Playback - Summer 2017

play b ac k p la y4ba SAG-AFTRA

. CHICAGO . SUMMER 2017

IN THIS ISSUE... = Once a Member, Always a Member = Step-by-Step Guide for Producing Your Own Content = Q&A with Courtney Rioux = Tax Time is Year-Round

The people united will never be defeated.

- El pueblo unido jamรกs serรก vencido

Chicago Local SAG-AFTRA Chicago Local....................................(312) 867-8081 sagaftra.org/chicago

Executive Director Eric W. Chaudron..............................eric.chaudron@sagaftra.org Administrative Assistant to Executive Director Christine Czernecki....................................................(312) 867-5502 christine.czernecki@sagaftra.org

Broadcast Department Director of Broadcast Paula Weinbaum.........................................................(312) 867-2548 paula.weinbaum@sagaftra.org Broadcast Representative Randy Choinere...........................................................(312) 867-2544 randy.choinere@sagaftra.org Broadcast Representative Sheryl Plotkin Beck...............................sheryl.beck@sagaftra.org

TV/Theatrical Department/Agency Relations Director of TV/Theatrical Kathy Byrne...........................................................(312) 867-5508 kathy.byrne@sagaftra.org

Business Representative Jolene Jones............................................................(312) 867-5507 jolene.jones@sagaftra.org

Kaufherr Members Resource Center (KMRC) Center Administrator Cheryle Dobnikar.............cheryle@kaufherrcenterchicago.com 24-Hour Safety Hotline..................................(844) SAFER SET

(844) 723-3773 Mobile App Support..........................................(855) SAG-AFTRA app@sagaftra.org (855) 724-2387 SAG-AFTRA Health Plan................................(800) 777-4013 & SAG-Producers Pension Plan sagaftraplans.org

Broadcast Representative Jayne Bower............................................jayne.bower@sagaftra.org

AFTRA Retirement Fund................................(800) 562-4690 aftrahr.com SAG-AFTRA Foundation.................................(323) 549-6708 sagaftra.foundation

Commercial & Co/Ed Department

The Actors’ Fund................................................(312) 372-0989 actorsfund.org

Manager of Commercial & Co/Ed Sean Hennessy.............................................................(312) 867-2549 sean.hennessy@sagaftra.org

SAG-AFTRA Federal Credit Union..............(818) 562-3400 sagaftrafcu.org

Business Representative Bradley Bartolo............................................................(312) 867-2540 bradley.bartolo@sagaftra.org

Communications Department Communications Coordinator Shayna G. Young.........................................................(312) 867-2545 shayna.young@sagaftra.org

Membership Department Director of Membership Kathy Nelsen................................................................(312) 867-2541 kathy.nelsen@sagaftra.org Membership Services Representative Gianna Consalvo.........................................................(312) 867-3712 gianna.consalvo@sagaftra.org

Actors Federal Credit Union...........................(212) 869-8926 actorsfcu.com Connect With Us /SAGAFTRA

@SAGAFTRA

Summer 2017 SAGAFTRA.org/chicago

/SAGAFTRA

CONTENTS MEMBER 3 Welcome/Meet the Member/Members Spotlight 4-5 Members at Work/Around Town 6 Once a Member, Always a Member LETTERS from the CHICAGO President and Executive Director 7 Craig Delimore and Eric Chaudron WORK 8 DIY: The SAG-AFTRA Way Producing Your Own Content 9 Broadcast Breakout with Lourdes Duarte 10 Financial Advice with Sandra Karas 11 Q&A with Courtney Rioux 12 Opportunity Knocks GET INVOLVED 13 Labor with Richard Shavzin 14 Member in Action/Committees WORK THE PERK 15 Member Benefits

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@SAGAFTRA

cover: thinkstock.com

Contact Us

Member

WELCOME NEW MEMBERS

A

s you continue to forge your path in your chosen profession, remember that you are not alone. As a member of SAG-AFTRA, you belong to a union of actors/performers, broadcasters, recording artists and singers. You belong to a union of 4,400 members in the Chicagoland area and 160,000 members nationwide. You belong to a union that gives you collective bargaining, training, resources and support to make your dreams a reality. You belong here. Welcome to SAG-AFTRA. Cyrus Alexander Victoria Allen Robin E. Beaman Marzena Bukowska Nate Burger Chloe Campbell Terrence Carey Sarah Chalcroft Erik Christensen Damian Conrad-Davis Christopher M. Corres Najee Cross

Danielle Davis Travis Montgomery Delgado Dina DiCostanzo Benjamin Donlow Jonathan Frank Jennifer Grace Tariq Griffin Anita Hall Brian Harlan La’Mar Hawkins Mark JP Hood

Arvin A. Jalandoon Tyler Kaplan Naima Hebrail Kidjo Matthew D. Kissane Sean Patrick Leonard Damon Lockett Lara Mainier Steve McDonagh Kimberly Mitchell Jillian Mitchell Raven Moran Clare O’Connor

