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SAG-AFTRA Atlanta President Karen Ceesay | Exclusive Interview | The Demia Avery Show · The Demia Avery Show

• 0:03
  [music]
• 0:31
  >> Hello everyone. This is Demetria Avery
• 0:34
  and listen, this is the Demetria Avery
• 0:36
  show and today's guest I I am so excited
• 0:40
  you guys. So I made sure that I have my
• 0:42
  notes here cuz you know I forget
• 0:44
  everything. So I believe in intro, so
• 0:47
  we're going to make sure that we give
• 0:48
  her a proper intro. Today's guest is
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  someone who truly understands this
• 0:53
  industry from every angle. She's built
• 0:55
  an incredible career as an actor
• 0:57
  appearing in hit series like Stranger
• 0:59
  Things and The Walking Dead while also
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  making her mark as a writer, producer,
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  and acting coach. But her impact goes
• 1:07
  far beyond the screen. Today she serves
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  as the president of SAG-AFTRA Atlanta
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  where she's helping protect, support,
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  and advocate for performers throughout
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  the region. Whether you're just starting
• 1:18
  your acting journey or you're already
• 1:20
  building your career, today's
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  conversation is packed with insight you
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  don't want to miss. Please join me in
• 1:27
  welcoming the incredibly talented Karen
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  C. say. Welcome.
• 1:32
  >> Oh, what a wonderful introduction. I
• 1:33
  mean take you everywhere with me.
• 1:36
  >> [laughter]
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  >> Thank you so much for joining today. I I
• 1:39
  know we have so many people here that's
• 1:42
  going to enjoy everything that we talk
• 1:44
  about today. So I'm going to start off
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  with I know a lot of people may not
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  know. And you've built such an
• 1:52
  incredible career as an actor while also
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  serving as president of SAG-AFTRA
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  Atlanta. When you look back at your
• 2:01
  career and you see that little girl who
• 2:04
  started performing at 10 years old, what
• 2:06
  would you what would you think she'd say
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  um if you she could see you today?
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  >> I think and this is one of the things
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  cuz I have to check me and my friends
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  too. Like when we be like I you know
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  we're in an industry that we're always
• 2:19
  focused on where we think we should be
• 2:21
  >> Yeah.
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  >> and we lose sight of where we've come
• 2:24
  from a lot of times focusing so much on
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  I should be here, I should be getting
• 2:28
  these roles, I should be having these
• 2:29
  credits. But I think little me would be
• 2:32
  impressed. I think she would. You know,
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  I do.
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  >> I love that.
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  >> She thought I would have a lot more
• 2:38
  money but aside from that like I think
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  she'd be impressed.
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  >> [laughter]
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  >> Well, okay. So, let's start at the
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  beginning. For someone who's just
• 2:48
  getting into acting
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  So, we're going to start off with the
• 2:51
  SAG-AFTRA thing first. And why should
• 2:55
  every actor understand
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  um
• 2:59
  what SAG does? Even if you're not
• 3:01
  eligible eligible to join yet, what do
• 3:03
  you think every actor should know?
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  >> The main thing about being part of
• 3:08
  SAG-AFTRA is protections. You know,
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  um we protect your image. We protect
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  make sure that you have a safe working
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  environment. We um you can contribute to
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  healthcare and pension. Um we protect
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  the amount of time someone can use your
• 3:24
  image. Now with AI, you know, a lot of
• 3:27
  these non-union jobs you're doing yeah,
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  you might get paid good on this vertical
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  but where's your image going? Where's
• 3:32
  your voice being used? Um I had a friend
• 3:36
  of mine just recently sent me this text
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  and was just like oh my god, is this you
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  and um your son? And I'm looking at it.
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  She's at some event like a healthcare
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  conference. It is from a job that I did
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  with my son when he was four years old.
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  He 21 now and they are still using that.
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  >> Yeah.
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  >> I have no protections because it was
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  non-union.
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  You know what I'm saying? So
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  >> Crazy. Yeah.
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  >> caught up in the right here, right now
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  and with work being so slow right now,
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  there's a lot of conversation about
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  should I join the union, should I stay
• 4:11
  in the union? Um and those are kind of
• 4:14
  two different responses. I would say for
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  people looking to join, I would say hold
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  off until, you know, you are like
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  working all the time because right now
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  our current members are not working a
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  lot and having a hard time making dues
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  and and doing whatever. So I think
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  you want to hold tight a little bit, but
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  study study what the rules are regarding
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  um with SAG-AFTRA sets and maybe before
• 4:42
  you sign a contract, you could cross
• 4:44
  some things out and be like, um
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  no, you can only use this for 2 years.
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  You can only You can't use this in
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  perpetuity. You know what I mean? So
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  but for people that are in the union, I
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  say stay because
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  again, it's protections and right now
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  you know, the power of the union is that
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  we we combine strength. We, you know,
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  they they talk about a fist is strong,
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  but individual fingers are just, you
• 5:11
  know, by themselves. Whereas a fist,
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  that's what we are. We're the fist. Um
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  and we make sure that you're safe. We
• 5:18
  make sure that you, you know, get what
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  is promised to you. If people don't pay
• 5:23
  it enough time, you get back pay, you
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  know? So that is the power of the union.
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  >> Okay.
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  >> Amongst other things.
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  >> Yeah. So I'm glad you say that that you
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  said amongst other things. What do you
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  think are some of the the myths or the
• 5:37
  the like the misconceptions of what
• 5:39
  SAG-AFTRA does?
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  >> I mean, you know what? I've seen so many
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  things
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  online. I mean, and then you get to I
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  mean, unions are made up of people.
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  >> Mhm.
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  >> Right? And people are human.
• 5:52
  >> Mhm.
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  >> So, there may be certain things that
• 5:54
  certain humans do or things that have to
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  operate We're in a right-to-work state,
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  so we operate differently than LA and
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  New York and some of the other markets
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  that are union.
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  >> Yeah.
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  >> Um so, I think there's a lot of
• 6:08
  misconception into how right-to-work
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  um operates. Um
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  what SAG-AFTRA really has power over.
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  Like, we can't force the rate Now, we
• 6:20
  just um we just got a raise on our daily
• 6:23
  rates and everything regarding this new
• 6:25
  contract and everything.
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  >> Okay.
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  >> But, we can only enforce what the
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  current rules are.
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  >> Mhm.
