WGC's Updated Digital Guidelines

The WGC has just published updated guidelines for digital productions – such forms as mobisodes, webisodes, interactive dramas, podcasts, games and more. The world of digital production has become more complex and the term “Digital Production” can mean many things – since writers and agents have asked for some assistance in determining the appropriate fees, and there are no minimum fees enshrined in the IPA, the WGC Digital Guidelines serve as the Guild’s guidelines for individual negotiations.

It’s important to remember that all members must have IPA contracts for digital writing work, and sign only with producers who adhere to the IPA, just as they do for any other writing for the screen.

Congrats to the Best Writing Nominees

The 25th annual Gemini Award nominees are out and many many members are among the Best Writing nods. Our heartfelt congrats to members (in press release order): Trevor Cameron, Sheila Dinsmore, John De Klein, Scott Fellows, Myra Fried, Steve Wright, Gary Pearson, Duncan McKenzie (x2), Jerry Schaefer, Carolyn Taylor, Jarett Cale, Geoff Lapaire, Jenn Engels, Rick Green, Marvin Kaye, Chris Sheasgreen, Bruce McCulloch, Tim Cherry, Jennifer Holness, Sudz Sutherland, John Krizanc, Leah McLaren, Philip Bedard, Larry Lalonde, Jeremy Boxen, Mark Haroun, Alex Levine and Ian Weir. Well done all!

WGC files pre-budget submission

The WGC filed its pre-budget submission to the Federal government today (August 13). In it, the WGC underlines the importance of strong funding for the programs that are the foundation of Canadian cultural production in film and TV. Specifically, the WGC recommends:
(1) Renewal of the Canada Media Fund (CMF) with additional funding to meet additional requirements
(2) Renewal of the Canadian Feature Film Fund, indexed to the rate of inflation
(3) Augmented funding for the CBC
(4) Amendment of the Canadian Film or Video Production Tax Credit to include videos made for digital platforms
(5) Implementation of an interactive digital media tax credit.

To read the complete submission, please visit here.

WGC files submission to Foreign Ownership Consult

The WGC filed today (July 29) its submission for the government’s public consultation on “reforming foreign investment restrictions in telecommunications.” In the submission, we note that every major telecommunications company in Canada owns broadcasting assets and is also a cable or satellite company. Convergence and consolidation in the industry make it seemingly impossible that regulations could be put in place that only lift foreign ownership restrictions over telecommunications without affecting broadcasting, broadcasting distribution or digital content delivery. The Government proposed three options:

- Increase the limit for direct foreign investment in broadcasting and telecommunications common carriers to 49%;
- Lift restrictions on telecommunications common carriers with a 10% market share or less, by revenue; or
- Remove telecommunications restrictions completely.

We made it clear that we do not support the idea of removing foreign ownership restrictions completely (option 3), and that we believe that it may be possible to implement option 1 or 2 without damaging or threatening Canadian culture. We did raise concerns about both options, and restated our position – expressed before the Standing Committee on Industry in April of this year (Read the full presentation) – that no steps should be taken to loosen foreign ownership restrictions until an impact study has been conducted to model the economic impact of the various scenarios.

Attention Feature Film Writers - Telefilm Update

Telefilms's Development Guidelines 2010-2011 - Telefilm  has made some changes to their Development Funding Guidelines that affect feature film writers. Since we first wrote to you on the subject, there have been further changes and clarifications that agents and writers need to be aware of. Please read this brief update for more details affecting your feature film contracts. We will keep you informed of any further changes as we work with Telefilm on these and other issues.

The new IPAs are here!

Bound copies of the 2010-2011 Independent Production Agreement (IPA) are now available. To cut down on waste, members will not automatically be sent a copy – those wishing a bound copy should request one by writing Cecelia Paris (c.paris@wgc.ca). Alternatively, a complete pdf version is available here, and an indexed hyperlinked version will come online in July (we will let you know when that is available).

The CMPA (formerly CFTPA) & APFTQ have posted a complete pdf version on their sites. They have received hard copies of the Agreement and will be communicating with their members directly.

Non-member writers and producers wishing a copy of the IPA may also request one by writing Cecelia Paris (c.paris@wgc.ca) at the WGC.

Animation Working Group Meeting in Montreal

The first meeting of the Animation Working Group agreed to in the new 2010-2011 Independent Production Agreement (IPA) was held on June 2nd. Both producer associations were represented, bringing with them five animation producers. In addition to the WGC’s Executive Director Maureen Parker and Director of Industrial Relations Laurie Channer, the Guild was well represented by Animation Committee Chair Anne-Marie Perrotta and Lienne Sawatsky, David Dias and Robert Pincombe. The dialogue was significant and productive.

