ADVERTISEMENT



Google       

Home -> Law Blog Directory -> Media & Entertainment Law Blogs -> Entertainment Law Update

OR PHONE (866) 635-1838 for Bankruptcy Help, (866) 635-6190 for Divorce,
(866) 635-2689 for Personal Injury or (866) 635-9402 for Criminal Defense

Find a Local Lawyer

Bankruptcy (866) 635-1838
Divorce (866) 635-6190
Personal Injury (866) 635-2689
Criminal Defense (866) 635-9402

Bookmark

Media & Entertainment Law

: Entertainment Law Update

Asked & Answered: The collaborator who didn?t.

By Gordon Firemark

ADVERTISEMENTS

Q: Do I have to share my Author/Writer Credit with someone who collaborated on the script, even if he never wrote one word or typed one keystroke on the script?

A: This comes down to the terms of your agreement with the  collaborator, and to the definition of “collaborated”.    Most dictionaries refer to collaboration as “working together”, without reference to the specific nature of such work.  Many writing teams share the work of ‘creating’ ideas, coming up with dialogue, plot lines, etc.,  while only one member handles the ‘data entry’ part of the task.  So, it’s not enough to claim that your collaborator didn’t write or type anything… if he or she contributed material to the finished product, in the form of intellectual ‘work’ then shared credit is appropriate.

BUT, if your collaborator didn’t do ANYTHING at all, it’s a different story.  This, then, comes down to a breach of contract.  Presumably, the agreement between the collaborators was to share the work (regardless of the actual division of labor).  If one member failed to meet this obligation, then there’s an argument to be made that credit should not be shared.

Now,  for writers who are members of WGA,  shared credit is a trickier issue, often involving subsequent rewrites by other writers, and ultimately, it’s the producer and the WGA’s credit arbitration panel who decide who gets credit.    For a good discussion of the credit arbitration process, see the May 2010 issue of Script magazine.

Either way, sharing credit may be preferable to the battle that can ensue when a collaborator feels he’s been unfairly deprived  of  credit.  It’s unwise, therefore, to proceed without some clear resolution of the matter BEFORE the script is sold.   I’ve personally represented several creators in disputes over credit.  Sometimes such suits have actually derailed the sale or production of the script(s) in question.  Before deciding to exclude a collaborator’s credit, it’s wise to check with your lawyer about the situation and get some good advice.

This is intended as general information only and does not establish an attorney-client relationship. It is not a substitute for a private, independent consultation with an attorney selected to advise you after a full investigation of the facts and law relevant to your matter. We will not be responsible for readers? detrimental reliance upon the information appearing in this feature.


Thinking of Producing it yourself? subscribe to my FREE e-course “6 ways to Finance A Feature Film” by visiting http://firemark.com/minicourse

Full post as published by Entertainment Law Update on June 11, 2010 (boomark / email).

Bloggers, promote your law blog by nominating your blog for inclusion in USLaw.com's Law Blog Directory and RSS Reader. Benefits described.
Related Searches

























































































































US Law
#1 Online Legal Resource













Your Blog Subscriptions
Subscribe to blogs

10,000+ Law Job Listings
Lawyer . Police . Paralegal . Etc
Earn a law-related degree
Are you the author of this blog? Adding USLaw.com to your Blogroll increases relevance. You qualify to display a USLaw Network badge.
Suggest changes to this blog's description or nominate another for inclusion. Register for updates.


Practice Area
Zip Code:

Contact a Lawyer Now!






0.0211 secs (new cache)