Comments on: Is the Slamdance script competition a bad idea?

By: martin

martin — Fri, 07 Sep 2007 18:54:06 +0000

First, sorry, but I can’t help doing the mental math… that fee from the script of John’s own film must have been less than one point one percent, correct? Also, I second Adam’s comment. John’s generosity in this regard- Craig’s as well -is unusual, for obvious reasons. I’ve said this before… if writers were to achieve the camaraderie I’ve seen between D.P.s (most of them at least, they really do help themselves out at the drop of a hat). And big cheers to Terrell for having the balls to ask.

By: David Wisehart

David Wisehart — Thu, 11 Jan 2007 10:24:19 +0000

Thanks for the advice, John.

My horror script, RED WEDDING, made the Slamdance Horror Competition semifinals.

I wrote the script with plans to direct it myself, but if I win the Grand Prize I won't quibble.

David

By: Fredrik

Fredrik — Mon, 13 Nov 2006 20:58:44 +0000

John, how much did you spend on music for The Movie? Since were on the subject of budget and fees. Iâ€™m scoring my first feature film, a dream project so far. A small indie movie, great script, great people. The director has brought me, the composer, in on the project 6 months before production, to generate ideas and get a creative process going, very ambitious and unusual, I believe. No negotiations about my fee yet and I am not sure in what range I should be. Does anyone have any clues?

By: Ryan Paige

Ryan Paige — Mon, 13 Nov 2006 03:34:11 +0000

The FAQ on the Slamdance site about the competition says:

"Q: If I win and the film does not get made, will I (the screenwriter) reclaim rights to my material? A:Yes. After a period stipulated in the Purchase Agreement signed with Angel Baby Entertainment and the screenwriter, the rights of the screenplay will revert to the writer."

So, it looks like that objection is covered.

By: Jeff

Jeff — Sun, 12 Nov 2006 14:24:03 +0000

My first experience with Slamdance (and the only one, thus far) has been fantastic.

By: Adam

Adam — Sun, 12 Nov 2006 01:24:12 +0000

Actually I want to also thank John for sharing what he made on a couple of his movies. That was very frank and forthright - most people wouldn't reveal info that personal.

Thanks again for the education, John. I appreciate it.

By: DougJ

DougJ — Sat, 11 Nov 2006 18:01:29 +0000

"Who is the stocky guy raising his hand?"

That's the third Weinstein brother, Tor.

By: John August

John August — Sat, 11 Nov 2006 17:34:40 +0000

I’m going to second Craig’s amendment. Some sort of reacquisition clause is smart, and really, they should give that to you.

By: Anna

Anna — Sat, 11 Nov 2006 08:49:31 +0000

Who is the stocky guy raising his hand?

By: Paul

Paul — Sat, 11 Nov 2006 08:41:57 +0000

The response could have done without the “Because you live in Georgia” line, because if under his name it said “Santa Monica, California”, the response and advice would have been the same, but it’s good advice none-the-less. Worry about negotiating when you have leverage in the industry. First you need to actually get into the industry, which is obviously the most difficult part. If a competition is willing to essentially do that for you, then run with it.

By: Craig Mazin

Craig Mazin — Sat, 11 Nov 2006 03:08:57 +0000

I'm going to dissent slightly here. It would be ideal if Slamdance adhered to the WGA low budget agreement; I'm not shocked they don't, and I'm not a pollyanna about it either. Yes, you should take the money.

However, I would certainly try to change one term.

There should be a reacquisition clause.

If you win, it's fine to grant the organization the exclusive ownership of the material and the exclusive right to make a film of it. But for how long? What's wrong with giving them 2 years, at which point you have the option to reacquire your material back? Hell, agree to give the prize money back. But you should have the right to get your work back if at all possible.

If not, then John's basic take is correct. You have zero leverage.