SUN TZU QUOTES'..."You have to believe in yourself."

Dumb Dog Production is a full-service Film Production Company. We hope you find the site informational and answers any questions you might have about the entertainment industry.

We do not claim that this site is a be all and means to an end, but to help guide and learn how the entertainment industry work.

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

Email: brucedumbdog@gmail.com Dumb Dog Production Phone: +1 319-930-7978 Dumb Dog Productions LLC / Bus Lic.: 5084725 https://dumbdogproductions.com/ https://dumbdogproductionsllc.blogspot.com/ https://www.facebook.com/DumbDogProductionsLLC/

Friday, March 8, 2019

HOW TO PAY YOURSELF IN AN LLC (In the Entertainment industry.)

LLC / Photo Credit: Score

HOW TO PAY YOURSELF IN AN LLC (In the Entertainment industry.)

Some people may think that being the owner of a Limited Liability Company (LLC) means you can pay yourself whatever you want. A million dollars per year sound good? Perfect, it’s automatically entered into your bank account! Of course that sounds incredible…but unfortunately, it is not reality.

Paying yourself as an owner of an LLC can be complicated, and there are tax consequences that come along with it. Keep in mind that you can only pay yourself an income based on the success of the business. You will not be able to pay yourself $10,000 a month if your business is only bringing in $5,000 each month in revenue. Plus, you have to consider the salary or hourly rates of other workers you may employ, as well as bills you must pay to keep the lights on.

You would be in a massive amount of debt if you were greedy and not flexible with your own income in this situation. As a business owner, your income may often be fluid — you could see some profitable months followed other months that aren’t as profitable. That is unfortunately part of owning and operating a business.

According to the Internal Revenue Service (IRS), compensating yourself for the work you are contributing to the business will depend on the business entity type you elect.

YOUR EMPLOYEE CLASSIFICATION
There are several ways you can classify yourself as an employee, and different tax specifications for each. Here are some of them:

Corporate Officer and Owner
An officer of a corporation is typically an employee who performs no services (or only minor services). This type of officer is not entitled to receive any pay. On the other hand, a corporate owner who conducts work in the business can receive a salary and will have to pay employment taxes.

Partner
A partner may go in on the business with one or more people, but they are considered more of an owner than an employee. The IRS details the following:

“A partnership must file an annual information return to report the income, deductions, gains, losses, etc., from its operations, but it does not pay income tax. Instead, it ‘passes through’ any profits or losses to its partners. Each partner includes his or her share of the partnership’s income or loss on his or her tax return. Partners are not employees and should not be issued a Form W-2. The partnership must furnish copies of Schedule K-1 (Form 1065) to the partners by the date Form 1065 is required to be filed, including extensions.”

Single-member LLC or Sole Proprietor
A single-member LLC or sole proprietor can draw funds out of their business at any time, meaning that they receive their “salary” directly out of the profits of the business. If you’re a sole proprietor or single-member owner, you’re not considered an employee who takes income in the form of a regular paycheck.

This also means no Social Security, Medicare, federal or state income taxes are directly withheld from your income. (Instead, you’ll have to pay an estimate of these manually to the IRS each quarter.) Your income comes from the profits of the business itself. If you are part of a multi-member LLC, it works a bit differently since you are taking a distribution of the business’ profits and sharing it between workers.

A DRAW
A ‘draw’ is a withdrawal of the LLC’s earnings. A member usually won’t take a draw unless there are profits.

A ‘guaranteed payment’ is money that a member takes out of the business whether there is a profit or not.

For income tax purposes you are charged with recognition of your LLC’s profits regardless of your draws. Tax recognition and flow of money are two separate things in an LLC.

Example:

If the LLC made a $20,000 profit, then you will report it through your Schedule C if the LLC is taxed as a sole proprietorship. You DO NOT report that same $20,000 a second time due to the fact that you withdrew it during the year as the owner’s draw.

