Miami Local Newsletter - Dec. 2012
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Transcript of Miami Local Newsletter - Dec. 2012
HAPPY HOLIDAYS!
SAG-AFTRA
MIAMI LOCAL
MEMBER
ORIENTATION
VIA VIDEO CONFERENCE
IN THIS ISSUE
• Member Orientation
• Dancers’ Alliance
Miami First
Anniversary Party
• Connie Zimet Voice
Acting Conservatory
• Dancers’ Alliance
Town Hall Meeting
• Mixers in Orlando and
Miami
• 2012 Annual
Membership Meeting
• Leslie Krensky’s 30TH
Anniversary
• Film Florida
• From the Miami Local
Co-Presidents
• From the Miami Local
Executive Director
• Members Corner
The Miami Local held its New
Member Orientation in Orlando
and Miami on Nov. 14. If you
have not been to an
orientation, you are behind on
the latest news. The orientation
lasts about two hours. During the
orientation you will learn about:
updates on SAG-AFTRA,
benefits, available training,
promoting your talent locally
and in other markets and
making the most of your union
membership.
SAG-AFTRA MEMBER ORIENTATION!
MIAMI
ORLANDO
New Member Orientations
are not just for new
members! All members in
good standing are
welcome. During the Q&A
section you can ask about
anything. This was the first
event held via video
conference. ORLANDO
Top, from left, Tim Large, Katherine Kanitsch, Drew Daly,
Cookie Colletti, Rick Blitman (from Tinsley Advertising),
Samantha Skye. Bottom, from left, Darryl Gilley, John Jay
Martyn
The Connie Zimet Conservatory has just
graduated its sixth class and continues to
carry on in Connie’s footsteps by offering
members the opportunity to improve their
voiceover skills, many of which easily translate
to on-camera acting as well. In four classes of
four hours each on consecutive Sunday
afternoons, a small group of no more than six
students take their turns behind the mic at
Audacity Studios in Hollywood, Fla. to hone
their talents and discover new ones based on
Connie’s techniques.
There’s a waiting list, so contact
[email protected] to sign up.
CONNIE ZIMET VOICE ACTING CONSERVATORY
DANCERS’ ALLIANCE MIAMI UNITY BALL
The most recent event of Dancers' Alliance Miami was the
Unity Ball held on Nov. 19 - and it was a huge success! The
entire South Florida dance community came to The Stage to
be part of Dancers' Alliance Miami's first-year anniversary
celebration in recognition of the organization's successes and
unity within our Miami dance community.
There were amazing live performances at the Unity Ball by:
Brian ”Bzo” Bailey, Raw Miami Crew, David Mayorga, Tatiana
K, U4ria, P.K., Ben Solomor and Illmatik Phlow.
The show will go on, so stay tuned for more to come in 2013!
DANCERS’ ALLIANCE MIAMI FIRST ANNIVERSARY PARTY!
PARTY!PARTY!ANNIVERSATYPARTYALZHEIMER’S
DANCERS’ TOWN HALL MEETING
SAG-AFTRA and Dancers 'Alliance
Miami hosted their first official town
hall meeting on Sept. 30 at FIU North
Campus in North Miami. Dionne
Renee, Miami Local Board member,
and Galen Hooks, Los Angeles Local
Board member, focused the
presentation on educating dancers
about the new SAG-AFTRA Music
Video Agreement and addressing
local issues specific to the Miami
dance community.
MIXERS MIAMI
ORLANDO
From left, member Tory Wynter, Martine Wynter, Nancy Clark of
Nancy Clark Talent, member Tracy Frenkel and Herta Suarez.
Top, from left, Donna Preudhomme, Paul Bodie. Bottom,
from left, Kevin Dean-Hackett, JoMarie Payton, John Archie
The Spotlight was on Rick Blitman at the Miami
Mixer
As a copywriter, producer and associate
creative director at Tinsley Advertising, Rick has
been putting words in people’s mouths for
more than 25 years and creating award-
winning work for a diverse portfolio of clients,
including The Florida Keys and Key West, Nova
Southeastern University, Miami Children’s
Hospital, Roadhouse Grill, Hedonism Resorts
and a bunch of others.
