30
2012
Event: European Coalitions for Cultural Diversity
Culture, an added value for Europe
Tuesday January 31st, 2012, 12:00-14:30 (lunch)
Library Solvay (Rue Belliard 137, 1040 Bruxelles)
More information here.
3
2012
Janine Lorente Elected Chair of SAA Board of Directors
The board of the Society of Audiovisual Authors (SAA) has unanimously elected SACD Deputy General Manager, Janine Lorente, as its new Chair. The election was held as Gerhard Pfennig stepped down from his position as Managing Director at VG Bild-Kunst after 33 years at the German society. As part of the elections Robert Staats, Managing Director of VG Wort, was elected as Vice Chair, as Scam Director General, Hervé Rony, stepped down.
Cécile Despringre, SAA Executive Director said “All of SAA’s members would like to thank Gerhard for all of his work in helping us establish ourselves and successfully launch our proposal for a collectively managed unwaivable remuneration right for audiovisual authors. His experience has been invaluable and we wish him all the best.”
Janine Lorente, SACD Deputy Director General added “SAA has been incredibly lucky to have had 2 excellent chairs of the board since its creation 2 year’s ago. First Suzan Dormer, then Gerhard Pfennig. While those are big boots to fill, I’m very much looking forward to that challenge and helping to continue SAA’s progress.”
Press contact:
James Taylor, Communications and Public Affairs Officer +32 2894 93 32, j.taylor@saa-authors.eu
About SAA
The Society of Audiovisual Authors (SAA) is an association of European Collective Management Societies representing audiovisual authors. Through its members (25 societies in 18 countries) SAA represents over 120,000 film and television European screenwriters and directors. More information www.saa-authors.eu
The SAA Board of Directors
The SAA board of directors is made up of representatives from the following societies:
21
2011
Season's Greetings
SAA wish you a very Merry Christmas and all the best for a happy and prosperous 2012. See our Season's Greetings card here.
2
2011
Audioivsual Authors Online - Paul Powell Keynote
Paul Powell's keynote speech at SAA's conference - Audiovisual Authors Online - Seizing the Digital Revolution.
Good afternoon, it’s an honour to be here and to be given this opportunity to address the conference, in front of so many distinguished guests, including members of the European Commission, the European Parliament and collective management organisations.
And to be sharing the stage with so many accomplished authors. It’s a privilege to be in your presence.
Most of all, I’d like to thank the Society of Audiovisual Authors, the Societe des Auteurs Audiovisuels for inviting me.
Proud to be associated with an organisation that represents over 120,000 European directors and screenwriters.
And it’s at this point, that I really wish I’d spent longer writing my speech….
I’m here to briefly talk about the role of authors and their place in the value chain.
WHO I AM & WHAT DO I DO?
I am a comedy writer working in British television and radio, with over 20 years of professional experience.
I am entirely freelance and live the usual writer’s life of staring at my 2012 diary and panicking that it will never be filled.
Over the years, I’ve written for some of the biggest shows in British television, and worked alongside some of the biggest names.
Everyone from comedians like Griff Rhys Jones and Miranda Hart through to Hollywood stars like Whoopi Goldberg and Will Smith. Sadly, it wasn’t writing a Hollywood movie…
In the past three years, I’ve established my own production company – Black Dog Television – with two friends and colleagues. Partly, to take more control over our careers, and partly to explore new challenges.
We’ve just finished making a series for British TV and we’re shooting a pilot for the BBC at the start of 2012.
I am – in effect – a jobbing writer. A writer for hire. And I work on all sorts of different shows –
- Comedy quiz shows
- Sketch shows
- Situation comedy – sitcom
- Entertainment shows – inc hour long special with Barry Manilow.
- Awards ceremonies – writing the script for the host and usually the citations
- One line jokes
Also lots of script editing – take a script and give it some spark and some sharpness. Giving it more clarity, making it less verbose, ideally, more fun.
