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

I don't know whether to cry or to laugh.
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Do both. It's in the best thespian tradition after all.

You can even get a cheap tattoo to commemorate it if you like.



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Look, no one making an ULB movie has to worry about whether the movie is going theatrical or not.

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Couldn't possibly imagine what you mean.

Are you saying it's no big deal or that they have no chance of going theatrical?

Either way you are 100% completely wrong. But you do seem to make a slight comeback as you contradict yourself in the remainder of your post.



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If you're the second person in this millennium who's going to have to do the same thing as Blair Witch and succeed in getting a theatrical, you don't have to worry about any forms.
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Oh... I see.. you are saying you are not going to be able to make it.

Neato!

I want to borrow your crystal ball when you are done so I can pick the winning Powerball numbers! (well actually use it as a paperweight since it is completely useless for anything else.)

And besides, no one needs to worry about "forms" a.k.a. legal contracts.

No big deal right?




The Blair Witch distributor paid ALL the union fees. Not just SAG. ALL the Union fees. Otherwise the projectionists wouldn't project the movie in theaters.

The first theatrical of Blair Witch was paid for by a car lot dealer who put up $50,000 for the movie's theatrical release.

The kids who made the movie and who promoted it on the Internet were very clever in four-walling their movie. Then Artisan (the distributor) picked up the film for $1,000,000 and they made $200,000,000 theatrical and didn't have to pay the filmmakers anything. The actors got almost nothing.

The actors sued later. Here's the link to the article:

http://archives.cnn.com/2002/LAW/10/17/ctv.blair.witch/
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From the Very Story YOU have quoted:

"the three stars of the 1999 low-budget blockbuster "The Blair Witch Project" are heading to court, claiming that the film's distributor Artisan Entertainment used their names and likenesses without permission in connection with the film's sequel, "Book of Shadows: Blair Witch 2."

"At the center of the dispute are the simple nine-paragraph acting agreements that Donahue, Leonard and Williams signed with Haxan. The documents, known as deal memos, are short-hand agreements that often precede or replace longer contracts.


In this case the memos were copied from a book by Haxan producer Gregg Hale without the help of an attorney. "


What in the world are you talking about?

Where did you get the notion Blair Witch was a SAG project!?!!?

All accounts I have read including the one you just provided said that it was not a SAG project.

!?!?!?!?!?!?

Further more:

"The compensation they finally received was not unsubstantial," he said. "I think they were quite pleased. If Artisan had never used them in the sequel there never would have been a lawsuit."


The Blair Witch franchise has had its share of legal troubles already, with Artisan paying the makers of the original a reported $25 million to $30 million last year to settle a dispute over profits. And while its no Oscar, this latest round of litigation may be a Hollywood distinction worth having.


"If you have a successful film you are going to have lawsuits," said attorney Schuyler Moore. "Lawsuits are a badge of success whether you are a big studio or a small studio."

And again... no mention of SAG whatsever.

Just talk about those "forms" you are giving everyone advice to ignore and not worry about.



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If you're making a small movie, and you want good acting, sign the SAG ULB contract. (I'm attending the workshop coming up so I can get the lowdown on the details.)
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So, now you are saying forms are a big deal? and that only SAG actors can act!?!?!? Now forms are such a big deal that you are going to the SAG workshop. (In BOLD TYPE no less!)

It's good to go to the SAG workshop.

But asking SAG if their contracts are a good deal is just like asking a used car dealer if he is giving you a good price.

"Sure Sure Sure..." he'll reply! :cheesy:


Also, I would caution that SAG contracts with SAG actors don't cover location releases, music releases, prop clearance....

But according to you no worries as the distributor will "just take care of it"! :happy:


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This way you won't have any problems with the distributor in the very lucky case you find a distributor who wants to distribute the movie.
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What do you mean!?!!??

If you have proper clearance you won't have problems regardless if you use a SAG contract or not. But, again, there is much more to be cleared besides the actors contracts.

If you don't worry about proper paperwork you won't get cleared, you won't get E&O, and you won't get distributed.

Plain and Simple.


