@grittttty: new york

7:10:00 PM

I should preface this post by saying that I am currently a member of SAG-AFTRA, and will be a member of AEA in 2016! But I can only speak from experience in the TV/Film/New Media world, and not necessarily the theatre world quite yet.

Now, I know most actors spend the beginnings of their careers working towards joining either SAG-AFTRA or AEA (or both!), so I am not talking about whether or not actors should join any of the unions. I mostly want to address the idea of when to join and maybe when not to join.

I was very lucky a few years back to produce and star in a web series with a few of my friends, and we are able to go through SAG-AFTRA. So, we all became eligible to join. It took me a few years to actually do it because it is now $3000 to join (!!!!), but I ultimately decided to for many different reasons.

1. I believed I deserved to be paid a livable wage as an actor.

I was at a point in my life where I felt I had the experience as an actor to be paid professionally to do it. Especially once I started my MFA, I knew I was going to receive the training and degree to back up my decision to join the union. I have been doing theatre since I was in elementary school, and although I am nowhere near perfect and have a lot of things to work on, I still believe that I deserve to be paid to do what I love to do. And while there have been exceptions - some projects have taught me priceless lessons and brought incredible people and artists into my life, while I also did not get paid - I felt that it was time for someone to watch my back and make sure I wasn't being taken advantage of as an actor.

For example, without giving out the exact numbers, this week as a union member, I earned 4 or 5 times the amount than the non-union actors on set with me. We worked 14-18 hour days, we did the same amount of work, and the non-union actors received minimum wage while I got paid significantly more. All union actors also received a safe ride back to manhattan if it was between 11pm and sunrise (although they let non-union actors hop on if we all wrapped at the same time); I get paid a penalty if I am not given a meal break every 6 hours; I receive "night premiums" for working past 8pm, 2am, and 4am; I got to eat before all non-union actors; I get to check in, check out, and get into wardrobe before non-union; I got pay bumps for working around smoke and dust all day long; and best of all, I got paid overtime after 8 hours of work, which means I got paid for at least 6 hours of overtime three days in a row. Someone asked me on set, "was it worth it to join the union?" - I think those three days are my answer to that question.

The competition for union work is fierce, but I really believed I was ready to compete with other union members when I joined.

2. Join one union, and you can buy your way into the other sister unions.

The 4a's (The Associated Actors and Artistes of America) is the parent union to SAG-AFTRA, AEA, AGVA, AGMA, and GIAA. Join one of these unions, and after a year of good standing (paid up on dues, not getting in trouble for doing non-union work, etc.), an actor, artist, performer, etc. can buy their way into any of the other unions. I initially wanted to join SAG-AFTRA to eventually join AEA. AEA is arguably a little harder to join, so I thought it would be easier to go through another union. Fortunately, I get to join anyway and through an equity contract, but it is still a great perk.

3. Two words: HEALTH. INSURANCE.

For anyone who is over the age of 22, not in school, can't go through their parents health insurance anymore, etc. - HEALTH INSURANCE is a huge issue. By joining the union, an actor is giving themselves the opportunity to get good health insurance. Most actors I know do a lot of freelance work to pay the bills because it's hard to hold down a full-time, 40 hour a week job when trying to also audition and, you know, create art. And with freelance jobs comes private health insurance. Unions fill this gap for actors. Not just any member can receive insurance, though - there are eligibility qualifications. Currently for SAG insurance, an actor must earn a certain amount of money a year, or work 76 days a year to qualify. I believe the other unions have similar qualifications. But regardless, knowing there is a possibility for decent health insurance is a pretty great reason to join.

4. Discounts and Other Perks.

Okay, so this is just fun stuff. But most unions (not just acting unions) offer discounts for a ton of stuff for their members. Flights, hotels, rental cars, classes, gym memberships, etc. SAG-AFTRA also offers master classes with a ton of different people all the time, plus talk backs/Q&A's with well-known actors. There is also the Actors Federal Credit Union, the Actor's Fund, etc. to help out members - much better than a bank! Plus, especially if you live in NYC, a bunch of stores and studios offer discounts to union members.

5. Unions have your back.

This probably sums up all of my feelings about joining a union. They were formed for a reason - because, unfortunately, some people still believe acting, singing, dancing, and really any sort of art form is a not real job. This mentality will sometimes lead to abuse of an artists time and talent. Unions are there to make sure artists are treated like human beings. They make sure that everyone is being paid enough for the work being done - but also have contracts available for smaller scale productions so actors can still build their resumes or work on low budget passion projects (such as the AEA Showcase Contract and SAG-AFTRA's New Media, Short Film, and Student Film contracts). They make sure artists are given enough breaks and in a timely manner, or else the production is penalized for it. They make sure that anyone working in hazardous conditions or possibly uncomfortable situations (such as nudity) is compensated for those things. And they provide all artists with an opportunity to actually make a living off of their talent and love for their craft.

With all of that being said, reasons to wait a bit to join a union....

