I co-sign everything you've said here. Your previous video on how you (and many of us) are worth well over scale and actually SAVE a production a TON of money is perhaps your most important video, ever, along with this one. There are many issues with lots of nuances, but in my opinion, the following elements are all partially to blame: All stakeholders: Agents, CDs, actors, the producers. Right to work. The strength, perceived or real, of SAG-AFTRA. Capitalism as a whole. The time an offer comes in vs. when the project actually shoots, thus preventing any good faith negotiating.
Happens here in Canada, too! I'll piggyback on that and take it one step further. For me, what is most shocking is seeing the number of actors from Vancouver/Toronto/Los Angeles get flown in for co-star roles (we call them "actor roles" up here). Entire TV series or feature films have been filmed in my city (Calgary, a city of 1.5 million with some FABULOUS actors) without using a single local, or sometimes only one or two. Great video, though! Always enjoy watching. Keep up the good work, Matt!
Wow, thanks for that insight! And I love comparing the "lingo" in different countries. Don't you all call base camp (the place with all the trailers for cast, costumes, hair/makeup) the circus? And your experience is sad, I know. Brooke and I (and many fellow Atlanta actors) have stories about being on set where the same size role as ours is cast out of LA, and the actor SUCKS. And perhaps that actor lied about being an Atlanta Local and paid for their own flight/hotel/etc, but there are times where they have been flown in (first class), put up in the production hotel, and provided per diem and travel to/from set. Costs that add up to a few thousand dollars. And the actor is no better than the locals. Isn't more recognizable, doesn't have more credits. Nothing. And yet, when the local actor tries to negotiate more pay, they don't have it in the budget...hmmmm... the math doesn't add up.
Fantastic video! Every actor in the SE (or other smaller markets) needs to be aware of this. I have a lot to say, but I'll try to keep it concise. The fact that they're already saving money by hiring a local and still trying to squeeze them is infuriating and unconscionable, with the flat scale only offer, and especially the guest star released as co-star locally. They still look down on our market, as if a local actor will never be as good as someone hired from LA. This is even more apparent when you consider that the larger breakdowns are not even released to agents here. It's always been a race to the bottom in the SE, imo, and everyone on the ladder is complicit: CD's, agents, and actors. Without a change in the rules, the only way to initiate change is for everyone to stand against this in unison, at least within one rung of the ladder. And the further down the ladder you go, the more people there are who need to stand up. Unfortunately, I'm not optimistic. On a side note, I'm looking forward to the day when it's right for me to join the union, and hope it comes soon. I can't help but to judge actors who don't join and who work regularly, and primarily union jobs. It's not a good look, with your peers and the industry at large. *Love the video by Adam Conover and shared it on FB myself.
Yes! Thanks for making this video. I’m not sag, so I don’t have the right to complain, but I did wanna learn more about it. This channel/you always have excellent information, it’s appreciated. Will share, and when/where the topic comes up.
Even worse in Canada. At first, they offer it as a small speaking role for locals and then switch it to feature background. I can't even be on set anymore seeing that when it is a local production and I have auditioned for a role that is suddenly mute to whoever got it. There has been so many scripts they have done that.
Hello, when I saw the title of your video I dropped everything I was doing to watch it because I wanted to know if I being an actor who lives in Michigan can audition for roles where ad states " they are looking for local talent" now I'm in a P2P called Backstage and I see it all the time and it doesn't stop me. I apply because I'm looking looking for work in warmer climates anyway. I just wanted to know how they can get away with that?
It’s getting better as more awareness is raised. But it takes all parties to really fight it. The Casting Directors need to fight the producers. The agents need to fight. The actors need to fight. If anyone caves in, it just perpetuates the issue.
Thanks for another great video, Matt. Another issue in the mix that reinforces the problem is when an Atlanta agent actually won’t ask the CD for more pay for their client and instead urges the actor to accept minimum scale or billing because they don’t want to adversely affect the agency’s relationship with the CD’s office by making waves. Maybe it’s because the role is clearly labeled in the breakdown as a co-star, albeit a meaty one. But not advocating for better compensation just keeps us all in a “please pick me” mentality instead of a collaborative one, in which we confidently acknowledge the value of our creative contributions. Since there are a whole lot more actors than there are jobs, we feel grateful for the opportunity and often accept less than what we’re actually worth. A conundrum indeed.
Yeah, and it's further complicated by actors who unjustly ask their agents to ask for above scale. Some actors can't be trusted to have the discernment for when (a) they are truly worth more money, and (b) the role indeed warrants more money. Agents have to deal with those actor a lot (and of course they are the loudest actors, clamoring for their agent's attention) and it might skew them to being more conservative like you say. Not to excuse the behavior you mentioned. Because I imagine there are a fair number of instances where an agent is too hesitant to rock the boat. After all, they want a commission, and if it's the difference between 10% of scale and 10% of zero, they may push for scale just to pay the rent...
