Screen Guilds Magazine (August 1935)

Summary of The Academy Free Lance T HE Screen Actors’ Guild presents herewith for its members who do free lance or day player work a sum¬ mary by its attorney, Laurence W. Beil- enson, of the Academy Free Lance Con¬ tract and of the Academy Rules for Day Players. The concessions from the pro¬ ducers therein are a portion of what the Guild demands. They were granted only after the Guild had pressed its de¬ mands through the five-five committee, and only as a means of heading off those demands. Since the producers dominate the Academy, even these concessions will be enforced only so long as Guild pressure is maintained. That pressure will be maintained by constantly strengthening the Guild. Every member mfist work at this task as the best insurance for the actor. Summary of Free Lance Contract (Numbers refer to paragraphs of agreement). (1) ROLE AND SALARY. Name of role, title of picture, and weekly sal¬ ary. (2) and (3). TERM—STARTING DATE. Starting date fixed with studio having leeway of 24 hours on either side, excluding Sundays and holidays. (4) and (7) DEFINITION OF WEEK. TIME OF PAYMENT. Pro¬ vides when the week starts and when you get paid for the preceding week’s work. According to current practice, it is as follows: Metro-Goldwyn-Mayer: W eek from Thursday to Wednesday, inclusive; payment on Saturday. Fox: Week from Monday to Satur¬ day, inclusive; payment on Tues¬ day. Columbia, Paramount, Radio, War¬ ners First National, Universal, Twentieth Century, and Samuel Goldwyn: Week from Monday to Saturday, inclusive; payment on Wednesday. (5) SIX DAY WEEK. One day’s extra pay (one-sixth of weekly rate) if you work Sunday, but only if you have worked or been on call every other day during the week. (6) MINIMUM GUARANTEE. Pro¬ vides minimum guarantee of one week’s work. If your deal is for more, blanks in this paragraph must be filled in ac¬ cordingly. • 4 (8) and (9) TRAVEL TIME. If lo- cation can be reached within 24 hours from studio, pay begins at first appear¬ ance before camera or at first call on location, or 24 hours after you have reached the location, whichever is soon¬ er. You are also paid for the time rea¬ sonably required to return to Los An¬ geles. If the location is more than 24 hours from studio, it is left to your own deal. If you strike out words “shall not”, yo'u are paid for travel time. If you strike out word “shall”, you are not paid for travel time. (10) WARDROBE. Producer furn¬ ishes period and character costumes. You furnish other wardrobe, if you strike out word “Producer”. Producer furnishes other wardrobe if you strike out word “Artist”. (11) PUBLICITY STILLS. You agree to do one day’s work, without pay, before or after picture for publicity stills, if you are not employed when the request is made. (12) ARTIST’S ADDRESS. Your address is given; producer may give notice by mail to that address or orally. (13) TELEPHONE. Keep casting office or assistant director advised where you can be reached by telephone. (14) RELIEF FUND. If you strike out words “does not”, one-half of one per cent is deducted for Motion Picture Relief Fund. If you strike Out word “does”, nothing deducted. (15) ARBITRATION. If you write the word “not” in this paragraph, you do not submit to Academy arbitration of any dispute. If you do not write in the word “not”, you submit to Acad¬ emy arbitration of all disputes. (16) SIGNING AGREEMENT. If the Producer hands you the agreement, and you sign it and return it without alteration to the Producer by noon of the next succeeding business day, it is a contract without signature by the Producer. (17) STUDIO RULES. EXCLUS¬ IVE SERVICES. You agree to abide by reasonable studio rules and you give your exclusive services during the term of the contract. (18) and (19) REST PERIOD. Rest period from dismissal to next call is 12 By Laurence W. Beilenson hours. If you are called and report with less than 12 hours rest, you get one day’s extra pay. The rest period from Saturday to Monday is 36 hours, unless you get additional pay for Sunday or have had 36 hours without work and with pay during the preceding 7 days, in which event rest period is same as for other days. No work on New Year’s, Decoration Day, July Fourth, Labor Day, Thanks¬ giving Day, or Christmas, except in case of an emergency or on Sunday im¬ mediately before or after such holidays. If you work on any of those days, you get one day’s extra pay. In computing the rest period, those holidays are treat¬ ed the same as Sundays. (20) PRODUCER MAY CHANGE ROLE. Producer may re-write, length¬ en or shorten your role. (21) PRODUCER GETS ALL RIGHTS. Producer gets all rights, in¬ cluding television in connection with particular picture. But producer may not use scenes in which you appear in another picture. (22) USE OF DOUBLE. Producer agrees not to “dub” or use “double” except when necessary (a) for foreign exhibition; (b) to meet censorship re¬ quirements; (c) to avoid hazardous acts; (d) when you are not available; and (e) when you are unable to meet requirements of your role. (23) LOCATION EXPENSES. You are entitled to reasonable and necessary travelling and living expenses when services required away from Los An¬ geles or environs. (24) WARDROBE DAMAGE. Pro¬ ducer liable for loss or damage to your wardrobe caused by performance or Producer’s lack of care. Producer’s wardrobe to be returned promptly, you to pay for damage caused by your lack of care. (25) PRORATING SALARY. If during first or last week of employment you appear before camera less than 6 days, the daily salary for such week shall be prorated at one-sixth of weekly rate. (26) CLOSING DATE. Producer agrees, on request, to give you estimated The Screen Guilds’ Magazine