Julian J. Parker Tyrone Phillips Matthew Quattrocki Samuel Roberson Mike Schiff Vonzell Scott Steve Silver Michael-Andre Smith Joseph Thomas Demetria Thomas Reggie Willis Meet the Member

LONG-TIME EQUITY MEMBER JOINS SAG-AFTRA Karen Janes Woditsch is well known to Chicago theater audiences. The Wall Street Journal said of her performance in Shaw’s Heartbreak House at Writers’ Theater, “Charismatic is far too mild a word for Ms. Woditsch, whose comic energy is strong enough to blow down a stone wall.” Another role at Writers’ Theater, Emilia in Shakespeare’s Othello, won her an After Dark Award. She was recently part of the cast of Death of a Streetcar Named Virginia Woolf, which was Jeff nominated for Best Ensemble. Her performance as Julia Child in Mastering the Art at TimeLine Theatre received a Jeff nomination for Best Actress.

Of course, Woditsch did all of this stage work, and productions at Steppenwolf, Goodman, Court and many other Chicago theaters under contracts of Actors’ Equity Association, which she joined in 2000. Just last year, she joined SAG-AFTRA as she moved into television and web content, appearing in episodes of Chicago P.D., The Onion and the Amazon series Patriot.

Members Spotlight “After years of having agents convince me that being non-union would mean more work, I am finally a proud SAG-AFTRA member. One job in and I could kick myself for not joining sooner.” – Anita Hall, member since February 2017

PLAYBACK Editor/Committee Liasion

“I count it as such an honor and privilege to be a member of SAG-AFTRA. I’m very excited to begin this journey!”

– Danielle Davis, member since March 2017 “I love being a part of SAG-AFTRA Chicago, which provides so many opportunities for all! The wonderful camaraderie among the Senior Committee members and the Audiobooks Committee offers great support and enjoyment to each of us.” – Brigid Duffy, member since June 1993 “How I joined the union was the least interesting part of my journey. Discovering my voice within the community of union performers has to be the most remarkable aspect.”

– Brandon Miller, member since July 2007

Shayna G. Young

Publications Committee Charles Andrew Gardner (Chair) Ashley J. Dearborn Ilyssa Fradin Martin Halacy Courtney Rioux Richard Shavzin

Contributors Natalee Arteaga Lourdes Duarte Sandra Karas SAGAFTRA.org/chicago Summer 2017 Playback 3

Member

Members at Work/Around Town

CBS reporters Charlie De Mar, Lauren Victory and Sandra Torres flash winning smiles after a union meeting.

Mickey O’Sullivan performs a scene with Josh Greiveldinger for the short film Blood Brothers.

Members celebrate at the SAG Awards viewing party on Jan. 29.

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Summer 2017 SAGAFTRA.org/chicago

Jesse Lee Soffer, Scott Buechler and Jason Beghe on the set of Chicago P.D.

WEEK shop steward Garry Moore speaks at a rally in support of WEEK/WHOI Television in Peoria, Illinois on Nov. 15.

Lindsey Pearlman as Joy Fletcher on Chicago Justice.

Member

Members at Work/Around Town

Deanna Reed-Foster and Audrey Allen at the screening of Southside with You on Aug 18. Reed-Foster plays the role of Bernadette in the film.

Selena Roque and Courtney Rioux are all smiles on the set of Chicago P.D.

Desmond Gray, Courtney Rioux and Cesar Jaime on the set of Chicago Med.

Hey, You! Want to see your face or production in the spotlight?

Email: shayna.young@sagaftra.org or use the hashtag #chimemberswork William H. Macy and Audrey Allen on the set of Shameless.

Marshall Bean in the student film Farrow.

James Caan and Kevin Lingle on the set of JL Family Ranch.

SAGAFTRA.org/chicago Summer 2017 Playback 5

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Members, staff, family and friends at the GCFD on Feb. 10.

age is simply a number for these two working actors

C

be r

harlotte Davis began her career as a catalog model for Montgomery Ward. After taking lessons at Goodman Theater School and Second City, she worked in theater for many years, appearing at Melody Top in Milwaukee and Arlington Park Theater and Pheasant Run in the Chicago area. She worked with many Hollywood stars such as Craig Stevens and Zsa Zsa Gabor. After joining AFTRA in 1965, she made many industrials and commercials and even appeared on Bozo’s Circus.

r, Al wa ys a

Me

m

She loyally maintains her SAG-AFTRA membership and recently filmed a commercial in L.A. for Priceline.com.

While on the set, she mentioned that the next day would be her 95th birthday. At the wrap party, they surprised her with a birthday cake and the cast and crew sang Happy Birthday to her. When she arrived at LAX the next day for her flight back to Chicago, she found that the production company had upgraded her to first class and provided a bottle of champagne. So, she celebrated her 95th birthday drinking champagne at 30,000 feet.

On

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Me

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Charlotte Davis

P

Pat Vern-Harris

at Vern-Harris got her AFTRA card in 1985, when she appeared in an episode of The Mississippi, a now-forgotten TV series starring Ralph Waite. “It was a terrible show,” she says.