In terms of showing your income to a bank, you can show them copies of your tax return which will have your Schedule C (or if you’re a multi-member LLC, copies of the 1065 and K-1).

HOW TO PAY YOURSELF IN AN LLC
By Brette Sember, Esq., Freelance writer; October 2016
Forming a limited liability company, or LLC, can be a great way to organize your company and protect yourself from liability. However, you still need to earn a living, so you may be wondering, how to pay myself from my LLC?

The two most common options are to treat yourself as an employee with wages, or to treat yourself as an LLC member and receive distribution from the profits.

Earn Wages as an Employee

Paying yourself from an LLC as an employee allows you to receive regular compensation that you can plan on throughout the year, which can be very helpful if you are seeking a regular income. To be able to pay yourself wages or a salary from your single member LLC or other LLC, you must be actively working in the business. You need to have an actual role with real responsibilities as an LLC owner.

Where there are multiple owners, if all of the LLC members participate equally in the operation of the business, you can't pay one a salary and not the others. However, if you are the only member that has a management role, you can pay yourself a salary without setting up salaries for the other participating LLC members.

Employee wages are considered operating expenses for the LLC and will be deducted from the LLC's profits. The IRS only allows reasonable wages as a deduction, so be sure any salary you pay yourself is within industry norms. You can also issue bonuses to LLC members who are employees, including yourself. Again, these must be reasonable related to the salary being paid.

You'll need to file IRS Form W-4 to determine the amount of payroll withholding from each paycheck you receive. The LLC will pay you as a W-2 employee and will withhold income and employment taxes from your paycheck. You will pay income tax on your wages earned.

Receive Distributions from LLC Profits

Another option for how to pay yourself in an LLC is to receive distributions of profits from the LLC each year. Each member owns a percentage of the LLC, called his or her capital account. Year-end profit distributions are made based on that percentage. So if the LLC had $100,000 in profit and you and the other member each own 50%, you can each receive $50,000.

You also could set up a draw to receive ongoing payments as a draw against the year-end profit. If you expect your percentage of the year-end profit to be $12,000, you could set up a draw to receive $1,000 each month. The total of all the draws throughout the year are deducted from the total year-end profit. So if your draw for the year totaled $12,000, but your share of the profit ends up being $15,000, then you would receive $3,000 at the end of the year.

If you are the only member of the LLC, you will pay income tax on your distributions and you will file Schedule C to report the profits and losses of the LLC with your personal tax return. If there is more than one member, the IRS treats the LLC as a partnership and you each report your share of the profit and pay income tax on that. The LLC will file IRS Form 1065 to report how profits are divided among the members.

It's important to note that receiving a salary and receiving year-end distributions are not mutually exclusive. If you get a paycheck, you're still a member of the LLC and entitled to your year-end distribution.

Work as an Independent Contractor

You may be thinking, are these the only options for paying myself from my LLC? A third option for LLC paying yourself is to hire yourself as an independent contractor, doing work for the LLC.

Here is an example: If you are a member of an LLC that prints signs, you can hire yourself as an independent contractor to do the graphic design for the signs. This type of arrangement may not offer as many benefits, though.

If you choose to pay yourself as a contractor, you need to file IRS Form W-9 with the LLC and the LLC will file an IRS Form 1099-MISC at the end of the year. You will be responsible for paying self-employment taxes on the amount earned.

Choose Not to Receive Payments

You also have the option to not pay yourself anything and to leave the profits in the LLC. You still will need to pay income tax on the profit earned, since the profits from your LLC pass through to your personal tax return.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Stack Exchange, Ken Davenport – The Producers Perspective, IRS, Incfile, Lisa Crocco, Brette Sember

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

LLC / Photo Credit: Score

REGISTERING YOUR SCRIPT WITH THE US COPYRIGHT OFFICE (In the Entertainment industry.)

US Copyright Office / Photo Credit: US Copyright Office

REGISTERING YOUR SCRIPT WITH THE US COPYRIGHT OFFICE (In the Entertainment industry.)

