Not sure if you all saw this story over Thanksgiving about how car rental companies rent you cars they don't have and then try to charge you 4x the price when you're desperate but I just had a run-in with shady @Avis. nbcnewyork.com/news/local/nyc…
I had to go out of town for a competition my daughter was in and rented a car with @Avis. Pick up was noon on Friday two weeks ago. At 10:00am they called saying they had no cars and the reservation was cancelled. I said I have a contract. They said too bad. I was panicked.
I scrambled & fortunately I was able to borrow a relative's car but I can only imagine what a nightmare it would have been if I couldn't. I'd literally have no way of getting to the competition. I chose not to complain because whatever, it worked out ok so moving on.
And then I got my credit card bill today. $50 from Avis for "non-cancellation fee". That's what in Yiddish we call chutzpah. Fuck you @Avis.
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I've been fielding a ton of questions in DMs and got this great one from @Theredkeys11 about how to attract a showrunner for your project. I have a lot of thoughts!
It goes without saying that we have to have a personal connection to the material! Whether it’s the characters, world, or premise, we have to love it enough to go all-in because that’s what it takes to make it through the development gauntlet.
We want you to have a strong pov, voice, and vision… BUT you have to be open to collaboration. The biggest reason we’re going to say no is because you’re locked in to your way of doing it.
How to interview a potential entertainment lawyer for creatives: First, establish how hands-on they are. Do they review everything personally or do they delegate? Trade-off is expertise vs. speed.
Second, what's your tolerance for mistakes. Mine is zero and my lawyer knows that. In other words, type A writer, hire type A lawyer.
Third, establish what level of aggressiveness you want. Make sure you see eye to eye about how comfortable you are with risk. Trade-off is more money vs. sometimes deals falling through.
So you wanna know about deficit financing of television shows and how they're sold into syndication? Okay, your funeral! Read on...
How are tv series financed, produced, and licensed in the traditional broadcast tv model? I’m talking about ABC, CBS, NBC, FOX, CW-- the networks that “air” shows that are regulated by the FCC and you can get them free with an antenna.
You may have noticed that each of these companies has a network and a studio with a confusingly similar name. Or confusingly different. ABC network has ABC Studios (among others). CBS, CBS Studios. NBC has Universal.
This contract is a bit unusual in that it lumps the traditional “back end” definition with season bonuses. I mean, both are contingent, so it makes sense, but they are pretty different ideas.
Welcome back to our deep dive into your EP and Writing Services Contract for that show you sold! We're on page 5 and today we'll be discussing ARTICLE 14! This doesn't seem like fun one, but honestly it's the most important discussion of the whole contract. Trust me.
First of all, we need to know what Article 14 is being contrasted with and big surprise, it’s Article 13! Article 13 of the Minimum Basic Agreement (MBA) deals with compensation in general, and 13B deals with television compensation...
Welcome back to my deep dive into a Writing & EP Services Contract and welcome to page 3. Paragraph 6, PILOT SERVICES. Networks that make pilots will have a separate provision for your producing services of the pilot episode which may be more or less money that your episodic fee.
Producing a pilot is hard! But thankfully you get paid to do it because you're a producer now! Note that you are pay or played (in this contract) if you wrote the pilot on your own (or people did minor punch up/polish work).