The ‘Net rights and residuals weren’t really addressed in the last contract, because they were above noise level. Now, the studios are shifting to downloading instead of DVD, so they have become important to a writer’s revenue stream.
This is just another way the corporations are misusing their employees to benefit management and shareholders. If the writers can get paid they will be forced into another line of work and just drop writing.
I would love to see a court ruling that strictly interpreted the Constitution, to wit: as these shows are not being used to benefit creativity they are not covered by copyright. That would shake things up.
]]>Screenwriters, on the other hand, do not “own” their work; they sell the rights to the studio, and the studios can do whatever they want to it, and the writer is held in as high a regard on the movie set at about the same level as the kid who gets the coffee.
When a play is sold to TV or the movies, the playwright essentially gives up his ownership rights to it. Neil Simon sold “The Odd Couple” to Paramount in the 1960’s to make it into a movie. He got something like $25,000, which was a lot of money in those days, but he’s never gotten a dime from them since, and he got nothing from the TV series that followed. (Since then he’s worked out better deals.)
So I don’t hold out a lot of hope for the striking writers, and I have a feeling that they knew what they were getting into when they went into the business.
And when people ask me if I’d ever write for the movies, I tell them no… even if my writing was good enough to attract that kind of attention.
]]>This is another result of media concentration and the corporate fixation with cutting costs to the point that they only sell vaporware. It’s pretty absurd that the people who make the blank DVDs and jewel cases get a larger profit that the people who created the content.
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