Work that involves nudity or simulated sex places performers in uniquely vulnerable situations. This work is, and always should be, something a performer is proud of……
Thank goodness for the Screen Actors Guild legal department for ensuring our rights on a movie set.
The 2020-SAG-Aftra contracts include many new rights for actors shooting nude and seminude scenes, simulated sex scenes and intimate scenes.
Work that involves nudity or simulated sex places performers in uniquely vulnerable situations. This work is, and always should be, something a performer is proud of and something they engage in willingly.
To protect a performer’s immediate and ongoing comfort and safety.
Key factors performers have:
- Appropriate notice of nudity and simulated sex required from a role and audition process;
- An opportunity to provide meaningful, written consent free of pressure or coercion;
- Written riders that outline the parameters of nudity or simulated sex; and
- Safe and secure working conditions that are not detrimental to their health, safety, morals and career.
On a set I was working on, the Director actually had the STUNT TEAM work as security with our backs turned toward the set as to make sure the Actor had all the privacy possible. Remember, you are the actor, this includes background actors.
............................AUDITIONS..........................
Before the Audition
1). Producers cannot have performers submit nude photographs or self-tapes as part of the audition process.
2). If nudity or simulated sex acts are expected of a role or there will be a modesty garment final audition, It has to be attached to the casting notice itself, (if hired, the rider is required 48 hours before call time).
3). Casting professionals have been directed to provide background actors with as much information as possible about required nude photography or simulated sex; the specific physical activities required, the type of attire, and if they will be interacting with others.
4). Performers must be provided with the name and phone number of a designated producer representative and/or a hotline to address questions about the rider.
AUDITION LOCATION
1. A “Closed Audition” means:
Your audition must only be seen by those “essential.” In other words, the fewest people necessary to cast the role. The performer must be provided the name and title of any person in the audition.
2. Any “Closed Remote Audition” (e.g. a Zoom audition during COVID) requires the individuals viewing be visible to the performer the entire time.
3. During modesty garment auditions, performers have the right to have a support peer present, regardless of where the audition is held. No interviews or auditions in hotel rooms and private residences are allowed, unless there is no other alternative.
THE AUDITION
IN THE AUDITION
1. Actual nudity in an audition is always prohibited.
2. Simulated sex in an audition is always prohibited.
3. Auditions for roles that require “nudity,” might involve a modesty garment (pasties, g-string, equivalent underwear or swimsuit). Modesty garment auditions are limited to one final callback, with prior notice.
4. No cattle call general auditions are allowed that involve any kind of nudity or modesty garments.
5. Any footage taken during the final body viewing audition requires prior written consent, and the performer can request the destruction of this content once casting is over.
6. There is a ban on recording using personal phones and devices in auditions whenever nudity or simulated sex are involved.
Intimate Scene Riders
A performer’s performance or depiction in a scene requiring nudity or simulated sex acts is conditioned on their prior written consent, which should take the form of a rider attached to their contract.
The rider should:
… Outline descriptions of the intimacy they are agreeing to do on set and how it will be depicted in the final picture.
… Be something agreed to in negotiation between the performer (or their representative) and production.
A rider provides an opportunity for meaningful, considered consent. Performers should never be pressured or coerced into signing a rider, ensuring they only commit to performances and depictions they are personally comfortable with.
Production
* ON SET
- No last-minute requests for nudity and simulated sex. There is a new 48-hour rule in which producers must give the performer and professional representatives at least 48 hours before call time to review/negotiate rider for nudity/simulated sex. Last-minute changes are prohibited. If a producer wants to request any change to what was agreed upon, the performer must be given an additional 48 hours prior to call time.
- A producer is never permitted to request that performers engage in real sex acts.
- Background performers asked to perform simulated sex act or to perform in the nude without notice or consent must still be paid, even if they decline to do the work.
- Cover-ups, like a bathrobe, must be provided to performers including background performers, who are nude or wearing modesty garments when not engaged in the rehearsing or shooting of a scene and, if practicable, when there is a pause in rehearsing or shooting.
- Any intimate body part not agreed to in writing to be shown in the film or on set must be covered on set. This is to make the performer feel more comfortable, and prevent any unauthorized footage.
- A physical barrier is required for any action that may lead to genital contact. This barrier must prevent the exchange of body fluids and prevent sexual stimulation.
Protocals
The set must be closed to all persons who are not essential to the filming or rehearsal of a scene, meaning that only those necessary to be physically present in the moment are allowed on set.
People who should not be on set during the production of these scenes include other performers not involved in the specific scenes, unnecessary crew members, financiers and studio executives, location owners and visitors.
Monitors should only be viewed by essential members of production. Best practice is to place monitors in a secure, private location.
