Acting Lessons Learned with Tiwana Floyd

128. Consequences of a Hollywood Strike Revealed

• Tiwana Floyd • Season 1 • Episode 128

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Defending Creative Livelihood: The Fight Against AMPTP's Proposal and Understanding the Impact of a Hollywood Strike

Imagine a world where executives own the likeness of background performers for eternity without consent or compensation. This is the chilling future we could face if the AMPTP Alliance of Motion Picture and Television Producers have their way. I'm TIwana Floyd, and during this episode, I'll shed light on the significance of SAG AFTRA's solidarity with the WGA in their fight against this dystopian proposal. We'll discuss how a strike, akin to the writer's strike of 2007, will not just impact actors but also have far-reaching consequences for the global economy. And we will address the uninformed objections from non-industry folks about actors' earnings and the need for us to stand together in this battle.

But the world of acting isn't just about strikes and struggles. It's also about the investment actors make towards their craft, from headshots to subscription websites, and the professional image they maintain for auditions. We'll explore the financial implications of the SAG-AFTRA strike, including how withholding performance from struck employers can affect the industry. As we navigate this tumultuous period, I'll share tips on supporting our show, preserving our professional images, and joining the fight for creative livelihood. Let's embark on this journey together and remember to tune into Actor Business School on YouTube for more insights into the world of acting.

*Links For Financial Assistance
CalFresh - https://benefitscal.com 
entertainment community fund - https://entertainmentcommunity.org
sag-aftra foundation - https://sagaftra.foundation
*must qualify for each

Acting Lessons Learned is Produced, Written, Recorded, Engineered and Edited by Tiwana Floyd
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Tiwana Floyd:

Welcome back to Acting Lessons Learned. I'm Tiwana Floyd and I share personal experiences of the lessons I've learned and still learning as a working actor in Los Angeles. It's official SAG AFTRA has joined the WGA, the rightest field of America in fighting for our creative livelihood against the AMPTP Alliance of Motion Picture and Television Producers. This is a significant event, as the last time SAG AFTRA then known as SAG and the WGA went on strike together was back in 1960. And the goal back then was to obtain residuals. Can you imagine? I don't know how actors were able to support themselves without residuals, but I am so grateful for those who fought for us back then and I am happy to be in solidarity with SAG AFTRA and the WGA for this critical negotiation. If you haven't already, listen to Episode 124, life After Strike, where I talked about how I survived my first writer strike in 2007 and predicted that we'd join the writers in the current strike when our contract ended on June 30th. Not because I'm clairvoyant, but because of the invention of AI and how the producers want to utilize emotionless software to replace us and take away our ability to earn a living, to feed and support our families just to live. One example of how the executives want to use AI was shared by SAG AFTRA's chief negotiator, duncan Crabtree, ireland. Duncan stated the executives had proposed that our background performer should be able to be scanned, get paid for one day's rate, and the executives' company should own that scan, their image, their likeness, and should be able to use it for the rest of eternity in any project they want, with no consent and no compensation. This is a terrifying notion. So, yeah, we're out here. We have to strike and fight for our image and likeness and fair wages.

Tiwana Floyd:

Now, I can't call what I'm about to say a prediction. It's simply foreshadowing based on history repeating itself. But we, meaning the United States, may need to brace ourselves for a pending financial crisis. One, because we are already in debt, having yet to rebound from the negative financial impact of the pandemic fully. And two, if Hollywood goes on strike, it's not just the people residing in Los Angeles who will feel the effect. Just like the writer strike of 2007 was felt worldwide, so shall be this one.

Tiwana Floyd:

Hollywood is a significant contributor to the world's economy. Pre-pandemic. In 2020, hollywood contributed $504 billion to the US GDP. The US and media entertainment industry accounts for 6.9% of the total US GDP. There were 1.4 million Americans employed in the media and entertainment industry in 2022. Now, it's likely not all of this 1.4 million falls under the WGA or SAG after jurisdiction, but I'm betting a high percentage of industry workers are going to tighten their purse strings until production starts again. So when you think of capitalism or consumerism and its impact on the world economy, with a high number of entertainment folks tightening their purse strings, you're right.

