After agreeing on the essential terms of the distribution agreement, the producers transferred the copyright to ThinkFilm. The producers of “10th- Wolf” claim that ThinkFilm refused to sign an acquisition agreement during the negotiations that would have held the distributor responsible for the payment of the remains. Los Angeles Doll Amir – Eley Partners Hunter R. Eley and Gregory L. Doll filed a complaint Tuesday in the central district to prove that ThinkFilm violated a law requiring distributors to sign guild hypothesis bonuses when the producer transfers copyright to the distributor. ThinkFilm asked manufacturers to include residual worksheets in the delivery agreement. Eley stated that the producers of “10th-Wolf” concluded that ThinkFilm was responsible for paying for the guild remnants because they had requested these worksheets. They accuse ThinkFilm of committing fraudulent, illegal and unfair business practices by refusing to sign the acquisition agreements. Good mourning! It`s a terrible deal.
So a movie makes $200,000 gross at the box office, but the distributor has already paid that amount in P-A. Before they can even think about receiving fees or recouping their overheads, they have to pay $9,000 in money they haven`t even earned yet. And if the manufacturer is on the line instead of the distributor, they are in an even more unfavorable position in the repair cascade! I`m surprised that independent films are made in the United States, let alone distributed! However, I would say that an independent film is necessarily independent of trade union agreements. I have no doubt that Equity and BECTU would lick their lips with joy if they were the slightest hope of getting similar agreements. They wouldn`t cry when they lost most of the ultra-low budget movies in the UK and the corporate culture among the new filmmakers they create, as they are already seen as against such films. “Once people become aware of these dormant provisions, it could have a significant impact on the way we conduct our business practices and structure our distribution agreements,” Komen said. Paddy and Daniel; Everything can be in order as long as the distributor takes care of the leftovers, but the small distributors will try to burn you every hour of ignition. The big problem is that they simply changed the model agreement for the ULB agreement.
I see SAG`s problems with the studios. Given their “accounting methods,” a film can make 300 million profits, but studios say they`re still in the red. So saga said you`d fuck that. We take residues based on crude oil. A very understandable position. It`s a lot of trouble with THE POO AND THE POV PRODUCER. You don`t understand this new paradigm. They are used to television and large feature film productions. And for these things, the treaty works largely. The same goes for the WGA. Most of the members are writers of television programs. And for them, the WGA contract works well.
It doesn`t work out well for feature film writers. Daniel, you`re right. Even if you distribute the movie yourself and pour a load of crap into P and A, that`s not taken into account. They always have to pay on the basis of crude oil. But the good news is that you don`t have to pay for the leftovers for the first operation. It means if you do it in a theater, you`re fine. On the other hand, if you sell your movie to HBO, you pay a dollar. Anything that is not a theatre. Every download, every DVD sale, etc., residuen occur. I worked a lot for a distributor called International Releasing Corporation.
The guy who ran it had an excellent reputation for executing the distribution contract (IRC concluded when Sandy retired). Think about it after a second. He rewarded the agreement you made. This means that distributors are notorious for not complying with the agreement you have made. Everyone I know who has produced a feature has a distributor horror story. Especially if you`re a one-off. You don`t have to produce 3 films a year, but you managed to make a movie.