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For those who attend the La-La Land Records panel in Ubeda on July 15th, I'll be revealing the Comic-Con limited edition titles. That would be 5am PST here, in case anyone happens to be online at the conference and posts the announcement online. Certainly earlier than the press release which is gonna be going out later in the day. 
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Ooh I hope someone is there so they can quench my undeniable thirst to know what these titles are!
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Posted: |
Jul 13, 2010 - 10:49 AM
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By: |
richuk
(Member)
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Now, now - they are called "re-use" fees (or royalties) for a reason - and you should get them too if the work you do is then resold for something else again. An actor is paid for his/her performance for the film for the screening or an episode for two airings. If the producer wants to air it again he/she has to pay. If they want to release it on vid/dvd/blu-ray they have to pay. They are paying for the performance/artisitc work.
When we bitch about the fees, who is really being greedy?
I don’t think it’s a question about being ‘greedy’, but instead just flexibility regarding fee payments.
(disclaimer: I know jack about this industry, and am making some big assumptions here, so please correct me if I’ve misjudged anything)
I believe the idea is that if a score is released, the label pays the orchestra a percentage of its original fee for that score. However, this is where the problem seems to start. Apparently the union demands the entire sum (which can run into the tens of thousands, or more) in one payment before the music can be released.
Let me make one thing crystal clear: the orchestra should be paid for its work. No question.
But what I don’t understand is why the union has this policy of needing the entire sum upfront? It frequently means either no album, or a very short album.
If you have a huge score to a crap film, no one in their right mind will pay tens of thousands to release, if they might only sell a few copies. Result? No release, no income for the musicians, no exposure for the composer. *everyone* loses.
But instead of that, if you simply ask the label to pay a royalty for every CD it sells, the costs are regular and small instead. Result? Label can afford to press some CDs. Musicians get a small but steady income, music gets heard, fans are happy. Everyone wins.
It seems that right now, all of the financial risk of releasing a score is given to the label. If a CD sells poorly, the orchestra is sitting happily on its extra fees, whereas the label has made a loss (and the music isn't heard, which is the point of the orchestra earning more in the first place).
From my limited perspective, I can't see the logic behind any of this.
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JFK would be awesome, but also a complete mindf--- to figure out. The score was almost wholly created editorially, as Williams wrote everything before the film was finished. Add in the tomandandy cue(s), the source music (the Brent Lewis tracks are almost essential and play almost like score in the film), and the crazy weird edits, they'd have a mountain of paperwork at the very least.
A good thought, though!
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I don't know any of that for an absolute fact, but I'm pretty sure this was the norm with the Oliver Stone/John Williams collaborations.
Either way, it's the score that got me INTO film music (and film) in the first place, so I'd gladly accept all the extra music (including the tomandandy stuff).
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There seems to be some behind the scenes talk that the upcoming kamen release from lalaland will be die hard with an edition that sounds much better than the varese release, probably due to newly discovered tapes as well. I can't value this rumor yet, but if you missed out on the varese cd or were never satisfied with it in the first place, then you might want to watch lalaland's future announcements very closely! Just in case there is more to these rumors.
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Oh, this thread title had me fooled AGAIN!
. . . And here I got all dressed up for nothing.
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