By remuneration we mean the total income of screenwriters from their audiovisual work.
On the initiative of our colleagues in FERA, FSE members participated in a major study on the remuneration of audiovisual authors. The median audiovisual author starts her/his career earning less than €12,000 per annum after tax. After 16 years of work she/he earns €19,000 from audiovisual work. About 10% of this comes from secondary payments. A median author has 1 year in 5 where she/he has no earnings from audiovisual work whatever.
This is obviously unfair and unjust but is also profoundly inefficient. The weak negotiating position of individual creators was pointed out by European Commission in initial studies and in the impact assessment prepared prior to the first proposal by the Commission of the Copyright Directive.
The fundamental policy goal of FSE therefore is to address the low income and unstable careers of screenwriters.
In addition to undertaking work in the writing of screenplays, writers also, in the act of writing, create intellectual property. The control of their exclusive rights and the consequent opportunities for licensing gives them an opportunity for ongoing sharing in the economic life of what they create, which both adds to their income and helps to even out that income over time.
Ensuring that screenwriters can licence their work especially for online use remains an important policy goal for FSE.
However, the relative values of contract-based payments corresponding to secondary payments ensure that screenwriters’ initial contracts remain the key focus for screenwriters and their guilds, and therefore for FSE.
The route to better contracts is through Collective Bargaining. The recognition of this in the Copyright Directive is very encouraging.
Implementation of the Copyright Directive and in particular of its endorsement of Collective Bargaining will be the focus of FSE policy and activity over the next years.
A workshop for European Directors and screenwriters’ guilds on Negotiating the Implementation of the Directive on Copyright in the Digital single Market: Transposition in National Law and Collective Bargaining Opportunities.
European Creators’ statement on private copying compensation under attack from Apple, Huawei, Samsung.
FERA, FSE and SAA disclose the final results of the first ever EU-wide study on audiovisual authors’ working life and remuneration. Most of them are struggling to make ends meet and to maintain sustainable careers.
FERA, FSE and SAA welcome the European Parliament’s final vote on the Copyright Directive in the Digital Single Market. This is a great achievement for European authors!
Authors are at the very origin of the copyright value chain for Europe’s cultural and creative industries. They urge MEPs to seize this once in a decade opportunity and support the successful adoption of the Copyright Directive.
The Copyright Directive is a concrete opportunity to empower a struggling European audiovisual authors’ community. Participants of the workshop discussed opportunities and challenges faced by AV authors in getting fair value for the exploitation of their work.
FERA, FSE and UNI MEI organise a series of workshop to foster cooperation among European audiovisual authors’ guilds and unions on contracts, fair remuneration and collective bargaining.
More than 40 screenwriters and directors gathered in Brussels in May 2018 for the first of a series of three workshops on collective bargaining for authors organisations. A FERA/FSE/UNI MEI project.
Sign the Petition launched in March 2018 by FERA, FSE and SAA to support European screenwriters and directors in their call for a modernised EU copyright framework that includes all creators.
European Film and TV Screenwriters and Directors : Their Earnings and Working Life.
Preliminary results from the first ever, comprehensive, Europe-wide research aimed at mapping out the economic and social situation of European audio-visual authors.