Matt Reeves Responds to Quentin Tarantino's Criticism

SAG, originally the **Screen Actors Guild**, was an American labor union founded in 1933 during Hollywood's Golden Age to protect film and television performers from exploitative studio contracts. Its core mission was to negotiate fair wages, benefits, and working conditions for actors, while also safeguarding their rights against unauthorized use of their performances. SAG played a crucial role in shaping labor standards in the entertainment industry, advocating for collective bargaining power to ensure performers received equitable compensation and protections[2][3]. In 2012, SAG merged with the **American Federation of Television and Radio Artists (AFTRA)**—a union established in 1937 to represent radio and later television performers—forming **SAG-AFTRA**. This consolidation created a powerful union representing approximately 160,000 members including actors, singers, voice actors, broadcasters, journalists, dancers, DJs, stunt performers, and other media professionals[2][4]. The merger preserved the rich history of both organizations while strengthening their ability to advocate for media artists in the evolving landscape of film, television, radio, and digital media. SAG-AFTRA continues to negotiate contracts that guarantee fair wages, health and pension benefits, and safe working conditions, while expanding work opportunities for its members. It enforces contracts vigorously and protects members from unauthorized use of their work. With national offices in Los Angeles and New York and local branches across the U.S., it remains a major force in the entertainment labor movement. SAG-AFTRA is also a proud member of the AFL-CIO, collaborating with other unions domestically and internationally to enhance protections for media artists worldwide[4]. Notably, SAG began awarding the **Screen Actors Guild Awards** in 1995, recognized as a prestigious indicator of excellence in film and television, continuing under SAG-AFTRA. The union also combats "runaway production" of films abroad, seeking to keep projects and jobs within the U.S. industry[3]. Overall