Jodi Long
I think the most important thing for an actor, when there is downtime, strike or no strike, is to keep engaged in your own creative life.
Written by Jeane Phan Wong
Photography by Maegan Gindi
Styled by Angelina Scantlebury
Hair & Makeup by Maria Ortega|
Photo Assisting by Steven Turner
On September 27, 2023, the Writers Guild of America (WGA) ended its strike after 146 days. As 11,000 writers breathed a sigh of relief over five very difficult months, there is finally a light at the end of the tunnel. However, as of the writing of this article, the Screen Actors Guild, or, SAG-AFTRA, is still on strike. And on day 83 of their strike, SAG-AFTRA resumes negotiations with the Alliance of Motion Picture and Television Producers (AMPTP). The WGA holds a WGA Day of Solidarity with SAG-AFTRA to coincide with this return to negotiations.
Actress and President of SAG-AFTRA’s local Los Angeles Jodi Long took some time out negotiations to speak to WGA Captain and Co-Chair of the Women’s Committee at WGA Jeane Phan Wong. Jodi touched on a variety of topics. First, her unique background coming from a family of performers.
“How can you not be influenced watching your song and dance parents perform to applause from backstage of a nightclub!” Jodi told me. Jodi’s parents are actors. Born and raised in Manhattan and growing up in Queens, Jodi defies many expectations.
Besides being a working actress, she is a union leader. Oftentimes the stereotype for Asian American wavers between being a Dragon Lady, a stereotype that originates from the Terry and the Pirates comic strip in 1934 or being a Geisha Girl, diminutive and quiet. Jodi embodies a different role on strike, badass Asian causing good trouble.
JULY spoke with Jodi about union work, SAG’s legislative activism, solidarity between WGA and SAG-AFTRA, and Asian American representation in the Hollywood landscape.
Did your family background with your parents being actors influence your expectations of Asian American representation in media?
As a kid, I didn’t really realize they were Asian because they were just my parents and what we looked like was “normal.” I was not really aware of racial bias or any injustice they endured as performers. It wasn’t until much later in college and when I got out of college, did I experience exclusion based on what I looked like by directors and in how I was seen and ultimately cast.
Besides your parents, who were your idols and role models growing up?
Honestly, it may seem strange but my acting idols were Katherine Hepburn, Lucille Ball, Judy Holiday and Natalie Wood.
What is something unexpected that is not on your IMDB?
Well, I play acoustic guitar being an old folkie from way back, playing the clubs like Folk City in NYC. I still have my first Martin D28 guitar even though today I’m really digging my Gibson half body Electric that I can rock out on!
You’ve been a member of SAG-AFTRA’s national and L.A. Local boards for nearly a decade and on the Executive Committee and the EEOC Committee and of course you’re President of the SAG LA Local right now. For someone outside of the business, what are the differences in each of these leadership roles in the union?
The National Board is comprised of elected member voices from around the country or “Locals” who come together to find consensus in order to best serve our members. LOCAL BOARDS deal with what’s happening within each individual local. The Executive Committee deals with contracts, new member applications, and issues that arise. The EEOC is the Ethnic Employment opportunity committee, but as Chair I always thought of it as the EQUAL EMPLOYMENT Opportunity committee. Because that’s what we all want, isn’t it?
As horrible as strikes are, what do you think has been the silver lining for yourself and SAG members during this strike?
We got a 97.6% approved Strike Authorization even before we started negotiations. The silver lining for me is seeing how much solidarity has been built since then, in our fight for fair wages. From the high Pros to our working-class performers but also within the WGA, IATSE, Teamsters, ACTRA, BAFTA, UAW, Hotel workers, Hospital workers, even the Seafarers Union have joined us on the picket lines!
How have you been taking care of yourself during the strike?
I have a daily Kundalini yoga and meditation that keeps me sane. Water aerobics and pilates to stay in shape. This past July, I also worked under an Actor’s Equity play so my creative side got a workout, as well. All this keeps a certain balance to my life as I juggle my service on the Negotiating team and being the LA local President.
What is your advice for emerging actors who are scared and might have recently joined SAG and now suddenly find themselves on strike?
I think the most important thing for an actor, when there is downtime, strike or no strike, is to keep engaged in your own creative life. Whatever that looks like to you - working out, acting classes (if you can afford them), if you can’t afford them find a partner/group of actor friends to do scenes or readings of plays or screenplays. Write, create a small film, or web series. Keep the creative juices flowing, stay positive and trust!
