Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) and the ANA-4A’s Joint Policy Committee on Broadcast Talent Union Relations (JPC) have reached a tentative agreement on successor television and radio commercials contracts, subject to approval by the SAG-AFTRA National Board of Directors later this month. Key details of the agreement, including the number of years it covers, were not disclosed at press time.
Gabrielle Carteris, who became SAG-AFTRA acting president and negotiating committee co-chair following the death of Ken Howard on March 23, said, “I want to thank the members of the negotiating committee, co-chair Sue-Anne Morrow, chief negotiator David White and our staff for their diligent work. This negotiation dealt with where we are now and where we will be in the future. The tentative agreement delivers essential gains while properly positioning us for future growth in digital and social media. As content evolves, we are poised to grow work opportunities that support members and their families.”
SAG-AFTRA negotiating committee co-chair Morrow said the agreement achieved the best possible result for members. ““Our negotiating committee was made up of working commercial performers from all over the country and we secured significant financial gains that will benefit our members right now. Equally important, we achieved creative new elements that make our contract more relevant in a rapidly changing industry and guarantee the expansion of work opportunities for our members. I make the majority of my living as a commercial performer and I am pleased to present this contract to our board for approval.”
Joint Policy Committee lead negotiator Douglas J. Wood said, “I also want to thank the members of my team who worked tirelessly over the past six weeks. I’d also like to acknowledge the memory of Kathleen Quinn of the 4A’s. Kathleen tragically passed away during the negotiations. Kathleen was a pillar on our team for more than 20 years. She will be missed by everyone. The success of this negotiation reflects the sense of partnership the JPC and SAG-AFTRA have built over the past fifteen years. Despite very complex issues that initially had significant differences for both sides of the table, through open and honest collaboration we reached a balanced and fair agreement for all parties.”
Both parties recognized the positive and productive results of this negotiation and highlighted their joint commitment to grow the work for performers under these contracts while enhancing wages, creating new opportunities for advertisers and further strengthening the industry.
Formal negotiations between the 33-member (17 seated members and 16 alternates) SAG-AFTRA Negotiating Committee and the industry began February 17 and concluded April 3, at 3:05 a.m. EDT, in New York. The JPC was represented by Wood, Stacy Marcus, David Weissman, and Mike Strauss with Reed Smith LLP, Kim Stevens with the Joint Policy Committee, Linda Bennett with Grey Advertising, and Kurt C. Wulfekuhler of Economics Partners, LLC.
SAG-AFTRA was represented by Carteris, Morrow, White, co-lead negotiators Ray Rodriguez and Mathis Dunn, and sr. advisor John McGuire. The tentative agreements will be submitted to the SAG-AFTRA National Board of Directors for approval at its April 9-10 meeting. No details of the package will be released in advance of the board’s review. Upon approval by the board, the package will be sent to the membership for ratification.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More