Screenwriters Shouldn't Be Afraid Of Their Scripts Being Stolen - Mark Sanderson
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- เผยแพร่เมื่อ 12 พ.ค. 2020
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In this Film Courage video interview, Author/Screenwriter Mark Sanderson on Screenwriters Shouldn't Be Afraid Of Their Scripts Being Stolen.
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It’s kinda weird that he says people look at copyright like it’s something a rookie does and the studio has enough good ideas and wouldn’t need to steal yours. But to me it shows a person is taking their work serious, and taking the necessary steps to ensure the safety of their creation. I’m a 3D animator and I intend to create my vision entirely on my own. So I would say copyright’s are important.
Looks like I need to take my script off of Reddit, lol
hahah I know what you mean man, there's so many people down to script swap and help each other out there though x)
@@nitoy12489 Find a close circle of writer friends and share scripts.I wouldn't give your script to just anyone who wants to read it.
What would you do if another writer ghosts you after you swap scripts?
@@RVArmy-is1fy You'd probably be okay so long as you still have a copy. As long as you know who they are you can keep track (just in case you see your property circulating). I'm really inexperienced in this field of knowledge, but from this video I recall it not being too much of an issue so long as you retain who's looking at what.
@@AOKZMan I think I'll be fine too. I worry though. But, that's just my mental illness kicking in. Jokes aside, I do have a copy. And if it helps, I have the other, literally ten drafts, too. I appreciate your reply.
This is BS advice. The only memorable scene in Fast and Furious 2, was the torture scene in the hotel when they trapped a rat in a champagne cooler , put it on a mans chest and heated the closed end with a torch so the RAT ATE THROUGH THE MAN'S CHEST. That scene was STOLEN from me by JOHN SINGLETON after we worked together on "Baby Boy" starring Tyrese Gibson.
Last day of filming for me, I was leaving to join a Fox show, Singleton sends his assistant to ask me for the script John and I had talked briefly about. I send him said script the next day from the Fox lot, thinking that this provides a "paper trail'. A year and a half later I'm working on a TV series in Chicago called Prison Break, when I hear words I wrote coming from the television. The plot was totally different, the only similarity was the torture sequence so I knew I didn't have a case, which wouldn't have mattered even if they stole the whole plot if they are the side with money. See CLAYTON PRINCE and his lawsuit against LEE DANIELS for the THEFT of Clayton's script "CREAM" which was so identical to "EMPIRE" that when Empire premiered I called Clayton to congratulate him since I had in my possession the script Cream for years. CLAYTON JUST LOST HIS CASE AND EVEN HAS TO PAY DANIELS ATTORNEY FEES, the "trial" was a SHAM with judges acting out of their roles and becoming writing experts without letting actual experts testify.
DO NOT LISTEN TO THIS IMBECILE. PROTECT YOUR WORK in the hopes that it might help you.
The only way to protect your work for sure is to not show it to anyone. Like Shane Stanley said, make your own movie from the script you wrote instead of showing anyone. Me, I'm not showing anyone anything unless they pay up before reading it. Because I've had a few of my stories stolen from me and made into movies and if I'm the only one that can see my story then so be it.
They can try to steal my ideas or script but it wouldn't be the same without my vision and execution of the final product. It would be a totally different movie.
Right. Only you will have a unique version of your script because you wrote it. Execution is everything. That is why they hire writers for their particular "Barton Fink feel!"
AND IF THE RIGHT PEOPLE STEAL YOURS NO ONE WILL EVER KNOW ABOUT YOUR "VISION" BLAH BLAH BLAH . WAKE UP.
I'm going to quote My Father Here, Johnny, dont let them fcuk you..
Shane Stanley says the opposite and he actually did suffer a stolen screenplay.
th-cam.com/video/l-e5qjqT2Zo/w-d-xo.html
It's not your screenplay they steal, it's your ideas. I saw lines and characters that I've written, show up almost word for word, in another movie released twelve months later. Mad Max 2 was stolen from a New Zealand movie called "Battle Truck." is just one example of where this happens.
Charlie Brown yep I saw lines I wrote on a TV show I submitted too also. I know writers that have had scripts stolen. I think this guy is exaggerating a little.
@@probi99 Scripts stolen outright? And what did they do about it?
They sued. And they didn’t win... he complained about it for years. I will call him tomorrow and see if he still mentions it... lol
@@probi99 Ouch! Sorry to hear. That's a rough one for sure.
