Chapter 12

Principal Talent

 

INTRODUCTION

This chapter used to start with what to do after an actor’s been cast, but I’ve come to realize just how important it is for producers and directors to know as much about the actors they’re interested in before they make any offers. It’s not just a question of whether actors are good at their craft, how well they may physically fit a role or whether their rate is within budget. There are other somewhat less obvious factors to take into consideration before an actor is cast that may be equally as significant.

• Will your actors show up on time, be prepared, be professional and be team players?

• Do they require certain perks, and what are they?

• Do they come with an entourage (assistants, their own hair/Make-up/wardrobe people; personal chef, nutritionist, trainer, driver, nanny, etc.)?

• Do they need to be driven to and from the set each day?

• Are they cooperative when it comes to behind-the scenes/publicity interviews, photos and promotional appearances?

• On top of their perks, do they require exorbitantly expensive hair cuts/hair pieces/extensions/hair products?

• Do they have any special dietary requests?

• Are they physically able to handle the demands of the roles?

• Are they committed to any other shows that might be a challenge for your schedule?

• Do they have any time restrictions or an unwillingness to work more than so many hours a day?

• If your show involves animals, are they comfortable working around that type of animal?

I could go on, but I’m sure you get it. Talk to their agents and managers, and talk to the producers, directors and UPMS who have worked with them before (people who will tell you things that their agents and managers won’t). Find out what they’re like to work with from as many people as you can find. And if you choose to cast someone who’s known to be high-maintenance or who has exceptional needs, you’ll know what you’re getting into ahead of time, will have budgeted (time and money) accordingly and will be prepared.

Most actors are hard-working and professional and will become an invaluable part of the team as long as they’re treated with respect, the show is prepped and run in a professional manner, it stays pretty much on schedule and they’re rarely kept waiting.

 

WITH A LITTLE HELP FROM TECHNOLOGY

As in every other aspect of the industry, technology has streamlined the casting process. There are multiple websites where a production can post a breakdown of roles being cast. There are several sites where producers, directors and casting personnel can look at actors’ headshots and resumes and software that allows videotaped readings to be uploaded for producers, directors and studio executives to see (from wherever they are). Actors can log on and download watermarked scripts and sides, and contracts can be e-mailed and printed anywhere. The process has been radically streamlined, with the biggest challenge being keeping personal information (going out over the Internet) private.

The casting system software of choice these days is Cast It Systems. It’s a complete Internet-based audition and casting management service that (among other features) allows talent to audition from anywhere in the world, while you control who sees which auditions and when. For more information on Cast It, go to http://castitblog.com.

 

FOLLOW-THROUGH AFTER AN ACTOR’S BEEN CAST

Once an actor has been set for a particular role, SAG requires the casting office to send a booking slip to the actor’s agent. This needs to be issued no later than the day preceding the actor’s first day of employment and contain verification of the role, a minimum guaranteed number of days or weeks of employment and salary. What most studio and independent casting offices (or producers) do now is to issue a deal memo (which contains all of that information and usually more), and e-mail it to the agent at the same time it’s being e-mailed to everyone else who needs it – certain studio executives, the producer, director, UPM/ production supervisor, production coordinator and production accountant.

Once the production office has the actor’s name, address and phone number and the actor’s agent’s name and phone number, a member of the production staff will (1) notify Wardrobe of the actor’s name and phone number (so a fitting can be scheduled), (2) deliver, send or e-mail the actor a script (if it hasn’t already been downloaded by the actor via casting software as mentioned above), and (3) will arrange a physical exam for insurance purposes (if applicable).

The production office will need a certain number of 8 × 10 head shots of each performer cast. They were traditionally sent by the agents, but now these photos can just be downloaded from the Internet. Several copies are then made – one copy staying on file in the production office and/or being tacked up in the office, and others are distributed to: assistant directors, Wardrobe, Hair, Make-up, Special Make-up Effects (if prosthetics are required), Background Casting (as a guide for locating suitable stand-ins and photo doubles), the Stunt Coordinator (as a guide for locating appropriate stunt doubles) and to the Unit Publicist. Depending on the amount of prep time needed and the availability of a performer, Hair, Make-up and Special Make-up Effects should be notified of cast bookings as soon as possible, so wig fittings, hair coloring and/or body molds can be scheduled as needed.

When the entire cast has been set, the casting (or production) office will issue a final cast list. Partial cast lists should be done prior to all roles being set. (See Chapter 6 for a sample cast list.) A cast list should be sent to your SAG representative as soon as a majority of the roles have been set.

Cast lists should also be sent to a predetermined distribution list. (Make sure that cast lists are given to your wardrobe, hair, makeup and transportation people.) Some (called “Confidential” Cast Lists) contain additional information such as the actors’ deals, their Social Security numbers, etc., but those are only given to a select few: the producer, production manager/supervisor, assistant directors, production coordinator and production accountant. Actors’ deals are not for general distribution.

A final cast list, detailed on the designated SAG Final Cast List Information Sheet, is to be submitted to the Screen Actors Guild no later than 120 days after the completion of principal photography or 90 days after the completion of post production, whichever is sooner. (If the Guild is holding a security deposit, the final cast list is submitted directly after the last performer’s payroll following principal photography.)

Contracts for lead talent are usually prepared by a studio or network’s Legal Affairs or Casting Administration department or by the production’s entertainment attorney and are several pages long. Sometimes the casting office prepares standard SAG contracts for supporting cast and day players, but most commonly, they’re prepared and sent out from the production office with all company-related riders and appropriate tax (W-4, I-9, W-9 and inducement) forms attached. The production office staff also prepares contracts for stunt performers, pilots, singers, dancers and upgraded extras. Studios, networks and some production companies have their own version of standard SAG contracts that they’ll e-mail or give to the production coordinator on a CD, and independent companies that don’t have their own contract forms are able to download standard SAG contracts from the SAG website once their production becomes signatory. Generally, at least four or five copies are prepared for signature, so there are enough originally signed copies for those who need them.

Once contracts are completed, they’re sent to the respective agents for review. They can be sent via courier, mail or FEDEX, but most are e-mailed, along with all applicable tax forms and riders. They can be printed and signed in an agent’s office, or the agent can forward the paperwork (via e-mail or hard copy) to his client for signature. When it comes to standard employment contracts, once reviewed and approved by the agents, they will let their clients know that they’re “okay to sign,” and then the actors will be presented with the contracts (and attachments) to sign on-set on their first day of work. Standard employment contracts must be available for signature no later than the first day of employment.

Because schedules change, day player contracts are often prepared (and sent to an agent to review) with the work date left off. The date is filled in and the contract completed the evening before an actor works and is sent to the set the next day for signature. Concern about schedule changes is one thing, but be careful when communicating with a day player if there’s a chance that the part may be canceled all together. Sending an actor a script (or sides) and/or having Wardrobe contact the actor constitutes an engagement, even if a firm work date hasn’t yet been given and a contract hasn’t yet been drawn up.

When a contract is presented to an actor, all lines, spaces, boxes, etc. that need to be signed or initialed should be clearly tagged to mark the spot. And contracts need to be checked to make sure that everything that needs to be signed and completed is done before the actor leaves for the day.

The casting and/or production office will Station 12 each actor, stunt performer, pilot, etc. – a service SAG provides to make sure that performers are in good standing with the Guild prior to reporting for work. When a production becomes signatory, the casting director is given a Caller ID number to use when clearing talent, and the process is done by calling into SAG Station 12, by faxing in a Station 12 Performance Clearance form or by logging onto SAg’s website and going to iActor – SAG’s online casting service, which includes Station 12 clearance. Station 12 requires the name, Social Security number (or SAG number), start date and role type of each performer to be cleared. Once the requests are made, SAG will verify that performers are cleared to work.

Performers can be cleared up to 45 days prior to their start dates, and the burden is on the production company (and not the actor) to notify the Guild of all the SAG performers hired. For those not cleared to work, SAG will advise you to have the performer/member call the Station 12 area to give the performer information regarding what needs to be done for the performer to be cleared. Reasons that performers may not be cleared to work when processed through Station 12 might be: (1) they’re delinquent in the payment of guild dues and must pay before being cleared to work; (2) they must be Taft/HartleyED or they may fall under the category of “must pay” status for membership (after having been Taft/HartleyED previously). It’s therefore advantageous to clear an actor as soon as possible, so these additional steps (if necessary) can be taken. The fine for not clearing a performer who’s not in good standing with the Guild is presently $500.

Station 12 offices can be reached as follows:

Los Angeles

(323) 549-6794 (phone)

(323) 549-6792 (principal fax)

(323) 549-6793 (background fax)

Outside of L. A.

(800) 836-1768 (fax) New York

(212) 827-1418, ext. 1419 (phone)

(212) 768-9154 (fax)

Once a contract has been signed by an actor, it should be returned to the production coordinator. A copy of each contract, all accompanying tax forms, and a copy of the Exhibit G (officially called the Actors Production Time Report), which includes the actors’ signatures for each day of filming, should be turned in to the production accountant. Note that a payroll check can’t be withheld from an actor who hasn’t yet signed a contract as long as the actor has submitted a W-4 or W-9 and I-9.

Make sure the actors’ work times listed on the Exhibit G are the same as the times listed on the Daily Production Report, and that the actors’ signatures on the report are in ink. The top (original) copies of the SAG Time Sheets should be sent to SAG approximately once a week (to the attention of their Signatory Records Department). A photocopy of each time sheet should be attached to the corresponding Daily Production Report.

The production coordinator will have the producer countersign the SAG contracts after they’ve been signed by the actors and will then distribute all fully-executed copies (unless the studio or network has a casting administrator whose responsibility it is to handle and distribute all signed contracts). Originally signed copies should be sent to the studio or network (if applicable), to the production executive, to the production accountant, to the actor’s agent (or the actor if the actor doesn’t have an agent), and copy should be placed in the production files. A copy of each contract should also be sent to SAG.

 

WORK CALLS

The assistant director will give all “first” work calls to the casting office. They, in turn, will call all respective agents with detailed information as to the time, location and scenes to be shot the following day. The assistant director will usually follow through and call the actors that evening to confirm that they’ve received calls from their agents and have been given the proper information. The assistant directors will also handle all work calls other than first calls.

If actors call the production or casting office to find out their calls for the next day, they should be informed as to what the call sheet reads, but it must be made clear that this is not a final call and is subject to change. Actors should be reminded that the assistant director will call them each evening with a definite work call for the next day.

Production should make sure Casting gets a call sheet each day and is kept up to date on all schedule changes. Your SAG representative should be informed of schedule changes as well.

 

PERFORMER CATEGORIES

SAG members are classified by category as follows: Note that puppeteers don’t have a separate schedule.

• Schedule A: Day performers

• Schedules B and C: Freelance weekly performers (determined by the amount of compensation paid to the performer)

• Schedule D: Multiple-picture performers

• Schedules E and F: Contract performers (determined by the amount of compensation)

• Schedule G-I: Professional singers employed by the day

• Schedule G-II: Professional singers employed by the week (a professional singer is a person who is employed primarily to sing a set piece of music on a given pitch, either as a solo or in a group requiring unison, melody, and harmony)

• Schedule H-I: Stunt performers employed by the day

• Schedules H-II and H-III: Stunt performers employed by the week (depending on their salary)

• Schedule H-IV: Stunt performers under term contracts

• Schedule I: Airline pilots – a pilot who is employed to fly or taxi aircraft (including helicopters) before the camera in the photographing of motion pictures

• Schedule J: Dancers – a performer who is professionally-trained, doing choreographed routines requiring rehear sals, such as ballet, chorus dancing, modern dance, tap dancing, jazz dancing, acrobatic dancing or skating

• Schedule K-I: Stunt coordinators employed by the day at less than the “flat deal” minimum

• Schedule K-II: Stunt coordinators employed by the week at less than the “flat deal” minimum

• Schedule K-III: Stunt coordinators employed under “flat deal” contracts

• Schedule X-I: Extra performers employed in the Los Angeles, San Diego, San Francisco, Hawaii and Las Vegas zones

• Schedule XII: Extra performers employed on motion pictures based in New York and in the New York Extra zones

Note that puppeteers don’t have a separate schedule.

All categories are determined by the amount of compensation received by the performer. Compensation rates are determined at the contract year’s end and are adjusted yearly.

 

STUNT PERFORMER CATEGORIES

• Stunt double (Daily Performer Contract) may perform only for the character he or she agreed to double. Any other stunt work performed on any given day requires an additional contract.

• Utility stunt (Weekly Performer Contract) may double more than one character during a single day and may perform any other stunt work that might be required without an additional contract(s) for these additional services. This type of employment is permitted only when hired under a weekly stunt contract.

