cheatham, Angel R Pagan Colon, Chiqui Delgado, Claudio Pinto,

Deanne Case

Daniel Dasent, Dannie Heverin, David

Debbie Howard


Dionne Renee J. Leo Sexton Jay Amor Jerry Winsett John Archie Lauren Marie Pena Matt Simpson Nancy Duerr










Emanuelle, Grant Koo, Janet Dentino, Jared “JJ” Woods, Jeff Graham, Jeff Nathan, Herndon,

Jeffrey Jose






Joseph Danko, Karelix Alicea, Karen R. LeBlanc, Kathryn Laughlin, Katrina E. Perkins,




Kourtney Brown, Kristin Wollett, Kriz Ed Paez Rivera, Kyle James, Lil Al, Lisa Gittner, Manny Hernandez, Manuela Mejia, Matt McClain, Mia Evans, Natalie

Peter Gabb

Govin, Nicholas Alexander, Philip G.

Santara Sidersky (Phyllis)


Vicente Solis Kevin Dean-Hackett Alternate




Figueroa, Roy Bracho, Sapo, Thomas Joseph Culler, Todd Bruno, Torleif Gundersen, Vanessa Nevader, VaughnRian St. James, Xavier Burbano


Steve Gladstone, Guillermo Sauceda, Herta Suarez, Leslie Krensky, Gabrielle Carteris, F. Darryl Gilley, Dionne Renee, David Fazekas, Eileen Neel, Susana Carrillo, Guest Contributor

Leah Sokolowsky


SAG-AFTRA Miami Local MAIN Telephone ……… (305) 670-7677 Toll Free …………(800) 724-0767 Option# 7

STAFF Herta Suarez………….…….….Ext. 7089 Miami Executive Director/ New Orleans Local Broadcast Director David Fazekas……..….. (407)788-3020 Miami Assistant Director/ Central Florida Leslie Krensky…………….……Ext. 7077 South Region Director/ Contracts and Operations Carlina Rodriguez……......…..Ext. 7076 Director, Spanish Language Industry Relations Eileen Neel……………….…….Ext. 7079 Membership Supervisor Karen Weiss……………….…...Ext. 7082 Office Manager

WELCOME TO YOUR OPTIONS TO BE ACTIVE IN A SAG-AFTRA LOCAL COMMITTEE Several committees have been created by the SAG-AFTRA Miami Local Board. The following committees are open to volunteers. If you are interested or need more information, please contact Susana Carrillo at or

Jessica Vazquez………….…..Ext. 7083 Business Representative E-mail: Radio & television commercials, corporate-educational (industrial), infomercials Linda Isrel…………………..…..Ext. 7088 Associate Business Representative E-mail: Student & short film productions Susana Carrillo……………….Ext. 7092 Executive Administrative Assistant Adelina Hernandez…………..Ext. 7078 Administrative Assistant…….. Cheryl Ritchkoff……………….Ext. 7080 Administrative Assistant Litana Somoano………………Ext. 7086 Administrative Assistant

Visit SAG-AFTRA website at to… 

Update your membership category of work

Pay your dues

Update your contact information

For upcoming productions

(305) 663-7092.

go to

Background/Extras – Co-Chairs: Kevin Dean Hacket and Barry Brandt Dancers – Chair: Dionne Renee Stunt and Safety – Chair: Jay Amor Organizing – Co-chairs: Memo Sauceda and Nancy Duerr Right to Work – Chair: Steve Gladstone Women’s Committee – Chair: Ellen Wacher

Ruth Paul…………………..…...Ext. 7087 Business Representative E-mail: Production in South Florida Doriza Sojo……………….…….Ext. 7081 Business Representative E-mail: Production in Alabama & Puerto Rico


TIPS FOR BASIC GOOD SET PROTOCOL 1. Always make it on time or early to the set.



Miami Local SAG Awards Viewing Parties in Orlando and Fort Lauderdale - 01/27/2013

Union Picnic in South Florida – 02-18-2013

2. Don’t leave the set without a copy of your signed engagement contract. 3. Boost your confidence by always arriving on set with your lines learned and rehearsed. Future newsletter will provide additional basic tips, that many forget, to enhance your chances of repeat employment.


The past few months, Film Florida members have been hard at work prioritizing and preparing for the upcoming 2013 legislative session in Tallahassee. We have identified three key priorities that are critical to insure the continued success of Florida’s Entertainment Industry Financial Incentive program: 1. Provide adequate funding, staffing and support for the Office of Film & Entertainment so that the office can continue to properly oversee, administer and market this tremendously successful program; 2. Provide additional funding for the remaining fiscal years of program — the tax credits allocated to the program are almost completely certified and soon Florida will begin turning away or losing projects due to lack of adequate funding for the program; 3. Provide additional long-term commitment to the program in the form of additional years or no sunset — this will encourage more long-term investment and growth. For those of you who may be interested in helping us move these legislative priorities forward, we will be launching an “advocacy toolkit” on our website by the end of 2012 — please visit our site at This toolkit will provide interested parties with information and documents that will help them feel comfortable engaging their legislators in order to become an advocate for our industry. Film Florida is also in the process of planning our annual Film Days “Rally in Tally,” to be held in March 2013 — again, please visit our website for more information about this industry event and consider joining us in Tallahassee to show your support of industrywide initiatives. Thank you all for your time and for your continued commitment to the film, entertainment and digital media production industry here in Florida. Happy holidays to you and yours ... we at Film Florida wish you a happy, healthy and prosperous New Year! Best wishes, Leah Sokolowsky President, Film Florida

SCHOLARSHIPS SAG FOUNDATION The Screen Actors Guild Foundation is seeking applications for the 2013 John L. Dales Scholarship Program, which benefits eligible SAG-AFTRA members and their children. Established in 1973 to honor John L. Dales, who served as the SAG executive secretary for 37 years, the Dales Scholarship Program has provided more than 1,500 scholarships to members and their children who are pursuing their educational dreams. Visit the SAG Foundation website, programs/scholarships for information, guidelines and applications.

To Become a BookPAL, click on the link below to donate some of your time and share the smiles of children as they learn from the storytellers themselves. See reviews on

Learn how you can make a difference for FL PALS by contacting: Natalie Rogers Florida BookPALS & PencilPALS Director Screen Actors Guild Foundation PHONE: (321) 229-0638 EMAIL: WEBSITE:

AFTRA FOUNDATION The George Heller Memorial Scholarship Fund of the AFTRA Foundation was established to honor the key founder of AFTRA, George Heller, and now memorializes him as well as many other union members and executives who cared about and contributed to the union. Scholarships are offered by the Foundation to SAG-AFTRA members and their dependents for academic study in any field, including broadcast journalism and labor relations, or for professional training in the arts.

SAG-AFTRA 7300 N. Kendall Drive Suite 620 Miami, FL 33156 Phone: (305) 670.7677 Fax: (305) 670.1813

Eligibility requires SAG-AFTRA membership in good standing for at least five years. The deadline for submission of applications — including all required materials — is May 1, 2013. Up to 15 scholarships are provided each year. For more details please go to

Web Site:

SAG-AFTRA Miami Local Newsletters Winter 2012  

The Winter 2012 newsletter for the SAG-AFTRA Miami Local

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