Pilot Script Contract

egproductions

egproductions

Veteran
I tried posting this in another section but didn't get any responses. I'm hoping this is a more appropriate section of the forum to post it:

I was asked to shoot a pilot script for the creators (scriptwirters) of the series. Naturally the budget is almost non existent but I agreed to shoot the pilot at cost providing certain terms are met including conditions in the event that the pilot gets picked up. Now I'm looking for a generic contract that I can tailor (not re-write entirely) that would be a good jumping off point. I looked though some websites but haven't been able to hunt one down (probably because I wasn't really sure what to look for). Can anyone point me to a contract like I'm describing?

Thanks!
 
I don't know, I'm not involved with that. It's the type of genre you would see on HBO but it could be picked up by a much smaller network...might not even be broadcast..it's all up in the air right now.
 
How many shows with a pilot that has the budget you are looking up have ever been picked up by any television entity?
 
Thank you, that wasn't my question. I don't know the answer to your question and it's of little concern to me. There are other outlets aside from television networks..as I mentioned, it might not even be broadcast. This also isn't really a pilot, this is more of an investor package but since it wasn't relevant I didn't go into the real specifics. Either way, I would like to see this script go somewhere because it has potential and am willing to invest my time to be part of something early on. Maybe your right though...maybe only large studios should be in control of the shows of tomorrow, great idea...I'm sure you will find tons of people that agree with you in an independent film making forum.
 
An easy way to deal with this kind of contract situation is to draft a short deal memo that stipulates that all the non-financial terms of your directing services shall be covered by the current Minimum Basic Agreement (MBA) of the Directors Guild of America (DGA). It should also make it very clear that you are not a DGA member, and that the producers are not required to become signatory to the DGA or contribute to pension and welfare. The purpose is to use the MBA as a predefined set of terms, so you don't have to fight over every little thing.

You finish up the deal memo by including the agreed payment, including deferrals, participation, and the gross/net/profit definition that will trigger your participation. Also, the specific dates you are agreeing to work, and some language to cover how to address change of date, venue and other terms.

If it's more than a page without the signature block, rewrite it shorter.

Hope that helps.
 
egproductions said:
Thank you, that wasn't my question. I don't know the answer to your question and it's of little concern to me. There are other outlets aside from television networks..as I mentioned, it might not even be broadcast. This also isn't really a pilot, this is more of an investor package but since it wasn't relevant I didn't go into the real specifics. Either way, I would like to see this script go somewhere because it has potential and am willing to invest my time to be part of something early on. Maybe your right though...maybe only large studios should be in control of the shows of tomorrow, great idea...I'm sure you will find tons of people that agree with you in an independent film making forum.
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Don't get pissed at Gary. You are asking how to protect yourself from loosing out if this show goes somewhere, while Gary is pointing out that you shouldn't worry as it will not. Not because it doesn't have the potential but because it doesn't have all the right elements in place (such as $$). Many of us here were involved with productions that have actual $$ behind it and were developed by actual network execs... and despite all those positives the productions ended up in nowhere-land.

If you are trying to gain the experience then by any means go for it, but just don't worry about losing out.
 
Thanks for the advice Popcornflix, very helpful!

Patryk, I truly appreciate the mediation, thank you! Although I appreciate it, I still don't agree with the response but I'm not looking continue to debate the matter, I hope you understand. As you mentioned there is no reason to get worked up, I'm sure it was coming from a place of advice.
 
Interesting. Popcornflix suggests an approach I hadn't thought of before although I'm not sure I could get it on one page without microprinting <g>. Still, sounds like a great place to start. Gary & Patryk I'm sure are statistically correct in their sentiment but I couldn't disagree more. Best of Luck !

P.S. Agreement referred to can be downloaded here.
 
Deferrals and other compensatory issues aside, you should know as a DP (or any below-the-line player, certainly) that the producers of this marketing piece will have very little, if any, control over who they "bring with them" on a resulting network outting. In scripted productions, the producers of the pitch-piece may not even be able to play an ongoing role in their own creation. They may realize a card and financial benefit, but they may very well be pushed out of the day-to-day production if they aren't well-established as show runners.

I know the show runner on a popular HBO series, and many of the people he wanted to bring along from the taster weren't invited to take part in the series production in favor of staffers the network mandated.

Network-level unscripted may allow much more flexibility for the below-the-line decisions, but they often install their own EP (and other producers) if they feel exposed by an unexperienced creator / show runner.
 
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