Release forms. Help! Any other forms, paperwork, required by distributors?

[ESTEBEVERDE]

Feb 14, 2008, is the LA workshop - from 6 to 8 PM. Registration is required. You can register online from SAGindie and if you have to cancel you have to do it 48 hours in advance.

:grin: !!!!!!!


Come on... don't you mean they ask that if possible, please cancel 48 hours in advance?


What are they going to do?

Keep your free registration?

Will they come and drag you out of your home and make you go?


I know what you mean but the way you presented it made me laugh!

All in good fun though!

Cheers! :beer:

 

[USLatin]

I will try to make it to the 14th... sounds like a nice way to spend an evening.

I am not afraid of contracts but I do require extra time to read them, some times I do need a bit of help deciphering some of the lingo. This contract seems quite up-front and simple... Or am I missing something? I know I don't have to use SAG people since (needless to say) I am not signatory, but do you mean that you also don't need to sign a ULB to use SAG actors? I imagined to use any SAG actors you would have to disclaim it since you have to pay health and other SAG fees so there is no way to do it "sag-legal" without them knowing anyway.

About the cancellation... I heard of SAG reps being like IRS morons with IMMENSE attitudes all the time... I myself dealt with one of them once... I doubt this would hurt but I do know that once you have an assigned rep you do NOT want to get that guy on your bad side, especially when they might be the only one you can talk to about your project! ouch!

 

[ESTEBEVERDE]

You are not required to use SAG contracts.

If you don't want a SAG contract but the actor is a SAG members it is up to them whether or not they will work for you.


If the whole thing is only going to cost you a couple of hundred bucks then maybe it's worth it to just do it.

Maybe not.

Sup to you and what the market will bare.

 

[filmman]

you're still a bachelor - if you haven't signed

you're still a bachelor - if you haven't signed

you have to let them know or ...

what can they do? well, maybe they won't talk to you again :banned:

but if you go to the workshop and sign, then it's like you're no longer a bachelor

you can never regain your status as a bachelor

I don't like to be hobbled

but I'd love to be able to use SAG talent

there are some important considerations for the small indie filmmaker

Stan has touched on some of them: you get more experienced talent, more professional, better recognition, easier to distribute, etc. (not always, I know -- there are exceptions).

but there is one other point that kind of has fallen throught the cracks:

to have a theatrical, you need to shoot in 35mm -- which is not a problem; I sell 35mm film and I shoot short ends (they don't call me filmman for nothing :violin

But there are festivals and even theaters that can project digital, so maybe one needs not shoot 35mm.

The most important consideration is still how many actors you need? If you need twenty actors and you have to place their salaries in escrow with SAG and get your money back after "the accounting is done", then your budget could be beyond what an indie filmmaker is accustomed to.

Also, in June 3 SAG contracts expire --

after which you're still a SAG producer?

You can't play the field anymore; you're no longer a bachelor :grin:

 

[Blaine]

but if you go to the workshop and sign, then it's like you're no longer a bachelor

you can never regain your status as a bachelor

I don't like to be hobbled

...

You can't play the field anymore; you're no longer a bachelor :grin:

When you go to the workshop you are NOT, I repeat YOU ARE NOT signing on as a Signatory Producer. You are only going through a user friendly workshop where all the contracts will be explained and any questions you ask will be answered. If you should decide to become a signatory, you then need to contact the guild and they will guide you through that process. Surely, there are more hoops to jump through to legally use SAG actors, but if you are serious about creating a distribution-viable product, it is well worth looking into.

 

[USLatin]

Yea guys, I don't know for certain but I'd say I am about 99% sure that to become signatory you need to go though a process and you do not become a signatory production company just by doing a project with SAG. I already made shorts with the Short Film Agreement because all the actors in the film (me included) were SAG... we do NOT want to risk our status for a short... well I wouldn't risk it for ANYTHING... once you are out you are basically screwed... 90% of the stuff you see on TV, DVDs and the theater is SAG talent so if you ever hope to start working constantly you can not jeopardize your SAG status. You get three strikes before you are :banned: heheh.... I have wanted to use that emoticon for EVER! hehe... but at the end of the day it is at their discretion because you can appeal stuff, yes, but just like the reps I bet the people on that board can also have the IRS syndrome of superiority and you might have flushed your potential career down the toilet before you knew it.

My main and possibly only question is:
If I get my film into a festival in a little town in the middle of nowhere (but in the US) then does that make my ULB now available for DVD distribution without having to pay additional fees? (therefore making it MUCH easier to sell it)

I am calling them in like 30mm when my voice doesn't sound like a Grizzly Bear's because I just woke up

 

[filmman]

Oh, great, that's much better I like such workshops. I'm very tempted to sign, but I must find a project that is well-suited for getting maximum benefit from the ULB format.

The way I understand it though, a movie that represents an opportunity for SAG actors to be part of an exciting and creative project, that justifies SAG granting this opportunity in the first place -- that's what the ULB is designed to do, right?