Now, age 76 and a SAG-AFTRA member, she is a regular in the Comedy Central series Detroiters, where she is in eight of the first season’s 10 episodes. Since the show is filmed entirely in Detroit, she has had to commute there six or seven times to shoot her scenes.

While she enjoys working with the show’s stars, Sam Richardson and Tim Robinson, she says, “The thing about it is, filming is so much less — friendly is wrong — it’s so much harder to get close in film, [as opposed to] theater, where there are often close personal relationships you form. Filming is so much more remote.”

Pat did attend the wrap party in L.A., where she talked to the show’s two head writers, who were always on set as they were shooting. They mentioned that they were already writing scripts for the next season. “We think you’re in the second season,” they said.

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Letters from the Chicago President & Executive Director CRAIG DELLIMORE

I

t is a pleasure to see the return of Playback to the Chicago Local repertoire. I would especially like to thank Publications Committee Chair Charles Gardner and Local Vice President Richard Shavzin for shepherding the rise of this phoenix. Their spirits — and those of the rest of the committee — breathe through these pages. And, SAG-AFTRA Chicago Local Communications Coordinator Shayna Young has nurtured this bird into flight. I hope you enjoy reading it.

I hope all of our members are reading the things you receive from our SAG-AFTRA Chicago Local via “snail mail” or email. As Playback proves, you don’t receive very much very often. And, the material can help you get more out of our union. Better still, you also can tell us what you most want to see. Suggestions, questions, ideas and contributions are welcome.

This is your union. In fact, you are the union.

ERIC CHAUDRON

To Everything…

“In all affairs, it’s a healthy thing now and then to hang a question mark on the things you have long taken for granted.”

- Bertrand Russell

S

o as I sit here preparing to write something “important” and “informative,” I think about all that has transpired since I last sat down to write this column. We have an updated office and a rebuilt Kaufherr Center. We have a real functioning motion picture studio in Chicago producing television series, movies, animation and short films.

We have four new contracts in our Broadcast Department, and we have unprecedented membership growth in Chicago.

So what do we do with all of this change?

What do we do with the momentum we are building in this city? We, as your staff, have to ask that every day. Are we doing everything we can to ensure our members have every opportunity to pursue their career? What does our current framework do well and not so well? It’s these questions we are asking in an effort to address the growing pains of this local.

Which brings me to a larger point: Our union should reflect our needs. It does that when the members speak up and get involved. I’m not talking about a major time commitment. You don’t have to be on the Local Board to have your ideas heard. And you don’t have to show up at every activity or event to be active. It’s about saying and doing a little more.

If we aren’t addressing an issue that’s affecting you, whether you are a singer or a voiceover artist or a broadcaster — or any of the other professions we cover — let us know.

In the coming months, I hope to address issues that are important to all of us, even when only some of us are directly affected. That is, of course, what unions are about. We are stronger when we unite around each other. And we need to hear each other’s voices.

These questions have led to some interesting and innovative answers. We have added staff in our Broadcast Department; we have cross-trained people within our departments to help out if one person or department is overwhelmed; we have worked closely with our national staff to coordinate things like member service, contract negotiations and enforcement; and we have put a strong emphasis on organizing new work.

Our mantra is that everyone in the office is an “organizer.” What we do with our existing membership, our new members and our future members makes all the difference.

To that end, we are trying to open up the SAG-AFTRA Chicago Local to the community as a whole. If we are to thrive as a union of performers, we have to be the standardbearers for all performers. We are performing community service projects like A Call to Arts and our volunteer efforts at Greater Chicago Food Depository. We are doing outreach to other unions by increasing our participation in other local union disputes with employers, and we are reaching out to non-union performers to welcome them as sisters/ brothers in arms, not an adversary to be feared or ostracized.

We are at a unique juncture right now, one that requires that we perform constant self-evaluation and inquiry as a union. We have a strong television production market right now. We have a vibrant and growing Broadcast Department, due in large part to our successes in organizing over the last four years, and new media is continuing to grow by leaps and bounds. We have a large but challenging commercials market and we have set our focus on recovering and recapturing this very important segment of our work.

We’ve begun to do this through waivers in

some of the smaller markets covered by our local, through our continued efforts at job flipping, through industrywide organizing like that being attempted at the national level and, importantly, we are continuing to build our commercials side through plain old industry interpersonal relations.

However, in order for any of this to work we need you! We need you to reconnect with our local staff to let them know where and when you are working. We need to see casting notices and crew lists when you have them. We need member leaders on the set to assist others if they are being treated unfairly or in violation of the contract. We need you to get on the phone to us if you are being treated unfairly on the job. We are here to address violations of the contract. If you aren’t sure something is a violation, err on the side of caution and call one of us. It can remain confidential and you will be helping not only yourself, but everyone on your job. You will also be helping to strengthen our union as a whole.

