I made notes. Again, I'm blown away by your honesty and wealth of knowledge. These terms are not just interesting, they seem essential to getting the best deal possible for writers. My hat is off to you and thanks for the time and effort you have put into this series. Well done.
Been watching RUclips videos about screenwriting for quite some time now. Morgan is the only one that makes sense, and the only one who doesn't abuse his tutorials to just try and glorify himself like the others do. Good man yourself, Dominic!
If an employment agency gets 10% on top of their temp they find a job for, it should be that way with writers. After all, without the script, NO ONE gets paid.
You just need a good lawyer to get your %. Investors that put money into movie always get their share, so you just sign the contract where you get % of investor payout pie. Smart guys (directors and actors) always get their royalties. Up-front money is nothing. You will always be poor if you rely on up-front.
Glad I stumbled upon this--I was considering skimping on that attorney consultation once I saw that hourly rate. The end of your video convinced me otherwise. Thanks for all the info.
Wrote these down. Rule 4 is one of the best pieces of advice I’ve ever heard and rule 6 is something you learn in a most sales environments and all of these took your real experiences to decipher and I couldn’t thank you more
This is one of the most amazing videos on YT for screenwriters. Unbelievable. Thank you for sharing your knowledge, as well as your guidance and advice.
this is the most practical advice I had on screenwriting in years. sure we want to be better writers and exude poetry on the page. but it won't help us if we cannot negotiate a contract that pays us what we (and the script) are worth.
Thanks very very very much.. This is Awesome.. In most contract negotiations rather a House or a business building Rental or this. You have to really watch the fine print. Thanks for sharing you experience..
Awesome. I've been writing professionally for years. I never did fully understand all of this. What a great straightforward explanation. I was lucky. ... I did have someone looking out for me. ... thank goodness!
I have signed a few screenwriting contracts and some elements he mentions were missing. I didn't know better because it was my first time out, i had no lawyer or agent, and it was the indie world where anything goes. There was a fee for my work, a flat fee, no floor or ceiling, take it or leave it. And it would be paid once filming started. I had no idea of the budget, no idea what percent of it I should get paid and so I just took what they offered. No option payment, so no cash upfront. It was a writer for hire gig anyway, not my original work. Credit clause yes, and I insisted on credit and they had no problem with that so now I have two credits on IMDB. No passive payment clause. I had no idea what that meant at the time. I jokingly asked about any payment for sequels and I was told that since these were story ideas the production company came up with and I was just hired to flesh out these ideas into full scripts, then I really had no right to any future payments. And there was no net payment clause either. I had heard enough about the worthlessness of net payment by that time so I didn't care about that at all. So I wrote five movies for these guys, two got made, and I got paid, so it was sort of a good experience and I made some good contacts.
Thank You, Dom! I bought a book on contract lesson. Jeez, it was a convoluted mess. You made this legalize jungle consise and TO THE POINT! Appreciate it, mate!
Hi Dom. Just re-watched. Through having a radio play produced, I met a producer who "hired" me to write a movie. I've no representation, so I need as much knowledge as I can. Thanks again for this great eye-opener.
IF this content has been of use to me? If? I'd memorise this video like my 6th grade history syllabus if I could. Goldmine of information and some of those things were always on my mind as an aspiring writer.
In the terms that the devil is in the details. Having a good attorney is crucial (as you so rightly say in the your excellent video). Having a bad one will seriously make a bad deal worse. @@Scriptfella
Useful on the level of John August and Craig Mazin's ScriptNotes, or Terry Rossio and Ted Elliot's Wordplayer columns, or WRITING MOVIES FOR [FUN AND] PROFIT by Thomas Lennon and Robert Ben Garant. Real, actual useful advice from a working writer. This should have several thousand more views.
High praise indeed Greg , thank you , those guys are a list giants I’m a blue collar writer - hustler. If you know any other writers who would get some value out of this vid please do share and spread the scriptfella word !
What do you think about entering contest? Francis For Coppola has one where they say you can win $5,000 and get looked at by real production houses. That might be a red flag. The winnings are only 5K.