Tiwana Floyd:

The result has to affect the world economy adversely, and it's already been rumored that this will be a long strike, as the producers have publicly stated in a variety article that they are willing to starve out writers to the degree of losing their homes, and I'm sure the same holds true for the actor's guilt as well. Although there are so many of us, when we don't go to work, it really is problematic to their bottom line. Now let's consider how consumer spending is the key driver of the economy that fuels economic growth and, without going too deep, the United States dominates the IMF, the International Monetary Fund, which promotes high employment and sustainable economic growth to reduce poverty worldwide. When SAG-AFJA, one of the largest unions in the world, and the WGA pushed Hollywood to cease television production, the impact is felt worldwide. And when we, sag-afja, fight for fair wages and win, our fight helps the plight for smaller unions everywhere. Okay, that was a lot, but I wanted to paint how far reaching a strike can go globally.

Tiwana Floyd:

On another topic, since I'm already seeing posts on social media from let's call them civilians people who don't work in this industry or any union or even own their own business, who are speculating that we actors and writers are greedy, why are we crying for more money when we already make so much money that we should go back to work and just be happy with what we earn? It's the equivalent of fans telling King LeBron to just shut up and dribble. No, you don't get to tell us what to do because you have no idea what we do. Civilians lock the knowledge of the 10 plus years of preliminary work we put in for free before we even get to collective bargaining wage jobs. And if you're an actor getting this uninformed pushback from civilian friends and family, feel free to use this as an argument. But honestly, I don't try to get someone who has no idea what I do to understand my plight when they are committed to being ignorant.

Tiwana Floyd:

I find it futile. Is it futile or futile? I like futile? I think it's futile. Like many actors, my journey started with the courage to even choose the path of creativity. We go against our parents' wishes to earn a safe and stable living, and most creatives walk this journey without their parents' support, which is disheartening to me. Some of my peers are ridiculed the entire time that they are in the pursuit, with passive-aggressive jabs like how's your little acting career going? Or when are you going to make it big? Like fill in the blank celebrity name. Or, as one of my exes once said to me, why are you willing to throw your life away for a pipe dream? I can't keep waiting on you. You know you should go back to school and get a job to fall back on. You're getting older. First of all, I didn't know you were waiting on me. Second of all, that statement was the beginning of our fast approaching end.

Tiwana Floyd:

Now let's go back to discussing the expenses involved in pre-production for our actor journey, and I know I'm preaching to the choir, but I'm just reminding us just in case we forgot what we're fighting for Our initial cost to fund our business, our startup costs, if you will, because as actors, we are essentially entrepreneurs. The sooner we realize this, the better equipped we will be to run our businesses. Hopefully, I hope we are better equipped. The initial entry, the line item on the expense sheet, pertains to training and education. This may include conventional schooling financed through student loans leading to long-term debts lasting 20 to 30 years. Alternatively, it could be non-traditional training that costs $400 to $500 per month with continuous payments until we feel confident in our acting abilities. But do we ever feel confident in our acting abilities? No, we continue to stay in class and pay $400 to $500 a month.

Tiwana Floyd:

Many actors spend a lot of money on marketing I know I do and the largest culprit is headshots. That can cost $500 to $1,000 every six months. Because, aside from our craft, we feel that new headshots are the only thing we can control and we often say things like you know, I need new pictures because the last ones didn't work. However, the last ones didn't work because we didn't take the necessary marketing steps to make them work effectively in our favor. Getting new headshots might feel like it makes a slight difference, but when it doesn't, we feel defeated, when they don't produce more opportunities and I'm not trying to criticize anybody, because I'm batched into that as well and it took me time to learn that, until I thoroughly planned out my headshot sessions, that I could use my photos for years until I changed my look drastically or I switched agents and they wanted new photos. Then we need to factor in the cost of submission sites, which makes everybody pissed, because we have to subscribe to at least two, usually three. So there's actors access, and then there's the two commercial sites that are owned by one software company. How is that even possible? Casting networks and casting frontier, and if we opt for the premium packages, all three could cost around $500 annually.