Sometimes, I create an idea from scratch, sometimes I am given someone else’s idea and asked to realise it.
And since I began, I’ve been developing my own shows. Dreaming up new formats, new situations, and pitching those to decision makers.
HOW DO I GET PAID?
Different payment systems –
Daily rate – a flat fee for working 8 hour day – usually 10 – 6pm (comedy writers and mornings don’t mix too well). This fee is usually a buy out, granting the producer all further rights to the use of the material. As a result the initial payment is rather generous.
Typical for quiz shows, entertainment shows, topical programmes.
Commission – a fee for producing a specific amount of material – usually calculated in minutes. Less well paid but it does generate repeat fees and royalties.
Typical for sketch shows.
Agreed Fee – again, a fee for producing a specific amount of material, usually an entire script. Again, less well paid but with the right to repeat fees and royalties.
Typical for situation comedies.
I work with a number of different companies but my key working relationship is with my agent. Casarotto Ramsay have been representing me for 11 years now and the relationship is exceptionally good.
My agent, Abby Singer, doesn’t necessarily find me work. In fact, most of my work comes from contacts in the business, previous employees, or by word of mouth. However she does handle all my contracts and negotiates my time, my fees and the division of rights.
On top of that I have a 15 year relationship with the British collective management organisation – the ALCS, who do a great job of tracking down remuneration and promoting author rights.
They even persuade me to visit Brussels to speak to important people. Yes, that’s you.
So I have an enthusiastic support network, championing my rights and protecting my interests. I literally could not do it without them and their work is crucial.
HOW DO WRITERS FIT INTO THE VALUE CHAIN?
I think British writers are lucky in having very clearly defined hierarchy and commissioning system.
Inevitably, a writer is hired by a producer. By which I mean, the person responsible for the day-to-day running of a show.
The producer is your sole point of contact – they will brief you, liaise with you, review your work. If you’re lucky, they’ll bring you coffee and provide you with a computer that is less than 20 years old and doesn’t run on steam.
The producer is freelance and hired by the production company. Obviously these come in all shapes and sizes. Some companies will be pan-European, even pan-global, some will be ran by two blokes above a pizza restaurant.
The production company is hired by a broadcaster. In the UK we have five terrestrial broadcasters and around a dozen digital broadcasters. Each broadcaster will have specialist teams – whether it’s Drama, Lifestyle, Comedy or Entertainment – and there’ll be a commissioner within that department responsible for searching out new shows, briefing production companies, and fostering relationships with talent.
They’ll agree a budget and delivery schedule with the production company – which inevitably the production company will think is too low and the broadcaster will think is too high. And which the writer will think doesn’t pay enough attention to the writer.
Throughout the production process, the commissioner will be working alongside the production company, giving notes and guidance.
So that’s the typical hierarchy. Broadcaster – Commissioner – Production Company – Producer – and Writer. At the bottom. But propping up all the others!
Because without that initial idea, no one makes anything.
And yes, I am over emphasising my importance….
But of course, one of the reasons we set up Black Dog was to bypass some of those levels, get closer to the top of the tree, and cut out some of the middle men.
MYTHS & MISUNDERSTANDINGS
There are a great deal of myths and misunderstandings about writers and what we do.
For a start, writing is a job. It’s something I do Monday – Friday, eight or nine hours a day, frequently at evenings and weekends. People seem to think writers do nothing except sit around, drinking coffee, and daydreaming. Admittedly, I do that 90% of the time.
Writers may not sweat, but we work hard. Usually against tight deadlines and big pressures. The greatest pressure of all being the blank page and the ticking clock.
Writers are not naïve. We are practical people and we are aware we are in a business. We enjoy our work but we are aware it’s about commercial opportunities with a ground base of money.
We keep an eye on markets, audiences, social trends, and tastes. We look to exploit gaps in the market, and to meet audience demands.