Thanks for the educated insight. Great topic and good to hear about the complexity and nuances from an experienced actor based in a smaller market. It’s definitely a conundrum - thanks for bringing this into the light and keep up the good fight!
And there's even more discrimination in the secondary markets. If I, in Raleigh, don't agree to work as a true Atlanta local, they will easily find someone who will. I take each audition on a case by case basis, but it gets very expensive to have to pay to drive to Atlanta and back (sometimes twice) and foot my own hotel and food costs. I'm often hesitant to stick to my guns and require travel accommodations, because I want to work and I know they have many people who they won't have to pay that for.
Interesting. I never thought about these issues. My issues with geographic discrimination is the fact that when large productions come to shoot in smaller markets they tend to bring 95% of their actors "with" them from LA lol... Like i read for 5 roles in a major tv show and some were good roles and one was a on-liner... and still, each role was booked by LA actors. Thats the biggest problem I see. I have an agent that sees that issue and she says "shes on it" and "things will change", but i dont see that happening at the moment.
I think some of this squeezing is from the sheer amount of actors in the industry able to submit by taping recently. It’s just new excuses. It’s all cost-cutting with the actors left with the deal. LA looks like it’s degrading into breaking point for the smaller players - but if someone said Atlanta would be the way it was now 20 years ago, no one would believe them. Things change and may the odds be ever in our favour.
Love your final thought 😁. Things have changed ENORMOUSLY in 20 years. We are optimistic for whatever this new version of the industry will look like. Upheaval like this is always painful, but it's an industry of creatives, so we're bound to come through this in ways we can't even predict yet.
hello sir am a great fan, and a 17 years old Egyptian actor who is welling to study acting in the USA so do you have any advices for me like how to start and where to go ? thanks for your time
Those are hard questions. I don't know what path is best for you. There might be good training in Egypt to start with. If you come to the USA, you could choose New York City (especially if you like theater), Los Angeles (if you only want to pursue TV and Movies), Chicago (if you want to pursue improv, stand-up comedy), or Atlanta, Georgia if you want a "smaller" city. There are so many options, I wouldn't know how to advise you.
Oh thanks for responding,there are a lot of options but I’d probably come to Los Angeles to visit some friends soon and I think I gana stay for 2 months, so sir can you please acknowledge me of good workshops in LA 🎭
I hear about supporting the union a lot , and join the union so they can do all they can to improve working conditions. Well, that’s like supporting a bad marriage, because let’s face it , you can’t even join the union with out their permission. Then when you do join and they try and leverage Producers, they tell you not to work. Ya, the union offers some benefits and protections and scenes there is no other option, they’re the one who controls the checking account in this marriage. I always enjoy your post and look forward to the next.
I understand your criticisms. The union is not perfect, for sure, and you're right that there's no other choice, really. But without the protections offered, the wage gap between celebrities and a "little guy" like me would be even worse. I certainly would never have made enough money in one year to make insurance. Nonunion work is how I cut my teeth... for a LONG TIME. And it's atrocious. Unpredictable hours, murky contracts, clients who take 3 months, 6 months to pay (or The Source magazine, which still owes me from a job I did 20 years ago), and the pay itself is laughable. So it could be a no-win situation, depending on your perspective.
@@GetTaped Less than 12% make enough to have insurance and that is only if you are in the union. My point is, smashing art and business has been and always will be difficult. I love what I do, and am now becoming what the kids call a multi-hyphenate. I hope they appreciate you and people like Kurt Yue, (both from Atlanta ) to demonstrate , guide and explain that smashing together of art and business. My best to you.
You hit the nail on the head when you mention the smashing together of art and business... Oh, and fun fact: you do NOT have to be a union member to access the insurance. You just have to meet the earnings qualifications (which is another topic of anger for many). My wife, Brooke, first got insurance when she was still non-union. The insurance is a separate entity from the guild, which is why they don't require guild membership, I guess.
I co-sign everything you've said here. Your previous video on how you (and many of us) are worth well over scale and actually SAVE a production a TON of money is perhaps your most important video, ever, along with this one.
There are many issues with lots of nuances, but in my opinion, the following elements are all partially to blame:
All stakeholders: Agents, CDs, actors, the producers.
Right to work.
The strength, perceived or real, of SAG-AFTRA.
Capitalism as a whole.
The time an offer comes in vs. when the project actually shoots, thus preventing any good faith negotiating.
Yep yep and yep. All of this.
Happens here in Canada, too! I'll piggyback on that and take it one step further. For me, what is most shocking is seeing the number of actors from Vancouver/Toronto/Los Angeles get flown in for co-star roles (we call them "actor roles" up here). Entire TV series or feature films have been filmed in my city (Calgary, a city of 1.5 million with some FABULOUS actors) without using a single local, or sometimes only one or two.
