Sag Student Film Agreement

The key to this process is to actively inform producers (and interpreters) of the benefits of cooperation under structured agreements. I think your article does a good job of introducing the topic for those who are curious to work with professional actors. For producers who want to take care of all the details and SAG-AFTRA contract options first, countless resources are available to www.sagindie.org/ and in www.sag-aftra.org. 1) The union has made a compromise with super budget filmmakers like you. Instead of postponing payment and then hitting you with a brutal backend balloon payment that would prevent you from distributing your movie (just ask your friends for their experimental contract horror stories), they decided to introduce a package. And there is no upgrade. nothing. It`s a good deal. When you think of working with union actors, you should be aware of certain things. The union has a large number of contracts that are designed to make it relatively easy to use, not abuse, union actors. Most contracts are for feature films and are based on budget levels; However, there are also provisions for a small number of short films. These are all legally binding treaties that apply to you and to the actors. If you sign these contracts, you will become a “union co-signer,” but don`t worry – most contracts with a lower budget allow you to mix union and non-union talent, and that has no influence on the crew you hire.

So you can hire your friends, the union team or even the union, if you wish. The most important thing is that it`s the image, not the life, to be unionized, so if you don`t launch union actors for the next film, you don`t need to sign a contract with the union. THE LOW-budget SAG-AFTRA ACCORDS were created with contributions from filmmakers and actors to make it easier for you to hire professional actors. Do you want to see an example of what agreements are? Remember, they`re just SAMPLES. Your SAG-AFTRA business representative will send you your current contract when it`s time to sign. I might be wrong, but I don`t think it`s film-based film-by-film to be a signatory… I think it is always a signatory on a company-by-company basis, that is, a signatory. This does not prevent the company from using one of the various contracts for a future film, but it would prevent this company from not meeting the requirements of LAD for a future film if it had in the past become a signatory…

The last thing you need is a SAG strike on your board. That`s why it`s a good idea for the signatory, the financing/production company specially created for each film, instead of the entire production company that would hinder flexibility. Here too, I may be wrong, but that is my understanding. In addition, this article completely ignores the various low-budget contracts (different levels) available with SAG for feature films. The best thing this article does is to refer to the view of SAG Indie for more information. I also participated in one of SAG`s free seminars, which go into each available contract with many details and a question-and-answer session. Casting is one of the most important elements of your film – casting the right actor for the role can make your movie, and casting the wrong actor can break it. It`s pretty easy to get actors interested in your film, and you don`t have to be limited to friends and family, unless that`s the aesthetic you follow.