You quoted Robert Prosky in a speech at a SAG rally this September. Part of the quote was, “the moment of not knowing is the moment that has the greatest potential for creativity.” What’s your read on the temperature for SAG members on strike facing the unknown now?
Actors face that moment of not knowing in every moment to moment in our work. It is nothing new. The only thing that matters now is for us to stay united and strong especially when we go back to the table. Actors are also resilient. Over the course of our work and careers we are always faced with not knowing when out next job will come. We may not love that aspect of the up and downs in our industry but in a way we are used to it. Our members understand this contract is seminal. We are fighting for the right to make a decent living which has slowly been eroded by the streaming platforms’ paltry residual formulas and outdated contract caps.
Also from Prosky, there was a quote about, “a sacred communion between actors and audiences.” It would be fair to say there’s also a “sacred communion” between actors and writers. What are your thoughts on the union solidarity between the WGA and SAG?
AWESOME! Inspired with great community building and interaction! A project starts with a thought, a story, a word, and hence a script. An actor/performer brings those words and story to life with our ability to elicit the human condition. Within our business we work hand in hand, so I am delighted to see us working hand in hand here, too.
There are various ways WGA members can support SAG, from donating, picketing, and honoring the SAG picket line with remote work, and boosting SAG’s social media accounts. Are there any other ways WGA members can support the SAG strike?
They have done a great job so far in the very ways you stated, and I know they will continue to support us in our fight for what is right for our members.
Messaging for both the WGA strike and ongoing SAG strike, has been that the majority membership of both unions are working-class, especially living in expensive cities like Los Angeles. For the WGA, the data shows that historically underrepresented groups tend to be the rank-and-file membership and at the lower levels especially in television. In a way, the WGA strike wasn’t only a class issue, it was a representation issue, too. Getting fair pay is about parity across gender and race. Is it fair to characterize the SAG strike as something bigger than fair pay?
There has been discrepancy in pay across gender and race since time immemorial. Of course it is reflected within SAG-AFTRA too, when you look at the percentages of race and gender of the top earners compared to the lower levels. That is nothing new but our fight re: wages is not about race, it’s about everyone.
WGA released their Memorandum of Agreement i.e. their new deal. Are there areas in the released WGA deal you think will help SAG as they enter negotiations?
I am glad the WGA and their membership that voted overwhelmingly to approve, are happy with what they got. We at SAG-AFTRA have many different categories within our proposals and even though there are some similar issues, there are many that are different. We will only know when we get back to the table.
On the issue of AI, recently I used the “ai sticker” feature on Instagram and noticed the first images it generated were mainly light skinned brunette women wearing glasses and most looked like they had Asian features. Outside of the issue of devaluing actors’ pay with AI, what are your thoughts on AI in relation to representation?
I have not seen those AI representations of Asian looking women. I have seen how they can lighten someone’s skin to make them look less ethnic, more generic, more “acceptable” and less specifically “racial.” After seeing the decades long fight for diversity and inclusion for all people it seems pretty heinous to me.
Both the WGA and SAG are at the forefront of AI even though but unions have different needs in terms of facing AI. Besides union efforts, what do you think can be done in legislation to combat AI?
The Union is currently sponsoring a bill to create a Federal Right of Publicity in voice and likeness. That, combined with contractual protections in our proposals form a solid base for us for the future. In addition, there are also a few bills, one in the House and one in the Senate, requiring anything created by generative AI to be labeled as such.
Looking towards the future, when SAG is no longer on strike. What are some takeaways about labor you hope SAG members carry forth?
Standing strong together is the best way for our voices to be heard, matter and ultimately to create change.
One can only dare to ask, what would be in your strike capsule when SAG ends its strike one day (soon I hope)?
I think President Drescher’s awesome press conference speech the day we announced the strike. Archiving those picket signs that combined insight with funny and some were very funny. My SAG-AFTRA Negotiating Committee baseball cap.
Is there anything else you would like to add?
When I look at this planet and the abuses it endures because of unconsciousness, a lack of empathy for the inhabitants on this planet or just plain greed, it is a metaphor for how many companies, including those within our industry, operate. We must recalibrate and understand we are all one. We can’t do it without the producers (writers, directors, hair and makeup, gaffers, ADs etc.), and they can’t do it without us. We need to come together with understanding and respect not only for each other, but respect for right livelihood.
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