Some of you know I dabbled in NFTs earlier this year, offering tokens of produced scripts to test my theory that NFTs in scripts are owned by the writers as part of the reserved publication right. I continue to believe that crypto/NFTs can revolutionize the industry. 🧵
I know, I know, I don’t want to be your annoying relative at the Thanksgiving table talking about crypto and bitcoin and NFTs but hear me out and I’ll explain for people who don’t give a shit about any of that crap why this is A GOOD THING for creatives.
Disclosure: I am an adviser and an investor in HollywoodDAO (@daohollywood) but this is not a solicitation to do anything, I’m just excited about it and wanted to share what they’re planning.
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.
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.