In many respects, we are entrepreneurs, plucking fresh, original ideas from thin air, and developing them into something marketable.
THE IMPORTANCE OF COPYRIGHT
Fair to say at various points in my career, I have relied heavily on repeats and royalties.
Right from the very start, when I worked in radio, I depended on overseas broadcasts on the BBC World Service, to pay my rent and food bill.
And I still rely on royalties. It’s a significant percentage of my income.
But increasingly, my copyright is under threat.
I just want to give you an example. Earlier this year, my production company – Black Dog - made a pilot programme for the digital broadcaster UKTV. The show was broadcast at 10pm on a Bank Holiday Monday evening on a channel called Dave. (Very British name for a TV channel – Dave).
We had an audience of around 200,000 viewers. In UK terms, that’s small.
But the very next morning, I decided I’d see what people were saying about our show. So I googled the title of the show – Alexander Armstrong’s Big Ask. The results were amazing. The first page of results were all for bit-torrent sites, offering a free download of my show. It was shameless theft. I can’t imagine what the results would be for one of our major drama shows.
What’s more, with advertising down, and more broadcasters competing for audiences, television budgets have been severely reduced. Recently, Black Dog were in negotiations to make a sitcom based around a magical fantasy world. More specifically, a pub. To get that show made, we had to negotiate an advance with a DVD distribution company, to release extra finance, just to get enough money to make the show.
So we rely on DVD sales to make our programmes.
And if people are getting these shows for free on the internet to watch whenever they like, who’s going to spend £10, £20, on a DVD?
It is a very disturbing trend.
WHAT ARE THE ISSUES FACING US?
First of all, the UK is currently undergoing a digital switchover from analogue to digital broadcasting – give more prominence to digital broadcasters. Instead of 5 channels, audiences will have a minimum of 50. Satellite and cable viewers have up to 300.
That is stiff competition and it’s going to cut advertising and cut budgets.
It’s also causing competition on the various platforms. Huge amounts of money being spent for a prominent position on the EPG. To grab attention, broadcasters are spending more money on branding and advertising.
We are seeing huge growth in the VOD market. Driven by technology like the BBC iPlayer which lets you view almost any BBC show broadcast over the past seven days for free.
And time shifted viewing is having a massive effect on ratings. Shows like the science fiction series ‘Doctor Who’ now attract 20% of their viewers through VOD and recordings. Overnight ratings are becoming worthless – with consolidated figures becoming dominant.
Technology like the iPod and the iPad is driving the growth of downloads. Apple’s iTunes has become the number one destination for buying and renting content.
And of course there’s a push to keep one step ahead of piracy, introducing new technology and experiences. The most prominent being 3D in television and film.
WHERE DOES THAT LEAVE US?
So we’re going through a period of change. But it’s not something to fear – it’s something to be excited about.
People are watching television and film in a whole new context. They’re watching more of it.
There are one million people directly working in the European audiovisual industry.
In 2009 they produced ¢108 billion of gross revenues.
In 2010 EU feature film production reached a record high of 1,203 feature films
We may not have wealth but we have a wealth of opportunities.
I love the fact I can watch my favourite TV show on an iPad on a train to Brussels. (I wasn’t – I was working)
I love the fact programme makers can access audiences like never before, cater to specific tastes and markets.
I love the fact smaller production companies like Black Dog are being given the opportunity to make programmes.
I love the fact new writers aren’t just sending me scripts, they’re filming them and sending me DVDs and downloads.
It’s an exciting time. But as the audiovisual industry grows, it needs to be managed and protected.
We need transparency, we need communication, we need copyright, fair remuneration, and anti-piracy legislation, and we need to keep an eye on the past as we walk towards the future.
Thank you.
30
2011
Audiovisual authors call on legislators to link them to the success of their works online
European officials and a variety of actors from across the audiovisual sector came together in Brussels on 29th November 2011 to look at what the digital revolution means for audiovisual authors like directors and screenwriters and came up with concrete ideas for how this revolution could be seized as an opportunity to finally link authors’ remuneration more directly to the success of their works.
