Deborah Oyedeji’s Post

Every filmmaker, director, and creator should know these three key contract clauses: - Intellectual Property Ownership – Who owns the rights to your creative work? - Revenue Splits – How is the money divided? - Termination Rights – What happens if things don't work out? These aren’t just legal buzzwords—they directly impact your control, earnings, and career flexibility. Your contracts are the foundation of your creative rights, so don’t leave them to chance. Protect your work and your future by having an experienced entertainment lawyer review your agreements. 📌 Save this post or tag a fellow creator who needs to hear this! #entertainmentlaw #entertainmentindustry #filmmaking #screenwriter #creativerights #knowyourrights #filmcontracts #legaladvice

CONTRACT CORNER: Where the Fine Print Meets the Spotlight ✒💡 Welcome to the inaugural edition of Contract Corner, where we shine a spotlight on the fine print that can make or break a deal! Think of me as your trusty sidekick, guiding you through the treacherous terrain of entertainment contracts. We'll decode the legalese, debunk the myths, and give you the lowdown on what it all really means. So, if you're tired of feeling like you need a law degree to understand your contract, or if you're just curious about the secrets hidden in those pesky clauses, then you're in the right place! Let's dive in and make those contracts work for you, not against you! So, what's the first contract conundrum we're tackling? Drumroll, please...🥁......... It's the infamous "Option Clause"! You know, that sneaky little provision that lets producers option your work for a nominal fee, only to leave you hanging like a cliffhanger season finale? Like season 5 of Game of thrones where we all thought Jon snow died (spoiler alert). So, what is an Option Clause? An Option Clause is a contract provision that grants a producer or studio the right to "option" your work (think script, book, or idea) for a specified period. This means they pay a fee (often nominal) to exclusively consider your work for a project, without committing to actually produce or purchase it. Think of it like a "hold" on your creative property. Scenario Time! Meet Jane, a talented screenwriter who's written a killer script for a new TV series. Producer Diddy comes knocking, eager to option her work for his production company. The contract includes an Option Clause, which grants Diddy's company the exclusive right to develop Jane's script for a year. The option fee? A mere $1,000. Here's the catch: during that year, Jane can't shop her script around to other producers or studios. She's stuck in limbo, waiting for Diddy's company to decide whether to move forward with the project. If they do, great! But if they don't, Jane's script is locked up for a year, and she's missed out on potential opportunities with other producers. The Option Clause can be a double-edged sword. On one hand, it shows a producer is interested in your work. On the other hand, it can tie up your creative property without guaranteeing a payoff. Don't worry, I’ve got your back! With Contract Corner, you'll learn how to navigate these treacherous waters and come out on top. Or, at the very least, with a contract that doesn't make you want to pull your hair out. Stay tuned for more exciting episodes of Contract Corner every Friday, where we'll explore the wild world of entertainment contracts, one clause at a time!👍