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  >> You know? And a lot of times, people are
• 6:32
  like, "SAG should be doing this.
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  SAG-AFTRA should be doing this." And
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  it's just like, that's not what we do.
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  We These are the rules that we've
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  established, that we've negotiated with
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  the studios.
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  >> Mhm.
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  >> This is what we can enforce, you know?
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  >> Mhm.
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  >> The other thing, and I'm, you know, I
• 6:48
  don't know if this is just cuz I'm a mom
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  and I'm doing check, folks, but a lot of
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  times, people want us to fight for them,
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  and they're not willing to fight for
• 6:56
  themselves.
• 6:57
  >> There you go.
• 6:58
  >> Like,
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  you [snorts] know, we have a a rule for
• 7:02
  casting. You're supposed to get at least
• 7:04
  48 hours for a turnaround to submit your
• 7:06
  audition. And the weekends don't count.
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  So, if someone gives you something on
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  Friday, it's not due till Tuesday.
• 7:11
  >> Right.
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  >> But, a lot of times, you know, there are
• 7:13
  different things that come up that um
• 7:17
  you know, make it so that you don't get
• 7:20
  that 48 hours.
• 7:22
  >> Mhm.
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  >> But, if it's not falling into the rules,
• 7:26
  people will complain to us, and it's
• 7:27
  just like, "Well, did you talk to your
• 7:29
  agent?" "Did your agent talk to the
• 7:31
  casting director to see if you can get
• 7:33
  an extension?"
• 7:34
  >> Right.
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  >> "Did you file properly?" But, this I'll
• 7:37
  have people calling me, and I'm like,
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  "What do you want me to do?"
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  Like,
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  >> Yeah.
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  >> "Well, my agent wasn't doing this."
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  Well, sounds like you got a problem with
• 7:43
  your agent.
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  Right, you know?
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  >> Right. Well, speaking of that, the say
• 7:48
  say for example, okay, if I am
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  um
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  an actor, and if every actor had to
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  attend a 5-minute SAG-AFTRA
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  orientation
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  before they become eligible, what do you
• 8:04
  think they should walk away with?
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  Because
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  uh you know, I feel like there should be
• 8:10
  some type of education,
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  um
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  anyways, it I feel like the orientation
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  should happen in some kind of way. It
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  doesn't necessarily have to come from
• 8:20
  SAG-AFTRA, but maybe some something
• 8:23
  through the the talent agent or you
• 8:25
  know, just the basics. What do you
• 8:27
  think?
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  >> Well, funny you should say that. We do
• 8:30
  um we have conservatory, which are
• 8:32
  monthly classes for our members that are
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  free to our members. But, um usually
• 8:37
  every year or every other year, we have
• 8:39
  an agent panel, and we open it up to
• 8:42
  pre-members. We call them pre-members,
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  not non-members. Um and we open it up,
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  and we usually have a very
• 8:48
  big turnout. So, we'll talk about the
• 8:50
  industry a little bit, and you'll get a
• 8:52
  little information. We also have
• 8:54
  presence at different film festivals.
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  We'll set up We were out at um Atlanta
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  Film Festival. We're working to be at
• 8:59
  other festivals in Georgia. Um
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  and I mean, you can always call the
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  office. Like, we've got staff. We've got
• 9:07
  a website. We've got all of these
• 9:09
  things. And what happens is so many
• 9:12
  people want to put the onus on other
• 9:14
  people to educate them about this
• 9:16
  business. Everything you need to know is
• 9:18
  online, and now we got AI. So, you just
• 9:20
  type it into the machine.
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  >> [laughter]
• 9:23
  >> Say, "What do I NEED TO KNOW ABOUT
• 9:24
  THIS?" AND IT'LL TELL YOU. NOW, you need
• 9:26
  to double-check if you look at AI, cuz
• 9:27
  we know that sometimes they're wrong.
• 9:29
  But,
• 9:30
  it's a wealth of information out there.
• 9:32
  You can't be like, "Oh, I didn't know
• 9:34
  this. I didn't know that." Well, that's
• 9:35
  on you, cuz this is your image. This is
• 9:37
  your business. This is your career. And
• 9:40
  you have to be the one who's most
• 9:42
  invested in knowing what to do.
• 9:45
  >> Yeah. And I heard you mention a little
• 9:47
  bit about the industry being slow right
• 9:51
  now, but what are some of the positives?
• 9:53
  I guess cuz I'm always trying to, you
• 9:55
  know, I know that the industry has ebbs
• 9:57
  and flows. So, what are some of the
• 10:00
  positive things that we could be doing
• 10:02
  right or that as far as actors are
• 10:04
  concerned that they could be doing right
• 10:06
  now while the industry may be slow right
• 10:08
  now? What do you think?
• 10:10
  >> It's so funny cuz you know, Iyanla
• 10:11
  Vanzant has a book. I bought it many,
• 10:13
  many decades ago called Value in the
• 10:15
  Valley, right? And it's like when you're
• 10:17
  at your low, what is lesson that you're
• 10:19
  supposed to be learning, right? And so,
• 10:22
  right now, I mean, a number of people
• 10:24
  have had to get full-time jobs, had to
• 10:26
  get, um, you know, we got you know, I'm
• 10:28
  driving Uber. You know, we got people
• 10:31
  working at Costco, working at Trader
• 10:32
  Joe's cuz they got good, um, health
• 10:33
  benefits and everything.
• 10:35
  >> Yeah.
• 10:35
  >> Um, it's time for you to write your
• 10:37
  project. It's time for you to learn
• 10:39
  other aspects of this industry. It's
• 10:41
  time for you to learn other aspects of
• 10:43
  yourself. It's time for you to spend
• 10:45
  time with your family. It's time for you
• 10:47
  to, you know, paint that room, build
• 10:50
  that bookcase, you know what I mean?
• 10:52
  Learn how to crochet. It's time for you
• 10:54
  to do other things because what makes an
• 10:57
  actor valuable
• 10:59
  is a wealth of information and what you
• 11:00
  bring to the role. So, the more
• 11:02
  developed you are as a person,
• 11:05
  >> Right.
• 11:05
  >> you have to offer
• 11:07
  as an actor, you know? It's time to take
• 11:09
  that dance class. It's time to, you
• 11:11
  know, paint. It's time to do whatever.
• 11:14
  Um, you know, and, you know, find
• 11:16
  another way to make money.
