Accepting a roll - your word is your bond

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TucsonStage.com

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Oct 15, 2012, 9:59:40 AM10/15/12
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To the Tucson acting community:

This letter goes out to all actors, whether novice or experienced, in the Tucson area.  As a longtime resident of Tucson, and someone who has been involved in many theatre productions, musicals, commercials, feature films and student films, I am compelled to express my thoughts on an issue that  plagues both theatre and film projects across the city.  It is something that, unfortunately, most directors are aware of and try to plan for.  It affects every individual that works on a project.  The issue I am talking about is commitment, or more accurately, the lack thereof.  I want to preface the rest of my comments by acknowledging those actors who commit themselves to each project wholeheartedly, work diligently to produce their finest work each time and who seriously embrace the craft as an art form and continually strive to better themselves as individuals and performers.  There are many who fall into this category and you should all be proud of the community you have helped create.

At this point I have to assume that if you are in any way involved in either the theatre or film community in town, you have the basic knowledge of how things work.  The steps vary some between the different mediums but the end result is basically the same…a marketable product.  One of the most difficult stages of these endeavors is casting.  The auditions, the call backs, the commitments, the rejections.  The reality of it is, that in any production, not everyone will get equal stage or camera time.  We all know that.  That doesn’t mean that the importance of a lesser role should be diminished in any way.   It seems, however, that for many people, that once you say “Yes, I’ll do it” when offered a supporting role, or god forbid, the part of an extra, that your true response is “Yes, I’ll do it…if I feel like it that day”.

There is nothing more frustrating and infuriating for a director than to have to rethink or rework a scene or a number of scenes the day they are supposed to be shot because people who committed to being there, sometimes as late as the night before, just don’t show up.  Most of the time they don’t even have the courtesy to call.  When that happens, it not only affects the director, it affects every aspect of the production; the other actors, the AD, the DP, the costumer, the makeup artist, the assistants.  It affects people all the way down to the Craft Services workers.  The actors feel it when they have to rework a scene or they get switched into a different character and don’t know the lines, the AD feels it because usually they are the ones that have to get on the phone and call who knows how many people and beg them to come down and help.  The DP has to rethink shots, placement of people during a party scene, on the street, etc.  Costumers and makeup people will much of the time be working on an hourly rate which means less people, less hours, less money.  If these people are on contract with a flat fee, then it becomes unfair to the people who are funding the project because it is money that will be paid out without the work being done.  With Craft Services or catering, less people, less money.  Ultimately, the thing that is affected the most is the quality of the production.  Have you ever seen a party scene where the same 6 girls are in the background of every shot?  You know why that is?  It’s because there were a bunch of no-shows that day and because of those people, the production suffered.  This type of irresponsibility is what causes projects to grind to a halt and go unfinished.  You can’t finish a puzzle when you are missing several pieces.  And so it is with a film or a stage production.  It is the “if I feel like it” attitude that not only affects each individual associated with a project, it can also have a negative, long lasting effect on the reputation of the acting community in general.

Over the past two weekends I worked on 2 different projects.  On each one people who had said yes to doing them didn’t show up.  Most with no communication to anyone.  On one of the projects the girl who didn’t show up was integral to the basis of the script, having knowledge of certain specific, vital and needed practices which would have lent clarification, validation and realism to the project.  Instead, the director/writer was forced to compromise the original intent of the film therefore compromising the final product.

 One argument that people use to justify their behavior of not showing up is “Well, I’m not getting paid, so what does it matter?”  Whether being paid or not should have no bearing on the level of professionalism at which you operate.  Most of the people who make films or do theatre in this town do it for the love of the craft.  Many are using their projects to grow professionally, learning from mistakes made in prior attempts.    Many use their short films as marketing tools, hoping to catch the eye of investors for future, more ambitious endeavors.  Many hope to have their films accepted into film festivals around the country and on the international level.  Is it fair of you to jeopardize someone else’s future because you just didn’t feel like it today?  Admittedly, things do come up that are unavoidable.  Family emergencies, work schedules change, broken limbs, etc.  If that is the case, simply pick up the phone and call the director.  It’s much easier, having advance notice, to cover someone who suddenly can’t make it.  Simply put, not showing up is disrespectful, unprofessional and inexcusable.

Another excuse I have heard from actors is “It’s just a student film…”.  All the more reason to be there and to support that student in any way you can.  As a “professional”, you should care and take interest in anyone who is working towards a future in the same arena you are.  Their grade depends on the final project they turn in.  They are just as serious about the films that they produce as anyone else, maybe more.  Competition is fierce for spots as interns or apprentices at studios and production houses in any major market in the country.  The competition is even harder for paying jobs.  They need their early work to be as good as it can be to give them a chance at the future they dream of.  Do you have the right to affect that by saying “…if I feel like it today.  Besides, it’s just a student film.”  The way I look at it, these students who are trying desperately to cast their films and get people who are serious enough to follow through and give their best performance to them, are the film makers of tomorrow.  Tucson is lucky to have three excellent film programs in town with Pima, U of A and the Art Institute.  Each has its own strengths and weaknesses but each are helping their students be that much more prepared for the future.  Who knows , a student you work with today could be tomorrows George Lucas.  And remember, each of these student films helps each and every one of us, as actors, to hone our skills as well.  With every project we do we learn something whether you realize it or not.

