For new media projects under $250,000 (but more than $50,000), you expect to pay a minimum of $125 per day to performers. As with other low-budget agreements, there is only one de day player rate. 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. SAGIndie, the way they decided to re-box even went so far as to organize monthly contract workshops to skilfully explain the wonders of this new agreement to all Anrévians.
Amazon, Instagram, YouTube – these are just some of the targets the Screen Actors Guild has classified as « new media. » Whether you`ve made a movie or a series, both are covered by this agreement as long as your budget is between $50,000 and $1,000,000. Recently, SAG began calling for the signing of another agreement called the Laboratory PawnHolder Agreement. It`s like a lab access letter (which allows your distributor to sell copies of your master`s). Except for SAG, it`s quite the opposite! No one has access to your negative or digital mastery until SAG says ok. 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.