• ND stunt: nondescript stunt or generic stunt work is designated on a daily contract. Such performer may not double a specific character without an additional contract for that day.

 

INTERVIEWS

Day performers (TV and theatrical) aren’t paid for interviews if they’re dismissed within one hour from the time of their appointment. If detained beyond one hour, the performer is paid at straight time in one-half hour units. Three-day performers (TV) and weekly performers (TV and theatrical) don’t receive compensation unless they’re required to speak lines given them to learn outside of the studio or they’re kept waiting for more than one hour. All interviews or auditions for television or theatrical films must have sign-in sheets available.

 

WORKWEEK

The performer’s workweek consists of any five consecutive days out of seven consecutive days; or, on an overnight location, any six consecutive days out of seven consecutive – as designated by the producer on each production unit. Any performer or background actor who works on the designated sixth or seventh day of the workweek isn’t entitled to premium pay unless such a day is the performer’s sixth or seventh consecutive day worked.

Performers are entitled to an additional day’s pay for work on the fifth day of the workweek that spills over, that is, goes past midnight, into a sixth day of work. They’re not entitled to premium pay for such work on the sixth day unless they’re required to report for an additional call on the sixth day.

Producers are allowed to switch the production workweek (without penalty) once, to get on a Monday through Friday workweek, or once off and then back on, to a Monday through Friday workweek. Performers are entitled to payment for any days off beyond four between switched workweeks. Further, performers are entitled to premium payment if between switched workweeks they don’t receive at least one day off.

 

REST PERIODS

Actors working in town being given studio calls are entitled to a rest period of 12 consecutive hours from the time of dismissal until the first call for the next day, whether for makeup, wardrobe, hairdressing or any other purpose.

For a nearby location where exterior photography is required on the day preceding and the day following the rest period, the rest period may be reduced from 12 to 10 hours once every fourth consecutive day. The rest period may not be reduced from 12 to 10 hours on the first day of each performer’s employment in a television production. There’s also a provision that allows for the rest period to be reduced by 15 minutes at the end of a workday for makeup and wardrobe removal (if no assistance is required) without the time counting toward meal penalty or rest period violations. (This provision doesn’t apply to performers working on an overnight location.)

On overnight locations, the 12-hour rest period may be reduced to 11 hours twice a week, but not on consecutive days. This is permitted on theatrical films only. If a performer reporting to an overnight location arrives at the hotel after 9 p.m. and doesn’t work that night, the performer may be given a ten-hour turnaround. A performer who’s required to travel by air for more than four hours to a location may not be called for work without a ten-hour rest period.

All performers are entitled to one weekly rest period of 56 hours or 54 hours, provided they’re not called before 6:00 a.m. on the first day of the following week. On a six-day location week, the weekly rest period is 36 hours. Violation of either the daily or weekly rest period is known as a “forced call” (rest period violation), and the penalty is one day’s pay or $900 for day performers and one day’s pay or $950 for weekly performers, whichever is the lesser sum.

 

CONSECUTIVE EMPLOYMENT

Performers are generally paid on a consecutive day’s basis from the first day they’re instructed to report for work, or when shooting on any overnight location, beginning with the travel day, which constitutes the first day of employment. For example, weekly freelance players scheduled to work on a Monday and Tuesday, on hold Wednesday and Thursday, and scheduled again for Friday, will be paid for the entire week, even if they’re not given a work call for Wednesday and Thursday. Additionally, because they’re employed by the production company for the entire week, they’re subject to being called in for work on Wednesday or Thursday should there be a change in schedule.

Weekly performers who are on hold for several days during the schedule and are then called back to work for another day or two can’t be taken off of payroll as weekly performers and converted to a daily contract when called back for those additional days. These actors must be compensated on a weekly basis until their services on the film are completed.

A day performer can be converted to a weekly performer or may be returned on a weekly basis as a drop/ pick-up. For a drop/pick-up schedule to exist, the performer must first be on a day player contract and must be notified of the pick-up date before wrapping the original engagement. The intervening time must be for more than 10 calendar days for films produced in the United States, and 14 calendar days for films produced outside the United States. Under these circumstances, compensation need not be given for the intervening time, and the performer is independent of any responsibility to the production. Day performers picked up on a weekly contract may be given an “on or after” pick-up date (which refers to a specific date or the following day), thus allowing the producer a 24-hour leeway. Day performers picked up on another day player contract must be given a specific pick-up date. One such break in employment is allowed for each performer per production. A weekly performer may never be converted to a day performer contract. On episodic television only, day performers earning not less than two times minimum scale can be recalled once during each episode without payment for the intervening time. Consecutive employment doesn’t apply to stunt performers, unless the stunt performer has dialogue and/or a role.

Recalls for looping, added scenes, process shots, trailers, retakes, etc. after the close of an actor’s work in principal photography shall break consecutive employment. Performers may be recalled at their contractual rate provided such additional services are commenced within four months (six months for theatrical motion pictures, pilots or long-form television motion pictures) after termination of their employment. After the four-or six-month period, performers are free to renegotiate their contracts for any additional work requested by the producer.

 

TRANSPORTATION AND LOCATION EXPENSES

Transportation to overnight location supplied by the producer must be first-class. If six or more performers travel on the same flight and in the same class on jet flights within the continental United States, then coach class shall be acceptable. For interviews and auditions only, a performer may travel other than first class on a regularly scheduled jet aircraft. Bus transportation for a relatively short distance and train transportation (in the best class available) are acceptable.

In addition to single room accommodations, the producer is to provide per diem meal allowance at not less than the current minimum scheduled rates. If the minimum rates aren’t sufficient to meet prevailing reasonable costs for meals on a specific location, the producer must make appropriate adjustments. Producers must pay the per diem prior to the day or week of work. If the per diem is paid by check, then facilities must be made available to cash such checks.

 

LOOPING

Day performers may be recalled to loop for a four-hour session and paid one-half of their contractual daily salary. A day player (not being recalled and working on a picture for the first time) must receive a full day’s pay for a looping session. Weekly freelance performers recalled to loop after completion of principal photography for four hours or less are paid an additional one-half day’s pay. If more than four hours are required, a full day’s pay shall be required.

Producers may negotiate for a specified number of loop days to be included in a Schedule F performer’s contract and for one looping day for a day player guaranteed $5,000 or more per day.

 

DUBBING (THEATRICAL MOTION PICTURES ONLY)

Producers are required to employ performers at rates not less than specified in SAG’S current Dubbing Agreement when dubbing a SAG theatrical motion picture into a language other than English in the United States.

 

THE EMPLOYMENT OF MINORS

Performers 18 years of age or younger are considered minors unless they’re legally emancipated, married, a member of the Armed Forces or have satisfied the compulsory education laws of the state governing their employment.

Regulations regarding the employment of minors are very precise. Depending on the age of the children, they’re allowed a required number of hours in which to work, to attend school and to rest. They can’t work earlier than a specified time in the morning nor past a specified time at night, and if under 16 years of age, minors must be accompanied by a parent or guardian. These regulations also cover the employment of studio teachers and the number of children each teacher may teach and/or supervise.

If you plan on casting a minor (or minors) in your film, your first order of business is to find out what the state you’re working in requires for you to be able to employ minors. In some states, the production entity is required to have a permit to employ minors, some states require a letter of intent to employ minors; in others, there is no employer requirement. Different states have different provisions, and to find out what’s required where your production is legally headquartered, go to www.onlocationeducation.net/services_permitstate.asp.

California has some of the most stringent child labor laws in the country, which apply to both minors hired in California and to those hired in other states but brought to California to work. Additionally, if a minor is hired in California by a California-based company and the production shoots in another state or country, California regulations apply. If, however, minors are being employed by a production entity based in and shooting in a state or country other than California where child labor laws are less stringent, then the production must agree to comply with the child labor laws of the state or country where the production is taking place, as well as the minors’ provision in the SAG Codified Basic Agreement (Section 50).

 

Work Permits

Before a minor can work, he or she is required to have a work permit, which is the parent’s responsibility to obtain. Applications for work permits can be obtained from a state’s Labor Commissioner or Department of Labor. In California, it’s the Department of Industrial Relations, Division of Labor Standards Enforcement. When applying for a work permit, most states will require parents or guardians to present a copy of their child’s birth certificate and a letter (or completed form) from the child’s school indicating that the child is in good academic standing. Some will also require and a letter (or completed form) from the child’s physician indicating that the child is physically fit. Because the regulations governing work permits for minors vary from state to state, make sure you understand the specific guidelines governing the employment of minors in the state where your production is taking place. To find out what’s required in each state, you can go to www. sag.org/content/state-statutes.

All minor cast members must possess a work permit from the state in which he or she is working. That means if the film is shooting in more than one state or if it was shot in one state but reshoots are taking place in another, then the minor must have a work permit from each state.

California issues blanket work permits to groups and organizations of minors. Such a permit is valid only for the particular production issued and only for the period of time specified in the permit. Special arrangements may be made for studio teachers required with groups of minors in excess of 100. Additionally, one parent or guardian must be provided for every 20 minors. An application for a blanket permit must be supported by proof that the minors are covered by workers’ compensation insurance. If you’re not shooting in California, check the guidelines pertaining to the employment of groups of minors in the state in which you’re working.

 

Coogan’s Law

The Coogan Law, named for Jackie Coogan, a pioneer young performer, was enacted in 1938 and amended in 2004 to protect young performers’ earnings. Prior to Jackie Coogan’s case, minor children had no legal right to their earned income. The Coogan Law in California and later New York’s passage of the Child Performer Education and Trust Act of 2003, both mandate that among other things, blocked trust accounts are required in an effort to protect a percentage of a child performer’s earnings. These earnings are the legal property of the minor, not the community property of the parents, and monies placed in trust can’t be touched by anyone until the minor turns 18 or becomes legally emancipated. And although a parent or legal guardian of the minor is appointed trustee to the child’s account and is required to pay all liabilities incurred by the minor under the contract (including payments for taxes on all earnings), nothing in the new law alters any other existing responsibilities of a parent/ guardian to provide for the financial support of their minor child.

At present, Coogan Accounts are required by California, New York, Louisiana and New Mexico. In some instances, parents or guardians are required to set up the account for their child prior to the minor receiving a work permit, but regardless, regulations stipulate that the account must be established within seven business days after a minor’s employment contract is signed. A parent or guardian must provide the production with a copy of a trustee’s statement evidencing proof of the account, and 15 percent of the minor’s gross wages are required to be withheld by the employer and deposited into the Coogan account within 15 days of employment.

When a minor is cast, the studio or network’s legal department will get involved (most even have attorneys who specialize in the employment of minors), and on an independent film, it would be the project attorney whose responsibility it is to make sure that all legal procedures governing the opening of a blocked trust account are handled in a timely manner. Parents are usually asked to complete and sign a Parental Consent Form (sample at the back of the chapter), and the production’s payroll company will have a form for parents to fill out as well once the trust account has been set up.

In California, a Coogan Account must be opened at a California bank, credit union or brokerage firm. Parents in New York are required to open up a UTMA-OR UGMA-compliant trust account. (These are custodial accounts under the Uniform Gifts to Minors Act or Uniform Transfers to Minors Act, allowing one to save on behalf of a child for education or any other purpose that benefits the child, other than parental obligations such as food, clothing and shelter.) The account may be opened at any bank, in any state, as long as it meets UTMA or UGMA requirements. Parents in Louisiana and New Mexico can open a blocked trust account at any bank, in any state. And in New Mexico, parents are only required to open the account if their child earns more than $1,000 per each employment contract.

Not all banks, credit unions or brokerage houses offer Coogan Trust Accounts, but if you go to www.cutabovekids.com/common/gettingstarted/cooganaccount.aspx, you’ll find a partial list of those that do. You’ll note that blocked trust accounts at each of these financial institutions is a little different and that some you can apply for directly online.

 

Parents, Guardians, Teachers and Schooling

• A parent or guardian must be present at all times when a minor is working and has the right to be within sight and sound of the minor at all times.

• If a parent can’t accompany a child on the set, he or she must supply a letter authorizing another adult to act as guardian, including the following information: guardian’s name, medical information pertinent to the child, permission for the guardian to secure medical treatment for the child in an emergency and a telephone number where a parent can be reached. The guardian must be at least 18 years of age.

• A production is required to provide schooling for its minor performers as well as supply all school equipment and supplies and the parent or guardian is responsible for bringing the child’s school books and assignments. Minors must be taught an average of three hours a day with no period of less than 20 minutes acceptable as school time. Daily call sheets should reflect sufficient time for schooling, which must be conducted in a suitable room/office/trailer that allows for uninterrupted instruction.

• Productions are required to hire teachers with credentials appropriate to the level of education required by the minors to be taught on the set.