So, things are going in the right direction for our union, but you know the old saying: “The only constant in life is change.” I lose sleep some nights trying to figure out what we can do to create more work, to make our members’ lives better and to empower them to make our union stronger. So, every day I hope you are asking yourself the same questions. What do we need to improve or change to make this SAG-AFTRA local a growing, vibrant engine of creativity in Chicago? Try to answer this question yourself today, tomorrow and next week by getting or staying involved, helping a fellow member and recommitting to your industry, your community and your union.

SAGAFTRA.org/chicago Summer 2017 Playback 7

Work DIY

DIY: THE SAG-AFTRA WAY Producing Your Own Content

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Let’s face it, no one is as invested in your career as you are. No one is going to give you your big break and no one is going to hand you the perfect union-produced film.

You have to do these things for yourself. You’re probably thinking, “There are not enough union projects to work on.” Well, then it looks like it’s time to start creating the work yourself. Got a good idea? A good script? A group of friends with a camera and editing software? Then it’s time to step up and become a producer. It may seem like a daunting task, but it’s a more daunting task to sit and wait for someone to hand you the career you’ve always dreamt of and know you deserve. Here are three steps to follow that will help you produce your first short film.

Step 1 – Preproduction

Step 2 – Production

Visit sagaftra.org/preliminary-information-sheets and fill out the appropriate preliminary information sheet and email the form to Business Representative Jolene Jones at jolene.jones@sagaftra.org or apply online at osa.sagaftra.org. Initial paperwork will then be emailed to you for you to complete and return along with separate emails for you to electronically sign the Short Film Agreement.

Complete the following documents during production: •

Each professional performer must sign a SAG-AFTRA Performer Contract.

•

Complete a Production Time Report Exhibit G for each day of production.

•

Complete the Final Cast List Information Sheet at the end of production.

All you need to do is: •

•

Return a completed Preproduction Cast List, Detailed Budget, and Shooting Schedule to Jolene Jones by email to jolene.jones@sagaftra.org.

Click the link in the SAG-AFTRA Docusign email which will allow you to electronically fill-in and e-sign the Short Film Agreement and SAG-AFTRA Pension and Health letter. It is important that you do not leave any fields blank, because an incomplete form may cause delays in processing. Also, the name of the person signing should match the name on the driver’s license you originally forwarded to SAG-AFTRA with your Preliminary Information Sheet.

When all of the requirements outlined above are fulfilled, your production will be “cleared,” which will allow the performers you have cast to begin work.

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Step 3 – Post-Production Send the following documents to the attention of Jolene Jones: •

Copies of each Performer Contract, signed by the performer. Include, if applicable, all performer deal memos, side letters, etc.

•

All completed Production Time Report Exhibit G forms.

•

Final Cast List Information Sheet

That’s it! If you have any questions, please contact Jolene Jones via email at at jolene.jones@sagaftra.org or by phone at (312) 867-5507.

Work Broadcast Breakout

Did You Post?

Social Media Overload

By Lourdes Duarte

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I

feel a little like Jerry Maguire with a mission statement, but it might be time we think of one for social media. In the movie, the 25-page manifesto cost Jerry his job but it all worked out in the end. So let’s make it work!

I’m a television anchor/reporter and, to be honest, I really believe in the power of social media.

Undoubtedly, more and more Americans are getting news from social media outlets. If it’s done correctly, it can be a positive for any TV station and all of us. Win-win, and who doesn’t like that?

But how do we make that happen? Right now, I’m on four different platforms. Let’s begin with Facebook, Twitter, Instagram and Snapchat. I dabbled with Pinterest, LinkedIn and Google+, but a girl needs a break. I’m really quite tired.

This seems to be the feeling across the board. When is it too much? Most stations will tell you social media is not a job requirement, but it’s nice to have. Very vague, if you ask me. To me, it has become as important as what I broadcast on air.

Some stations have asked that reporters personalize their social media pages a bit more with entries on after-work activities, families and hobbies. As a reporter, it’s been drilled into my head to not promote, not to share too much, not to get political. That’s a luxury I gave up 20 years ago when I took this job. But that seems to no longer be the case — or did I miss the memo? Something seems off here.

At times, I feel like I’m walking on a very thin tightrope.

And, if you know me, I’m one of the clumsiest people you’ll ever meet.

It’s important to build the brand, but we need to come up with some guidelines. Can we collectively develop a protocol? It seems like social media outpaced any efforts by news outlets to optimize its impact. Maybe I’m the only one who thinks this, but it might be nice to have a little guidance. When I do well, my station does well. Like Jerry would say, “Help me help you!”

Lourdes Duarte is an anchor and reporter for WGN-TV.

What are your thoughts on social media in relation to your work?

Email shayna.young@sagaftra.org and we’ll share them in the next issue!

SAGAFTRA.org/chicago Summer 2017 Playback 9

Work

Financials

Tax Time Is Year-Round!

expenses.

