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The Agony and the Ecstasy: Charlton Heston and the Screen Actors Guild*

Published online by Cambridge University Press:  27 April 2009

Emilie Raymond
Affiliation:
Virginia Commonwealth University

Extract

Charlton Heston, one of Hollywood's most prominent political activists, devoted much of his time to the Screen Actors Guild. Throughout the course of Heston's long acting career, the guild shifted its policy emphasis on several occasions. During the 1960s, when Heston served on the executive board, the guild adhered to its traditional strategy of focusing on wages, benefits, and working conditions. At that point, Heston took a moderate approach toward guild business, often showing his willingness to compromise. In the 1970s, the guild leadership was captured by more “liberal” actors who wished to expand the union's activities into social and political channels not directly related to the job of acting. In the 1980s, the guild's leadership became even more militantly liberal. The resulting policy shifts provoked a reaction from Heston and a number of other conservative actors. It quickly became evident that Heston was no longer willing to compromise; he began to take an ideological, hard-line approach to guild matters. He not only led the conservatives in a successful campaign to return the guild to its original policy focus, but he also shaped federal labor policy with his efforts. Convinced that safety mechanisms were needed to protect guild members from a politically active board in the future, Heston advocated federal policies that would allow union members to withhold part of their dues if they disagreed with the political activities undertaken by union leadership.

Type
Articles
Copyright
Copyright © The Pennsylvania State University, University Park, PA. 2005

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References

Notes

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4. Ibid., 95.

5. Heston, Charlton in “Heston's Rx for Ailing Hollywood,” 20 07 1969Google Scholar, no journal evident, Charles Champlin Special Collection, F. 57, Articles-Bio (Heston), (Margaret Herrick Library, Academy of Motion Pictures Arts and Sciences, Beverly Hills) [hereafter AMPAS].

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15. “Speech to Annual SAG Meeting,” 22 November 1970, F. Screen Actors Guild, Charlton Heston Special Collection (Margaret Herrick Library, AMPAS).

16. Although the first VHS VCR was not introduced until the fall of 1977, researchers had been attempting to develop some sort of video recorder for home use for several years. Sony developed the video tape recorder (VTR) in 1964. However, only a few hundred were sold. The world's first VCR for home use (Phillips Model 1500) was introduced in England in 1972. Apparently, Heston recognized the inevitability of such a device and was optimistic about the opportunities it might open for actors.

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20. The guild's Theatrical Agreement of 1963 said, “The producer will make every effort to cast performers belonging to all groups in all types of roles, having due regard for the requirements of and the suitability of the role, so that, for example, the American scene may be portrayed realistically.” At that point, the guild promoted affirmative action by recommending that more African Americans, Native Americans, women, Latino/Hispanics, Asian-Pacific Americans, elderly, and disabled be cast to represent “the American scene.” Throughout the 1970s and 1980s, the guild expanded its presence in minority interests. The Ethnic Minorities Committee was established in 1972 to serve as a forum for minorities in need of “aid and attention.” In 1977 the guild required signatories of contracts to regularly report their casting statistics. This, the guild hoped, would allow it to measure progress concerning minority roles. In 1980 the guild began assessing fines to those who failed to provide casting statistics and hired a full-time employee to attend to minority issues. In 1990 the guild established a resolution recommending that performers of color receive preferential treatment for ethnic roles. Some actors have expressed the sentiment that characters portraying a certain ethnicity should be played only by actors from that particular ethnic group. http://www.sag.org/.

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24. “Discussion from the Floor,” Screen Actor (January–February 1971), 2 (SAG Archives).

25. Prindle, Politics of Glamour, 101.

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29. Letter from Kim Fellner to Ken Orsatti and the Executive Committee, 12 November 1981 (SAG Archives).

30. Prindle, Politics of Glamour, 142.

31. “Heston Denounces Denial of SAG Nod to Reagan,” Variety, 21 December 1981, Charlton Heston-Clippings File (Margaret Herrick Library, AMPAS).