• The production can retain a studio teacher for no more than 10 minors – 20 if the minors aren’t in more than two grade levels. And a teacher isn’t allowed to work on more than one production in any one day, except in an emergency situation.

• If a minor’s regular schooling is primarily in a language other than English, than teaching in that language will be provided whenever possible.

• Interviews and fittings for children going to school should be scheduled during nonschool hours and no later than 9 p.m. At least two adults must be present at all times during a fitting.

 

Working Hours

• The work day for a minor can’t begin earlier than 5 a.m. or end later than 10 p.m. on evenings before school days. On evenings before nonschool days, they’re allowed to work no later than 12:30 a.m. on the morning of the non-school day.

• Turnaround time for minors is 12 hours.

• A minor isn’t allowed to work more than six consecutive days, although a day devoted to school or travel only isn’t counted as one of those consecutive days.

• Although state regulations differ, SAG guidelines stipulate that the maximum number of hours that minors should be schooled in any one day are as follows:

• 4 hours for kindergarteners

• 5 hours for grades 1–6

• 6 hours for grades 7–12

• On days when the minor’s regular school is in session, the minor reports to the teacher at call time, and when school is in session, the teacher has the primary responsibility for the education and supervision of the minor.

• As for working hours, minors:

• Less than six years old are permitted at the place of employment for a total of six hours a day

• 6–8 years old are permitted to work eight hours a day

• 9–15 years old are permitted to work nine hours a day

• 16–18 years old are permitted to work ten hours a day

• All work hours exclude meal periods but include school time.

 

Miscellaneous Guidelines Pertaining to Minors

• A safe and secure place for minors to rest and play must be provided by the production.

• No dressing rooms shall be shared by a minor and an adult actor or by minors of the opposite sex.

• No minor may be sent to Wardrobe, Makeup, Hairdressing or employed in any manner unless under the general supervision of a teacher, parent or guardian.

• Before a minor’s first call, the production needs to obtain the written consent of the child’s parent or legal guardian for medical care in the case of an emergency.

• Minors aren’t required to work in situations that place them in danger to life or limb. If believed to be in danger, parents or guardians may have teachers and/or stunt coordinators discuss the situation with the minors. Those minors who continue to believe that they’re still in danger won’t be required to perform in these situations.

• When a minor is asked to perform physical, athletic or acrobatic activity of an extraordinary nature, his or her parent or guardian needs to be advised of the activity and confirm that the minor is fully capable of performing the activity.

 

Specific California Guidelines

The following are some California regulations pertaining to minor performers hired and working in California, minors hired in other states but brought to California to work and minors hired in California but working elsewhere. If California regulations don’t apply to your production, you can check child labor regulations by state by going to www.childreninfilm.com/rules-state-labor-info.aspx. Remember, though, that if state laws are less stringent, then SAG regulations take precedent.

The production has to supply a studio teacher for minors from 15 days old to their sixteenth birthday and for minors 16 and 17 years old when required for the education of the minor. One teacher must be provided for each group of 10 or fewer minors when school is in session. When school is not in session, one teacher may be provided for every group of 11 to 20 minors. With respect to infants from 15 days to 6 weeks of age, a nurse and a studio teacher must be provided for each three or fewer babies. For infants from 6 weeks to 6 months, one nurse and one studio teacher must be provided for each group of 10 or fewer babies.

Work time for infants less than 6 months of age must be either between 9:30 and 11:30 a.m. or between 2:30 and 4:30 p.m.

Minors in grades one through six must be tutored between 7 a.m. and 4 p.m. Minors in grades seven through twelve must be tutored between 7 a.m. and 7 p.m.

Whether your show is bound by state or SAG guidelines, make sure that the entire production team is fully aware of all pertinent policies pertaining to the employment of minors, because these regulations will most definitely affect your shooting schedule.

 

Taft/Hartley

Taft/Hartley is a federal law that allows a nonmember of a union or guild work on a union show for 30 days. At the end of that time period, he must pay the initiation fee and dues to the union to continue working on that particular show or for another signatory company.

A producer will generally choose to hire a performer who isn’t a member of the Screen Actors Guild for a few different reasons. The first scenario is when a decision to hire a nonmember is made after lengthy interviews to find a specific look or type, or someone with very specific abilities that can’t be met by a SAG member. The second scenario happens on the set during filming, on the spur of the moment, when the director decides another performer is needed to make a scene more complete and upgrades a background actor or stand-in who happens to be there at the time. This situation may also apply to well-known or famous people brought in to portray themselves. If in doubt as to whether a non-SAG performer can be hired under the Taft/Hartley ruling, always check with the Guild first.

Whenever a nonmember is hired to perform on a SAG signatory show, a Taft/Hartley form must be completed and submitted to the Screen Actors Guild. A Taft/Hartley form submitted on a television or theatrical film must be received within 15 calendar days of the performer’s first day of work. Submissions postmarked on the fifteenth day don’t count and may be subject to a fine. Submissions from commercials must be received within 15 business days.

Taft/Hartley forms require the performer’s name, address, phone number, social security number, information on your production and reason for hire. If the reason for hire doesn’t satisfactorily explain why this person was hired instead of a guild member, the production may be subject to a fine.

Production companies are more apt to be fined for this type of violation when they Taft/Hartley an excessive number of performers on one show, which automatically raises doubt as to the need for so many people with special abilities or qualities that can’t be found from within the ranks of the SAG membership. Damages for the employment of a performer in violation of provisions that pertain to the Taft/Hartley law are currently $500.

Also requested along with a completed Taft/Hartley form is a professional resume and photograph of the performer. If the performer doesn’t have a professional photograph, a digital picture taken on the set can be attached, but an explanation is required if a professional resume and/or photo doesn’t exist. As soon as a performer is Taft/Hartleyed, he or she can join the Guild. In all states (other than right-to-work states), a performer can work for 30 days from her first date of employment (or any amount of days within that 30-day period) without having to join the guild. However, once the 30 days has lapsed, the performer must become a member before he or she can be employed on another SAG film.

In a right-to-work state (Alabama, Arizona, Arkansas, Florida, Georgia, Idaho, Iowa, Kansas, Louisiana, Mississippi, Nebraska, Nevada, North Carolina, North Dakota, South Carolina, South Dakota, Tennessee, Texas, Utah, Virginia, and Wyoming), a performer may become a member but isn’t required to. The performer may work union or nonunion films, and the production can’t be fined for hiring a non-SAG member who has worked on other SAG productions. Performers working on a union show, even if they’re not guild members, must be cleared through Station 12 and Taft/Hartley forms must be submitted. In addition, pension and health benefits must be paid by the production company, and performers’ employment must be reported to the Guild.

 

NUDITY

The rules pertaining to nudity are as follows:

1. The producer’s representative is to notify the performer (or their representative) of any nudity or sex acts expected in the role (if known by management at the time) prior to the first interview or audition. Producers may not require total nudity at an audition or interview, and performers must be permitted to wear pasties and a g-string or the equivalent.

2. During any production involving nudity or sex scenes, the set shall be closed to all persons having no business purpose in connection with the production.

3. No still photography of nudity or sex acts will be authorized by the producer to be made without the consent of the performer.

4. The appearance of a performer in a nude or sex scene, or the doubling of a performer in such a scene, shall be conditioned upon the performer’s prior written consent. Such consent may be obtained by letter or other writing prior to a commitment or written contract being made or executed. (You’ll find a Nudity Rider at the back of this chapter.) Such consent must include a general description as to the extent of the nudity and the type of physical contact required in the scene. If a performer has agreed to appear in such scene and then withdraws consent, the producer shall also have the right to double the performer. Consent may not be withdrawn for film already photographed. The producer shall also have the right to double young children or infants in nude scenes (not in sex scenes).

Body doubles employed in scenes requiring nudity or conduct of a sexual nature shall be principal performers; however, the provisions relating to residuals, screen credit, consecutive employment, and preference of employment provisions do not apply to these performers. Notwithstanding the foregoing, body doubles shall be paid for intervening days on an overnight location when required to remain at such location by the producer, and the preference of employment provisions of the applicable extra performer schedule shall apply to the employment of body doubles.

 

WORK IN SMOKE

Principal performers must be notified in advance when scheduled to work in smoke. If a principal performer isn’t notified and can’t work in smoke for health reasons, the performer shall receive a half-day’s pay or payment for time actually worked, whatever is greater.

 

SAG BACKGROUND ACTORS

See Chapter 13 for information regarding SAG background actors.

 

ADDITIONALLY

In addition to theatrical film and television, SAG offers a variety of other contracts covering commercials, industrial and educational films and new media. If you go to www.sag.org, you’ll find digests containing the basic guidelines pertaining to each of these contracts. If you go to www.sagindie.org/resources/contracts/, you’ll find contract information for independent films covering short films made for less than $50,000; ultra-low-budget films made for less than $200,000; a modified low-budget agreement for films made for less than $625,000; and a low-budget agreement for films made for less than $2,500,000. At the Sagindie website, you’ll also find information on a Diversity-In-Casting Incentive and Background Performer Incentive available under certain low-budget agreements.

Rules pertaining to casting and the employment of actors are varied and many. Additions and revisions are enacted every three years when the Screen Actors Guild negotiates a new contract with the AMPTP. In addition to some of the basic regulations outlined in this chapter, you should have a good working knowledge of pay scales and specific rules pertaining to engagement and cancellation; Make-up, hairdressing, wardrobe and fitting calls; employment contracts; billing and screen credit; overtime; location and travel time; meal penalty violations; night work; time of payment and late payments; reuse of film; and affirmative action. Also be aware of the specifics on the employment of background actors, minors, stunt performers, dancers, etc.

Reference the latest SAG contract (and contract digest pamphlets) when necessary. And when in doubt of specific rules, contact your legal department or attorney, or call your local SAG representative.

 

FORMS IN THIS CHAPTER

• Parental Consent Form

• Theatrical/Television Taft/Hartley Report (Principals

• Theatrical/Television ground Actors)

• Station 12 Performance Clearance Form

• Nudity Release

• Cast Information Sheet (a handy form to use to verify that all details pertaining to the cast have been taken care of)

• SAG Daily Contract for Television Motion Pictures or Videotapes

• SAG Minimum Three-Day Contract for Television Motion Pictures or Videotapes

• SAG Minimum Freelance Weekly Contract for Television Motion Pictures or Videotapes

• SAG Daily Stunt Performer Contract for Television Motion Pictures or Videotapes

• SAG Stunt Performer’s Minimum Freelance Three-Day Contract for Television Motion Pictures

• SAG Stunt Performer Minimum Freelance Weekly Contract for Television Motion Pictures or Videotapes

• SAG Daily Contract for Theatrical Motion Pictures

• SAG Minimum Freelance Contract for Theatrical Motion Pictures

• SAG Stunt Performer’s Daily Contract for Theatrical Motion Pictures

• SAG Stunt Performer’s Minimum Freelance Weekly Contract for Theatrical Motion Pictures

• SAG Performer Contract for Interactive Program

• SAG Theatrical & Television Sign-In Sheet

• SAG Actors Production Time Report (Exhibit G)

• SAG Casting Data Report

• SAG Casting Data Report for Stunt Performers and Coordinators Only

• SAG Casting Data Report – Low-Budget, Affirmative

• SAG Final Cast List Information Sheet

• SAG Member Report Adr Theatrical/Television

 

Screen Actors GUILD OFFICES

National Headquarters
5757 Wilshire Boulevard, 7th Floor
Los Angeles, CA 90036-3600
Main Switchboard	(323) 954-1600
(open 9 a.m. to 5 p.m.)
For SAG members outside of L.A.	(800) 724-0767
Theatrical Contracts	(323) 549-6828
Television Contracts	(323) 549-6835
Commercials/Infomercials/
Industrial/Educational Contracts	(323) 549-6858
Music Entertainment Contracts
(Singers, Dancers, Music Videos)	(323) 549-6864
Actors to Locate	(323) 549-6737
Agency Relations	(323) 549-6745
Background Actors	(323) 549-6811
Diversity	(323) 549-6644
Hollywood Conservatory (classes,	(323) 549-7736
(workshops, etc. for members)
iActor Help Desk	(323) 549-6789
Legal Affairs	(323) 549-6627
Membership	(323) 549-6757
New Media	(323) 549-6724
Production Services (Background)	(323) 549-6811
Report Sexual Harassment	(323) 549-6644
Residuals Information & Claims	(323) 549-6505
Signatory Status	(323) 549-6869
Station 12	(323) 549-6794
(open 9 a.m. to 6:30 p.m.)
Stunt & Safety	(323) 549-6855