Why Has Packaging Become So Important in The Spec Market? https://ift.tt/km5CzfT At the current moment in time in Hollywood, it feels like if you just have a naked spec or a pitch, you're out of luck. When it comes to selling an idea or screenplay, I'm sure you've heard that the best way to take it to market is with a package - and that has only been emphasized by current events in the biz. Today, I want to go over the idea of packaging. We'll discuss the meaning, the strategies behind it, and also the frustrations that come with the territory. So let's dive in. What is Packaging in Hollywood? In Hollywood, packaging refers to how a project – usually a script for a film or TV show – is assembled before being pitched to studios and production companies. A strong package includes elements like: Script (the most essential part) Attached talent (actors, directors, producers) Why Packaging Helps Scripts Sell Imagine a crowded marketplace where thousands of scripts clamor for attention. To break through the noise in Hollywood's spec market, it's not enough to have a great idea; you need attachments of talent and a director, to help a studio understand the finished product and its marketability. Here's why packaging helps: Reduces Risk: For studios and producers, a well-packaged script suggests a certain level of professionalism and potential success. Attached talent indicates there's some existing interest in the project, lessening the financial gamble. Attracts Attention: In a crowded spec market, packaging helps a script stand out. Having a respected actor or director considering a role signals both quality and potential marketability. Builds Credibility: For a newer screenwriter, packaging demonstrates they have a great script that people want to be in and that is being vouched for by people with more connections. Simplifies Deals: A packaged project can be 'sold' in its entirety. This is often easier than trying to get studios to agree on separate deals for the script, talent, etc. Why Has Packaging Become So Important? Right now, packaging is popular because it completely eases the burden of the studio or production company taking a project on. Instead of evaluating a screenplay's marketability on its face, they can look at a project with all the elements and decide whether or not its worth the spend. They don't have to risk assembling all these elements on their own, instead they can just say yes or no to what's right in front of them. It used to be that you would send a naked spec in and then these execs would help you create a package that the studio would greenlight. But that placed risk on executives who maybe would deliver a package the studio didn't like, and get fired. Now, the entire burden of packaging is on the writer and their reps, or the producers who take the spec on. They have to get every name involved and then take it to the studios nad hope they like the people that have been assembl...

What type of deal do you put together with a label to promote yourself if You record for free Songwrite for free You’re your producer so your beats are free You have free engineering You have your own camera equipment or share it with videographers so it’s free What do labels make up their expenses will be in a work for hire deal? Giving you streams , management, licensing , tour support and online traffic? If they’re not spending on production, how do you write those clauses?

📢 Calling all screenwriters, actors, writers, directors, and producers! 📢 Want to hear your script drafts come to life? Join us for an in-person table read with fellow BTFC Makers on Thursday, June 13th at 6:00 PM ET. ✍🏾 Writers: Submit your pages to be read aloud and get valuable feedback. Whether it's a hit or needs a bit more work, this is your chance to refine your craft. Scripts will be considered on a first-come, first-served basis, and you must be a BTFC member to participate. 🎭 Actors: Ready to showcase your talent? Jump in and read parts, even if you don’t have pages to workshop. Priority casting will be given to BTFC members, but all are welcome to participate. 🤝🏾 Everyone: Come support, listen, and give insights. Help your fellow creators fine-tune their projects and make meaningful connections. Don’t miss out on this opportunity to collaborate, network, and elevate your work. Let’s create magic together! ✨ 👉🏾 Writers, submit your scripts now to be part of this amazing experience! Link in bio.

