Directors Guild of America Creative Rights Handbook 2011 - 2014
Total Page：16
File Type：pdf, Size：1020Kb
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. Elias Merhige Jon Turteltaub Agreement of 2008 for feature lm, long-form television and television series to incorporate temp eects for the preview of their Carl Franklin Phillip Noyce Ron Underwood Director’s Cut. .....................................................................4 F. Gary Gray Mark Pellington e purpose of this Creative Rights Handbook is to help raise awareness of your rights during all phases of production. It is important for every member to BASIC AGREEMENT, ARTICLE 7 understand that these are “use them or lose them” rights; Directors’ minimum conditions, preparation, each time we choose not to exercise them, we further the production and post-production for feature chances of their erosion. lm, long-form television and television series Television Creative Rights ..................….......…...................….............7 As you enjoy the benets of DGA creative rights on Committee your next directing assignment, hold a special thought for the Directors who have fought battle after battle to Rod Holcomb Mike Robe Michael Zinberg Chair, Movies for Television win these protections for us all. And if you nd yourself CODE OF PREFERRED Co-Chairs, Single Camera Series Subcommittee with any creative rights questions or problems, please Subcommittee PRACTICES call the DGA. Paris Barclay Charles Haid Oz Scott A set of non-binding guidelines, agreed upon Sincerely, Andrew Bernstein Victoria Hochberg omas Schlamme by the Guild and the studios, to encourage a higher level of conduct for employers and Tricia Brock Paul McCrane David Semel Director Guy Ferland Vincent Misiano Millicent Shelton ...................................................................18 Karen Gaviola Alan Myerson Mark Tinker Jonathan Mostow Steven Soderbergh Lesli Linka Glatter Matthew Penn Jesus Treviño Steve Gomer Michael Pressman Tom Verica Co-Chairs Dennie Gordon Rosemary Rodriguez Greg Yaitanes DGA Creative Rights Committee David Grossman Daniel Sackheim CREATIVE RIGHTS CHECKLIST FEATURES & CREATIVE RIGHTS CHECKLIST TELEVISION SERIES LONG-FORM TELEVISION DURING PREP BEFORE PREP 1. Did you receive the script, with your name on it as Director, no less than 24 hours before prep? 1. Were all the company’s script, casting, approvals and budget commitments revealed to you before you took the assignment? 2. Were you provided with an oce? 2. Did you get to choose your rst AD? 3. Did you participate in all casting, and was there a reasonable purpose for each person present at the casting session(s) to be there? DURING PREP 4. Were you told what material would be shot by a second unit? 1. Were you provided with an oce? 2. Did you participate in all casting? 5. Were you consulted on wardrobe, props, special FX, choreography, music, special equipment, etc.? 3. Was there a reasonable purpose for each person present at the casting session(s)? 4. Were you told what material would be shot by a second unit? DURING PRODUCTION 5. Did you approve the selection of a second unit director? 1. Did you direct all of the originally scheduled principal photography? 6. Were you given a full below-the-line budget before assignment, as well as all subsequent revisions? 7. Were you consulted on all script revisions? 2. Did all notes to cast and crew come directly from you? 3. Were you informed about any electronic transmission of sound or images from the set? DURING PRODUCTION 1. Did you see dailies at a reasonable time? 4. Did you see dailies at a reasonable time? 2. Did you approve the use of video assist? Did you decide the number and placement of monitors? 3. Were you informed about any electronic transmission of sound or images from the set? FOLLOWING PRODUCTION 4. Did all notes to cast and crew come directly from you? 1. Did you see the editor’s assembly within six (6) business days after shooting was complete? Did you see the editor’s assembly before anyone else? FOLLOWING PRODUCTION 1. Did you see the editor’s assembly before anyone else? 2. For a one-hour episode, did you have four (4) days to complete your cut (as long as there were no bona 2. Were you allowed adequate time for preparing your cut? de delivery date exigencies)? 3. If your cutting time was curtailed because of a delivery or release date, and that date was postponed, 3. For a half-hour episode, did you have one day to complete your cut plus up to one more day to make were you oered more time for your cut? changes? 4. Did you get your cut without interference or “cutting behind”? 5. Did you screen your cut for the producer and person with nal cutting authority? 4. Did you get your cut without interference or “cutting behind”? 6. Did you preview your cut of your feature lm? Was it in a format superior to a simple Avid output? 5. Did you screen your cut for the producer and person with nal cutting authority? 7. If your lm involved substantial special eects, were you given the opportunity to incorporate temp 6. Were you notied of the date, time and place of every post-production operation, and in good faith eects for your preview? allowed to be present and consulted? 8. Were you notied of the date, time and place of every post-production operation, and allowed to be present and consulted? 7. Were you oered the opportunity to direct any additional scenes or retakes? 9. Were you oered the opportunity to direct any additional scenes or retakes? 8. Were you oered the opportunity to direct looping or narration? 10. Were you oered the opportunity to direct looping or narration? For long-form TV, if you were not sent to the place of looping, were you provided communication to the looping site through 9. Were you oered the opportunity to take part in the spotting and dubbing of sound and music? ISDN, T-Line or a similar device? 10. If you directed the pilot of a series and a domestic DVD or Internet Web page was created, were your 11. Were you oered the opportunity to take part in the spotting and dubbing of sound and music? name, background, and lmography included along with those of the series’ “creator”? SECONDARY MARKETS AT ALL TIMES 1. Were you advised about editing of versions for ancillary markets and given the opportunity to Were you consulted about every creative decision? participate in this editing? 2. Were you consulted on the contents of the DVD and advised of its release schedule in a timely manner? e Director’s creative rights are codied in Article 7 of the DGA Basic Agreement. If you have any questions, AT ALL TIMES please consult the Guild oce or a DGA eld representative. Were you consulted about every creative decision? DGA Contract Line: (310) 289-2010 e Director’s creative rights are codied in Article 7 of the DGA Basic Agreement. If you have any questions, please consult the Guild oce or a DGA eld representative. DGA Contract Line: (310) 289-2010 [ 3 ] SUMMARY SUMMARY OF DIRECTORS’ that person leaves the company, his or her successor must be large enough for at least two people and have a door that shuts, of equivalent rank and must be designated within a reasonable adequate ventilation, a telephone, a desk and desk chair, and CREATIVE RIGHTS UNDER THE time. If the company fails to designate a successor, you have good lighting. e Producer must use its best eorts to provide DIRECTORS GUILD OF AMERICA the right to select one from three persons submitted by the reasonable parking at no cost to you. (7-403) BASIC AGREEMENT OF 2011 company. (7-206) If the Producer provides a private facility for others at a distant Following is a summary of Directors’ creative rights under Article e intended post-production locale must also be mentioned location, it must also provide you with a private facility. Upon 7 of the Directors Guild of America Basic Agreement of 2011. in your Deal Memorandum. (7-506) your request, the Producer must provide you with private It is not intended to change or interpret Article 7. If there is any transportation to and from local locations, unless this increases dierence between this summary and the Basic Agreement, the Basic 5.