All of these principles, ideals and general courtesy statements I have made are not only relevant to film making but to theatre as well.  It happens all too often that someone will take a role, rehearse for a few weeks and then drop out.  Many excuses I have heard are nothing short of ridiculous.  It makes no difference in what arena it happens, it is still disrespectful, unprofessional and inexcusable.  To think that it doesn’t matter is truly an unforgivably selfish and shamefully common issue in our society today, let’s not let it continue in our arts community.  If you commit, stick with it  and make it your best.

Respectfully, Scott Berg

dougand...@gmail.com

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Oct 15, 2012, 12:38:29 PM10/15/12
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I can appreciate your thoughts, having spent the past 50 years in the business.  Lack of committment can be a serious problem.  However, you gave the solution yourself when you wrote that people were not being paid.  I insist upon being treated as the professional I am, and as a result, I insist upon being paid and a contract.  If you treat actors like amateurs, and that is not paying them a decent salary, why should they act like anything but amateurs?  How many of Bill's notices mention the word "paid?"  As long as this town treats actors like so much cattle, a lack of professionalism is almost guaranteed. 
 
I must say that I did leave one show in town about five years ago.  Instead of the three hours of nightly rehearsal we were promised, we got a series of theater games, meaningless improvisations and about as much direction as a traffic cop would offer.  After a couple weeks of this and the fact that I still to this day have not heard from Equity about my contract, I quit the production, the only one I have ever left after rehearsal began.  There are valid reasons to leave a show. 
 
Doug Mitchell
Tucson

Jeanmarie Simpson

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Oct 15, 2012, 1:33:25 PM10/15/12
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Thank you, Scott, for posting this important letter to the Tucson acting community.

In a region where paid work is nearly non-existent, it is important that we all raise the personal bar by being as "professional" as possible at all times. If we hope to get paid work, it helps us to keep our skills sharp by doing as much as we can, as many different projects as possible, and working locally with the myriad artists in both theatre and film.

In response to Doug, the previous poster, who suggests we always be paid, I can appreciate the sentiment. However, when we're working on student films and small contest projects, etc., or in community theatre, we are unrealistic to demand cash payments. We must make of those experiences what we can, and use them to sharpen and even develop our techniques. The more gracious we are, the more the field will become actor-friendly and the more creative "payments" will we receive. Yesterday, while working on a student film, I was very touched by the "craft services" provided and schlepped in and out by the very tiny crew. As you said, Doug, you haven't heard from AEA about your contract from 5 years ago. That's how seriously the union takes this region and its members here.

Ultimately, those of us industry professionals who choose to live in Tucson with union cards active, inactive or non-existent must make our own opportunities and create our own work. We have an open field and infinite possibilities. If we want to be paid, let's grow the business here so that's a possibility!  


On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:

Rhonda Hallquist

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Oct 15, 2012, 1:49:02 PM10/15/12
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Hey Scott,
 
I just gotta say YES! When you commit to ANY role, it is your duty as a professional to SHOW UP and do the WORK! Local small theater is notorious for this, and now I see it is the same for film. It's shameful. But on the other hand...
 
I also see Doug Mitchell's reply below and I say YES!
I am a SAG member, and when I see a local filmmaker advertising for "professional quality actors" who "will give their best for this project," I always know what's coming next..."no pay." Seriously? Just how "professional" are you willing to settle for? Do you really think "we'll feed you and give you a copy" is going to attract the cream of the crop? Good luck. Most likely you're going to get the people who don't have anything better to do that day, and by the same token, when something better comes up, they don't show up for you.
Get a union no-pay contract

On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:

To the Tucson acting community:

This letter goes out to all actors, ... If you commit, stick with it  and make it your best.

Respectfully, Scott Berg

Rhonda Hallquist

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Oct 15, 2012, 2:36:36 PM10/15/12
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had to add a bit more to my post...Get a union no-pay contract at the very least. Future filmmakers of Tucson, you will need to dive into a union relationship sooner or later. Try it now and see if it makes a difference in the level of commitment. If it doesn't, I'll shut up.

