SAG delays strike vote

…(continued from lower comment) Producers who criticize actors with such hatred, with such avarice, are simply bitter. Those who don’t see the magic and value in truthful acting might consider taking some time away from the industry that has so damaged their perspective on the value of the process to which they, the embittered producer, is, him or herself, contributing.
Yes, exorbitant pay creates monsterous behaviours. Lavish attention, the kind that distorts reality for these youngsters who come-in ill-equipped for the limelight, will always have a negative impact. But producers themselves often encourage this behavior, because it feeds into an ideal, a fantasy, of what it means to be famous, that props up an entire tabloid industry that, in turn, feeds attention to the producer’s final product. Producers are divorced from this issue; they are, at the end of the day and despite stories they may tell to themselves about their lives, often propagators of it. (cont.)

…(continued from lower comment) Producers who criticize actors with such hatred, with such avarice, are simply bitter. Those who don’t see the magic and value in truthful acting might consider taking some time away from the industry that has so damaged their perspective on the value of the process to which they, the embittered producer, is, him or herself, contributing.
Yes, exorbitant pay creates monsterous behaviours. Lavish attention, the kind that distorts reality for these youngsters who come-in ill-equipped for the limelight, will always have a negative impact. But producers themselves often encourage this behavior, because it feeds into an ideal, a fantasy, of what it means to be famous, that props up an entire tabloid industry that, in turn, feeds attention to the producer’s final product. Producers are divorced from this issue; they are, at the end of the day and despite stories they may tell to themselves about their lives, often propagators of it. (cont.)

…(continued from lower comment) Producers who criticize actors with such hatred, with such avarice, are simply bitter. Those who don’t see the magic and value in truthful acting might consider taking some time away from the industry that has so damaged their perspective on the value of the process to which they, the embittered producer, is, him or herself, contributing.
Yes, exorbitant pay creates monsterous behaviours. Lavish attention, the kind that distorts reality for these youngsters who come-in ill-equipped for the limelight, will always have a negative impact. But producers themselves often encourage this behavior, because it feeds into an ideal, a fantasy, of what it means to be famous, that props up an entire tabloid industry that, in turn, feeds attention to the producer’s final product. Producers are divorced from this issue; they are, at the end of the day and despite stories they may tell to themselves about their lives, often propagators of it. (cont.)

Let’s keep the real issue in perspective. It’s about new media and residuals. Should the producers be able to sell and re-sell and re-sell a project without any compensation to the actors? The actors have value as the producers do. Yes, you can cast your movie with crew or office help for an on-time, easy shoot but tell me the studio that will back a movie without name actors? A strike is certainly not the answer but we need each other, us actors and producers. This is all great drama but the answer as we all know dealing with agents and studios and our own families is somewhere in the middle.If we hit this impasse in the middle of a shoot would we simply walk out or work it out.

Events are in the saddle, and they ride mankind.
Leaderships inability or unwillingness to re-assess their entrenched position in light of the current economic and sociopolitical climates is understandable. They are humans after all and have invested much in the foundations that they squat upon. That being said, it will be very tough for them to convince those of us who have lives and families that are impacted by our national troubles. The idea of an actual strike, or even a threat to strike, makes me ill and I think it would mark the beginning of the end for SAG. A collective like SAG must have support from outside itself in order to maintain its boundaries. No union is an island.
To ignore the big picture is foolish and narrowsighted.

SAG leadership is completely out of touch with reality. Every other union and guild signed with producers this year. SAG’s average member only works a few days a year – if that – under SAG’s contracts… and they and their spouses, boyfriends or roommates often work production or industry-related day jobs to make ends meet. It is a company town and someone has to make a buck. WGA strike killed a lot off grips and set carpenters who couldn;t pick up residential construction work with the housing collapse… now everyone has lost their cash reserves since September. Even Melissa Gilbert used the unspeakable “fiancial core” option in her L.A. Times article this week. SAG can slit it’s own throat with this one. Even primetime can all move to AFTRA now that digital is capable of eliminating film, and SAG will be for $20M theatrical actors who can afford to not work next year, and almost NONE of the working class actors like the 2 under my roof who need me to keep shooting.

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