The Screen Actors Guild’s board of directors narrowly voted Sunday to endorse a deal with Hollywood studios on movie and prime-time TV show productions, the union said in a statement.
The tentative deal, which includes pay raises and other compensation hikes, follows the Internet provisions earlier agreed to by writers, directors and another actors union and will expire on June 30, 2011.
That expiration date, one of the final points of contention in negotiations, means SAG’s contract will expire around the same time as other unions, maintaining the future threat of a joint strike.
“We’re eager to get our members back to work and to focus now on the challenges ahead, particularly on initiating a comprehensive effort to thoughtfully plan for the future,” the Guild’s interim national executive director David White said in the statement released after the deal was approved by a 53 percent vote.
The Alliance of Motion Picture and Television Producers, which represents Hollywood producers, praised the Guild’s directors’ endorsement.
“With this agreement in place, our entire industry can work together to overcome the enormous economic challenges before us,” the group’s spokesman Jesse Hiestand said in a statement.
The agreement, which was first outlined Friday, would give the union’s 120,000 members a 3 percent wage increase upon ratification and a 3.5 percent increase in the two-year agreement’s second year, the guild said.
Members would also get a 0.5 percent pension and health contribution increase.
SAG had sought improvements on provisions covering shows that rerun online on sites like CBS Corp.’s TV.com and Hulu.com, a joint venture of General Electric Co.’s NBC Universal and News Corp.’s Fox. Seeking such improvements were a key part of the writers’ strike that shut down production for 100 days early last year.
But the Guild eventually gave up trying to improve on a deal other unions, including the 70,000-member American Federation of Television and Radio Artists, had already accepted, especially after internal elections last fall shifted control to a moderate group.
AFTRA ratified its prime-time TV deal with the studios last July after it broke off joint talks with SAG for the first time in nearly 30 years.
AFTRA president Roberta Reardon said in a statement Sunday that she commends the SAG board “for its leadership in approving and recommending this contract for ratification by their membership.”
Ballots will be mailed to eligible Guild members in early May and are expected to be due back at the end of that month, the union said.
Provisions of the proposed deal include:
• A two-year term of agreement concluding June 30, 2011.
• Effective annual increases comprised of 3.0% in wage increases and .5% in pension contributions upon ratification, and a 3.5% wage increase one year following ratification.
• A new media structure that tracks those achieved by other industry unions, resulting in gains for actors including:
o Jurisdiction on all derivative, made-for new media productions; automatic jurisdiction on all high-budget, original, made-for new media productions; plus jurisdiction on low budget original, new media productions that employee at least 1 covered performer.
o Residuals for exhibition of TV and Theatrical motion pictures on consumer pay platforms (Electronic Sell Through) at a greater percentage than those paid for DVD distribution.
o Residuals for ad-supported streaming of feature films and television programs.
o Residuals for derivative new media programs.
• Additional 5 covered background actors in feature films. From 50 to 53 covered background positions upon ratification of the contract, and from 53 to 55 covered background positions in year 2. Adds 1 covered background position in TV, from 19 to 20, upon ratification.
• Increased compensation for guest star premium from 7.5% to 10%.
• Increased trailer money break from $2,500 to $3,000, or more per week.
• Increased overtime money break for three-day performers from $2,700 to $3,000.
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