✍️Difference between 𝘀𝗰𝗿𝗶𝗽𝘁 and 𝘀𝗰𝗿𝗲𝗲𝗻𝗽𝗹𝗮𝘆! The terms "𝘀𝗰𝗿𝗶𝗽𝘁" and "𝘀𝗰𝗿𝗲𝗲𝗻𝗽𝗹𝗮𝘆" are often used interchangeably, but they do have specific distinctions, especially within the context of film, television, and theater. 📃𝗦𝗰𝗿𝗶𝗽𝘁 - 𝗕𝗿𝗼𝗮𝗱 𝗧𝗲𝗿𝗺: "Script" is a general term that refers to the written text of any performance, whether it’s for a movie, TV show, play, radio program, or even a video game. - 𝗩𝗮𝗿𝗶𝗼𝘂𝘀 𝗙𝗼𝗿𝗺𝘀: Scripts can include different types such as: - 𝗦𝗰𝗿𝗲𝗲𝗻𝗽𝗹𝗮𝘆𝘀: For films and TV shows. - 𝗦𝘁𝗮𝗴𝗲 𝗣𝗹𝗮𝘆𝘀: For theater productions. - 𝗥𝗮𝗱𝗶𝗼/𝗔𝘂𝗱𝗶𝗼 𝗦𝗰𝗿𝗶𝗽𝘁𝘀: For audio dramas or radio shows. - 𝗧𝗲𝗹𝗲𝗽𝗹𝗮𝘆𝘀: Specifically for television episodes. - 𝗦𝗵𝗼𝗼𝘁𝗶𝗻𝗴 𝗦𝗰𝗿𝗶𝗽𝘁𝘀: Detailed versions of a screenplay used during filming, with specific camera angles, shot descriptions, and other technical details. 🎬𝗦𝗰𝗿𝗲𝗲𝗻𝗽𝗹𝗮𝘆 - 𝗦𝗽𝗲𝗰𝗶𝗳𝗶𝗰 𝘁𝗼 𝗙𝗶𝗹𝗺/𝗧𝗩: A screenplay is a type of script specifically written for movies or television. It includes not only the dialogue but also detailed descriptions of scenes, settings, and actions. - 𝗦𝘁𝗿𝘂𝗰𝘁𝘂𝗿𝗲𝗱 𝗙𝗼𝗿𝗺𝗮𝘁: Screenplays follow a precise format with elements like scene headings (e.g., INT. KITCHEN – DAY), action lines, character names, dialogue, and parentheticals (instructions for how dialogue should be delivered). - 𝗩𝗶𝘀𝘂𝗮𝗹 𝗮𝗻𝗱 𝗔𝘂𝗱𝗶𝗼 𝗙𝗼𝗰𝘂𝘀: Screenplays are written with a strong focus on visual storytelling and audio cues, reflecting how the film or TV show will look and sound on screen. 🎯𝗞𝗲𝘆 𝗗𝗶𝗳𝗳𝗲𝗿𝗲𝗻𝗰𝗲𝘀 - 𝗦𝗰𝗼𝗽𝗲: "Script" is a broader term that can apply to any written performance text, while "screenplay" is specifically for film or television. - 𝗙𝗼𝗿𝗺𝗮𝘁: Screenplays have a very specific format designed to convey visual and audio information to directors, actors, and production teams. - 𝗨𝘀𝗮𝗴𝗲: While a script could refer to anything from a theater play to a podcast, a screenplay is always associated with visual media like films and TV shows. In summary, while all screenplays are scripts, not all scripts are screenplays. The term "screenplay" is used when referring specifically to scripts intended for visual media like films and TV. #screenplaywriting #scriptwriting #writerscommunity #writer #storytelling #filmmaking #fswi #scripttoscreen

Remuneration Guide for Writers' Rights in Indian Film and Series Industry:: The remuneration for writers in the Indian film and series industry can vary greatly based on several factors, including the writer's experience, the project's budget, the type of rights being negotiated, and the production company. Here’s a general idea of potential earnings for various rights: ### First Rights 1. **First Option Rights** - **Option Fee**: ₹50,000 to ₹5,00,000 - **Purchase Price**: ₹2,00,000 to ₹50,00,000 or more 2. **First Refusal Rights** - **Initial Payment**: Often combined with the option fee - **Final Payment**: Matching any third-party offer, which could range from ₹5,00,000 to ₹1,00,00,000 or more ### Adaptation Rights 1. **Book-to-Film/Series Rights**: ₹5,00,000 to ₹50,00,000 or more, depending on the book's popularity 2. **Remake Rights**: ₹10,00,000 to ₹1,00,00,000, based on the original work’s success 3. **Sequel/Prequel Rights**: ₹10,00,000 to ₹75,00,000 ### Screenplay Rights 1. **Original Screenplay Rights**: ₹5,00,000 to ₹50,00,000, based on the writer's reputation and the project's scope 2. **Spec Script Rights**: ₹3,00,000 to ₹25,00,000 ### Television Rights 1. **Series Rights**: ₹10,00,000 to ₹1,00,00,000 per season, depending on the series' potential 2. **Episode Rights**: ₹1,00,000 to ₹5,00,000 per episode ### Digital and Streaming Rights 1. **Digital Distribution Rights**: ₹10,00,000 to ₹1,00,00,000, depending on the platform and project 2. **Web Series Rights**: ₹5,00,000 to ₹50,00,000 per season ### Ancillary Rights 1. **Merchandising Rights**: Negotiable, often a percentage of merchandise sales 2. **Novelization Rights**: ₹2,00,000 to ₹10,00,000 3. **Game Rights**: ₹5,00,000 to ₹50,00,000, based on the game's complexity and potential market ### Additional Considerations - **Royalty Payments**: Writers might receive royalties, typically 1-5% of the gross or net profits. - **Residuals**: For web series, writers could earn residuals based on viewership, with amounts varying widely. - **Screen Credit**: Proper screen credit can enhance a writer's reputation and future earning potential. These figures are approximations and can vary widely based on individual negotiations, market conditions, and the specifics of the project. Consulting with a legal expert or literary agent can help writers secure the best possible terms and remuneration.

