The screen writer (June 1947-Mar 1948)

THE SCREEN WRITER applies to the writer — that one badly written scene, however short, not only causes the sprocket holes to groan, but the audience as well. I know. I, too, have suffered. Letter From Mexico (Continued from Index Page) important documents — which, I assume — writers are required to sign?" "In quintuplicate," I corrected. "They are prepared by the lawyers for the companies." "The same lawyers for all of them?" "No, senor. Each film company has its own set of abogados." Senores Bustamente and Portas shook their heads and the latter reached into a drawer and took out a paper — a single sheet, legal size. "This," he said, "is the contract which a Mexican screen writer signs. The only contract!" I said that any writer offered a one-page contract either owns a piece of the company or is the producer's brother. "All Mexican screen writers sign this contract. All!" Furthermore, he said, it is the only contract which the Sindicato de Trabajadores, etc,, etc., as the parent organization of ever}film worker in the country will allow him to sign. And no waivers of anything in it. "Does it say in that contract that the writer shall be at his desk by 9 :30 every morning and remain until 5 :30, Pacific Standard Time?" "It says there," Portas answered, "that the writer agrees to deliver a script for a certain amount of money to be paid to him at certain stages of his work — and he works wherever he chooses — at the Mexico City race track or the bull-ring if he finds it more comfortable there." "You have a minimum salary for the screen writer?" "We do not call it salary, we call it compensation, And we call him not a screen writer but an adaptador as distinguished from the autor who sells original works that still need processing, to a producer. The minimum is 5,000 pesos, The maximum is not stated, and is of course not as high as in Hollywood, A good price for an original story or for making it into a shooting script is from 25,000 to 50,000 pesos. The screenplay is considered as valuable as the original property." Still a little bewildered at the brevity of the Mexican contract I asked Senor Portas whether there are any misunderstandings at times, due to vagueness. "One in a thousand. Let me read you from Clause Nine. Both parties agree that all points relating to observation, interpretation or execution of this contract shall be under the jurisdiction of the Federal Tribunals of Labor. In other words, the law of the land determines whether a contract has been fairly lived up to by either party." And I had been in Mexico long enough to understand that the Federal Tribunals of labor of the Mexican Republic have a paternal concern for the creative worker as well as the wage-trabajador. "In America," I told him, "when there are disputes we too have certain machinery for adjustment. Arbitration, conciliation, grievance committess. . . ." "Here in Mexico," offered Senor Bustamente, "we have one inter-industry group to settle those matters. It is called the Committee of Honor and Justice." He read me another delicious little clause from the Mexican contract: The producer agrees to respect the adaptation (screenplay) dealt with by this contract and not to modify, mutilate or make additions thereto without the written permission of the adaptador (screen writer) given through the Sindicato. "That means," I stuttered, "that after the producer has settled with the writer and kissed him off (con besos y embrasos) he can't mess around with the script! This is a little fantastic, senor." "You are assuming, Senor Kahn," Mr. Portas said, "that after the producer has paid money to the writer he has bought something. That, if I may say so, is a misapprehension. He has bought nothing. Nada!" And he quoted me from Clausula Cinco. (Clause Five) of the contract: The Sindicato assigns to the producer the literary rights to produce the production mentioned in this contract. This assignment of exclusive film rights will hold good for a period of five years after which time the author will resume absolute title and possession of his work. (Memo: Please send these gentlemen a copy of our American Authors Supplement.) It was clear from this clause referring to the five-year lease of the written work that the writers' section of the Sindicato is the repository of the copyright, holding it in trust for the author. And wThat happens after five years ? What about re-issues and remakes, I asked them. There are pictures playing in the States that are far older. Does the Mexican screen writer get additional compensation if his picture is re-issued or remade? "Seguro que si! Clausula Ocho. Listen; It is understood that when the film mentioned under this contract has been exhibited more than five years, counting from the date of the premiere, the producer shall pay the adaptador a bonus of not less than 50% of the sum (paid him for his work previously) without which payment the producer shall cease to exhibit the film. "Cease to exhibit the film!" I gasped. "What about the company getting its lawyers busy? Courts — injunctions — counter-injunctions!" "Hombre," said Mr. Bustamente with quiet tolerance, "what projectionist who is a member of the same Sindicato as the writer will turn the crank?" Hasta luego. Kahn. 38