Mark remains neutral, the screenwriters' union is helpless, Mark doesn't want to do it, no one can force him, and it is a bit whimsical to want Mark and the producers' union to fight to the death.

For the producers' union, Mark is neutral, this is the best outcome, if Mark dares to openly support the editorial union and deal with their producers' union, their producers' union will let him know why the flowers are so red.

Mark's MM Group, treats screenwriters, six firsts, and basically meets the requirements of the Screenwriters Association, with Leyris, who is known as the first sister of screenwriters, and the screenwriter and producer of "Grey's Anatomy", with an annual income of 10 million, and Oscar winners such as Simon, Max, and Monaghan, with a strong cast and a prosperous lineup, everyone is proud to be in MM.

As the department in charge of Mark, Mark convened several department bosses to discuss the plan, and at present, none of the screenwriters in the company are dissatisfied with the treatment of MM, but as a member of the screenwriters' union, if the union asks for a strike, they have to strike.

Mark was upset and said, "I asked myself to come up with the best conditions and treatment, and you all returned the work with a strike, which is very sad." ”

Lyris said: "I don't have enough 24 hours a day, do you think I want to strike? But if I refuse to carry it out, I will be expelled from the union, don't want to mix in the screenwriting industry in the future, the key is that the patent rights of the work are not guaranteed." ”

Mark said, "I don't mean to you! If you force me in this way, I will have to take drastic measures." ”

Simon smiled bitterly: "It's best if the two sides reach an agreement, so we don't have to be in a dilemma." "The main point of contention between the two sides this time is the split.

Before the boom of television, no one knew that there was a market for movies outside the cinema, at most it was a two-wheel theater, in short, after a film was removed from the cinema, most copies were destroyed, and a very small number were thrown into warehouses by producers or exhibitors, although there were no large-scale man-made or natural disasters such as political campaigns and fires, but for a long time, no one saw them as a way to make money, nor did anyone regard them as cultural heritage, until the advent of television, these films were sold to television stations, and they were rejuvenated.

This is really pie in the sky, happy to sell pies, but the pie makers are not dry, you are selling the same pie I made, why can you make it again, but I can't? So, the producer and the actor began to negotiate.

The actors' union said that we will not pursue it before 1948, but we want to get a piece of the new film, and the producer did not give up profits easily, and the two sides have been pulling for many years, and finally, by 1960, an agreement was finally reached that films before 1960 would be exempted, and those after 1960 must pay a share. (There's also credit to Reagan, who was president of the Screen Actors Guild.) ）

However, the Screen Actors Guild couldn't imagine how many times an old classic film could be replayed on the screen, and initially, the payment was limited to 6 reruns, and in the mid-70s, it was changed to pay for no number of reruns, in other words, if you starred in a "Gone with the Wind" or "The Sound of Music", you will not have to worry about food and clothing for the rest of your life.

Like the six leading actors of "Friends", just by virtue of the replay of "Friends", you don't have to worry about eating and drinking.

In 2007, the total income of the members of the Writers Guild reached a record high of 943 million yuan, including more than 500 million yuan from feature films and 437 million yuan from TV dramas, which translates into a per capita annual income of 60,000 US dollars. The revenue from copyright was 273.2 million, close to 30% of the total revenue. According to the current rules, 80% of the economic income generated by a film broadcast on TV goes to the production company of the program, and 20% is used as a component to the main creative staff, mainly the starring, director and screenwriter.

However, television broadcasting rights are no longer the only secondary market. Whenever a film has a competitor, that rival always ends up being its savior, and after television, there are videotapes, and videotapes evolve into DVDs. Now, seeing that the Internet is about to become another distribution platform for movies, this time, the industry owners who take the share are prepared, hoping not to make the same mistakes as before, and to put the "leftovers" into their territory as soon as possible.

In 2007, the Writers Guild demanded that the share of the disc be doubled from the 0.3% (about 4 cents per disc) set in 1988. The chief screenwriter of a commercial blockbuster can get hundreds of thousands of dollars from the sale of the disc, while an obscure screenwriter can only get hundreds of thousands of dollars if he writes a film that no one cares about, but this is not a small amount.

The screenwriters' union thinks that the requirements are reasonable, but from the perspective of the producers, the follow-up sharing should not exist, but in the fifties and sixties, the TV station had too much oil and water, which made this bad start, and now it is entering a vicious circle, and I can't stop it.

One of the reasons is that at that time, the theater box office was the main income, and the TV broadcast rights were extra, but now the situation has long been reversed, and the former secondary market is now the main source of income, and it is difficult for film and television production companies to recover their costs from theatrical screenings and TV premieres, and all this is more like a promotion for future revenue generation, and correspondingly, the remuneration of the cast and crew has included the income generated by the work later, and there is a more macro reason: these cast and crew are employees, not shareholders, and should not participate in the share.

