Executive Director's Remarks

by Steve Clinton

In January, the Nevada Branch was blessed to have a big-budget film titled Burt Wonderstone in town for six days. Most of those days we maxed out on the 57 background jobs we were due under our national contract. I made it down to set a couple of those days and, as always, it was the highlight of my month to see smiling, happy faces getting good pay for doing what they love.

That being said, there were a few problems that I was able to fix or, if they couldn’t be resolved, ended in claims. There were also a few instances of background performers not acting in a professional manner — the set is a workplace and employers have rights under our contract the same way we do.

One of the problems came on Friday down at the Fremont Experience when I was not present. A member called me over that weekend to report how cold they were, and that a Las Vegas P.A. was telling the member they could not use the casino heaters during cuts. This is a big infraction of the SAG CBA — working conditions are specified, and I was amazed a local P.A. would disrespect the professionalism of the SAG Branch member to know when to be back in place. This is a perfect example of when a member should call me to rectify the problem. Do not wait to wrap — call me or have someone else call me immediately. In this instance, an IATSE wardrobe person took care of the problem with insert warmers and by overriding the local P.A., but I cannot fix a problem like this after wrap. If I cannot fix the problem with a phone call to production, you may be sure I will be on set within the hour.

As to our professionalism, SAG Branch members organize based on experience and professionalism, and should know how to conduct themselves on set. If they don’t then that is why we have a SAG conservatory here in Las Vegas — when in doubt ask one of the more experienced SAG members or contact me.

Another problem that occurs at times is when production requires SAG members to bring wardrobe to set, and that wardrobe is damaged while working. Contractually, there is relief for this dilemma, but the member must bring the damage to the attention of the production on the day of the shoot prior to wrap. The production is supposed to have a damage claim form on set, but regardless, you should write up a full report of the incident before wrapping for the day. Usually the problem will be resolved the day of, but if production does not cooperate then the member should contact me to start a claim.

Regardless of the problem or claim, it is completely and totally imperative that you document your assertions. Whether it is a pay stub, voucher, contract, deal memo, etc., you will need any and all documentation possible to prevail with your claim. Save your emails or other forms of instruction regarding your call times, locations, and wardrobe and props from production, casting directors, etc.

Lastly, I had the opportunity and honor to be in Los Angeles during the January plenary and to witness firsthand the results of the G1 discussions for the creation of a new union. Beyond how the membership will respond to the merger (documents are now online at the SAG-AFTRA website), I have to comment on the diligence, intelligence and integrity demonstrated by the overwhelming number of your National Board. Like your council here in Nevada, these are people who volunteer their time on behalf of their brothers and sisters in SAG, and their articulate exposition and level of research was mindboggling. Kudos to these hard-working and amazing trade unionists.

This item was originally featured in the February 2012 local newsletter.