Under this specific theatrical convention, you can only hire SAG-AFTRA actors as lead actors, and the first 57 background actors recruited must also be unionized. If your production requires more than 57 background actors, the 58th recruitment and beyond should not be unionized and are therefore not covered by the terms of the theatre contract. If you are considering hiring a Principal Performer or background actor (and not having hired 57 other substantive actors) who are not yet members of SAG-AFTRA, you have 30 days after signing the contract to submit the Taft-Hartley report to your representative, with a headshot and CV, in order to grant union status and comply with the contractual rules. The prices of the daily and weekly headliners under this agreement are set at 65% of the scale of the basic agreement. While the main players are usually paid well above the SAG minimum, the lowest thing you can pay to the main players under this agreement is this: SAG-AFTRA members cannot work on a project unless the studio, production company or producer are signatories to the corresponding SAG-AFTRA agreement. The elusive elusiveness could result in hefty fines. While this article attempts to lay the groundwork for the common treaties, it is by no means a complete summary or a complete list of SAG-AFTRA agreements. There are always areas of shadow after the state and the project, and you should always read your agreements carefully and check them out. Once these issues are decided, a collective agreement is reached and both the employer and the union are required to comply with that agreement. Hence the system that the industry has for collaboration with SAG-AFTRA members. When a company becomes a signatory, it accepts the working conditions of professionals represented, protected and conservative under basic contracts.
These include: SAG Class C Wage trade agreements apply to advertisements in less than six cities. SAG Commercial Rate On Camera: $654.77 SAG Commercial Rate Off Camera: $436.55 This contract applies to actors who shoot multiple episodes of a show in a week. SAG-AFTRA (“Screen Actors Guild-American Federation of Television and Radio Artists”) is a union representing more than 160,000 film and television artists, radio actors, video games, radio and television advertisers, news anchors, singers and recording artists (both royalty artists and background singers) , performers in commercials and actors working as stuntmen and specialized acts. It is dedicated to protecting the interests of its members and improving wages, working hours and working conditions, and it does so through a series of contractual agreements (some of which are grouped above) applicable when one of its members participates in a production. All categories are subject to the existing basic agreement and the television broadcasting agreement. As part of the television agreement, actors and background actors are covered for their work on the shows that signed the SAG-AFTRA television agreement. As part of the television agreement, there is a required quota of 21 substantive actors, and for all non-union actors who are hired, and the 22nd and over productions of substantive actors should submit the corresponding report by Tft Hartley, accompanied by a headshot and a CV. Based on this information, you can determine the SAG agreement or your contract. From there, you`ll find the fees. Good mourning! It`s a terrible deal. So a movie makes $200,000 gross at the box office, but the distributor has already paid that amount in P-A.
Before they can even think about receiving fees or recouping their overheads, they have to pay $9,000 in money they haven`t even earned yet. And if the manufacturer is on the line instead of the distributor, they are in an even more unfavorable position in the repair cascade! I`m surprised that independent films are made in the United States, let alone distributed! However, I would say that an independent film is necessarily independent of trade union agreements.