Rick has also taught writing for radio at the
Miami Ad School, and directed Regis Philbin at
the height of “his Regisness.” And while he’s a
writer by trade, his real passion is the bad art
he has been creating for decades. Rick’s Bad
Art became a minor global sensation last year
by climbing on the bandwagon of the
YouTube viral phenom “Baby Monkey Riding
Backwards on a Pig.” He didn’t create it, but
he’s happy to ride it right into the ground.
On Sept. 28, 2012, the SAG-AFTRA Miami Local held a mixer at Le Rouge Wine Bar and Tapas in
Orlando. The 72-plus members and industry guests had a great evening of socializing and networking
while also enjoying fantastic tapas and live music. Among the industry guests in attendance were
various franchised agents, producers, casting directors and Orlando Film Commissioner Sheena
Fowler. SAG-AFTRA Miami Local Executive Director Herta Suarez, was also at hand with Assistant
Director/Central Florida David Fazekas meeting and chatting in person with Central Florida members.
Miami hosted its most recent mixer on Aug.29, 2012,
at Soyka’s restaurant and lounge. At the well-
attended event, members enjoyed the opportunity
to get together and network in a non-business
setting. Members also had the opportunity to talk to
our guest, Rick Blitman, associate creative director at
Tinsley Advertising.
From left, Karen Weiss; Carlina Rodriguez; National Vice
President, Los Angeles, Gabrielle Carteris; South Region
Director/Contracts and Operations Leslie Krensky; and
Executive Director/New Orleans Local Broadcast
Director Herta Suarez
FIRST SAG-AFTRA ANNUAL MEETING
About 120 members gathered at the
Cinema Paradiso in Ft. Lauderdale to be
part of the historic first Annual SAG-AFTRA
Membership Meeting on Oct.16. Members
enjoyed a fabulous dinner, planned and
coordinated by Debbie Howard, Local
Board member – thanks Debbie! At the
meeting, they received reports about the
merger transition, the new music video
agreement and more. Lucky members took
home some pretty amazing door prizes and
new members were in the spotlight. At the
conclusion of presentations, SAG-AFTRA
members in attendance had the
opportunity to ask questions of staff and
local board members. It was indeed a joyful
event celebrating the merger of SAG and
AFTRA, and the initial successes of our new
union.
Our guest speaker for the night was
Gabrielle Carteris, who flew in from Los
Angeles to be with us on our special
night. Following is an excerpt of what she
shared with us at the meeting:
“I have been offered union and non-union
work. There are times when I have been
able to turn non-union work to union, and
there are times when I have had to turn
down the work because they would not turn
it union. Believe me, that is difficult every
time. I have a family that depends on my
making enough money to at least help with
the health insurance. Seven years ago, I was injured working on a film and I had to stop working for
several years. That affected my earning capacity dramatically. So, when I say no to non-union work that is
being offered, sometimes at incredible rates, it is tough. But, I know I have to say no. If I were to start
taking those non-union jobs, I would be building the case for employers that they can get professional
talent without having to deal with the union and the union contracts. I would be building their case that
they don’t have to pay into pension and health because they can get a professional to do the work
without a union contract. I would be building their case that they don’t have to have professional stunt
persons to do the dangerous actions because they can get an untrained professional performer to do it
(let the chips fall where they may). I would be building their case that they can pay whatever, or more
importantly as little as they want, because professional performers are afraid and will not stand by their
contracts when work is offered.
“I say NO TO NON-UNION WORK, even when I am offered large sums of money because I know it would
be the beginning of the end. I am here to be part of strengthening our futures in this industry –to build
careers, not to tear them apart. What we are doing today, will be shaping our tomorrow.
“YOU are an important part of SAG–AFTRA. This new union has given us all the opportunity to
change the course of our futures. As we stand together and do the work, participate in our
union activities and outreach to draw pre-union members into our fold – we will truly be part of
the strongest union in our industry.”
South Region Director/Contracts and
Operations Leslie Krensky celebrated a
big milestone with our SAG-AFTRA family.
She has completed 30 years of service as
of Nov. 15, 2012. We congratulate her on
her milestone celebration and thank her
for her dedication and commitment to
the union and our members throughout
her tenure.
CONGRATULATIONS ON YOUR 30TH ANNIVERSARY!
