Together, we represent approximately 25,000 writers in 27 countries; together, we can best meet the challenges of our changing industry.

We plan to circulate periodic communiqués on matters of mutual interest in the areas of copyright, collective bargaining, collective licensing and the profile of the screenwriter.

Thanks to Raindance.org you can access of all of them online!

• The Writers Guild of America Awards
• The BAFA Film Awards
• The IFTA Awards
• The Berlin Film Festival Awards

Congratulations to all the screenwriters who won awards!

A major row on this delicate matter has erupted in Australia, according to a report in The Australian.

The Copyright Agency Limited (CAL), founded in 1989, is the Australian agency that collects money from institutions using copyrighted works. The newspaper alleged that CAL had paid itself more in salaries than it allocated to its authors and artists.

But the collection agency last year paid $9.4 million in salaries, compared with a $9.1m direct allocation for authors and artists.

Among the highest paid at CAL was its chief executive Jim Alexander, who earned more than $350,000 last year, while another senior staff member earned between $250,000 and $299,000, another between $200,000 and 249,000, and five others between $150,000 and $199,000. A further 21 staff earned between $100,000 and $149,000.

In addition, the agency spent more than $300,000 on travel for its top executives, including a trip for its three senior executives to an International Federation of Reproduction Rights Organisations conference in Barbados, and a trip for four employees and board members to the Beijing Writers Festival.

CAL responded angrily to the accusation with a rebuttal on its web site.

While it is true that only $9.1 million was paid directly to authors and artists, a further $75.9 million was paid to Australian publishers and then redistributed by publisher members to authors and artists under private contractual arrangements.  Indeed of the $114 million collected in 2008/9, 86% was paid to rightsholders.

As former ASA Executive Director Jeremy Fisher points out in the article, this system of direct and indirect payment is relatively opaque, and has the potential to lead to disputes between authors and publishers. That is why CAL is in the process of implementing a new distribution system, CALdirect, under which authors and publishers will be paid directly on the terms agreed privately between them. This system, which is specifically designed to allow authors and publishers the flexibility to implement individual agreements on a title-by-title basis, is a world first and places CAL at forefront of collecting agencies worldwide.

The article also suggests that CAL’s expenditure on salaries is disproportionately high. In fact CAL’s total operations budget in 2008/9 was $15.6 million, or 13.7% of total revenue. This marked a decrease in both real and percentage terms on the 2007/8 figure of $17.4 million, itself a decrease on the 2006/7 figure of $18.1 million, results achieved in the context of significant investment in developing CALdirect.

So the matter is not as straightforward as The Australian‘s article implies. However, I suspect most Australian writers would be delighted if their salaries were even a quarter of what the senior executives in CAL earn.

If you signed the Manifesto between February 2009 and January 2010, we may have lost your signature. Please do not hesitate to sign it again!

I’ve updated the site to different look, and the new banner is courtesy of the lovely Amélie Clement, who continues to work for the Federation of Screenwriters in Europe with dedication.

There is also a gallery section on the site, featuring photos from the conference, and the press section now contains links to articles that were written about the conference.

I hope it will bring back good memories of the conference, recall fellowship and solidarity, and serve as a reminder that there is much work yet to accomplish.

Recognising the limited resources of both organisations and the press of  many priorities but nonetheless determined to strengthen and deepen working relationships between our organisations in the interest of writers everywhere we have agreed that we will:

1. Establish an information system on the FSE and IAWG websites to keep member guilds of each organisation informed of the activities of the other.
2. Agree a system of exchange of information between guilds about topics of collective interest, by establishing and circulating a contact list of all the world’s writers’ guilds and by publishing and distributing an occasional global e-newsletter.
3. Arrange to have observers at one another’s meetings.
4. Set up a group to work together virtually to agree a glossary of basic terms related to writers, writing and their remuneration that could be agreed globally.
5. Set up a group to work together virtually that would agree basic terms in respect of writers’ credits that could be agreed globally.
6. Establish a joint campaign on the right to collective bargaining, beginning with an analysis of common problems.
7. Establish a joint campaign on the future of collecting societies in the digital world, starting with an analysis of the relationship of writers’ guilds to collecting societies worldwide.
8. Stand ready to support one another in the event of any crisis situation by appropriate solidarity activities.
9. Take note of the debates and conclusions of the first World Conference of Screenwriters.
10. Initiate a discussion about the desirability and practicality of establishing a global organisation for screenwriters.