 

[USLatin]

Again, once you sign one of these contracts you do NOT become a signatory production company so you cans till turn around and shoot a 100% non-union talent narrative project.

About the exiting opportunity thing, well not really... personally I think it is there so projects that might never make it big yet are doing everything they can and may eventually lead to proliferous production companies which will then add jobs to the SAG market. And the $100 a day gigs also help, plus they still do represent on camera experience and credits to build resumes.

[RANT] You have to understand that without SAG (and AFTRA) the gargantual flood of hopefuls moving to LA every minute of every day would make it so "background actors" who are already treated as cattle and not always even fed would then become more of a herd round up with tasers by PA's out of high school with immense dilutions of grandeur... then principal roles would also be damaged by talented people who just moved in desperate for a break taking jobs for peanuts which would make it harder for those full time actors to remain full time... the quality would go down once they have to work the night shift at McD's

anywho... it is a UNION... you know hoe it goes... never talk about religion politics or unions

I LOVE the Screen Actors Guild... they need to change some stuff, like their HORRIBLE capabilities to enforce the rules in place to protect the little guys (including stand-ins)... but they have something going... we like it... we like it so much that even though we barely have food on out tables these days we STILL stand behind them as we believe they watch out for us... there are many rules that they are changing and thinking about changing that will benefit us... INCLUDING their effort to find a workable contract with the smaller productions such as my own. The problem is that they are big, and all big animals move slowly. [/RANT]

Calling them now...

 

[ESTEBEVERDE]

When you go to the workshop you are NOT, I repeat YOU ARE NOT signing on as a Signatory Producer. You are only going through a user friendly workshop where all the contracts will be explained and any questions you ask will be answered. If you should decide to become a signatory, you then need to contact the guild and they will guide you through that process. Surely, there are more hoops to jump through to legally use SAG actors, but if you are serious about creating a distribution-viable product, it is well worth looking into.

Come on Blaine.

Are you seriously telling me that if a non signatory uses a SAG actor with a non SAG actor that is a violation of the law?

I think not.

It's good that you advocate for the cause you believe in but shouldn't we be as accurate and precise with our descriptions as we can lest someone accuse us of misrepresentation.

Are you telling me that all distributed films use SAG actors and SAG contracts???

 

[ESTEBEVERDE]

Oh, great, that's much better I like such workshops. I'm very tempted to sign, but I must find a project that is well-suited for getting maximum benefit from the ULB format.

The way I understand it though, a movie that represents an opportunity for SAG actors to be part of an exciting and creative project, that justifies SAG granting this opportunity in the first place -- that's what the ULB is designed to do, right?

Wow... how Orwellian...

 

[ESTEBEVERDE]

Again, once you sign one of these contracts you do NOT become a signatory production company so you cans till turn around and shoot a 100% non-union talent narrative project.
...

Not sure how that idea got started but it is very good for you to clarify.

...

About the exiting opportunity thing, well not really... personally I think it is there so projects that might never make it big yet are doing everything they can and may eventually lead to proliferous production companies which will then add jobs to the SAG market. And the $100 a day gigs also help, plus they still do represent on camera experience and credits to build resumes.

...

You are so very very sharp my friend!

It is indeed show business!

...

[RANT] You have to understand that without SAG (and AFTRA) the gargantual flood of hopefuls moving to LA every minute of every day would make it so "background actors" who are already treated as cattle and not always even fed would then become more of a herd round up with tasers by PA's out of high school with immense dilutions of grandeur... then principal roles would also be damaged by talented people who just moved in desperate for a break taking jobs for peanuts which would make it harder for those full time actors to remain full time... the quality would go down once they have to work the night shift at McD's

...

Simply Brilliant!

...

I LOVE the Screen Actors Guild... they need to change some stuff, like their HORRIBLE capabilities to enforce the rules in place to protect the little guys (including stand-ins)... but they have something going... we like it... we like it so much that even though we barely have food on out tables these days we STILL stand behind them as we believe they watch out for us... there are many rules that they are changing and thinking about changing that will benefit us... INCLUDING their effort to find a workable contract with the smaller productions such as my own. The problem is that they are big, and all big animals move slowly. [/RANT]

...

You are a very level headed and insightful person with a refreshing pragmatism!

Cheers to you USLatinContent! :beer:

 

[Blaine]

Come on Blaine.

Are you seriously telling me that if a non signatory uses a SAG actor with a non SAG actor that is a violation of the law?

I think not.

It's good that you advocate for the cause you believe in but shouldn't we be as accurate and precise with our descriptions as we can lest someone accuse us of misrepresentation.

No. The producer suffers no repercussion by using a SAG actor without a SAG contract. It's the SAG actor that suffers. I use the term legally here to describe the actor's responsibility regarding his union's rules and bylaws.

Are you telling me that all distributed films use SAG actors and SAG contracts???

