Re: Spiteful Gersh Agents?
Negotiating a percentage share with writers?
Like any forced price increase or tax on the wealthy, they'll just pass it along.
In this case, it'll be in agencies' quotes to the studios for said packaging, or some other creative combination of services.
Yep, I see that as the next round in this big fight.
I'm sure prodcos and studios are watching this VERY carefully. Because the studios will likely react the way they always do when their costs increase... they pass it along.
And I don't mean higher ticket prices (though that'll happen too). I mean either through tougher language in contracts with the artists, or like they do during/after the strikes: Turn to existing, owned or already-optioned IP, or re-use what they own to death in the form of remakes, sequels, etc.
That last one's really unfortunate, because it can become the new paradigm, the new normal, which everybody ends up complaining about.
As I always say, the only in-betweener a rights-holder (talking the spec writers here, before they sell their copyright ) actually needs is a lawyer, for when we work out terms with our buyers (the prodcos and studios).
Well, I recognize that I'm describing an ideal world, and the status quo is something altogether different. But it's still something to aim for.
The "in-betweeners" must feel like the stop motion animators who denied the oncoming tsunami of CGI, back in the late 80s and early 90s.
Meanwhile, you gotta hand it to the literary management companies. They were limited by law from certain negotiating tasks, that agents had a lock on, so they (the mgrs) are branching out into production.
On the odd occasion that I actually pitch management companies, they're only the ones that have production arms. And that's the only way I'd deal with them, if/when they respond.
There's us, the rights-holders, and the buyers/producers. And each side's legal team. That's all that's needed to get the ball rolling.
Of course, financiers, sales agents, distributors, P&A etc. etc. too. All good. All members of the team. But reps? Well, if you want one, fine. But the contract language that says you gotta have one sh/could be a casualty in this current fight.
Negotiating a percentage share with writers?
Like any forced price increase or tax on the wealthy, they'll just pass it along.
In this case, it'll be in agencies' quotes to the studios for said packaging, or some other creative combination of services.
Yep, I see that as the next round in this big fight.
I'm sure prodcos and studios are watching this VERY carefully. Because the studios will likely react the way they always do when their costs increase... they pass it along.
And I don't mean higher ticket prices (though that'll happen too). I mean either through tougher language in contracts with the artists, or like they do during/after the strikes: Turn to existing, owned or already-optioned IP, or re-use what they own to death in the form of remakes, sequels, etc.
That last one's really unfortunate, because it can become the new paradigm, the new normal, which everybody ends up complaining about.
As I always say, the only in-betweener a rights-holder (talking the spec writers here, before they sell their copyright ) actually needs is a lawyer, for when we work out terms with our buyers (the prodcos and studios).
Well, I recognize that I'm describing an ideal world, and the status quo is something altogether different. But it's still something to aim for.
The "in-betweeners" must feel like the stop motion animators who denied the oncoming tsunami of CGI, back in the late 80s and early 90s.
Meanwhile, you gotta hand it to the literary management companies. They were limited by law from certain negotiating tasks, that agents had a lock on, so they (the mgrs) are branching out into production.
On the odd occasion that I actually pitch management companies, they're only the ones that have production arms. And that's the only way I'd deal with them, if/when they respond.
There's us, the rights-holders, and the buyers/producers. And each side's legal team. That's all that's needed to get the ball rolling.
Of course, financiers, sales agents, distributors, P&A etc. etc. too. All good. All members of the team. But reps? Well, if you want one, fine. But the contract language that says you gotta have one sh/could be a casualty in this current fight.
Comment