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Ripped off

A

Alex Whitmer

I don't know about other writers, but I have been ripped off time and again for screenplays. 20 something this year alone.

I meet an aspiring filmmaker via forums, we make a deal on a project, and I make good on my end of the bargain. Then, I send the finished screenplay only to never hear from the filmmaker again.

And no credits for the work. If it's a payed gig, I don't recieve the balance.

Not always mind you, but better than 50% of the projects go awry.

I love this bisness, but I am deeply disappointed by the blatant theivery to advance one's fledging career.

One should take better care of their filmmaking karma.

Okay, I've made my peace.

www.alexwhitmer.wordpress.com
www.guerro.wordpress.com

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What about e-mail correspondence? Do you have any proof they reneged on an agreement? If it was all verbal you're probably out of luck. Always ALWAYS get something in writing even if it's just for a copy of the finished product on DVD. SOMETHING.
 
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You probably can also register your work with the gov't as copyrighted for a small fee (links are on here somewhere - do a search for wga or copyright). In South America (assumption based on stated location), I would assume they have something similar for protecting your intellectual property. There's also the poorman's copyright which will work in court once...send a copy to yourself when you've finished via registered mail and leave unopened (label the envelope with the title). As it is registered mail, it'll be date stamped officially by a government official and logged by them as well.

I'm going to reiterate that they probably have something similar in SA, but I can't be sure. The poorman's copyright is a hotly debated thing, but should stand up in court...all of these things are geared toward court which is where you'll have to go to get recompensed for your work on someone who is reneging on a contract. Business 101 dictates you get contracts in writing signed by both parties before starting the work...that way you have a binding document ackowledged in writing by both parties you can present in court (again, all this stuff is for in court - which either you can pay for...or the WGA can take care of for you if you register with them - they have much more to lose if a script registered through them fails to win in court).
 
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The main thing is to only deal with reputable people. Make sure you have more than one way to track someone down, you have their emails, phone #'s, address, etc. If someone has a profile on multiple forums, has a website, etc. they are less likely to just up and disappear than a one-post wonder. If you send the script via mail, send via registered mail. And the main thing is to try to keep track of everyone who does rip you off and their films, and if they look like they are gearing for any kind of serious release, you NEED to take them to court and file an injunction. Their investors and distributors will not allow them to rip you off.
 
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I keep electronic records of everything, even seemingly unimportant blabber.

I really hate the thought of legal confrontation. It's just not my cup of tea. Plus, being way down in the jungles makes baring any real teeth unlikely. And!! No way to know if they are really who they say they are. The internet, for all it's good, is so shrouded in mystery and deceit.

I am making my screening process more difficult, but it just sucks. Instead of writing, we're sniffing each other's butts like dogs for any microscopic clues or red flags.

I think for every one good filmmaker, there are ten plus that are looking for anything free they can get their hands on. I rest better knowing most will end up busing tables into eternity.

I know I sort of create my own problems, but I just hate the sinister side to business.

Anyways, I remain unpertrurbed.

a

www.alexwhitmer.wordpress.com

www.guerro.wordpress.com



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I'm having problems following the math here. In one year, you've have 20 different screenplays stolen from you and PRODUCED? And that represents about 50% of your deals, which means you've sold 40 screenplays in one year?

I must be missing something here.
 
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Alex Whitmer said:
No I did not. Not a fan.

And, I avoid as best as I can to get into legal hassles. Never worth the stress and filth.
Click to expand...
Personal opinions aside, I'm not the biggest fan of the WGA myself, but the quick, inexpensive registration process will (believe it or not) be the best way to avoid 'legal hassles' if you have a registered screenplay that you believe has been ripped off.

Trust me on this one and ask others here who are members. Registration will save your arse in more ways than you can imagine just in case 'the worst' happens.

Just my $0.02, take with a grain of salt, your mileage may vary...
 
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I agree.. registering with the WGA is an important step in protecting your work.

Not to be harsh about it, but if you neglect to do so because you don't like them.. you're kind of screwing yourself.
 
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This is for the OP. If you do not want to participate in the legal side of any business you engage in, you are screwed no matter what you do for a living. Knowing how to protect yourself no matter what you do is not optional.
 
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Alex Whitmer said:
I don't know about other writers, but I have been ripped off time and again for screenplays. 20 something this year alone.
Click to expand...

