Since the 1950’s, the advertising industry has hired and paid actors under a collective bargaining agreements with the Screen Actors Guild (SAG), the American Federation of Radio and Television Artists (AFTRA), and the American Federation of Musicians (AFofM). Each of the contracts has a term of three years, with the current agreements with SAG and AFTRA expiring in October 2006. Negotiations on new three year contracts will begin next spring. Leading that negotiation for the advertising industry will be the ANA’s General Counsel, Douglas Wood of the law firm of Reed Smith LLP. Doug and I recently sat down and discussed the challenges lying ahead and industry plans to take a leadership role in finding common ground with the unions.
Bob: Doug, can you briefly describe the industry process in negotiating with the unions?
Doug: Since the union contracts were first negotiated, the ANA and AAAA have worked together through the Joint Policy Committee, an ad hoc committee comprised of fifteen representatives appointed by the ANA and fifteen appointed by the AAAA. The JPC is led by the lead negotiator, appointed by the ANA. I currently hold that position, having been appointed in 2004. The JPC meets periodically throughout the year to discuss issues that arise in relations with the unions and, as negotiations for a new contract approach, appoints a negotiating committee to meet with the unions and hammer out a deal. The JPC is now meeting about once a month.
Bob: You recently wrote a lengthy article for The Advertiser. I recommend it to everyone. Could you briefly go over the major issues the industry and the unions have to tackle next year?
Doug: We’ve reached a critical crossroads. The current contracts are based upon a model first established in the 1950’s when there were three networks and scattered independent affiliates. Today’s media landscape is far more complicated, with new media outlets seeming to develop every week. The old contract model can’t keep up and everyone, the industry and the unions, need to step back and take a new look at how talent is hired and paid for performances in commercials.
Bob: Why doesn’t the old model work?
Doug: The old model is based upon separate payments for each media outlet. Today, there are separate payment schedules for network, wild spot, cable, syndication, dealer, seasonal, Internet, Hispanic only, and so on. It’s become terribly complicated and illogical since media diffusion has does not necessarily create more viewers. It makes little sense to add yet more “silos” for mobile, PDA’s, streaming, satellite, on line networks, branded entertainment, iPods, showmericals, promericials, multicasting, video on demand, digital editing, and so on. Going down that road is most likely going to increase costs without establishing a balance between fair compensation for actors and the advertiser’s return on its overall investment.
Bob: So what would the industry like to do?
Doug; We have informally proposed to the Executive Staffs of both SAG and AFTRA that we stop the clock on the current contracts for a year and jointly commission a study from a non-partisan expert to review the situation and propose options for both sides to consider. The unions agreed in the last contract to explore new methods of compensation for actors. We now need to work together on this to produce recommendations that take everyone’s concerns into consideration.
Bob: That sounds like a major undertaking. Who is going to pay for that?
Doug: There is a fund jointly administered by the unions and the industry that can be used for such purposes. We’re using such funds now in a joint study on monitoring the accurate reporting of commercial broadcasts. But if monies are not available from that fund, the industry will have to finance the study. It’s our hope that the unions will see the value of this study and agree to co-fund it.
Bob: Why do you believe such a study would provide viable options?
Doug: We can’t be sure it will, but if the industry and the unions don’t try to find a new model, we have great fear our discussions will break down, leading to a possible impasse. No one wants to have a replay of 2000 when we all suffered from a strike. So we need to work together and enlist assistance of people who can take a truly unbiased look at the situation. In the past, the ANA, AAAA, and AAF worked together and retained a Nobel Laureate to study the impact of taxes on advertising. The study has enabled Dan Jaffe and his counterparts at the AAAA and AAF to successfully head off ad taxes that would increase consumer costs and cost jobs. So we’ve been successful in other situations where we’ve had to defend a position. Working with the unions, we hope they’ll agree to jointly funding a study that will have similar success. It can be done.
Bob: What if the unions say they don’t want to work with us?
Doug: They agreed to consider this, so they can’t really just say no. But if we can’t get them to cooperate, then we’ll have to do it ourselves and bring a proposal to the bargaining table. The unions will then have to negotiate with us in good faith. It is our sincere hope, however, that the unions will be enlightened and join with us. It’s the smart thing to do.
Bob: We’ve all read the papers and heard the news of tension in the unions after the election of Alan Rosenberg as SAG President, together with his slate of Directors under the Members First banner. How does this impact the JPC’s initiatives?
Doug: The current debate within the unions is healthy. SAG and AFTRA members are openly debating what’s right and fair. Transparency in such matters is always preferred over closed door meetings. While Mr. Rosenberg has expressed some aggressive positions with regard to SAG’s agreements with gaming companies, the television networks, and motion picture studios, he hasn’t really said anything about the commercials contracts. Our contracts will be the first ones his new administration tackles. We all hope he’ll be open minded and embrace a new approach. He’s been quoted as wanting to do what’s right. We want to do the same. And what’s right is to work together.
