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Caitlin Hutson
Brandi Bradly
ENC 2135
29 November 2015
To Union or Not to Union: Deciding the Path to Professional Acting
All across the United States aspiring actors strive to break into a seemingly impenetrable
industry of casting directors, producers, and already successful entertainers. In order to be
successful, an actor must know the ins and outs of the actors unions. Joining an actors union such
as the Screen Actors Guild and American Federation of Television and Radio Artists (SAGAFTRA) is a vital step for any actor who wishes to join the stars of television and Hollywood
films. However, there are more implications of this career choice than just member benefits and
auditions for blockbuster films. While the rise of SAG-AFTRA has provided actors with
guaranteed royalties, protection on film sets, and a better chance at landing large blockbuster
roles, its firm grip on the film entertainment industry limits an actors freedom to work, provokes
a negative stigma of non-union productions and employees, and can even hinder a performers
ability to artistically explore his craft. A working, nonunionized actor must take into account
what joining a union means for his non-union careerthe lost opportunities in addition to the
gained onesand whether his location and branch of acting affects the worth of being a union
member in the first place.
The two main acting unions in the United States are the Actors Equity Association (AEA)
and SAG-AFTRA. Actors Equity, the first American actors union, was created in 1931 for
onstage performers (Nicholas 51). It was the first attempt to protect actors from unreasonable
work conditions and unfair wages, however it did not consider newly rising film and television

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stars. Six years later a group of film actors drafted and approved the first rendering of the a new,
separate union, the Screen Actors Guild, which eventually merged with AFTRA to include radio
and talk show artists (Henry 167). Together, these unions encompass all types of entertainers
from stunt performers to voice actors. SAG-AFTRA denotes a community of professional onscreen performers. Being a part of this community comes with numerous benefits, such as
consistent and reasonable meal breaks, written contracts, and payment for transportation and
overtime work (Henry 167). It also creates an unspoken credibility for any actor with a union
carddirectors and technicians automatically perceive union actors to be harder working and
more passionate about their work than a non-union actor. This perception exists for a reason, as
becoming SAG eligibleand further, finding the means to afford the membershiptakes
nothing short of impeccable work ethic and an infallible drive to succeed. However, many
successful actors still choose to overlook SAG-AFTRAs prestige because they find its rules
such as not working more than twelve hours on set a dayrestrictive rather than protective
(DiGeorge).
There are multiple ways for an actor to become SAG eligible. Some actors join the union
through familial connections or a lucky break with a union employee who believes their artistic
work promotes the interests of the union. However, the most common way for an aspiring actor
to become eligible for a SAG-AFTRA membership is to be cast in a union production.
Specifically, any non-union actor who is given a principal or speaking role or several
supporting roles in a union film, commercial, or television show is automatically granted SAG
eligibility (Cohen 139). While this means of getting membership seems straightforward, it comes
with a paradox that has stumped aspiring actors for decades: non-union actors are often not
allowed to audition for union productions (Brandstein 57). Eve Brandstein, major network

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executive and publisher of The Hollywood Review, summarizes the absurdity of SAG-eligibility
by saying, You can't get in the union until you have a job, and you can't get a job unless you're
in the union (55). One of the greatest reasons why aspiring actors give up on their careers is
because the transition into union work is nearly impossible if their look is not in season (SAGAFTRA).
Although becoming a union member is difficult and causes much strife for new working
actors, it is not without reason. Unions are meant to protect their members, and a part of that
protection involves preventing non-union actors from creating competition in an already
cutthroat casting pool; an acting unions goal is to keep non-members out (Cohen 138). It is
the exclusive status of the SAG-AFTRA community that makes its members so renowned.
Without hard-to-reach standards, union actors would be indistinguishable from all other aspiring
actors in the American industry.
Once an actor has become SAG-eligible, they still must pay the fees to become an official
member. The fees consist of an initiation fee and bi-annual payments (Cohen 140). According
to the SAG-AFTRA website, this yearly fee amounts to $201.96, plus 1.575% of all individual
earnings under SAG or AFTRA contracts. For many artists these payments are too expensive in
a profession that already breeds difficult financial situations, which prevents many potential
union members from taking the next step in their acting careers. Mike Sant, a rising actor that
has played large roles in several successful union and non-union productions, comments that
nine times out of ten he does not have the financial capabilities to pay for his looming SAGeligibility, and that he wish[ed] the opportunity was easier to take advantage of. According to
actor and owner of Detour Entertainment, Chris Greene, while the initial payment generally puts
a hefty dent into an Actors wallet, it is easy to pay back once you find consistent work. This