Charlie Brown wrote, “It's not your screenplay they steal, it's your ideas.”
Under US copyright law, “ideas” are *NEVER(!)* eligible for any type of copyright protection - you have to express the work to get it protected.
This is directly from the US Copyright Office: *Question: How do I protect my idea?*
*Answer: Copyright does not protect ideas, concepts, systems, or methods of doing something. You may express your ideas in writing or drawings and claim copyright in your description, but be aware that copyright will not protect the idea itself as revealed in your written or artistic work.* Source: www.copyright.gov/help/faq/faq-protect.html#idea
On the other hand, if you’re an author and your express a work into a script, screenplay, song, create a photography/film, etc. you receive an automatic copyright. The next step is to “register” your automatic copyright claim with the US Copyright Office, as that will help prove you created the work and own its corresponding copyright ownership. See 17 USC § 410 (Registration of claim and issuance of certificate).
If you want to protect your “ideas” from being exploited, you’ll have to get the people reading your scripts to sign a non-discloser agreement, and that will likely never happen if you have no-name recognition.
In my opinion, in the age where classic television/movies are being remade or rebooted, Hollywood studios don't seem to want original screenplays anymore. It is such a shame that the indie film market didn't last too long when it was a big deal in the 90s. I wish the indie film market would make a return as far as making movies is concerned. I am not a big fan of remakes and reboots. They only exist because of the new generation of moviegoers who haven't seen the original film. I would rather go the indie film route for the simple fact that we need more original stories told in film. And with the situations going on with the WGA in past years and the numerous strikes that writers had against them, I'd rather send them to the Copyright Office.
This was one of the first worries I had when I started writing screenplays, but I quickly learned that when you have other scripts you won't worry about one particular script idea being stolen. The more scripts you write, the more options you have in case of emergency.
Bingo, AJ. You can't base your life or career on one screenplay. Each script will have its own journey as you know. A solid body of work helps and we all look back on those early scripts and say, "What was I thinking?" LOL.
That makes no sense. Think of all the work, time, and energy, you put into that stolen script. Now you're out of a lot of potential money and writing credit. If someone steals your script, nobody but you knows who did it. Sure you may have other scripts, but what if they also get stolen? I don't get your comment.
I know that my mum got her graphic art stolen in the 1960's at a job interview in the TV industry ( Brisbane ) then a lot of very similar art design was around at the time, although she got no credit or work
"Don't be afraid but be afraid." I'm still confused. How do you win the lawsuit if you didn't formalize the copyright?
I’m with you. If I cannot prove that my idea was stolen via copyright, then why am I donating money? Every studio is going to make changes even if they work with you. Think I will just roll the dice and use my timestamp in the computer.
Literally about to copyright my script right now. He is making no legal sense
Imagine 5 different major studios stealing that same one idea and making the same movie?
Three Stooges ended up as Janitors. Janitors on the Hollywood lot they made their iconic show. Any Hollywood person tells you it doesn't matter if you protect your work, is not looking out for your best interest.
Yeah, I'm calling b******* on this too. There are just way too many examples of scripts being stolen.
@@stevebruns1833 I'd love to hear the examples. I have heard of a handful of stories. The estimates are 50,000 scripts/treatments registered with the WGA every year. There will be cross over ideas and spontaneous stories written without the writers knowing. Last year 35 specs sold in Hollywood. Is it we think it's rampant theft going on? Or do we have solid information? I would love to hear the many examples of outright theft of a screenplay. Not to subtle theft of elements which is much harder to prove.
@@MarkSandersonakaScriptcat The Terminator, stolen from Harlan Ellison, leaps to mind, and numerous examples are easily Google-able.
www.today.com/popculture/million-dollar-ideas-often-stolen-hollywood-wbna15641336
What if that one person you log, sends the script to other 100 people? Seriously. How do you keep track of that?
I'm not sure a production company would sent it to 100 other people. If they loved it, they would want to keep in close to the vest. You wouldn't be able to track it within the company per se, but one can go overboard with paranoia about it too. Just keep track of what companies you give it to and who has it or read it. We can't be afraid of showing our material to others.
I LOVE Avatar!
It means if it gets stolen, it can be traced back to the person you originally sent it to.