Stories influence our behaviour and shape our culture. They help us understand. Stories can conquer fear. Stories have power. As screenwriters, the storytellers of our time, we are conscious of our role and our responsibility and we have met to make sure that we can continue our work in the new environment.

The creative and financial challenges which we face, can only be met if we join forces and work together. We insist on the individual capacity of every one of the twenty five thousand screenwriters, whose representatives are gathered here, to see and understand the world in their own way and to reflect that unique perspective in their stories. We exult in the knowledge that individual creativity is what brings us together to defend and assert our common rights and goals.

We endorse the ambitions and intentions of the Charter of the FSE, the Charter of the IAWG and the Manifesto of the European Screenwriters.

We demand the right of screenwriters everywhere to be acknowledged as an author of the audiovisual work which they have written and to be fairly compensated for each and every use made of their work.

In pursuit of these objectives we will engage in active collaboration on campaigns that seek to achieve our common goals.

We pledge to work together to defend and extend the rights of writers for the screen.

Agreed and Signed on Saturday 7th November 2009 in Athens at the conclusion of the first World Conference of Screenwriters :

Christina Kallas
President
Federation des Scenaristes en Europe/Federation of Screenwriters in Europe

Michael Winship
Chair
International Affiliation of Writers’ Guilds

Enjoy a drink with your colleagues before you say goodbye.

WRITERS RESPONSE I: Interventions on writers issues
• Chuck Slocum, associate executive director of the WGA West will outline the American deal following the strike
Robert Staats, managing director of VG Wort will examine the complex question of reciprocity and multi-territory licences
• Cécile Despringre, executive director of SAA, the new organisation of Audiovisual Authors’ collective management societies in Europe, will talk about European collective management societies’ collaboration to improve writers’ remuneration
• Maureen Parker, executive director of WGC will discuss the issue of collection from the writers perspective looking at how and what to collect? How can writers best arrange to collect what is paid to them?

The following panel will run from 3.30pm – 4.30pm.

WRITERS RESPONSE II: What are the key issues for writers?
What are the key issues for writers in the context of the scenarios outlined over the last day and an half? How can writers enhance their status worldwide?
• Lowell Peterson, executive director of WGA East (chair)
• Tim Pye, president of the AWG
• Bernie Corbett, general secretary of the WGGB
• Peter Henning, board member of the VDD
• Daniele Cesarano, president of SACT
• Olivier Lorelle, president of UGS
• Marcilio Moraes, president of the Screenwriters Association of Brazil
• Leora Kamenetzky, chair of the Scriptwriters Guild of Israel

A coffee break will last until 5pm, and the final session will last until 5.30pm.

Closing session: GLOBAL RESPONSE
• Christina Kallas, president of the FSE
• Michael Winship, chair of IAWG/President of WGA East

Lars Boom

Lars Boom has been writing since 1990 for television, film and theatre.

In theatre he has written musical plays like the award-winning In the shadow of Brel (about Jacques Brel through the eyes of his driver and friend Jojo) and two libretti for opera: Van Gilse and Slauerhoff, the Dutch poet.

Lars has also written about 100 episodes for comedy serials such as: Zeg ‘ns Aaa, Oppassen, Victorie, Sam Sam, Flodder, Bradaz and Sprint; drama and police serials Westenwind, DOK 12 en Baantjer; and a variety of drama formats for companies like Eyeworks and Endemol.

