We’re excited to introduce you to the always interesting and insightful Sadie Katz. We hope you’ll enjoy our conversation with Sadie below.

Hi Sadie, thanks for joining us today. Are you able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen?

With the WGA/SAG strike the hot topic is artists being able to make a livable wage as a creative. But, I’m going to share (at least from my experience & observations) the thing that all the acting coaches, headshot photographers, casting sites, casting directors, voice coaches, trainers even your agents and managers don’t want you to figure out- acting at the very end of the day is a high demand, low paying gig. It’s as addicting as gambling and most of the time your life will have the same up and down excitement and adrenaline rush. You’ll love it. You’ll hate it. Often you’ll drive your family crazy with wanting to quit and move on with your life only to have an email an hour later letting you know you’re on avail for a commercial and now you’re back to it being the greatest job of your life. I’ve gotten paid twenty grand to do a gig- paid travel, airfare, food AND a fat check! Only to return home back on the grind- not book anything for a few months to then book the lead on a Lifetime gig- ten days for $200 a day. Only two percent of all SAG actors make over forty grand a year. You may be part of that two percent one year and not the next. It’s brutal.

I think it’s a harder pill for actor’s to swallow because often we are our own hype man. As independant contractors of our own small business (which is what acting is) it’s hard to say the ugly part outloud. If we admit that we’ll never get that Oscar, may never grace the cover of People magazine, then we have failed. Acting is one of the only jobs in the world where people believe that you’ve somehow failed if you’re not the very best in the world. If you were a tiresales man and went home for the holidays would your nosy Aunt feel the need to tell you that because you don’t sell the most tires as everyone in the business you should pack it in? If you told someone you were a tiresales man would anyone feel the need to challege you? “Have you sold any tires I’ve heard of?” Of course not. So, here’s my piece of advice… if you want to make a full-time living on your creative work- you must accept that it’s a low paying gig and adjust your life accordingly.
It doesn’t make you less of an artist or not a full-time creative to have a part-time gig.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

Twenty years ago I moved from Orange County as a single mom to pursue acting in the city of angels. After spending a better part of a decade in acting classes, plays, workshops, student films and working as an assistant to writing legend Glen A. Larson and co-writer with Mark Jones, creator of Leperchaun- I finally booked my first feature indie starring role. After that I was cast in back to back horror films including the sixth installment in the Wrong Turn franchise. Since then I’ve been cast as top billing in over twenty feature films. I’ve also directed a documentary distributed by Gravitas Ventures, “The Bill Murray Experience.” As well as have opened my own production company, “See You Next Tuesday Films.”

What can society do to ensure an environment that’s helpful to artists and creatives?

The most loving thing others can do to encourage artists is not to judge their work by how much money they’re paid. Sometimes the most painful part of being an artist is not being taken seriously for our work. Being a creative and an artist is a pretty consuming activity filled with a lot of sacrifices – if society respected that I think there would be less angst surrounding artists. Also, if you’re also a creative stop asking others to work for free. If you can’t pay your artists- then you’re project isn’t fully funded. Pay your artists.

Looking back, are there any resources you wish you knew about earlier in your creative journey?

I spent years agonizing over joining the union, my IMDB score and getting an agent. Here’s the truth- joining SAG does nothing for actors besides limiting the jobs they can take. Sure, when the time is right SAG is neccessary for the bigger paying and high profile gigs- tv series, studio films but there’s a lot to be said for waiting until you absolutely must join. No matter what your acting coach says- or casting director from their $200 a day workshop- there’s a lot of pretty cool non-union gigs happening right now. Those gigs can keep you afloat financially and artistically doing what you came to do!

IMDB can drive you nuts- “the hobbyist” website can kill an actor just starting out. This will work it’s way out on it’s own as you book gigs. If you want increase eyes on your page- the first gig you book that has distribution hire a publicist. Find a smaller one that’ll in the least get your name on google. Accept all podcast interviews and any on-line zines. Don’t let it drive you crazy, let it motivate you to get your name out there.

When it comes to getting an agent- submit yourself daily – set aside two hours a day to send submissions. When it’s time for an agent you want a body of work behind you. Until then having an agent can sometimes leave your career in their hands. Keep it in your own always. Even with an agent- keep submitting yourself.

Contact Info:

• Website: sadiekatz.me
• Instagram: instagram.com/sadiekatz
• Twitter: Sadie_katz

Image Credits
All images have been released to me for promo/press use. Sadie Katz