Again, I'm not saying that ALL distributed films use SAG actors. I'm only pointing out, from experience what to expect from a distributor. "Who's in it?" Even having SAG actors won't necessarily give a satisfactory answer to this question. I was pointing out that you need someone the distributors can use for marketing. Someone who is recognizable to an audience. We can all go out and make movies if all we care about is having them on the shelves, never having the chance to reach a wider audience. If you want the latter, you're going to need to get distribution. To get distribution without a recognizable actor, while possible, is immensely more difficult.

 

[USLatin]

I called:

1. If you get the movie screened in a festival you are good to go.

2. If you don't get it screened then you will be looking at the "TV" contracts as opposed to the "Film" contracts and that's a different department than the one I talked to.

3. The only "HYBRID" contract is the ULB which only has one important limitation and that's the $200,000 budget... if that's ok for you then you are allowed to use both union and non-union.



Again, using a SAG actor with a non-union contract is not breaking the law for you but it is for them. Signed legal contracts and the law... there might be no jail time but there might be other repercussions.

Again, I'm not saying that ALL distributed films use SAG actors. I'm only pointing out, from experience what to expect from a distributor. "Who's in it?" Even having SAG actors won't necessarily give a satisfactory answer to this question. I was pointing out that you need someone the distributors can use for marketing. Someone who is recognizable to an audience. We can all go out and make movies if all we care about is having them on the shelves, never having the chance to reach a wider audience. If you want the latter, you're going to need to get distribution. To get distribution without a recognizable actor, while possible, is immensely more difficult.

Your point was clear, thanks for reiterating it.

 

[USLatin]

You are so very very sharp my friend!

Simply Brilliant!

You are a very level headed and insightful person with a refreshing pragmatism!

Cheers to you USLatinContent! :beer:

:slips ESTEBE a $20 bill:

hehehe... thanks man, you made my day.

Come work with me!

 

[Blaine]

I called:

1. If you get the movie screened in a festival you are good to go.

2. If you don't get it screened then you will be looking at the "TV" contracts as opposed to the "Film" contracts and that's a different department than the one I talked to.

3. The only "HYBRID" contract is the ULB which only has one important limitation and that's the $200,000 budget... if that's ok for you then you are allowed to use both union and non-union.

That sounds good for #3. As Stan pointed out earlier, there is no step-up, so if you can make a movie for $200,000 or less, you can go straight to DVD with no repercussions.

Since the ULB is the ONLY "HYBRID" it looks like with the Short contract you still need to get it into a festival OR four wall it.

Thanks for getting this cleared up...:thumbsup:

 

[ESTEBEVERDE]

No. The producer suffers no repercussion by using a SAG actor without a SAG contract. It's the SAG actor that suffers. I use the term legally here to describe the actor's responsibility regarding his union's rules and bylaws.
....

Agreed...

...

Again, I'm not saying that ALL distributed films use SAG actors. I'm only pointing out, from experience what to expect from a distributor. "Who's in it?" Even having SAG actors won't necessarily give a satisfactory answer to this question. I was pointing out that you need someone the distributors can use for marketing. Someone who is recognizable to an audience. We can all go out and make movies if all we care about is having them on the shelves, never having the chance to reach a wider audience. If you want the latter, you're going to need to get distribution. To get distribution without a recognizable actor, while possible, is immensely more difficult.

For now yes.

But there are exceptions like Blair Witch etc...


The good news is that the distribution model is changing and will rapidly continue to do so.

 

[ESTEBEVERDE]

I called:

1. If you get the movie screened in a festival you are good to go.

2. If you don't get it screened then you will be looking at the "TV" contracts as opposed to the "Film" contracts and that's a different department than the one I talked to.

3. The only "HYBRID" contract is the ULB which only has one important limitation and that's the $200,000 budget... if that's ok for you then you are allowed to use both union and non-union.

....

Nice.

I would most definitely re-read the contract as they are representing their interest and are not and unbiased advocate dedicated to protecting your rights and assets.

With that said, if you can afford it, it might be a very good way to go.

...

Again, using a SAG actor with a non-union contract is not breaking the law for you but it is for them. Signed legal contracts and the law... there might be no jail time but there might be other repercussions.

...

If a SAG actor has a contract with SAG and they breach it, then they may expose themselves to an actionable claim as well as suffer any consequences that are lawfully set forth in the contract.


But, I think SAG sees the writing on the wall and is moving in the right direction with ULB contracts et al.


The free market will ultimately decide.

 

[ESTEBEVERDE]

:slips ESTEBE a $20 bill:

hehehe... thanks man, you made my day.

Come work with me!

I'd love to have that pleasure one day! :beer:

 

[USLatin]

Blaine... I am sorry to ask but what is "four walling" it?
I bet it will be a dumb question, but I better ask.

 

[ESTEBEVERDE]

Hey US.

It's not a dumb question.

It just means for you to rent the theater directly from the theater manager and then you collect the revenue.

You are responsible for advertising and all that good stuff.