Scott Berg

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Oct 15, 2012, 3:59:17 PM10/15/12
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Doug and Rhonda or Rhonda and Doug,
I appreciate your feedback and understand the need, or want, to be paid for your time and talents.  As an actor in Tucson, I have come to accept two things, it's going to be hot and I probably won't get paid.  I personally take exception to the notion that if you don't pay you will only get schlock talent who may or may not show up.  When working on any project whether it be theatre or film or commercials, I know, at the end of the day that I have given everything I can to make the project it's best.  And there are many more like me that do it for the love of the craft and to better themselves as performers.  It is the desire to create something meaningful that gets me past the notion that I have got to make money doing it.  I don't say this to cast aspersions on either one of you, or on your character.  I don't know you and would be out of line if that were my intention.   I have worked with other union members on projects here in Tucson, and have found some of them to be the hardest people to get along with, they are the quickest to complain, the first to point out to everyone time and again that we aren't getting paid, and generally making what could be a great experience for others into a torturous day full of whispered comments and off hand remarks.  Instead of using their knowledge and expertise (that is evidently awarded with the SAG card), to teach and to mentor someone who is a novice, on technique, on etiquette and the finer points of theatre or film making, they plant the seed of something that is nothing short of revolt and tell the new people that it ok to be unprofessional, to be disrespectful and to have nothing but contempt for an honest attempt to create.  Please don't get me wrong, there are many fine and dedicated members of SAG or AEA living and working in Tucson.  There are also many, many fine and dedicated non-union actors living and working in Tucson to whom much more credit should be given than it is.  

But please, before this discussion turns into something that resembles a political debate I want to return to the original subject.  The point being, how the unprofessional actions of individuals, union or not, affect the end result of a project.  The reality of the situation is this...everyone has their own reason for pursuing a career in the arts.  Whether they be driven by the thought of fame and fortune, a desire to create something meaningful and leaving their stamp on the world or just the sheer joy they may get from stepping out on a stage to the applause of family and friends.  The base desire is different in all of us but the end result is the same and that is to be proud of our accomplishments and to achieve our goals.  When you have people who lack the discipline, the courtesy and the respect for others and what they are trying to accomplish, and those people feel that their actions are acceptable, then we all lose.  That was the purpose of my original post.  At the same time, I was looking for perhaps other true professionals, and by professional I don't mean union, professional is a state of mind not a membership, who feel as strongly as I do, to help educate and to motivate those who may not realize that no matter what role they are playing the contribution they make is just as important as the next guys. it is hard to instill a good work ethic in someone, that is their parents job, but to help them understand what is at risk and what the consequences of their unacceptable behavior are, then we might see a change in the mindset of the collective and would not find it necessary to repeat this conversation.  It is a problem, whether people want to admit it or not, but it can't be solved by one person or one post in the forum.  It is too far reaching to be done by one person so I would like it to become a community cause, if you will, to foster the mindset of cooperation, of teamwork and responsibility.

On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:

Scott Berg

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Oct 15, 2012, 5:55:43 PM10/15/12
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Getting into this conversation should probably be the start of another thread but here goes.  Rhonda, the advise to "jump into a union relationship because sooner or later you will have to" while true in one sense, may not be as simple as just "jumping in" and for a young filmmaker may not be the best.  I'm sure, as with actors there are certain requirements that have to be fulfilled to join the union.  Secondly, I'm sure they would find it restrictive to the point of not being able to work because of the fear of breaking the union rules.  Too many actors in this town who are union either lie about their status or use another name or take their chances that SAG will stumble upon them.  For young people learning the business being union too early in a market like Tucson could work against them, not help.  Just some thoughts. 


On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:

Jeanmarie Simpson

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Oct 15, 2012, 6:00:54 PM10/15/12
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For the record - I am a retired member of AEA, SAG/AFTRA, SSDC and the Dramatists Guild of America.

I want to point out that all of the unions above and the many other industry unions refer to their members as "professionals" and persons who don't hold union cards as "non-professionals." I think that says it all - "Only card-carrying members are pros. The rest of you are amateurs and wannabes." What arrogance! We don't need to go through the unions to create contracts - we can make our own contracts for pay OR for no pay. And no, by going through the unions we don't necessarily have access to "the world's most talented and professional performers," as the rhetoric invariably claims. I produced AEA theatre for decades, and I can honestly say that it was the non-union actors who were the hardest working and most consistently professional. I can't even begin to describe the heartache and frustration of trying to make art with demanding, uncooperative and undisciplined performers who, half the time, had almost no working technique. 

A side note: I will be 53 next month, clearly a very early retiree. There's a reason for that. The unions in this country are ineffectual and, today, nearly meaningless. In order to qualify for benefits, one must have an unreasonable number of work weeks, so producers pay for benefits their contractors rarely see, and we members continue to pay dues and "working dues," regardless of whether or not we have access to health/dental, etc.. Additionally - in other countries, Americans have a very difficult time getting work - and rightly so! But in the USA? All of the unions regularly employ citizens of other countries to PLAY AMERICANS! I admire Heath Ledger's work in 'Brokeback Mountain,' but seriously?? We couldn't find among the American talent base a guy with the chops to play a gay cowboy??? Give me a break.

It's time for a new paradigm, and Tucson is a great frontier for exploration thereof. Good for you, Scott, bringing to the fore a most relevant and necessary discussion, and for calling pseudo-artists on their lack of personal integrity. 
jm


TucsonStage.com

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Oct 16, 2012, 8:29:21 PM10/16/12
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On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:

TucsonStage.com

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On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:
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