His feature film screenplays include Frans, a man with mental damage who runs away with his favourite pig because of the swine flu, and Rikshawboy, a romantic comedy about a Rikshawboy from India who becomes a cyclist in The Netherlands.

The first session will take place from 9.30am – 10.45am

CONGLOMERATES AND OTHER PLAYERS I: Role of the multinational conglomerates in the digital future
Will the multinational conglomerates continue to dominate production and distribution worldwide or will the telecoms, ISPs etc. step in in the digital world? Will smaller companies have any real opportunities in the context of lower production costs and lower costs to enter online distribution? Will independent producers, sales agents, distributors, broadcasters and other players change their behaviour in response?
• David Kavanagh, FSE board member (chair)
• Cameron McCracken, deputy managing director of Pathe
• Frederik Stege, head of legal affairs of TrustNordisk
• Chuck Slocum, assistant executive director of WGA West

Immediately afterward, from 10.45am – 11.30am:

CONGLOMERATES & OTHER PLAYERS II:Interventions

• Jacqueline Woodman, executive director of the AWG will consider whether the aspirations of the multinational conglomerates can be understood through an examination of trade agreements particularly bilateral agreements.
• Dr. Eva Inés Obergfell, professor of law at the RWTH Aachen University will address the issue of how consumers will pay for product – the German Green proposal for a flat rate for culture and other models.

The coffee break is from 11.30am to noon.

Followed by the next panel from noon to 1.30pm:

SECOND DEBATE: Has the independent production model failed?
Has the Independent Producers System Failed and What Are the Alternatives? Development i.e. Notes and Moral Rights – How Do we develop and does it ensure Original Writing?
• Gino Ventriglia, FSE board member (chair)
• Milcho Manchevski, writer/director, Razvan Radulescu, writer, Peter Mohan, writer/producer, Jan Sardi, writer, Stefano Rulli/Nicola Lusuardi, writers, Robin Swicord, writer, Larry Karaszewski, writer

Lunch will take place from 1.30pm – 2.30pm.

At times people became passionate about the subject, which is a good reaction, because this is something in which we are invested: artistically for some, and commercially for others. And, as always, the clash happens when the two worlds of creativity and finance collide.

Hopefully, tomorrow we can engage further on the topics and explore solutions.

The conference twitter hashtag is #wcos and the twitter stream can be followed here live. Several of the participants have been posting their thoughts on the panels, and you can expect more tomorrow.

FIRST DEBATE: Working with directors
(the first of two debates on issues of particular interest to writers)
Whose film is it anyway and what does it matter?
• Stanislav Semerdjiev, FSE board member (chair)
• Srdjan Koljevic, Peter Hedges, Scott Alexander, Guillaume Laurant, Guy Hibbert, Sergio Sanchez, Mateo Gil, Olivia Hetreed, writers

The following discussion will run from 3.30pm – 4.15pm

DISTRIBUTION I: New distribution methods and the implications for writers
Digitisation and the net have changed distribution of content. What are the implications of the changed distribution structures for production in general and how does this impact writers?
• Rebecca Schechter, president of the WGC (chair)
• Arvind David, producer and CEO of Slingshot Studios
• Lucinda Engelhart, head of production at Aramid Capital
• Julian Friedmann, agent
• Fred Breinersdorfer, writer

There will be a coffee break from 4.15pm – 4.45pm.

The last dicussion of the day will take place from 4.45pm – 5.30m.

DISTRIBUTION II: Interventions on distribution issues
• Anita Ondine, founder of Seize the Media, will make a presentation on the different possible models for monetisation of the internet. Will it be advertising supported, streaming, subscription?
• Tilman Scheel, CEO of Europe’s Finest will look at the digital future of cinema and TV distribution.

There are no other events planned for the day.

Christina Kallas introduces the conference

Due to the traffic in Athens the conference is running approximately half an hour late.

We’re only a hour into the event, and already many serious issues facing screenwriters across the globe are being delved into.

