Movie Contracts

I've been offered work as Cameraman / Editor on a horror flick. Can anyone tell me where I might find a suitable / adaptable contract that would, for example, ensure I got points off the finished project before the investors got their money back and / or make sure I got some points if I decided to leave the project or got chucked out before it was finished. Something to protect me from the sharks.

Thanks,
Phil.
 
I don't know of such a contract.

Those "sharks" are hiring you. Without them you wouldn't
even have a work as a cameraman/editor. I can't imagine
them offing you points before the investors make their
money back or if you get fired.

Good luck getting that kind of deal. Let us know if the sharks
agree.
 
I've been offered work as Cameraman / Editor on a horror flick.
That basically means you will NEVER get paid. Take money up front or walk away. People who have been doing crew work a long time never take back-end jobs because they know that it will never pan out. Even if the movie were to make money (1% chance?), there's sharks out there who will skip out on paying you, never give you a complete written accounting, etc. In fact, if you don't have a bullet proof contract you are basically powerless to do anything about it. Shady producers know this. Only a lawyer can know the in's and out's of these contracts.
 
I've been offered work as Cameraman / Editor on a horror flick. Can anyone tell me where I might find a suitable / adaptable contract that would, for example, ensure I got points off the finished project before the investors got their money back and / or make sure I got some points if I decided to leave the project or got chucked out before it was finished. Something to protect me from the sharks.

Thanks,
Phil.
Just tell them what your rate is for camera work and see if they meet it. What you do for them would be "work for hire," and likely just covered under a deal memo rather than a complicated contract. Basically you need to know in the deal memo is your work and pay schedules, whether you are an employee or independent contractor, what expenses (if any) you will have to outlay and get reimbursed for, if any travel and accommodations are paid for, and who is supplying equipment (you or them). I believe most camerapersons have a package rate when they use their own cameras, and get paid a flat per diem rate, and maybe overtime.

You might want a separate contract for your work as an editor, though, as that will require more of your time, and is more of a key creative position rather than crew. Editors usually get paid an hourly rate. Even if this is a small production, asking for two separate agreements is still a good way to go, but keep things simple or they'll just find someone else.

Definitely take whatever contracts/deal memos they offer you to an attorney who knows something about filmmaking for review, before you sign anything!

I find it curious that you've already considered leaving the project before you even started. Not a good way to approach a job.
 
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I've been offered work as Cameraman / Editor on a horror flick. Can anyone tell me where I might find a suitable / adaptable contract that would, for example, ensure I got points off the finished project before the investors got their money back and / or make sure I got some points if I decided to leave the project or got chucked out before it was finished. Something to protect me from the sharks.
Also when a producer promises you some of their points that they claim they are entitled to, think about what happens if they breach their contract with the investors, and as a result they are never entitled to ANY points. Then your points will definitely be worthless. There's a million reasons not to accept a points based payment in this shady business. Get paid up front.
 
I would say in normal circumstances get an Entertainment attorney to draw up a contract that allows you to own the film if they don't pay you. But looking at where you are at -Bangkok I would agree with BladeJones and get paid up front.
 
An attorney might put you in the hole $300 to $1,000 right off the top. Even with a "bullet proof" contract you could be left going after a producer who is broke. If they can't afford to pay you up front then they probably ARE broke, and most movies never see a profit. This is why people who know how things really work in this business only seek to get paid up front. Make sure you get paid weekly. I would even insist on getting paid bi-weekly (especially the final 2 weeks of work). Don't accept any excuse for failure to make timely payments for your work. I know of a "producer" who habitually skips out on paying people the last couple of weeks of shoots. I'd say you really have to be careful of those final 2 weeks of shooting.
 
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