It is strictly prohibited for any person on set to make recordings using a personal device, including cellphones, mobile devices and personal cameras. Best practice is to prohibit these devices from being on set.
A cover-up must be provided to any performer in the nude or wearing a modesty garment when they are on set but not rehearsing or shooting a scene, or when there is a pause in rehearsing or shooting the scene.
Performers must be provided with the name and phone number of a designated producer representative who can address questions about the interpretation or application of proposed written consent.
..........And Finally...........
Body Doubling & Digital Doubling
- A producer may not double a performer (including using digital technology) to depict them in the nude or engaging in a sex act unless previous consent is given and the depiction follows the rules of the codified basic agreement, including the exception under Continuing Consent above.
Publicity Materials
- No footage or still photography of a performer in the nude may be used for promotional material unless they have provided prior written consent. If consent is included in the performer’s original rider, it must be included as an independent, explicit clause.
SAG-AFTRA
- Anyone concerned about a situation that does not adhere to the guidelines set out here should contact the relevant SAG-AFTRA department using the numbers or email addresses below:
Entertainment Contracts:
844 SAFER SET
(844) 723-3773
[email protected]
FEDERATION PRODUCERS & VENDORS
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WellWorldTVDebra K is the founder of Well World TV, a modern television network sharing inspirational and educational content. She works exclusively with those who want to create video content, distribute it through OTT and SM and she is a media consultant helping personalities get started. She is actively seeking new companies and personalities to work with. Her TV Show credits include an EMMY nomination, ADDY award and her most recent TV show, The Prime Time, was an official selection by the International Film Festival of Manhattan and the Miami Web Fest. She is a published author, keynote speaker and business consultant for wellness brands. She is ready to help you share your message and take your business to the next level.United StatesOzwood entertainmentTony Estephen is a Managing Director at Enviroshield Waterproofing based in North Strathfield, New South Wales. Also owner of Ozwood Entertainment, producing internationally acclaimed films in New South Wales, Australia.WorldPicturesAustraliaWORLD PICTURES AUSTRALIA is a production company based in Sydney, Australia.
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RICHARD WAYNE STUNTSRICHARD WAYNE STUNTS Men and women who don't mind taking risks and love the thrill of danger may want to consider this as a career choice. No specific certification or degree is required to become a stuntman or stuntwoman. It would be very beneficial to have somewhat of a diversified background in various activities, such as gymnastics, fencing, sky diving, scuba diving, rock climbing, martial arts, dirt bike racing and stage combat to name a few. The most important skills required are physical fitness, stamina, strength and coordination. Stuntmen are the "faceless action heroes" of film and television. They work the scenes of the movies that are risky. They do live action stunts that make all of us action film lovers drool. Imagine dangling from a helicopter, driving a Ferrari in a high speed chase on windy mountain roads, jumping off rooftops, slashing an evil doer with a sword, crashing an 18-wheeler, or falling off a cliff. This is just a day in the life of a stuntman. Not everyone can be a stuntman. Stuntmen are highly trained professional performers who take risks as part of their jobs. Every stunt is executed exactly as planned, practiced, rehearsed, rehearsed, rehearsed, rehearsed and reviewed. Stunts are designed to be as safe as possible. A beautifully choreographed sequence is amazing to watch but in reality takes days or even weeks to set up. Stuntmen average $70,000 per year. If you’re newer to the industry, you may only make $5,000 per year. It all depends on how much work you manage to find. The highest end stuntmen can make up to $250,000 per year. All it takes is one stunt to make money – the highest paid stunt ever was $150,000 for jumping off the CN Tower in Toronto. That’s about a $15,000 per second. Stuntmen love their jobs. They get to do death defying stunts and get paid for it. So if high speed boat chases, ninja fights in temples, diving with sharks, parachuting into lakes, walking on walls, or climbing a building sound better than staring at a computer screen, you should look at a career as a stuntman.pabloesparzaESPARZA FILMS We make MOVIES WITH LATINO FLAVOR. The first movie we produced in 2000, made it to the New York Film Festival, "Machete" and it is now for sale at Amazon. com. ----- We have also produced: Los Caminos de Dios, Tribaleros, Carretera nfernal, El Racista, y Mano Negra. ----- Our Mission is to continue making films that in certain ways touch people's souls. -------- CTC acting school has been open since 2015 in Grand Prairie. Workshops are on Wednesdays @ 7:00 PM and on Saturdays @ 10:00 AM We teach: How to act on camera for Film and TV Monologues, improvisation skills, Cold reads, Auditioning skills, how to construct a character, how to read scripts and understand what they want from you as an actor. An actor as a business person, how to behave in auditions, and how to read from voice overs or radio, and finally, how to understand the film industry and make sure that is what the actor wants to do...
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