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poses the question of whether or not SAG-AFTRAs membership fees are worth the
opportunities it provides.
In addition to guaranteed pay and food accommodations (production-provided food for
actors to eat while on set), SAG-AFTRA also gives its members healthcare, a credit union,
discounts on movie tickets, and valuable networking opportunities (SAG-AFTRA). For any
individual, healthcare and credit opportunities are everyday necessities; for an actor, workshops
and networks with agents and casting directors are essential to making oneself known in the
business and finding consistent work. With this in mind it is easy to believe that joining an actors
union is economically reasonablethe money an actor will make through the opportunities the
union provides compensates for what is lost in membership fees. However, this assumes that
once an actor joins a union that they will be affronted with jobs, which is not always the case.
A union actor must remember that membership does not guarantee opportunity.
According to director and producer Marco DiGeorge, one of the biggest mistakes of uprising
actors is joining a union too early. Doing so limits the jobs an actor can take, which means fewer
casting opportunities for those who have not yet established themselves in the union network. If
an actor joins SAG before they are credible enough to be noticed by higher-up casting directors,
he will find himself stuck with exorbitant fees and no way to pay them. That being said,
regardless of the expenses, SAGlike any labor unionis meant to help its members succeed.
Therefore, if an actor has done the work to make a name for himself in the union business and to
be a competitive force in professional castings, paying for SAG royalties is absolutely worth it
(DiGeorge).
Once an actor has joined SAG-AFTRA, they must abide by Global Rule One, which
prohibits an actor from participating in any work that the union does not support unless it is a

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student film (Saint 57). This prohibition helps to establish the unions credibility; it declares:
this is what it means to be a part of our club (DiGeorge). It also ensures that the standards of
union productions are upheld, as any participation in non-union films shows support for projects
that do not meet the criterion that SAG-AFTRA considers appropriate, such as not allowing a
child actor to work past 10:00pm on school days (SAG-AFTRA). As the name suggests, Global
Rule One is the most important rule that an actor must abide by upon joining the union (it is also
Global because the rule applies even if an actor gets work outside of the United States). On its
website, SAG-AFTRA holds no restraint in emphasizing its importance in maintaining the
organizations image.
Don't do non-union work! There are some unscrupulous producers and managers
out there who are looking for hungry, talented actors who care more about
performing than earning money. Don't fall for it. Without a strong union, we can't
maintain a living wage for the union members who are fortunate to have "the
look" this season. If you undercut them this year, the wages and working
conditions that exist today might not be there when (and admittedly, if) your look
is "it" next year. (SAG-AFTRA)
This excerpt illustrates the near animosity between union and non-union productions.
Actors unions firmly believe that productions that are not willing to follow union regulations
only care to abuse union talent, and that by supporting these productions the efforts of the union
to maintain high-quality conditions for actors will be undermined. Global Rule One has created
controversy since its creation, as many agreements between union actors and non-union
companies were forced to disassociate. For example, many product corporations such as Verizon
and Volvo advertised non-union commercials with celebrity voice actors, which made the

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commercials more recognizable and helped with sales (Kranhold). After the official
establishment of Global Rule One in 2002, companies were forced to either reuse old
advertisements or replace celebrity pitchmen with non-union actors (SAG-AFTRA). Even
though non-union actors command far less than their SAG-AFTRA counterparts, the shift to
unrecognizable voices in place of celebrity ones hurt the success of many companies
commercial and radio advertisements. For Volvo, which had been using Donald Sutherlands
voiceover since 1992, the company had to decide whether they were better off using old
recordings of his voice or risk hiring a new voice (Kranhold). Even in cases where union actors
protested removal from their support of non-union productions, SAG-AFTRA was adamant
about its restrictions due to its belief that non-union productions are inherently harmful to
entertainers.
There is undoubtedly a difference between the quality of non-union and union work, not
just in the final product but in pre-production and filming as well. As mentioned before, the title
of SAG-AFTRA membership comes with an image of dedication and professionalism. Therefore,
union sets are filled with more individuals who have trained [and] earned their way there and
thus take the job more seriously (Greene). While a non-union set has little restrictions and can
thus take time when filming, SAG work must be more regimented to be sure it meets deadlines
and financial limits (DiGeorge). Furthermore, union productions tend to have better funding for
accommodations such as paid transportation for workers and food on set. Mike Sant, who has
worked on several non-union sets of varying sizes, remarks that some non-union productions
are lucky to have $500 [five-hundred dollars] for their budget. Oftentimes, non-union actors
work for free, and in extreme cases a non-union actor could lose money, as food and
transportation may have to be paid for out ofpocket (Sant).