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It's a shot in the dark; but I believe in making ULB movies. We're filmmakers, so what are we going to do?
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Glad that you now realize there are opportunities to get distribution if your work is up to par.

But again, Ultra Low Budget and SAG are not mutually exclusive.

You can make an Ultra Low Budget movie and not use a SAG contract. Even if you use SAG actors.



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If someone -- anyone -- decides to call the distributor and complain, the distributor will ask you, "do you owe this guy any money?" Distributors don't want any trouble, so make sure that not only you have all the releases but that everyone involved in the project has no gripes. Hold a production meeting and tell everyone, "Listen if I'm going to be hassled or if anybody is going to jeopardize my production or relationship with the distributors or exhibitors, please don't work with me." Tell them exactly what your concerns are and what you're planning to do. Don't be afraid of anybody and don't hide anything, not your ambitions or your artistic goals. It's better to let everyone know that you're the creative artist and that you want everyone involved to be positive...

This is insane.

You do not under any circumstances have to use SAG contracts unless you are a SAG signatory.

PERIOD.

YOU ARE NOT OBLIGATED TO USE SAG IN ANY WAY.

You do need good contracts and you do need good will. These are good points.

But, anyone can sue you at anytime for any reason.

Whether the case has merit or not is a different story.

All you have to be concerned with is keeping your ducks in a row and maintain compliance with civil and criminal law. That is where the little bit of worrying about a little bit of paperwork comes in handy.


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Any sign of trouble, cut the rope.

I would say take a few minutes to calmly and carefully think and plan things out and you will go very very far in minimizing any trouble in the first place.
 
No, I agree with you

No, I agree with you

sorry about the bold - I don't know how to pick the fonts well in this interface

I agree with you; I just didn't state my points the right way

of course contracts are important when using talent

but it's best to straighten everything out at the beginning so the contracts become mere formalities

I don't like union shoots but sometimes the distribution or the exhibition forces us to use union talent or crew

there are no rules to success in the movie business but the theatrical business is highly structured

it isn't easy to break in; exceptions are hard to achieve

for a tiny little film by a first time director especially, it's best to use experienced talent

also when spending a lot of money it's best to use tried and proven pathways

I hope I didn't say something wrong again

I'm only trying to help
 
Great Post Filman!

I agree with you 100%

I'm not trying to be hard on you, only careful with our words so we don't lead someone astray.

I know you have experience and you have made at least a couple of movies that you are distributing all with a one man crew no less!

For that alone I sincerely and wholeheartedly with much admiration give you an A+++++++.

A big Cheers! :beer:!!! to you mate for getting out there and getting it done!

Thanks so much for your kind reply!

Estebe
 
"Can anyone simply list all forms, paperwork, apart from deliverables required for both Theatrical and DVD release?"

Deliverables are all the paperwork, etc you mentioned.
Technical delivery is the master tapes/film/sound sent
To add to your list:

- Deliverables are:
Technical delivery: Masters as required (D5/35mm, etc.) Trailers and promotional. sound DE88 etc M&E Tracks (Dolby/5.1 license)
Chain of title: Copyright form; agreement from PA holder to prod company, sub agreements with all additional writers, etc.
- Actor release forms
Actor contracts including credit placement and advertising requirements (if any)
Crew deal memos including credit placement and advertising requirements (if any)
- Location release forms by owners
- Music cue sheets
Mechanical and Synchronization rights agreements for the music
- E&O (Errors & Omissions) Insurance.
Copyright and title search (thompson & thompson)
Certificate of Origin
Dialogue continuity script: this is different from shooting script in that this is what is actually said on screen (used for translations, etc)
Art work for one sheets, etc. EPK if available.
Approved publicity photos
Any other encumbrances on the picture: Guild (copyright claims SAG/DGA/WGA etc) Bank Loans/Bond Assumption agreements, Notice of Assignments, etc. Non Disturbance agreements etc.

And some times all kinds of niddilly pidilly kind of crap like proof of payment to certain talents (music especially) I delivered a show to Maverick for a stupid N. American DVD release and they wanted everyone to sign off on their screen credits!
 
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