Just hooked up with a guy who offered 2% net to write part of a script. I'm no dummy. Lol 2% net of an indie film is, like you say, zero. But... the credit. That's the golden egg, so to speak. My name in the credits is worth more than money on this deal and probably another couple of films and will, hopefully, bring in more long term.
@@Scriptfella Well, no contract per se, but he did put out a general call for writers to help, so I'm not the only one. Plus, I have the emails, screen shots, etc. I know a lot of people he's worked with over the years and will need to work with again. Not saying I think he'll screw me, but... I don't trust anyone until they've earned it. So if he does, I'll be expecting it... and his friends who are my friends will know about it. Besides, it's only about 15 pages. No biggie. **shrug**
So considering this video came out 4 years ago, I'm curious as to if there are changes, additions to, and how does, or will the current strike affect change. (not that you have a time machine, but at least an educated guess)?
Wow incredibly helpful thank you! Do co-writers tend to share the 2.5 percent? Or does each writer receive around 2.5 percent individually? Any help would be appreciated!
Hello Nicholas, it all depends on the deal. But on a European deal, you usually lose 50% of your production bonus if you share credit with another writer.
Thank you for the info! Extremely helpful! Quick question, are option and re-write fees paid in addition to the purchase price or are they deducted from the purchase price upon principle photography??
Hello Tito - the initial option fee and first couple of rewrites are usually "on account" of the purchase price. You can sometimes negotiate that the third year of an option, or a third draft, are not on account/ deducted from the principal photography payment. best D
Hi Lisa - I could give you a semi-educated guess but I'd be winging it...The bonded budget is the hard number used by the completion bond company. I imagine the "producer approved" budget is much more open to creative accounting and interpretation.
Hey Scriptfella, I really admire your videos. As an aspiring screenwriter, I must ask this question because unfortunately in Hollywood these experiences are different depending on race. Do you mind making a video about how to compromise if you are a minority trying to make it in Hollywood as a writer? I know you mention in other videos about how we should have our 3 numbers, but do you think it would work for someone who is another race? Or would they be deemed as “difficult to work with”. Just trying to get some honest feedback.
Hi TC - I'm not sure I understand your question. What do you mean by compromise? Under my understanding of the word I wouldn't allow anyone to make you take less than anybody else is getting paid due to the fact you "are a minority trying to make it as a writer"
Scriptfella Thank you for responding. I probably should have been more clearer. What I am trying to ask is I am a black woman and my question was how do I as a black person try to negotiate a contract without being label “difficult”. I’m not sure if you’re familiar with that term in Hollywood, but usually if a black woman speaks up about their pay rate in the industry they usually are label as “difficult”. There’s tons of articles about this subject. My question is that how I do know my worth if I’m constantly getting told I’m not worth that much to begin with as a writer? I understand this question is difficult and if you don’t have the answer that is fine, I still enjoy your videos!
@T C - I absolutely take your points- per my video, in an ideal situation you should always have an attorney or agent in your corner and let them fight for you, which will lessen the chances of a producer throwing unwarranted, and unjust insults at you. However we don't live in an ideal world and sometimes we have to stand our ground with producers, one to one. It's a fact that any writer who challenges a producer or industry figure and demands that, say, the producer honours a contract and pays up for a rewrite - is labelled "difficult" Sometimes being labelled difficult can even be a badge of honour - the movie biz is full of assertive writers, directors and actors who refuse to roll over and are labelled difficult (there's even a book about showrunners called "Difficult Men") My advice to you, if you need to stick to your guns on pay, don't get emotional, be direct and confident that what you're asking for is reasonable - having done your research. Now that you know for a fact that you should get paid 2.5% of the budget for your script, if they refuse to pay that THEY are being "difficult". Your points and questions are wholly relevant and I hope to do a video on the subject in the future. Take care and good luck, D
Not for screenwriters, Jack. (JK Rowling, yes) You're better off shooting for bonused based on box office performance where the books are less likely to be cooked.
@@Scriptfella Thanks. I'm a novelist (not a screenwriter) and I received some interest in my new book, "The Eighth Sacrament," from someone claiming to be a producer. I'm smart enough to not trust everyone claiming to be connected, but the idea of compensation based on box office dollars has been on my mind all week. Thanks for putting this up. :)
@@wojciechfilaber2931 please email me on scriptfella@gmail.com and let me know how I can help you. Am I right in thinking we met outside Starbucks at the London Screenwriters' Festival?