I had no idea that production in South America was that high. 20 something
scripts this year alone were ripped off from you - from one writer. That's astounding!

How many scripts do you write each year?
How many scripts of your are produced each year?
Is it just in South America that your scripts are being ripped off?
 
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Fan or not if you dont register your work adn seal the (c) on it you are setting yourself up for all manor of problems.

On the positive side: But seriously even if that is the case and your are getting ripped off with a track record of over 20 produced scripts in a year, you should be able to get yourself a good agent and start hitting the big boys... with an agent you work SHOULD be secure!
 
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If only 50% of the scripts you option go into production, you're actually doing really well. Across the industry about more than 75% of optioned scripts never make it to production.

So, to actually have ten produced pieces in one year is very good going indeed.

Just to put this in context... I thought I was having a good year because I turned down three option offers and got shortlisted for three feature commissions (even though none of these have resulted in either work or payment yet).

I'm figuring that the vast majority of these films are shorts... simply because twenty scripts in a year works out at one every two and a half weeks... even though I've written on a couple of occasions about how it's possible to knock out a rough genre script in seven days... twenty in a year!

Personally, I think writing and optioning twenty scripts in one year is a phenomenal performance.

However, I do sympathise with you about working with indie producers... the vast majority of them treat writers very, very badly... except when they want something.

I'm with Phil on this one... if you're getting work made and the quality of it is good, I'd serious consider putting your showreel and a feature script in front of some agents... basically, it would then become their job to make sure you weren't ripped off.
 
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Two Things...

1) Set up the deal so that they pay for each step - and if the final step (production) doesn't happen, at least your time is covered and you make a little money.

2) Deal only with companies that have produced credits you can actually rent and watch on DVD. Cut out all of the wanna-be producers - they are a waste of time.

- Bill
 
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wcmartell said:
1)

2) Deal only with companies that have produced credits you can actually rent and watch on DVD. Cut out all of the wanna-be producers - they are a waste of time.

- Bill
Click to expand...

Not sure I would say that. I was that producer at one point and now I am two features under my belt. Without someone to take a punt I would have gotten nowhere. I think you need to vet these guys and make sure they/you have a firm contarct in place.
 
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I think both Phil and Bill are right... but it's a matter of where you are in your career development.

When you're writing your first feature scripts and you've no real track record, it's worth punting a few out to wannabee producers. I think the trick is to understand that everyone's in the same position and not to let them play the big shot with you.

This is how I started and I think I never would have got either of my first two features into production without working with a wannabee producer. In many ways those early scripts and films were my apprenticeship.

Now, if you're lucky the producer you're working with grows with you... in my case that never happened.

I think when you reach the point you actually know what you're doing as a screeenwriter... as opposed to merely thinking you've got a good idea... at that point there is very little to be gained by working with people with no track record.

What I see happened more and more are writers like me, who also make films, eventually get to the point where 9 times out of 10 they're a better, more experienced producer than the people they're pitching to.

At that point I suggest you start talking to bigger fish; get your ass to the major industry festivals... and, at the same time examine whether you actually need to sell your scripts at all.
 
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Sex Meta4

Actually, I completely disagree... I think you have it backwards.

When you are just starting out, you *only* want to work with established producers....

And producers starting out should only work with established writers.

The reason: somebody has to know what they're doing! A new writer can learn from an experienced producer... and a new producer will have a much easier job of it working with a writer who can write for production. Otherwise, you end up with the blind leading the blind and the film has a pretty good chance of crashing and burning or not being released. There are so many things that can go wrong on a movie, and the script is usually where it all starts.

My first sale was to a local producer who had made a few low budget films - and without him teaching me how to write a script that could actually be made, I wouldn't have ever sold another script. Second sale was to Paramount. No agent, no manager (I don't have either now). I have since worked with first time producers, and been able to deliver a script that was "easy to shoot". I also know how to write "actor proof" scripts - so you don't need a great actor if you can't afford one - the *script* creates situations that Wilson the Volleyball can look good in. These are skills that a new writer probably hasn't learned, but skills a new producer needs in a script being shot for whatever's on their credit cards.

But, from a screenwriting POV, my thing has always been no virgins. If it's their first time and my first time, chances are the whole thing will be over before we get our shoes off.

- Bill
 
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