1. Eliminate all outdated geographical zones.
SAG will finally become a national Union for Background Actors when it eliminates all geographical zones (a hangover from the now defunct "Screen Extras Guild" [SEG]). Right now, Production companies can avoid hiring SAG Background Actors in many geographical areas (see the map on the front page). Currently SAG Background only covers a 75 miles radius around Los Angeles and a 300 miles radius around New York City, plus a few other dots on the map. An example, if shooting a feature on the Las Vegas strip, the first 50 Background have to be SAG. If shooting away from the Las Vegas strip, no SAG Background are required to be hired. A recent production there "Transformers" did this, along with many others before that.

2. Increase or abolish the outdated "Quota System" (Section 1).
Currently it's easier for Non-Union to get Background work. That is wrong and it's because of the outdated "Quota System" (another hangover from the old SEG). Currently this is 20 SAG for TV, 50 SAG for Features in the West Coast zones (different in the New York geographical zone). This should be upped as soon as possible to 50 for TV and 100 for Features nationwide, at least. If a feature is shooting in, say, Boise Idaho then Production may have a tough time finding 100 SAG Background locally. As long as a concerted effort is made to hire 100 SAG (including national advertising), then the Production may hire Non-Union to make up the numbers. But Production will have to be able to prove to SAG that they tried very hard to hire SAG, with copies of their advertisements etc. Or, less likely to happen, the "Quota System" should be abolished entirely, and Production would have to hire as many SAG as they could that fit the roles.

3. Abolish "Payola". Provide equal access to all Background work.
A new SAG rule should be that ALL Background jobs should be advertised by Casting Agencies, either on their hotlines or their websites. Currently, a lot of Casting Agencies (especially Central Casting) just pass the majority of jobs on to Calling Services who only give the jobs to paid members. This then excludes all those actors who haven't paid the Calling Service. This is a very unfair system and is being referred to as "Payola". This new rule would level the playing field and allow all SAG actors EQUAL ACCESS TO ALL JOBS. Some have suggested that SAG take over the role of Casting all SAG affiliated TV/Film roles. However this would eliminate the Casting Directors and you can imagine how they would feel about this. Let's at least abolish "Payola" first and then take it from there.

In fact, if you look at SAG Section 21c "Hiring", all Calling Services are currently illegal.
"(c) No fee, gift or other remuneration shall be demanded or accepted by any person having authority to hire, employ or direct services of Background Actors"

4. Abolish the fines levied by Production Companies against Casting Directors who hire SAG Actors.
This is a little known fact to most Background Actors. If a Casting Director hires SAG Actors above the quota limit (20 TV, 50 Film in the West Coast zones, more in New York zone), then the Production Company will levy monetary penalties against the Casting Director for each Actor over the limit. Here's a true-life example. A Non-Union Background Actor is hired for 6 weeks to do a SAG TV pilot. In the middle of the pilot, they get a Taft-Hartley which is their 3rd SAG voucher. They then apply to join SAG, but the Casting Director hearing of this says "I'm sorry, if you join SAG, I will have to let you go as I will be over the SAG quota and the Production Company will fine me for each day that you work as SAG". This is ridiculous and should be outlawed by SAG in all future contracts. Casting Directors should be encouraged to hire SAG Actors and not discouraged.

5. Night Premium for all.
The New York zone's Background actors get a 10% or 20% night premium, depending on the hours worked. The rest of the SAG background zones don't. This should be extended to include the whole country. Again, let's make SAG a national Union!

6. Weekly Background Rate (Section 3).
Principals and Stunts have it, so why not Background? For Principals the minimum weekly rate is $2,557 and for Stunts it is $2,746. This means $511.40 for Principals pro-rated per day or 70% of normal pay. I don't think Background wants quite that reduction in pay. But how about a 5% reduction if employed for a whole week = $599 instead of $630 (5 x $126) base pay. You would forego the $31 just to get 5 days straight work, wouldn't you?

7. Direct Deposit of Paychecks.
Have you ever had a Background paycheck go astray in the mail? We know of a SAG Background Actor who had a total of 6 paychecks lost in the mail. You can get a replacement, but you have to wait a week before they'll cut another check, and then another few days while it is in the mail. Meanwhile you have bills that need to be paid right away. In this day and age, direct deposit into your bank account would be welcomed by most actors, especially if you have an AFTRA/SAG Federal Credit Union account. It would save Production postage and mailing costs and save the actor a trip to their bank each time. The details of tax deductions etc. could be emailed or posted online with a password access. Late fees could be eliminated for any efficient Production Company. Of course, Production would fight this, as every day the checks are still out there and not deposited or cashed means more interest in their bank account. All future SAG contracts should have a provision where Background Actors can check a box on their SAG voucher for direct deposit of their paycheck for that day.