"Hollywood accounting" at 08:29 isn't really evil. If the studios didn't handle their own distribution and went through indie distributors, those distributors would still be making industry standard 20-30% off the top too, so it is a standard distribution fee. Then the gross income shown in that timestamp ("defined gross") is after payments to the gross participants which is not shown (A-listers, and for this certainly people like JK Rowling and the main talent), which looks like around 25-30% considering that was a third-year statement and gross receipts were about $900 million by then ($600 million reported there). So yes, a film with $400 million in direct costs that "only" makes $900 million total can be money-losing because of the above. The studios still make them because they make a net from the distribution arm, but if they were an indie studio with the same budget and people involved, they would indeed lose actual money. But you're right not to count on net. Although I made net back-end money from a Sony Pictures deal once, because it did pretty good and didn't involve A-listers taking from the gross.
Hi Roger - I do audio notes - I suggest you check out this video which has an introductory audio notes offer at the end. Email me on scriptfella@gmail.com if you'd like to take up the audio notes offer. ruclips.net/video/EDTV5GxujB8/видео.html
you know when your talking about something as important and confusing as contracts and money its probably a not good idea to add more confusing and distracting elements into your vids by having random clips of films. how about having a board behind you where you can show us what you are talking about. you make some good points but it gets very confusing when you have random clips for no real reason interrupting what you are saying.
Thanks for your feedback, Amanda. My intention with the use of film clips - to illustrate the themes or mood of my content, though clearly this hasn't worked for you on this vid!
Dom, thank you so much! Genuine altruism is hard to come by these days
I made notes. Again, I'm blown away by your honesty and wealth of knowledge. These terms are not just interesting, they seem essential to getting the best deal possible for writers. My hat is off to you and thanks for the time and effort you have put into this series. Well done.
Cheers Boomer. If you have any contractual questions, fire away.
Agree agree
"The least you can do is to be educated" should be a mantra for whatever you wanna touch. Cheers!
Been watching RUclips videos about screenwriting for quite some time now. Morgan is the only one that makes sense, and the only one who doesn't abuse his tutorials to just try and glorify himself like the others do. Good man yourself, Dominic!
Cheers Fred, I appreciate your support
@@Scriptfella Still saving up to be able to afford those 200 quid to buy your review...
If an employment agency gets 10% on top of their temp they find a job for, it should be that way with writers. After all, without the script, NO ONE gets paid.
I've revisited this video from time to time this time with pencil and pad in hand.
You just need a good lawyer to get your %. Investors that put money into movie always get their share, so you just sign the contract where you get % of investor payout pie. Smart guys (directors and actors) always get their royalties. Up-front money is nothing. You will always be poor if you rely on up-front.
Glad I stumbled upon this--I was considering skimping on that attorney consultation once I saw that hourly rate. The end of your video convinced me otherwise. Thanks for all the info.
Wrote these down. Rule 4 is one of the best pieces of advice I’ve ever heard and rule 6 is something you learn in a most sales environments and all of these took your real experiences to decipher and I couldn’t thank you more
This is one of the most amazing videos on YT for screenwriters. Unbelievable. Thank you for sharing your knowledge, as well as your guidance and advice.
Thanks Derek, I'm glad you found it useful.
Just found your work on Reddit and I'm amazed. Thank you very much for all these incredible videos.
Nicolas Ameiio-Ortiz thanks, it's an absolute pleasure, welcome to Scriptfella!
So glad I found this Chanel, literally gold.
Many thanks Ruggaeggfilms, so pleased to hear you're enjoying my content.
this is the most practical advice I had on screenwriting in years. sure we want to be better writers and exude poetry on the page. but it won't help us if we cannot negotiate a contract that pays us what we (and the script) are worth.
Cheers Viking, glad to have you onboard
Scriptfella you should team up with Blake Synder and title the work "SAVE THE CAT SOME CASH." I'd buy that book in a heartbeat, even faster than that.
Excellent practical advice. As one of many out here trying to their scripts made etc....I feel like you are totally on my side. Thank you.
Appreciate this brother. This will be the blueprint of how I negotiate.