Great video, though! Always enjoy watching. Keep up the good work, Matt!
Wow, thanks for that insight! And I love comparing the "lingo" in different countries. Don't you all call base camp (the place with all the trailers for cast, costumes, hair/makeup) the circus?
And your experience is sad, I know. Brooke and I (and many fellow Atlanta actors) have stories about being on set where the same size role as ours is cast out of LA, and the actor SUCKS. And perhaps that actor lied about being an Atlanta Local and paid for their own flight/hotel/etc, but there are times where they have been flown in (first class), put up in the production hotel, and provided per diem and travel to/from set. Costs that add up to a few thousand dollars. And the actor is no better than the locals. Isn't more recognizable, doesn't have more credits. Nothing.
And yet, when the local actor tries to negotiate more pay, they don't have it in the budget...hmmmm... the math doesn't add up.
@GetTaped right??! Oh man! And yes we do call it the circus haha. Feels like it sometimes
Hey man I just wanted to say as an actor myself your videos are golden.
Thanks so much! Appreciate the comment 👍🏻
Fantastic video! Every actor in the SE (or other smaller markets) needs to be aware of this. I have a lot to say, but I'll try to keep it concise.
The fact that they're already saving money by hiring a local and still trying to squeeze them is infuriating and unconscionable, with the flat scale only offer, and especially the guest star released as co-star locally. They still look down on our market, as if a local actor will never be as good as someone hired from LA. This is even more apparent when you consider that the larger breakdowns are not even released to agents here.
It's always been a race to the bottom in the SE, imo, and everyone on the ladder is complicit: CD's, agents, and actors. Without a change in the rules, the only way to initiate change is for everyone to stand against this in unison, at least within one rung of the ladder. And the further down the ladder you go, the more people there are who need to stand up. Unfortunately, I'm not optimistic.
On a side note, I'm looking forward to the day when it's right for me to join the union, and hope it comes soon. I can't help but to judge actors who don't join and who work regularly, and primarily union jobs. It's not a good look, with your peers and the industry at large.
*Love the video by Adam Conover and shared it on FB myself.
Thanks for sharing, Fred.
Yes! Thanks for making this video. I’m not sag, so I don’t have the right to complain, but I did wanna learn more about it. This channel/you always have excellent information, it’s appreciated. Will share, and when/where the topic comes up.
Appreciate you watching/sharing!
Even worse in Canada. At first, they offer it as a small speaking role for locals and then switch it to feature background. I can't even be on set anymore seeing that when it is a local production and I have auditioned for a role that is suddenly mute to whoever got it. There has been so many scripts they have done that.
Wow! That’s so frustrating. Thanks for sharing your experience.
Being new to the industry it's something that i was sure happened but didnt have a name for it or how it presents itself. Thanks for the insight! 😊
Yeah the name didn’t get traction until last year‘s negotiations. Once you name the thing, it’s much easier to raise awareness of it…
Love this video.
Glad you enjoyed it!
Hello, when I saw the title of your video I dropped everything I was doing to watch it because I wanted to know if I being an actor who lives in Michigan can audition for roles where ad states " they are looking for local talent" now I'm in a P2P called Backstage and I see it all the time and it doesn't stop me. I apply because I'm looking looking for work in warmer climates anyway. I just wanted to know how they can get away with that?
It’s getting better as more awareness is raised. But it takes all parties to really fight it. The Casting Directors need to fight the producers. The agents need to fight. The actors need to fight. If anyone caves in, it just perpetuates the issue.
Thanks for another great video, Matt. Another issue in the mix that reinforces the problem is when an Atlanta agent actually won’t ask the CD for more pay for their client and instead urges the actor to accept minimum scale or billing because they don’t want to adversely affect the agency’s relationship with the CD’s office by making waves. Maybe it’s because the role is clearly labeled in the breakdown as a co-star, albeit a meaty one. But not advocating for better compensation just keeps us all in a “please pick me” mentality instead of a collaborative one, in which we confidently acknowledge the value of our creative contributions. Since there are a whole lot more actors than there are jobs, we feel grateful for the opportunity and often accept less than what we’re actually worth. A conundrum indeed.
Yeah, and it's further complicated by actors who unjustly ask their agents to ask for above scale. Some actors can't be trusted to have the discernment for when (a) they are truly worth more money, and (b) the role indeed warrants more money. Agents have to deal with those actor a lot (and of course they are the loudest actors, clamoring for their agent's attention) and it might skew them to being more conservative like you say.
Not to excuse the behavior you mentioned. Because I imagine there are a fair number of instances where an agent is too hesitant to rock the boat. After all, they want a commission, and if it's the difference between 10% of scale and 10% of zero, they may push for scale just to pay the rent...