8. SAG Foreman on every set.
On each and every set, a SAG "Foreman" would be appointed by SAG, regardless of the number of Background in the call. The Foreman's job would be just like the same union job in a factory or other workplace. He/She would be the go-between between Production and SAG. The Foreman would try to resolve any disputes or grievances that arise on the set. No SAG Background actor could complain about anything on the set without going to the Foreman first. SAG would set up a "Foremen Department" at their Headquarters where Foremen could call in from the set and disputes or grievances could be dealt with promptly and fairly. Someone at SAG would always be in the Foremen Department to answer Foremen's phone calls. Foremen would create a 'log" on each set where all disputes and grievances would be written down, plus how they were resolved or not. These logs would then be reviewed by SAG Headquarters periodically so that possible adjustments could be made in any future contracts with Production Companies to the benefit of all SAG members.

9. Abolish "NDB" (Section 8) and "Grace".
Currently NDB (Non-deductible Breakfast) is abused by Production to get more hours out of Background Actors. It was originally supposed to get the Background Call time synchronized with the Crew Call time. Why can't everyone have the same Call time? Yes, Crew has to set up the first scene when they arrive on the set. But Background also has things to do - checking in, wardrobe, props, hair, make-up etc. So, just abolish NDB and have done with it. The 12 minutes Grace period was supposed to allow a camera that was still rolling to finish. It's now used by Production to avoid paying meal penalties. Often, it is never "Called" like it is supposed to be. Often the camera starts rolling after the start of the "Grace" period. If Production can't get a lot of good filming done in 6 straight hours, then there is something wrong with them. When the Director gets to the 5 3/4 hours mark, surely they can judge if they have time to do the next scene without running into meal penalties or not. If in doubt and worried about the cost of meal penalties, then why not just call lunch at 5 3/4 hours?

10. Update the handling of Monetary Claims.
Currently, when a SAG member files a claim for upgrades, bumps not paid, late fees etc., they can't track the progress without making several phone calls. A new rule would allow a claim to be filed online (instead of by fax or snail mail) and give each one a claim number, The SAG member filing the claim could then track the claim online at the SAG website by entering their ID and password and the claim number. This would save an awful lot of phone calls and frustration.

11. Strictly enforce with punitive fines, SAG Section 21b of Casting Agencies not hiring their own staff or relatives for SAG work.
This is much abused right now. SAG should keep on file a full updated list of names of all full-time and part-time staff (and their closest relatives) who work for any SAG-affiliated Casting Agency. This should also apply to non-affiliated Calling Services until they are phased out. Any Agency that violates Section 21b would have stiff fines imposed upon them. Has anyone ever heard of a Casting Agency being admonished by SAG for violating Section 21b? Each SAG day worked by SAG members are kept on the SAG computer, so it shouldn't be too difficult to check the Casting Agencies names against the computer, say on a monthly basis. Fines would increase dramatically with each new violation, culminating in ending their SAG affiliation after the third violation. A printed list of fines that SAG would levy (when Section 21b is violated) should be sent to all Casting Agencies.

SAG Section 21b "Hiring":
"(b) No person who is currently on the payroll of the Producer or any of its hiring, casting, or payroll agencies, will be engaged or utilized as a Background Actor in any picture on which they also render services"

12. Travel Allowance (Section 6).
Currently under Section 6 (also mentioned in Section 18), the SAG Travel Allowance is 30 cents per mile from the Production Office to the set. This hasn't been increased in years, despite the ever escalating cost of gas. The standard car mileage reimbursement rate set by the IRS for the 2006 Tax Year is 44.5 cents per mile! The SAG Travel Allowance of 30 cents per mile should be increased immediately to 44.5 cents per mile (the IRS rate) and then pegged to the IRS rate from thereon. This is the fairest way to do it.

13. Overtime Pay (Section 9).
Currently, West Coast zone SAG Background Actors get Time-and-a-half after 8 hours and Double time after 12 hours. New York zone SAG and California Non-Union Background Actors get Time-and-a-half after 8 hours and Double time after 10 hours. Overtime pay needs to be the same nationwide. Equal pay for equal work - Time-and-a-half after 8 hours and Double time after 10 hours EVERYWHERE IN THE USA on SAG affilated TV/Film work.

14. Complaints against other SAG members.
Currently, there is no special form to file a complaint against another SAG member, for say unprofessional conduct on the set. Only a regular Monetary Claims form is used right now and no entries are made into the SAG computer against a person's name to say that a complaint has been filed, or even how it was resolved. A better system needs to be put in place, including a specific form. I am sure the AFL/CIO could assist SAG in developing an acceptable system to members. A Foreman on the set (as outlined in Proposal 8) would greatly assist in the settling of any complaints. For example, he could say to the offending SAG member on the set "Don't do that again or I will have to file a complaint against you with SAG". Hopefully, the majority of these complaints could be settled on the set by the SAG foreman and the actual filing of them could be kept to a minimum. But first, we need SAG foreman on every set.