NEW YORK HEADQUARTERS
360 Madison Ave., 12th Floor
New York, NY 10017
Phone: (212) 944-1030	Fax: (212) 944-6774

ARIZONA/UTAH
1820 E. Ray Road
Chandler, AZ 85225
Phone: (480) 264-7696	Fax: (480) 275-6987

BOSTON
20 Park Plaza, Suite 822
Boston, MA 02116-4399
Phone: (617) 282-8001	Fax: (617) 262-3006

CHICAGO/CLEVELAND/MINNEAPOLIS-ST. PAUL/ ST. LOUIS
1 East Erie Street, Suite 650
Chicago, IL 60611
Phone: (312) 573-8081	Fax: (312) 573-0318

COLORADO/NEW MEXICO
Market Square Center
1400 Sixteenth Street, Suite 400
Denver, CO 80202
Phone: (720) 932-8193	Fax: (720) 932-8194

DALLAS/HOUSTON
15950 N. Dallas Parkway, Suite 400
Dallas, TX 75248
Phone: (972) 361-8185	Fax: (972) 361-8186

DETROIT
2000 Town Center, Suite 1900
Southfield, MI 48075
Phone: (248) 351-2678 -	Fax: (248) 351-2679

FLORIDA (MIAMI)/NASHVILLE/NO. CAROLINA
7300 N. Kendall Drive, Suite 620
Miami, FL 33156-7840
Phone: (305) 670-7677	Fax: (305) 670-1813

GEORGIA
455 E. Paces Ferry Road, N.E., Suite 334
Atlanta, GA 30305
Phone: (404) 239-0131	Fax: (404) 239-0137

HAWAII
949 Kapi’olani Blvd., Suite 105
Honolulu, HI 96814
Phone: (808) 596-0388	Fax: (808) 593-2636

NEVADA/SAN DIEGO
3960 Howard Hughes Parkway, Suite 500
Las Vegas, NV 89169
Phone: (702) 737-8818

PHILADELPHIA
1800 JFK Blvd., Suite 300
Philadelphia, PA 19103
Phone: (215) 760-8535

SAN FRANCISCO
350 Sansome Street, Suite 900
San Francisco, CA 94104
Phone: (415) 391-7510	Fax: (415) 391-1108

SEATTLE/PORTLAND
800 Fifth Ave., Suite 4100
Seattle, WA 98104
Phone: (206) 224-5696	Fax: (503) 224-5695

WASHINGTON/BALTIMORE
7735 Old Georgetown Road, Suite 950
Bethesda, MD 20814
Phone: (301) 657-2560	Fax: (301) 656-3615

Many thanks to Elizabeth Moseley, Director of Theatrical Contracts at the Screen Actors Guild for her continued help with this chapter.

 

PARENTAL CONSENT AGREEMENT

Picture Title:________________________

This parental consent agreement dated as of [TODAY’S DATE] by and between [NAME OF PRODUCTION ENTITY] (“Producer”) and [NAME OF PARENT(S)] (the “Parent” or “Parents”) is made with reference to the following:

Producer has engaged a minor, [NAME OF MINOR],_____ years of age, born on [BIRTH DATE] (“Minor”), pursuant to a written contract dated [DATE OF MINOR’S CONTRACT] (“Minor’s Contract”) to render acting services for Producer in connection with a [TYPE OF PRODUCTION] tentatively entitled the [NAME OF PICTURE] (“Picture”).

[NAME OF PARENT(S)] [is] [are] the [PARENT(S)] of the Minor and [is] [are] responsible for the care, custody and control of the Minor.

The parties hereto understand that a petition will be made by Producer to the Superior Court of the State of [NAME OF STATE] for the County of [NAME OF COUNTY] for the approval by such Court of said Minor’s Contract.

The Parent(s) understand(s) that Producer will rely on this agreement in:(a) entering into and performing the Minor’s Contract; and (b) undertaking substantial expenditures in addition to the compensation payable pursuant to the Minor’s Contract.

Now, therefore, the parties, in consideration of the mutual promises herein contained and other good and valuable consideration, agree as follows:

1. The Parent(s) warrant(s) and represent(s) that the above information is true and correct, that the undersigned [has] [have] the sole care, custody and control of the Minor, that no judgment, order or decree has been made by any Court awarding the custody of the Minor to any other person or in any other manner affecting the status of the right of the Parent(s) as the parent(s) of the Minor, that the Minor has not been emancipated and that the Parent(s) [has] [have] not in any way relinquished to the Minor or to any other person, firm or corporation, the earnings of the Minor under the aforementioned Minor’s Contract nor the right to collect, receive or control such earnings, except a hereinafter expressly provided.

2. The Parent(s) hereby irrevocably and perpetually release(s), relinquish(s) and quitclaim(s) to Minor all salary and compensation payable to the Minor pursuant to the Minor’s Contract and agree not to claim any such salary or compensation payable to the Minor pursuant to the Minor’s Contract and agree not to claim any such salary or compensation or demand that Producer pay such salary or compensation to anyone other than the Minor directly, or pursuant to instructions from the Minor.

3. The Parent(s) hereby consent(s) to the execution by the Minor of the Minor’s Contract. The Parent(s) acknowledge that the Parent(s) [has] [have] read the Minor’s Contract and are familiar with all of the terms, covenants and conditions continued therein, and that the Parent(s) will not revoke said consent during the minority of the Minor.

4. The Parent(s) agree(s) to cooperate fully with Producer by providing information, executing such documents as Producer may require, and giving testimony, if necessary, in securing the approval of the Minor’s Contract by a court of competent jurisdiction. Without limiting the foregoing, the Parent(s) hereby agree(s) that Producer may petition the Superior Court of the State of [NAME OF STATE] for the County of [NAME OF COUNTY] (herein called the “Court”) as provided by law, for approval of Minor’s Contract. The Parent(s) further agree(s) that a copy of this Agreement may be filed with such application for approval as evidence of the consent herein granted. The Parent(s) hereby waive(s) notice of any hearing before the Court with respect to such application. The Parent(s) agree(s) that such amount of the salary or compensation of the Minor payable under the Minor’s Contract as may be determined to be proper by said Court, may be set aside for investment in government bonds or in such other blocked, federally insured savings plan or in such trust fund as the Court may determine to be held and preserved for the Minor, subject to the order of said Court, and the Parent(s) hereby consent(s) to serve as sole or joint guardians or trustees thereof if the Court so appoints the Parent(s). In connection with the foregoing, the Parent(s) acknowledge(s) that the [LEGALLY MANDAGED PERCENTAGE] amount that the Court is being requested to order to be set aside in a federally insured, blocked trust account or other savings plan does not exceed one-half (1/2) of the net earnings under the Minor’s Contract, as the term “net earnings” is defined.

The Parent(s) further agree(s), that notwithstanding the foregoing provisions with respect to the Court approval of the Minor’s Contract, the Parent(s) guarantee(s) the performance by said Minor of the terms and provisions of the Minor’s Contract as well as any court decree which grant(s) approval of same, and represent(s) and warrant(s) that said Minor will not disaffirm the Minor’s Contract any time during or after minority. The Parent(s) further agree(s) to indemnify and hold Producer, its successors, licensees and assigns and their respective officers, directors, shareholders, employees and agents harmless from any and all damages, liabilities, costs or expenses of any kind or nature including reasonable attorney’s fees, which may arise from the breach by the Minor and/or the Parent(s) of any of the provisions of the Minor’s Contract and/or this Agreement, including, without limitation Minor’s attempt to disaffirm or disavow the Minor’s Contract on the ground of Minor’s minority or otherwise.

5. The Parent(s) hereby consent(s) to the distribution, exhibition and other exploitation of the Picture without limitation, and the use of Minor’s name, likeness, voice and biographical material in connection with publicity and advertising of the Picture, and the Parent(s) expressly release(s) the Producer, its licensees and assigns from any and all claims which may arise out of said exhibition and distribution of the Picture. The foregoing is subject to the provisions of the Minor’s Contract.

6. This Agreement shall apply to the Minor’s Contract, to all modifications and extensions thereof and amendments thereto and to any employment agreement between Producer and Minor which may be substituted in full or in part for the Minor’s Contract.

7. This Agreement shall inure to the benefit of and be binding upon the parties hereto, their respective successors, assigns, next of kin, heirs, administrators, executors, officers and agents, as the case may be.

In witness whereof, the parties hereto have executed this Agreement on the date hereinabove set forth.

 

SCREEN ACTORS GUILD
THEATRICAL/TELEVISION
TAFT/HARTLEY REPORT
(PRINCIPALS ONLY)

Please be advised that it is the Producer’s responsibility to complete this report in its entirety or it will be returned for completion. This report must be submitted to SAG within 15 days from the date of the first employment of a non-member (25 days if on an overnight location).

 

Reason for Hire
(Check Appropriate Box)

Member of recognized “name” specialty group (attach documentation and photo)

Important, famous, well-known or unique persons portraying themselves (attach photo and bio)

Background actor adjusted for non-script lines (attach photo)

Military or other government personnel used due to governmental restrictions (describe restrictions below)

Special skill or unique physical appearance (describe skill below or attach photo)

First employment of a person who has training/experience as a professional performer and intends to pursue a career as a motion picture performer (attach photo and resume)

Child under the age of 18 (state age and attach photo)

Owner or operator of special or unique vehicle or equipment (describe below and attach photo)

Employed as stunt coordinator (attach photo and resume)

Employed as body double for scenes requiring nudity or sexual conduct (attach photo)

Other (describe reason for hire below and attach photo and resume)

HOLLYWOOD (NATIONAL HEADQUARTERS) 5757 Wilshire Blvd. Los Angeles, CA 90036 Phone: (323) 954-1600	ARIZONA/UTAH 1820 E. Ray Road Chandler, AZ 85225 Phone: (480) 264-7696
BOSTON 20 Park Plaza, Suite 822 Boston, MA 02116-4399 Phone: (617) 262-8001	CHICAGO 1 East Erie, Suite 650 Chicago, IL 60611 Phone: (312) 573-8081
CLEVELAND c/o 1 East Erie Street, Suite 650 Chicago, IL 60611 Phone (312) 573-8081	COLORADO/NEW MEXICO Market Square Center 1400 Sixteenth Street #400 Denver, CO 80202 Phone: (720) 932-8193
DALLAS 15950 N. Dallas Parkway, Suite 400 Dallas, TX 75248 Phone: (972) 361-8185	DETROIT 2000 Town Center, Suite 1900 Southfield, MI 48075 Phone: (248) 351-2678
FLORIDA (MIAMI) 7300 N. Kendall Drive, Suite 620 Miami, FL 33156-7840 Phone: (305) 670-7677	GEORGIA 455 E. Paces Ferry Road NE, Suite 334 Atlanta, GA 30305 Phone: (404) 239-0131
HAWAII 949 Kapiolani Blvd, Suite 105 Honolulu, HI 96814 Phone: (808) 596-0388	HOUSTON c/o 15950 N. Dallas Parkway, Suite 400 Dallas, TX 75248 Phone: (972) 361-8185
MINNEAPOLIS/ST. PAUL c/o 1 East Erie Street, Suite 650 Chicago, IL 60611 Phone: (312) 573-8081	NASHVILLE c/o 7300 N. Kendall Drive, Suite 620 Miami, FL 33156-7840 Phone: (305) 670-7677
NEVADA 3960 Howard Hughes Parkway, Suite 500 Las Vegas, NV 89169 Phone: (702) 737-8818	NEW YORK 360 Madison Avenue, 12th Floor New York, NY 10017 Phone: (212) 944-1030
NORTH CAROLINA c/o 7300 N. Kendall Drive, Suite 620 Miami, FL 33156-7840 Phone: (305) 670-7677	PHILIADELPHIA 1800 JFK Blvd., Suite 300 Philadelphia, PA 19103 Phone: (215) 760-8535
PORTLAND 800 5th Avenue, Suite 4100 Seattle, WA 98104 Phone: (206) 224-5696	SAN DIEGO 3960 Howard Hughes Blvd., Suite 500 Las Vegas, NV 89169 Phone: (702) 737-8818
SAN FRANCISCO 350 Sansome Street #900 S an Francisco, CA 94104 Phone: (415) 391-7510	SEATTLE 800 5th Avenue, Suite 4100 Seattle, WA 98104 Phone: (206) 224-5696
ST. LOUIS c/o 1 East Erie Street, Suite 650 Chicago, IL 60611 Phone: (312) 573-8081	WASHINGTON/BALTIMORE 7735 Old Georgetown Road, Suite 950 Bethesda, MD 20814 Phone: (301) 657-2560

Screen Actors Guild

THEATRICAL/ TELEVISION
TAFT/HARTLEY REPORT
(BACKGROUND ACTOR)

Please be advised that it is the Producer’s responsibility to complete this report in its entirety or it will be returned for completion. This report must be submitted to SAG within 15 days from the date of the first employment of a non-member.

