Turnaround

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  • Turnaround

    Can someone explain "turnaround" in laymen's terms for me?

    For example, if Development decides not to move forward on a script, does it then move on to another place where other studios can pick it up?

    And if so, how do the other studios know about this "place".

    Is there like a big lost and found box labeled "turnaround" that any other studio can sift through and pick up projects that studios no longer want to make?

    thanks in advance
    S

  • #2
    Re: Turnaround

    If a studio (or studio-backed production company) options your screenplay, but doesn't make it, it will eventually come back into your possession at the end of the option period. Then you or your agent can shop it to another studio. That's my understanding of being in "turnaround."

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    • #3
      Re: Turnaround

      This sounds like a question for dfields, who can certainly shed some light on this for you. She is, after all, a producer.

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      • #4
        Re: Turnaround

        Originally posted by GreatOz
        If a studio (or studio-backed production company) options your screenplay, but doesn't make it, it will eventually come back into your possession at the end of the option period.
        ditto if they purchase it and don't develop it:

        http://scriptsales.com/boards/showth...ight=reversion
        The Complete IfilmPro DEVELOPMENT FORUM (PDF)

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        • #5
          Re: Turnaround

          Originally posted by GreatOz
          If a studio (or studio-backed production company) options your screenplay, but doesn't make it, it will eventually come back into your possession at the end of the option period. Then you or your agent can shop it to another studio. That's my understanding of being in "turnaround."
          GreatOz,

          Thanks for the post, but I'm not talking about an option period ending, thus turning all rights of that screenplay back to the original owner.

          I'm talking about a project that is purchased by a studio, goes into development. And then the studio for whatever reasons decides not to move forward on the project.

          We always here that even when scripts are bought that there's no guarantee they will ever be made. So what happens to these scripts?

          Is this where other people can pick up the project from another studio and run with it by purchasing it from the first?

          I always assumed that this is what was meant by the term "turnaround" but it's starting to look like I was wrong.

          Thanks again
          Santino

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          • #6
            Re: Turnaround

            thanks CE

            Just saw your post and that answers my question.

            S

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            • #7
              Re: Turnaround

              Originally posted by santino2699
              thanks CE

              Just saw your post and that answers my question.

              S
              so did I, strike the "ditto".

              There are still reversion issues with expired options, because a studio can order rewrites on a script before they exercise the option. In these circumstances, studio controls the rewrites as works for hire even after the option lapses, but can't shoot them without acquiring the underlying spec script.

              But this is a separate issue to WGA reacquisition or "turnaround", I wasn't thinking straight. I don't think the WGA has any specific rules when it comes to buying back rewrites, those are terms you have to agree to when negotiating the option.

              Original purchase price is reimbursed when a script is picked up from turnaround by another company, development costs and interest payments once (if) the script goes before the cameras.
              The Complete IfilmPro DEVELOPMENT FORUM (PDF)

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              • #8
                Re: Turnaround

                Originally posted by BROUGHCUT
                ditto if they purchase it and don't develop it:

                http://scriptsales.com/boards/showth...ight=reversion
                I think there might be a bit of a misunderstanding here about what's in the MBA, regarding reversion (Like, for example: "reversion" refers to a teleplay, "reacquisition" is the term for a theatrical work.)

                But primarily of concern was the intimation that the writer will simply "get back" the material. That is conpletely inaccurate. The writer has only a contractually-stipulated timeframe wherein they can choose to BUY it back. I excerpted the Guild explanation below:

                "Reacquisition - Theatrical

                Original theatrical motion pictures stories and screenplays (not based on any pre-existing material) may be reacquired during a 2 year period; the period for the writer to buy back his/her script begins 5 years following the completion of the sale or the original writer's services (whichever is later). (See Article 16.A.8. of the MBA) That 5-year period is extended if the purchasing/employing company sells the materials to another Company (so the buying Company also gets a 5 year period to produce the film).

                During the writer's 2-year reacquisition period, the writer may reacquire the material (so long as the project is not then in active development), by paying back what the writer received for the original material (the purchase price and/or employment fees). The writer must then obligate a subsequent purchasing Company to pay back the balance of direct script costs (pension and health payments, payments to other writers, etc.), but not production or overhead costs. Monies due from the subsequent purchasing Company are payable (with interest) upon commencement of principal photography, but the specific payment requirements for those other costs vary depending on which Guild agreement covers the original script.

                If the reacquisition period has expired, and the writer has not approached the Company to reacquire the material, the writer no longer has the right under the Guild agreement to buy the material back, and would need to negotiate directly with the Company to buy back the script.

                Guild reacquisition appears similar to a "turnaround," but it is not the same. A turnaround is a negotiated option allowing someone (generally a producer) to shop an abandoned property and, if the project is sold to another company, the original company will be paid negotiated "costs" (often including overhead and production costs, with interest."

                Not trying to show up broughtcut, s/he's a hell of a DD asset, but the explanation seemed oversimplified...