Thanks very very very much.. This is Awesome.. In most contract negotiations rather a House or a business building Rental or this. You have to really watch the fine print. Thanks for sharing you experience..
This is incredibly helpful. I’m learning so much.
Found you in a script group, and am very glad I did. This is great content. Cheers.
Hey Christopher, good to have you here, welcome to Scriptfella.
Awesome. I've been writing professionally for years. I never did fully understand all of this. What a great straightforward explanation. I was lucky. ... I did have someone looking out for me. ... thank goodness!
Thanks for sharing your experience and knowledge!
You're always welcome, Beatriz
Outstanding Dominic. I'm going through these chats at the moment. Super helpful.
Thank you, thank you, thank you. First channel to which I have ever subscribed.
Welcome to HMS Scriptfella, Jeff
Taking notes 📝
I have signed a few screenwriting contracts and some elements he mentions were missing. I didn't know better because it was my first time out, i had no lawyer or agent, and it was the indie world where anything goes. There was a fee for my work, a flat fee, no floor or ceiling, take it or leave it. And it would be paid once filming started. I had no idea of the budget, no idea what percent of it I should get paid and so I just took what they offered. No option payment, so no cash upfront. It was a writer for hire gig anyway, not my original work. Credit clause yes, and I insisted on credit and they had no problem with that so now I have two credits on IMDB. No passive payment clause. I had no idea what that meant at the time. I jokingly asked about any payment for sequels and I was told that since these were story ideas the production company came up with and I was just hired to flesh out these ideas into full scripts, then I really had no right to any future payments. And there was no net payment clause either. I had heard enough about the worthlessness of net payment by that time so I didn't care about that at all. So I wrote five movies for these guys, two got made, and I got paid, so it was sort of a good experience and I made some good contacts.
Thank You, Dom! I bought a book on contract lesson. Jeez, it was a convoluted mess. You made this legalize jungle consise and TO THE POINT! Appreciate it, mate!
Gary Keyes excellent mate glad the content was on point
Only discovered the Channel recently but it's one of the most helpful things on RUclips!
Love how you edit in clips too, good humour.
Cheers Daniel
Hi Dom. Just re-watched. Through having a radio play produced, I met a producer who "hired" me to write a movie. I've no representation, so I need as much knowledge as I can. Thanks again for this great eye-opener.
Cheers Dan - sending you all the best D
I don't know how you do it Dominic. You talk to me with the same honesty and directness as someone who's known me for years. Love the channel :)
Hey Runjeev, I so pleased my material is connecting with you. If you ever have any screenwriting questions, please do fire away in the comments.
Extremely helpful. Thank you!
Love your help and advice !! Much thanks!
IF this content has been of use to me? If? I'd memorise this video like my 6th grade history syllabus if I could. Goldmine of information and some of those things were always on my mind as an aspiring writer.
Cheers Saahil - welcome to Scriptfella.
Fantastic video. Thank you for your service.
Glad you enjoyed it Jonathan. best D
Thank you so much for sharing these amazing tips!
You’re welcome Alison glad the vids are working for you
Very enlightening, thanks mate.
Subscribed, i look forward for more stellar advice.
Great video 📖 🖊
Hey thanks for the vid Fella, been burned on contracts in the past. Not a nice experience.
You're welcome, Dave. Can you share, in broad terms, how you got burned?
In the terms that the devil is in the details. Having a good attorney is crucial (as you so rightly say in the your excellent video). Having a bad one will seriously make a bad deal worse. @@Scriptfella
Thank you so much for this. Super good content. Loved your talk at LSWF.
Cheers Christopher - v pleased you enjoyed my session at the London Screenwriters Festival. You might want to Google “ Scriptfella Talent”.
Useful on the level of John August and Craig Mazin's ScriptNotes, or Terry Rossio and Ted Elliot's Wordplayer columns, or WRITING MOVIES FOR [FUN AND] PROFIT by Thomas Lennon and Robert Ben Garant. Real, actual useful advice from a working writer. This should have several thousand more views.
High praise indeed Greg , thank you , those guys are a list giants I’m a blue collar writer - hustler. If you know any other writers who would get some value out of this vid please do share and spread the scriptfella word !