HOLLYWOOD (NATIONAL HEADQUARTERS) 5757 Wilshire Blvd. Los Angeles, CA 90036 Phone: (323) 954-1600	ARIZONA/UTAH 1820 E. Ray Road Chandler, AZ 85225 Phone: (480) 264-7696
BOSTON 20 Park Plaza, Suite 822 Boston, MA 02116-4399 Phone: (617) 262-8001	CHICAGO 1 East Erie, Suite 650 Chicago, IL 60611 Phone: (312) 573-8081
CLEVELAND c/o 1 East Erie Street, Suite 650 Chicago, IL 60611 Phone (312) 573-8081	COLORADO/NEW MEXICO Market Square Center 1400 Sixteenth Street #400 Denver, CO 80202 Phone: (720) 932-8193
DALLAS 15950 N. Dallas Parkway, Suite 400 Dallas, TX 75248 Phone: (972) 361-8185	DETROIT 2000 Town Center, Suite 1900 Southfield, MI 48075 Phone: (248) 351-2678
FLORIDA (MIAMI) 7300 N. Kendall Drive, Suite 620 Miami, FL 33156-7840 Phone: (305) 670-7677	GEORGIA 455 E. Paces Ferry Road NE, Suite 334 Atlanta, GA 30305 Phone: (404) 239-0131
HAWAII 949 Kapiolani Blvd, Suite 105 Honolulu, HI 96814 Phone: (808) 596-0388	HOUSTON c/o 15950 N. Dallas Parkway, Suite 400 Dallas, TX 75248 Phone: (972) 361-8185
MINNEAPOLIS/ST. PAUL c/o 1 East Erie Street, Suite 650 Chicago, IL 60611 Phone: (312) 573-8081	NASHVILLE c/o 7300 N. Kendall Drive, Suite 620 Miami, FL 33156-7840 Phone: (305) 670-7677
NEVADA 3960 Howard Hughes Parkway, Suite 500 Las Vegas, NV 89169 Phone: (702) 737-8818	NEW YORK 360 Madison Avenue, 12th Floor New York, NY 10017 Phone: (212) 944-1030
NORTH CAROLINA c/o 7300 N. Kendall Drive, Suite 620 Miami, FL 33156-7840 Phone: (305) 670-7677	PHILIADELPHIA 1800 JFK Blvd., Suite 300 Philadelphia, PA 19103 Phone: (215) 760-8535
PORTLAND 800 5th Avenue, Suite 4100 Seattle, WA 98104 Phone: (206) 224-5696	SAN DIEGO 3960 Howard Hughes Blvd., Suite 500 Las Vegas, NV 89169 Phone: (702) 737-8818
SAN FRANCISCO 350 Sansome Street #900 S an Francisco, CA 94104 Phone: (415) 391-7510	SEATTLE 800 5th Avenue, Suite 4100 Seattle, WA 98104 Phone: (206) 224-5696
ST. LOUIS c/o 1 East Erie Street, Suite 650 Chicago, IL 60611 Phone: (312) 573-8081	WASHINGTON/BALTIMORE 7735 Old Georgetown Road, Suite 950 Bethesda, MD 20814 Phone: (301) 657-2560

Screen Actors Guild

360 Madison Avenue, New York, NY 10017 Fax: (212)768-9154 Toll-free Fax (800)419-2317 Phone: (212)827-1418, 1419 5757 Wilshire Blvd. Los Angeles, CA 90036 Fax: (323)549-6793 Toll-free Fax (800)836-1768 Phone (323) 549-6794

NUDITY RELEASE

Ladies and Gentlemen:

In connection with my services as a performer in the [TYPE OF PRODUCTION] currently entitled [TITLE OF PICTURE] (“Picture”), I hereby acknowledge that I have been advised that I will be required to perform certain scenes which will require nudity.

I have read the final shooting script of the Picture dated [DATE SCREENPLAY SUBMITTED TO ACTOR] and have discussed the the nude and/or sex scenes with the director of the Picture prior to receipt of the Agreement and hereby consent to render such services in all of the Scenes in the nude as required for the Picture, all in accordance with Section 43. D of the SAG Basic Agreement.

I further acknowledge that I was notified of any nudity or sex acts expected in the role prior to the first interview or audition, and that I was notified of my absolute right to have a person of my choosing present at such audition or interview.

Producer agrees that any footage of Artist nude which is not included in final answer print will be destroyed promptly following completion of answer print.

Producer agrees that pursuant to Section 43. B of the SAG Agreement, during any production of the Picture involving nude and/or sex scenes, the set shall be closed to all persons having no business purpose in connection with the production. Further, Producer agrees that there shall be no still photography of nudity as set forth in Section 43. C of the SAG Agreement without my prior written consent. Producer shall not sell, release or otherwise exploit any of the following in any form separate from the Picture or in any advertising or publicity therefor: still photographs in which I appear nude; footage or frames from the Picture in which I appear nude; or outtakes or extra footage in which I appear nude. For the avoidance of doubt, the only nude images of my likeness that Producer shall have the right to use are as said nude images are embodied in the completed Picture.

(Please check if body double is required)

With regard to Scene(s) # ________requiring [THE NUDITY CONTEMPLATED], I do hereby permit Producer, in his sole discretion to use a nude double for my appearance in such portion of such scene(s). In this regard, I shall be given the opportunity to view the photographing of such double in such scene, and then the immediate opportunity thereafter to perform in same.

In the event of any conflict between the provisions of this Nudity Release and the agreement concerning my services on the Picture, the terms of this Nudity Release shall prevail.

Producer shall contractually obligate any and all distributor(s) of the Picture to comply with Producer’s obligations regarding this Nudity Release.

Accordingly, I hereby grant you, your successors, assigns and licensees, permission to so photograph me nude, record my voice, reproduce and/or simulate my voice and picture and use and/or simulate my name, picture and voice in and in connection with the Picture (including still and publicity photographs) in any connection with the distribution, exhibition and exploitation thereof at any time in any media in any part of the universe for any and all uses and purposes now or hereafter known.

This grant is irrevocable so that you may proceed in reliance thereon.

THE PERFORMER MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

DAILY CONTRACT
(DAY PERFORMER)
FOR TELEVISION MOTION PICTURES OR VIDEOTAPES

THIS AGREEMENT covers the employment of the above-named Performer by in the production and at the rate of compensation set forth above and is subject to and shall include, for the benefit of the Performer and the Producer, all of the applicable provisions and conditions contained or provided for in the applicable Screen Actors Guild Television Agreement (herein called the “Television Agreement”). Performer’s employment shall include performance in noncommercial openings, bridges, etc., and no added compensation shall be payable to Performer so long as such are used in the role and episode covered hereunder in which Performer appears; for other use, Performer shall be paid the added minimum compensation, if any, required under the provisions of the Screen Actors Guild agreements with Producer.

Producer shall have all the rights in and to the results and proceeds of the Performer’s services rendered hereunder, as are provided with respect to “photoplays” in Schedule A of the applicable Screen Actors Guild Codified Basic Agreement and the right to supplemental market use as defined in the Television Agreement.

Producer shall have the unlimited right throughout the world to telecast the film and exhibit the film theatrically and in supplemental markets in accordance with the terms and conditions of the Television Agreement.

If the motion picture is rerun on television in the United States or Canada and contains any of the results and proceeds of the Performer’s services, the Performer will be paid for each day of employment hereunder the additional compensation prescribed therefor by the Television Agreement, unless there is an agreement to pay an amount in excess thereof as follows:

___________________________________________________

___________________________________________________

If there is foreign telecasting of the motion picture as defined in the Television Agreement, and such motion picture contains any of the results and proceeds of the Performer’s services, the Performer will be paid the amount in the blank space below for each day of employment hereunder, or if such blank space is not filled in, then the Performer will be paid the minimum additional compensation prescribed therefor by the Television Agreement. $

If the motion picture is exhibited theatrically anywhere in the world and contains any of the results and proceeds of the Performer’s services, the Performer will be paid $ , or if this blank is not filled in, then the Performer will be paid the minimum additional compensation prescribed therefor by the Television Agreement.

If the motion picture is exhibited in supplemental markets anywhere in the world and contains any of the results and proceeds of the Performer’s services, then Performer will be paid the supplemental market fees prescribed by the applicable provisions of the Television Agreement.

If the Performer places his or her initials in the box below, he or she thereby authorizes Producer to use portions of said television motion picture as a trailer to promote another episode or the series as a whole, upon payment to the Performer of the additional compensation prescribed by the applicable provisions of the Television Agreement.

Production time reports are available on the set at the end of each day, which reports shall be signed or initialed by the Performer.

NOTICE TO PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS CONTRACT FOR YOUR PERMANENT RECORDS.

THE PERFORMER MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

MINIMUM THREE-DAY CONTRACT

FOR TELEVISION MOTION PICTURES OR VIDEOTAPES

THREE-DAY MINIMUM EMPLOYMENT

WITNESSETH:

1. Photoplay: Role and Guarantee. Producer hereby engages Performer to render service as such in the role of ,_________ in a photoplay produced primarily for exhibition over free television, the working title of which is now ___________________. Performer accepts such engagement upon the terms herein specified. Producer guarantees that it will furnish Performer not less than days’ employment. (If this blank is not filled in, the guarantee shall be three (3) days.)

2. Salary. The Producer will pay to the Performer, and the Performer agrees to accept for three (3) days (and pro rata for each additional day beyond three (3) days) the following salary rate: $ .

3. Producer shall have the unlimited right throughout the world to telecast the film and exhibit the film theatrically and in Supplemental Markets in accordance with the terms and conditions of the applicable Screen Actors Guild Television Agreement (herein referred to as the “Television Agreement”).

4. If the motion picture is rerun on television in the United States or Canada and contains any of the results and proceeds of the Performer’s services, the Performer will be paid the additional compensation prescribed therefor by the Television Agreement, unless there is an agreement to pay an amount in excess thereof as follows:

_____________________________________________

_____________________________________________

5. If there is foreign telecasting of the motion picture as defined in the Television Agreement, and such motion picture contains any of the results and proceeds of the Performer’s services, the Performer will be paid the amount in the blank space below plus an amount equal to one-third (1/3) thereof for each day of employment in excess of three (3) days, or, if such blank space is not filled in, then the Performer will be paid the minimum additional compensation prescribed therefor by the Television Agreement. $ ___________.

6. If the motion picture is exhibited theatrically anywhere in the world and contains any of the results and proceeds of the Performer’s services, the Performer will be paid $ , plus an amount equal to one-third (1/3) thereof for each day of employment in excess of three (3) days. If this blank is not filled in, the Performer will be paid the applicable minimum additional compensation prescribed therefor by the Television Agreement.

7. If the motion picture is exhibited in Supplemental Markets anywhere in the world and contains any of the results and proceeds of the Performer’s services, the Performer will be paid the supplemental market fees prescribed by the applicable provisions of the Television Agreement.

8. Term. The term of employment hereunder shall begin on , on or about * and _______shall continue thereafter until the completion of the photography and recordation of said role.

* The “on or about clause” may only be used when the contract is delivered to the Performer at least three (3) days before the starting date.

9. Incorporation of Television Agreement. The applicable provisions of the Television Agreement are incorporated herein by reference. Performer’s employment shall include performance in non-commercial openings, closings, bridges, etc., and no added compensation shall be payable to Performer so long as such are used in the role and episode covered hereunder and in which Performer appears; for other use, Performer shall be paid the added minimum compensation, if any, required under the provisions of the Screen Actors Guild agreements with Producer. Performer’s employment shall be upon the terms, conditions and exceptions of the provisions applicable to the rate of salary and guarantee specified in Paragraphs 1. and 2. hereof.

10. Arbitration of Disputes. Should any dispute or controversy arise between the parties hereto with reference to this contract, or the employment herein provided for, such dispute or controversy shall be settled and determined by conciliation and arbitration in accordance with and to the extent provided in the conciliation and arbitration provisions of the Television Agreement, and such provisions are hereby referred to and by such reference incorporated herein and made a part of this agreement with the same effect as though the same were set forth herein in detail.

11. Performer’s Address. All notices which the Producer is required or may desire to give to the Performer may be given either by mailing the same addressed to the Performer at _______________________, or such notice may be given to the Performer personally, either orally or in writing.

12. Performer’s Telephone. The Performer must keep the Producer’s casting office or the assistant director of said photoplay advised as to where the Performer may be reached by telephone without unreasonable delay. The current telephone number of the Performer is ( ) .

