Well, they’re negligible enough that the fact they exist wasn’t covered anywhere during my filmmaking degree, and i took all the extra business/law modules :')
And it was just the writers & actors right? What about all the editors, audio mixers, audio recorders, camera men, gaffers? riggers, vfx people, script supervisors, storyboard artists, props & costumes department, even runners! There’s just so much work to be done by so many people to bring a script to life, and we’re yet to hear of an editor/camera op/runner who lucked out by being a part of an accidentally famous billion dollar film and then never had to work again. Apart from producers, directors, actors, and writers sometimes - everyone’s work, though essential for audio visual media to exist, is rarely rewarded with a share of the profits it makes
Nebula has been slowly surpassing just “rebranded youtube content” so to speak. They’ve started financing films and plays like for Abigail Thorn, and they’re still true to their founding ethos. It’s no longer just higher quality youtube content, and i do hope to see them one day become more widely known and popular
They are very much as a whole not negligible. They can be–people can get checks for cents sometimes. But they wouldn’t go on strike and sign a deal if it never amounted to anything. I’m not even in the industry and have a passing familiarity with the concept; I’ve just been reading about it and listening to people from it for years.
DGA also has residuals in their contract. IATSE might for some roles, but you can’t feasibly give everyone involved in a production residuals. The point of residuals is to hold over people in roles that are very fickle and can go years between jobs, like everyday working actors and writers. If you’re going years between jobs getting hired for craft services, your food might just suck.
It would be great if everyone could get a share, but that’s not realistic. Big productions can have thousands of people who work on them. Having to send the carpenter on a film a check for two cents yearly would create insane administrative overhead. There has to be a line somewhere.
Well, they’re negligible enough that the fact they exist wasn’t covered anywhere during my filmmaking degree, and i took all the extra business/law modules :')
And it was just the writers & actors right? What about all the editors, audio mixers, audio recorders, camera men, gaffers? riggers, vfx people, script supervisors, storyboard artists, props & costumes department, even runners! There’s just so much work to be done by so many people to bring a script to life, and we’re yet to hear of an editor/camera op/runner who lucked out by being a part of an accidentally famous billion dollar film and then never had to work again. Apart from producers, directors, actors, and writers sometimes - everyone’s work, though essential for audio visual media to exist, is rarely rewarded with a share of the profits it makes
Nebula has been slowly surpassing just “rebranded youtube content” so to speak. They’ve started financing films and plays like for Abigail Thorn, and they’re still true to their founding ethos. It’s no longer just higher quality youtube content, and i do hope to see them one day become more widely known and popular
They are very much as a whole not negligible. They can be–people can get checks for cents sometimes. But they wouldn’t go on strike and sign a deal if it never amounted to anything. I’m not even in the industry and have a passing familiarity with the concept; I’ve just been reading about it and listening to people from it for years.
DGA also has residuals in their contract. IATSE might for some roles, but you can’t feasibly give everyone involved in a production residuals. The point of residuals is to hold over people in roles that are very fickle and can go years between jobs, like everyday working actors and writers. If you’re going years between jobs getting hired for craft services, your food might just suck.
It would be great if everyone could get a share, but that’s not realistic. Big productions can have thousands of people who work on them. Having to send the carpenter on a film a check for two cents yearly would create insane administrative overhead. There has to be a line somewhere.
that line sure is making it so the production company gets 95% of the profits.