Folks: I don't care what this guy says, he's not an *Intellectual Property Lawyer!*
*ALWAYS COPYRIGHT YOUR STUFF!!!* Even if somehow he thinks it's a mark of being a non-pro,
*DO NOT TAKE THE CHANCE OF GETTING RIPPED OFF!!!*
If you watched the entire video, I never said DO NOT copyright your work or register it with the guild. I also didn't say it was the MARK OF A NON PRO - I said if you plaster your WGA registration number on your cover it does look like you are an amateur - nobody cared about your number. Producers assume you have take care of your business and your projects. Our chat was about the fact most beginning writers feel their work is so amazing they won't allow anyone to read it for fear of it being stolen.
@@MarkSandersonakaScriptcat :
Okay,.... A little bit of old Hollyweird Lore. You couldn't get your stuff even looked at if it wasn't *AGENT-REPRESENTED* nor if it wasn't *WGA-MEMBER SANCTIONED MATERIAL!!!* Some of that hasn't died out, either.
That's why newbie's will keep putting their WGA Number on the Script.
It's not that I wont share stuff, I just wont give it out if I hadn't Copyrighted it, first! *_>:(_*
This is the reason why I don't show my works anyone except who needs to see it... :)
Good decision for the long haul journey. Thanks for watching and joining the conversation. Hope your writing is going well.
@@MarkSandersonakaScriptcat indeed sir.. I have been seeing your name regularly sir... You a filmmaker...??
@@mohamedmubeen4583 Where have you seen my name? LOL! Yes, I am a screenwriter.
@@MarkSandersonakaScriptcat no.. Just across the comment section... Wow.. It's so amazing to talk to a professional screen writer...!!
Here's what he's not taking into account. Some may not be thinking deeply enough on this. When a script is not registered or copyrighted, YOU CAN NOT PROVE that it was stolen, therefore those cases never get reported. So his angle of "I never hear about it" may be skewed. So his assumption that it doesn't happen as much as you think MAY be due to the fact that people are taking advice like this and not registering scripts. And no "mailing yourself a your script" does not hold up in the United States court as proof of copyright. An old wives tale. The WGA register allow one to seek (proven) damages. a Copyright allows one to seek STATUTORY damages, AND attorney/ lawyer fees. That's the difference in why copyright over the WGA. 👌🏾 IT'S $55 to register your screenplay with copyright office. takes 10 min online. WHY WOULD YOU NOT JUST DO IT?? cause you wanna have faith that it doesn't happen?
his premise seems off about copyright. he says "the moment you sell it, you give up the copyright anyway". that's the problem. when something is stolen, it's NOT sold. am I missing something?
Get your scripts copyrighted it's only $50 through Library of Congress. Also what producers have constantly told me is that there are not a bunch of great ideas but a bunch of great writers.
*The US Copyright Office updated its registration fees on March 20, 2020:*
If you’re registering one published or un-published script where you’re the ONLY writer, that does NOT include any third-party contribution or Public Domain or licensed material, etc., and that’s NOT a work-for-hire project, then it’s $45 to register that one work via the on-line (eCO) system “Single Application”: th-cam.com/video/MkBiPQNDVBc/w-d-xo.html
For all other single works, including having co-writers, or using derivative works in your script. it’s $65 to register the work using the “Standard Application”: th-cam.com/video/6gNkssUfYas/w-d-xo.html
Yes the Library of Congress AND Writer's Guild of America. You need both.
@@squatch545 wrote, “Yes the Library of Congress [i.e., register with the US Copyright Office] AND Writer's Guild of America. You need both.”
If writers have extra funds, there’s no harm to register their screenplays with BOTH the US Copyright Office (USCO) and WGA.
If, however, a writer can only afford one registration fee, s/he should timely *(IMMEDIATELY!)* register with the USCO, as that provides them with the most *ROBUST* legal confirmation of their copyright authorship creation (government date stamp) & their copyright ownership claims to a US federal judge. Here’s the legal citation: 17 USC § 410 (Registration of claim and issuance of certificate) & 17 USC 506(e) (False Representation [Criminal Offenses]).
Joe Smith wrote, “You need both [USCO and WGA registrations].”
Curious, why do you need both registrations?
A WGA recorded-document does *NOT(!)* provide a writer with authority (“legal standing”) to pursue copyright infringers in federal court!
If a screen play was timely registered with the USCO, the issued copyright *“Certificate of Registration”* is an official LEGAL government document that *statutorily* provides the writer with *prima facie EVIDENCE (presumptive legal PROOF)* of their copyright authorship creation & their copyright ownership claims.
Do you keep track of everyone who reads your screenplays?