13. If Performer places his initials in the box, he thereby authorizes Producer to use portions of said television motion picture as a trailer to promote another episode or the series as a whole, upon payment to the Performer of the additional compensation prescribed by the Television Agreement.

14. Furnishing of Wardrobe. The Performer agrees to furnish all modern wardrobe and wearing apparel reasonably necessary for the portrayal of said role; it being agreed, however, that should so-called “character” or “period” costumes be required, the Producer shall supply the same. When Performer supplies any wardrobe, Performer shall receive the cleaning allowance and reimbursement specified in the Television Agreement.

15. Next Starting Date. The starting date of Performer’s next engagement is _________. IN WITNESS WHEREOF, the parties have executed this agreement on the day and year first above written.

Production time reports are available on the set at the end of each day. Such reports shall be signed or initialed by the performer.

Attached hereto for your use is a Declaration Regarding Income Tax Withholding (“Part Year Employment Method of Withholding”). You may utilize such form by delivering same to Producer.

NOTICE TO PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS CONTRACT FOR YOUR PERMANENT RECORDS.

THE PERFORMER MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

MINIMUM FREE LANCE WEEKLY CONTRACT

FOR TELEVISION MOTION PICTURES OR VIDEOTAPES

Continuous EMPLOYMENT—WEEKLY BASIS—WEEKLY Salary One Week Minimum Employment

WITNESSETH:

1. Photoplay: Role and Guarantee. Producer hereby engages Performer to render services as such, in the role of ____________, in a photoplay produced primarily for exhibition over free television, the working title of which is now ____________________. Performer accepts such engagement upon the terms herein specified. Producer guarantees that it will furnish Performer not less than_____ weeks employment. (If this blank is not filled in, the guarantee shall be one week.)

2. Salary. The Producer will pay to the Performer, and the Performer agrees to accept weekly (and pro rata for each additional day beyond guarantee) the following salary rate: $_________ per “studio week.” (Schedule B Performers must receive an additional overtime payment of four (4) hours at straight time rate for each overnight location sixth day).

3. Producer shall have the unlimited right throughout the world to telecast the film and exhibit the film theatrically and in Supplemental Markets, in accordance with the terms and conditions of the applicable Screen Actors Guild Television Agreement (herein referred to as the “Television Agreement”).

4. If the motion picture is rerun on television in the United States or Canada and contains any of the results and proceeds of the Performer’s services, the Performer will be paid the additional compensation prescribed therefor by the Television Agreement, unless there is an agreement to pay an amount in excess thereof as follows:

_____________________________________________

_____________________________________________

5. If there is foreign telecasting of the motion picture, as defined in the Television Agreement, and such motion picture contains any of the results and proceeds of the Performer’s services, the Performer will be paid $ plus pro rata thereof for each additional day of employment in excess of one week, or, if this blank is not filled in, the Performer will be paid the minimum additional compensation prescribed therefor by the Television Agreement.

6. If the motion picture is exhibited theatrically anywhere in the world and contains any of the results and

proceeds of the Performer’s services, the Performer will be paid $ plus_______ pro rata thereof for each additional day of employment in excess of one week, or, if this blank is not filled in, the Performer will be paid the minimum additional compensation prescribed therefor by the Television Agreement.

7. If the motion picture is exhibited in Supplemental Markets anywhere in the world and contains any of the results and proceeds of the Performer’s services, the Performer will be paid the supplemental market fees prescribed by the applicable provisions of the Television Agreement.

8. Term. The term of employment hereunder shall begin on _______, on or about*__________and shall continue thereafter until the completion of the photography and recordation of said role.

* The “on or about clause” may only be used when the contract is delivered to the Performer at least three (3) days before the starting date.

9. Incorporation of Television Agreement. The applicable provisions of the Television Agreement are incorporated herein by reference. Performer’s employment shall include performance in non-commercial openings, closings, bridges, etc., and no added compensation shall be payable to Performer so long as such are used in the role and episode covered hereunder and in which Performer appears; for other use, Performer shall be paid the added minimum compensation, if any, required under the provisions of the Screen Actors Guild agreements with Producer. Performer’s employment shall be upon the terms, conditions and exceptions of said provisions applicable to the rate of salary and guarantee specified in Paragraphs 1. and 2. hereof.

10. Arbitration of Disputes. Should any dispute or controversy arise between the parties hereto with reference to this contract, or the employment herein provided for, such dispute or controversy shall be settled and determined by conciliation and arbitration in accordance with and to the extent provided in the conciliation and arbitration provisions of the Television Agreement, and such provisions are hereby referred to and by such reference incorporated herein and made a part of this agreement with the same effect as though the same were set forth herein in detail.

11. Performer’s Address. All notices which the Producer is required or may desire to give to the Performer may be given either by mailing the same addressed to the Performer at , or such notice may be given to the Performer personally, either orally or in writing.

12. Performer’s Telephone. The Performer must keep the Producer’s casting office or the assistant director of said photoplay advised as to where the Performer may be reached by telephone without unreasonable delay. The current telephone number of the Performer is ( ) ________.

13. If Performer places his initials in the box, he thereby authorizes Producer to use portions of said television motion picture as a trailer to promote another episode or the series as a whole, upon payment to the Performer of the additional compensation prescribed by the Television Agreement.

14. Furnishing of Wardrobe. The Performer agrees to furnish all modern wardrobe and wearing apparel reasonably necessary for the portrayal of said role; it being agreed, however, that should so-called “character” or “period” costumes be required, the Producer shall supply the same. When Performer supplies any wardrobe, Performer shall receive the cleaning allowance and reimbursement specified in the Television Agreement.

15. Next Starting Date. The starting date of Performer’s next engagement is . IN WITNESS WHEREOF, the parties have executed this agreement on the day and year first above written.

Performer Social Security Number Production time reports are available on the set at the end of each day. Such reports shall be signed or initialed by the performer.

NOTICE TO PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS CONTRACT FOR YOUR PERMANENT RECORDS.

SCREEN ACTORS GUILD STUNT PERFORMER’S
DAILY CONTRACT
FOR THEATRICAL MOTION PICTURES

THE ARTIST MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

1. DESCRIPTION OF SERVICES: Producer hereby engages Stunt Performer to render services as________________ Stunt Performer accepts such engagement upon the terms herein specified.
2. TERM/GUARANTEE: Producer guarantees to furnish Stunt Performer not less than_________ days engagement. If this space is not filled in, the guarantee shall be one (1) day.
3. STUNT ADJUSTMENTS: It is understood that the rate of compensation specified may be adjusted depending upon the nature of the stunt activities Producer may require. If so, a stunt adjustment will be agreed upon between the parties through good faith bargaining and said adjustment shall be noted on Stunt Performer’s daily time report or time card. The parties shall agree upon the compensation to be paid before the stunt is performed if they may readily do so; however, it is expressly agreed that production shall not be delayed for the purpose of first determining the compensation for a stunt. Such adjustment shall increase Stunt Performer’s compensation for the day in the manner prescribed in Schedule H of the Screen Actors Guild Codified Basic Agreement.
4. INCORPORATION OF PRODUCER-SCREEN ACTORS GUILD COLLECTIVE BARGAINING AGREEMENT: All provisions of the Screen Actors Guild Codified Basic Agreement and Television Agreement as the same may be supplemented and/or amended to date shall be deemed incorporated herein. Stunt Performer’s engagement shall be upon the terms, conditions and exceptions of said provisions applicable to the rate of compensation and guarantee specified.
5. RIGHTS : Producer shall have the unlimited right throughout the universe and in perpetuity to exhibit the Motion Picture in all media, now or hereafter known, and Producer, as employer-for-hire of Stunt Performer, shall own all rights in the results and proceeds of Stunt Performer’s services hereunder.
6. ADDITIONAL COMPENSATION: If the Motion Picture covered hereby is exhibited, containing any of the results and proceeds of Stunt Performer’s services hereunder, in any of the following media:

   (I) “Free” television exhibition anywhere in the universe;

   (ii) Supplemental Market exhibition anywhere in the universe;

   (iii) Basic Cable exhibition anywhere in the universe, as to each such medium in which it is so exhibited, Producer will pay, and Stunt Performer will accept as payment in full, the minimum additional compensation provided therefor in the Screen Actors Guild Codified Basic Agreement, except as compensation in excess of such minimum, if any, has been provided in this Agreement.

7. CONTINUOUS EMPLOYMENT AND RIGHT TO ROLE (when applicable): If Stunt Performer portrays a role or has dialogue, Stunt Performer shall be entitled to “continuous employment” and “Right to Role,” if any, only to the extent prescribed by the Screen Actors Guild Codified Basic Agreement. Stunt Performer shall receive a separate contract for such services.
8. MOTION PICTURE AND TELEVISION FUND: Stunt Performer (does) (does not) hereby authorize Producer to deduct from the compensation hereinabove specified an amount equal to________ percent of each installment of compensation due Stunt Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Fund of America, Inc.
9. WAIVER: Stunt Performer may not waive any provision of the Screen Actors Guild Codified Basic Agreement of Television Agreement, whichever is a pplicable, without the written consent of the Screen Actors Guild, Inc.
10. SIGNATORY: Producer makes the material representation that either it is presently a signatory to the Screen Actors Guild collective bargaining agreement covering the engagement contracted for herein, or that the Motion Picture is covered by such collective bargaining agreement under the “Independent Production” provisions (Section 24) of the General Provisions of the Screen Actors Guild Codified Basic Agreement.

Signing of this Agreement in the spaces below signified acceptance by Producer and Stunt Performer of all of the above terms and conditions hereof and attached hereto, if any, as of the date specified above.

Production time reports and/or time cards are available on the set at the beginning and end of each day, which reports and/or time cards shall be signed or initialed by Stunt Performer and must indicate any agreed stunt adjustments.

NOTICE TO STUNT PERFORMER:
IT IS IMPORTANT THAT YOU RETAIN A COPY OF
THIS AGREEMENT FOR YOUR PERMANENT RECORDS.

THE ARTIST MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

STUNT PERFORMER’S
MINIMUM FREELANCE THREE-DAY CONTRACT
FOR TELEVISION MOTION PICTURES

1. DESCRIPTION OF SERVICES: Producer hereby engages Stunt Performer to render services as . Stunt Performer accepts such engagement upon the terms herein specified.
2. COMPENSATION/TERM/GUARANTEE: Producer will pay Stunt Performer and Stunt Performer agrees to accept the following three-day compensation (excluding location premiums) of $______ (and pro rata services). The total guaranteed compensation shall be $_______ for the total guaranteed period of ________. If this space is not filled in, the guarantee shall be three (3) days. Stunt Performer shall receive sixth day location premium where applicable.
3. START DATE: The term of engagement shall begin on______ or “on or about” *_________ .
4. NEXT START DATE: The start date of Stunt Performer’s next engagement is __________.
5. STUNT ADJUSTMENTS: It is understood that the rate of compensation specified may be adjusted depending upon the nature of the stunt activities Producer may require. If so, a stunt adjustment will be agreed upon between the parties through good faith bargaining and said adjustment shall be noted on Stunt Performer’s daily time report or time card.

   The parties shall agree upon the compensation to be paid before the stunt is performed if they may readily do so; however, it is expressly agreed that production shall not be delayed for the purpose of first determining the compensation for a stunt. Such adjustment shall increase Stunt Performer’s compensation for the three-days in the manner prescribed in Schedule H-II or H-III of the Screen Actors Guild Codified Basic Agreement.

6. INCORPORATION OF PRODUCER-SCREEN ACTORS GUILD COLLECTIVE BARGAINING AGREEMENT: All provisions of the Screen Actors Guild Codified Basic Agreement as the same may be supplemented and/or amended to date shall be deemed incorporated herein. Stunt Performer’s engagement shall include performance in non-commercial openings, closings, bridges, etc., and no added compensation shall be payable to Stunt Performer so long as such are used in the Motion Picture covered hereunder and in which Stunt Performer appears or with respect to which Stunt Performer is paid compensation hereunder. Stunt Performer’s engagement shall be upon the terms, conditions and exceptions of said provisions applicable to the rate of compensation specified.

   * The “on or about” clause may only be used when this Agreement is delivered to Stunt Performer at least three (3) days before the Start Date.

