Ironically, you have Ronald Reagan to thank for SAG-AFTRA actors’ welfare.
So the SAG strike was about one issue, and that issue was motion pictures made by the studios that were now being played on television. That started around 1948. [The union] kept wanting to talk about this issue, and [the studios] kept kicking the can down the road, year after year, negotiation after negotiation. So, eventually, the membership of SAG were like,It was very, very, very contentious.
You can play that film anywhere in the world, you can play it in Italy, you can have it dubbed—but when you put it on television, that’s a new revenue streamis taking work away from other actors. Because if you have this movie on, that time slot is no longer available for working actors.Century Fox [Spyros Skouras], his argument was very simple:
And that was basically the position of all of these studio owners. At the beginning of the strike, they were like,And Reagan said, We’re “trying to negotiate for the right to negotiate.” That’s how far apart they were. It was so foreign to these guys that they would have to share their revenues with actors after they’d already paid the actors.
Oh my God, this is one place where we might be able to make some money. And now you’re asking us to give you a percentage of it.This was kind of a new idea—that, if we take these movies and put them in this new medium, there’s a new revenue stream outside of box office gross. There was no such thing as movies on television when the industry started. There was no television. The idea of residuals started on radio, believe it or not.
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