By Sandra Karas

Advertising and publicity – Photos, headshots, resumes, Actors Access, Casting Networks, self-produced and industry websites, Showfax, IMDb. Accompanist/audition expense – Accompanist, scene partner, audition space and equipment.

Agents’ commissions and managers’ fees – 10 percent (for agents) 10–25 percent (for managers).

Answering service – Includes voicemail, pager and answering services.

Coaching, classes or lessons – Voice, speech, acting, dance, movement, dialects, fencing, camera technique – any specialty performance training.

Entertainment for business – For seeking and/or continuing professional contacts, obtaining work, furthering income production.

Equipment – Audiovisual equipment, video and recording devices, CD/DVD and other music players, computers, personal organizers, smartphones, tablets, MP3s, etc. for business use.

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T

ax season may have passed, but tax tips are useful all year round.

With a new administration, there may be changes coming, but for now, you can rest assured that show biz folks will be deducting pretty much the same expenses as usual.

Let’s review, shall we?

What’s deductible? The ordinary and necessary business expenses associated with obtaining employment and maintaining our professional skills change slightly each year with the changing nature of our work. A few years ago, self-produced works, webcasts, blogs, internet series and other expanding media were not typical venues for our craft. Today, they are. So, bear all of that in mind when you spend money on yourself and retain every receipt to prove it! Check below for a list of deductibles you can use to organize your own

For more information, contact your tax professional or your nearest VITA (Volunteer Income Tax Assistance) office. The VITA program offers free tax help to people who generally make $54,000 or less, persons with disabilities and limited English-speaking taxpayers who need assistance in preparing their own tax returns.

IRS-certified volunteers provide free basic income tax return preparation with electronic filing to qualified individuals.

Gifts for business – To agents, managers, directors, choreographers, casting offices, etc.

Makeup and hair care – While working or in preparation for a specific job. Includes wigs, hairpieces and theatrical makeup, hair and makeup for background sets.

Office supplies – Stationery, mailers, postcards, flyers, postage stamps, desk supplies.

Repairs and equipment maintenance – Piano-tuning, equipment-maintenance contracts, repairs.

Rental of equipment, studio space, cable – Business use of contract rentals, video and internet subscriptions.

Research supplies – Music, scores, tapes, CDs, DVDs, iTunes downloads, scripts, libretti, books.

Tax preparation and legal fees – Any business-related fees paid to a professional.

Telephone – Second line dedicated to business use, cellular charges,

call waiting, call forwarding, data packages.

Tickets for research – Theater, film, opera, concert, dance entry fees for the performer’s study.

Tips/gratuities – To the dresser, maid, doorman or any related personnel.

Trade publications – Backstage, Variety, etc.

Transportation seeking employment – Bus and train fares, auto use, taxicabs, jitneys, car services, to attend auditions, go-sees, classes and interviews.

Union dues and initiation fees – Union and professional entertainment associations, initiation fees and working dues.

Wardrobe – Specialized costumes, dancewear, uniforms, footwear.

Out-of-town employment or audition expenses – Lodging, air/bus/train fares, telephone, fax, meals, laundry, tips while working or looking for a job away from home overnight.

Sandra Karas is a SAG-AFTRA New York Local Board member and Secretary-Treasurer of Equity. She is also director of VITA in New York, located on the 14th floor of the Actors’ Equity Building, 165 W. 46th St. Telephone: (212) 921-2548.

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Q

Q&A

I know I need to do it for my career, but I hate networking!

How can I enjoy it? —Bill A: This business is all about building relationships. Stop seeing networking as “schmoozing” or going to “get something” like a job or an agent. Instead, see it as a way to meet fun people and add value to the lives of others. Instead of thinking “What can I get tonight?” think “What can I give?”

I went to a networking event recently and so many actors said, “I just don’t know what to say!” I told them to ask questions. People love to talk about themselves. If you ask the agent or casting director about themselves and find out what they need or want, you can fill that need for them. Then, you won’t be the icky actor who can’t shut up about themselves. It’s like dating. Have you ever been on a date when the other person can’t stop talking about all the important things they did and never asks you a question?

Gross.

You don’t even have to talk about acting.

Talk about what makes you you. You are a human being, and you do interesting things outside of acting (hopefully). Find out what you have in common. Maybe you’re both avid gardeners or have a fascination with toy poodles. Who knows? You’ll never know unless you ask!

Q

I had an audition for an episodic yesterday. A five-line, two-scene gem! I am trying to figure out if it was a really good experience or if I’ve blown it. I was directed to do it two more times after the first read. The other women were in and out in a flash.

My agent was over the moon about it.

All I can think of is that the CD thinks I can’t follow direction or take a note. I feel like I won’t get another chance. I’ve got to get a grip! Help! —Carol A: I get it. I do the same thing. But the reality is that you’re not a mind-reader. You don’t know what the CD was thinking, and you never will, whether you get a callback or not.

It was a success that you went in for the audition. It was a success that the CD spent so much time with you.