7. RIGHTS: Producer shall have the unlimited right throughout the universe and in perpetuity to exhibit the Motion Picture in all media, now or hereafter known, and Producer, as employer-for-hire of Stunt Performer, shall own all rights in the results and proceeds of Stunt Performer’s services hereunder.
8. ADDITIONAL COMPENSATION: If the Motion Picture covered hereby is exhibited, containing any of the results and proceeds of Stunt Performer’s services hereunder, in any of the following media:

   (I) “Free” television reruns in the United States or Canada, or both;

   (ii) Television exhibition anywhere in the universe outside the United States and Canada;

   (iii) Theatrical exhibition anywhere in the universe;

   (iv) Supplemental Market exhibition anywhere in the universe;

   (v) Basic Cable exhibition anywhere in the universe,

   as to each such medium in which the motion picture is so exhibited, Producer will pay, and Stunt Performer will accept as payment in full, the minimum additional compensation provided therefor in the Screen Actors Guild Codified Basic Agreement or Television Agreement, as the case may be, except as compensation in excess of such minimum, if any, has been provided in this Agreement.

9. CONTINUOUS EMPLOYMENT AND RIGHT TO ROLE (when applicable): If Stunt Performer portrays a role or has dialogue, Stunt Performer shall be entitled to “continuous employment” and “Right to Role,” if any, only to the extent prescribed by the Screen Actors Guild Codified Basic Agreement. Stunt Performer shall receive a separate contract for such services.
10. MOTION PICTURE AND TELEVISION FUND: Stunt Performer [does] [does not] hereby authorize Producer to deduct from the compensation hereinabove specified an amount equal to _______percent of each installment of compensation due Stunt Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Fund of America, Inc.
11. WAIVER: Stunt Performer may not waive any provision of the Screen Actors Guild Codified Basic Agreement or Television Agreement, whichever is applicable, without the written consent of the Screen Actors Guild, Inc.
12. SIGNATORY: Producer makes the material representation that either it is presently a signatory to the Screen Actors Guild collective bargaining agreement covering the engagement contracted for herein, or that the Motion Picture is covered by such collective bargaining agreement under the “Independent Production” provisions (Section 24) of the General Provisions of the Screen Actors Guild Codified Basic Agreement.

Signing of this Agreement in the spaces below signifies acceptance by Producer and Stunt Performer of all of the above terms and conditions and those on the reverse hereof and attached hereto, if any, as of the date specified above.

PRODUCER_______________ STUNT PERFORMER ____________________BY______________________________

Production time reports and/or time cards are available on the set at the beginning and end of each day, which reports and/or time cards shall be signed or initialed by Stunt Performer and must indicate any agreed stunt adjustments.

NOTICE TO STUNT PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS AGREEMENT FOR YOUR PERMANENT RECORDS.

SCREEN ACTORS GUILD

STUNT PERFORMER’S
MINIMUM FREELANCE WEEKLY CONTRACT
FOR TELEVISION MOTION PICTURES

THE ARTIST MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

1. DESCRIPTION OF SERVICES: Producer hereby engages Stunt Performer to render services as________________________. Stunt Performer accepts such engagement upon the terms herein specified.

2. COMPENSATION/TERM/GUARANTEE: Producer will pay Stunt Performer and Stunt Performer agrees to accept the following weekly compensation (excluding location premiums) of $_________ (and pro rata for each additional day beyond the guarantee until completion of services). The total guaranteed compensation shall be $_________ for the total guaranteed period of _____________. If this space is not filled in, the guarantee shall be one (1) week. Stunt Performer shall receive sixth day location premium where applicable.

3. START DATE: The term of engagement shall begin on __________________. or “on or about” * __________________.

4. NEXT START DATE : The start date of Stunt Performer’s next engagement is__________________.

5. STUNT ADJUSTMENTS: It is understood that the rate of compensation specified may be adjusted depending upon the nature of the stunt activities Producer may require. If so, a stunt adjustment will be agreed upon between the parties through good faith bargaining and said adjustment shall be noted on Stunt Performer’s daily time report or time card.

The parties shall agree upon the compensation to be paid before the stunt is performed if they may readily do so; however, it is expressly agreed that production shall not be delayed for the purpose of first determining the compensation for a stunt. Such adjustment shall increase Stunt Performer’s compensation for the week in the manner prescribed in Schedule H-II or H-III of the Screen Actors Guild Codified Basic Agreement.

6. INCORPORATION OF PRODUCER-SCREEN ACTORS GUILD COLLECTIVE BARGAINING AGREEMENT: All provisions of the Screen Actors Guild Codified Basic Agreement and Television Agreement as the same may be supplemented and/or amended to date shall be deemed incorporated herein. Stunt Performer’s engagement shall include performance in non-commercial openings, closings, bridges, etc., and no added compensation shall be payable to Stunt Performer so long as such are used in the Motion Picture covered hereunder and in which Stunt Performer appears or with respect to which Stunt Performer is paid compensation hereunder. Stunt Performer’s engagement shall be upon the terms, conditions andexceptions of said provisions applicable to the rate of compensation and guarantee specified.

* The “on or about” clause may only be used when this Agreement is delivered to Stunt Performer at least three (3) days before the Start Date.

7. RIGHTS: Producer shall have the unlimited right throughout the universe and in perpetuity to exhibit the Motion Picture in all media, now or hereafter known, and Producer, as employer-for-hire of Stunt Performer, shall own all rights in the results and proceeds of Stunt Performer’s services hereunder.

8. ADDITIONAL COMPENSATION: If the Motion Picture covered hereby is exhibited, containing any of the results and proceeds of Stunt Performer’s services hereunder, in any of the following media:

(I) “Free” television reruns in the United States or Canada, or both;

(ii) Television exhibition anywhere in the universe outside the United States and Canada;

(iii) Theatrical exhibition anywhere in the universe;

(iv) Supplemental Market exhibition anywhere in the universe;

(v) Basic Cable exhibition anywhere in the universe,

as to each such medium in which the motion picture is so exhibited, Producer will pay, and Stunt Performer will accept as payment in full, the minimum additional compensation provided therefor in the Screen Actors Guild Codified Basic Agreement or Television Agreement, as the case may be, except as compensation in excess of such minimum, if any, has been provided in this Agreement.

9. CONTINUOUS EMPLOYMENT AND RIGHT TO ROLE (when applicable): If Stunt Performer portrays a role or has dialogue, Stunt Performer shall be entitled to “continuous employment” and “Right to Role,” if any, only to the extent prescribed by the Screen Actors Guild Codified Basic Agreement. Stunt Performer shall receive a separate contract for such services.

10. MOTION PICTURE AND TELEVISION FUND: Stunt Performer (does) (does not) hereby authorize Producer to deduct from the compensation hereinabove specified an amount equal to percent of each installment of compensation due Stunt Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Fund of America, Inc.

11. WAIVER: Stunt Performer may not waive any provision of the Screen Actors Guild Codified Basic Agreement of Television Agreement, whichever is applicable, without the written consent of the Screen Actors Guild, Inc.

12. SIGNATORY: Producer makes the material representation that either it is presently a signatory to the Screen Actors Guild collective bargaining agreement covering the engagement contracted for herein, or that the Motion Picture is covered by such collective bargaining agreement under the “Independent Production” provisions (Section 24) of the General Provisions of the Screen Actors Guild Codified Basic Agreement.

Signing of this Agreement in the spaces below signified acceptance by Producer and Stunt Performer of all of the above terms and conditions hereof and attached hereto, if any, as of the date specified above.

PRODUCER ____________________STUNT PERFORMER_______________________

BY_______________________________

Production time reports and/or time cards are available on the set at the beginning and end of each day, which

reports and/or time cards shall be signed or initialed by Stunt Performer and must indicate any agreed stunt adjustments.

NOTICE TO STUNT PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS AGREEMENT FOR

YOUR PERMANENT RECORDS.

THE PERFORMER MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

DAILY CONTRACT
(DAY PERFORMER)
FOR THEATRICAL MOTION PICTURES

The employment is subject to all of the provisions and conditions applicable to the employment of DAY PERFORMER contained or provided for in the PRODUCER-SCREEN Actors Guild Codified Basic Agreement as the same may be supplemented and/or amended.

The performer does hereby authorize the Producer to deduct from the compensation hereinabove specified an amount equal to per cent of each installment of compensation due the Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Relief Fund of America, Inc.

Special Provisions:

PRODUCER __________________PERFORMER ______________________

BY____________________________________

Production time reports are available on the set at the end of each day. Such reports shall be signed or initialed by the Performer.

Attached hereto for your use is Declaration Regarding Income Tax Withholding.

NOTICE TO PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS CONTRACT FOR YOUR PERMANENT RECORDS.

THE PERFORMER MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

SCREEN ACTORS GUILD
MINIMUM FREE LANCE CONTRACT
FOR THEATRICAL MOTION PICTURES

Continuous Employment—Weekly Basis—Weekly Salary One Week Minimum Employment

THIS AGREEMENT, made this day of , 19 , between , hereafter called “Producer,” and , hereafter called “Performer.”

1. PHOTOPLAY, ROLE, SALARY AND GUARANTEE. Producer hereby engages Performer to render services as such in the role of , in a photoplay, the working title of which is now , at the salary of $ per “studio week” (Schedule B Performers must receive an additional overtime payment of four (4) hours at straight time rate for each overnight location Saturday). Performer accepts such engagement upon the terms herein specified. Producer guarantees that it will furnish Performer not less than week’s employment (if this blank is not filled in, the guarantee shall be one week). Performer shall be paid pro rata for each additional day beyond guarantee until dismissal.

2. TERM: The term of employment hereunder shall begin on

on_______________

on or about*_____________

and shall continue thereafter until the completion of the photography and recordation of said role.

3. BASIC CONTRACT. All provisions of the collective bargaining agreement between Screen Actors Guild, Inc. and Producer, relating to theatrical motion pictures, which are applicable to the employment of the Performer hereunder, shall be deemed incorporated herein.

4. PERFORMER’S ADDRESS. All notices which the Producer is required or may desire to give to the Performer may be given either by mailing the same addressed to the Performer at or such notice may be given to the Performer personally, either orally or in writing.

5. PERFORMER’S TELEPHONE. The Performer must keep the Producer’s casting office or the assistant director of said photoplay advised as to where the Performer may be reached by telephone without unreasonable delay. The current telephone number of the Performer is .

6. MOTION PICTURE AND TELEVISION RELIEF FUND. The Performer does hereby authorize the Producer to deduct from the compensation hereinabove specified an amount equal to per cent of each installment of compensation due the Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Relief Fund of America, Inc.

7. FURNISHING OF WARDROBE. The (Producer) (Performer) agrees to furnish all modern wardrobe and wearing apparel reasonably necessary for the portrayal of said role; it being agreed, however, that should so-called “character” or “period” costumes be required, the Producer shall supply the same. When Performer furnishes any wardrobe, Performer shall receive the cleaning allowance and reimbursement, if any, specified in the basic contract.

Number of outfits furnished by Performer___ @ $____

(formal)_______ @ $________

* The “on or about” clause may only be used when the contract is delivered to the Performer at least seven days before the starting date. See Codified Basic Agreement, Schedule B, Schedule C, otherwise a specific starting date must be stated.

8. ARBITRATION OF DISPUTES. Should any dispute or controversy arise between the parties hereto with reference to this contract, or the employment herein provided for, such dispute or controversy shall be settled and determined by conciliation and arbitration in accordance with the conciliation and arbitration provisions of the collective bargaining agreement between the Producer and Screen Actors Guild relating to theatrical motion pictures, and such provisions are hereby referred to and by such reference incorporated herein and made a part of this Agreement with the same effect as though the same were set forth herein in detail.

9. NEXT STARTING DATE. The starting date of Performer’s next engagement is.

10. The Performer may not waive any provision of this contract without the written consent of Screen Actors Guild, Inc.

11. Producer makes the material representation that either it is presently a signatory to the Screen Actors Guild collective bargaining agreement covering the employment contracted for herein, or that the above-referred-to photoplay is covered by such collective bargaining agreement under the Independent Production provisions of the General Provisions of the Screen Actors Guild Codified Basic Agreement as the same may be supplemented and/or amended.

IN WITNESS WHEREOF, the parties have executed this agreement on the day and year first above written.

PRODUCER _____________________PERFORMER________________________

BY_________________ Social Security No._____________

Production time reports are available on the set at the end of each day, which reports shall be signed or initialed by the Performer.

Attached hereto for your use are the following: (1) Declaration Regarding Income Tax Withholding (“Part Year Employment Method of Withholding”) and (2) Declaration Regarding Income Tax Withholding. You may utilize the applicable form by delivering same to Producer. Only one of such forms may be used.

NOTICE TO PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS CONTRACT FOR YOUR PERMANENT RECORDS.

SCREEN ACTORS GUILD

STUNT PERFORMER’S
DAILY CONTRACT
FOR THEATRICAL MOTION PICTURES

THE ARTIST MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

1. DESCRIPTION OF SERVICES: Producer hereby engages Stunt Performer to render services as___________. Stunt Performer accepts such engagement upon the terms herein specified.

2. TERM/GUARANTEE: Producer guarantees to furnish Stunt Performer not less than_____ days engagement. If this space is not filled in, the guarantee shall be one (1) day.