I’ve noticed infie filmmakers never ask if negotiation is possible. Why don’t they? I see this to frequently. Right away they ask about your price. Ehen they hear or see any number, they run away. Think of it like an interview process. You like the applicants work but the vibe has to be there. Most of the time if the vibe is there then always be honest about if you can afford their rate or not. Usually if not the freelancer can try to accommodate your budget. Never hurts to ask. Indie producers and anyone in post production need to just talk and have a conversation. When you get to know the person whom you are hiring it just helps build a calm and hopefully friendly foundation that can be the start of a great relationship to help build more credibility and most of all experience in working with artists so to speak.

𝐋𝐢𝐠𝐡𝐭𝐬, 𝐂𝐚𝐦𝐞𝐫𝐚, 𝐀𝐜𝐭𝐢𝐨𝐧... 𝐁𝐮𝐭 𝐀𝐥𝐬𝐨, 𝐂𝐮𝐭! 𝐔𝐧𝐝𝐞𝐫𝐬𝐭𝐚𝐧𝐝𝐢𝐧𝐠 𝐓𝐞𝐫𝐦𝐢𝐧𝐚𝐭𝐢𝐨𝐧 𝐂𝐥𝐚𝐮𝐬𝐞𝐬 𝐢𝐧 𝐄𝐧𝐭𝐞𝐫𝐭𝐚𝐢𝐧𝐦𝐞𝐧𝐭 𝐂𝐨𝐧𝐭𝐫𝐚𝐜𝐭𝐬 Landing a role in a new project is thrilling, but before you sign on the dotted line, understanding termination clauses is crucial. These clauses define how you (or the production company) can end the agreement. Here's how to 𝗻𝗲𝗴𝗼𝘁𝗶𝗮𝘁𝗲 𝗳𝗮𝗶𝗿 𝘁𝗲𝗿𝗺𝗶𝗻𝗮𝘁𝗶𝗼𝗻 𝘁𝗲𝗿𝗺𝘀 specific to the entertainment industry: 𝚆𝚑𝚢 𝚃𝚎𝚛𝚖𝚒𝚗𝚊𝚝𝚒𝚘𝚗 𝙲𝚕𝚊𝚞𝚜𝚎𝚜 𝙼𝚊𝚝𝚝𝚎𝚛: In the fast-paced world of entertainment, things can change quickly. Maybe a director leaves the project, or filming gets delayed. A well-written termination clause allows you to exit the contract if unforeseen circumstances arise, without penalty. Termination goes beyond major breaches of contract. Consider including provisions for: 𝙋𝙧𝙤𝙟𝙚𝙘𝙩 𝙂𝙧𝙚𝙚𝙣𝙡𝙞𝙜𝙝𝙩: If the project doesn't receive a green light for production within a set timeframe, you shouldn't be locked in. 𝘾𝙖𝙨𝙩𝙞𝙣𝙜 𝘾𝙝𝙖𝙣𝙜𝙚𝙨: If a key cast member is replaced, stipulate the right to terminate if it significantly alters the project's vision. 𝘿𝙚𝙡𝙖𝙮 𝙞𝙣 𝙋𝙧𝙤𝙙𝙪𝙘𝙩𝙞𝙤𝙣: Outline acceptable delays. If filming extends beyond a negotiated window, you might have the option to terminate if it conflicts with other commitments. 𝙉𝙚𝙜𝙤𝙩𝙞𝙖𝙩𝙞𝙣𝙜 𝙁𝙡𝙚𝙭𝙞𝙗𝙞𝙡𝙞𝙩𝙮: Don't settle for a generic "cause" termination clause. Define "cause" specifically in the context of entertainment. This could include: 𝘿𝙞𝙧𝙚𝙘𝙩𝙤𝙧𝙞𝙖𝙡 𝘾𝙝𝙖𝙣𝙜𝙚𝙨: If the director's vision deviates significantly from the script, you may have grounds to terminate. 𝙈𝙖𝙩𝙚𝙧𝙞𝙖𝙡 𝘾𝙝𝙖𝙣𝙜𝙚𝙨 𝙩𝙤 𝙎𝙘𝙧𝙞𝙥𝙩: Negotiate the right to terminate if major script changes alter your character or the overall story in a way you're uncomfortable with. 𝙉𝙤𝙩𝙞𝙘𝙚 𝙋𝙚𝙧𝙞𝙤𝙙𝙨: How much notice do you need to give (or receive) before terminating? A reasonable notice period protects both parties. It gives you time to find other work and the production time to recast or reshoot scenes. 𝙎𝙚𝙚𝙠 𝙇𝙚𝙜𝙖𝙡 𝙂𝙪𝙞𝙙𝙖𝙣𝙘𝙚:While this post provides general advice, entertainment contracts are complex. An experienced lawyer can help you draft ironclad termination clauses specific to your role and the project. By proactively addressing termination, you protect your interests and ensure a smooth exit if necessary. #LawgicalMedia #LinkedIn #MediaAndEntertainment #Contracts #Termination #Agreements #FilmIndustry #FilmProduction #TV #Webseries #films #ott

