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Messages - loebtmc

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1
Employment / Re: low stipend what to do
« on: Feb 25, 2019, 03:40 pm »
The most important things have been said. However, if this is a passion project, see if you can negotiate compromise in other forms  housing and meals, for example, the kinds of things that make small stipends bearable if you really really love the play or the players.

2
...and crew

3
Employment / Re: Health insurance
« on: Dec 01, 2018, 02:32 am »
The Actors Fund is the best resource for all things health insurance. Even tho I assume you are not yet union, they may be able to help you out. Give them a call.

4
The Hardline / Re: Anonymous Quotes
« on: Nov 27, 2018, 10:04 pm »
This has been a bone of contention among many AEA actors and SMs. Speaking as one who's done some, it's true that I have donated the occasional reading for specific reasons/causes, but no, I am a union SM and I expect to be paid for my time and labor. If I choose to waive it, that's on me. But you'd better offer.

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The Hardline / Re: Collecting info on ASMs
« on: Nov 11, 2018, 11:58 pm »
Yes please, this is an ongoing project. Feel free to PM me with anything you want kept discrete, or print on this network and I will copy/paste with the rest of my paperwork.
Thank you

6
The Hardline / Re: Collecting info on ASMs
« on: Oct 03, 2018, 09:02 pm »
Bumping this  I'd love to hear from all the union SMs out there who've had to fly solo on the smaller contracts, of got help if they asked. Leave me a message please, so we can collect a representative sample of experiences and help support some realistic and constructive solutions.
OK?
Thanks

7
The Hardline / Re: AEA breaks during run throughs?
« on: Sep 24, 2018, 02:43 am »
What Vernon said. Generally speaking, if you are doing a run through with no stops to (for example) get a run time, to piece it together, for the designer run and so forth  things that are necessary before you dive into tech you can go straight through without stopping and take an extended break after. But as mentioned, once you stop, for whatever reason, then breaks are due.

8
(I always enjoy when my cue times w the word "go in the script..." tho it always takes a moment for board ops to hear me as opposed to the actor)

9
The Hardline / Collecting info on ASMs
« on: Sep 14, 2018, 04:22 am »
Hey all!~
Erin Joy and I are part of a working group putting together info on triggers for ASMs  union or nonunion, but basically that 2nd set of hands we need on most shows. We are specifically focused on the smaller contracts, so not Production, SETA or LORT B and above.

If you have any stories or observations to share about not having assistance (or assistants), please send me that info asap. In addition, we are looking for responses to the following three questions

When have you had the biggest problem(s) with having no assistance?

Did you ask for help? If not, why, and if so, what was the outcome?

Do you have examples of times when help was unnecessary?

Our next meeting will be in about 2 weeks, so anything you can share before then is appreciated.

Thank you so much!

10
At Native Voices, which is a First Nations (union) theatre company in LA on the grounds of Griffith Park's Autry Museum of the SouthWest, the top of each show includes appreciation to the land, to the elders, and to the indigenous local tribes. I love this practice, and when I produced the Diversity Awards for the west on behalf of AEA and then AEA/SAG/AFTRA, I always made sure this was included at the top of the show by someone from the Native community regardless of where we held the event. It's such a great thing to remind people that, well, they were here first.

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Thanks Ruth E  in the midst of dealing in details on another contract so I was suspicious about my own memory  

12
I seem to recall that production meetings are time not counted in the SMs total hours. So this is actually an interesting conundrum. (Am I misremembering this contract? I remember having this specific discussion more than once....).

13
VSM is right  if that is an option, it's the best one. I used that a lot on my last contract, so my crew got their breaks and the set-up got finished in a timely manner.

14
Present this to your producer have them make this decision quickly either you get your proper meal break, then come back and set up, or they pay the meal penalty and you set up in time to start when the actors get back from theirs. Make sure you write down what they say and they agree (I had a producer agree on a meal penalty, then decide they hadn't said so after all).

Of course, doing a run thru immediately after eating might make for an interesting run.......

15
Vernon is, as always, wise. I just had this with some college kids at a student/professional production. My success had two parts: 1) I acknowledged their need to do something while waiting, needing a way to express nerves etc. I suggested that they bring in something quiet like a book and offered them an option  if they are backstage they are quiet, if they must talk, there was a space they could move to; 2) I talked w them about respect, and treating the actors on stage w the respect they'd expect themselves if they were in the lights. I only had to speak with one person after that, and he just spaced.

Give it a try!

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