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This is not to say that there are not high quality non-union productions. Non-union
production companies are oftentimes just as passionate about their work, and do what they can
do accommodate their actors even with a low budget (Sant). Furthermore, just because a
production does not meet the criterion to be supported by SAG-AFTRAwhich more often than
not is due to the money they must have availabledoes not mean it is not reasonable. DiGeorge
is another entertainer who has worked extensively on both types of productions, and he notes that
many non-union sets are inviting, professional, [and] collaborative.
Non-union productions also have value where union ones do not because they are easily
accessible and give young actors opportunities to build up their skills and resume before
transitioning to a more difficult casting pool. Overall, non-union work serves as a beneficial
stepping stone for entertainers stuck between amateur performances and full-scale blockbusters
and national commercials. For most actors, non-union is a temporary stage in their career.
However, some actors stay in non-union work permanently due to other considerations.
Location is another important factor in deciding whether or not to join an actors union.
Marco DiGeorge, who works primarily out of the Orlando area, has chosen not to join SAGAFTRA because of Floridas status in the entertainment industry. While some cities such as the
trifecta of New York City, Los Angeles, and Atlanta have the majority of their film and
television work under the regulations of SAG-AFTRA, and are thus lucrative regions for a union
actor to find work, other locations work primarily in non-union fields (Greene). Florida is a
right-to-work state, which means that workers of any kind are not required to join a labor
union (DiGeorge). This is beneficial for actors and filmmakers who wish to pursue unorthodox
films that do not meet SAG-AFTRA standards, such as a maximum twelve-hour work day
(SAG-AFTRA). Because of the right-to-work clause, nearly all productions in the Orlando area

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are non-union. As a performer that works solely out of Central Florida, joining SAG would mean
[giving] up 80%... maybe 90% of all potential work (DiGeorge). Even if non-union work does
not pay as well as union, losing that much of ones opportunities to find acting jobs would be
detrimental to any acting career.
One of the biggest hubs for uprising entertainers today is Atlanta. Atlanta differs from
NYC and LA because, even though it is home to a plethora of union work, it is also a right-towork state (DiGeorge). It therefore has a unique mix of entertainers: union and non-union,
professional and amateur, television star and aspiring actor. It seems strange that even in a city
that provides numerous opportunities for SAG-AFTRA performers, many actors still choose not
to join the union. But Atlantas right-to-work status not only means that actors are not forced to
join a union, it also means that SAG-AFTRA cannot impose its union restrictions on non-union
actors in the area. As such, the general rule that non-union actors are not allowed to submit for
union films does not apply. According to DiGeorge, if a SAG-AFTRA project casts out of a
right-to-work state, they must by law open it up to non-union actors.
According to casting director Paul Russell, one of the biggest hindrances to non-union
actors looking for union jobs is casting calls that specifically ask for union actors only (Russell).
At the sight of this most non-union actors will assume that any attempt to audition would be
hopeless, even detrimental to their careers. Though most casting directors do not care whether
the talent they cast is part of a union; above all else they want performers who will work hard
and fit a character. In most cases, the equity only tag is added by the union to decrease the
competition that union actors have in castings (Russell). So long as an actor is in a right-to-work
state, he is able to audition for any production regardless of not being affiliated with SAGAFTRA. Therefore non-union performers in a city such as Atlanta actually have more work

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opportunities than SAG actors who are confined to union-approved films and television shows.
Furthermore, the incidences that require actors to join SAG-AFTRA after working in so many
union films become moot in a right-to-work state. This means that a non-union actor can work in
as many union productions as he wants and never be forced to join SAG if he does not wish to do
so (DiGeorge).
If an actor genuinely wishes to make a career through SAG-AFTRA, he cannot localize
himself to one specific city, even if it is a unionized hub. According to Greene, a professional
actor seeking a career will be asked to travel anywhere to audition for work. Once an entertainer
has established himself enough to truly be ready for SAG-AFTRA, he will become a more
credible resource to casting directors and may even be contacted privately for auditions
(Sant). At this point the matter of whether or not to join SAG becomes less about an actors
location and more about where he is willing to travel. At the end of the day a director cares more
about an actors reliability than where he is from (Sant).
Money and location are undoubtedly important considerations to make when deciding
whether or not to join the Screen Actors Guild. However acting is still an art, so a performer
cannot disregard his morals and ideological preferences. Due to their varying restrictions,
finances, and audiences, union and non-union productions produce vastly different compositions.
Union productions almost always fall under the category of blockbuster films, which means they
work under large studios such as Disney or Warner Brothers, and thus have to appeal to the
guidelines of their higher-ups in addition to that of SAG-AFTRA (Blockbusters). Their
audiences are bigger, so topics have to appeal widely and not suggest controversial ideas lest the
production receive negative publicity, which could result in a loss of funding and even the
dropping of a show (Hearon). Non-union productions on the other hand appeal to tight-knit,

