Text 8186, 60 rader
Skriven 2006-09-12 07:41:00 av Robert E Starr JR (8683.babylon5)
Ärende: Re: ATTN JMS: Star Trek S
=================================
  * * * This message was from Mark to rec.arts.sf.tv.babylon5.m * * *   
         * * * and has been forwarded to you by Lord Time * * *         
            -----------------------------------------------             

@MSGID: <Xns983AF2EA98DCAostensiblymehotmailc@198.186.192.200>
@REPLY:
<1157742129.458794.314120@m79g2000cwm.googlegroups.com><1157781710.481890.325500@b28g2000cwb.googlegroups.com><115784926

"Joseph DeMartino" <jdemarti@bellsouth.net> wrote in 
news:1157849262.627794.176230@b28g2000cwb.googlegroups.com:

> jmsatb5@aol.com wrote:
> 
>> To the larger question above...it's my understanding -- and I could be
>> wrong, but this is what I've heard -- that the Roddenberry estate made
>> a deal with the writers to sell their scripts some time ago.
> 
> My impression was that the separation of rights agreement regarding the
> publication rights to screenplays was a (relatively) recent thing, and
> would not have been part of the WGA MBA in the mid-60s.  Am I just
> misinformed or was it made retroactive when it went into force?
>
>
FWIW that jibes with what Ted Elliot posted in a comment on one of Craig 
Mazin's blog entries (about 3/4 of the way down):

http://artfulwriter.com/archives/2006/05/maybe_its_time.html

"Back in the early '70s, the WGA negotiated for and won rules for the 
awarding of possessive credit (for instance: the "A film by" credit could 
be awarded only to an individual who got both sole directing and sole 
writing credit). That was a term of the WGA-AMPTP contract (the MBA) for 
one three-year contract period.

"During that time, DGA mounted a very effective strategy against the 
AMPTP. Essentially, the took the position that, upon expiration of their 
current contract (expired about the same time as the WGA contract), DGA 
directors would not work for production companies that were signatory to 
any other contract that prohibited directors from negotiating for any 
above-minimum credit they wanted (minimum credit specific to directors is 
"Directed by," of course). They began signing contracts with individual 
production companies, who, by doing so, were also promising that they 
would not become signatory to the WGA-AMPTP contract.

"So the studios that made up the actual AMPTP -- Universal, Warners, etc. 
-- were in a tough situation: they could end up being unable to employ 
DGA directors if they wanted to employ WGA writers, or vice-versa. So 
they came to the WGA, hat in hand, and said "In the next negotiation, 
what will it take for you to give back that right we gave you in the last 
negotiation?"

"The WGA used that leverage to negotiate the Separated Rights provisions 
of the MBA -- provisions that are contractual equivalents of the economic 
and moral authorial rights that writers would have if they did not work 
under work-for-hire agreements."

HTH - Mark
              
--- SBBSecho 2.11-Win32
 * Origin: Time Warp of the Future BBS - Home of League 10 (1:14/400)