South Region Director/Contracts
and Operations Leslie Krensky
FILM FLORIDA QUARTERLY MEETING IN ORLANDO
Herta Suarez attended Film Florida (FF)
meetings held in Orlando Dec. 5-6,
2012. Herta sits on the Executive Board
of FF and chairs the Labor Council of
the organization. These meetings focus
on the development of means to
attract and retain more production
and industry participants in the state of
Florida.
From left, David Fazekas, Miami Local assistant director/Central FL; Leah Sokolowsky, president,
Film Florida; Dave Caserta, attorney/lobbyist FAME; Herta Suarez, Miami Local executive
director; and Andy Schefter, producer/director, at the WIFT/FL (Women in Film & Television)
event.
Both born in the 1930s, SAG and AFTRA have merged together after almost
two dozen attempts to do so over the past 60 years. And it appears to be a
seamless transition without a fuss from our employers. Now, with our first
major contract imminent (commercials contracts), SAG-AFTRA will
negotiate with the advertisers as a single union with only one thing in mind –
you, the SAG-AFTRA card-carrying member.
With no ability to “shop the contracts” any longer, our employers must now
negotiate with only one entity; one contract for all entertainers and media
artists providing the best wages, residuals, working conditions, and health and pension contributions.
Our product is portable – lensed and recorded everywhere, distributed everywhere. And our union
protects our voices and images everywhere.
SAG-AFTRA now boasts more than 165,000 members living in 25 locals, Los Angeles and New York
being the two largest. We are the actors, broadcasters, recording artists, singers and dancers – we
are the faces and voices on camera and microphone in entertainment and media.
In four years, I will start receiving several hundred bucks monthly from SAG-AFTRA, and a few hundred
more from Actors’ Equity, which will help boost my monthly cash flow. As a younger actor, I wasn’t
thinking about a pension fund; I’m glad my union was.
And as far as those pension plans are concerned, from my limited perspective, they will eventually
blend together and fill one pot. However, it is going to take time for the powers to line up the ducks
properly.
Keep reminding your non-union actor buds that the only reason the non-union employers are not
signing contracts is because of them. Let them know that when they’re ready to stop playing “Let’s
Make a Deal” and want to stop giving up their rights to their image, start receiving residuals for their
work, and start building a pension, that it’s time to join the union.
Everyone likes a good story. Since sitting around the fires sharing the tales by way of oral tradition to
Edison’s first recording device to silent films to radio dramas to the big and small screens, the lust for
storytelling continues.
As well as spinning the yarn, people gotta sell their products and deliver the news. They need us to do
that.
There are splendid days ahead for all of us.
From the Miami Local Co-President
STEVE GLADSTONE
YOU are telling ME how to read a line?!
From my private files – “One of those tough sessions”
We’ve all encountered someone (director, producer, family member,
annoying person at a party, etc.) that tries to show us how to do our job as performers, and fails
miserably. In their minds, they are giving you an award-worthy performance, but in reality, what
comes out of their mouths is what a first-grader sounds like when reading in front of his class. And of
course, we’ve all felt that burning desire to imitate them, so they can hear what they really sound
like, but please ... don’t.
If you succumb to that impulse, don’t be surprised if you never hear from them again, and it would
be very sad indeed to stop seeing Uncle Bob. So, what to do in a conundrum like this? Well, you have
several options, but first things first — you need to change in your mind the “YOU are telling ME how
to read a line?!” to “I’m going to figure out what you really want.”
This small change will open yourself to a “learning experience” that will make you a better performer.
Your mission in a situation like this — should you choose to accept it — is to become a detective and
find the clues that will allow you to “read” the person giving the direction, and decipher what they
really want, but can’t exemplify.
1st tactic: The ABC
If you are totally lost on what they want, then ask to do an ABC (three takes - A, B & C): one low, one
medium and one high. You can say something like, “Can I do an ABC for timing and also to know
which version works best for you?” After doing so, when they say, “The read we are looking for is
more like your second take,” you’ll have your first clue, and you should write at the bottom of the
script the word “medium.”
2nd tactic: Find out why they liked it
You could say something like, “So ... it’s like I’m talking to a friend?” and they might agree or they
might say, “No, it’s like Luke Skywalker talking to Princess Leia after finding out she’s his sister,” and
that is your second clue, so you should write at the bottom of the script “talking to sister.”