3. STUNT ADJUSTMENTS: It is understood that the rate of compensation specified may be adjusted depending upon the nature of the stunt activities Producer may require. If so, a stunt adjustment will be agreed upon between the parties through good faith bargaining and said adjustment shall be noted on Stunt Performer’s daily time report or time card. The parties shall agree upon the compensation to be paid before the stunt is performed if they may readily do so; however, it is expressly agreed that production shall not be delayed for the purpose of first determining the compensation for a stunt. Such adjustment shall increase Stunt Performer’s compensation for the day in the manner prescribed in Schedule H of the Screen Actors Guild Codified Basic Agreement.

4. INCORPORATION OF PRODUCER-SCREEN ACTORS GUILD COLLECTIVE BARGAINING AGREEMENT: All provisions of the Screen Actors Guild Codified Basic Agreement and Television Agreement as the same may be supplemented and/or amended to date shall be deemed incorporated herein. Stunt Performer’s engagement shall be upon the terms, conditions and exceptions of said provisions applicable to the rate of compensation and guarantee specified.

5. RIGHTS: Producer shall have the unlimited right throughout the universe and in perpetuity to exhibit the Motion Picture in all media, now or hereafter known, and Producer, as employer-for-hire of Stunt Performer, shall own all rights in the results and proceeds of Stunt Performer’s services hereunder.

6. ADDITIONAL COMPENSATION: If the Motion Picture covered hereby is exhibited, containing any of the results and proceeds of Stunt Performer’s services hereunder, in any of the following media:

(I) “Free” television reruns in the United States or Canada, or both;

(ii) Television exhibition anywhere in the universe outside the United States and Canada;

(iii) Theatrical exhibition anywhere in the universe;

as to each such medium in which the motion picture is so exhibited, Producer will pay, and Stunt Performer will accept as payment in full, the minimum additional compensation provided therefor in the Screen Actors Guild Codified Basic Agreement, except as compensation in excess of such minimum, if any, has been provided in this Agreement.

7. CONTINUOUS EMPLOYMENT AND RIGHT TO ROLE (when applicable): If Stunt Performer portrays a role or has dialogue, Stunt Performer shall be entitled to “continuous employment” and “Right to Role,” if any, only to the extent prescribed by the Screen Actors Guild Codified Basic Agreement. Stunt Performer shall receive a separate contract for such services.

8. MOTION PICTURE AND TELEVISION FUND: Stunt Performer (does) (does not) hereby authorize Producer to deduct from the compensation hereinabove specified an amount equal to percent of each installment of compensation due Stunt Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Fund of America, Inc.

9. WAIVER: Stunt Performer may not waive any provision of the Screen Actors Guild Codified Basic Agreement of Television Agreement, whichever is applicable, without the written consent of the Screen Actors Guild, Inc.

10. SIGNATORY: Producer makes the material representation that either it is presently a signatory to the Screen Actors Guild collective bargaining agreement covering the engagement contracted for herein, or that the Motion Picture is covered by such collective bargaining agreement under the “Independent Production” provisions (Section 24) of the General Provisions of the Screen Actors Guild Codified Basic Agreement.

Signing of this Agreement in the spaces below signified acceptance by Producer and Stunt Performer of all of the above terms and conditions hereof and attached hereto, if any, as of the date specified above.

PRODUCER ________________STUNT PERFORMER___________________

BY__________________________

Production time reports and/or time cards are available on the set at the beginning and end of each day, which reports and/or time cards shall be signed or initialed by Stunt Performer and must indicate any agreed stunt adjustments.

NOTICE TO STUNT PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS AGREEMENT FOR

YOUR PERMANENT RECORDS.

SCREEN ACTORS GUILD

STUNT PERFORMER’S
DAILY CONTRACT
FOR THEATRICAL MOTION PICTURES

THE ARTIST MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

1. DESCRIPTION OF SERVICES: Producer hereby engages Stunt Performer to render services as________________. Stunt Performer accepts such engagement upon the terms herein specified.

2. TERM/GUARANTEE: Producer guarantees to furnish Stunt Performer not less than_____days____ engagement. If this space is not filled in, the guarantee shall be one (1) day.

3. STUNT ADJUSTMENTS: It is understood that the rate of compensation specified may be adjusted depending upon the nature of the stunt activities Producer may require. If so, a stunt adjustment will be agreed upon between the parties through good faith bargaining and said adjustment shall be noted on Stunt Performer’s daily time report or time card. The parties shall agree upon the compensation to be paid before the stunt is performed if they may readily do so; however, it is expressly agreed that production shall not be delayed for the purpose of first determining the compensation for a stunt. Such adjustment shall increase Stunt Performer’s compensation for the day in the manner prescribed in Schedule H of the Screen Actors Guild Codified Basic Agreement.

4. INCORPORATION OF PRODUCER-SCREEN ACTORS GUILD COLLECTIVE BARGAINING AGREEMENT: All provisions of the Screen Actors Guild Codified Basic Agreement and Television Agreement as the same may be supplemented and/or amended to date shall be deemed incorporated herein. Stunt Performer’s engagement shall be upon the terms, conditions and exceptions of said provisions applicable to the rate of compensation and guarantee specified.

5. RIGHTS: Producer shall have the unlimited right throughout the universe and in perpetuity to exhibit the Motion Picture in all media, now or hereafter known, and Producer, as employer-for-hire of Stunt Performer, shall own all rights in the results and proceeds of Stunt Performer’s services hereunder.

6. ADDITIONAL COMPENSATION: If the Motion Picture covered hereby is exhibited, containing any of the results and proceeds of Stunt Performer’s services hereunder, in any of the following media:

(I) “Free” television reruns in the United States or Canada, or both;

(ii) Television exhibition anywhere in the universe outside the United States and Canada;

(iii) Theatrical exhibition anywhere in the universe;

as to each such medium in which the motion picture is so exhibited, Producer will pay, and Stunt Performer will accept as payment in full, the minimum additional compensation provided therefor in the Screen Actors Guild Codified Basic Agreement, except as compensation in excess of such minimum, if any, has been provided in this Agreement.

7. CONTINUOUS EMPLOYMENT AND RIGHT TO ROLE (when applicable): If Stunt Performer portrays a role or has dialogue, Stunt Performer shall be entitled to “continuous employment” and “Right to Role,” if any, only to the extent prescribed by the Screen Actors Guild Codified Basic Agreement. Stunt Performer shall receive a separate contract for such services.

8. MOTION PICTURE AND TELEVISION FUND: Stunt Performer (does) (does not) hereby authorize Producer to deduct from the compensation hereinabove specified an amount equal to percent of each installment of compensation due Stunt Performer hereunder, and to pay the amount so deducted to the Motion Picture and Television Fund of America, Inc.

9. WAIVER: Stunt Performer may not waive any provision of the Screen Actors Guild Codified Basic Agreement of Television Agreement, whichever is applicable, without the written consent of the Screen Actors Guild, Inc.

10. SIGNATORY: Producer makes the material representation that either it is presently a signatory to the Screen Actors Guild collective bargaining agreement covering the engagement contracted for herein, or that the Motion Picture is covered by such collective bargaining agreement under the “Independent Production” provisions (Section 24) of the General Provisions of the Screen Actors Guild Codified Basic Agreement.

Signing of this Agreement in the spaces below signified acceptance by Producer and Stunt Performer of all of the above terms and conditions hereof and attached hereto, if any, as of the date specified above.

PRODUCER _____________STUNT PERFORMER_____________

BY__________________________

Production time reports and/or time cards are available on the set at the beginning and end of each day, which reports and/or time cards shall be signed or initialed by Stunt Performer and must indicate any agreed stunt adjustments.

NOTICE TO STUNT PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS AGREEMENT FOR

YOUR PERMANENT RECORDS.

 

THE PERFORMER MAY NOT WAIVE ANY PROVISION OF THIS CONTRACT WITHOUT THE WRITTEN CONSENT OF SCREEN ACTORS GUILD, INC.

SCREEN ACTORS GUILD

PERFORMER CONTRACT FOR INTERACTIVE PROGRAM

THIS AGREEMENT covers the employment of the above-named Performer (signatory company name):________________________ in the production and at the rate of compensation set forth above and its subject to and shall include, for the benefit of the Performer and Producer, all of the applicable provisions and conditions contained or provided for in the applicable Screen Actors Guild Interactive Media Agreement.

Producer shall have all the rights in and to the results and proceeds of the Performer’s services rendered hereunder, as are provided in the applicable SAG Interactive Media Agreement.

Production time reports are available on the et at the end of each day, which reports shall be signed or initialed by the Performer.

NOTE TO PERFORMER: IT IS IMPORTANT THAT YOU RETAIN A COPY OF THIS CONTRACT FOR YOUR PERMANENT RECORDS

SCREEN ACTORS GUILD THEATRIAL & TELEVISION SIGN-IN SHEET

 

SCREEN ACTORS GUILD

CASTING DATA REPORT

INSTRUCTIONS

---

(After reading the following, if you have any further questions, please call 213/549-6644.) (For your convenience, our fax number is 213/549-6647.)

1. Indicate the name of the signatory Production Company (e.g., “THE ABC COMPANy”).

2. Indicate the quarter/year when principal photography was completed (e. g., “1st quarter 1981”). Make one report only for full project even though it might span more than one quarter.

The quarters consist of: January -March (1st)

April -June (2nd)

July -September (3rd)

October -December (4th)

3. Indicate the name of the film for which you are reporting.

4. Indicate the type of project (feature, television movie, television pilot, television series, animation.

5. Use a number to respond to this question.

6. Indicate the name of person completing this form and the telephone number for same.

7. Two separate reports are required, one for Performers only and one for Stunt Performers only. If there were no Stunt Performers employed on the film, check the “No Stunt” box. If Stunt Performers were employed, complete the casting data report form for Stunt Performers.

8. Part I. Indicate the total number of lead and supporting Performers in each of the applicable categories. Series performers column is provided for episodic TV shows only. Daily column is for daily contract & 3-day contract performers only. Weekly column is for weekly contract and run-of-the-picture performers. A day contract performer upgraded to a weekly contract performer in a drop/pick-up situation should be listed in the weekly column (do not count the performer twice).

9. Use numbers only to indicate the total number of Performers in the category.

10. Use numbers only to indicate the total number of days worked by ALL Performers in the category. (Include all days paid for including hold, rehearsal days, etc.)

11. Use numbers only to indicate how many Performers were in each age group.

12. Part II. Indicate the total number of males and females in each category.

13. Use number only to indicate the total number of days worked by ALL the Performers in male and female category.

14. Use numbers only to indicate how many Performers were in each age group.

**NOTE: PLEASE MAKE EVERY EFFORT TO INSURE THAT YOUR NUMBERS CORRESPOND ACROSS AND AMONG PART I AND PART II.**

 

SCREEN ACTORS GUILD

SCREEN ACTORS GUILD

LOW-BUDGET AFFIRMATIVE ACTION

INSTRUCTIONS

1. Indicate the Production Company (e. g., “THE ABC COMPANY”).

2. Indicate the quarter/year (e. g., “1st quarter 1981”).

The quarters consist of: January – March (1st)

April – June (2nd)

July – September (3rd)

October – December (4th)

3. Indicate the name of the film for which you are reporting.

4. Indicate the type of project (feature, television movie, television pilot, television series, animation).

5. Use a number to respond to this question.

6. Indicate the name of person completing this form and the telephone number for same.

7. Two separate reports are required, one for Performers only and one for Stunt Performers only. If there were no Stunt Performers employed on the film, check the “No Stunt” box. If Stunt Performers were employed, complete the casting data report form for Stunt Performers.

8. Part I. Indicate the total number of lead and supporting Performers in each of the applicable categories.

9. Use numbers only to indicate the total number of Performers in the category.

10. Use numbers only to indicate the total number of days worked by ALL Performers in the category.

11. Use numbers only to indicate how many Performers were in each age group.

12. Part II. Indicate the total number of males and females in each category.

13. Use number only to indicate the total number of days worked by ALL the Performers in male and female category.

14. Use numbers only to indicate how many performers were in each age group.

**NOTE: PLEASE MAKE EVERY EFFORT TO INSURE THAT YOUR NUMBERS CORRESPOND ACROSS AND AMONG PART I AND PART II.

SCREEN ACTORS GUILD
MEMBER REPORT
ADR THEATRICAL/TELEVISION

It is the responsibility of the reporting member to file a copy of this report with the Screen Actors Guild within forty-eight (48) hours of each session and to deliver a copy to the employer or the employer’s representative at the conclusion of each session. If there is a contractor, he shall assume these responsibilities with respect to each session.