Television credits template

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Further, at the request of a participating writer, additional time to submit a statement may be granted by Television Credits staff within the time constraints for determination of credits. Such requests will not be unreasonably denied. If a participating writer submits a statement after the materials have been submitted to the Arbitration Committee, Television Credits staff will forward such statement to the Arbitration Committee provided such statement is received prior to a decision of the Arbitration Committee.

They are not provided to other participating writers, the Company or anyone else outside the credit determination process.

The identity of all participating writers and any functions they performed on the production, other than as writers, shall not be revealed to the Arbitration Committee. In the event that a dispute exists as to the authenticity, identification, sequence, authorship or completeness of any literary material to be considered in a credit arbitration, a Special Committee consisting of three members of the Television Credits Committee shall conduct a hearing at which all participating writers may present testimony and documentary evidence.

Such Special Committee is empowered to make a binding determination for purposes of submission of material to the arbiters. The following information and material is sent to each member of the Arbitration Committee by the Television Credits staff member administering the arbitration:. A statement of the issues to be determined by the Committee and any other relevant information as formulated by Television Credits staff.

Literary material, including scripts, stories, treatments, etc. Every draft need not be submitted. As has been the practice, where appropriate, only the final shooting script and not prior drafts will be submitted to the Arbitration Committee on behalf of the last participating writer. The literary material submitted to the Arbitration Committee includes material written by participating writers who are not seeking writing credit.

This is necessary so that the Arbitration Committee can separate out the contribution of a subsequent writer from that of a prior writer who is not seeking credit. Each member of the Arbitration Committee reads all the material submitted independent of the other two arbiters and makes a decision based on the guidelines for determining credits. Although the participating writers are encouraged to submit a statement to the Arbitration Committee advocating for a particular credit, the decision as to the appropriate credit must be based solely on the literary material submitted for the arbitration.

In the event the members of the Arbitration Committee are not in unanimous agreement, the Arbitration Committee and the Credit Arbitration Consultant will participate in a teleconference administered by the Television Credits staff member administering the arbitration. The members of the Arbitration Committee will discuss their decisions in an effort to achieve a unanimous decision. During the teleconference, the members of the Arbitration Committee shall not be informed as to the name or identity of the other members of the Committee.

If the Arbitration Committee is unable to reach a unanimous decision during the teleconference, the majority decision shall be deemed the decision of the Arbitration Committee. The decision of the Arbitration Committee shall be accepted as final and communicated by Television Credits staff to all interested parties.

No member of the Policy Review Board shall have an interest in the outcome of the credit determination. The function of the Policy Review Board is to determine whether or not, in the course of the credit determination, there has been any serious deviation from the policy of the Guild or the procedure as set forth in this Manual.

Availability of important literary or source material for valid reasons not previously available to the Arbitration Committee. Prior to the Policy Review Board hearing, writers requesting such Policy Review Board should submit a written statement to the Policy Review Board setting forth the grounds upon which the Policy Review Board is being requested i.

It is not necessary to bring an attorney to the Policy Review Board as the hearing is informal, although writers are free to do so if they so choose. In those cases where it is empowered to act, the Policy Review Board shall have the authority to direct the original Arbitration Committee to reconsider the case or to direct Television Credits staff to form a new Arbitration Committee. The Policy Review Board hearing must be held and its decision rendered within the time allowed for the arbitration under the provisions of the MBA.

The Television Credits staff member administering the arbitration shall write a letter to the Company and the participating writers notifying them of the final decision of the Arbitration Committee. No writer or Company shall be entitled to collect damages or shall be entitled to injunctive relief as a result of any decision of the committee with regard to credits.

The Guild and any writer signing any contract incorporating by reference or otherwise referring to this subparagraph or any writer consenting to the procedure set forth in this subparagraph shall not have any rights or claims of any nature against any Company growing out of or concerning any action of the Guild or its arbiters or any of them, or any determination of credits in the manner provided in this subparagraph, and all such rights or claims are hereby specifically waived.

If literary material covered under the MBA is written by one member of a team, separate and apart from the work of the team, such literary material shall be considered separate from the literary material by the team for purposes of assessing contributions to the final shooting script. Literary material is written material and shall include stories, adaptations, treatments, original treatments, scenarios, continuities, teleplays, screenplays, dialogue, scripts, sketches, plots, outlines, narrative synopses, routines, and narrations, and, for use in the production of television film, formats.

Not all assigned material is source material. For example, literary material written by prior participating writers and research material are not considered source material. This credit shall not be granted where there is source material of a story nature. However, biographical, newspaper and other factual sources may not necessarily deprive the writer of such credit. Story credit may not be shared by more than two writers. A teleplay consists of individual scenes and full dialogue or monologue including narration in connection therewith , and camera set-ups, if required, together with such prior treatment, basic adaptation, continuity, scenario and dialogue as shall be used in, and represent substantial contributions to, the final script.