3rd tactic: Read them two options
Of two different ways that you would talk to your sister (if you don’t have a sister, pretend you have
one — you are a performer). If they like one of the takes then you have your third clue, and you
GUILLERMO “Memo” SAUCEDA
From the Miami Local Co-President
should write the kind of read that you did, for example: “condescending” or “standing up to” on the
script.
4th tactic: “Read” what they read
If they are still not happy with what you are giving them, chances are they will read the text again to
you. At this moment forget about their performance, and focus on where they are putting emphasis.
Is it a word? Is it a phrase? Is it several words? This will give away your next clue, so underline those
words or phrases, and the next time you read the script, give those underlined words a little extra,
based on the clues that you already have at the bottom of the script (yes, that’s why I told you to
write them down).
5th tactic: A few more questions
If after this read they are still looking for something else, then ask more questions, but this time try to
find a pattern on what they say now, and what they said before. When you find the constant in both,
write it down (you know where), and try … again.
6th tactic: A few more reads with clue words
Well, it turns out this client is a tough one, he’s still not happy with the read.
Now is the time to become a little bit esoteric. Read all the words at the bottom of your script, and
then write down on the right hand of the script a list of different reads that pop up into your mind, like
“secretive” or “introspective.” Have at least three or four, and then say, “Let me try something to see
if I’m on the right track.”
Do your first read with the first clue word that came to mind, and when you finish, immediately say,
“or ...” and start your second read with the second clue word that you wrote. After that, wait for their
comments. If they are still not convinced, now say, “I think what you want is ...” and then do a read
with clue words number three and four.
Wow.
That didn’t work. This is officially the toughest client you’ve ever had. Well, I guess it’s time to use the
secret weapon tactic.
Secret weapon tactic: Get out of the box
Say, “Can I just go to the restroom for a minute? I’ve been drinking too much water!” Most likely they
will say yes, and that’s a great opportunity to refresh yourself (I like to splash water on my face, like in
a soap commercial). And then come back stronger than before because now you are ready ... to
start with the tactics all over again!
Yes, all over again; never, ever, give up! And the blessing in disguise is that you are being paid to
practice patience, public relations and “reading” people — interpreting verbal and nonverbal
signals. And all of them will get you more work, because, let’s face it, who would they rather call?
Someone that doesn’t follow their directions and on top of that has an attitude? Or someone who is
willing to help them find their creative vision no matter how long it takes?
There’s no more AFTRA and no more SAG. These two amazing
unions are now SAG-AFTRA, one union, better and stronger than
either of the former unions. But, that’s sort of old news by now,
since we have been going through the transition process as part
of the initial period of the Merger Agreement nationwide since
the day after the merger was approved. Here are some
highlights of what has transpired in your local:
Name and Jurisdiction
The new name of our local is the SAG-AFTRA Miami Local with offices in Miami, Fla. The geographic
jurisdiction of the local covers Puerto Rico, the Virgin Islands and the states of Alabama and Florida.
Governance
In accordance with the SAG-AFTRA Constitution, we are currently operating under the terms of the
Initial Local Constitution. The Local Board has approved amendments to the Initial Constitution that
are pending review and approval by the National Board.
The Initial Local Board is composed of the members of the former AFTRA Local Board and the former
SAG Branch Council (please see list of Local Board members in this newsletter). This Local Board will
remain in place until the first SAG-AFTRA elections in 2013. Elections will include the election of Local
Board members, our representative to the National Board and delegates to the first SAG-AFTRA
National Convention.
Office
In October, the former AFTRA Miami Local office moved into the former SAG office in Miami. With
some remodeling and the willingness of staff to relocate within the office, we are now settled to
better serve our members from a single location.
Staff
Herta Suarez is the new SAG-AFTRA Miami executive director responsible for the Miami Local.
David Fazekas’ new title is SAG-AFTRA Miami assistant director/Central Florida, and he will continue
servicing Central Florida for SAG-AFTRA.
Leslie Krensky is now the SAG-AFTRA South Region director/contracts and operations. She is
responsible for the administration of the performers’ contracts in the Miami Local and five other
SAG-AFTRA locals in the South, covering a total of 11 states, Puerto Rico and the Virgin Islands.
(Please see list of staff and their areas of responsibility in this newsletter.)
Please do not hesitate to contact me if you have any questions at (305) 663-7089 or (800) 724-0767
option No. 7.
