I want to make a deal with the novel/writer and acquire the novel rights and its screenwriter adaptation. I understand that, as a general rule, the turnover costs must be reimbursed. If I agree to pay the author for the rights to the book and the script, who is responsible for the refund of the studio? With regard to the payment of a mandatory call, I am surprised to read that you are only paid for the time required. It seems that so many things are being done to take the turnaround and “no forced call without UPM authorization” on any call sheet. So much so that in more than 10 years, I have never had a forced call to THE CEW. If they had to pay for the time, a troop of 6 or 12 minutes would not be very important, and I think that would happen all the time. I was sure the language of the basic agreement was that you start your day with the rate you leave until you are wrapped up and you get a proper turn (10 on the spot and 9 on stage). While recovery of development costs is the usual objective of rotation, studios often receive more or less. Projects that have never found a buyer are numerous, but for studio performances that are trying to sell a project, the alternative can be worse. Columbia Pictures, for example, reduced an agreement with Universal Pictures, which allowed it to obtain $1 million in development costs for AND plus 5% of the film`s net profit. It is true that the deal brought more to Columbia than any Columbia release this year.
The bad news is that Columbia Execs sold the rights to a film that grossed more than $400 million. Most authors are delighted when an option is exercised because it means that the purchase price is paid and there is a good chance that a film will go ahead. But what happens if the option is exercised, if the rights are granted, if years pass and no film follows? If the author has negotiated for a right to reissue, it has the opportunity to recover its film rights. But conversion is almost never an absolute right; The conditions must normally be met before the audiovisual rights return without difficulty. It`s hard to return a movie. It`s possible. But it`s not easy. With planning, attention to detail and a little luck, a great movie can come out of its ashes like a phoenix. As the song says, from time to time… Turnaround. But as usual…
That depends. The problem of raising money for a producer who wants to restart a rotating project is greater than that of regular production. You have to pay to get the property under the control of the current owner. The price tag is more than the cost of buying the original property. The previous producers spent a lot of money themselves before they stopped production, and if there is an opportunity for them to get that effort back, they will try. That`s where it can get sticky. A clean and clear accounting of past expenditures is necessary to know what debt is legitimate for the present value of production and what debt, if any, was totally external, reckless, or even the cause of the shutdown of production (was it really necessary to spend money for it?) This is usually a walk on the eggshells to navigate a tight proposal to reach a point where the original producers do not feel their original investments were in vain or are deceived, but also, does not overwhelm new producers with debts too high to recover the assembly of a new production. The original author of the novel, frustrated, adapted his own novel and submitted it to the studio.
They loved him, but a lot of time passed, nothing happened, and it was restarted. Refundable fees may include payment of purchase to the author, payments to an author for several treatments and screenwriter drawings, other development costs such as local tracking and sometimes payments to external producers involved in the development.