What meaning can you give this audition

WITH

COURTNEY RIOUX • Submit your questions for Courtney Rioux to shayna.young@sagaftra.org •

that will make you feel empowered and happy? Right now, you’re creating a disempowering meaning that’s leaving you feeling like crap! The truth is you have no idea what they think. How did you personally feel about your performance?

When it comes to auditions, we have to focus on what’s in our control as actors.

We have no control over booking the job or what others think of us. We do have control over being on time, being prepared, showing up with a good attitude and in the present moment.

What’s your pre-audition ritual? Mine is to have a good workout in the morning and meditate in the car or the lobby beforehand.

If you’re feeling rusty on taking direction, get yourself into a class.

Things to remember: • You’re not a mind-reader • You create the meaning of the things that happen in your life.

• Focus on what’s in your control!

Q

I decided to quit the business to find more stability and to rekindle the joy again in my career. As soon as I decided that, I started having more fun on the job and found myself getting work a lot more easily. How can I keep this up?

—Angi A: I’ve quit the business so many times I have lost track. I always come back with a renewed sense of energy, joy and perspective. The trick to doing this without actually quitting is to let go of all attachments to a certain outcome. #BeLikeTheBuddha What happens if we let go of the attachment to the outcome? We give ourselves freedom to let things flow naturally, find space for creative thoughts and solutions to arise, and get perspective to know that if

we mess up, it isn’t the end of the world. We start to find our joy again.

All humans have a need for some degree of certainty in life. But, because we’re human, we also have a need for uncertainty and variety. We have to find a balance that works for us. And the more uncertainty you can deal with, the happier you will be!

We can train ourselves to become more comfortable with uncertainty. We can do this in small, simple ways, such as taking a different route to work or getting lost on purpose somewhere (No GPS? Whaaat?!).

Or maybe by volunteering on a project or an event we wouldn’t normally be involved with.

In the same way, if we have a great deal of uncertainty in our lives, finding small amounts of certainty goes a long way. For example, you can automate one small thing, like what you are going to have for breakfast this week, so that you don’t stress about One. More. Decision.

That simple choice can save some of your brainpower for other things, like prepping for an audition or deciding on a networking event.

Things to remember: • Replace ambition with curiosity.

• Replace perfection with progress.

• Find a balance between certainty and variety in your life!

ACTOR PRO TIP Get a text when your agent emails you!

In your gmail account, go to Settings and click on Filters. Set up a filter for all emails from @youragency.com, and forward it to your phone’s SMS-gateway address, such as 5555555555@txt.att.net. Voila! You’ll be your agent’s favorite talent when you’re always first to confirm!

Courtney Rioux is proud member of SAG-AFTRA in Chicago. She can currently be seen on NBC’s Chicago Med. Courtney is also a clarity coach at thewholeartist.com.

She helps actors go from stuck and unhappy to empowered and joyful — all while making it feel fun and easy.

SAGAFTRA.org/chicago Summer 2017 Playback 11

Work Opportunity Knocks

Unshackled!

Looking for SAG-AFTRA Actors new talent of any age, but since 75 percent of his current roster of actors are over the age of 50, he is especially interested in finding younger actors.

Noting that younger actors are unlikely to have experience in performing radio drama, he says, “If they have ‘chops,’ if they can act, they can learn how to do radio drama.”

He suggests that those interested can familiarize themselves with radio performance by listening to episodes of Unshackled! on its website at unshackled.org, attending performances of the SAG-AFTRA Senior Radio Players, or listening to Those Were the Days on WDCB 90.9 FM from 1 to 5 p.m. on Saturday afternoons.

Anyone who would like to be considered for roles on Unshackled! should send a headshot and resume along with a voice demo CD to:

From left, members Mary Jo Faraci, Chuck McClannan, Mercita DeMonk, Connie

Unshackled!

1458 S. Canal St. Chicago, Illinois 60607

Foster, Jim McCance and director Tim Gregory

U

nshackled! is a radio drama that has been produced by the Pacific Garden Mission in Chicago every week since 1950.

Since that time, it has presented nearly 3,500 episodes. The show is produced under a SAG-AFTRA contract and employs five union actors each week. It has a roster of 60 to 75 actors who appear on the show. Program director and announcer Tim Gregory, a SAG-AFTRA member, says he is always looking for

Please mark the envelope: Attention: Tim Gregory

The 411 on the Illinois Tax Incentive

Y

ou may have recently worked on a TV show or motion picture, or landed a role on a commercial in Chicago. You might have been on the Cinespace Studios lot or seen camera trucks around town filming at a city location.

Chances are that all of these exciting projects and enterprises wouldn’t be possible without the Illinois Film Tax Credit, and the tax credit wouldn’t be possible without the Illinois Production Alliance, or IPA, of which SAG-AFTRA is a member.

The IPA was founded in 2002, as a 501(c)(6) nonprofit organization with membership from every aspect of media production in Illinois, including

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professionals, vendors and labor officials.

The original purpose of the Alliance was to get the tax credit passed into law in the state Legislature.