I look forward to talking to you soon.
From the Miami Local Executive Director
HERTA SUAREZ
Many accomplished stunt coordinators and performers are members of
the Miami Local. One of the leading stuntwomen in the industry is Miami
Local member Jennifer Badger, who recently was honored by the
Diamond in the RAW Foundation during its fifth annual Action Icon
Awards & Stuntwomen’s Coordinating Conference held in October 2012
in Los Angeles. The Diamond in the RAW Foundation is a nonprofit
devoted to transforming the lives of at-risk teenage girls.
Badger is currently in her 20th year performing stunts. She began her
career as a performer at 13 in sitcoms for Nickelodeon, pilots for ABC and
PBS, and hosting a children’s series on World Cup Soccer. At the age of
16, she attended a stunt workshop in Tampa and began training and
learning more about
what would become
her life’s work. Her first
employment as a
stunt performer was a combination stunt/acting
role for the Batman Stunt Spectacular at Six Flags
Over Georgia. Her first big opportunity in the film
world was stunt doubling for Angelina Jolie for the
film Hackers, which was shot in New York.
Badger was part of the stunt ensemble
nominated for the Screen Actors Guild Award for the film Public Enemies in 2009. She is also a four-
time nominee for the Taurus World Stunt Awards for her work on Scream 3 (2001- two nominations),
The Hitcher (2007), and Pirates of the Caribbean: On Stranger Tides (2012).
Badger has an extensive resumé as a stunt coordinator and stunt performer, including the films
Anaconda, The Big Lebowski, Iron Man 3, the first three Scream films, Talladega Nights and the
television series America’s Most Wanted, Baywatch, Dawson’s Creek, Necessary Roughness, One
Tree Hill, Revolution, Vampire Diaries and commercials for BP, Disney Theme Parks, Gatorade, Pepsi,
and Toyota. She has doubled for many lead actors, including Courtney Cox, Drew Barrymore, Diane
Lane, Megan Fox and Penelope Cruz.
Asked about her mentors, Badger cited two established stuntwomen, Sophia Crawford and Julie
Michaels. “While several people served as mentors with advice and encouragement, the kindness of
these two special ladies meant so much to me along the way,” said Badger. “I keep them in mind
and try to exhibit their character in reaching out to other up-and-coming women in the stunt
community.”
Badger counsels women interested in a career as a stuntwoman to “put a lot of thought into their
choices. While there are many wonderful aspects of performing action sequences, the dangers are
also very real.”
Union membership runs in Badger’s family, as her mother Donna is a longtime member and her
husband, David Brian Martin, is a SAG-AFTRA stuntman in the business for 20 years. Their son, Nicholas,
is following in his parent’s footsteps as a performer and has worked on several films.
STUNT COORDINATOR/PERFORMER
JENNIFER BADGER HONORED IN LOS ANGELES
Contributors
Steve Gladstone,
Guillermo Sauceda,
Herta Suarez, Leslie
Krensky, Gabrielle
Carteris, F. Darryl
Gilley, Dionne Renee,
David Fazekas, Eileen
Neel, Susana Carrillo,
Guest Contributor
Leah Sokolowsky
HOLA PUERTO RICO!
Estimados miembros de SAG-AFTRA,
Queremos hacerles saber que tenemos planes de reunirnos en la Isla del Encanto en el 2013. Les mandaremos información sobre el evento con anticipación.
También nos gustaría poder reunirnos con ustedes por medios electrónicos. Recientemente efectuamos una reunión conjunta entre miembros en Miami y miembros en Orlando vía conferencia de video la cual fue muy efectiva. Estamos investigando la posibilidad de usar el mismo sistema de conferencias de video para poder incluir a Puerto Rico en reuniones, orientaciones y otras actividades.
Próspero Año Nuevo!
