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Posts tagged as “WGA”

Script registration 101

Script registration 101

How to register a screenplay isn’t as complex as it may seem.
Because when everything is done you might just need to sue some dude, here is a quick rundown of the two most used script registration services.

Library of Congress, U.S. Copyright Office
Why?: Probably the first one you should check out for your script registration.
I suggest you use the online registration. It’s cheaper, trackable, and faster.
Why not?: This services should be used for actual finished script registration, not treatments or drafts. This is for script copyright, not broad unfinished ideas.
Duration: The life of the author plus an additional 70 years
Prices:
$35 for via the online service
$45 with paper forms

WGA’s Script Registry Service
Why?: The most popular of all script registration services.
Registrable material is anything that can assist you “documenting the creation of your work” (scripts, treatments, synopses, outlines, etc.).

The WGA registration, which stands for Writers Guild of America registration, is a crucial step for writers looking to protect their intellectual property. By registering their work with the WGA, writers establish a legal record of their authorship and ownership. This process ensures that in case of any future disputes or infringement, they have evidence to support their claims. The WGA script registration provides writers with a sense of security and confidence in their creative endeavors, as it serves as an official certification of their work’s existence and originality.

Why not?: As stated on their website:

Registering your work with the WGAW Registry does not take the place of registering with the Library of Congress, U.S. Copyright Office.

Also, once material is registered, the file cannot be changed in any way.
Duration: 5 Years (renewable)
Prices:
$20 for the general public
$10 for WGA members

It is still debatable as to which of the two should be used primarily, or if registering to both at the same time is useful.
It is clear though that both can be used in court.

Depending on how much dough you are willing to shed for the protection of your work, two is better than one obviously. If you intend to register at both, I would suggest starting with the Copyright Office, and while waiting for the paperwork (it generally takes some time to come) go register to the WGA.

Let’s note however that none of these services are International-proof. Protecting your material via these services will only work the in States.

Good luck!

Two Strikes and who’s out?

As the reality of a looming SAG strike seems even more palpable each day we pass, a lot of discussion is being made about the possible impacts such a strike would have on workers, as well as a broadcast world already doubly-crippled: by the WGA strike, and by the economic crisis.
And that is without mentioning (but let’s) catastrophic ratings linked to a cable gaining strength every day as well as “the axis of new media”.
Whoopsy daisy.

Temp X has posted an open letter to the SAG leadership talking about the serious unemployment ramifications the strike will have on thousands of people.

THR’s Nellie Andreeva wrote an article on how such a strike would impact even more the nets’ downfall.
It would also “further cable’s momentum”, as most of the scripted cable shows are AFTRA, not SAG.
The “Big Five”‘s primetime series on the other hand, for the vast majority, will only have completed about 60 to 75% of their episodes before the holiday break.

Sharon Waxman has also reported that five “big name” actors met in a private Italian restaurant à la Godfather.
These actors being Warren Beatty, Jack Nicholson, Meryl Streep, Annette Bening and…Nick Nolte (what?).
They all secretly wrote on a piece of paper their views on why/whether or not a strike should happen.
According to Waxman’s source the majority of them thought that “the guild should move toward a strike.”

As to the actual vote made by the 120 000+ members, it should happen in the next few weeks.
A strike-vote will not necessarily mean an immediate strike as it will probably take about a month for the SAG to process it.
Still, if a strike is voted, then there’s a pretty good chance that the strike will happen in 09.

Meanwhile, on the WGA side, the “fi-core battle” continues as the AMPTP ruled the letter naming of 28 fi-core writers (the WGA blacklist) as a “direct violation of federal labor law”.
Washington’s National Labor Relations Board sent the case back to the L.A. regional director with instructions to issue a complaint.

I guess that’s another Wait & See for us.

Bonjour WGA

Film France is launching with the WGA a program named France Unlimited Access which allows 10 WGA writers to go on an 8-day tour of, you guessed it, France.
Well, actually Paris and the South of France.
The first tour will be held between Nov. 6 and Nov. 13 with John August, Michael Brandt, Michael Dougherty, Derek Haas, Edward Neumeier, Duncan Tucker and Rita Hsiao.

As you might have also guessed, the aim is to promote France as an appropriate setting for future movies. And what better way to start but with the writers.

August has dedicated a post on this and has kind of spurred somewhat of a debate.
On what you might ask.
Well, some people seem to believe that “relocating” so to speak, say, 10 features in France, will somehow affect the global American economy.

Is that the most ridiculous statement you’ve heard all week or what?

Anyway, since it’s for “business” (in France!), the screenwriters probably won’t do any screenwriting seminars and such here unfortunately.
And since I don’t know where they are in Paris, I won’t be able to stalk them. :(