1. Needing time to build a resume.

I understand that younger actors may not have the resume to back up having a union status. Some people are fortunate enough to be offered opportunities early on in their careers to be paid at a union wage without having to immediately join the union. In this case, you must decide whether you are professionally ready to compete with all of the other talented and well-trained actors out there who are a part of the union. If there is only a credit or two on your resume, it's probably best to wait until you have a better understanding of the theatre and TV/Film/New Media world. Doing non-union work is a great way to build your resume; there is more of it (generally), although you are also competing with a lot more people for those roles. However, too often people make the mistake of joining a union just because they can, and fail to book any work because they didn't have the experience to compete with seasoned actors. Obviously, this is especially true for actors not living in NYC or LA - sometimes, there just isn't enough union work to even build a resume.

2. Money.

The initiation fees to join the unions are expensive. SAG-AFTRA does offer a loan to help pay to join ( and I am sure AEA does, too) - but I would recommend paying the initiation fee up front if you can. Obviously, most people cannot afford to shell out $3000 whenever they feel like it, so some people will wait until they a) HAVE to join or b) are given a big enough union contract to cover the costs of joining. Obviously, this is the most practical reason to stay non-union for awhile.

Other than that, I am a big advocate for joining a union when you are ready and are given the opportunity. I have been very happy as a member of SAG-AFTRA for the past year and a half, and know I made the right decision for myself.

If you have any questions about unions, feel free to leave a comment or get in touch with me at brynneerinmcmanimie@gmail.com.

That's all for now - have a lovely weekend everyone, and stay tuned for another post soon!

brynne

P.S. On another note, R.I.P. Elaine Stritch. I'm drinking to you this weekend!

3:18:00 PM

why I decided to MFA

Inevitably, whenever I tell someone I am getting an MFA in Acting, the question they ask is "so .. is that really necessary? like... do you NEED an MFA to be successful as an actor?"

My undergraduate experience was less than satisfactory. I was in a program where only certain types of people could really thrive and survive. I was also in a musical theatre program, which meant triple threat. And .. I'm not a dancer. I mean, I don't have two left feet. I can move really well and pick up choreography, and I know if I started dancing as a kid, I would've been pretty good. But I didn't, and so I wasn't very good, and that was my weakness. I was competing for the BFA with a bunch of people who COULD dance well, and I felt intimidated. I was really too young to be able to say "fuck em" at that point in the my life, so I continued to feel the pressure to be the perfect person this program wanted me to be. I lost all of my confidence that I had gained prior to that, just through doing theatre. I really thought I wasn't good enough and I should just .. do something else with my life. I had a few people on my side during those years, and if I could give advice to my younger self, it would be to listen to the people who had my best interests in mind, not the people who were more interested in making themselves feel better about their failures.

When I moved to NYC, I still lived with that anxiety. I constantly thought I would not be good enough and I'd embarrass myself in a New York audition, because that's essentially all I took away from (most) of my undergrad. I tried to go to a few auditions but gave up for the most part. I was unhappy with myself and my choices. I was depressed. So, I worked for two years at a desk job, thinking I needed a break from theatre. In the beginning, I loved it. I liked working for a paycheck and making enough money to live comfortably and having a routine. But then it got to a point where I HAD to go back to theatre and film. I gave myself the time to explore other options, and don't get me wrong, I was really good at my job. But being good at something doesn't necessarily mean it's the right path. I felt the right path for me was going back to school.

So, with all that being said, here are the reasons an MFA in Acting is necessary and important for ME.

1. Training.

I felt like I didn't get the training I wanted in my previous program. It also emphasized musical theatre (in my case), and I felt like I didn't get all of the ACTING training that I wanted. I knew that if I wanted to be the best artist I could be, I needed to throw myself in totally scary situations everyday for a few years in a safe environment. I know myself well enough to understand that I need tough love. I need to hear criticism from somebody I respect, who I know respects me. Otherwise, I feel attacked. My program gives me that safe environment while also pushing me to my limits. In my one year in school, I already feel more prepared than before to go out into the world and succeed. Ask anyone entering or auditioning for any MFA in Acting program, and they will probably mention how confident and collected the current students seem. It's also a sense of relaxation that I can only find in a program such as my own.

2. It's a MASTERS Degree.

Okay, let's just be real for a second. I am getting my masters degree. Which puts me ahead of the people with just a bachelor's degree or conservatory certificate, even if only on paper. If, for some reason, I decide to apply for a non-acting related job, the fact that I have a Master's degree from an Ivy League looks pretty great, even if it isn't in business or law or something people may find more "credible". Also, this degree is terminal, so I will have the highest degree possible in my field. And, I can teach college with my degree alone! So, I can do my thing AND help future acting generations, if I so choose. But please, please, do NOT get an MFA just for the sake of the degree. It is not an easy two or three years, and you will be a burden to your class if you aren't there to give 150 percent every single day.