Tiwana Floyd:

As performers, we incur grooming expenses to maintain a polished appearance that inspires the people who watch us to be like us. This includes haircuts, hair color, manicures, pedicures, gym memberships, well-fitting clothes and up-to-date fashion choices. We invest in these to prepare for auditions before we even land the job. Let's add in transportation costs. Depending on the city, it could either be fuel expenses or maybe a monthly metro card. We pay taxes on various expenses like agent manager fees, we pay rent, food utilities, and all of this can easily be from $5,000 to $20,000 a year. But you know what the most expensive item is on our list? It's time and energy.

Tiwana Floyd:

As aspiring and veteran actors, we spend 10 years chasing our dream and aging during the process, and some of us even sacrifice our personal lives by not taking vacations or attending family functions, all for the possibility of being available for an uncertain opportunity. Now, while we may book the job, it may never air or our work may not make the final cut. Moreover, if we are not regularly booking jobs, we either pay exorbitant health care costs or work soul-sucking jobs just for a working wage and health insurance. The compensation negotiated by SAG-AFTRA is to make sure that we are taken care of when we finally get to the destination of being able to work. Under the collective bargaining agreements, the compensation is determined by the amount of revenue generated from advertising or ticket sales, which amounted to let me go back $504 billion in 2020. Meanwhile, the executives are taking million-dollar incomes.

Tiwana Floyd:

Now, when I book a single national commercial that airs frequently, thanks to residuals, I can use the earnings to pay off any outstanding debt from the previous year, live comfortably in the current year, maintaining good health and energy, to pursue more work and or contribute to my retirement and savings plans. And that's in commercials, and it used to be the case in theatrical, not to the same degree, but now, with streaming. It's damn near impossible to earn a living because there are no residuals, or actually let me take that back the residuals are nominal. So, yeah, this is my tangent and my gripe to all the civilian friends and families who are not even willing to invest in their own creative outlets. But then they want to criticize us for not succeeding.

Tiwana Floyd:

Well, the mere boldness to start is success. To be courageous enough to get up after every unspoken rejection is the success. And once we get to the place when we are working, whether sporadically or regularly, we deserve to be paid well, based on how much money our industry earns. All the creatives deserve to be paid. They're worth and I know I'm getting all upset and I'm talking to you about this as if you're the civilians, but maybe a civilian will be listening and they can be educated on what it is that it takes to fund a career. But you know what? Honestly, let me let this go, because the opinions of non creatives are really truly irrelevant. If they have talent but are too scared to pursue a creative career, why should I be interested in their thoughts?

Tiwana Floyd:

This may sound blunt, but it's not as bad as someone asking me when am I going to make it big or that I'm getting too old or I should go and work for Marvel. I can only speak for myself. But I'm in too deep to turn around now. And even when we have to deal with producers trying to impede on our wages and our livelihoods, I still love what I do, but not to the deficit of earning a living wage Above and beyond, actually. Okay, I've got that off my chest.

Tiwana Floyd:

Back to what I was saying. So the writers have been striking for almost two months and, from what I can see, their endurance is still high. Now, actors, we get to come in as reinforcements to fight the good fight with our combined numbers. We are not going to be railroaded. So now that we are in a strike, the question is does this mean that SAG-AFTRAs can't work anywhere? No, we can work, but we are withholding performing for struck employers, and that includes producer SAG-AFTRA codified basic agreements, sag-aftra television agreements, including new media, special new media agreements, low budget, moderate low budget, ultra low budget agreements, known as LBA, mpa and UPA. That's a list of what we cannot work, but here's a short list of the contracts that are unaffected, meaning you can work, we can still work.

Tiwana Floyd:

Union on-camera commercials, tv network code, which includes daytime serials, also known as SOAPS, variety shows, talk shows, game shows. We can do music videos, union industrials, corporate education, audio books, union approved student films, interactive video games that are not produced by the AMPTP studio, animation, dubbing. You know what? There is a list published on the SAG-AFTRA strikeorg website or you can call SAG-AFTRA and ask the staff member if you are curious or feel confused about anything. The bottom line there is no scabbing in TV and theatrical productions and scabbing means no performing of duties or working for a struck company which is produced by the AMPTP, and any evidence of scabbing can prevent you from becoming a union member in the future. And I'm sure there are some repercussions for union actors who choose to work and scab for producers as well, and I know how tempting it can be.