Bob: And where does AFTRA stand in all of this?
Doug: AFTRA is a separate union. It has exclusive jurisdiction of radio commercials. We’ll negotiate separately with AFTRA in that regard. AFTRA shares jurisdiction of television commercials with SAG. It appears that any prospect of a merger between SAG and AFTRA, something attempted in years past, is out of the question now. We’re sure AFTRA will take an active role in the negotiations of the television commercial issues. In the past, the two unions have stood together on issues. While there is certainly tension between the two unions, we have not yet seen any breakdown in their solidarity with it comes to negotiations on the commercials contracts.
Bob: But there could be a split?
Doug: Yes, there could be a split.
Bob: In the end, won’t critics say the industry is just looking for a way to save money by reducing talent payments?
Doug: That will be the spin some pundits will put on it. But that is not necessarily the result. In fact, we fully suspect a new model will increase some costs and lower others. This isn’t about saving money. Our mission is all about spending money wisely and fairly. It’s far too early to say how that will impact on overall costs. At the center of the debate is how to fairly deal with actor’s compensation in a landscape that is fragmenting into a myriad of media choices never envisioned in the 1950’s when the format for the current contract was created. We must find a way to fairly compensate performers while at the same time showing a fair return to advertisers on their investment in talent.
Bob: Will this encourage advertisers to produce commercials in the United States?
Doug: That will depend upon the economics. It is clearly the preference of advertisers to produce in the United States with SAG and AFTRA talent. It’s just easier and more efficient. SAG and AFTRA actors clearly represent the largest and most qualified pool of talent. The issue of off shore production, however, is clearly fair game if we open up the debate to an independent expert. Nothing is off limits. We have to let the expert make proposals free of any constraints. Off-shore productions are a big issue for the unions. It’s something the expert needs to consider.
Bob: So that we can better understand the consequences of failing to come to an agreement, please take us down the road of what will happen if we are stuck with the old system, assuming we don’t reach an impasse and a strike.
Doug: Under labor laws, both sides must negotiate proposals each presents. If the unions insist on negotiating under the old model, we will, of course, do so in good faith. But even assuming we can agree on compensations for the new silos as well as existing media, it is clear such a direction will result in substantial cost increases and contribute to an already overburdened administration of the contracts by advertising agencies and talent payroll agencies. That will mean off shore production will increase and advertisers will reduce the number of actors employed in commercials produced in the United States. Put bluntly, if we are forced into the old model, it’s a fool’s game.
Bob: It’s all about accountability, isn’t it?
Doug: Absolutely. The advertising community is moving aggressively towards “accountability”. The industry is clearly prepared to pay fairly for an actor’s performance, but it is increasingly difficult to do so under a patchwork contract approach that assumes every use in new media, regardless of its effectiveness, should garner residuals or that virtually every edit creates a new commercial.
Bob: Should we be prepared for a strike?
Doug: No one wants an impasse, but the complicated nature of the issues makes compromise under the old model difficult. While it is certain that no one wants a repeat of the strike of 2000, a strike cannot be ruled out. Astute production managers will take that into consideration in the coming year as they map out their production schedules. Advertisers who hire celebrities must also be wary of production schedules or personal appearances in the final quarter of 2006 or first quarter 2007.
Bob: How is the JPC trying to be thought leaders in this initiative?
Doug: First and foremost, we’re opening the tent to allow everyone with a stake in the issues a voice. Among other things, we’re planning meetings with the unions, talent payroll agencies, casting directors, and production companies. We’re working with the ANA and AAAA to organize workshops in a town meeting format in Los Angeles, Chicago, and New York early next year. We hope to work with the unions and commission and independent, blue ribbon study on alternatives in balancing fair compensation for actors and return on investment for advertisers. And we’re also going to launch a blog on which we’ll keep everyone informed.
Bob: Any final thoughts?
Doug: The challenges ahead are daunting, but we’re prepared and with cooperation from the unions and the help of ANA and AAAA members, talent payroll services, and the production community, we’re cautiously optimistic that we’ll have smooth sailing in 2006.
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Douglas J. Wood is a law partner in Reed Smith LLP, is General Counsel to the ANA, and is the advertising industry’s Lead Negotiator in connection with the collective bargaining agreements with SAG, AFTRA, and the AFofM. He is the author of the ANA publication, Please Be Advised, the Legal Reference Guide for the Advertising Executive, and is Editor-in-Chief of the online legal e-magazine, Adlaw by Request.