Low- and no-budget filmmakers can get great talent for their production and actors can find work

Don Livesay, Arizona and Utah Executive Director for the Screen Actors Guild, loves new opportunities for actors in Arizona. Don's job is to administer contracts for film, television, internet, new media, and a host of other venues for productions looking to utilize SAG actors. "We have the best talent in the world and the best in Arizona," says Livesay, who has been with SAG since 1981.

For independent filmmakers looking to make their low- and no-budget productions, it can seem out of reach to use SAG talent, but there are some great resources many independent filmmakers may not be aware of. Pointing to the SAGIndie site, Livesay notes the Short Film and Ultra-Low Budget Agreements are powerful resources for filmmakers. The Short Film Agreement covers films budgeted at less than $50,000 and less than 35 minutes in length and allows for deferred salaries as well as both professional and non-professional talent. The Ultra-Low Budget Agreement covers features with a budget of less than $200,000 and features a day rate for talent of $100 a day. Many first-time filmmakers may not be at that point, but after a few films, and a small amount of money coming in, one can be in a position to hire SAG actors. “The advantage of SAG actors is that you are getting someone who’s saving your time and money - not dozens of takes; staying on schedule and under budget.”

"It's best to involve SAG as early as possible in the production," comments Livesay. This allows Livesay to provide a contract that best suits the needs of the production. It gives you the advantage of professional talent without the costly dangers of numerous retakes and with the high-quality standards of professional actors. "With non-members, it's a gamble. The difference between professional and non-professional is quality," notes Livesay. Even if it’s outside of your budget, Livesay notes, it’s best to involve SAG “in the early stages of production so they can be a partner. SAG wants to make the project happen so performers will have work.”

For actors, the advantages of joining SAG are many. Among other things, a pension, insurance, safety, proper handling of credit and royalties (even across multiple property ownership), and, of course, performance eligibility for big-budget productions. Livesay encourages performers and actors or anyone doing a film to consider SAG.

Don Livesay encourages filmmakers and actors to contact him at the Arizona SAG office, (480) 264-7696 or toll-free at 800-724-0767. You can also contact Don via email at dlivesay@sag.org. For filmmakers, have a look at the SAGIndie site to see what advantages SAG can offer your production, download contracts, submit a casting breakdown, and find valuable filmmaker resources.

Independent film is a passion for Tucson insurance professional

Long-time Tucson, Arizona resident Taylor Davidson left the banking world for insurance and hasn't looked back. He was approached by a friend, an independent filmmaker, who felt they weren't getting a good deal on their production insurance and asked Taylor for help. Davidson, who was already dealing in property and casualty insurance, researched the market and found a viable solution for his friend. Since then, he's provided his niche products to a variety of productions across the country and around the world.

When asked why he sells production insurance, Davidson says, "I love independent film... I see filmmakers with no-budget productions grow into bigger and bigger projects..." and his unique position as one of Tucson's only production insurance providers for the last 5 years lets him see this growth. He says independent filmmakers and enthusiasts are like hikers: "they will go through a long, painful journey just to find that one perfect peak." The experience is shared by viewers and filmmakers alike.

Not every filmmaker can afford production insurance, but Davidson doesn't mind. He encourages filmmakers working on a variety of projects to contact him. Even if he can't get them a policy, he enjoys watching them grow and grow until they can put his products to use. From his handout at a recent IFASA meeting, General Liability insurance is the most basic insurance you can get for your production. Third-Party Property Damage is also important especially if you plan to shoot on-location - in the event someone on your cast or crew causes damage to the location. "Insurance is about transferring risk not eliminating it... a good insurance agent will work with you to get you the right policy for your production and minimize your risk." Of course, insurance isn't perfect: "liability doesn't end where your insurance does and insurance has nothing to do with whether or not you get sued... confirm with your agent everything that goes on your policy."

Low-budget independent filmmakers should always factor insurance into their budgets. Production insurance may seem expensive when you have a limited budget, but it could be far worse without it. Unforeseen events like equipment damage, injury to talent, damage to third-party property, or even intellectual property (like copyright or trademark) issues can come up and ruin even the best-planned production. Needs like unmet SAG contract requirements, payroll, city and other special certificates, and insurance to cover a location are not uncommon, but can be handled easily. "In order to have coverage, productions need to be produced/owned in the name of the insured..." Taylor notes, pointing to low-budget independent projects where cast and crew take on liability by renting equipment or buying services that insurance can't cover because it wasn't in the production's name.

Remember: not all insurance policies are built the same. "Many policies will remove coverage in order to lower premiums," but the production will suffer if something happens and it's not covered. "Blanket coverage is often removed which can save on premium, but can cost the production more than the extra premium in the long run."

So, whether you have millions of dollars or only a few dollars, Davidson encourages filmmakers and producers to contact him. "If I can't help, I usually know someone who can," says Davidson with a smile.

Taylor Davidson says he likes working with independent filmmakers because he gets to watch them grow. His advice for filmmakers is to have a large number of scripts and/or projects in the works and to choose the projects you can do within a specific, realistic budget. "Start with small projects and work your way up to bigger and bigger projects. Remember your bottom line. Use what resources you have, not what you want your resources to be." Also, he says filmmakers need to remember that projects should entertain or, at least, engage the audience. He comments, "filmmakers in Tucson need to be more realistic when it comes to their films - films can be art, but if they don't engage the audience they won't be as successful."

Taylor Davidson is a licensed insurance agent working with The Ruboyianes Company, PPLC (pronounced RUBY-AHNESS) in Tucson, Arizona. You can contact him at his office at 520-577-1040 or via email at taylor@ruboyianes.com whether your production is in Arizona or anywhere.