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Hollywood Today
===============
Writerâs Strike by the Numbers: What They Really Stand To Make
cheap car insurance Tuesday, October 30th, 2007
Halloween is about to take on a new meeting for Hollywood. It may
herald a writer’s strike that even the teamsters will honor, shutting
the town down. Yet The real figures of how many insure quote Hollywood producers
are proposing to pay movie and TV scriptwriters have been obscured promotional playing cards talk about new media custom playing cards DVD sales. We get you back to the basics: How
much writers may make for writing.
halloween-strike.jpg
By Alex Ben Block
HOLLLYWOOD, CA (Hollywood Today) 10/28/2007 â- From $5 million to
$25 million. That is the proposed top price for TV writers and writing
teams under the terms of the contract proposed by Hollywood producers.
From $215,000 to $900,000. That is the emo fashion top price for writing
a script for a 30 minute episode of a TV series. The millions at stake
have somehow become obscured by loud arguments over payment for new
media, the rate for DVD sales and other issues. But make no mistake;
if writers strike when the contract is up Wednesday at midnight, there
are also big bucks at stake.
How big? Weâre going to tell you. On the day producers and writers
meet with the assistance of a federal mediator, it is instructive to
take a look at the numbers, and the amounts at stake for writing for
movies and TV.
There will be only one more day after today before the contract
expires and even if they bargain into the night the chances of
reaching a complete and final settlement by 12 pm on October 31 are
low. It is more likely there will be a continuation of some talks, and
a slow trigger on actually calling a strike.
The following is a sampling of selected and edited excerpts, with
added notes and commentary, from the October 25, 2007 PRODUCERSâ
COMPREHENSIVE PROPOSAL TO THE WRITERS GUILD OF AMERICA, WEST, INC. AND
WRITERS GUILD OF AMERICA, EAST, INC.
poker cards Today columnistâs notes in Italic.
MOVIES under the heading Separable Material â Theatrical Rights
(P-7(I))
When a company agrees to make a movie based on that writers auto insurance it
will pay the writer an amount based on the budget of the movie.
Theatrical Motion Picture Budget Theatrical Rights Payment
If the budget is less than $40,000,000 (PAYMENT IS) $25,000
Budget $40,000,000 but less than $60,000,000(PAYMENT IS) $37,500
Budget $60,000,000 but less than $80,000,000(PAYMENT IS) $50,000
Budget $80,000,000 but less than $100,000,000 (PAYMENT IS) $62,500
Over $100,000,000 (PAYMENT IS) $75,000
TV MOVIES (1) Theatrical Rights - The Company shall pay two and one
half percent (2.5%) of the bona fide budgeted direct cost to the
writer and $20,000.00 as an advance against the applicable Amount,
emo clothes depends on the budget of the theatrical motion picture.
Separated Rights â Television (P-4(A)(1))
Theatrical Motion Picture Budget Theatrical Rights Payment
Budget Less than $40,000,000 $50,000
Budget $40,000,000 but less than $60,000,000 PAYMENT IS $75,000
Budget $60,000,000 but less than $80,000,000 PAYMENT IS $100,000
Budget $80,000,000 but less than $100,000,000 PAYMENT IS $125,000
Budget Over $100,000,000 PAYMENT IS $150,000
âThe above shall apply to each theatrical remake and
sequel. If such two and one-half percent (2.5%) is greater than The
amount due in excess of $20,000.00, the cheap insurance shall be paid not later
than sixty (60) days from the delivery of the final cut of the movie.
In industry terms, the upset price is lowest price at which an item
can streetwear clothing sold. That means that there is a scale with a high end and a
low end, and below is the low end rate for a television remake.
(B) Television Remake Rights
(D) Upset Price (THE LOW END)
Initial Compensation of At Least
Format only (if by a writer other than the writer of story and
teleplay)
$28,122
Story only (other than by the writer of the teleplay)
15 minutes or less
9,783
30 minutes or less (more than 15) PAYMENT IS $17,408
45 minutes or less (more than 30) PAYMENT IS $24,740
60 minutes or less (more than 45) PAYMENT IS $30,649
90 minutes or less (more than 60) PAYMENT IS $42,176
More than 90 minutes PAYMENT IS $42,176
Story & Teleplay better auto insurance than by the writer of the format)
15 minutes or less PAYMENT IS $29,391
30 minutes or less (more than 15) PAYMENT IS $52,237
45 minutes or less (more than 30) PAYMENT IS $62,010
60 minutes playing cards promotion less (more than 45) PAYMENT IS $76,815
90 minutes or less (more than 60) PAYMENT IS $111,316
More than 90 minutes PAYMENT IS $111,316
Format, Story & chinese teacher chicago by one writer
15 minutes or less PAYMENT IS $29,391
30 minutes or less (more than 15) PAYMENT IS $52,237
45 minutes or less (more than 30) PAYMENT IS $62,010
60 minutes or less (more than 45) PAYMENT IS $76,815
90 minutes or cheap house insurance (more than 60) PAYMENT IS $111,316
More than 90 minutes PAYMENT IS $111,316
Bible (THE OVERALL STORY ARC AND SERIES PLAN) PAYMENT IS $71,085
More than 90 minutes PAYMENT IS $111,316
Separated Rights â cheap renters insurance (P-4(A)(1))
TV Compensation â High Budget Rates (P-7(A) and (D), P-13(A))
Increase the high budget figures for prime time network programs in
Article
13. A - Increase the high budget figure from $5,000,000 to
$25,000,000.