IF you don't YOU'RE AN IDIOT. Not only should you "keep track" of them but you should get SIGNED STATEMENTS FROM THEM saying that they read it. See Clayton Prince vs Lee Daniels and then join us in the REAL WORLD.
Keeping good records AND “timely” *REGISTERING* your script’s copyright with the US Copyright Office are critical! Watch JUST the first 20-seconds of Joshua Kaufman (Washington, DC copyright attorney litigator) video to understand why creatives need to timely register their copyrights: th-cam.com/video/cBOKkrleY3Y/w-d-xo.html
Honestly, I know it sounds self-absorbed, but I've spoken to about a half dozen people, strictly face to face, about an idea I have, for a twist in my story, that most of these people seem to agree might be "entirely" original. But because it's just a facet of the story I know that one of two things are likely to happen.
1. If I try to shop it around as TV show, which is how I envision it, then the idea could easily be taken and made into its "own thing" preventing me from getting points for originality when the idea is packaged for quick and easy resale to be produced and consumed before it can be reached by me in the natural progression of my own series.
To me, looking like a copycat and being mocked for it when you had an idea first is probably a worse fate to imagine than having your whole story straight up ripped.
2. I can be precious about the idea and attempt to write a novel, hardly a strong suit of mine, and hope that the cultural zeitgeist doesn't catch up with the idea naturally regardless, in an example of parallel thinking. Which I believe I already have some experience with, on one or two occasions.
futurestoryteller + I feel for you . However you said it yourself - you need to write the novel .
That point about pitches is accurate.
An old tried-and true way method of proving a "time frame" of when any work was written is to simply put whatever finished work (recording, novel, screenplay) into an envelope and mail it to yourself via Registered Mail. It will be dated and have a tracking number and you will have to sign for it when it arrives. When it arrives do NOT open it. Put it in a safe or in a safety deposit box and leave it there. That way you have a dated record of when you finished the work, should there ever be the need to prove your ownership of it.
Yes, old school and works great. E mails have a date too if you e mailed the script to yourself as a file might work. You'd have to check with an attorney on that.
DARKLYLIT what about picture on your phone. It’s dated and saved on iCloud?
@@saab2906 You would need to capture every page of the script. Saving a file is what you would need. The copyright holds up better in court as lawyers say. We can't be so afraid not to throw our material into the arena to compete, we just have to track it and be smart about who is reading it.
Mark Sanderson thank you and stay safe
DARKLYLIT wrote, “An old tried-and true way method of proving a "time frame" of when any work was written is to simply put whatever finished work (recording, novel, screenplay) into an envelope and mail it to yourself via Registered Mail….”
That’s incorrect! Your method is better known as the “poor man’s copyright.” Though there may be a few(???) international countries that accept the poor man’s copyright process, *it has NO legal authority in US Copyright Law -- it’s an on-going myth that just won’t die!*
When you write a script, you receive an automatic copyright. To enforce your automatic copyright and prove your authorship (and its date of creation) to a federal judge, it MUST(!) be “timely” registered with the US Copyright Office (USCO), either registered as an un-published work or registered within five-years of its first-date of publication. (To pursue statutory damages and potential recoupment of attorney fees and legal costs, the work must be registered before the infringement begins or within three-months of its first-publication).
It’s easy to challenge/defeat the poor man’s copyright protection: I’ve actually mailed myself a SASE by folding the seal into the letter. When needed, I can then take any script, place it into the unsealed envelop, and lick it shut, and use the two-year old US Post stamp date as my proof. You can also steam-open a sealed envelope.
When you mail your work in a SASE, all you’re proving is the US Post Office can mail a letter/package back to you.
I’m recalling Tad Crawford, copyright attorney, stating that in one particular copyright dispute, the defendant’s attorney accused the plaintiff (copyright owner) of tampering with the envelope. I’m certain all defendants will use this “tampering” argument to challenge copyright infringements.
FYI: Your sealed-stamped-self-addressed-envelop will NOT be opened in court; you’re IP attorney will have to open it in his/her office to review its evidentiary authenticity, and then what? Will your attorney have to be a witness? The court will dismiss your poor man’s copyright date/stamp claim without prejudice; to proceed, you’ll have to get your script registered with the USCO.