• 11:17
  >> But you know
• 11:18
  and I'm glad you said that and you said
• 11:20
  all the different things that people put
• 11:22
  or should be doing and I'm like, okay.
• 11:25
  So, if I were an actor, which I'm not,
• 11:28
  but I would be like, okay, so I'm I'm to
• 11:30
  take this time. Maybe I want to in the
• 11:33
  future audition for some roles that is
• 11:36
  stunt doubling or or or something like
• 11:38
  that and maybe kind of hone my skills to
• 11:41
  something that I probably wouldn't have
• 11:43
  had time for. It Do you think that would
• 11:45
  be a good idea as well?
• 11:47
  >> Of course. It's a fab- I mean, you know,
• 11:49
  it's always a good time to educate
• 11:51
  yourself and learn a new skill and learn
• 11:53
  something else. I mean, again, just as
• 11:55
  human beings, we're supposed to be
• 11:56
  adaptable. We're supposed to learn. I
• 11:59
  mean, I'm in my 50s and I'm like, "Gosh,
• 12:01
  I thought
• 12:02
  I would have a better look by now." And
• 12:04
  it's like,
• 12:06
  "Okay, so I got to learn something new."
• 12:08
  >> Yeah.
• 12:08
  >> You know, and and it's going to be
• 12:10
  different for every person. You know,
• 12:12
  there's people that have become
• 12:13
  menopause coaches. There are people that
• 12:15
  have become speakers. There are people
• 12:16
  that have done all types of different
• 12:18
  things. We have one of our board
• 12:19
  members, he owns barber shops. So, he's,
• 12:23
  you know, cutting hair and and he's been
• 12:24
  doing that that's been his business, but
• 12:26
  it allows him to be able to be an actor
• 12:28
  when he wants to be, but still have this
• 12:30
  other skill that is another career path
• 12:32
  for him. I mean, you look at even
• 12:35
  stars,
• 12:36
  >> Mhm.
• 12:37
  >> they're not just actors. You know, they
• 12:39
  got hair care lines. They've got
• 12:40
  clothing lines. They got vodka labels.
• 12:43
  They've got all of these different
• 12:44
  things of different ways to make money
• 12:46
  and different ways to add value to the
• 12:48
  community.
• 12:49
  >> Yeah. And I'm glad you also touched on
• 12:51
  and something something that you said
• 12:54
  that it's not just affecting the actor.
• 12:57
  It's affecting everybody right now.
• 13:00
  >> Yeah.
• 13:00
  >> You know, so I I I love that you kind of
• 13:03
  you touched on that as well. Now,
• 13:06
  as far as SAG, what are some benefits
• 13:10
  that or resources that you wish more
• 13:13
  members would take advantage of?
• 13:15
  >> Definitely conservatory, um because
• 13:17
  those are free classes. Um we offer a
• 13:20
  lot of um
• 13:21
  it's been interesting because I came on
• 13:24
  board last year and I'll say this is
• 13:26
  probably the first just like
• 13:28
  free year, right? You know, in the last
• 13:31
  5 years because you had the pandemic
• 13:34
  where we couldn't do anything in person,
• 13:36
  and then we had the strikes where we
• 13:37
  couldn't do anything. So,
• 13:41
  and now we're dealing with a lot of
• 13:42
  people that feel kind of jaded as far as
• 13:45
  with the industry. So, it's hard to get
• 13:47
  people motivated, and I think that's
• 13:48
  kind of a a feeling that people are
• 13:51
  feeling across the country throughout
• 13:53
  various careers and industries. But,
• 13:55
  it's just
• 13:57
  we've been online, we've been separated
• 13:59
  from each other. It's time to get out,
• 14:01
  get into the community, talk to people.
• 14:04
  Nobody, I mean, your mom could support
• 14:06
  you, but she doesn't understand how this
• 14:07
  beast works. She doesn't get it. Other
• 14:10
  actors get it. You need to surround
• 14:11
  yourself with other people that get it.
• 14:13
  Now, we got a lot of energy a lot of
• 14:15
  times when you get a room full of
• 14:17
  actors, so it could be like
• 14:18
  you know,
• 14:20
  find your community, find your tribe
• 14:22
  within the tribe. You know what I mean?
• 14:24
  Find the people who you can connect
• 14:26
  with. Are y'all the same age? Are you
• 14:27
  the same ethnicity? Are you, you know,
• 14:29
  we've got a couple of our um
• 14:32
  our board members who just had babies.
• 14:33
  You know what I mean? Do you have that?
• 14:35
  Because having young children in this
• 14:37
  business is a whole 'nother thing. Do
• 14:40
  you need to find that community? Um so,
• 14:42
  that's where I wish people took more
• 14:44
  advantage of other actors and being a
• 14:47
  part of people who are professional and
• 14:49
  who have committed their selves to this
• 14:52
  industry, this career,
• 14:53
  and
• 14:55
  find that find that real community.
• 14:58
  >> Yeah. Yeah, and you know what I was also
• 15:01
  thinking
• 15:02
  um that
• 15:05
  when I was thinking of SAG, when we even
• 15:07
  before, you know, I came on here and I
• 15:09
  was like, I I get a lot of questions
• 15:11
  from from different actors. And one of
• 15:14
  the things that they always say is, you
• 15:17
  know, SAG has so many rules and
• 15:20
  restrictions and things like that. But
• 15:23
  instead of them thinking as
• 15:25
  restrictions,
• 15:27
  how can we turn this into a positive?
• 15:29
  How should actors really view them? Cuz
• 15:31
  I view it as well, they're protecting
• 15:34
  you, you know? So,
• 15:37
  >> [laughter]
• 15:37
  >> They're protections.
• 15:39
  >> Right.
• 15:39
  >> It's protections.
• 15:40
  >> Mhm.
• 15:41
  >> I mean, I've been, you know, before I
• 15:43
  joined the union, I've shown up on set
• 15:44
  and be like, "Oh, yeah, by the way,
• 15:45
  there's a nudity scene." What?
• 15:48
  Mhm.
• 15:48
  >> What?
• 15:49
  >> Yeah.
• 15:49
  >> Oh, yeah, by the way, we're doing this
• 15:51
  sex simulated scene.
• 15:53
  >> Mhm.
• 15:53
  >> And you're going to be up under these
• 15:54
  covers with this guy. His name is Brad.
• 15:56
  Here he is.
• 15:58
  >> [laughter]
• 15:59
  >> Right. Right.