3. An MFA is becoming more important.

Go to any Broadway or even off-Broadway show right now, and you will see at least one or two cast members who have an MFA from somewhere. A lot of them have the top schools listed - NYU, Yale, Juilliard - but some of them are from schools I didn't even know had an MFA program. Lupita Nyong'o is currently getting a ton of attention in the FILM world, and a lot of the buzz is about her degree from Yale. Directors, casting directors, and producers are all starting to notice a trend: an actor with an MFA is extremely reliable. Having an MFA means an actor has respected training, which means directors trust those actors with difficult roles. Dealing with Shakespeare and Chekhov and Absurdism and contemporary works all the same time = knowing how to get shit done and work 1000%, even through exhaustion. Which means, give us only one role for two months and we will probably bring more choices and options and an overall stronger sense of what the role and the overall play requires, because we have been thrown in so many different directions at the same time.

The pool of actors who actually go on to graduate school is so small, we HAVE to be there because this is what we want or have to do with our lives. We are not there because we are still deciding what we want to do. We HAVE decided, although we all may have different paths we want to take. At the end of the day, talent and determination will get anyone the job. But having the training to back up both of those doesn't hurt, either.

4. My specific program felt right for me.

I was fortunate enough to watch someone go through the same program I am in now. I got to know the people, teachers, and structure of the program very well before I even applied. In fact, the ONLY school I wanted to go to before that was NYU, because at the callbacks I had a great feeling about the program. But then I saw the inner workings of Columbia - and decided to give it a shot. And at my callbacks, I immediately felt that "click." It just seemed like I was in the right place at the right time. As I sit here writing this, I still feel like I am exactly where I need to be. My biggest advice to anyone applying for grad school is to make sure it's the right fit for you. I can sit here and praise my program all I want, but if you audition and it just doesn't feel right, then it isn't right. I immediately knew that I would get what I wanted from Columbia, and I have heard the same thing from other people about their programs. My intuition said do it, so I did.

5. The connections.

Alright, this one is a little bit more about getting work and less about training. But I don't mean someone who will just hire me and pay me. I mean, getting to know the directors, playwrights, etc. in my program who I can collaborate with on projects beyond school. Making lifelong friends and artistic partners. Even within my own acting class, I know we will be working with each other beyond school at some point, maybe even on projects we create. I am also fortunate to have incredible faculty who will (hopefully) be in my life for a long time as not only my mentors but as fellow artists in the community of theatre and film. Meeting these types of people are so important if we want to survive this insane business.

In the same vain, Columbia gives us the opportunity to join AEA. As most stage actors know, getting to join Equity can be a long process if not presented with an actual equity contract at some point. But, in my third year, I will get to work with an Off-Broadway company for a few months for my equity card, and that's that. This is something that is very important to me, and I hope more programs around the country can start working with Equity companies to give this opportunity to all MFA students, because we deserve to be paid a union wage for the training we have received.

For the list of our faculty, check out these links (prepare to be blown away.. I like to brag about them a bit):

http://arts.columbia.edu/full-time-theatre-faculty

http://arts.columbia.edu/adjunct-theatre-faculty

6. I am learning how to fail.

THIS IS SO IMPORTANT. I fail everyday at school. I make mistakes and bad choices every rehearsal. I have to fight against my need to protect myself and allow myself to open up on a daily basis. I have to constantly remind myself that vulnerability is okay. I have to learn to not take anything personally. I have put myself in scary situations constantly. Sometimes I feel like I want to crawl in a dark corner and never come out again. And, by doing all of this, I can confidently walk into any audition and do my best, because I've already failed so many times and SURVIVED. I didn't die. I got back up and tried something else. I wiped my tears away and had to suck it up and go back to class or rehearsal after complete meltdowns. And ... I survived. And I was actually BETTER because of my failure. I can walk into an audition or rehearsal or performance relaxed because I know I will be okay if anything goes wrong. And I will actually do better because of that.

Oh, and also, fuck the people who judge any of us for our mistakes and failures.

With all of that being said, DO NOT use these as reasons to go to grad school:

expecting to get representation from showcases in NY or LA.
again, just for the degree, and not for the work that goes into it.
to be PRAISED constantly .. trust me, this will rarely happen, if at all.
expecting jobs immediately after graduation; an MFA in Acting does NOT guarantee work, that's up to you.
to avoid going into the "real world" after undergrad - the real world may be kinder in this case. make sure you are in a good place for change and growth when entering any MFA program, which most of the time means spending time out in the real world and getting to know you.

Also:

DO NOT let your financial situation deter you from grad school. talk to the current students about what they have done - you'd be surprised. plenty of programs have a lot of hidden help - check that out before making your final decision. but always go with your gut if it doesn't make sense for you.
DO spend a lot of time getting to know different programs, by visiting, and talking with current faculty or students and alumni.

So ...no. You don't NEED an MFA to be successful as an actor or artist. You don't even need a BA or BFA.

But ... yes. It is necessary for me.

As with all opinions, take what I have said with a grain of salt. I am not an expert and can only speak from my own experience.

brynne

4:41:00 PM

anne bogart-isms

SUMMER IS ALMOST OVER!

union vs. non-union

Working background this week, I got a lot of questions about my program, which gave me a lot of great ideas for things to write about .. but one thing that really stuck out to me during this time was the age-old battle of Union vs. Non-Union.