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"For Charity's Sake
"
Writer/Producer/Actor:
Adetoro
Makinde
Experimental
Agreement
New York Branch
What
inspired you to write For Charity's Sake?
A few years ago, some fellow actors
and I went to a film festival and became
depressed. There were so many films that had
been shot in New York and we had never heard of
any of them for casting consideration. So we
decided to create our own opportunity by
financing and producing a short film where we
could cast ourselves.
What challenges did you
face acting and producing at the same
time?
Well, it wasn't easy. As a
producer on a very tight budget, I was
responsible for everything. I alone took care of
all the pre-production so when it came time for
us to shoot, I couldn't help but be aware of
every detail. The shoot was an exterior May
night when the temperature suddenly dropped down
to 40 degrees and the threat of rain was
constantly looming over our heads. I played the
lead character and was in every scene, so each
time Maurice called "cut," I was talking to the
1st AD and making sure everyone was being taking
care of. In fact, I opted to shoot all my
singles shots last just so the rest of the cast
wouldn't be too tired. When it came time to
shoot my singles, I performed without the other
actors being present. Since I was the writer, I
knew every line and would say the other actors'
lines in my head before moving on to my next
line. Also, since the sun was coming up, I did
it all in one take.
Why did you choose to
become signatory to SAG?
Initially, I
wasn't sure if I needed to be signatory.
Although I am a SAG actor, I thought since I was
producing that I wouldn't need to have a
contract with myself. Not true. Three weeks
before we were to shoot, I went to the SAG
office and inquired about this, only to be
informed that I would indeed be in violation of
SAG Rule One. In fact, by not becoming signatory
I would be in violation of myself.
Please describe your
experience working with the Guild.
It
was great! Since I had exactly two weeks to get
all my paperwork in order prior to shooting, I
was in a state of panic. I met with Fern
Wakneen, Director of Theatrical Contracts, who
was amazing. She immediately assigned me a SAG
representative and explained to me what steps I
needed to take to move the process forward -
including where I could get affordable worker's
compensation. Because of her involvement, what
could normally take two to three weeks was done
in one.
How
important do you think it is to use professional
actors in a film?
I think that it is
very important to use professional actors. As a
member of SAG, AFTRA and AEA, I know that when I
perform in a production, my union is
safeguarding all my interests as an actor.
However, I define professional actors not
according to their union status but by their
commitment to the craft of acting. Before I
joined the union, I was a professional actor and
I know a great many talented and professional
actors who have yet to book that union gig. In
the meantime, they continue to audition for
everything they can, dedicating themselves to
doing good work in good
productions.
Would you use SAG actors
again?
Absolutely. But more
importantly I will use the best person for the
role. I believe a huge percentage of a good
production/film is attributed to
casting.
What
advice would you give to a filmmaker thinking
about using a SAG Contract?
Don't be
afraid. It's a lot of paper but it's just there
to make sure you keep your word. After all, if
you had the money to pay the actors, you would.
A SAG contract protects the talent by insuring
that when you make money the talent should as
well. It's not fair to capitalize on the actor's
talent and not share the wealth. Right? Right.
So for now, it's okay to defer payment if that's
what you need to complete your film. Don't
compromise your film because you would rather
use the unprofessional non-union talent than
sign a signatory contract with SAG. SAG isn't
out to get your film, just get what is due to
actors.
What
were your biggest lessons while making your
film?
Preparation! Preparation!
Preparation! Remember - Murphy's Law states, "If
anything can go wrong, it will go wrong." In
production, this means the playing field is wide
open, so be prepared.
Hey you…yeah you! Have you made
a SAG film that has had commercial and or
success on the film festival circuit. Want to be
featured here? Contact
us and maybe we’ll feature your film on
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