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A reminder for screen- and long-form TV writers of your rights during production.

(4/15/2022)

Whether you are a screenwriter who has already had a feature film made, or are looking forward to the time when you will, we’d like to remind you about the important creative rights provisions won by the Guild, and how you can implement them during your next project. Understanding your creative rights and contacting the Guild if the Company refuses to uphold them will help ensure you’re included during the filmmaking process.

Most creative rights for theatrical features and long-form TV—both in theaters and in streaming—are extremely time-sensitive. The only meaningful way to enforce these rights is through timely intervention. The following are various rights you should be aware of, and advocate for, when your script is being made into a film:

Meeting with the Director: You have the right to meet with the director to share your translation of your vision to the screen, and also have a meaningful discussion about how you can best work together. The producer will arrange this meeting between the director and currently employed writer. If there is not a currently employed writer, the director may choose to meet with any previously employed writer.

Sweepstakes Pitching: If you are being interviewed concerning possible employment on a project, you have the right to find out if any other writers, and how many, have been invited to pitch or be interviewed on the same project.

Cast Reading: You have the right to attend the first cast reading. A writer’s attendance at the cast reading may trigger ideas that will improve the script and circumvent problems that would otherwise emerge during production. Because this reading is a delicate moment for both director and performers, the director can exercise the discretion to include or exclude the writer.

Call Sheets and Staff Directories or Crew Lists: You have the right to be listed on the call sheet adjacent to the listing of either the producer(s) or director. Up to three writers can be listed and the Company shall send copies of the call sheets to the currently employed writer (or, if there is no currently employed writer, any previously employed writer[s] of the Company’s choice). Out of respect for and in recognition of the contribution of all participating writers on the project, all such writers shall be listed in staff directories/crew lists.

Set Visits: You have the right to visit the set during production. Upon your request, it is the preferred practice of the Company to arrange such a visit at an appropriate time. Because of the nature of the material being shot, confidentiality considerations, personal dynamics of the cast or other key personnel, or for a variety of other reasons, visits may not be appropriate at all times on some sets. For that reason, the director shall retain the discretion to approve any such visit.

Filmography/Press Kits and DVDs: It is very important that you submit your filmography to the advertising/publicity department at the Company as soon as you turn in your final writing submission. Credited writers’ filmographies will be included in the press kits and DVD, if such information is also included about the director. In addition, unless notified otherwise by the Company, the credited writers will be interviewed for the purpose of including additional material in the press kits and DVD if the Company interviews the director for the same purpose. You can often do your interview while on set. If you visit the set, be sure to ask if the Company’s unit publicist is available for this purpose. If the writing credits on the film have not been determined at the time interviews are conducted, the Company will interview the writer(s) it believes in good faith shall be entitled to writing credit.

Cast/Crew Events: You have the right to be invited to attend cast/crew events, but the Company is not required to provide transportation or accommodations.

Viewing Cut: You have the right to view a cut of the film in sufficient time to allow your suggestions to be implemented, if approved. If you are not invited to view a cut of the film before the picture is locked, you won’t have another chance to participate in that way.

Premiere/Festival and Press Junket: As a credited writer, you have the right to be invited to the domestic premiere or film festival at which the film is first exhibited, and the domestic press junket, unless notified otherwise by the Company. The Company will furnish transportation and accommodations as provided in Article 21 of the Theatrical and Television Basic Agreement if you are required to travel more than 150 miles to attend.

Videocassette/DVD: You have the right to be furnished, at no cost, a videocassette or DVD of the movie. Please specify your preference to the Company.

While some of these creative rights are subject to grievance and arbitration, the majority are subject to the Hot Line Dispute Resolution mechanism, as outlined in Article 48.E of the Minimum Basic Agreement. We continue to use information that writers provide to monitor Companies’ compliance with these provisions.

To read more about these and other creative rights provisions, please visit the WGAW website at Know Your Rights: Creative Rights for Theatrical and Long-Form Television Motion Pictures.

If you would like to attend an information session about these creative rights via Zoom, please email Creative Rights to inquire about the date of the next presentation. Zoom meetings on this topic are scheduled quarterly.

If you have questions or are experiencing any difficulties with a Company that is refusing to implement your creative rights under these provisions, please call the Creative Rights Department at (323) 782-4741 or send an email to: Creative Rights.