Brooke Shields was elected president of the Screen Actors Guild in late May, and now leads the union of more than 51,000 actors and stage managers on Broadway and across the United States.
The longtime actress is primarily known for her film roles, but has also appeared on Broadway five times, and this will be her first guild role.
Now, a few months into her new role, Shields spoke to The Hollywood Reporter about why she chose to add an unpaid volunteer role to her busy life that already includes a new business venture, a new book and an acting career, and what her priorities will be during her four-year term.
How is it so far?
It’s going very well. There’s a lot to learn. Everyone involved has been so helpful in providing context and support to make sure nothing falls through the cracks. It’s a constant reminder of how important not only is the union and all of its members, but what we do. I’m really inspired by why people are members and why we’re on the (actors union national) council and staff. And then when you get to the real purpose of why we’re all here, it really brings to light the ethos that I believe in and what we as a union mean in the bigger picture.
Why did you decide to run?
For me, it goes back to being a member for decades. When I first came to Broadway, all the support and resources that were given to me personally by the ensemble and the stage manager were a lifeline. I came from a completely different environment, I had no Broadway experience, and I needed the support of those around me. It was the people onstage with me, the people backstage, the people in front of me, all of those people that allowed me to do my job and get onstage every night.
Was there a particular moment or person that inspired you to start running?
It wasn’t so much a lightning-bolt moment, it was an ongoing conversation with some of my friends from my days doing Grease, my stage managers and my fellow ensemble members. These are friendships that have been going on all my life, and to have those conversations with them and see them discuss certain issues. What I think was missing is that you need access. You need direct access to the (National) Press Club and things like that, to get it seen. And you need to get your message out there in a way that the public can recognize, not just the people on the other side of the table. I think one of the values of being someone who’s been in the public eye for so long is that if there are resources out there and you can leverage them, I feel like it’s worth getting your message out there.
Have you received any advice from other union leaders or industry insiders?
What’s funny is, I’ve been getting random messages like, “Get ready,” “Be prepared for everything that comes with it.” There’s been this kind of warning. Nobody’s giving me advice, and I don’t need it, because it’s all within the members and the council, and everyone there has been there for years, and has been fighting the good fight for years. I participate, and they keep me informed. And I think when people warn like that, they’re saying, “This is a union, and there’s going to be unprecedented things happening for you, for everybody.” What’s so incredible to me is, when you see the process, and you see us sticking to the process, and you really kindle what is the DNA of this union, that in itself becomes so inspiring.
Your role as a celebrity and union leader has drawn comparisons to Fran Drescher becoming president of SAG-AFTRA. Have you thought about that?
To be honest, not at all. I think she’s amazing. I’ve never talked to her about it. But I stopped comparing myself to other people a long time ago because it’s not worth anything and it doesn’t help you get ahead. It just never crossed my mind. I thought it was just something people could easily compare themselves to. I didn’t really think either way about it. I think she’s doing a good job and she’s doing important work and I hope I can contribute.
How do you plan to balance this with your acting career and your other business ventures, including your new hair care line and upcoming book?
It’s funny, because I think any actor would say that when you do nothing for years while trying to make something happen, suddenly, somehow it all happens all at once. I’m lucky to say that I’m good at managing my time. I’m good at delegating. I’m not here to micromanage. I trust the capabilities of my people, and that’s what time management is. And when you think about our brains, we don’t really use our full capacity. And I’m good at compartmentalizing, and this may sound psychotic, but I’m even good at delegating to myself.
What does that mean?
I have lists for every day, but they’re never all done. That’s a big lesson for me. I like to check things off my lists. You can’t do that when you’re writing a book, you can’t do that in my position in the union. It’s like housework. It’s never done. So you have to prioritize yourself and say, “Okay, I have to work on this, I have to do that.”
I am developing another show, and my recent film (Mother of the Bride) has given me the opportunity to have a very busy press schedule. It’s exhausting, but it also makes everything fall into place every time I appear on the Today Show or GMA to talk about my newly appointed role, not just the film.
I tap into different areas of my life but the thread is the same. I’m always busy. I’m not sleeping much but the kids are not home anymore and I love being busy. And there were years when I wasn’t as busy and years when I was about to be busy, that’s how waves work, being in this industry you have ups and downs and it’s all here now and I’m amazed at my ability to keep changing in all areas.
But is acting still a priority for you?
Yes. I am an actress first and foremost. That’s my whole life. That’s the fuel that burns me. I go to sleep thinking about acting. And what I’ve learned is that it’s my starting point, and it’s because of it that I can do other things. And when I’m not acting – which is like we all are most of the time – in between projects, I find other ways to be creative. It all works together, it’s all a big machine, and these are the different spokes, but I as an actor am at the center of it.
What will be your priorities regarding equity during your term?
Needless to say, funding the arts is a big part right now. I’m going to the Press Club in Washington DC (September 12th). Disney (unionizing the Land character workers) is a brand new part and we’ve been working on it for quite some time. We’re very proud and already have dates set for October to meet and negotiate with our employers. The Performing Arts Tax Equity Act is also very important. How do we get back to the days when we had a capped tax credit for our members that was lost somewhere along the line? That’s critical money that people need to live.
And the actors union is currently on strike against developmental productions made by its Broadway League members.
I just came to that point, and you know, we’re continuing that and we’re in the process, and I have faith, and a lot of these things are teaching me patience.
As you said, these issues were already on the table when you took office. Are there any personal priorities or new themes that you would like to bring to the union?
I can’t wait to get there. Right now, there are tons of issues that need to be resolved and pushed forward. And every time I talk to another member of Congress who’s been working on something for two, three, four years, I get one more thing that I think is just as important, so I write it down and I keep this whole list. So if I come up with something new, I’ll be very proud of it. Right now, there are tons of issues that need to be resolved and that deserve my attention.
Do you have a plan for staying on top of everyday Equity members’ concerns?
I’m trying to do it. I can’t go everywhere. So there are people who are doing this. Al (Vincent Jr., executive director of the Actors Guild) is doing it. Other people are traveling. The day-to-day stuff is what I’m really interested in. That’s where I want to get a little more involved. I want to hear more about what’s going on in the community, what people are thinking, what their feelings are, where people feel like they’re not being heard. I can’t do it on my own, so I have to rely on the council to bring me that information. And then when I can, I go and talk to people personally.
Being famous helps, but you’ve said you like the fact that this job isn’t explicitly about you or your name. Can you expand on that?
There are two reasons. My name has limitations. So I need to use it appropriately, in the right way. Going to Washington, DC, and giving a speech is one way to use the name. But I’m not the most important part of the whole. And when we’re in this precarious and strange position for the world, for me, being one of the whole team is always the most important. I saw that more when I was on Broadway than any other medium, because you might be the headliner. But the whole value is in the whole company that gets on with it every night and puts in the work. You just happen to be in spot zero on the stage.
This is a very good example of the feeling I get from being a conduit to a bigger goal, a bigger cause. I also no longer resent the pressure of always being in the public eye. Sometimes it makes me want to hibernate. But when you have something to represent, like a union, I don’t resent it. I want to use the union and make it valuable, because I don’t think unions are really meaningful. They have no value unless they are used for good.
This article appeared in the Sept. 4 issue of The Hollywood Reporter magazine. Click here to subscribe.