As the USCO states, “The practice of sending a copy of your own work to yourself is sometimes called a ‘poor man’s copyright.’ There is no provision in the copyright law regarding any such type of protection, and it is *NOT A SUBSTITUTE FOR REGISTRATION* [emphasis added]. Source: www.copyright.gov/help/faq/faq-general.html#poorman*
When completing a copyright registration application, you must check a box to *“certify”* to the best of your knowledge that all the information you’ve included is correct (i.e., who’s the creator of the work, who’s the copyright owner, date of creation, date of publication, etc.). If you knowingly lie or misrepresent a material issue, you’re subject up to a $2,500 FINE. Source 17 USC 506(e): False Representation [Criminal Offenses]). This certification is the vetting process to help prove your copyright authorship (and that permits you to sue infringers in federal court).
So, you help PROVE your copyright creation and corresponding copyright ownership by quickly registering it with the USCO. Mailing a seal letter to yourself or using any “time-standing protection” (like email) might make you feel better, but it will not hold up in federal court! To have legal standing, the court *MUST(!)* see your issued copyright Certificate of Registration to help prove your creation & ownership claims.
Instantly put your script online for everyone to see. That way you ensure the world knows you were first. In this day and age the backlash will be strong, the thief will likely not succeed. Or, the person whos work was stolen will have a public ledger and public support. This guys notion of tracking everyone who reads it is so oldschool. Nowadays its all about who makes it public first.
I've come to this conclusion as well its best to make it a short film then hopefully if received well get the funding to complete the film like other upcoming directors have I. E. Whiplash to name a few
Wanna know how to combat that? Easy, write it up as a treatment into a novella and publish it on Amazon. Public domain. Once they know it's up there nobody will think twice about stealing an idea. End of Story.
Why not just "publish" the script itself on any other website that allows you to retain the copyright to your work? Especially if you can set it to private? Even emailing the PDF to yourself should provide a record of that exact file logged into the server at the exact time it's sent. This should work, but people spread rumors that it doesn't. Neither side has any evidence regardless.
The truth is: one huge problem with this is the way some people who are looking to buy IPs react to learning you've given the story away to the Internet already.
@@futurestoryteller Futurestoryteller writes, “Even emailing the PDF to yourself should provide a record of that exact file logged into the server at the exact time it's sent.”
What you’ve described is a variation of the longstanding *“poor man’s copyright”* time-stamping myth. If you want to prove your script authorship and copyright ownership claim to a federal judge, infringers, licensees, and others, you have to timely “register” it with the US Copyright Office, either as an unpublished work or registered within five-years of its first-date of publication, as that will grant you with *prima facie evidence (aka presumptive legal proof) of your authorship.* See 17 USC § 410 (Registration of claim and issuance of certificate).
Futurestoryteller writes, “This should work, but people spread rumors that it doesn't. Neither side has any evidence regardless.
As the US Copyright Office states, *“The practice of sending a copy of your own work to yourself is sometimes called a ‘poor man’s copyright.’ There is no provision in the copyright law regarding any such type of protection, and it is *NOT A SUBSTITUTE FOR REGISTRATION* [emphasis added].* Source: www.copyright.gov/help/faq/faq-general.html#poorman*
@@cnlicnli Ah, well you are _very_ good at missing the point here. Let me start by asking you one simple question: are you a lawyer?
Because if you aren't I will happily explain to you where your blindspot is on the matter, as I see it, and if you *are* then perhaps instead you can explain some things to me that don't really add up.
@@cnlicnli I'm going to take this silence as a "No, I am not a lawyer" and ask you the most pertinent question anyway. Ever since 1978 it has been the law that once a work is completed it falls automatically under the copyright of its creator. The question is: if you _HAD_ to register your work with the US Copyright Office _before_ 1978, in order to protect your work from infringement, and you now have to _after_ 1978, in order to protect your work from infringement, then *exactly* what purpose does the "automatic copy "right" serve?
@@futurestoryteller “…then exactly what purpose does the "automatic copy "right" serve?”
Automatic copyrights have limited value.
I identify automatic copyrights as having *“passive”* copyright protection - they are not really enforceable.
Other than having DMCA rights to get the infringer’s ISP to remove your work from its on-line sites, your automatic copyright offers limited enforcement protection. And it can be challenging to get infringers to pay you money damages.
On the other hand, works timely registered with the USCO are afforded *“active”* copyright protection: You have immediate “legal standing” (the right to file a lawsuit); are granted presumptive proof; have the ability to pursue enhanced statutory money damages and attorney fees and legal costs against infringers; and can stop infringers from importing your unlicensed works into the US.
Registered works offer the copyright owner with many legal options: Do nothing; use DMCA; contact infringer to remove the work or for credit and link; write the infringer for money damages; or sue the infringer in federal court.
