Posted on Jan. 16, 2020, 6:14 p.m.Updated on Jan 16, 2020 at 6:29 p.m.
The authors believe that their demands have been heard within the framework of the vast reform underway which aims to modify the rules of the game in the audiovisual sector. But they want more. This is in essence the message that the SACD (Society of Dramatic Songwriters) and its director general, Pascal Rogard, passed on Thursday to journalists.
The bill already gives pride of place to the authors. To the point that some professionals have called it “Rogard law”, in reference to the influence of the boss of the SACD in the media sector.
In addition to the transposition of the European copyright directive (obligation of transparency, etc.), it also provides that a work is not taken into account
in the investment obligations of television channels
and platforms like Netflix only if the rules of copyright are respected (moral right, for example, on the “cutting” of the work, and right to proportional income on the work).
At the same time, the allocation of aid from the National Center for Cinema and the Animated Image is linked to respect for copyright. “Clearly, there may be a sanction against the producer or the chain, explains Pascal Rogard. This will avoid drifts such as the transfer of authors’ rights for the universe and eternity. “
Another step forward in the reform: the authors will be involved
negotiations between producers and broadcasters
on the investment of television channels and platforms in French and European production. “Until now, we have been left out of many subjects. The chains would undoubtedly wish to continue small arrangements between friends… “ castigates Pascal Rogard.
This point made some chains cringe, worried that the authors could press to obtain other things in parallel discussions… However, the tension went down a notch as the government specified the field on which the authors can intervene (investment, distribution between original creation and adaptation, etc.).
Only here, if it is already good, this is clearly not enough … The SACD has thus alerted parliamentarians to the interest of setting up a framework for producer / author relations at individual level, with in particular minimum remuneration and payment schedules.
“Producers are very protected, but authors are not”, indicates Sophie Deschamps, president of the SACD, stressing that the average remuneration of the scriptwriters of a series in a production budget is 4%, against more than 10% for the producers (general expenses and remuneration).
Finally, the other great workhorse of Pascal Rogard concerns the closure of France 4, whose shutdown is scheduled for August 9. The SACD would like to extend the deadline by two years. This case is not won, the shareholder government of France Televisions having been fairly firm on this point.