Then actors got together and formed unions to give them a united voice when dealing with producers. This effort didn't happen overnight. It took time, and met with much opposition, not only from producers, but from actors who were afraid of losing what they already had. But the original founders of the three actors unions (which were formed at different times) held fast. And as the rank and file membership grew, producers had to begin taking the unions seriously.

The unions you will want to be concerned with are the Actors Equity Association (Equity), The Screen Actors Guild (SAG) and The American Federation of Television and Radio Artists (AFTRA).

Each of these unions has a distinct purpose.

This union negotiates working conditions with producers for actors working in live theatre: "stage actors". If you want to do Broadway, you'll want to be in Equity. Over the years, smaller Equity theatres have sprung up around the country. Equity allows a percentage of non-Equity actors to work in Equity plays, as "apprentices", in a manner of speaking. After the non-Equity actor has completed a certain number of Equity plays, he/she is allowed to join Equity. I'm not sure of this number, because I came into Equity through a different route. Equity allowed me to join because I was already a working actor who belonged to the Screen Actors Guild, which Equity considers a "sister" union.

I don't know why it's referred to as "sister" and not "brother".

Some actors consider Equity the "real actors" union, because stage actors were on earth before film and television actors. To me, it's just one of the big three. I joined in New York in case I ever wanted to do a play on Broadway. I never did though. Film is my main love. I didn't even do an Equity play until I came back to St. Louis, almost 14 years after I joined Equity. But I still keep up my dues. I guess it makes me feel more "affirmed" that I am a... real actor... duh...

This is the union, or "guild" for screen actors. This can mean the big, "silver" screen, or the little television screen, and includes jurisdiction on anything that is "filmed" as verses "videotaped". Most movies are filmed. Some television shows are filmed. Some television commercials are filmed. Some industrials are filmed. If it's on film, you need to be a member of the Screen Actors Guild.

You can't work in a SAG project unless you are a member of SAG, and you can't become a member of SAG unless you have gotten work in a SAG project. SAG is strict about this requirement. In 1975, when I was just starting out, I was privileged enough through important family union associations to get an appointment with Chester Migden, then National Executive Director of the Screen Actors Guild. After discussing "friends" in the unions, I came to the point of my visit, which was that I had hoped I could be allowed to join the Screen Actors Guild that day. Well, it didn't work. The eligibility requirements stated at the top of this paragraph were repeated to me that day, and that's the way it was. Today, of course, I'm happy that that's the way it was. That policy filters out those who are not really serious about making acting their profession.

So what do you do? You have a few options.

1) If you are in Los Angeles, New York or Chicago (and probably Atlanta, Miami, Detroit and a few other cities), you can take a commercial course from a prominent casting director, and that person may want to try to cast you in a commercial which requires a SAG contract. Under those circumstances, you are allowed to sign a "Taft-Hartley" agreement, which will allow you to work 30 days without joining SAG, but the next time you work in a SAG project, you have to join SAG, and SAG will let you.

2) You can work as an "extra" in a film or commercial and hope that the director decides to give you a line. That would qualify you for membership in SAG. I've seen that happen many times on projects on which I've worked as an actor.

3) You can join (as can anyone) the American Federation of Television and Radio Artists (AFTRA), and if you work as a "principle" (a speaking part) in an AFTRA project, you are eligible to join SAG after a year's membership in AFTRA. SAG also honors this type "sister" union courtesy with the American Guild of Variety Artists (AGVA - clowns and other variety artists) and Equity.

AFTRA has pretty much an open door policy. You give them the initiation fee (about $1,000), and you're a member. AFTRA is for actors who work in videotaped television shows (soaps, most sitcoms, some commercials, news personalities, etc.) and Radio announcers/commercial actors.

If you live in a city like St. Louis, which has an AFTRA office, but no SAG office, much of the work you do will fall under AFTRA's jurisdiction. Occasional outside production companies come in and bring SAG work with them. If you are not in SAG, SAG will usually allow AFTRA members to work in these projects.

So joining AFTRA is usually a good starting place for the beginning actor. You can attend local union meetings, get a feel for the business and learn ways to help promote yourself in your chosen career.

Always remember that being in an actor's union does not make you an actor. Being an actor makes you an actor. The unions are there to make sure that your working conditions, including health benefits, are the best they can be. Once you become a union member, you are expected to follow union rules and guidelines. The first rule is that you can not work for a non- union producer.

For a list of SAG Franchised agents, click HERE.

For a list of AFTRA Franchised agents, click HERE.