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smart audiences who understand the value of freelance filmmaking (Blockbusters). This
group is more akin to exploring unique subjects that may be less popular among commercial
audiences. In fact, many actors and filmmakers choose not to join SAG-AFTRA specifically so
they have the freedom to delve into the crass and the taboo.
Union productions also rely heavily on corporate sponsorships to get funding, which
means they must include product placements within their films. For example, in E.T. actors
needed to take special care to hold a bag of Reeces Pieces so the camera catches the logo, and
Tom Cruise wore Aviators for his character in Top Gun, increasing the brands sales by 40%
(Grey). In-movie advertising, while necessary, is often considered a shameless characteristic of
blockbuster films (Grey). Having to apply these plugs hinders not only a filmmakers, but an
actors efforts to create unique artistic material. Non-union films have the freedom to explore
virtually any idea without worrying about the influences of commercialization, and as a result,
their content is often more intellectually and emotionally stimulating than an everyday IMAX
thriller (Hearon). As DiGeorge states, if your goal is to create artistic filmsyou can do that in
the independent world all day long.
On the other hand, a lack of sponsorships means that non-union productions have fewer
opportunities to utilize amenities such as CGI, high-quality cameras, and elaborate sets. Films in
the indie genre are notorious for having amateur graphics and poor technical quality. In a society
that so heavily admires booming special effects, it is no surprise that modest Indie films tend to
be overlooked by commercial films. Advertising Director Judith Grey sums up this concept with
the following:

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Imagine Titanic without the colossal ship, the thousands of passengers in
authentic garb and basically the final 60 minutes, and you'll understand why bigbudget films blast independent films straight out of the box office waters.
While these hindrances are detrimental to any film or television show attempting to
achieve union-grade ratings, many indie productions use the would-be disadvantages of a low
budget ironically. Clich indie films appeal to a very specific group ofgenerally also non-union
artists who understand the need to utilize unfavorable opportunities to pursue their art. But
these films are often so successful that some union productions now imitate a low-quality
production style. For example, the film Sharknado, despite its SAG-AFTRA affiliation and
estimated one million dollar budget, acquired great success because of its cheesy graphics
(IMDB). Oftentimes Hollywood will even foster Art House films, which emulate the qualities
of an independent film through a conglomerate of small studios (Blockbusters). In other
instances a large company will purchase a smaller studio that is successful despite its low
production value. In fact, before being bought by Disney in December 2012, Lucas Filmsthe
creator of the original Star Wars franchisewas a low budget, indie studio (Lucas Film).
Furthermore, as computer graphic technology becomes cheaper and more accessible, non-union
productions are able to produce higher-quality work without relying on SAG for assistance. The
devolving separation between the characteristics of non-union and union productions illustrates
the potential actors have to pursue meaningful, successful work without becoming a member of
the actors union.
It is important for an actor to realize the potential for undesirable repercussions when
joining an actors union. An aspiring performer can easily be swept away by the romanticized
image of a union lifestylebetter pay, blockbuster films, and better publicityand then not be

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prepared for the fees, commercialization, and audition restraints. Since the developments of the
modern indie film genre and right-to-work states allow non-union actors to work in the
entertainment industry, the decision of whether or not to join SAG-AFTRA ultimately depends
on the actors preference. Still, this is a major step in any entertainers career, and either decision
will have monumental effects on the path their acting takes. Whether or not this path is
successful is also up to the actor himselfif he defines success as big money and large scale
films, artistic exploration of edgy topics, or a mixture of both. Either way, it is the responsibility
of the actor to understand the positives and negatives of his affiliation (or lack thereof). If he
does so, he will be better equipped to face the challenges of professional acting and make the
most of his craft.
Word Count: 3509

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DiGeorge, Marco. Personal Interview. 30 Sept. 2015.
Greene, Christopher. Personal Interview. 30 Sept. 2015
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Hearon, Liza. Indie vs. Blockbuster Films. Orlando Sentinel. Orlando Sentinel, 30 April 1999.
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