Tiwana Floyd:

But, sag-aftra members, it is recommended to avoid working on non-union commercials or voiceovers, particularly during the strike, because these contracts, they are essential for maintaining the SAG-AFTRA pension and health, and I didn't forget about you non-union actors. If you're thinking well, this doesn't apply to me. The union won't even let me in. It's important to know this contract is essential for your future as well, including right to work states, regardless of whether you plan to join the union later or not. These projects that are filmed in right to work states fall under SAG-AFTRA's minimums and protections because they are signatories. The negotiations of this contract will establish the foundation for your future earnings, protections, pension and health care as well.

Tiwana Floyd:

So if you're looking to support the strike, no matter where you are in the world, here are a few suggestions SAG-AFTRA has offered. One you can join a picket line in your city, and all are welcome. Two help to get the word out, which is kind of like what I'm doing here. And three you can donate to strike funds by purchasing merch or making fiduciary contributions. Finally, if you have been earning a living from acting, the times have gotten bleak and they have gotten tough, and during this strike, this is a time to figure out other employment options until the strike ends. And if commercials or voiceovers or industrials aren't happening for you, consider getting a job, whether you go into a location, an office, or consider remote jobs inside and outside of your state. The sooner you can get more income flowing in, the less of a deficit you'll encounter as the strike continues on.

Tiwana Floyd:

And if money becomes an issue, apply for CalFresh or EBT in your city. There is no reason to go hungry. If you qualify for temporary assistance and if you pay taxes, you shouldn't feel uncomfortable receiving the benefit you pay into If you need to pay your rent. Check out the Entertainment Community Fund. They offer financial support to industry participants, and the SAG After Foundation offers a fund you can apply to as well, and don't be too proud. If you qualify, the assistance could give you a month of relief from stress and worry.

Tiwana Floyd:

I know personally. I've used the services and it was just what I needed at the time to stay afloat and gave me peace of mind. And I'll link all of these things in a description and I feel like it goes without saying, but I'm just gonna say it anyway. Unless you have discretionary income, you might want to fall back on paying for classes right now. Keep as much available liquid cash in your bank account as possible. You just experienced the quarantine what it's like to deal with the loss of income but during the quarantine, there were services that were helping us with our finances. Look, I understand you want to be in a class, but listen, there is so much free information online on YouTube, so find a creative outlet in other ways that are free, if possible.

Tiwana Floyd:

Find creative ways to fulfill your passion, like, maybe there's a podcast that you wanted to start, there's that script. We all have a script, right, we all have that script in our head, so maybe this is the time to start it. Or how about filming those characters for TikTok that you've been thinking of? And no matter where you are in the world, seek out free outdoor events that take place in your city. It's warm out, it's summertime, being the sun, being the energy of living. Stay healthy.

Tiwana Floyd:

Actor friend, a strike feels easy in the beginning, but remember the undercurrent is the producers are diabolically committed to wearing us down so that we accept whatever they give us. Do everything in your power to maintain positive mental health. It's very important, like the quarantine, find your group of people, be with others. Whether you've experienced a strike before or this is your first time, isolation is never our friend. So reach out to your friends, your peers and your colleagues and stay connected and in community.

Tiwana Floyd:

Thank you for listening to Acting Lessons Learned. I'm going to remind you to go back and check out episode 124, life After Strike, and I'll be figuring out how I plan to navigate the strike this time around. Thank you for listening. If you'd like to support the show. You can rate the show 5 stars. You can leave a loving review.

Tiwana Floyd:

You can share this episode with as many actor friends as you think would enjoy this content. You can also buy me a coffee. And now you can check out my latest launch Actor Business School on YouTube. Right now it's being populated with shorts and over time I'll be adding long term educational content as well. So go there and subscribe and hit the notification bell so that you can be notified when I post things. I'm on Instagram and you know what. All of the links are in the description. I'll be back in two weeks, but in the meantime, in solidarity, actor friend, we are here to fight because the future is calling and it's trying to say that we're unwelcome, but we're here to say we are welcome and you're going to pay us for it. Be well.

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