The producers focussed on the difficulty of the current animation production environment, and the WGC and writers asserted the need for screenwriters working in animation to receive reasonable fees for their work.

It was agreed that the second of these meeting will be held in late October. The producers will bring to the next meeting specifics on budgets and financing, and the WGC will present more information on the volume of contracts and levels of fees.  

These meetings are a productive way to help establish a context for the next round of bargaining, allowing us to have now, before real bargaining begins, many of the conversations about statistics and working conditions typical in the bargaining process. Our thanks go out to all of the participating writers; they did an excellent job and we appreciate their time and efforts. 

Canada's New Copyright Bill - C-32

A new copyright bill (C-32) was introduced in Parliament on June 2, 2010. The Bill and information about it can be accessed on the government site. The WGC fails to see the balance in the “Balanced Copyright” bill introduced by the government. Tabled in order to redress the long-overdue implementation of the WIPO treaties before the G20 lands in Canada, the bill means we can finally live up to our international obligations around copyright. But the legislation gives too much away at the expense of creators. The WGC issued a press release responding to the bill which can be viewed here.

Ryerson University Screenwriter Research Survey

Ryerson University has created an online survey for WGC members on the lives, careers and opinions of Canadian screenwriters. While U.S. researchers do such studies regularly, the Report will be the first of its kind in Canada.  Ryerson anticipates that the variety of responses will provide valuable insights into screenwriters and screenwriting. The survey is not directly affiliated with the WGC, participation is purely voluntary, and your responses will be entirely anonymous. The project is approved by Ryerson's Research Ethics Board.

Interested members should login to the Member's Only section of this website where they will find the link.

UPDATE! WGC appears before Heritage Committee to talk digital media

The WGC's executive director Maureen Parker and director of policy Kelly Lynne Ashton were in Ottawa on May 4 to appear before the Standing Committee on Canadian Heritage regarding emerging and digital media - the opportunities and challenges. The Report from that committee was issued June 18. It can be accessed here.

The WGC urged the government to support a comprehensive National Digital Strategy that would 
- ensure that there is sufficient funding to create professionally produced digital entertainment content
- ensure that Canadian owned and controlled enterprises exist to support Canadian content and have appropriate incentives or requirements to do so
- and amend the Copyright Act and support Terms of Trade to ensure that fair revenue streams flow back to content creators.

Though no recommendations were contained in the government report, the WGC’s input was noted in several areas. The government stated that “this interim report will give the Committee, as well as the public at large, the chance to reflect on the testimony it has already heard and to prepare for a resumption of hearings when the House of Commons reconvenes.” The report though also provides a consideration of the issues in play in the public consultation on the national digital economy strategy, set to close on July 9.

The WGC will continue to take an active role with the government and others as we move toward the creation of a National Digital Economy Strategy.

IPA shows on iTunes

Members may have seen in the media recently that shows produced under the IPA are being licensed to iTunes by the broadcasters. And this begs the question, will writers see a piece of the price the consumer pays?

The general trend with current shows is that the broadcaster has taken the rights for download-to-own along with their broadcast rights in exchange for the license fee they pay the independent producer. The producer is getting one flat license fees for a bundle of rights, including initial ditribution. License fees paid by broadcasters are included in our Distributors’ Gross Revenues royalty formula, but since license fees are being not being increased while including more and more rights, there is no additional amount flowing back to writers specifically for the iTunes use. Neither does any of the iTunes revenue flow back to the independent producer. The broadcasters hold all the power in these deals. 

There needs to be fair compensation for rightsholders, including the copyright owners and authors. The revenue should not belong exclusively to the broadcasters. The producers are motivated to change this situation, and the CMPA (formerly CFTPA) and APFTQ producer associations are involved in Terms of Trade bargaining with the broadcasters to set their terms and conditions (like our IPA bargaining), where this will be addressed, along with other issues.

This is why we will be at Terms of Trade negotiations with the producers, helping them fight for better terms with the broadcasters. The more they get, the more can trickle down to writers.

TV Policy Decision at CRTC

The CRTC released (March 22) its long-awaited decision setting forth the coming TV policy in Canada. For more information please click here.

The WGC Showrunner Code

The Showrunner model of production is proving - nationally and internationally - the most reliable route to a quality TV show. The WGC invited more than 30 member showrunners to share their experiences of and insights into the craft and business behind the role of showrunner. The WGC Showrunner Code comes from our members to our members. The WGC Showrunner Code describes the nature of the showrunner role, sets out the conditions under which the showrunner is best positioned for success, and establishes guidelines for individual negotiations. The WGC also gave screenwriter agents the opportunity to feed into the Code, and it is being distributed to Canadian agents to use as a template for negotiations. Please read and download the WGC Showrunner Code here.

Story Editing Summits and Fees