Love your videos, greetings from Poland
Thanks bluuur2, welcome to Scriptfella.
Well done as always!
cheers James
Man thank you, thank you, thank you for this vital information.
I'm glad it hit the spot, Ele Zeta!
Great explanation.
Amazing advice. Thanks.
What about residuals from marketing? Merchandize, video game adaptations, audio books, trademarks... Etc.?
Thank you for this.
Thanks
WOW. Great information. Just subscribed.
Thanks Ty!
That was definitely and interesting video, wow so much rip off in the industry got make sure I get my true worth and not get ripped off.
Thanks Michael, I'm glad you found the the vid useful. Forewarned is forearmed...
What do you think about entering contest? Francis For Coppola has one where they say you can win $5,000 and get looked at by real production houses. That might be a red flag. The winnings are only 5K.
Can't wait that Hollywood buy my screenplays 🤗
Two Words... Thank you!
Thank you 🙏🏼🙏🏼🙏🏼
Fantastic stuff man, thanks for the info.
Phial Substance you’re more than welcome mate, glad to have you onboard
this is great information
Very informative. Thanks
Thank you , Jacksonfilm!
thank you, sir.
Just hooked up with a guy who offered 2% net to write part of a script. I'm no dummy. Lol
2% net of an indie film is, like you say, zero. But... the credit. That's the golden egg, so to speak. My name in the credits is worth more than money on this deal and probably another couple of films and will, hopefully, bring in more long term.
Ouch, Splatter, that sounds painful I do hope the movie gets made and you get the credit - did the contract have a credit clause?
@@Scriptfella
Well, no contract per se, but he did put out a general call for writers to help, so I'm not the only one. Plus, I have the emails, screen shots, etc. I know a lot of people he's worked with over the years and will need to work with again. Not saying I think he'll screw me, but... I don't trust anyone until they've earned it. So if he does, I'll be expecting it... and his friends who are my friends will know about it.
Besides, it's only about 15 pages. No biggie. **shrug**
So considering this video came out 4 years ago, I'm curious as to if there are changes, additions to, and how does, or will the current strike affect change. (not that you have a time machine, but at least an educated guess)?
Wow incredibly helpful thank you! Do co-writers tend to share the 2.5 percent? Or does each writer receive around 2.5 percent individually? Any help would be appreciated!
Hello Nicholas, it all depends on the deal. But on a European deal, you usually lose 50% of your production bonus if you share credit with another writer.
Thank you for the info! Extremely helpful! Quick question, are option and re-write fees paid in addition to the purchase price or are they deducted from the purchase price upon principle photography??
Hello Tito - the initial option fee and first couple of rewrites are usually "on account" of the purchase price. You can sometimes negotiate that the third year of an option, or a third draft, are not on account/ deducted from the principal photography payment. best D
Should someone refuse an option?
thank you for this video.
You're welcome, Harish.
Thank you.
Hey SF, can you tell me what the difference is between a bonded budget and a producer-approved budget?
Hi Lisa - I could give you a semi-educated guess but I'd be winging it...The bonded budget is the hard number used by the completion bond company. I imagine the "producer approved" budget is much more open to creative accounting and interpretation.
Do you have a sample contract available for download?
Hey Scriptfella, I really admire your videos. As an aspiring screenwriter, I must ask this question because unfortunately in Hollywood these experiences are different depending on race. Do you mind making a video about how to compromise if you are a minority trying to make it in Hollywood as a writer? I know you mention in other videos about how we should have our 3 numbers, but do you think it would work for someone who is another race? Or would they be deemed as “difficult to work with”. Just trying to get some honest feedback.
Hi TC - I'm not sure I understand your question. What do you mean by compromise? Under my understanding of the word I wouldn't allow anyone to make you take less than anybody else is getting paid due to the fact you "are a minority trying to make it as a writer"
Scriptfella Thank you for responding. I probably should have been more clearer. What I am trying to ask is I am a black woman and my question was how do I as a black person try to negotiate a contract without being label “difficult”. I’m not sure if you’re familiar with that term in Hollywood, but usually if a black woman speaks up about their pay rate in the industry they usually are label as “difficult”. There’s tons of articles about this subject. My question is that how I do know my worth if I’m constantly getting told I’m not worth that much to begin with as a writer?