15. Abolish "Food Apartheid" and the "Food Police". Equal access to all Food and Drink on the set.
This proposal applies more to Non-Union Background Actors, as SAG eats with Crew, although many Caterers and some small Production Companies are still unaware of this. We've all seen and watched the antics (sometimes comical) of the "Food Police" and what we call "Food Apartheid" being practiced on the set. By this, we mean different meals and snacks for the Crew, SAG and Non-Union, and Caterers who act like Policemen preventing access to food and drink. Some even go to great lengths to hide Craft Services from Background. For example, placing it behind the Director's chair and then forbidding Background Actors access to that area. SAG should pass a non-binding resolution stating "We are all human beings with the same physical needs for nourishment. Everyone employed on the set of a SAG-Affiliated Production, regardless of their payscale or Union or Non-Union affiliation, shall have EQUAL ACCESS to all food and drink supplied by the Production.". SAG should encourage other Unions to pass the same resolution.

16. Require all AD's and PA's to be educated by SAG about filling out SAG vouchers. (Suggested by a SAG Background viewer of this website).
Who signs your SAG voucher at the end of the work day? It's supposed to be an Assistant to the Director (AD), but often it's a Production Assistant (PA). How many times have you come across AD's or PA's who don't know basic things such as "Smoke Pay", or "Wet Pay", or "Meal Penalties" or even "Travel Allowance" etc? Or even AD's or PA's who think the work finish time is the same as the "wrap time". It's not, it's after you have have checked in your wardrobe and props which is after the "wrap time". Let's be understanding of AD's and PA's though. It's not really their fault, after all they don't belong to SAG, in fact PA's are Non-Union and AD's belong to a different union, the Directors Guild of America (DGA). PA's also get lousy pay and work very long hours and have AD's shouting in their ears all day with multiple instructions over their radios. It's a tough life being a PA. However, as part of their training, how about SAG instructing all AD's and PA's at SAG Headquarters in a detailed class on how to fill out SAG vouchers so as to accurately reflect all "Bumps", work times etc? SAG should request that the DGA require all PA's to attend a mandatory SAG Voucher Class before the PA's can apply to join the DGA? (PA's are eligible after they have completed 600 days as a PA). If enacted, this new rule would also alleviate a lot of claims filed by SAG members for inaccurate SAG vouchers and therefore reduce the workload for SAG Headquarters staff and save on the hiring of new staff. It's a win/win proposal.

17. Replace the outdated and corrupt voucher system to join SAG.
There is a lot of corruption right now when it comes to the voucher system. Three Taft-Hartley vouchers (or a Principal role) and you can join SAG. This creates all kinds of scams. SAG vouchers are being sold openly on the internet. Yes that's right, one Craigslist ad recently offered them for $350. The ad was quickly suppressed, but it just proves that it still goes on. Many Casting Agencies "hire" interns to work in their offices for no pay, but dangle a SAG voucher in front of them instead. Many take the bait. It's illegal of course, but try proving it. Then there's PA's who write their names on SAG vouchers when a SAG background actor is a no-show for that day. Can't blame the PA's though, they get rotten pay and long hours. Still, it is illegal. Then there's the old time casting couch routine - sleep with the Casting Director and get a SAG voucher. Sleep with the Casting Director 3 times and you can join SAG. What a racket! One way to stop (or dramatically lower) the corruption would be to keep the 3 voucher system, but also require that 400 days would have to be worked as Non-Union before being eligible to join SAG. Hey, PA's are required to work 600 days Non-Union before they can join the DGA. Maybe there's some corruption about joing the DGA, but you don't ever hear about it do you, so maybe there isn't any. Anyway, it stands to reason that an actor should have some experience before joining SAG. 400 days is probably less than 2 years of work for the average background actor, not too much to ask for a "trainee" is it?

18. Shaved Head Allowance. (Suggested by a SAG Background viewer of this website).
If you have a normal head of hair and you are required to shave your head for a role, then that lowers your chances of being hired again on another production until your hair grows out to what it looks like in the photos you have previously submitted to any Casting Agencies. Sande Alessi, the Casting Agency for "Pirates of the Caribbean 3" recently offered a $50 allowance for Background Actors who shave their heads. A precedent has now been set, so the allowance should be $50 per day.

19. Increase the daily Car Allowance for luxury and antique cars. (Suggested by a SAG Background viewer of this website).
Introduce a new scale that would pay a higher rate for luxury cars and antique cars. The current $35 allowance is inadequate and nowhere near the current outside daily rental rates for these type of vehicles. Suggested allowances - Cars over 75 years old - $100. Cars 50 to 75 years old - $85. Cars 25 to 50 years old - $65. Modern Luxury Cars - $65. All other cars - $50.

20. Reduce the payscale for an "Under 5".
This suggestion will be controversial. But we think the rate paid to a Principal for 5 lines and under should be reduced from the current $737 daily rate to say a $450 daily rate (or similar to AFTRA pay scales). But only for "Under 5", everything else above 5 lines would stay the same rate. This would allow a Director to be more creative (by adding lines) and we think many more Background would be upgraded to Principal if this was enacted. Currently, we think Directors are held back by the cost of adding lines to a script. Just one spoken word means an extra $611 base pay for Production to pay per person per day. Let's make it easier for them and enable more Background to get lines at the same time. We would all like to build our Principal Resumes wouldn't we? This new provision could also be used as a bargaining chip with Production to get the other proposals on this list enacted.