Organised by the Society of Audiovisual Authors (SAA), the conference was supported by four MEPs from different countries and political groups who guided the afternoon’s discussions: Mr Berlinguer (Italy, S&D), Mr Borys (Poland, EPP), Mrs Trüpel (Germany, Greens) and Mrs Wikström (Sweden, ALDE).
Mrs Kerstin Jorna, deputy head of Commisioner Barnier’s cabinet, in her opening speech welcomed a timely conference following the consultation on the online distribution of audiovisual works. The consultation’s chapter on the remuneration of audiovisual authors was inspired by SAA’s White Paper on the issue which calls for European legislation to ensure fair remuneration for the online use of works.
An audience of key European officials and actors from the audiovisual sector heard how screenwriters and directors work and make a living, heavily depending on copyright and royalties while also hearing how online services are trying to create a dynamic and thriving European online VOD market. The afternoon closed with a session on creative solutions that underlined the need for clear rules and how collective discussions and agreements have already worked in some countries and should serve as inspiration for successful solutions for the future.
SAA now looks forward to the results of the Green Paper consultation and the European Commission’s plans for action on the remuneration of audiovisual authors. It will contribute to the European Parliament report on the “Distribution of Audiovisual Content Online” which will be prepared by MEP Jean-Marie Cavada (France, EPP) and continue to work with the sector to build consensus on how to guarantee screenwriters and directors take full advantage of the opportunities provided by the online market.
The day closed with a screening of the recent LUX Prize winner, Les Neiges du Kilimandjaro by Robert Guédiguian.
Quotes
Cécile Despringre, Executive Director, SAA said: “I was delighted to see how much support our call for action and cooperation received today both from the officials and other actors in the sector. If we are going to create a thriving online market for European works which benefits authors then collective discussions and solutions are essential. This makes me very positive about the future.”
Stijn Coninx, renowned Belgian screenwriter and director: “Being creative as a writer and director is not only a job, it is an attitude in life and a personal vision. Respect for authors in the audiovisual sector relies very much on clear rules with our partners and the public on both contracts, rights and remuneration’s issues.”
Robert Staats, General Manager of VG Wort commented: “Today’s discussions just go to show how important a role collective management organisations can have in guaranteeing authors a fair return for their creation. I hope Europe’s politicians and officials can use today’s proceedings as a solid foundation for future action to support Europe’s creative talent.”
Gérard Krawczyk, renowned French screenwriter and director added: “We authors need you politicians to improve the functioning of the online market and get fair remuneration for the online exploitation of our works. This is not only fair reward for our personal investment, it is also the future financing of tomorrow’s works.”
Luigi Berlinguer MEP, added: “I don’t think anyone would argue that we need to guarantee that our creators are remunerated properly for their work. I am sure that my colleagues in the European Parliament will pay close attention to future initiatives with this aim in mind.”
About SAA
The Society of Audiovisual Authors (SAA) is an association of European Collective Management Societies representing audiovisual authors. Through its members (25 societies in 18 countries) SAA represents over 120,000 film and television European screenwriters and directors. More information www.saa-authors.eu
The SAA board of Patrons
Made up of 15 prominent European writers and directors, the SAA’s board of patrons gives a public face to the thousands of authors working every day in the audiovisual industry and relays their concerns and expectations.
About SAA’s proposal for a collectively managed unwaivable remuneration right for online uses
The SAA published its White Paper on audiovisual authors’ rights and remuneration in Europe in February 2011. The White Paper aimed to clarify the current situation for audiovisual authors across Europe and to make proposals on how to improve their remuneration for on-demand exploitations, notably through a collectively managed and unwaivable remuneration right. SAA followed the launch of the White Paper with a series of meetings with officials and actors from the audiovisual sector to reach consensus on the possibilities for such a proposal. This culminated in the publication of a Frequently Asked Questions document in November 2011 and the organization of the conference “Audiovisual Authors Online – Seizing the Digital Revolution”. The full White Paper along with executive summaries and the FAQ can be downloaded here.
