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Caitlin Hutson
Brandi Bradly
ENC 2135
15 October 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. As an actor, the term
Showbiz connotes more than just having star-quality and a decent agent; it requires an
understanding of the industrys politics. More than that, in order to be successful an actor must
know the ins and outs of his greatest enemy and ally: 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. A newly professional 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
stars. Six years later a group of film actors drafted and approved the first draft of the a new,
separate union, the Screen Actors Guild, which eventually merged with AFTRA to include radio

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and talk show artists (Henry 167). Together, these unions encompass all types of entertainers
from stunt performers to voice actors. This essay focuses primarily on television and film actors
who affiliate with SAG-AFTRA. SAG-AFTRA denotes a community of serious and professional
on-screen 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.
There are multiple ways for an actor to become SAG eligible. Some fortunate 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. Before AFTRA merged with SAG an actor
could even simply pay his way into the union (author page). 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). Brandstein 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). Although the means to become a union member is
difficult and causes much strife for newly professional actors, it is not without reason. Unions are

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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; it is the goal of an acting
union 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 fees (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
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, 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

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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 the case. Membership does not guarantee opportunity.
According to Marco DiGeorgedirector and producerone of the biggest mistakes of uprising
actors is joining a union too early. Doing so limits the jobs actors are allowed to take, which
means fewer casting opportunities for actors 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 SAG, like any labor union, is 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 is not supported by the union unless it is a
student film (Saint 57). This prohibition helps to establish the unions credibility; it makes the
statement: 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. 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.

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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.
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 using non-union commercials with celebrity voice actors, which made the
commercials more recognizable and helped with sales (Kranhold). After the establishment of
Global Rule One, companies were forced to either reuse old advertisements or replace celebrity
pitchmen with non-union actors. Even though non-union actors command far less than their
SAG-AFTRA counterparts, the shift to unrecognizable voices where easily identifiable celebrity
voices once were hurt the success of many companies commercial and radio advertisements
(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 in the union.

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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 it 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 they meet
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 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 (Mike Sant). But 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 SAGAFTRAwhich 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 the more difficult casting pool. Overall, non-union work serves as a beneficial
stepping stone for entertainers stuck between amateur performances as full-scale blockbusters

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and national commercials. For most actors, non-union is a temporary stage in their career.
However, many performers consciously choose to waive their SAG-AFTRA eligibility, even if
money and experience are not an issue.
Location is also an 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 partly 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
shoots 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
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. Whereas most cities are distinct in
whether they lean towards a unionized industry or not, it is difficult to discern the driving force
in Atlanta. It seems strange that even in a city that provides numerous opportunities for SAG-

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AFTRA performers that many actors would still choose not to join the union. But Atlantas rightto-work status not only means that actors are not forced to join a union; it also means that SAGAFTRA 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 audition posts that specifically ask for union actors only
(Russell). At the sight of this most non-union actors will assume that any attempt at an audition
would be hopeless, or even detrimental to their careers. 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 to be cast (Russell). So long as an actor is in a right-towork 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
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

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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 where an actor
is located 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 are almost always commercialized, which means they work under large
companies such as Disney or the British Broadcasting Company (BBC), and thus have to appeal
to the guidelines of their higher-ups in addition to that of SAG-AFTRA. 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. Non-union productions on the other hand appeal to a tight-knit audience of indie-film
goers and other non-union artists. 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 cameo product advertisements within their films. For example, actors
must often take special care to hold a drink in a way that shows a logo, or an intense close up
between two actors must be accompanied by a billboard centered between them. Having to apply
these plugs hinders efforts to create unique artistic material. Non-union films have the freedom to

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explore virtually any idea without worrying about the influences of commercialization. DiGeorge
states that, 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. While these
hindrances are detrimental for any film or television show attempting to achieve union-grade
ratings, many indie productions use the would-be disadvantages ironically. Clich indie films are
a new sub-genre of non-union productions that appeal to a very specific group ofgenerally also
non-unionartists 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 lowquality production style. Films such as Sharknado, despite their SAG-AFTRA affiliation, acquire
great success because of their cheesy nature (cite?). The growing overlap 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.
The potential actors have to find success without depending on a SAG-AFTRA affiliation
is much greater with the evolution of right-to-work states and indie film culture, so there is more
freedom today for performers to decide whether or not they want to join a union. This is a great
opportunity for actors to find their ideal niche in the entertainment industry, but it also means
that an actor must have adequate knowledge of their personal aspirations within the business. It
is easy for an actor new to the professional world to be overcome by the forces of unions,
directors, and audience desires, but if he can keep his goals in sight and understand the role a

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union may or may not play in achieving those goals, he is sure to make the most of his acting
career.
Word Count: 3215

Works Cited
Brandstein, Eve, and Joanna Lipari. The Actor: A Practical Guide to a Professional Career. New
York: D.I. Fine, 1987. Print.
Cohen, Robert, and James Calleri. Acting Professionally: Raw Facts About Careers in Acting. 7th
ed. Mountain View, Calif: Mayfield Pub. Co, 1998. Print.
DiGeorge, Marco. Personal Interview. 30 Sept. 2015.
Greene, Christopher. Personal Interview. 30 Sept. 2015
Henry, Mari L, and Lynne Rogers. How to Be a Working Actor. New York: Back Stage Books,
2008. Print.
Kranhold, Kathryn. "Ad Shops Seek 'Demo Love' With Unknown Actors As Strike Wears On."
Wall Street Journal (Eastern Edition) (2000): B1. Biography Reference Bank (H.W.
Wilson). Web. 30 Sept. 2015.
Russell, Paul. Why Nonunion Actors Should Submit for Union Projects. Backstage.
Backstage, 2015. Web. 30 Sept. 2015.
SAG-AFTRA. Screen Actors Guild American Federation of Television and Radio Artists,
2015. Web. 30 Sept. 2015.

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Saint, Nicholas M. An Actor's Guide, Your First Year in Hollywood. New York: Allworth Press,
2000. Print.
Santi, Mike. Personal Interview. 30 Sept. 2015