Where did the Screen Actors Guild go? After months of news—a near daily barrage covered diligently by various journalists and citizen-journalists, including this author—the guild fell off the radar screen. It was as though 5757 Wilshire, SAG’s national headquarters, somehow disappeared into the black hole that features so prominently in (spoiler alert) the latest “Star Trek” movie.
The quiet was deceptive however. Last week, SAG’s
Meanwhile, within SAG itself another battle is looming, and here again the phasers will not be set on stun. Tensions between the hardliners and the moderates rival those between the Federation and the Romulans, and are about to break out again into open war—this time, as the guild membership prepares to vote on the TV/theatrical contract, which was recently approved by the SAG negotiating task force and the guild’s national board. Ballots are being sent to the membership at large today, May 19.
The stakes are high. Ratification will end an almost eleven month stalemate and restart studio theatrical production, which has been at a virtual standstill since the previous contract expired on June 30 last year. Rejection will plunge the union and the AMPTP—the alliance that represents studios and producers—back into stalemate, once again adrift in uncharted nebulas. Nonetheless, the hardliners have pledged to defeat the deal. Although they seem unlikely to succeed—a recent picnic/rally drew at most 70 attendees—they will drive the percentage of ratification down.
For almost two years, the hardliners have acted as though they come from another galaxy, or at least from Planet Claire, where (as the B-52’s explained) “no one has a head.” They started by trying to unilaterally reduce AFTRA’s power on the committee that for decades has jointly bargained the TV/theatrical contract. AFTRA ultimately responded by abandoning the joint arrangement, called Phase 1, and negotiating its own deal with the studios. The hardliners, who at the time controlled the guild, should have foreseen this result, and its effect, which was to reduce not AFTRA’s power but SAG’s.
Compounding this misstep, SAG delayed negotiating with the AMPTP until the contract was almost at the point of expiration. The studios’ response was unsurprising: they accelerated production, stockpiled films, then presented SAG with a take it or leave it offer whose terms mirrored that of the AFTRA deal and, in a key area, mirrored the terms of the Directors Guild and Writers Guild deals as well.
That key area, as even those on the dark side of the moon probably know, is new media. The deal terms in this area, from a union perspective, have gaps in jurisdiction and residuals structure. In this, the SAG hardliners make a significant point. But those gaps flow largely from the revenue-draining effect that new media is having on
Several additional factors helped make the search for better terms than three other unions a doomed mission to a dead planet. These were (1) the general uncertainty surrounding new media business models, (2) the economic fatigue suffered by actors and the rest of the industry in the wake of the 100 day writers strike, and (3) SAG’s lack of bargaining leverage, the latter a circumstance largely engineered by the hardliners themselves. (The recession, whose severity was at first unclear, only made things worse.) It’s as though the hardliners thought they could run at warp speed on cubic zirconia rather than dilithium crystals. Failure was not only an option, it was the predictable outcome.
What’s more, the stalemate itself led to further injury, of four varieties. First, it meant that SAG actors working in TV (a field in which production had continued) did so under the terms of the expired contract, meaning that they missed out on the 3.5% raise that AFTRA received on June 30 of last year by dint of its new deal. That’s amounted in aggregate to tens of millions of dollars foregone.
Second, it means that SAG will be behind AFTRA by 3.5% for at least the remainder of the new contract, because each union will continue to receive annual increases but SAG won’t get an extra bump to bring it to parity. Third, if SAG wants to catch up in the next round of negotiations, in 2011, it will need to trade off some other deal point that it might otherwise have gotten.
Fourth, the stalemate put into play the date that the new contract would expire, which is significant because it determines whether SAG’s deal will expire concurrently with those of the other guilds, allowing it to make common cause with them and increase the leverage of all four above-the-line unions (SAG, AFTRA, DGA and WGA) in the 2011 negotiations. SAG won that point, but at a cost of another two months of delay, from February (when the studios made an offer that would not expire concurrently) until April (when they made the offer that is now on the table). SAG was also forced to compromise pending claims for over $60 million dollars in force majeure payments—claims for actors’ wages lost due to the writers strike—but this may be less of a hit to the guild than it appears, since the contract language on the subject is at best ambiguous.
So where are we now? The ratification ballots are due back June 9, so we’ll know in less than a month whether the long stalemate is finally over. I anticipate ratification will be achieved, but with a percentage in the 60%-75% range, well below the over-90% that’s usually achieved when
Also of note: several months ago, SAG president Alan Rosenberg and three other hardliners (1st VP Anne-Marie Johnson and board members Diane Ladd and Kent McCord) sued their own union, seeking to enjoin negotiations and reverse personnel and procedural changes that they correctly anticipated would pave the way for a deal on terms the hardliners are pledged to oppose. Although their requests were denied by both the trial and appeals courts, the lawsuit nonetheless continues in both of those forums (Los Angeles Superior Court Case No. BC406900 and Second Appellate District 2d Civil No. B214056).
Why don't the plaintiffs drop the debilitating two-track lawsuit, which flouts the concept of unity trumpeted by the hardliners when they were in power? Their motivation for proceeding in the face of near-certain defeat seems political at this point: dropping the suit would damage the hardliners’ campaign in this fall’s SAG elections, where the SAG presidency, and control of the board, are at stake. (Indeed, the political elbows are so sharp that several of the hardliners are also running in the now-in-progress AFTRA elections, seeking to undermine that union’s leverage from within.) Dismissing the suit would also doom the likely attempt the hardliners will make in the SAG boardroom to obtain reimbursement of their burgeoning legal fees. Meanwhile the guild is, of course, incurring significant fees of its own to defend itself and the forty-odd Board members also named as defendants.
Even assuming the TV/theatrical agreement is ratified, the guild has a long way to go before it’s back in our solar system. SAG’s been without a franchise agreement—the contract between the union and the talent agents—since 2002, and four other agreements are expired as well. The union is riven not only by factionalism but by economic and geographic divisions as well. New media issues will recur in 2011, which is just around the corner, and every three years thereafter, since technology continues to evolve faster than
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