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                • #9
                  Re: Turnaround

                  The linked response was just posted to point out that a studio can not sit on a script indefinitely to keep it from the competition, rather than all the tricky details of the process. MBA goes into quite a lot of detail, eg once the writer requests to reacquire the script under the WGA rules, the studio needs to commit major talent on a play-or-play deal, or (which kind of takes the teeth out of it) hire another writer for rewrite.

                  Originally posted by Joe Unidos
                  Guild reacquisition appears similar to a "turnaround," but it is not the same. A turnaround is a negotiated option allowing someone (generally a producer) to shop an abandoned property and, if the project is sold to another company, the original company will be paid negotiated "costs" (often including overhead and production costs, with interest."
                  Me being thick again. I was under the impression that the new WGA reacquisition rules impeded how many times a project can be put into turnaround. Does it reset the clock once a project is sold on? I'll have a look around when I have a chance.

                  ps: Joe, just found the WGA page. I mistook that quote for your own summary, apologies.

                  http://www.wga.org/subpage_writersresources.aspx?id=192
                  The Complete IfilmPro DEVELOPMENT FORUM (PDF)

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                  • #10
                    Re: Turnaround

                    Originally posted by Joe Unidos
                    But primarily of concern was the intimation that the writer will simply "get back" the material. That is conpletely inaccurate.
                    I see what you mean now. Reversion means non-exclusive rights literally revert without cost to the writer, although I did make clear in the other thread that the writer would have to pay back the original acquisition price (if that makes any sense whatsoever, considering I called the process "reversion"). I didn't realise the meanings were quite so specific, thanks for picking me up on it!!! I've had those circulars bookmarked for reading since the new WGA site went live, too.

                    Apparently, when a project is deemed to be "abandoned" depends upon the terms of the producer's set-up deal. It can be a matter of months with a small window of opportunity afterwards to allow the studio to ramp up development, after which time the producer is free to begin shopping it again (for a limited amount of time). I didn't realise producers could assert a turnaround clause or negotiate these terms, I was under the impression it was just the studio's call (although I suppose it ultimately is, as the studio decides to let a project go inactive).

                    Haven't been able to find out if/how turnaround effects the time frame for WGA reacquisition.

                    If I ever begin a post "as a producer", remember this thread!
                    The Complete IfilmPro DEVELOPMENT FORUM (PDF)

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                    • #11
                      Re: Turnaround

                      Originally posted by BROUGHCUT
                      I see what you mean now. Reversion means non-exclusive rights literally revert without cost to the writer, although I did make clear in the other thread that the writer would have to pay back the original acquisition price (if that makes any sense whatsoever, considering I called the process "reversion"). I didn't realise the meanings were quite so specific, thanks for picking me up on it!!! I've had those circulars bookmarked for reading since the new WGA site went live, too.

                      Apparently, when a project is deemed to be "abandoned" depends upon the terms of the producer's set-up deal. It can be a matter of months with a small window of opportunity afterwards to allow the studio to ramp up development, after which time the producer is free to begin shopping it again (for a limited amount of time). I didn't realise producers could assert a turnaround clause or negotiate these terms, I was under the impression it was just the studio's call (although I suppose it ultimately is, as the studio decides to let a project go inactive).

                      Haven't been able to find out if/how turnaround effects the time frame for WGA reacquisition.

                      If I ever begin a post "as a producer", remember this thread!
                      I hear you. Love the new WGA site. Or, more accurately, I guess it's that I hated the old (useless) one.

                      I didn't wanna come off as a know-it-all douche or anything, I just had this fear that your post might set off a flood of new writers filling messageboards the world over with "don't worry, if they don't shoot your script, you get it back free!" advice. Insane ideas about the legalities of the Industry seem to be a prerequisite for a lot of new screenwriters.

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                      • #12
                        Re: Turnaround

                        Turnaround clauses are often negotiated as part of the initial acquisition deal.

                        And producers aren't the only people who can control turnaround.

                        Also, turnaround isn't a bad thing for a working writer. It's a good thing.

                        Studios will not make most of the projects they acquire. So, the ability to get a project set up someplace else is a good thing for a working writer.

                        In turnaround situations involving my projects, I always got contracted for more rewrites by the new buyer.

                        And I think the WGA's reversion clause is quite specific about the definition of a moribund project that is subject to re-aquisition.

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                        • #13
                          Re: Turnaround

                          Originally posted by Minibrain
                          Also, turnaround isn't a bad thing for a working writer. It's a good thing.

                          .
                          If you have enough muscle behind you to overcome the potentially HUGE penalty clauses.

                          A studio pays you half a mill for a script. They decide to put it in turnaround. But the directly attributable costs after development bump that up to 1.5 mill.

                          Now you have a script that, barring an initial auction scenario, must have already seen and passed on, and have a contractual window to get it set up elsewhere?

                          It can be a good thing. It can be a nightmare.
                          http://wasitsomethingiwrote.blogspot.com/

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