Dear Contract Services, I'm an editor who just spent over two hours going through your mandatory Harassment Prevention Training, and we need to address the elephant in the room: There wasn't ONE single video representing the thousands of us working in post-production. Your comprehensive training includes 14 separate units with over 100 lessons to help us better understand how to recognize different perspectives and ensure we are all respected and valued. Yet there isn't a single video that depicts those of us who don't work in writer's rooms, production offices, or on set. Every single dramatization excluded editors and their assistants, colorists, sound editors & mixers, foley artists, engineers, animators, recordists, post producers, and everyone else who sacrifices their health, relationships, and sanity AFTER the cameras stop rolling. This lack of representation further perpetuates the belief that post-production is the red-headed step child of Hollywood. Contrary to popular belief, the creative process is not over when production wraps. Having worked in this business for 20+ years, I'll say this training has come a long way. It's no longer the empty corporate BS that shows no understanding of how things really work. This training is well-organized; the production value is impressive; the scenarios were well-written, acted, and produced; and the scenarios are vulnerable, honest, and relatable. But your attempt to promote diversity & inclusion rings hollow having excluded tens-of-thousands of working professionals in IATSE. As a white male working in Hollywood, I'm fortunate to have never been subject to any form of discrimination or harassment my entire career, and I recognize that a certain amount of privilege beyond my skills & work ethic helped me to get where I am today. But this post isn't about me. Imagine how this myopic lack of diversity & representation (in training designed to recognize diversity & representation) feels to: - The female editor trapped in a windowless room by herself with an A-list director that feels the only way to keep her job is accepting unwanted sexual advances...with nobody else around to verify her side of the story. - The minority assistant editor who despite being perfectly qualified is constantly passed over by post-production teams because they don't look like everyone else. - The autistic sound mixer who's laughed at by producers because of their struggle to socialize with the team and have drinks after celebrating an awesome final mix. - The veteran music editor experiencing ageism who's worked in this business for 30 years but can no longer get hired because they are "too old" and "don't understand the latest trends." - The female recording engineer who just returned from maternity leave and is made to feel like "you're not dedicated to this project" because they chose to be present for their family instead of working exploitive hours. We need to do better. You need to do better.