Christina Kallas, president of the FSE, and Michael Winship, President of the WGA (East), introduced the event and welcomed the participants.

Those of you who are following the conference on twitter, should check out the #wcos twitter stream, to which several members of the conference are contributing.

The low light comined with my average camera meant that they are good for viewing on the web only.I spotted a number of fancy gadgets among the conference members so I’m sure many of you took better quality images.

Feel free to upload your favourite pictures to Facebook. If you wish to add pictures to the Picasa Album, and have a Google account, then drop me an email to wcosblog [at] gmail.com and I’ll enable sharing on the album.

Or send the images to me at that email address and I’ll add it to the blog myself – make sure you let me know what attribution you would like.

I like this picture because of the juxaposition of the old Athens city under the shiny New Acropolis Museum, with screenwriters as a conduit in between.

The first session will begin at 9.30am and run until 10.30am

Opening session: GLOBAL CHALLENGE
Welcoming speeches and opening of the conference
• Representatives of the Greek Government and Government Agencies
• Michael Winship, chair of IAWG/president of WGA East
• Christina Kallas, president of the FSE

The next panel will run from 10.30am – 11.30am

PRODUCTION I: Global trends in production
An assessment of global trends in production for cinema and television – volume of production, budgets, how the production will be funded and how (and when) this will change in the digital age.
• Sven Baldvinnson, vice president of the FSE (chair)
• Michael Gubbins, film industry analyst and former Screen International editor
• Caterina d’Amico, CEO of RAI Cinema
• Jonathan Davis, coordinator of the EFAD
• David N. Weiss, writer

There will be a break for coffee from 11.30am  – noon.

The last session before lunch will run from noon until 1.30pm.

PRODUCTION II: Interventions on production related issues
•Yomi Ayeni, creative lead of Expanding Universe will discuss writing and producing for the net: new formats, new dramaturgies, new procedures.
•Kelly Sweeney, head of original productions at Bebo will address new decision making for production and the building of new audiences.
•Alison Taylor & Peter Mohan, writers, will address the role and form of drama for television considering such questions as: will reality continue to be important; will the pilot season model in the US continue; will seasons of half hour or one hour drama continue to be the structure and the reality and future of the “created by” (showrunner) model.

Lunch will occur from 1.30pm – 2.30pm

Francesco Ranieri Martinotti

Francesco is a film director, an independent producer and recently the director of Festivals such as France Odeon in Florence.

He started in the industry in the ‘90s and with his production company Iterfilm, and its films quickly won several awards, such as two David di Donatello, a Nastro d’Argento, the Prix du Jury at Montreal and the Prix du Publique at the Annecy Festival. His first feature film Abissinia (1993) also participated at the Cannes Film Festival and at the Sundance Film Festival.

His other films include Downdelions (1990), Artichokes will grow in Mimongo as writer and co-director with Fulvio Ottaviano (1997), Gills (1999), Ti lascio perché ti amo troppo (2007), and La seconda volta non si scorda mai (2008)

He is an active member of A.N.A.C. (Italian Author’s Guild) and co-founder of Venice Days, the new section of the Venice Film Festival.

Buses will take you to a short excursion at the Acropolis and the Parthenon, followed by a special tour and reception at the New Acropolis Museum. Further details are available on the social events section.

Please be considerate of your colleagues and the deadlines involved, and arrive on time.

This is one event for which you don’t want to miss the bus!

Marcilio Moraes

Marcílio was born in Petrópolis, Rio de Janeiro, Brazil, and writes short stories, novels and screenplays for television.

He has written for famous Brazilian soap operas (known as telenovels) like Roque Santeiro, Noivas de Copabacana, Mandala, and Roda de Fogo among others.

Recently he has written for the television series Vidas Opostas (2006 – 2007) and the sixteen-episode crime drama Lei e o Crime (2009).

He is also the President of the Associação dos Roteiristas (Screen Writers Guild).