Shareholders are investors, they can share profits, but they also have to take risks, actors and crew are paid salaries, there is no risk, but once film and television works make money, they become shareholders in disguise, which is a subversion of the capitalist economic system.

On the side of the cast and crew, it is only natural that the follow-up will be divided, and if you continue to create value because of my labor, I should continue to extract benefits, after all, intellectual property is different from ordinary service items. The film and television industry is an extremely unstable industry, three days of fishing and two days of drying nets, and the follow-up sharing allows many practitioners to survive the trough period safely, without their income drying up and immediately switching to a stable career outside the film. They said that if there was no follow-up share, many people would not consider devoting themselves to film and television full-time.

Software designers are usually paid more but do not participate in the sharing, but text writers are not paid well, but they can generally get royalties, and royalty is very similar to the concept of residual. Of course, the author of the book is the absolute main creator, while film and television are more inclined to collective creation, if it is to be absolutely fair, should the editors, typesetters, typists, and proofreaders of the book participate in the sharing? And the sharing is not for everyone, it is limited to the main creators, obviously, for a cultural product that may produce additional value, who can be counted as a "shareholder" There is no clear line.

It is worth mentioning that the follow-up sharing is not a bonus, Xiao Lizi finished filming "Titanic", and attracted countless girls to watch it many times with his personal charm, and the film company rewarded him with a bonus of 5 times the salary of 1 million US dollars, the bonus is out of the generosity of the boss, and the follow-up sharing is the industry rule, which is caused by the expansion of the cake of industry interests.

When there are too many people sharing the cake, and the division is strange, it will inevitably lead to a decline in the willingness to invest in the cake, at this time, some people will invent new methods, such as many independent producers will not give follow-up shares, but once these works make a lot of money, the main creator will feel that he has suffered a loss, so he asks to be in line with the blockbuster.

As the saying goes, the ass determines the head, you are the main creator, you must stand on the side of the main creator; you are the boss, you have your endless troubles, and whether "making a movie" makes money depends entirely on how to understand these three words, whether it is Chinese or foreign, those who participate in making movies are generally very profitable, and those who make movies with money from their own pockets will be wasted nine times out of ten.

Nowadays, many film companies would rather pay more than give follow-up shares, which is equivalent to upgrading the creators to shareholders, and sharing resources for a long time, and now many film projects will make this clear before signing a contract.

Paying follow-up shares to producers and actors is the limit of what they can endure, and then paying screenwriters, it's impossible, this line of competition is fierce, you don't want to do it, a lot of people are willing to do it, even in enlightened MM, only a limited number of screenwriters can get it, and the rest of the people have good salaries, if the work sells well, you can also get a share, but you can count a slap in the face of the follow-up share.

Why has the status of screenwriters been low, because, at the beginning of the birth of movies, professional screenwriters did not exist, in the silent film era, movies only lasted a few minutes, and the plot, not to mention, the role of "screenwriters" in the early days was more like marketing, they were usually completed part-time by newspaper and magazine editors, and the script was just a series of words.

In 1899, the silent film "The Adventures of Tom Sawyer" was released, and actress Jean Guettier was entrusted with the "heavy responsibility" to become the screenwriter, just because she was the only person in the crew who had read the original book.

In the 30s of the 20th century, the film industry developed by leaps and bounds, and the first batch of professional screenwriters were born accordingly, and they were still not easy to mix, at that time, the studio dominated the world, the script was decided by the story meeting, the producers made their own decisions, the plot, characters and even the dialogue, often in the story meeting, had been finalized, and the screenwriters were more like handymen. The purpose is just to organize the text into chapters, and the script is even more piecemeal, and even the lines and plot are not written by the same screenwriter.

It wasn't until the establishment of the trade union that the screenwriters had a place, so why should there be a screenwriters' union? Because, in the era when screenwriters wanted to defend their rights, and in the era when studios were rampant, screenwriters had to sign contracts with film companies if they wanted to have jobs.

In the best-selling book "Story", the famous screenwriter Robert McGee described the following paragraph, silent film director Mark Hinett took pleasure in "mistreating" screenwriters. He locked the screenwriter in a small dark room to "concentrate on writing", and the screenwriter was forbidden to make phone calls, read newspapers, and even let them eat too much because it would affect their train of thought.

In protest against the studio's pay cuts, in 1921, the Screenwriters' Guild, the forerunner of the Screenwriters' Guild, was created.

In the 30s, the National Labor Relations Act was announced, and SG was qualified to negotiate with the studio, and after a few months of tug-of-war, the Foundation Agreement was born.