
WGA screenwriting credit system - Tomte
https://en.wikipedia.org/wiki/WGA_screenwriting_credit_system
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nikcub
Famous example I remember is that Joss Whedon pretty much rewrote all the
dialog in _Speed_ but never got a writing credit[0] - apparently the rules are
written to prevent producers or directors adjusting a few lines to gain a
credit, but they don't take into account more substantial contributions.

Residuals are also paid to those credited, rather than those who worked as
consultants

[0] [http://www.huffingtonpost.com.au/entry/joss-whedon-
speed_n_5...](http://www.huffingtonpost.com.au/entry/joss-whedon-
speed_n_5473795)

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robryk
I'm not sure about US, but in many places a part of copyright that cannot be
given away is the right to be publicly named as an author of the work (in
particular, the right to prevent other people being falsely named as authors
of the work in public). If this is the case in US, I wonder what would happen
if an uncredited author of a screenplay would use that to protest the claim
made in the credits that she wasn't an author of that screenplay.

~~~
jccooper
That's part of the basket of "moral rights" that originated in Germany and
France. In the US, the tradition of being able to sell (or commission)
exclusive rights is seen as mostly incompatible with obligatory attribution.
There is an exception for, essentially, studio visual art:
[https://en.wikipedia.org/wiki/Visual_Artists_Rights_Act](https://en.wikipedia.org/wiki/Visual_Artists_Rights_Act)
and there appears to be some interest in extending it to other works. Other
moral rights (like false attribution) are covered in the US outside of
copyright law, such as via slander/libel or false advertising or tort.

~~~
Pulcinella
Yes. The US signed the Berne Convention. Signatories to the convention must
recognize Moral Rights. In practice the US's protection of moral rights are
much weaker than other countries. There is VARA for statues, paintings, and
certain photographs. For everything else the US just says, "no we totally
protect moral rights under already existing laws. Believe us."[1]

[1][http://ir.lawnet.fordham.edu/cgi/viewcontent.cgi?article=123...](http://ir.lawnet.fordham.edu/cgi/viewcontent.cgi?article=1239&context=iplj)

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danieltillett
I am not sure why this posted here, but I found it fascinating. I understand a
little better why writers are the only unionised "creatives" in the film and
TV industry.

~~~
CPLX
What do you mean? There's a producers guild, screen actors guild, musicians
union, AFTRA, and like a dozen others. It's a heavily unionized space.

~~~
danieltillett
The others might have guilds, but do they ever go on strike? A union that
never strikes is just a social club.

~~~
bboreham
[https://en.wikipedia.org/wiki/1942–44_musicians'_strike](https://en.wikipedia.org/wiki/1942–44_musicians'_strike)
[https://en.wikipedia.org/wiki/2003_Broadway_musicians_strike](https://en.wikipedia.org/wiki/2003_Broadway_musicians_strike)

~~~
danieltillett
Not much of win there in 2003. I did say in my OP the film and TV industry,
not stage and theatre.

There have been quite a number of theatre strikes by various unions over the
years. Everyone working together in person seems to make for a more militant
environment - or maybe theatre producers are just worse employers.