• 16:00
  >> Okay, we're going to have you climbing
• 16:02
  up this ladder.
• 16:03
  >> Mhm.
• 16:04
  >> What?
• 16:05
  We're going to keep you 12 hours. We're
• 16:08
  going to take a child and put them in a
• 16:10
  situation that a child is not supposed
• 16:12
  to be in.
• 16:13
  >> Yeah.
• 16:14
  Yeah.
• 16:14
  >> You know?
• 16:15
  >> Mhm.
• 16:16
  >> We're going to We're going to withhold
• 16:17
  your payment cuz we didn't get paid. So,
• 16:19
  you're not going to get paid and it's 6
• 16:21
  months now and you still haven't gotten
• 16:22
  paid. Okay? Guess who about to get that
• 16:25
  check.
• 16:26
  >> Uh-huh.
• 16:26
  >> You know what I mean? Guess who about to
• 16:27
  get some money. Oh, you know, you show
• 16:29
  up, you got to drive to so-and-so
• 16:33
  to to work this job. Okay, well, you
• 16:35
  need to pay for my gas.
• 16:37
  >> Mhm.
• 16:37
  >> You need to pay for me to eat because
• 16:39
  I'm not in my house.
• 16:40
  >> Mhm. Mhm.
• 16:42
  >> So, people can say all that stuff, but
• 16:44
  it comes down to protections.
• 16:46
  >> Yeah.
• 16:46
  >> And the fact remains is that a union
• 16:48
  set, you get paid better,
• 16:51
  you being treated better.
• 16:53
  >> Yeah.
• 16:54
  >> I'm supposed to have a room, my own
• 16:55
  dressing room.
• 16:56
  >> Yeah.
• 16:57
  >> So, I'm not changing in front of the
• 16:59
  crew.
• 17:00
  >> Mhm.
• 17:01
  >> I'm supposed to have a meal.
• 17:03
  >> Right.
• 17:03
  >> You got to feed me. If you don't want me
• 17:04
  leaving set
• 17:06
  and you're trying to keep me here, then
• 17:07
  you need to feed me.
• 17:09
  >> Mhm.
• 17:09
  >> So, it's all of those things cuz the
• 17:11
  fact remains, people can say all this
• 17:12
  stuff, but they would rather be on a
• 17:14
  protected union set than a non-union
• 17:17
  set.
• 17:17
  >> Right, so I agree. Yeah, I agree. Now,
• 17:20
  without naming any names or anything
• 17:22
  like that, is Can you think of a time
• 17:25
  that SAG has stepped in and truly made a
• 17:28
  difference for a performer or maybe like
• 17:31
  a real-life story that that helped an
• 17:33
  actor understand the value of the union?
• 17:36
  >> Well, one I remember is SAG after we did
• 17:39
  merge with AFTRA, so we are SAG-AFTRA
• 17:41
  officially. And it was SAG, but now
• 17:43
  we're SAG-AFTRA officially.
• 17:45
  >> Mhm.
• 17:45
  >> But, I mean
• 17:47
  I'll say this much again, I was I had
• 17:49
  gotten hired on something that shot in
• 17:51
  South Carolina.
• 17:52
  >> Okay.
• 17:53
  >> And after the you know, when we would
• 17:56
  get our per diem, you supposed to get it
• 17:57
  when you arrive on set in cash.
• 17:59
  >> Okay.
• 18:00
  >> That's the rule.
• 18:01
  >> Mhm.
• 18:01
  >> But, after the pandemic, production
• 18:04
  companies started changing it. It never
• 18:06
  officially changed in the contracts.
• 18:09
  >> Mhm.
• 18:09
  >> But, they'd be like, "Oh, we're just
• 18:11
  going to pay you in your check." No, I
• 18:13
  need to eat today.
• 18:15
  I need gas in my car to drive back.
• 18:17
  >> Mhm.
• 18:18
  >> Cuz you know we always scraping to get
• 18:20
  by in this industry.
• 18:21
  >> Yeah.
• 18:22
  >> And it came down to, okay
• 18:25
  we're going to write You know, I'm like,
• 18:27
  how do some accountants in South
• 18:29
  Carolina
• 18:30
  decide whether or not they will uphold
• 18:33
  union rules? So, we had to get the
• 18:35
  executive The executive director at the
• 18:37
  time wrote a letter.
• 18:38
  >> Mhm.
• 18:39
  >> And she wrote a letter, and guess who
• 18:41
  had their money when they showed up when
• 18:42
  they showed up on set?
• 18:43
  >> There you go.
• 18:44
  >> And see, that's another thing where I
• 18:46
  took it to that level. Too many actors
• 18:49
  will be like, "Well, they're not paying
• 18:50
  us, so
• 18:52
  >> Mhm.
• 18:53
  Mhm.
• 18:54
  Wow. You know Yeah.
• 18:56
  >> when when uh people are late with
• 18:58
  payments, that's a big thing, the
• 19:00
  payments. Being late with the payments.
• 19:02
  >> And I was on a job one time, and a big
• 19:06
  job.
• 19:07
  >> Okay.
• 19:08
  >> And they were like a month late with the
• 19:09
  pay. And I'm like, "Where's my money?"
• 19:11
  I'm asking the other people that were in
• 19:12
  the scene, "Did you get paid? Did you
• 19:14
  get paid?" No, I didn't. I'm like,
• 19:15
  "Well, I'm complaining." "Well, I'm not
• 19:16
  going to say anything."
• 19:18
  Why you not going to say nothing?
• 19:19
  >> BUT YOU SHOULD, RIGHT.
• 19:21
  >> WELL, I DON'T Go to find out, they had
• 19:24
  some new accounting system. Everybody's
• 19:26
  checks were late. But now, everybody
• 19:28
  gets back fit back pay. I got A CHECK
• 19:31
  FOR LIKE $900 IN BACK PAY. Everybody got
• 19:34
  those checks in back pay. You're
• 19:35
  welcome.
• 19:37
  >> [laughter]
• 19:39
  >> You welcome.
• 19:42
  Now, let's talk a little bit about AI.
• 19:44
  Now, AI
• 19:46
  is changing the industry so much. And
• 19:50
  you know, what should actors understand
• 19:52
  right now about how SAG-AFTRA is working
• 19:55
  to protect them in this new era? Cuz I
• 19:57
  mean, AI is taking over everything.