The current price for 15 minutes or less is $150,000 and proposed
payment is $450,000.
The current price for 30 minutes or less, but more than 15 minutes, is
$215,000 and proposed car insurance is raised to $900,000.
Payment for 30 minutes or less (but more than 15 minutes) of a
multi-camera show goes from $215,000 to $800,000
Payment for 60 minutes or less (but more than 30 minutes) goes from
$300,000 to $1,250,000
Payment for 75 minutes or less (but more than 60 minutes) goes from
$400,000 to $2,000,000
Payment for 90 minutes or less (but more than 75 minutes) goes from
$500,000 to $2,500,000
Payment for 120 minutes or less (but more than 90 minutes) goes from
$900,000 to $4,500,000
For each additional 30 minutes or less, it was an additional $300,000,
proposed is $1,500,000
The high budget figures for non-prime time network programs:
CURRENT PROPOSED
Payment for 15 minutes or less was $60,000, proposed $300,000
For 30 minutes or less (but more than 15) (single camera) from
$100,000 to $600,000.
For 30 minutes or less (but more than 15 minutes) (multi-camera) from
$100,000 to proposed $500,000.
For 60 minutes or less (but more than 30) from $200,000 to proposed
$1,125,000
For 75 minutes or less (but more than 60) poker shape playing cards $260,000 to $1,300,000
For 90 minutes or less (but more than 75) from $340,000 to $1,750,000
For 120 minutes or less (but more than 90) from $450,000 to $2,500,000
These budget figures shall be increased at the same time and by the
same
percentage as salary rates for the writing of such programs increase.
(C) Increase the high budget thresholds in Paragraph 2.b. of Appendix
C as follows:
CURRENT PROPOSED
For 15 minute program $150,000 $ best car insurance For 30 minute program (single camera) 285,000 600,000
For 30 minute program (multi-camera) 285,000 500,000
For 60 minute program 530,000 1,125,000
For 90 minute program 850,000 1,750,000
For 120 minute program 1,250,000 2,500,000
These budget figures shall be increased at the same time and by the
same
percentage as salary rates for the writing of such programs increase.
Lest you think the moguls and suits have gone soft and are offering
the writers a cushy deal, donât forget the contract proposal also
includes what might be called the renters insurance clause,â after the
description the late Jack Warner used for writers: Schmucks with
typewriters (or what he really said, âSchmucks with
Underwoodâs,â referencing a popular typewriter of the day).
Under clause 48, the writerâs participation in the production
process is defined. This is important because Hollywood is notorious
for keeping the writer away once the script is finished, banning
writers from the custom poker cards not telling writers about early screenings or
full color playing cards the screening of the directorâs poker size playing cards where the director hands
over the first final version of a heart shape playing cards or movie.
Here is the AMPTP prose: âonly those writers who are proposed best life insurance credit shall have the opportunity to view the Directorâs cut and
that the Companyâs failure to invite the aforementioned writers to
view the cut shall not be subject to grievance and arbitration.â
In other words they donât have to invite the writer and he canât
do anything about it.
The producerâs latest proposal did have a concession. The producers
were no longer demanding the total elimination of any credit for the
writer on the show he or she writes. It was an effort to help shorten
the credit crawl at the end of movies and TV shows which network
indie fashion hate, when people hit the remote and change the station.
The writers just want their name on their work. This one they won.
There is also a clause to keep the agents and managers at bay. The
AMPTP proposes: the âCompany has the right to negotiate directly
with the writer to acquire the theatrical rights, publication rights,
merchandising rights and interactive rights.â In other words, the
company will have a team of executives, lawyers, accounts, consultants
and human resources specialist available to them for that meeting
where they decide the pay, but management prefers if the writer comes
alone.
So Hollywood needs to brace for a strike that could disrupt the TV
season, gag a lot of comics, put thousands of show business workers on
hiatus and shut up some talk show hosts (which may not be a bad
thing). It will disrupt and upset the movie business and drive
audience away from the big broadcast networks to cable and the
Internet, never to return. It isnât just the automobile insurance fires making
things hot in Hollywood. As Bette life insurance whose fights for her rights
with Jack Warner and other old school moguls were noisy and legendary,
said as ford insurance Channing in âAll About Eve,â âFasten your
seatbelts, it’s going to be a bumpy night!â
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