I understand this question is difficult and if you don’t have the answer that is fine, I still enjoy your videos!
@T C - I absolutely take your points- per my video, in an ideal situation you should always have an attorney or agent in your corner and let them fight for you, which will lessen the chances of a producer throwing unwarranted, and unjust insults at you. However we don't live in an ideal world and sometimes we have to stand our ground with producers, one to one. It's a fact that any writer who challenges a producer or industry figure and demands that, say, the producer honours a contract and pays up for a rewrite - is labelled "difficult" Sometimes being labelled difficult can even be a badge of honour - the movie biz is full of assertive writers, directors and actors who refuse to roll over and are labelled difficult (there's even a book about showrunners called "Difficult Men") My advice to you, if you need to stick to your guns on pay, don't get emotional, be direct and confident that what you're asking for is reasonable - having done your research. Now that you know for a fact that you should get paid 2.5% of the budget for your script, if they refuse to pay that THEY are being "difficult". Your points and questions are wholly relevant and I hope to do a video on the subject in the future. Take care and good luck, D
Thanks Dominic. I know a percent of net is bad, but do they ever negotiate a percent of gross?
Not for screenwriters, Jack. (JK Rowling, yes) You're better off shooting for bonused based on box office performance where the books are less likely to be cooked.
@@Scriptfella Thanks. I'm a novelist (not a screenwriter) and I received some interest in my new book, "The Eighth Sacrament," from someone claiming to be a producer. I'm smart enough to not trust everyone claiming to be connected, but the idea of compensation based on box office dollars has been on my mind all week. Thanks for putting this up. :)
May I ask, what script writing software is most preferred ? (Final Draft?)
Hi - I've only ever used Final Draft.
Great video !
Wojciech Fila cheers, glad you liked the vid!
Would you be able to help with my first pages? Happy to £
@@wojciechfilaber2931 please email me on scriptfella@gmail.com and let me know how I can help you. Am I right in thinking we met outside Starbucks at the London Screenwriters' Festival?
What if you want to write and direct the movie are those two separate pays?
Hi Almighty Gamer, it's all negotiable, but in a mainstream film deal you should be able to negotiate a separate director's contract
@@Scriptfella Thanks!
HOW DO I GET A COPY OF A CONTRACT LIKE THIS!
Thanks is not enough
I better get writing
"Hollywood accounting" at 08:29 isn't really evil. If the studios didn't handle their own distribution and went through indie distributors, those distributors would still be making industry standard 20-30% off the top too, so it is a standard distribution fee. Then the gross income shown in that timestamp ("defined gross") is after payments to the gross participants which is not shown (A-listers, and for this certainly people like JK Rowling and the main talent), which looks like around 25-30% considering that was a third-year statement and gross receipts were about $900 million by then ($600 million reported there). So yes, a film with $400 million in direct costs that "only" makes $900 million total can be money-losing because of the above. The studios still make them because they make a net from the distribution arm, but if they were an indie studio with the same budget and people involved, they would indeed lose actual money. But you're right not to count on net. Although I made net back-end money from a Sony Pictures deal once, because it did pretty good and didn't involve A-listers taking from the gross.
Do you provide script coverage for a price?
Hi Roger - I do audio notes - I suggest you check out this video which has an introductory audio notes offer at the end. Email me on scriptfella@gmail.com if you'd like to take up the audio notes offer. ruclips.net/video/EDTV5GxujB8/видео.html
Net profit of the producers contract
you know when your talking about something as important and confusing as contracts and money its probably a not good idea to add more confusing and distracting elements into your vids by having random clips of films. how about having a board behind you where you can show us what you are talking about. you make some good points but it gets very confusing when you have random clips for no real reason interrupting what you are saying.
Thanks for your feedback, Amanda. My intention with the use of film clips - to illustrate the themes or mood of my content, though clearly this hasn't worked for you on this vid!
Dear Sir, I love your videos, Thank you for sharing! You said to ask if we have questions, may i have your email address plz
Thanks for the support Nicolas - I'm on scriptfella@gmail.com
@@Scriptfella I sent an email but maybe it went to junk,spam,or... I will send it again thank you!