• 20:00
  >> Well, we do we are definitely promoting
• 20:02
  people to sign um the the um
• 20:05
  forgetting my word, the uh the
• 20:08
  Why did I forget my word? Cuz you in
• 20:09
  your 50s. Karen, um
• 20:11
  >> [laughter]
• 20:12
  >> to sign a petition. There we go. I was
• 20:14
  like, I know it starts with a P um about
• 20:16
  the No Fakes Act. That um and this is
• 20:19
  something that is outside of our
• 20:22
  industry, too. Like, our industry is
• 20:24
  really pushing it.
• 20:25
  >> Mhm.
• 20:25
  >> But it's for it will protect the
• 20:28
  community at large because now we see
• 20:31
  how you can just make a video of anybody
• 20:33
  and saying anything. You got videos of
• 20:36
  celebrities endorsing products that
• 20:37
  they're like, "I don't know what that
• 20:38
  product is."
• 20:39
  >> [laughter]
• 20:40
  >> I didn't say that. I didn't say that.
• 20:42
  >> I didn't say that.
• 20:43
  >> Right. Right. Urkel, did I do that? No,
• 20:46
  you know. So, it's like
• 20:49
  what we are pushing in our industry
• 20:53
  >> Mhm.
• 20:53
  >> is protection for the community at
• 20:55
  large. You know, it starts with us
• 20:57
  because people want to utilize um
• 20:59
  especially famous people. It's so much
• 21:01
  harder for them cuz their images are so
• 21:02
  widespread.
• 21:03
  >> Right.
• 21:04
  >> But um we have definitely been pushing
• 21:06
  that. Um I am not completely I don't
• 21:09
  know exactly the terminology in the new
• 21:11
  contract, but we definitely pushed for
• 21:13
  more AI protections. And that was
• 21:15
  another one of the big hold ups with why
• 21:18
  we were on strike for so long, too. It
• 21:20
  was um it was streaming residuals and it
• 21:22
  was AI.
• 21:24
  Because once you missed the boat, you've
• 21:25
  missed the boat. Like there's no putting
• 21:27
  the genie back in the bottle. Like after
• 21:30
  after you don't get control of the um
• 21:34
  the imagery. But again, we do have
• 21:36
  protections on how your
• 21:38
  how you get paid, how you can
• 21:40
  um
• 21:41
  you know, a big thing was like for a lot
• 21:44
  of the superhero movies, they would take
• 21:46
  extras and we don't background talent
• 21:49
  and we don't um cover background in
• 21:52
  Georgia and South Carolina. Um Atlanta
• 21:54
  local is over all of Georgia and South
• 21:56
  Carolina, but we don't cover background.
• 21:59
  So people are coming in in a non-union
• 22:01
  status and they're getting scanned.
• 22:05
  So their images are getting scanned and
• 22:06
  it's like they don't know. They're just
• 22:08
  showing up and they're like
• 22:10
  okay.
• 22:11
  And now they can use their image like 10
• 22:13
  years from now.
• 22:14
  >> That's crazy.
• 22:14
  >> Oh, we're doing another thing and now
• 22:16
  it's you. They can use your image any
• 22:17
  kind of way.
• 22:18
  >> Yeah.
• 22:19
  >> So we have worked for protections for
• 22:21
  that where you can't have that, you
• 22:23
  know. Um there's different things that
• 22:25
  um at large they're doing with regards
• 22:28
  to like you can't be nominated for an
• 22:30
  award and things like that um if AI is
• 22:34
  used. But again, don't quote me. Go to
• 22:37
  the website cuz you know
• 22:38
  >> [laughter]
• 22:39
  >> there's many rules. There's so many
• 22:40
  things. And people be calling me up, hit
• 22:42
  me on Instagram, hit me in text and I'm
• 22:43
  like I don't know. SAG-AFTRA Look,
• 22:46
  Atlanta.sagaftra.org,
• 22:48
  okay?
• 22:49
  >> That's right.
• 22:49
  >> I don't want you to be misquoting me.
• 22:51
  I'm not going to be getting caught
• 22:52
  saying it wrong.
• 22:54
  >> I love it. Now Atlanta, speaking of
• 22:56
  Atlanta, it continues to be one of the
• 22:58
  biggest production hubs in the country.
• 23:00
  So what opportunities would you say that
• 23:03
  excites you the most for actors that
• 23:06
  works in this market?
• 23:09
  >> What I think is great about the Atlanta
• 23:12
  market and the Georgia market, I'll say
• 23:14
  um larger,
• 23:16
  is our community. Right? Like we know
• 23:19
  each other.
• 23:20
  Um even, you know, back in the day when
• 23:22
  we were still going into auditions,
• 23:24
  going in, you know, before self-tape
• 23:26
  took over. Like we literally would be in
• 23:28
  there and be like, "Oh, I don't see your
• 23:31
  name on this call sheet and I know we
• 23:33
  audition for the same stuff. I didn't
• 23:34
  see your name. Did you get called for
• 23:35
  this?"
• 23:36
  We'd be like, "Oh, here, use my Like it
• 23:38
  was an open thing. Try to do that in LA
• 23:41
  or New York. They're going to stab your
• 23:43
  back. They're going to take your stuff,
• 23:44
  you know, whatever. Let Let me not be
• 23:45
  just my LA New York folk peeps cuz I've
• 23:48
  met some good people out there, too, but
• 23:50
  we're very community-oriented. We're
• 23:52
  very um
• 23:54
  close-knit. We've got a lot of people
• 23:56
  that a lot of people that have moved
• 23:57
  here since the pandemic. So, it's
• 24:00
  We increased our membership um
• 24:02
  substantially post-pandemic. But
• 24:06
  with the work, like we all had all of
• 24:09
  this work. Like I'd say 2018, 19, we
• 24:12
  were like up here and we were We were
• 24:14
  rocking and rolling and then the
• 24:15
  pandemic hit and it was like, "Oh,
• 24:17
  uh-oh, uh-oh, uh-oh, uh-oh."
• 24:19
  And then the strikes hit and we're like
• 24:21
  all the way down here. Now, we're coming
• 24:22
  up. Look, there's where we are right
• 24:24
  now, right? But um
• 24:27
  but just because the work, like
• 24:29
  Hollywood picked up and went overseas
• 24:31
  because they don't have to pay, you
• 24:33
  know, health care and stuff over there
• 24:34
  and they, you know, just want a cheaper
• 24:37
  product, you know, a cheaper cheaper
• 24:39
  production cost.