32. Letter from Charlton Heston to Ronald Reagan, 13 January 1982, WHORM Subject File–Public Relations, F. 057082, Papers of Ronald Wilson Reagan (Ronald Reagan Presidential Library, Simi Valley, California).

33. Letter from Charlton Heston to Dean Santoro, 13 January 1982 (SAG Archives).

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50. “AWAG Letter to SAG Membership,” November 1983, F. AWAG (SAG Archives).

51. “AWAG Blasts SAG Board Vote for Rent-Control Initiative,” Variety, 6 October 1983, F. AWAG (SAG Archives).

52. AWAG Flyer, 1984, F. AWAG (SAG Archives).

53. SAG Flyer, “Actors: Do Not Be Deceived,” F. AWAG (SAG Archives).

54. Prindle, Politics of Glamour, 154.

55. Minutes of special meeting between the Executive Committee and AWAG, 25 April 1984; letter from Ken Orsatti to Morgan Paull (after the meeting), 1 May 1984 (SAG Archives).

56. Prindle, Politics of Glamour, 154.

57. Heston, Charlton in Ingraham, Laura Anne, “A Conservative in Hollywood,” The Heritage Foundation Policy Review (Spring 1986): 21.Google Scholar

58. Prindle, Politics of Glamour, 171–75.

59. Ibid., 176.

60. “Heston Spots for Conservative Causes,” America Is Watching, 29 May 1986 (Film and Television Archive, Powell Library, University of California, Los Angeles).

61. Halperin, Allen, advertisement for Variety, written 7 08 1986Google Scholar, published 11 December 1986 (SAG Archives).

62. Anson, Robert Sam, “Chapter One: Political Fund-Raisers Strike a Rich Vein in Tinseltown,” Los Angeles Examiner, 27 05 1984Google Scholar, Charlton Heston–Clippings File (Margaret Herrick Library, AMPAS).

63. Heston, Charlton in “Labor's Love Lost: An Interview with Charlton Heston,” California Business (07 1987)Google Scholar, Charlton Heston–Clippings File (Margaret Herrick Library, AMPAS).

64. Heston, Charlton in Robb, David, “Heston Defends Right of Speech in SAG Missive,” Variety, 17 12 1986Google Scholar, Charlton Heston–Clippings File (Margaret Herrick Library, AMPAS).

65. Robb, David, “Letter Campaign Backs Heston's Right to Speak,” Variety, 29 12 1986Google Scholar, Charlton Heston–Clippings File (Margaret Herrick Library, AMPAS).

66. Dreyfuss, Richard in “Dreyfuss Adds Two Cents to Heston Dispute,” Variety, 7 01 1987Google Scholar, Charlton Heston–Clippings File (Margaret Herrick Library, AMPAS).

67. See Communications Workers of America, et al. v. Beck, et al. 487 U.S. 735.

68. Letter from Charlton Heston to Ken Orsatti, 17 September 1988 (SAG Archives).

69. Letter from Charlton Heston to Elizabeth Dole, 13 March 1990, WHORM Subject File-General, FG021, 123055, Papers of George H. W. Bush (George Bush Presidential Library, College Station, Texas).

70. Letter from Charlton Heston to Actors Equity Association of America, 14 August 1990, Bush Presidential Records, WHORM Subject Files-General, CO 001–07, Papers of George H. W. Bush (George Bush Presidential Library, College Station, Texas).

71. Letter from Charlton Heston to Elizabeth Dole, 27 August 1990, Bush Presidential Records, WHORM Subject Files-General, CO 001–07, Papers of George H. W. Bush (George Bush Presidential Library, College Station, Texas).

72. Robb, David, “Bush Inks Order Curbing Unions, Praises Heston,” Hollywood Reporter, 14 04 1992Google Scholar, Charlton Heston-Clippings File (Margaret Herrick Library, AMPAS).

73. Tusher, Will, “Vocal Celebrities Debate Their Civil Right to Embrace Issues,” Variety, 28 10 1986Google Scholar, Charlton Heston-Clippings File (Margaret Herrick Library, AMPAS).