With your timely registration, you typically have LEVERAGE to push the infringer to settle out of court, assuming their use does not fall within Fair Use. If they don’t settle and the matter proceeds to court where you prevail, the infringer is subject to statutory damages and payment of your attorney fees. Most all copyright infringers will want to limit their financial exposure and settle out of court.
With timely registered works, something like 95%+ of all copyright infringements settle; it’s the rare exception for a copyright dispute to be adjudicated all the way to trial and verdict. Strong cases with registered copyright settle, as it’s simply too PRICEY to litigate.
In the US, an automatic copyright claim has limited effectiveness. It’s probably different in Europe.
It's interesting how Shane Stanley talks about the times he got ripped off, and this is guy is acting like that never happens. Hmmmmmm
All the times he got ripped off..... it was this guy. Bump. Bump. Buuuuuump!!!!!
I always wondered what happened with White House Down and Olympus Has Fallen. Them two releases just 2 or so months apart threw me for a loop. Unsolved mysteries. I hope one day there's a documentary on it.
Many times similar ideas are in production at the same time and it's not because someone ripped off the idea.
Sounds like good advice.
There are a few very reasonably cheap ways to keep up with that sort of record... FIRST, I'd recommend finding a secondhand (or third hand) yesteryear's PC and even if you get help with it, get a linux on it, because it only needs limited access online (updates and the like)... SO HP, Dell, Lenovo, are my top three picks for less trial and tribulations... Dell even has a line of computers that come with Linuxmint installed STOCK as an option... if you want to spend on that, BUT once downloaded to a USB stick, linux isn't difficult to get into, AND any competent PC software or IT guy or gal should be able to put a suitable image on a stick or thumbdrive for you... I got my first for less than twenty (20) bucks (USD)...
Next, figure out the databasing software, which really isn't difficult to learn. It involves setting up a "template form" for all the applicable information, and you should basically copy the fields from a GOOD example of a business card, to be filled out... AND add a "comments" field where you can add details not otherwise mentioned (like date and time).
I keep my databases (all of them) on an installed HDD harddrive, BUT I have it password protected and powered off in my tower 90% of the time (especially online)...
NOW, all you have to do is fill out your personal database fields with everything you need, including dates and times, or even specific people who might request a new draft or whatever, even if you've tried their company before...
You don't really have to sweat all the security softwares, VPN's, antivirus tech', and so on with linux. Set the firewall to "most recommended" and it's almost never going to chance getting infected. Those folks really know their work, and are proud to stand for free software (even relatively minimal) to be online and relatively safe... AND to do anything "administrative" on my PC (tower) you absolutely must open certain software and enter my admin password for EVERY BLOODY STEP... It's mildly inconvenient to do it that way, BUT it's more trouble than it's worth to anyone else, and you'll catch when a "new terminal" has been opened on your tool tray. It doesn't work any other way until YOU set it up for that...
BUT a lot of folks (writers too) like their Windows... It's okay. I understand that allure... BUT there's very little "too advanced" on linux to keep you from databasing and ALL those lessons are available for FREE online... Linux ALSO runs very well on older machines with limits to processing speed and memory or harddrive space. You can still get Chrome and Firefox (among others) to work fairly simply, and that's why I suggest a "yesteryear's" computer.
SO that's it. (TL/DR) : I keep track of a LOT by databasing. It allows me to even know before I send something twice to the same company... even if it was a different person in that company the first time. AND linux on a "cheapo" keeps me from giving online access to anything I don't want people messing with. ;o)
You can also mail it to yourself, but don't open it. Just proof of date.
Yup, even an e mail has a date on it, right?
@@MarkSandersonakaScriptcat People will claim courts don't take it seriously, which I find really funny considering just _how_ often courts demand emails in discovery.
Most of the claims around what does or doesn't work are rumors, and I'm not sure who is perpetuating them, or why. In other videos you'll find comments saying no one has "ever" won a lawsuit against a huge studio for stolen screenplays, because there are just too many reasons to settle a lawsuit, the most pertinent of which, for writers, being getting blacklisted as a "troublemaker." This is a paradox, because if "no one" wins a lawsuit then no one can tell you what works in a successful lawsuit. Suggesting that "more concerete" documentary evidence will get you more money in a settlement could itself be a baseless and overly presumptuous assumption, since these settlements are locked down, we can't know what motivated either party to settle besides a vague agreement to reconcile to avoid further litigation. Since that's what a settlement is by definition.