• 24:41
  But we're still talented. So, you have
• 24:43
  crew that worked The Walking Dead. The
• 24:44
  Walking Dead, that's that's an enormous
• 24:47
  show and it's a totally different type
• 24:49
  of training that's outside of just I'm
• 24:51
  an actor. It's just you working with
• 24:53
  props. You I mean, I had to learn how to
• 24:55
  shoot a gun. I had to learn how to throw
• 24:57
  a knife. I had to learn you know
• 24:59
  somebody was learning how to you know
• 25:01
  the archery. Like you're learning all
• 25:04
  these things for these roles. So we've
• 25:05
  got trained crew. We've got trained
• 25:08
  staff I mean trained
• 25:10
  you know actors and everything. And now
• 25:13
  we're really focused on the independent
• 25:14
  film community and empowering them to go
• 25:17
  union. Um because again if you're hiring
• 25:21
  union talent in front and behind of the
• 25:23
  camera you're going to professional.
• 25:25
  >> Yeah.
• 25:26
  >> Someone that knows what to do when
• 25:27
  they're on set. They know the
• 25:28
  terminology. They you know you can try
• 25:30
  to save this money here and there on
• 25:33
  well I'm just going to do it myself but
• 25:34
  it might take you twice as long now.
• 25:36
  >> Yeah.
• 25:36
  >> You might have missed the opportunity to
• 25:38
  get the right shot because you know no
• 25:40
  one was noticing that the boom was in
• 25:41
  the shot. Like
• 25:43
  >> Mhm.
• 25:44
  >> You got pros on set you're not worried
• 25:45
  about that.
• 25:47
  >> Now quick question so
• 25:50
  I was also I have so many questions in
• 25:52
  my head for you and it is it is crazy.
• 25:55
  But the new thing I'm I'm assuming is
• 25:58
  the whole verticals. Are you getting a
• 26:00
  lot of questions about verticals and and
• 26:03
  is there any
• 26:05
  difference in
• 26:07
  protecting the actors or you know with
• 26:11
  with vertical
• 26:13
  projects?
• 26:14
  >> Well just last year we came up with the
• 26:15
  vertical contract. So you can be
• 26:17
  protected on a vertical
• 26:19
  set as well now. Vertical is like this
• 26:22
  new beast. I'm not even going to lie.
• 26:24
  I've never even seen a vertical. Like
• 26:26
  I've never even watched
• 26:29
  >> [laughter]
• 26:29
  >> I
• 26:29
  just saw Taye Diggs. I just saw Taye
• 26:32
  Diggs had one the other day. I thought
• 26:33
  oh okay that's what this is.
• 26:35
  >> Yeah he does a lot and a lot of the
• 26:38
  production companies are coming from
• 26:40
  overseas. A lot of coming from like
• 26:41
  China and everything and shooting here.
• 26:44
  >> Mhm.
• 26:44
  >> I'll say this right like it's the new
• 26:46
  new. Everything is a new new eventually
• 26:48
  right?
• 26:49
  >> Right.
• 26:53
  >> People will take the check now.
• 26:56
  >> Yeah.
• 26:57
  >> But again, they're making so much money
• 26:59
  on the back end, and they're shooting
• 27:01
  bare bones, and they're paying you three
• 27:03
  Gs. Okay, that's great right now.
• 27:05
  >> Yeah.
• 27:06
  >> You're not getting none of that back
• 27:07
  end. You're not getting any of that on
• 27:09
  other side.
• 27:10
  >> Okay, that's a good point. Okay.
• 27:11
  >> And and that is why we want to push for
• 27:14
  it to be protected. It's still new,
• 27:17
  you know what I mean? It's still very
• 27:18
  new. I don't even know if it's a year
• 27:19
  old yet, the um the vertical contract.
• 27:22
  But it's there, and it's worth looking
• 27:24
  into.
• 27:25
  >> Yeah.
• 27:26
  >> Um it's worth
• 27:28
  doing this. And now, I'll say the the
• 27:30
  the other upside
• 27:32
  >> Mhm.
• 27:32
  >> for producers and filmmakers
• 27:35
  of this,
• 27:36
  you know, the the slow down in the
• 27:39
  industry is you can get bigger actors
• 27:41
  now to work for less money.
• 27:44
  >> Mhm.
• 27:44
  >> Not that I'm trying to downgrade the the
• 27:46
  check.
• 27:47
  >> Right, right.
• 27:48
  >> But a lot of people want to work. I've
• 27:49
  done a couple things where I mean, five
• 27:51
  years ago, I'd be like, "No, I'm good.
• 27:53
  No, I can't do that." Or "Oh,
• 27:55
  >> You'd be like, "Now, let me see that
• 27:56
  contract again."
• 27:57
  >> Now I'm like, "Ooh,
• 27:58
  that's the power. Look, I can make a
• 28:00
  power bill with this, you know what I
• 28:01
  mean?" So,
• 28:01
  >> That's right.
• 28:04
  >> And you can work out something a little
• 28:06
  bit better. Maybe um somebody can come
• 28:09
  on um as a co-producer or something like
• 28:11
  that, you know? It's um
• 28:14
  uh a lot of actors want to direct. You
• 28:16
  could probably get somebody to direct
• 28:18
  that wants to act on it.
• 28:19
  >> Yeah.
• 28:20
  >> that So, there's a lot of other things,
• 28:22
  and that will help you get your film
• 28:24
  funded, get your project funded by
• 28:26
  having rec- you know, name recognized uh
• 28:29
  talent.
• 28:30
  >> Right, right.
• 28:31
  >> And um people are more It's not even
• 28:33
  just the I got to make money, it's I
• 28:34
  want to work. Actors act.
• 28:36
  >> Yeah.
• 28:37
  >> And we want to act. So, sometimes if the
• 28:40
  script is good. Now, I'm not just
• 28:41
  working on anything.
• 28:42
  >> Right.
• 28:43
  >> But if the script is good, it's like,
• 28:44
  "Okay, I'll do that for less money."
• 28:47
  >> Mhm.
• 28:47
  >> You know, you got to pay me on time
• 28:49
  though. Like, you know WHAT I MEAN?
