Screen Actors Guild fights studio bosses for labor contract

As of this writing, contract negotiations between the Alliance of Motion Picture and Television Producers (AMPTP) and the largest labor union for actors, the Screen Actors Guild (SAG), remain unresolved. The AMPTP negotiating team, headed by studio hatchet-man Nick Counter, has exhibited the same intransigence that characterized “talks” with the Writers’ Guild of America (WGA).

SAG members and their supporters at the picket line.

The ink on the WGA deal was barely dry and SAG was months away from the July 1 expiration of its contract when several high-profile, multi-millionaire celebrities made critical and well-publicized statements that SAG should hurry up and sign the same deal the WGA did, that the entertainment community is “strike-weary,” and that SAG’s membership has no stomach for another job action.

Although no worker wants to strike without cause, the threat of a work stoppage is important tactical leverage we have for attaining a better deal. Most of these ultra-rich celebrities actually are bosses themselves, with their own highly-profitable production companies. They do not depend on a collective bargaining agreement to survive.

The statements came prior to the completion of an integral component of SAG’s contract proposal process. During what is called the “Wages and Working Conditions” process, rank and file actors bring their issues and concerns to several panels and forums, designed to maximize member input.

Then, in mid-April, SAG entered formal negotiations with the AMPTP. On May 8, after weeks of stalemate, the AMPTP walked out on negotiations, declaring SAG’s proposals “unreasonable.”

The AMPTP demanded that SAG dispense with a “Force Majeure” clause that allows SAG members to get half pay during work stoppages due to “acts of God” or other union’s strikes. In addition, the bosses demanded that SAG drop the over 80 arbitration cases against the AMPTP filed by series regulars that were not paid during the WGA strike.

Here are some of the other “unreasonable” points for which SAG is fighting:

• Full contract coverage in new media. Producers want to produce shows non-union that are budgeted under $15,000 per minute. SAG wants to make these low-budget union contracts, with a structure much like the one SAG already has in place for low and ultra low-budget films.
• Residuals in programs produced for new media. Producers do not want to pay any. Under the bosses’ scheme, residuals for actors will become a thing of the past.
• Improving the much-hated DVD residuals formula. SAG, like the WGA, mistakenly accepted an extremely lopsided DVD residuals formula back when the potential for DVDs was less known. This formula gives actors next to nothing compared to the enormous profits producers make from DVD sales.
• Protection from and compensation for product integration. Product integration is a new trend that requires actors to perform what amounts to unpaid commercials that are integrated into scripted programs. Actors have no choice but to perform these integrated commercials when they are hired for a film or TV show, even if the commercials are pro-war, or represent some other product that is anathema to that performer.

SAG’s bargaining position was greatly undermined by the refusal of the American Federation of Television and Radio Artists (AFTRA) to bargain jointly with SAG against the AMPTP. This is the first time the two have not jointly represented actors’ interests at the negotiating table in 27 years.

AFTRA then made its own tentative deal with the AMPTP on May 28. It was ratified on July 11 by almost 63 percent of members who voted, over the objection of thousands of actors who belong to both unions. AFTRA’s contract did not address the points SAG is demanding. It was much more of an accommodation to the producers.

The AFTRA continues the trend of giving in to producers’ interests. Too often in the past year, the bargaining position of unions on strike or in a tough battle with the AMPTP have been undermined by sister entertainment unions.

First, the Directors Guild of America weakened the position of the WGA during its strike by making a sweetheart deal with the AMPTP, instead of showing solidarity with the writers’ struggle. This, combined with the lack of concrete solidarity from any other union, except the Teamsters, pushed the WGA to accept a similar deal.

Now, AFTRA has put SAG in a similar situation. The pressure is on for SAG to accept an agreement that does not address the points that are of vital interest to actors. As it is, many working-class actors could lose their jobs, benefits and even their homes.

SAG made a counter-proposal on July 11 in response to the AMPTP’s “last best offer.” That same day, the AMPTP released a statement charging the union with “unreasonably” seeking more than other unions.

The bosses in the multi-billion-dollar entertainment industry, as everywhere, are on the offensive. It is especially important at this time that organized labor stand up and mount a united fight back.