@@futurestoryteller Yes and probably protected under a NDA so they can't talk about the settlement or even what happened to the script. Yeah, e mails in court, right? You'd have to get a solid entertainment attorney, but the copyright at Library of Congress is a solid way. I did that for my spec that sold and in the contract it transferred the copyright for the script to the company. It became a "work for hire." Now scripts are like books with people buying them to read or collections of them to read. If they are produced in the DVD to read, the writer gets something, but that's showbiz. And when writing assignments, you never own the copyright as it's clearly a work for hire.
I love this channel
@James Miller Thanks for watching and commenting, James. It means a lot to know writers are watching and we are able to have conversations about the business of screenwriting.
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A friend of mine never lets anyone read his stuff without signing a contract...
For as long as I kept track i don't have to worry about my idea being stolen...even if I didn't do copyright ©️?
Yes, I keep records.
If they can steal the idea of which I cannot prove in court, what’s the purpose of the copyright?
These Rock!
ok, so you track people you sent them script, but if they do steal your script, what would you do, I don't understand this
In an industry where your word of mouth reputation is everything, no person or studio, big or small, wants to be suspected to stealing someone else's intellectual property. It goes against the big professionalism and respect for others everyone is expected to have working here
True, and my point it wouldn't be that blatant... it would be subtle and you would say, "Wow, that movie sounds eerily similar to my script." Now if the company never read your script, it could be the specter of similar ideas where many of the same ideas generate spontaneously and it's not from theft.
@Careful Icarus You don't know the inner culture of the industry.
@Careful Icarus The topic of this video is that Execs don't steal ideas. Similar ideas get produced for different reasons that include zeitgeist moments and trends of the time but they won't be stolen from under screenwriters. Are you deaf and blind or do you not want to admit you're wrong?
Thats why im wriing book instead of script
Христо Христов+ Damn I believe that is far safer.
I shared my personal story over voice chat with a stranger 2 years ago, and they stolen my concept to make two films in China in 2019 and 2020. The film didn’t give me any credits. What can I do to punch them?
This Guy: It's sort of an arrogant idea that my idea is soo genius that they're gonna steal it!
Also This Guy: Don't put it on the internet, they're gonna steal it.
No this guy said keep track of where you post your script so you know WHO is reading it. That is just common sense. Ideas are in the air and there are many similar ideas and stories floating around - it's HOW you execute them.
Interesting
☼ this is a gr8 one. but you have to put stuff out. but map whose reading it isnt crazy, if you can. nice.
I don't think that's correct about not worrying about registering your script with the Copyright Office before you send it out.
Yes, thought so. You get a lot more money from the lawsuit if the movie is successful.
If people don't steal from you, maybe you're not that good?
Just my opinion but this seems kind of contradictory. First he says don't copyright then he says be careful with your script. I guess it's a balancing act.
I never said DON'T copyright your script. If you do, know that if you sell it, you transfer the copyright to the company on your spec. There are other ways mentioned and it's always a good idea to protect your script and keep track of who reads it, but my point in answering the question is I find many writers are afraid of letting anyone read their work for fear of theft. Ideas can't be protected and similar ideas are turned into scripts all the time without theft. It happens where spontaneous good ideas are crafted into scripts. Thanks for joining the conversation.
To BEST protect your creative interests, *“register”* your script with the US Copyright Office (USCO) *BEFORE* you begin shopping it around, sharing, licensing, or posting it anywhere, as this will provide you with *prima facie evidence (presumptive legal proof)* of your copyright authorship, ownership, and official government date stamp (register your script as an un-published work).
You’ll feel more comfortable allowing others to read your script when it has being timely registered.
Though it may take months for the USCO to issue/mail you your copyright “Certificate of Registration,” the day the USCO “receives” your properly filled-out copyright registration application, your fee (either $45 or $65), and your deposit (copy of your script), that’s when it’s been “officially” registered (wait a couple of days to begin contacting buyers and keep robust records of everything, as Mark Sanderson noted).
If you like having problems in life, skip timely registering your copyright claims.
Translation- It happens
What if I sent my script to a director to read it and he ended up selling it as if it was his???
I'm no lawyer, but that would be a pretty good lawsuit.
a director would not steal your script bc he is professional and does not want to be labeled as a thief. Another writer might steal ideas from your script, but thats about it. Besides, the only way a director would read your script is if your are a good friend of his
Zakaria Bouiz writes, “What if I sent my script to a director to read it and he ended up selling it as if it was his???”