• 28:51
  >> [laughter]
• 28:54
  >> NOW, IF IF there's a question that
• 28:57
  What's the question that you think that
• 29:02
  or that you would I guess expect an
• 29:05
  actor to ask you, but they have never
• 29:07
  asked you before?
• 29:10
  >> I have no idea.
• 29:12
  Um
• 29:13
  I know what people ask me all the time.
• 29:15
  >> What is that in the
• 29:17
  >> You know, I think people who are
• 29:19
  starting off
• 29:20
  >> Mhm.
• 29:22
  >> really think one that we make a lot of
• 29:24
  money.
• 29:25
  Right?
• 29:26
  >> Mhm.
• 29:26
  >> Two,
• 29:28
  that
• 29:30
  knowing me has any control over what
• 29:32
  kind of work you get.
• 29:34
  >> Mhm.
• 29:34
  >> Like, people want to talk to me and I'm
• 29:36
  like, I'm not in casting. And I mean,
• 29:38
  I'm friends with people that are casting
• 29:40
  directors. That doesn't mean I'm going
• 29:41
  to get cast in a role. You got to be
• 29:42
  right for the role.
• 29:43
  >> Right.
• 29:43
  >> Period.
• 29:45
  >> But, I would imagine that's because of
• 29:47
  your personality. You have such a like a
• 29:50
  a um
• 29:52
  a fun like yeah, I can I can talk with
• 29:56
  you very relatable. So, they probably
• 29:58
  thinking, you know, we're friends now,
• 29:59
  so we can you can help me do this. Do
• 30:01
  you get that a lot?
• 30:03
  >> I mean, okay. So, I talk to to students
• 30:05
  a lot.
• 30:06
  >> Okay.
• 30:07
  >> And those are the ones I really got to
• 30:08
  try to check, right?
• 30:10
  >> Okay.
• 30:11
  >> The feeling is, well, I'm a really good
• 30:13
  actor, so I should be able to do this.
• 30:16
  And it's just like, being a good actor
• 30:17
  is like third or fourth on the list of
• 30:19
  what gets you cast, sweetie.
• 30:21
  Like, that's like that's low on the
• 30:22
  list. I mean, not low. I mean, of course
• 30:24
  you still got to be a good actor, but
• 30:26
  >> Right.
• 30:26
  >> in my category, they're all my friends,
• 30:28
  and they're all really talented.
• 30:31
  >> Mhm.
• 30:31
  >> Theater and and doing stuff and teaching
• 30:34
  and people that I look to as mentors who
• 30:36
  are my friends. And and I mean,
• 30:39
  we're all good actors.
• 30:41
  >> Yeah.
• 30:42
  >> So, being a good actor is not what's
• 30:44
  going to put you on necessarily. It's
• 30:46
  your hustle and being around and having
• 30:48
  people know you. It's doing other work
• 30:51
  creating your own work, so you're still
• 30:54
  working.
• 30:55
  And it's making sure your materials are
• 30:58
  professional. You got a professional
• 30:59
  headshot. You got several headshots. I
• 31:02
  am the queen of wigs, weaves, and what
• 31:04
  not. So, I can switch my look up.
• 31:07
  >> [laughter]
• 31:07
  >> I mean, people that'll see me in
• 31:09
  different things like you wouldn't even
• 31:11
  know it was me depending on how I do my
• 31:13
  face, how what kind of wig I have on,
• 31:15
  what and that gives me so much more
• 31:17
  range. I've gotten salt and pepper wigs
• 31:20
  if I'm playing 60 or something like
• 31:22
  that, you know?
• 31:23
  >> Yeah.
• 31:23
  >> So, it's really
• 31:26
  you've got to make sure that your kit is
• 31:29
  professional. That you communicate with
• 31:32
  This is another thing.
• 31:34
  Just because social media is social
• 31:35
  don't mean that it we're friends. So,
• 31:37
  I'll have people that'll hit me up and
• 31:38
  be like, "Yeah, so what's up?"
• 31:42
  >> You're like, "What what what's up with
• 31:44
  you?"
• 31:45
  >> I don't I don't know you like that.
• 31:47
  >> Right. Right.
• 31:48
  >> People be be be cold calling cold
• 31:51
  sending things be like, "Yeah, so I
• 31:52
  think we need to work together. You
• 31:54
  know, you got to be like
• 31:56
  This is not how you sell yourself, boo.
• 31:58
  Like this [laughter] is not
• 32:00
  >> Oh my god.
• 32:02
  >> I don't even know who you are. You
• 32:03
  haven't even introduced yourself
• 32:04
  properly. You haven't even
• 32:06
  You know, it's it's
• 32:08
  it's the
• 32:10
  I think we're at that that era of
• 32:12
  everything has gotten too little relaxed
• 32:15
  and common and people still need to be
• 32:18
  professional and use full sentences with
• 32:20
  punctuation and proper spelling and you
• 32:23
  know what I mean? Like things like that.
• 32:24
  Especially if you're hitting up somebody
• 32:27
  especially if you're hitting up I mean,
• 32:28
  I don't get caught up in the title, but
• 32:30
  I'm the president of the SAG-AFTRA. You
• 32:32
  can't just be emailing
• 32:33
  >> Right. You can't just
• 32:34
  be talking about what's up.
• 32:35
  >> [laughter]
• 32:37
  >> Hey, yeah. What's up? Yeah, yo. What?
• 32:40
  >> Oh my gosh.
• 32:41
  >> Really?
• 32:42
  >> I can't believe that you're getting
• 32:44
  texts and emails like that. So, that
• 32:46
  that is hilarious to me.
• 32:49
  Oh my gosh.
• 32:50
  >> BELIEVE IT AND YET
• 32:53
  >> [laughter]
• 32:56
  >> OH my gosh. So, okay. So, we're going to
• 32:59
  go ahead and move on. Now, this is a
• 33:00
  part of the interview that I absolutely
• 33:02
  love because I believe that when people
• 33:05
  get to know just a little bit about you,
• 33:08
  a little bit more about you, they tend
• 33:09
  to trust you more. That's just how I how
• 33:12
  I roll.
• 33:13
  So, we're going to play a little bit of
• 33:14
  rapid fire.
• 33:16
  >> Uh-uh.
• 33:17
  >> [laughter]
• 33:18
  >> I got brain fog. I'll be like,
• 33:20
  "What's that word? What's that word? It
• 33:21
  starts with an F." Uh
• 33:24
  >> So, you know, just quick answers. Quick
• 33:26
  answers and we're going to go through
• 33:27
  it, okay? You ready?