The IPA was a driving force behind the development and passing of the Illinois Film Production Tax Credit Act in 2004, which put the state back on the industry radar with a 20-percent tax credit. In 2008, the IPA’s lobbying efforts paid off again when the tax credit was increased to 30 percent and again in 2011, when the sunset clause was deferred until May 2021.

Since its passage, the credit has resulted in almost $1 billion dollars in production in Illinois. By any measure, the tax credit has been a success and

has spurred the Illinois entertainment industry and is turning Chicago into a production center.

After passage of the film tax credit, the IPA has continued to work to strengthen and preserve the credit and shepherd its benefits to underserved communities.

In addition to collaborating on legislation with state leaders, the IPA sponsors a variety of film festivals, networking events, and minority training programs aimed at growing the local industry and realizing its economic potential for the state of Illinois. The IPA continues to be a positive force for Illinois entertainment industry professionals.

Get Involved Labor

Bigger Than Ourselves

By Richard Shavzin

W

e are members of a labor union. Many of us are also members of one or more of our sister labor unions: Actors’ Equity, the Directors Guild, the Writers Guild, AGMA, AGVA, IATSE, USA, etc. Some of us also belong to unions from a previous career. I know actors who belong to the Transit Workers, the Bakery Workers, SEIU, UNITE-HERE, the Carpenters and everything in between. Being on a union contract guarantees certain protections and minimum standards of pay and benefits and safe working conditions. Were it not for labor unions, we would have no concept of what a weekend is, or overtime pay, or health insurance or a pension when we retire.

But because it’s been a century or more, it’s so easy to forget that these things were not freely given to workers in this country — men and women fought, struggled and bled for them. Many of our predecessors died for the right to band together to be treated like human beings — to bargain collectively. Let me say that again: People died so that you could be in a union that protects you and your family. That is not hyperbole or exaggeration, it is simply true.

So when these rights are stripped away from workers, as the so-called “right-to-work” laws do, it is quite literally an attack on all of us. Annual wages in states with rightto-work-for-less laws (as they are more accurately called) are thousands of dollars less than in union security states.

Twenty-eight states now have these anti-union laws. With

Missouri’s recently passed legislation going into effect in August, Illinois is completely surrounded. Wisconsin, Iowa, Missouri, Kentucky, Indiana and Michigan (Michigan, ferpetesake!) all have anti-worker, wagedepressing laws in place in service of higher corporate profits.

And the greed doesn’t stop there. A few years ago, my home state of Wisconsin forbade public sector unions — teachers, nurses, correctional officers, etc. — from bargaining almost anything except wages — not health insurance, or extra pay for extra work, or grievances or seniority. Now, Iowa has an identical bill wending its way through the legislature. Sure, these new travesties don’t apply to us in private sector unions — yet. But in the famous words of Martin Niemöller, Protestant pastor and outspoken foe of Hitler: First they came for the socialists, and I did not speak out— Because I was not a socialist.

Then they came for the trade unionists, and I did not speak out — Because I was not a trade unionist.

Then they came for the Jews, and I did not speak out — Because I was not a Jew. Then they came for me — and there was no one left to speak for me.

Solidarity.

Richard Shavzin represents the Chicago Local, serving on the Executive Board of the Illinois AFL-CIO, as the chair of the Chicago Local Government Affairs & Public Policy (GAPP) Committee, and a member of the National GAPP Committee.

Anita Wilcox (1932)

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Get Involved Member in Action

CHICAGO LOCAL BOARD MEMBER NATALEE ARTEAGA CALLS UPON YOU

I

’ve been a member since 2008, but it wasn’t until I was chosen at random to attend a meeting with select members of the local and National Executive Director David White in 2015 that I understood and felt for the first time the most foundational principle in organizing: We are stronger together. It was my first direct communication with the Local Board and national staff, where I realized that my ideas were welcome and my concerns timely and valid.

After that meeting, where I first experienced the famously rousing orations and the championing encouragement of NED White, I committed myself to serving my union. Since then, serving as

a member of the Chicago Local Board, as a convention delegate in 2015 and as a National Board member alternate, I’ve been able to fight for the concerns I have for the future of our members and the industry itself. It’s energizing to add my fuel to that fire, and it’s been nothing short of inspiring to see what we’ve been able to accomplish together.

For seven years, I remained at arm’s length from my union, only peeking into viewing parties before leaving early and monitoring union happenings from a comfortable distance by reading this magazine or the website. I encourage you to reach out to your local and establish your own personal relationship with

your union beyond reading these words.

You are wholeheartedly embraced, and if I’m the first to say it: It is with warmth I welcome you to a deeper involvement in our wonderful union, and I look forward to hearing your voice in the future.

Go M.A.D. — 'Make A Difference' Join a Committee!

such as commercials and corporate/educational. In television/theatrical, where there is no coverage, the committee collects data, educates our members and works with the National Background Committee to promote national background coverage, increased wages and humane working conditions.

