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RE: [personal] Re: [microsound] (OT) neuromancer soundtrack/film - was snow crash



> "Films like Jonny Mnemonic just prove people's willingness to destroy
> art in the name of the almighty buck, including the artist's themselves.
> I lost a lot of respect for gibson after that movie but I believe works
> of art to be like children, they should not be held accountable for
> their parents' actions."
> 

> A few years ago I knew some independent film makers - a writer friend of
> mine 
> and myself put together a script of some ideas we had been working on
> (drawn from
> both of our work) at their suggestion and let one of  them loose on it. 
> 
> We rapidly discovered that our "vision" and script where seen merely as
> a starting 
> point. Plot and text we considered vital where dispensed with so that a
> visual 
> effect could be made or so that the director could put in something that
> they wanted. 
>

This imediately brings to mind artists who sample, source or incoporate
other people's works into their own work. 

Just bringing up the up the situation. Lets say someone else turns a
work you originated into something you don't like. 

There are those out there who say artists should have unrestricted
ability to sample, incorporate or source other works.

But what if their use seems to make others lose respect for the "parent" artist?

> In the end we pulled out on the grounds that if they weren't going to
> make the film 
> we had written then what was the point. 

To be honest (not to promote or defend either side) this is one of the
reasons producers really don't give the writers any final say. Producers
or other writers will obtain permission to adapt a work and hopefully
appreciate any further contributions, perhaps employ the writer. What
they won't grant (though perhaps there are rare contractual situations
to the contrary) is any sort of writer's veto. Such control can shut
down a project that others involved might want to go on with. 

>If however like Gibson you have
> financial 
> ties plus the film is going to be made whether you like it or not I can
> imagine trying 
> to soldier on to try and salvage something.

Usually story rights is optioned for money. In the negotiation the
writer can try to ask for stuff. 

For what its worth I'd say one of the most sucessful tickets into
directing Hollywood films is to have written a screenplay that when
released became sucessful. One can if they want usually get a very sweet
deal on their next commercial project and do things like ask to direct
or for some kind of I'll do your commercial script project if you pick
up my dream project and let me make it.

> Its not very likely to
> happen to me but 
> I personally would NEVER get involved with a film project on those
> terms. 

The only sure way to avoid those fairly typical terms is to become a
producer. Though getting agreements written up legally and specifically
can go a long way.

nicholas d. kent
http://www.artskool.biz/jem/ndkent/

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