Issue link: http://digital.copcomm.com/i/377629
SAGAFTRA.org | Summer 2014 | SAG-AFTRA 25 YOUR SAFETY ON SET is our priority When IATSE Local 600 camera assistant Sarah Jones was killed by a train on the Georgia set of Midnight Rider Feb. 20, it served as a wake-up call to all who work in the industry: Safety is everyone's concern. Whether it's actors on a film set or dancers or recording artists at a music video shoot, SAG-AFTRA performers want the productions on which they work to achieve the vision of the producers and directors, that they "get the shot" — but never at the expense of jeopardizing safety. It is often assumed the production team must know what it is doing — the company is responsible for safety — but performers must always be vigilant about what they are being asked to do and never take safety for granted. "Whenever you're in doubt, remember that no shot is worth your life," said SAG-AFTRA President Ken Howard. "Safety always comes first and if it doesn't, call us." Ensuring safe working conditions is one of the union's most important missions, and SAG-AFTRA representatives are continually visiting sets to enforce the contracts (see story on page 22). But an important part of the equation is members speaking up when they see unsafe conditions on set. SAG-AFTRA Executive Vice President Gabrielle Carteris knows this as well as anyone. Eight years ago, she was working on an extended fight scene in which another performer was required to drag her down stairs. "He lifted me by the neck so much that by the end I couldn't feel my hands," Carteris said. The injury grew worse over the following days, starting with partial paralysis of her face and headaches, and eventually leading to loss of motor control and Parkinson's disease-like symptoms. Due to her injuries, she was unable to finish the production. The incident led to a lawsuit in which Carteris ultimately prevailed, but the effects of the injury remain. "Typically, nobody thinks about safety until something happens." — Terri Becherer, SAG-AFTRA National Director, Specialty Performers It's understandable that performers are reluctant to speak up — no one wants to get a reputation for being difficult to work with, but there are contract provisions and laws that prevent retaliation against those who come forward. Carteris understands performers' reluctance to take a stand, but said the stakes are simply too high to remain quiet. "The most challenging thing for a performer is that you feel you're rocking the boat. Not only must you speak up, it's your right," she said. "I never realized how that moment would affect the rest of my life, in terms of my work, the time I spend with my family — everything." YOUR SAFETY ON SET priority