GAPP The SAG-AFTRA Chicago Local GAPP Committee works with GAPP staff and Local staff to monitor local and state laws and regulations that affect members of the Chicago Local and the industries in which they work. It will recommend actions and policies to the national GAPP Committee to protect and expand the rights of members of the Chicago Local. In conjunction with the National GAPP Committee and staff, we will partner with others with similar interests on policy matters.

Committees are a way for members to become active in the union and make their voice heard. They engage in a variety of activities to strengthen the union internally and externally. Committees are a part of the local and national governance structure. They provide opportunities to address issues and concerns and seek solutions.

Committee participation is a great way to network with other members. There are two types of committees: standing and ad hoc.

Standing committees meet regularly, such as quarterly or more frequently, depending on their workload. Ad hoc committees meet as needed depending on their issue or scope.

Committee meetings are announced in The Activator. To join a committee or for more information, contact Christine Czernecki at christine.czernecki@sagaftra.org or (312) 867-5502.

AGENCY This committee works with talent agencies to clarify pertinent union objectives and plans.

AUDIOBOOK The mission of the Audiobook Committee is to further the opportunities for narrators, increase contract knowledge, expand networking possibilities and support the increase of contracts under SAG-AFTRA. BACKGROUND This committee focuses on background and extra performers in our region. It works to assist members and address issues in the areas where there is background coverage,

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BROADCAST STEERING This committee addresses the unique needs of the broadcast community.

CONSERVATORY This committee plans seminars and workshops for performer members dealing with the business, techniques and wellness. It also sponsors initiatives to assist members in obtaining work.

COMMMUNITY OUTREACH AND COMMUNITY ORGANIZING (COCO) This committee develops relationships with the visual media community, such as Women in Film, Illinois Production Alliance, Midwest Independent Film Festival and Association of Independent Commercial Producers.

COCO is responsible for the new member orientation, which educates members — old and new — on union contracts, services, agents, governance and the committees. It also is responsible for A Piece the Pie — a series of workshops for pre-union members that extol the benefits of union membership, debunk myths and give an overview of being a professional performer.

DIVERSITY/EEO The focus of this committee is to support diversity in the arts by union governance, contract terms and casting. The committee is formed so the union is adequately aware of those needs protected by the region’s Human Rights Acts and Title VII.

Natalee Arteaga and National Executive Director David White

KAUFHERR MEMBERS RESOURCE CENTER This committee works with the KMRC Coordinator to promote usage of the KMRC and keep abreast of concerns and issues. It also assists in fundraising for the KMRC. NEW MEDIA This committee keeps members abreast of the latest technologies and how they can be used to benefit their career.

PUBLICATIONS This committee is the informational voice of the union. It publishes articles and reports from staff, officers and guest writers. It also documents events through photos. It is responsible for Playback and The Activator.

SENIORS Members 50 and older meet to discuss their specific needs. This committee produces re-enactments of classic radio programs for the public.

SINGERS This committee focuses on the unique needs of singers. The committee develops workshops and seminars focused on the singer performer. It performs at union events and various public programs.

Work the Perk Member Benefits

Perks For You! Membership has its privileges, and if you haven’t taken advantage of them in our Chicago Local office or on our national website, then you are not taking advantage of what is rightfully yours, as a member in good standing.

KMRC (Kaufherr Members Resource Center)

CONTRACTS

Since 2000, this member resource center has been a home office away from home, with Wi-Fi, computers and a comfy place to hang out. It’s also your audio/ video recording studio — with HD camera recording and whisper booth sound quality. And… it’s all free.

Why pay for the overhead when the KMRC’s got all your business needs?

Our biggest and best perk is our collectively bargained agreements. Your contract. No matter what the job, union performers are covered. So go ahead audition for that film, that web series, that music video — just make sure they know you’re a union professional so that your contract will protect you from the minute you get the job!

CONSERVATORIES This monthly program is an industry insider’s gold mine. Nowhere else can a member attend classes, meet agents or casting directors, and hear from industry professionals — all for free. Get your education about what’s happening in your industry at the conservatory.

STAFF Did you know that your dues pay for your staff?

Yep! Your staff is here for you every day to answer questions about contracts, agents and membership.

They are your legal team that protects you because you paid your dues on time.

DISCOUNTS Where do we begin? Check out unionplus.org. Just check it out. Being part of the labor movement gives members benefits that other unions offer: AT&T wireless discount. Rental car discounts. Even a way to get financial assistance if you need it.

No, wait! There's more!

• SAG-AFTRA Foundation live streams.

• SAG-AFTRA Federal Credit Union mortgages.

• IMDb discount: 30 percent off a one-year subscription.

• Movie passes: AMC reduced tickets or free tix to Evanston cine-arts.

• Franchised agents: They negotiate for you.

• SAG Awards screeners and viewing party.

• Scholarships for college students.

• SAG-AFTRA Health Plan family coverage.

• Pension and retirement plans: vesting for your future.

• Member app: Your union in your pocket with access to even more deals and discounts.

The latest news and events

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