On the 3rd Wednesday of every month the Bernard
Toale Gallery has donated their space to CID the
Center for Independent Documentary's newly renamed
project: The Filmmakers Workshop. CID executive
director Susi Walsh is willing to help.
On this occasion the filmmakers were drawn together
for this month's workshop on DIY Music Rights. The
events are always free with food and drink, and always
open to all working filmmakers.
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top: Seminar leader, Robin Hessman, at her console in the midst of the workshop.
middle: Seminar leader Robin Hessman, with the Filmmakers Workshop producers Tracy Heather Strain, Megan Gelstein, and Julie Mallozzi.
bottom: Local musician Brian Haley, filmmakers David M.Young, and Steven Croke attend at the Center for Independent Documentary’s Filmmaker’s Workshop at the Bernard Toale Gallery in Boston. |
When the producers were asked, "Why do you do
this?" Tracy Heath Strain responded in
collaboration with Megan Stein and Julie Mallozzi,
"We are focused on promoting support between
filmmakers, to share lessons, to inform; provide
useful information. And to create a community
environment where filmmakers can get together and feel
less isolated."
January's host Robin Hessman arrived with an
"It can be done and I've done it!"
standpoint. Robin, an experienced filmmaker, broke
from her busy work schedule to shares her lessons and
successes on being your own Sound Supervisor. The
number one problem: not budgeting funds to clear music
rights. The low-end is $500 to $5,000. Low and behold,
do it your self.
Hessman covered details on the hassle saving
process of hiring a composer, info on
what a Needle Drop Library is, how to build
bargaining power, delicate back doors such as personal
permission (write letter), how to receive 100 royalty
free CDs, the very important distinction between sync
rights, recording rights, and publishing rights, how a
single right can be held by more than one entity,
negotiating a rate based on 100% of song, the huge
benefits of including options, what "in
perpetuity" means, what Most Favored Nation
means, pre-1922 public domain subtleties, what
"Master Use Rights" are and how sometimes
they can be cheaper, why you are going to need
"Errors and Omissions Insurance", what
"Theatrical Rights" are, the importance of
listing "community use." Why you need to
decide on your territory, also "how long"
and "how many times" you need and use the
rights and why this must be understood in advance. Why
all of the above is necessary before you even contact
the publishers for the first time, for PBS use, for
foreign TV use, festival use, world wide festival use,
and what "All Media" means. Hessman directs
you to www.doculink.org. And if you make a film and
get your rights/licenses, Hessman reminds you to read
it! The license could be flawed. Different than what
you negotiated. This is correctable. It's important to
take good notes and save all communications
Here Hessman, who in the past directed her
supporting role online, gave her first public Music
Rights lecture. Transforming obstacles and budget woes
into it's possible to do it yourself, but you will
need at least two things: patience and persistence.
The (documentary filmmaker) self taught,
do-it-yourself, sound supervisor was organized. Notes
already printed-out for you upon arrival. She spoke of
warning signs, websites to look into, and the basic
step-by-step prep work to do. Her focus is on the
procedural skills that are needed prior to contacting
the publishers for licenses, noting legal support is
frequently necessary.
She exercised patience and ended with a Q&A
session, she added life-sensitive negotiating advice
and techniques accentuating the value of reaching a
human on the phone.
The producers of the series, Tracy Heath Strain,
Megan Stein, and Julie Mallozzi were no doubt happy
with the galleries newly acquired digital projector
and huge screen, also with advice, directing you to
the "Fair Use" issue www.current.org/,
centerforsocialmedia.org/.
The non-competitive air of community support was
uplifting. There was a relaxed, yet focused, energy.
Go see the site for the focus of the workshops will
change each month. If you need an incentive to visit,
get on the mailing list. www.motionmedia.org. What's
important is you are not alone here. There is a
community. "Don't give up" check out the
Filmmakers Workshop.
The varied artists in attendance shared their
reactions. Filmmaker David M. Young noted his respect
for all Susi and Fred have done to support filmmakers.
"It's Young and dynamic," said screenwriter
and playwright Debbie Wises, "It reminds me of
networks in NYC and London."
Brian Haley voiced the benefits of his attendance
as a musician. "I learned about the relationship
between a composer and filmmaker's budget,"
adding with laughter. "Hey, it's all about
love." Stephen Croke said, "Very
informative. I absolutely will come again!"
C.C. Arshagra is a poet and writer; you can learn
more about him at www.arshagra.com
