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You're right, Chris, in that there are huge sales for screenplays in Hollywood but there’s also this weird inflated idea of what a screenplay is worth because the big sales are the only ones that make the news. My guess is that there are only about ten writers working today who get paid more than $750,000 for a feature. Ten writers with the best managers and agents and lawyers in the world hustling for the seven or so big sales that happen a year.
The one that’s being referenced a lot these days is the Paul Haggis’ Bond script at $4,000,000. I don’t know the particulars of that deal but a lot of that $$$ has to be a future earning points deal and not a flat out buy.
The accounting is crazy and you only ever see a fraction of what you’re promised in features. Four years ago a friend sold an action script to Sony for $620,000 and at the end of it saw $34,000 out of the agreement. And he’s repped by CAA.
I've also heard that Hollywood accountants have an amazing way of playing with the numbers so that most movies look on paper like they lost money. Therefore, writers seldom seldom see any "points" from promised profits either.
The accounting is crazy and you only ever see a fraction of what you’re promised in features. Four years ago a friend sold an action script to Sony for $620,000 and at the end of it saw $34,000 out of the agreement. And he’s repped by CAA.
Jesus, how pissed off would you be! I haven't ventured into this discussion as I'm on the other side of the pond and...well no excuses really but thats truely shocking. Writers rights on my banner!
Check out my scripts...if you want to, no pressure.
You're right, Chris, in that there are huge sales for screenplays in Hollywood but there’s also this weird inflated idea of what a screenplay is worth because the big sales are the only ones that make the news. My guess is that there are only about ten writers working today who get paid more than $750,000 for a feature. Ten writers with the best managers and agents and lawyers in the world hustling for the seven or so big sales that happen a year.
The one that’s being referenced a lot these days is the Paul Haggis’ Bond script at $4,000,000. I don’t know the particulars of that deal but a lot of that $$$ has to be a future earning points deal and not a flat out buy.
The accounting is crazy and you only ever see a fraction of what you’re promised in features. Four years ago a friend sold an action script to Sony for $620,000 and at the end of it saw $34,000 out of the agreement. And he’s repped by CAA.
I believe this can happen a lot. Folks are provided with movies as investments to offset their gains. Movies are expected to lose cash, so they provide great tax shelters.
If someone is offering up points, I'd assume those points would not materialize into cash, so points should not make or break a negotiation. Isn't James Cameron having this problem with Titanic? And he can afford lawyers to fight for him.
I remember hearing an interview on VH-1, where one band had hired lawyers to watch their initially hired lawyers.
I've also heard that Hollywood accountants have an amazing way of playing with the numbers so that most movies look on paper like they lost money. Therefore, writers seldom seldom see any "points" from promised profits either.
There's a difference between gross points and net points. I forgot which is what but one of them is referred to as 'monkey points' because you're as stupid as a monkey to accept them.
They showed us your first video in FTV60C. Honestly, now that I see this, I think this strike is a good idea for screenwriters. It's not that big a raise, and it really can help support screenwriters who need the money. On a side note, The Directors Guild and Actors Union's contracts end by I think January of 2008, so IF producers do not comply by the end of December, is there a chance Actors and Directors could go on strike as well?
"Amateurs write for themselves, but professionals write for everyone else." - Hal Ackerman.
They showed us your first video in FTV60C. Honestly, now that I see this, I think this strike is a good idea for screenwriters. It's not that big a raise, and it really can help support screenwriters who need the money. On a side note, The Directors Guild and Actors Union's contracts end by I think January of 2008, so IF producers do not comply by the end of December, is there a chance Actors and Directors could go on strike as well?
There's a great chance the the DGA and the SAG will go on strike. Studios are expecting. Kind of embarrassing.
While you may be right I would hope that the level of discourse here might be above calling people who disagree with us stupid.
The boards would, without question, be better off if I kept my opinions to myself. That said, I'll not comment on union workers who would have absolutely nothing in terms of benefits or wages if they didn't, every twenty years or so, strike.
There's a great chance the the DGA and the SAG will go on strike. Studios are expecting. Kind of embarrassing.
-Chris
The only people this is embarrassing for are the producers. It shouldn't be for all of us because essentially, this strike will benefit us in the long run.
"Amateurs write for themselves, but professionals write for everyone else." - Hal Ackerman.
The boards would, without question, be better off if I kept my opinions to myself. That said, I'll not comment on union workers who would have absolutely nothing in terms of benefits or wages if they didn't, every twenty years or so, strike.
Seth
PS ... Do you think my B/f is cute?
Stop being stupid. Your opinions greatly contribute to the boards here. That said, I think they would contribute even more if they were a tad less ad hominem.
I'd also like to add that, (and I'm sure everybody can agree on this) I hope we can get to a point where union workers don't feel that they have to strike every 20 years or so.
As a WGA member living in Los Angeles here is a summary of life: The poverty line is $25,000 [...] The speculation around town is that the media companies want to systematically squeeze out all the unions and to make all internet production non-union (like reality tv) so we can go back to the glory days of Hollywood -- of people working 20 hour days without overtime or health insurance.
That's about it...I work in both hollywood and the Bay Area and at the low end of the scale you barely make enough to keep yourself alive, never mind feed a family. A lot of people who work on straight to video stuff (to try and get that career foot in the door) only make a couple thousand per project.
And reality is that even with a good script what sells is the film is a famous actor, an increibly pretty girl, or some easy-to-market premise that can be simply represented on the front of the DVD box or a poster. So anything with a budget under a million is the filmic equivalent of junk food when it comes to revenue potential, unless you get famous later.
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Your opinions greatly contribute to the boards here. 
That said, I think they would contribute even more if they were a tad less ad hominem. 
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