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I H E
SCREEN
WRITER
AND
TELEVISION
play once by television. For that right it pays $250. If the performance is sponsored by an advertiser, the author gets an extra $100. The contract also grants NBC the right to a single repeat broadcast, at $100 more, or $1 50 more if the second broadcast should be sponsored by an advertiser.
Although the amount of money involved in this contract is not large, the fact that NBC recognizes the author’s rights, and only leases the property for one or two telecasts, establishes the basis for what in the years to come will amount to millions of dollars which have heretofore gone into the pockets of studio owners, advertising agencies, broadcast¬ ing stations and independent producers. A one-shot telecast that becomes the basis for a motion picture or a play will no longer enrich the producer alone. The tremendous power of this new medium to create valuable literary properties over night will work to the benefit of the author as well as a radio network, advertising agency or producer.
Writers will occupy an important and highly remunerative role in television. The strength of our guilds and the lessons we have learned in radio, motion pictures, the theatre and publishing, will enable us for the first time to bargain on genuinely equitable terms.
★ ★ ★
A VERY RESPONSIBLE FELLOW
A member of the Screen Writers’ Guild had occasion last month to write
the following letter to the publisher of a certain trade paper which we are not
in the habit of reading. The letter read:
Dear Billy:
For years I have derived much information and considerable misinformation from The Hollywood Reporter. I am also indebted to you for a great deal of innocent amuse¬ ment contained in your impassioned editorials.
I am writing you today, however, with a heart overflowing with gratitude and trem¬ bling with hope. Something I read in your issue of Wednesday, July 17th, inclines me to the view that in your old age you are becoming mellow and an ancient hatchet is about to be buried.
In a very cordial review of Home Sweet Homicide, of which I wrote the screen play, I noted that after producer and director were duly credited by name your critic added the following pregnant and significant sentence: “The screen play was prepared by the fellow responsible for the teen-age Corliss Archer character.”
I think this is damn white of you, Billy, and I want you to know that I love you. Naturally, I am unable to sign this letter, but I feel sure you will be able to deduce that it comes from
The Fellow Responsible For The Teen-age Corliss Archer Character.
★ ★ ★
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