Steve Gladstone y Memo Sauceda
Co-Presidentes de la Local de Miami de SAG-AFTRA
MIAMI LOCAL
BOARD MEMBERS
Guillermo Sauceda
Co-President
Steve Gladstone
Co-President
Ellen Wacher
Co-Vice President
Dave Corey
Co-Vice President & At-
Large
Rennie Rodriguez
Co-Secretary
Patrick Mickler
Co-Recording Secretary
F. Darryl Gilley
Treasurer
Adam Vernier
Barry Brandt
Brett Rice
Carmen Lopez
Charles Ferrara
Chris Beekie
David Scott
Deanne Case
Debbie Howard
Dionne Renee
J. Leo Sexton
Jay Amor
Jerry Winsett
John Archie
Lauren Marie Pena
Matt Simpson
Nancy Duerr
Peter Gabb
Santara Sidersky (Phyllis)
Vicente Solis
Kevin Dean-Hackett
Alternate
NEW SAG-AFTRA MEMBERS
WELCOME!
Adam Lytle, Alex Ullrich, Alexander
Marley Cheatham, Angel R Pagan
Colon, Chiqui Delgado, Claudio Pinto,
Daniel Dasent, Dannie Heverin, David
R. Doll, Eddie Valdes, Eddie M.
Cheever, Elizabeth Lazo, Elvire
Emanuelle, Grant Koo, Janet Dentino,
Jared “JJ” Woods, Jeff Graham, Jeff
Nathan, Jeffrey T. Brown, John
Herndon, Jose Antonio Paredes,
Joseph Danko, Karelix Alicea, Karen R.
LeBlanc, Kathryn Laughlin, Katrina E.
Perkins, Kellen Hughes McGee,
Kourtney Brown, Kristin Wollett, Kriz Ed
Paez Rivera, Kyle James, Lil Al, Lisa
Gittner, Manny Hernandez, Manuela
Mejia, Matt McClain, Mia Evans, Natalie
Govin, Nicholas Alexander, Philip G.
Schneider, Regina Dean, Rodner
Figueroa, Roy Bracho, Sapo, Thomas
Joseph Culler, Todd Bruno, Torleif
Gundersen, Vanessa Nevader, Vaughn-
Rian St. James, Xavier Burbano
WELCOME TO YOUR
OPTIONS TO BE ACTIVE IN A
SAG-AFTRA LOCAL
COMMITTEE
Several committees have been created by the SAG-AFTRA Miami Local Board. The following committees are open to volunteers. If you are interested or need more information, please contact Susana Carrillo at [email protected] or
(305) 663-7092.
Background/Extras – Co-Chairs: Kevin Dean Hacket and Barry Brandt Dancers – Chair: Dionne Renee Stunt and Safety – Chair: Jay Amor Organizing – Co-chairs: Memo Sauceda and Nancy Duerr Right to Work – Chair: Steve Gladstone Women’s Committee – Chair: Ellen Wacher
REMINDERS!
Visit SAG-AFTRA website at
www.sagaftra.org to…
Update your membership
category of work
Pay your dues
Update your contact
information
For upcoming productions
go to
www.sagaftra.org/locals/
miami
THE MIAMI LOCAL
NEWSLETTER WILL BE
GETTING A NEW NAME
Stay tuned for details
SAVE THE DATE! AG-AFTRA Miami Local
Awards Viewing Party –
01/27/2013
Union Picnic South Florida
Ft. Lauderdale and
Orlando – 02-18-2013
SAVE THE DATE!
Miami Local SAG Awards
Viewing Parties in
Orlando and Fort
Lauderdale - 01/27/2013
Union Picnic in South
Florida – 02-18-2013
MEMBERS CORNER
SAG-AFTRA Miami Local
MAIN
Telephone ……… (305) 670-7677
Toll Free …………(800) 724-0767
Option# 7
STAFF
Herta Suarez………….…….….Ext. 7089
Miami Executive Director/
New Orleans Local Broadcast
Director
David Fazekas……..….. (407)788-3020
Miami Assistant Director/
Central Florida
Leslie Krensky…………….……Ext. 7077
South Region Director/
Contracts and Operations
Carlina Rodriguez……......…..Ext. 7076
Director,
Spanish Language Industry Relations
Eileen Neel……………….…….Ext. 7079
Membership Supervisor
Karen Weiss……………….…...Ext. 7082
Office Manager
Ruth Paul…………………..…...Ext. 7087
Business Representative
E-mail: [email protected]
Production in South Florida
Doriza Sojo……………….…….Ext. 7081
Business Representative
E-mail: [email protected]
Production in Alabama & Puerto Rico
Jessica Vazquez………….…..Ext. 7083
Business Representative
E-mail: [email protected]
Radio & television commercials,
corporate-educational (industrial),
infomercials
Linda Isrel…………………..…..Ext. 7088
Associate Business Representative
E-mail: [email protected]
Student & short film productions
Susana Carrillo……………….Ext. 7092
Executive Administrative Assistant
Adelina Hernandez…………..Ext. 7078
Administrative Assistant……..
