Archive for 2017

Amplify Women Harassment Toolkit

17th November 2017

The Amplify Women Harassment Toolkit is a simple guide to help freelance workers and employees of any gender if they are experiencing bullying or harassment. It provides advice on making a complaint at work, or a criminal complaint, and includes useful information on who to contact and links to further information.

You can download the document here.

One of the main themes of these recent revelations is widespread abuse of power and position, across many different sectors. Many of the individuals speaking about their experiences felt disempowered and, in some cases, frightened to take steps to report the issues they were experiencing. We want this Toolkit to show people that they are supported.

Amplify Women is an umbrella group of organisations who represent, or carry out research about women working in the cultural and media industries. The organisations distributing and endorsing this initiative are: Women in Film & Television, Irish Equity, Women in Animation, Members of #WakingTheFeminists, The Writers’ Guild of Ireland, Broadly Speaking, Screen Producers Ireland, Screen Directors Guild of Ireland, and Women On Air.

Fair Payment for Online Use

14th November 2017

As the European Parliament handed out its cinema award – the Lux Prize – Europe’s associations of screenwriters and directors and their collective management organisations congregated in Strasbourg to meet MEPs and new Digital Commissioner Mariya Gabriel with a clear message: despite the welcome benefits of awards ceremonies like the Lux prize, many screenwriters and directors are unable to sustain a career as an author.

They face income instability, weak bargaining power and high-risk during the unpaid development stage of new projects. On top of that, as more people pay to watch their favourite films and TV shows online, screenwriters and directors often find themselves unable to share in that economic success.

They are calling on Axel Voss, rapporteur for European Parliament report on the draft Copyright Directive, to strengthen the existing provisions on transparency and fair remuneration in contracts, and to include an unwaivable right to remuneration that will ensure that on-demand platforms have to negotiate royalty payments for screenwriters and directors with their collective management organisations.

A delegation of screenwriters and directors led by Oscar-nominated German screenwriter, Fred Breinersdorfer will meet Commissioner Gabriel on 15th November to discuss the Commission’s legislative proposals.

FERA, FSE and SAA congratulate director and screenwriter, Amanda Kernell for winning the LUX Prize with Sami Blood. Robin Campillo and Philippe Mangeot’s 120 BPM and Valeska Grisebach’s Western were the other finalists who received distribution support through the subtitling into all the languages of the European Union.

Quotes

Cécile Despringre, Executive Director of SAA said: “The time for rhetoric on fair remuneration for authors is over. Draft legislation is on the table, Members of the Parliament must now show they have the political will to tackle this issue.”

Pauline Durand Vialle, CEO of FERA added: “The authors’ community in Europe must be empowered to make the best of its future: we call on the Members of the Parliament to give us the tools to build sustainable careers in the digital era.”

David Kavanagh, Executive Officer of FSE said: “The problems of authors’ remuneration cannot be solved by our marketplace. We need legislative and regulatory solutions from the European Union.”


Lucky Dozen: Writing for Games

25th October 2017

With branching storylines, interactive dialogues and players’ choices to juggle, writing for games can’t help but be different from writing for TV or film. Heck, not all games have plots, but they may still need writing. Other games have story, but no dialogue. When they do show up, characters, arcs, beginnings and ends are largely still the same in games as in other media, but how you represent them to players might not be.

If you want to know more about some of the tools and techniques used in writing for games, come join us at 7 pm on Thursday, 16 November when Dave McCabe, writer of The Darkside Detective and Tavern Keeper, will open up some scripts and show you their inner-workings.

If interested, send us a blank email to the office by Tuesday, 7 November, with ‘Lucky Dozen’ in the subject line.

You know the score folks: the first twelve get the lovely plastic chairs, the wine, and the very healthy neon-orange crisps.

Writers Credits Guiding Principles

3rd October 2017

The Writers Credits Guiding Principles were agreed between Screen Producers Ireland (SPI) and the Writers Guild of Ireland (WGI) in September 2017.

The following list of credits for writers is for guidance purposes only. The writing credit definitions mirror those of the International Affiliation of Writers Guilds.

It is important to note that the contract between the producer and the writer will take precedent over these guidelines.

We recommend that the producer and writer avail of legal advice before signing a contract.  You can also consult with the WGI/SPI.

  1. Story by
    The term “story” means an original idea written for the screen which is distinct from a screenplay and consisting of the basic narrative, idea, theme or outline indicating character development and action. A “Story by” credit is appropriate when the screenplay is based on a story, as defined above, and not based on any pre-existing material.
  2. Screen Story by
    Credit for story authorship in the form “Screen Story by” is appropriate when a story, as defined above, is based on source material though substantially new or different from the source material.
  3. Screenplay by
    A screenplay consists of individual scenes and full dialogue, together with such prior treatment, basic adaptation, continuity, scenario and dialogue as shall be used in, and substantially contributes to, the final script.

    A “Screenplay by” credit is appropriate when the screenplay is based upon a story or a screen story as defined above.

  4. Written by
    The term “Written by” is used when the writer(s) is entitled to both the “Story by” credit and the “Screenplay by” credit.

    This credit shall not be granted where there is source material of a story nature. However, biographical, newspaper and other factual sources may not necessarily deprive the writer of such credit.

  5. Narration Written by
    A “Narration Written by” credit is appropriate where the major writing contribution to a motion picture is in the form of narration. The term “narration” means material (typically off-camera) to explain or relate sequence or action (excluding promos or trailers).
  6. Based on Characters Created by
    “Based on Characters Created by” is a writing credit given to the writer(s) entitled to separated rights in a theatrical or television motion picture. This credit is accorded when a sequel to a theatrical or television motion picture is produced for television (excluding a television series).
  7. Shared credit
    When credit is accorded to a team of writers, an ampersand (&) shall be used between the writers’ names in the credit to denote a writing team. Use of the word “and” between writers’ names in a credit indicates that the writers did their work separately, one usually rewriting the other. This distinction is well established in the industry through custom and practice.
  8. The Possessory Credit
    The possessory credit “a film by” or its variations, is accorded to a director who has written and directed the film; and or who has a significant body of work and whose reputation as a film-maker is such that it can make a significant contribution to the marketing of the film. Writers’ guilds do not believe that the possessory credit should be used in any other circumstances.

Video Highlights of 2017 ZeBBie Awards

26th July 2017

Enjoy the video highlights from the 2017 ZeBBie Awards Ceremony from Writers Guild of Ireland on Vimeo.