Register your scripts with the US Copyright Office (USCO) *BEFORE(!)* you start shopping it around or sharing it or licensing it or posting it on-line (register it as an un-published work).
You help *prove* that you wrote your script and own its corresponding copyright by quickly registering it with the USCO, as your granted *prima facie evidence (presumptive legal proof)* of your copyright authorship.
Oh no, I'd better take down that script on my website about a buddy cop pairing between fat tootsie and a sassy robot.
Hey, that's a good one! LOL!
I wonder how Rocky wasn’t stollen in a versions. They offered him up to 365k.
I copy write and register my work.
For the last time man, you copy~ _right_ your work, copy~ _writing_ is every character's job on "Mad Men." If you're making these kinds of mistakes this regularly in your writing then plastering your title page with registration marks is the least of your worries when it comes to evidentiating yourself as an amateur.
I really like this guy. So much experience
Thanks for watching and commenting, Melbourne. Hope your filmmaking is going well.
Stolen scripts come from newbies trying to break in. They are the most vulnerable but a copyrighted script is a mark of an amateur... so you shouldn’t do it... sounds like half-thought through malarkey.
We'd make more money off the lawsuit than we would on the screenplay? How many writers out there would have the finances required to take on Hollywood? copyright is not expensive. Put it in a sealed envelope. Send it registered mail to yourself, then when it arrives. DON'T OPEN IT. Voila.... Copyright.
It was meant to be a joke to put in in perspective. Protect your work, but be smart about it. Yes, the old school copyright. People also pay and send it to the copyright office in Washington, DC.
It's not a joke, people do pro bono legal work you know, especially if you've got a good case, they don't want the process to go on forever either and they'll try to get you to settle, but even with their back end cut, you'd almost certainly make more from a settlement than you would out of the gate for hire.
@@MarkSandersonakaScriptcat Sorry, didn't mean to tell _you_ what you were joking about. Maybe you can tell me if I'm right about this though. I can only imagine you'd accept a settlement under the circumstances if it made up for the damages of having the idea stolen in the first place.
@@futurestoryteller Sure the settlement would probably be more than the script sale if you were just starting out and no bidding war around the material. And they would probably want to settle and maybe give you a story credit or something. Nobody wants a lawsuit but at the same time, a writer who sues could get a negative reputation (Even if he/she were correct in suing) for possibly being a "problem." It's hard. You also might come up against producers who have known and worked together for years too. But it would probably be more of a producer who is a bottom feeder and not doing things the correct way.
Heard about this many times, and people say that doesn't work... No idea
the possibility of being 'databased' with a negative flag against your name - that must be a lingering fear for those getting their scripts out to companies.
Yes, that is why it's important to know who is reading your script for many reasons. You want to control that and keep track of that information. A bad review by someone could be told to another somewhere else and it's a small town and word gets around. Everyone knows someone who knows someone.
@@MarkSandersonakaScriptcat what do you think about script competitions? once you've entered, you clearly can't keep track of who's reading it)
@@alexjwebabou I think competitions are fine. It's their business to read scripts and judge them in a protected arena. It's different if you have a script posted online, anyone can be reading it.
Haha... I will take the lawsuit for sure. Maybe I can sue for the rights to be Director ;-)
Right? Maybe own the studio!
Is stealing a script like killing the goose laying the golden eggs?
You would think, right? I'd love to ask those who rip off ideas or elements of scripts. It's also probably because those who try or do it think they can get away with it - and some do. It's the subtle theft that is the hardest to pin down.
@@MarkSandersonakaScriptcat Seems like the subtle theft would be the least profitable, too, contrary to the belief that in Hollywood the value lies in the idea, not the execution.
The first screenplay I ever read was _Spring Breakers_ a couple months ago. There was an _amazing_ movie hiding in there. Shame it got put down harder than 'Ole Yeller.
Put an ISBN on it...
My advice- produce your own material
I teach meditation. People come to my talks and take notes, some one wrote a book of my ideas. I was even a character in a book, my name wasn't even changed. I find after working with me people say my ideas as if they were there own. I don't care. I have more ideas in a week then they have in a decade. As you can see I'm not a good writer. The only people worried about theft are those with few good ideas. Besides good ideas are worthless with some one who can bring them to fruition. That being said, don't be a sucker. Imagine what I just wrote with a decent editor. Haha