Cheryl Ritchkoff……………….Ext. 7080
Administrative Assistant
Litana Somoano………………Ext. 7086
Administrative Assistant
TIPS FOR BASIC GOOD SET
PROTOCOL
1. Always make it on time or
early to the set.
2. Don’t leave the set without
a copy of your signed
engagement contract.
3. Boost your confidence by
always arriving on set with
your lines learned and
rehearsed.
Future newsletter will
provide additional basic
tips, that many forget, to
enhance your chances of repeat employment.
The past few months, Film Florida members have been hard at work prioritizing and preparing for the
upcoming 2013 legislative session in Tallahassee. We have identified three key priorities that are
critical to insure the continued success of Florida’s Entertainment Industry Financial Incentive
program:
1. Provide adequate funding, staffing and support for the Office of Film & Entertainment so
that the office can continue to properly oversee, administer and market this tremendously successful
program; 2. Provide additional funding for the remaining fiscal years of program — the tax credits
allocated to the program are almost completely certified and soon Florida will begin turning away or
losing projects due to lack of adequate funding for the program;
3. Provide additional long-term commitment to the program in the form of additional years or
no sunset — this will encourage more long-term investment and growth.
For those of you who may be interested in helping us move these legislative priorities forward, we will
be launching an “advocacy toolkit” on our website by the end of 2012 — please visit our site at
www.filmflorida.org. This toolkit will provide interested parties with information and documents that will
help them feel comfortable engaging their legislators in order to become an advocate for our
industry.
Film Florida is also in the process of planning our annual Film Days “Rally in Tally,” to be held in March
2013 — again, please visit our website for more information about this industry event and consider
joining us in Tallahassee to show your support of industrywide initiatives.
Thank you all for your time and for your continued commitment to the film, entertainment and digital
media production industry here in Florida.
Happy holidays to you and yours ... we at Film Florida wish you a happy, healthy and prosperous
New Year!
Best wishes,
Leah Sokolowsky
President, Film Florida
www.filmflorida.org
SAG-AFTRA
7300 N. Kendall Drive
Suite 620
Miami, FL 33156
Phone:
(305) 670.7677
Fax:
(305) 670.1813
Web Site:
sagaftra.org/miami
To Become a BookPAL, click on the link below to donate some of your time and share the smiles of children as they learn from the storytellers themselves. See reviews on SAGAFTRA.org/local/Miami
http://bookpals.net/bookpal-scheduler/
Learn how you can make a difference for FL PALS by contacting:
Natalie Rogers Florida BookPALS & PencilPALS Director Screen Actors Guild Foundation PHONE: (321) 229-0638 EMAIL: [email protected] WEBSITE: www.bookpals.net
SCHOLARSHIPS SAG FOUNDATION
The Screen Actors Guild
Foundation is seeking applications
for the 2013 John L. Dales
Scholarship Program, which
benefits eligible SAG-AFTRA
members and their children.
Established in 1973 to honor John
L. Dales, who served as the SAG
executive secretary for 37 years,
the Dales Scholarship Program has
provided more than 1,500
scholarships to members and their
children who are pursuing their
educational dreams.
Visit the SAG Foundation
website, www.sagfoundation.org/
programs/scholarships for
information, guidelines and
applications.
AFTRA FOUNDATION
The George Heller Memorial
Scholarship Fund of the AFTRA
Foundation was established to
honor the key founder of AFTRA,
George Heller, and now
memorializes him as well as many
other union members and
executives who cared about and
contributed to the union.
Scholarships are offered by the
Foundation to SAG-AFTRA
members and their dependents
for academic study in any field,
including broadcast journalism
and labor relations, or for
professional training in the arts.
Eligibility requires SAG-AFTRA
membership in good standing for
at least five years. The deadline
for submission of applications —
including all required materials —
is May 1, 2013. Up to 15
scholarships are provided each
year. For more details please go
to http://www.sagaftra.org/aftra-
foundation/heller-scholarship