SAGIndie

See, I can do it too…

On Sunday I spoke at the annual SAG Conservatory Summer Session. The SAG Conservatory presents courses and other services for SAG members throughout the year, but he Summer Session is an intensive three days of workshops, classes, and discussions about the art and business of acting.

My session was for actors who are considering making their own films.

This is a photograph of several of the attendees (Note the nifty SAGIndie notebooks and Film Contract Digests… I’m a firm believer in bribing audience members with swag.).

Despite the heatwave we’re having in Los Angeles (and the lack of air-conditioning at the venue), it really was a great session and the group responded really well to the changes in the low budget agreements. They confirmed what I already knew: Actors recognize the challenges that indie filmmakers face and want to be part of the solution.

Acting is a tough gig. More than any other job in the entertainment industry, actors depend on the opinions of others just to get a little work. So I applaud actors, like these folk, who have made a decision to take their careers into their own hands and make their own films.

Some of the best filmmakers we have either started as, or still are, actors.

I told this group the same thing I’ll tell you; whether you’re an actor or not:

Don’t wait for Hollywood to give you a job.

Make your own movie… and hire yourself.

Our Signatory Workshop last night played to a full house, as the word about the new Low Budget Agreements has begun to spread across the independent film community, not unlike a vile, miasmic cloud of toxic gas (except, in a good way).

There were a few hard-core skeptics in the record-setting crowd (I can honestly say I never thought I’d see an SRO house for a 2 hour spiel on contracts), but for the most part it seems that the positive aspects of the new agreements, especially the Ultra Low Budget agreement, are becoming clearer to filmmakers.

Rather than belabor those points here (I’ll leave the belaboring to Paul), I’d just like to say to anyone who has any questions about these new agreements: Call us. Email us. Come to the workshop.

Knowledge is power. Something scary and incomprehensible (say, the music of Ashlee Simpson) can seem benign, even beneficial, when all the facts are known (okay, bad example).

We literally only exist to talk to you, to answer your questions, and to help you make your film using professional actors. We live to serve.

To drive home the point, I’m providing Paul’s home phone number to everyone out there. You can call him anytime day or night (don’t worry, he deosn’t have a social life for you to interrupt) at: 323-548….

Err, after a intense deliberation with Paul, I’ve decided that it would probably be best to just leave you with the office number: 323.549.6064.

Call us there. We’ll talk.

The response so far to the Ultra-Low Budget Agreement has been overwhelmingly positive.

However, there have been a few angry calls and emails from people who still want to make feature films and defer the pay.

For those of you who already “get it” I apologize. Read no further. Go back to looking at porn.

Under the old Experimental Agreement actor salaries were completely deferred. However, if a filmmaker actually got a distribution deal he or she would have immediately owed all of the professional actors a minimum of $695 per day of work AND would have had to get the consent of every single performer before releasing the film. You read that correctly: If one performer refused to give consent for any reason (or no reason at all) the producer would not have been allowed to distribute the film with that performer in it. This has long been a complaint for producers.

The Ultra-Low Budget Agreement was created to give films with budgets less than $200,000 a real chance at getting distribution by eliminating the upgrade fees and the consent requirement. In exchange for this, the actors will be paid a small up-front payment of $100 per day. In addition, filmmakers can still “mix their cast” using both professional and non-professional performers. For example, your two leads could be SAG members and your supporting roles could be filled non-union actors.

Even an idiot can see that the Ultra-Low Budget Agreement is a much better deal.

Filmmakers make decisions and compromises all the time. Maybe they love the look of 35mm, but can’t afford it so they use 16mm or HDV. Maybe they’d love a 20-day schedule, but they can’t afford it so they shoot the film in 12 days. Maybe they can’t pay $100 a day to fifty cast members, so they just pay for the roles that really require good performances.

The new Ultra-Low Budget Agreement is a win-win for both actors and filmmakers.

And if you really just want to make a film for festivals or as a calling card, or an experimental art film, make a short. The new Short Film Agreement still allows for deferred pay.

And stop being mean to me. I’m a delicate flower.