• 33:28
  >> All right.
• 33:29
  >> All right. Craft services or catering?
• 33:33
  >> Both.
• 33:34
  >> [laughter]
• 33:36
  >> How many alarms
• 33:38
  How many alarms do you set for an early
• 33:40
  call time?
• 33:41
  >> One.
• 33:43
  >> Which disappears first on set, the
• 33:45
  coffee or the snacks?
• 33:47
  >> Snacks.
• 33:49
  >> What's one word that describes a 5:00
• 33:51
  a.m. call time?
• 33:53
  >> Early.
• 33:55
  >> [laughter]
• 33:55
  >> But I'm up early though, so I can handle
• 33:58
  it like whatever. I used to have TO BE
• 33:59
  ON SET AT LIKE 3:30 in the morning like
• 34:01
  for Walking Dead.
• 34:01
  >> Oh lord. Okay.
• 34:02
  >> [laughter]
• 34:03
  >> In the boonies like 45 minutes away,
• 34:05
  too. So, it's like
• 34:07
  >> Oh my gosh. Okay, so which is harder,
• 34:10
  crying on cue or not laughing during a
• 34:13
  serious scene?
• 34:14
  >> Crying on cue.
• 34:16
  >> If your trailer had a name, what would
• 34:18
  it be?
• 34:20
  >> See, I still be in the honey wagon half
• 34:22
  the time.
• 34:25
  I don't know. Karen's Castle?
• 34:28
  >> [laughter]
• 34:28
  >> The Lion's Den. I'm a Leo, so everything
• 34:30
  I do is lion's out, right?
• 34:32
  >> Okay. What's more dangerous,
• 34:34
  >> spoilers or social media?
• 34:37
  >> Spoilers.
• 34:39
  >> What's one thing
• 34:40
  >> get sued on a spoiler.
• 34:41
  >> Oh, yes, you can.
• 34:42
  >> [laughter]
• 34:44
  >> Okay, what's one thing every actor
• 34:46
  secretly carries in their bag?
• 34:52
  >> I don't know. It's different for
• 34:53
  everybody. Um
• 34:55
  I know for me, I'm always blowing my
• 34:56
  nose. If you see it already, so I always
• 34:58
  have 10,000 tissues on me.
• 35:01
  >> [laughter]
• 35:02
  >> If Zac Efron had a mascot, what do you
• 35:05
  think it would be?
• 35:07
  >> Well, I'm just going to go with the
• 35:08
  lion, cuz we are lions.
• 35:10
  >> [laughter]
• 35:11
  >> OR, YOU KNOW WHAT? MAYBE A DOG, CUZ WE
• 35:12
  LOYAL. WE'LL FIGHT for you and we're
• 35:14
  loyal. Yeah.
• 35:15
  >> That's right. Okay, finish the sentence.
• 35:18
  Every actor should own at least one.
• 35:24
  >> Wig.
• 35:26
  >> [laughter]
• 35:29
  >> Okay, what's your superpower on set?
• 35:33
  >> Um
• 35:35
  I'm
• 35:36
  great at improv.
• 35:38
  >> Awesome.
• 35:38
  >> I can improv, yeah.
• 35:40
  >> What's your guilty pleasure after a long
• 35:42
  shoot?
• 35:44
  >> Um taking craft services.
• 35:47
  >> [laughter]
• 35:49
  >> Okay,
• 35:50
  this is just a couple more. What's one
• 35:52
  word that would describe Karen Ceesay?
• 35:55
  >> Boisterous.
• 35:58
  >> Okay, last personal question, because I
• 36:00
  hear you from Philly. Cheesesteak or
• 36:03
  hoagie?
• 36:04
  >> Look, I'm like
• 36:06
  That's what I'm going to give to my my
• 36:08
  my Philly girl. Um
• 36:13
  To me, it's like they're the same.
• 36:15
  They're like cousins. They're twins. You
• 36:17
  know what I mean? For turn up time.
• 36:19
  >> You got to have a Okay, what's Okay, how
• 36:21
  about Geno's or Pat's?
• 36:24
  >> See, and this is the thing. I grew up in
• 36:26
  Mount Airy, Germantown. So I went to
• 36:28
  Pagano's. Like that was my cheesesteak
• 36:30
  spot. They're still there on Ogontz Ave.
• 36:33
  Pagano's.
• 36:34
  >> [laughter]
• 36:36
  >> I love it. I love it. All right, Karen.
• 36:38
  Thank you so much for being here today.
• 36:40
  Congratulations again on your new role
• 36:43
  as president SAG-AFTRA Atlanta. Thank
• 36:46
  you for sharing your knowledge and
• 36:47
  helping educate actors. I know our
• 36:49
  audience learned a lot from our
• 36:52
  conversation and a lot about you. And
• 36:55
  listen, I want to thank you for
• 36:56
  watching. Is there anyone, Karen, that
• 36:58
  you want to shout out to or just say
• 37:00
  hello to real quick?
• 37:02
  >> I mean, since I'm here in an in an
• 37:03
  official unofficial capacity, really
• 37:05
  shout out to the staff
• 37:07
  at SAG-AFTRA because even though we're
• 37:09
  right-to-work state, if you're on a
• 37:11
  SAG-AFTRA project and you are non-union,
• 37:15
  they still work for you, too. And they
• 37:17
  can still fight for you as well.
• 37:19
  They are who's consistent through the
• 37:21
  changes of the board and the
• 37:23
  you know, committees and everything. So
• 37:25
  definite shoutout to the staff, our
• 37:27
  executive director Allison Wise, our
• 37:30
  immediately former director executive
• 37:32
  director Melissa um Donner who
• 37:36
  who was executive director for like 39
• 37:38
  years. So um
• 37:40
  you know, that's who I would want to
• 37:41
  shout out shout out right now.
• 37:43
  >> Awesome. Okay, everybody. We want to
• 37:45
  thank Karen C Say once again for joining
• 37:48
  us today. Hope she'll come back at
• 37:50
  another time and maybe we'll have some
• 37:51
  actual questions from the audience.
• 37:54
  Maybe we can feed her that. But thank
• 37:56
  you again and this is Demetria Avery
• 37:59
  with The Demetria Avery Show, The
• 38:00
  Industry. We'll talk to you soon. Thank
• 38:02
  you.
• 40:19
  >> Mhm.