Credit for teleplay will not be shared by more than two writers, except that in unusual cases, and solely as a result of a credit arbitration, the names of three writers or the names of three writing teams may be used. The limitation on the number of writers applies to all dramatic teleplays except multiple-story teleplays, revues, variety and audience participation shows. In each case the arbiters read any source material and all literary material provided to them in connection with the development of the final teleplay in order to assess the contribution of each writer to the final shooting script.

The relative contribution of writers to teleplay obviously cannot be determined by counting lines or even the number of pages to which a writer has contributed.

Arbiters must take into consideration the following elements in determining whether a writer is entitled to teleplay credit:. It is up to the Arbitration Committee to determine which of the above listed elements are most important to the overall values of the final teleplay in each particular case. It is possible to consider the writer of a story or treatment as eligible for teleplay credit, but only in those cases where the story or treatment is written in great detail, to an extent far beyond the customary requirements for a story or treatment.

It is not essential that the writer has contributed to all of the elements. It is because of the need to understand contributions to the teleplay as a whole that professional expertise is required on the part of the Arbitration Committee. For example, there have been instances in which every line of dialogue has been changed and still the Committee found no significant change in the teleplay as a whole. On the other hand, there have been instances where far fewer changes in dialogue have made a significant contribution to the teleplay as a whole.

In addition, a change in one portion of the script may be so significant that the entire teleplay is affected by it. It is because of the need to weigh the relative importance of these elements and to understand contributions to the teleplay as a whole that experience is required on the part of the Arbitration Committee, which in each case reads any source material and all of the writing which has been done in the development of the final teleplay in order to assess the contribution of each writer to the shooting script.

As a guideline for arbiters in cases involving a non-original teleplay based upon source material, it is a fundamental principle that selection of teleplay elements from the source material is a part of the creative process of writing the teleplay. See teleplay elements - Sec. See story elements - Sec. There is no limitation as to the number of writers who may share such credits. Credit for narration shall be accorded only to a writer other than the writer of a teleplay or story and teleplay.

Any form of credit not expressly described in this Manual shall be used only upon receipt of a waiver from the Guild. Fewer names and fewer types of credit enhance the value of all credits and the dignity of all writers.

For the purpose of credit determination, the following are considered to be production executives: producers, directors, story editors, story supervisors, or any other person who represents management in dealing with writers.

A production executive may not receive credit on the basis of work done as a member of a writing team, except as a member of a head-to-head collaboration on such terms as may be approved by the Board of Directors. As in all cases, decisions of Arbitration Committees are based solely upon literary material. Therefore, production executives, as well as other writers, should keep dated copies of all literary material written by them and submitted to the Company.

As such, those prior writers are entitled to participate in the credit determination process and are eligible to receive writing credit pursuant to the rules for determining writing credits. The material written by a prior writer s shall be considered literary material. However, the rules do not preclude a prior writer s from receiving both writing credit and a credit in the nature of a source material credit at the discretion of the Arbitration Committee. In the case of a remake, credit may be accorded to the credited writer s of the prior motion picture as follows:.

The Arbitration Committee can elect to give credited writer s from the original motion picture a writing credit only. In that instance, the credited writer s from the original motion picture cannot receive any more credit than they received on the original. In addition, the writer is guaranteed sequel payments for each episode in an episodic series. The potential economic importance of separated rights to a writer thus gives an arbitration for separated rights a special significance.

The — Theatrical and TV MBAs provide that where there are separated rights in a series, the Guild will determine which of the writers of the format, story, or story and teleplay is entitled to the separated rights including sequel payments or the proportion in which each shall share.

As to a serial or episodic series, such format sets forth the framework within which the central running characters will operate and which framework is intended to be repeated in each episode; the setting, theme, premise or general story line of the proposed serial or episodic series; and the central running characters which are distinct and identifiable, including detailed characterizations and the interplay of such characters.

It also may include one or more suggested story lines for individual episodes. A credited writer of the story or story and teleplay of the film s from which the series derives. A writer receiving only teleplay credit is not eligible to share separated rights. In the analysis of the material and in the determination of the ownership of the separated rights, the writer entitled thereto must, therefore, be either the writer of the format or a credited writer of the story ies from which the series derives, or both.

Closing Credits Order Pre-Crawl. The next sheet in the film credits worksheet lists out the typical ending credits prior to the full ending credit begin crawling. The pre-crawl credits highlight the key players involved in the project.

End Credits Order Crawl. The final sheet of the film credits worksheet spells out the remaining movie credits order by department and position. You'll learn:. Download your free film credits bundle Enter your email so we can send you the worksheet.

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