Thanks for the educated insight. Great topic and good to hear about the complexity and nuances from an experienced actor based in a smaller market. It’s definitely a conundrum - thanks for bringing this into the light and keep up the good fight!
Glad it was helpful!
And there's even more discrimination in the secondary markets. If I, in Raleigh, don't agree to work as a true Atlanta local, they will easily find someone who will. I take each audition on a case by case basis, but it gets very expensive to have to pay to drive to Atlanta and back (sometimes twice) and foot my own hotel and food costs. I'm often hesitant to stick to my guns and require travel accommodations, because I want to work and I know they have many people who they won't have to pay that for.
Yeah, I’m sure it’s even more existential when you’re in a small market and have to travel for almost every job.
Interesting. I never thought about these issues. My issues with geographic discrimination is the fact that when large productions come to shoot in smaller markets they tend to bring 95% of their actors "with" them from LA lol... Like i read for 5 roles in a major tv show and some were good roles and one was a on-liner... and still, each role was booked by LA actors. Thats the biggest problem I see. I have an agent that sees that issue and she says "shes on it" and "things will change", but i dont see that happening at the moment.
What market are you in? For Atlanta, it’s of course still a problem, but it’s definitely gotten a lot better over the years.
I think some of this squeezing is from the sheer amount of actors in the industry able to submit by taping recently. It’s just new excuses. It’s all cost-cutting with the actors left with the deal. LA looks like it’s degrading into breaking point for the smaller players - but if someone said Atlanta would be the way it was now 20 years ago, no one would believe them. Things change and may the odds be ever in our favour.
Love your final thought 😁. Things have changed ENORMOUSLY in 20 years. We are optimistic for whatever this new version of the industry will look like. Upheaval like this is always painful, but it's an industry of creatives, so we're bound to come through this in ways we can't even predict yet.
The entertainment industry is the greatest industry in the whole world.
Whether you’re being serious or sarcastic, I agree 😂😂😂😬😳
@@GetTaped The craft is amazing and the business absolutely sucks.
Preach.
Bold sir. Thank you. I have a recent story as well. Alas.
Thanks. I wish it didn't resonate so much... sigh...
Gosh I’m tired 😅
hello sir am a great fan, and a 17 years old Egyptian actor who is welling to study acting in the USA so do you have any advices for me like how to start and where to go ? thanks for your time
Those are hard questions. I don't know what path is best for you. There might be good training in Egypt to start with. If you come to the USA, you could choose New York City (especially if you like theater), Los Angeles (if you only want to pursue TV and Movies), Chicago (if you want to pursue improv, stand-up comedy), or Atlanta, Georgia if you want a "smaller" city. There are so many options, I wouldn't know how to advise you.
Oh thanks for responding,there are a lot of options but I’d probably come to Los Angeles to visit some friends soon and I think I gana stay for 2 months, so sir can you please acknowledge me of good workshops in LA 🎭
I’m not too familiar with all the options, but I do recommend looking at Lesly Kahn’s school.
I hear about supporting the union a lot , and join the union so they can do all they can to improve working conditions. Well, that’s like supporting a bad marriage, because let’s face it , you can’t even join the union with out their permission. Then when you do join and they try and leverage Producers, they tell you not to work. Ya, the union offers some benefits and protections and scenes there is no other option, they’re the one who controls the checking account in this marriage. I always enjoy your post and look forward to the next.
I understand your criticisms. The union is not perfect, for sure, and you're right that there's no other choice, really. But without the protections offered, the wage gap between celebrities and a "little guy" like me would be even worse. I certainly would never have made enough money in one year to make insurance.
Nonunion work is how I cut my teeth... for a LONG TIME. And it's atrocious. Unpredictable hours, murky contracts, clients who take 3 months, 6 months to pay (or The Source magazine, which still owes me from a job I did 20 years ago), and the pay itself is laughable.
So it could be a no-win situation, depending on your perspective.
@@GetTaped Less than 12% make enough to have insurance and that is only if you are in the union. My point is, smashing art and business has been and always will be difficult. I love what I do, and am now becoming what the kids call a multi-hyphenate. I hope they appreciate you and people like Kurt Yue, (both from Atlanta ) to demonstrate , guide and explain that smashing together of art and business. My best to you.
You hit the nail on the head when you mention the smashing together of art and business...
Oh, and fun fact: you do NOT have to be a union member to access the insurance. You just have to meet the earnings qualifications (which is another topic of anger for many). My wife, Brooke, first got insurance when she was still non-union. The insurance is a separate entity from the guild, which is why they don't require guild membership, I guess.
Feeding the algorithm
👏 👏 👏 Walmart discount bin
We've all felt that way at some point (for those who've been in a secondary market long enough).