[Fmpro] From the Job Poser We've been Discussing

[James Ryan]

I think a point that might be missed here is the humongous job of landing a
client to write for in the first place.  How many people on this list have
no trouble landing network TV clients?  Having been on both the writers side
and the prod company side in my career, there is an argument to be made for
the 50/50 split, when you consider the man hours on the phone day after day
to land this client, the lunches, the previous gigs done for them to build
confidence (fill in your laundry list here).  The new composer is walking
into a sweet and very difficult to come by situation that they did nothing
whatsoever to create.  That situation has tremendous real value and could
very well justify a split of this kind.  Perhaps over time, if the
relationship continues and prospers, you might argue adjusting the split,
but I personally have no problem with it as an initial offering.

On the other hand, I wouldn't write a five second ID for $100, leave alone
an orchestral score.   For those who want to break in to the business at a
very high level though, this might not be a bad way to start.

Just my $.02.

James


On 11/30/06 11:18 PM, "Pete" <musical411 at yahoo.com> wrote:

> Sorry, that IS taking advantage. If you didn't
> co-write it, you aren't entitled to 50% of the writers
> share! I'm surprised Mark allowed this Job Posting to
> go out. 
> 
> You can try to defend it all you want by pointing
> blame at the Producers, ASCAP, BMI, Other Composers,
> Garageband etc... At some point each individual has to
> take responsibility to do what's right for their
> Brother/Sister Composers!
> 
> P e t e
> S u r d o v a l
> 
>> We are not trying to take advantage of anyone in
>> this listing. Although we
>> generally do 50/50 splits on jobs we contract to
>> other composers...
> 
> 
>  
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