29
2011
SAA Conference
Audiovisual authors online - seizing the digital revolution
Getting works out and remuneration in
The conference was held on 29th November at Concert Noble in Brussels followed by a reception and a screening of this year's LUX Prize winning film, "Les Neiges du Kilimandjaro" by Robert Guédiguian at Flagey. You can see the trailer below or by clicking here.
Documents from the days proceedings can be found here:
Follow SAA on Twitter and Facebook for updates on future events.
Should you require further information, please contact:
James Taylor at j.taylor@saa-authors.eu
24
2011
European Rightholders Welcome New Private Copying Mediator
European rightholders welcome the recent appointment of Mr Antonio Vitorino as the mediator in the dialogue on private copying remuneration.
We are very pleased that such a high profile person has been appointed which sends a strong signal as to the importance of the issue at stake.
As has been re-iterated many times before, the right holders are very much open to discussion on this issue and regret the time that has been lost since the premature closure of the previous dialogue in early 2010.
We are ready and willing to constructively contribute to the discussions in the New Year.
Background
According to the Copyright Directive (Directive 2001/29/EC), the exclusive right to reproduce sound, visual or audiovisual material belongs to authors, performers and producers. However, Member States may authorise private copying on condition that the rightholders receive ‘fair compensation’. Such fair compensation must help to ensure that rightholders receive appropriate remuneration for the use of their works or other protected subject-matter.
Private copying remuneration is the sum paid on different types of devices and media which is supposed to provide compensation to creators and rightholders for the private copying of their works for personal use. The European Court of Justice has recently clarified provisions of national private copying legislation and it underlined that the right holders have a right to be fairly compensated for such reproductions.
About AEPO ARTIS
The Association of European Performers' Organisations, AEPO, was founded in Brussels on 20 May 1994. AEPO-ARTIS represents 30 European performers’ collective rights management societies from 23 countries. Combined, these societies have in excess of 350,000 performing artists (such as musicians, singers, dancers, actors) as members and manage the rights of some 400.000 performers in Europe. www.aepo-artis.org
About Eurocopya
EUROCOPYA is the European Association of Audiovisual & Film Producers’ collective management societies. EUROCOPYA notably represent all European producers’ right collecting societies active in the field of private copy remuneration, notably in Spain, Denmark, Sweden, Portugal, Germany, Belgium, France, the Netherlands, Switzerland, Austria and Poland. www.eurocopya.org
About GESAC
Created in December 1990 in the form of an EEIG (European Economic Interest Grouping), GESAC groups 34 of the largest authors' societies in the European Union, Norway and Switzerland. As such, GESAC represents around 700.000 authors or right holders in the area of music, graphic and plastic arts, literary and dramatic works, and audiovisual as well as music publishers. www.gesac.org
About IFPI
IFPI represents the recording industry worldwide, with a membership comprising some 1400 record companies in 66 countries and affiliated industry associations in 45 countries. IFPI's mission is to promote the value of recorded music, safeguard the rights of record producers and expand the commercial uses of recorded music in all markets where its members operate. www.ifpi.org
About IMPALA
IMPALA was established in 2000 at the initiative of prominent independent labels and national trade associations. IMPALA's mission is to grow the independent music sector, promote cultural diversity and cultural entrepreneurship, and modernise the perception of the music industry. IMPALA has over 4,000 members including top independents and national associations across Europe. www.impalamusic.org
About SAA
The Society of Audiovisual Authors (SAA) is an association of European Collective Management Societies representing audiovisual authors. Through its members (25 societies in 18 countries) SAA represents over 120,000 film and television European screenwriters and directors. More information www.saa-authors.eu
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