SAG-AFTRA Strike Rules: Explained
SAG-AFTRA, the renowned union representing Hollywood actors, has officially joined the writers’ strike against film and TV companies, marking the entertainment industry’s first simultaneous shutdown in over six decades.
The strike begins at midnight on Thursday, followed by picketing on Friday morning. During the strike, all SAG-AFTRA members, including tens of thousands of film and television actors, must halt any work covered by their union contract.
While the primary impact of the strike is the cessation of film and television productions, its repercussions extend beyond the set. As per the strike guidelines, SAG-AFTRA members are prohibited from attending premieres, conducting interviews for completed projects, participating in awards shows, attending film festivals, or promoting their work on social media throughout the strike. Additionally, they are not permitted to participate in conventions like Comic-Con or 90s Con to promote any past or present projects produced under a SAG-AFTRA contract.
Addressing the media during a press conference, SAG-AFTRA President Fran Drescher expressed, “A very greedy enterprise is victimizing us. At some point, you have to say, ‘No, we’re not going to take this anymore.'”
SAG-AFTRA advocates for higher wages, increased residual payments, and safeguards concerning the use of artificial intelligence. This strike marks only the second time in Hollywood history that both actors and writers have simultaneously walked out, with the Writers Guild of America (WGA) already on the picket lines since May 2. The WGA has recently eased some of its rules regarding press engagements for its members.
The studio representative, the Alliance of Motion Picture and Television Producers (AMPTP), contends that it presented a proposal featuring “historic pay and residual increases, a groundbreaking AI proposal that protects actors’ digital likenesses for SAG-AFTRA members,” among other benefits.
Expressing their disappointment, the AMPTP stated in a post-strike confirmation statement, “A strike is certainly not the outcome we hoped for as studios cannot operate without the performers that bring our TV shows and films to life. The Union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry.”
Responding to the AMPTP’s statement, SAG-AFTRA’s chief negotiator, Duncan Crabtree-Ireland, stated during the press conference, “If you think this is a historic proposal, think again.”
Please find below the memo outlining the complete list of activities that members are prohibited from engaging in during the strike:
Except as stated in the Notice to Members Regarding Non-Struck Work, all services covered by the TV/theatrical contracts must be withheld, including, but not limited to:
– On-camera principal work, such as:
– Acting
– Singing
– Dancing
– Performing stunts
– Piloting on-camera aircraft
– Puppeteering
– Performance capture or motion capture work
– Off-camera principal work, such as:
– ADR/Looping
– TV Trailers (promos) and Theatrical Trailers
– Voice Acting
– Singing
– Narration, including audio descriptive services, except if covered by another collective bargaining agreement referred to in the Notice to Members Regarding Non-Struck Work
– Stunt coordinating and related services
– Background work
– Stand-in work
– Photo and body doubles
– Fittings, wardrobe tests, and makeup tests
– Rehearsals and camera tests
– Scanning
– Interviews and auditions (including via self-tape)
– Promotion and publicity services for projects covered by the TV/Theatrical Contracts, including:
– Tours
– Personal appearances
– Interviews
– Conventions
– Fan expos
– Festivals
– For your consideration events
– Panels
– Premieres/screenings
– Award shows
– Junkets
– Podcast appearances
– Social media
– Studio showcases
– Negotiating, entering into, or consenting to:
– Agreements to perform covered services in the future
– Any new agreement related to merchandising connected to a covered project
– The creation and use of digital replicas, including through the reuse of prior work
– Performing on a trailer for a struck production or other ancillary content connected to a struck production
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