Posts Tagged ‘screenwriting’

Venice Declaration

3rd September 2018 by Maura McHugh

165 European screenwriters and directors call on the European Parliament to adopt the Copyright Directive

On the occasion of the 75th Venice International Film Festival, 165 screenwriters and directors across Europe have come together in the “Venice Declaration” to call on the European Parliament to adopt legislation that puts authors at the heart of copyright and of the European cultural and creative industries, including online.

On 12 September, the members of the European Parliament will adopt the Parliament’s position on the draft Directive on Copyright in the Digital Single Market. After several delays, this vote is the last chance for a final adoption of this much-needed Directive before the European elections. It will determine the future for audiovisual authors; if they will have a chance to receive fair and proportionate remuneration for the use of their works across the EU in a near future or if will they be left behind for another decade.

Filmmakers in Venise selections Jacques Audiard, Joachim Lafosse, Mike Leigh, Laszlo Nemes and Pierre Schoeller, EP LUX Film Prize finalists Benedikt Erlingsson, Wolfgang Fischer and Mila Turajlic, as well as Iciar Bollaín, Costa-Gavras, Matteo Garrone, Agnieszka Holland, Daniele Luchetti, Laura Morante, Cristian Mungiu, Sir Alan Parker, Stefan Ruzowitzky, Lone Scherfig, Volker Schlondörff, Paolo Sorrentino, Paweł Pawlikowski, Bertrand Tavernier, Paolo Taviani, Fernando Trueba, Margarethe von Trotta and many others across Europe signed the Venice Declaration. Most of them already signed the FERA/FSE/SAA petition supported today by more than 18,700 signatories from over 100 countries worldwide.

Quote
“We, audiovisual authors, absolutely need this Directive to be adopted on time: to ensure freedom of expression and independence of creators as well as authors’ rights. The principle of fair and proportionate remuneration, improved measures on the transparency of the exploitation and contract adjustment mechanism will make a big difference. With these provisions, the Directive will improve our position in the industry.”

Video Highlights of 2018 ZeBBie Awards Ceremony

16th August 2018 by Maura McHugh

Enjoy the video highlights from the 2018 ZeBBie Awards Ceremony from Writers Guild of Ireland on Vimeo.

Thanks to Garreth Caulfield, who shot and edited the film.

2018 ZeBBie Awards Nominees

8th May 2018 by Maura McHugh

The Writers Guild of Ireland is delighted to announce the nominees for the 2018 ZeBBie Awards:

Best Television Script

  • Sharon Horgan (and Rob Delaney) – Catastrophe (Series 3, Ep. 6)
  • Conor McPherson – Paula (Ep. 1)
  • Paul Walker – Red Rock (Series 3, Ep. 167)

Best Radio Script

  • Cathal Boylan – Her Husband, His Wife
  • David Butler – Vigil
  • Veronica Coburn – Kinsey One Through Five

Best Theatre Script

  • Iseult Golden and David Horan – CLASS
  • Shane Mac an Bhaird - Melt
  • Bush Moukarzel (and Ben Kidd) – Hamnet

Best Feature Film Script

  • Frank Berry – Michael Inside
  • John Butler – Handsome Devil
  • Nick Kelly – The Drummer and the Keeper

Best Short Film Script

  • Benjamin Cleary – Wave
  • Tom Collins – An Béal Bocht
  • Niamh HeeryPause

Best Game Script

  • Carlo Azzari, Carmen Ng, Elaine Reynolds – Eden Isle: Resort Paradise
  • Sarah Baylus, John Corcoran, Devin Doyle, Charlene Putney, Stephen Rooney – Divinity: Original Sin II
  • John Romero – Gunman Taco Truck

Congratulations to all the nominees!

ZeBBie Awards Ceremony

The 2018 ZeBBie Awards Ceremony will take place on Wednesday, 27 June 2018 in The Sugar Club, 8 Lower Leeson Street, Dublin 2, and it will be hosted by Senator David Norris.

Doors open at 7.30 pm, and the ceremonies begin at 8.00 pm.

The ceremony is free to fully paid up members of the Guild, plus up to two guests.

Dress Code: writer chic.

Voting

Voting is now open and Guild members should have received an email with details on how to vote.

Voting closes at 3 pm on Monday, 21 May 2018.

About the ZeBBie Awards

The ZeBBie Awards are annual awards created by the WGI — named in honour of O. Z. Whitehead — to acknowledge the best script(s) written by Irish playwrights and screenwriters during the previous year.

The hashtag for the event is #zebbies.

Writers Credits Guiding Principles

3rd October 2017 by Maura McHugh

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.

EU Agrees Unwaivable Right to Fair Remuneration

11th July 2017 by Maura McHugh

This a joint press release from FERA, FSE, and SAA on “European Copyright: Parliament committees vote for an unwaivable right to fair remuneration for audiovisual authors.”

Today, the European Parliament Industry and Culture committees voted in favour of an unwaivable right to fair remuneration for authors and performers for the making available of their works. Supported by the European audiovisual authors’ community, such a remuneration right would ensure that screenwriters and directors receive royalties when their works are exploited on on-demand services, wherever in Europe, thanks to its collective mechanism.

The ITRE committee opinion, drafted by Polish ECR MEP Zdislaw Krasnodebski, was adopted including such an unwaivable right to fair remuneration introduced by S&D MEPs led by British MEP Theresa Griffin with the support from across the political spectrum. Drafted by French EPP MEP Marc Joulaud, the Culture committee adopted a compromise amendment with a similar positive provision for authors and performers based on amendments introduced by S&D, EPP and Greens but undermined by a possible derogation for original agreements which would raise the costs and sap the functioning of any collective agreement. Taking into account the weak individual bargaining power of audiovisual authors, such a derogation is not justified and will need to be reexamined.

The SAA encourages the European Council and the lead committee in the European Parliament, the Legal Affairs Committee, to support and adopt ITRE’s unwaivable right to remuneration.

The Legal Affairs committee, will discuss the Copyright Directive tomorrow and vote after the summer. The Council Intellectual Property Working Party held a meeting on this issue yesterday.

Quotes:

Cécile Despringre, SAA Executive Director said “The Culture and Industry opinions sends a clear and powerful message to the European Parliament’s lead committee and the Council. They have recognized that Europe’s screenwriters and directors must be financially rewarded when their works are successful online and have adopted the appropriate provisions to make sure that happens.

Pauline Durand-Vialle, FERA Chief Executive added “The unwaivable right to fair remuneration received support from across the political spectrum this morning. It’s great to see the European Parliament stepping up in support of the audiovisual creative community.

David Kavanagh, FSE Executive Officer said “This Directive is a unique opportunity to bring fairness to audiovisual authors by allowing them to share in the economic success of their works online: let’s hope this step forward in the EU Parliament paves the way for positive discussions in the Council.

FERA – Founded in 1980, the Federation of European Film Directors contains 39 directors’ associations from 29 countries. It speaks for approximately 20,000 European screen directors, representing their cultural, creative and economic interests both in Brussels and in the Member States. www.filmdirectors.eu @Film_directors

FSE – The Federation of Screenwriters Europe is a network of national and regional associations, guilds and unions of writers for the screen in Europe, created in June 2001. It comprises 25 members from 20 countries, representing more than 7,000 writers in Europe. www.scenaristes.com @ScreenwritersEU

SAA – Founded in 2010, the Society of Audiovisual Authors (SAA) is the association of European collective management organisations representing audiovisual authors. Its 31 members in 23 countries manage rights for over 120,000 film, television and multimedia European screenwriters and directors. www.saa-authors.eu @saabrussels