Copyright is a form of protection provided by the laws of the United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original work of authorship is a work that is independently created by a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either by or under the authority of an author) in a sufficiently permanent medium such that the work can be perceived, reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically from the moment the original work of authorship is fixed.

The Copyright Office is housed on the fourth floor of the James Madison Memorial Building of the Library of Congress, at 101 Independence Avenue, SE, in Washington, DC.


Advantages of Registering Your Copyright
The advantages of registering a copyright include the following:

1. Establishes a public record of the copyright holder's ownership.

2. Enables copyright holders to sue infringers in federal court.

3. If made before or within 5 years of publication, establishes sufficient evidence in court concerning the validity of the copyright and the facts stated in the copyright certificate.

4. If registration is made within 3 months of publication of the work or at any time prior to an infringement of the work, the copyright owner is entitled to seek statutory damages and attorney's fees in federal court. Without registration, only an award of actual damages and profits will be available, and these can be quite difficult to prove.

5. Allows the copyright owner to record the registration with U.S. Customs to protect against the importation of infringing copies into the US.

What Works Are Protected?

Examples of copyrightable works include
• Literary works…
• Musical works, including any accompanying words…
• Dramatic works, including any accompanying music...
• Pantomimes and choreographic works...
• Pictorial, graphic, and sculptural works…
• Motion pictures and other audiovisual works…
• Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds…
• Architectural works…

These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.”

The United States Copyright Office (sometimes abbreviated USCO), a part of the Library of Congress, is the official U.S. government body that maintains records of copyright registration in the United States including a Copyright Catalog. It is used by copyright title searchers who are attempting to clear a chain of title for copyrighted works.

The head of the Copyright Office is called the Register of Copyrights.

History
The United States Constitution gives Congress the power to enact laws establishing a system of copyright in the United States. The first federal copyright law, called the Copyright Act of 1790, was enacted in May 1790 (with the first work being registered within two weeks). Originally, claims were recorded by Clerks of U.S. district courts. In 1870, copyright functions were centralized in the Library of Congress under the direction of the then Librarian of Congress Ainsworth Rand Spofford. The Copyright Office became a separate department of the Library of Congress in 1897, and Thorvald Solberg was appointed the first Register of Copyrights.

As well as the US Copyright Office it is highly recommended that you register your project/material with the WGA-West, Writers Guild of America.

WGA-WEST, WRITERS GUILD OF AMERICA
No matter where you are located on the globe be smart and register your property before shopping or showing your idea (s) and any material. Once registered, please have a NDA - NON-DISCLOSURE AGREEMENT signed by anyone you show or present your material too, period. They don’t sign, you don’t show. Studios usually will not sign a NDA, for many legal and real reasons. So presenting to them can be a gamble. Let’s face it all they need is an idea and they can create from there and/or take a different direction or concept of an idea.

Always register your property with the WGAW Registry, which accepts stage plays, novels, books, short stories, poems, commercials, lyrics, drawings, music, working title, idea or concept and various media work such as Web series, code, and other digital content. A WGA registration documents the creation date.

The purpose of a WGA registration is to establish and document the completion date of the literary property and protect the writer from plagiarism or theft. With a constant flow of projects being pitched to executives on a daily basis, it is not uncommon for some concepts to become muddled over time until finally, their origins are completely lost. A writer must protect himself or herself against this by establishing a date of creation through the WGA registry.

Not only is WGA registration used as an evidentiary tool, but in the event of litigation, the WGA will provide one of their employees to appear and testify concerning the date of the registration. Registration is a small step that you can take to protect yourself and the good news is that the process is simple, quick and affordable. WGA registration is available to anyone, anywhere, whether or not you are a member of the WGA.

WGAW Registry
7000 West Third St.,
Los Angeles, CA 90048
(323) 782-4500
E-mail:   WGAW Registry

Registering Your Script with the WGA West   

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Stack Exchange, Ken Davenport – The Producers Perspective,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

US Copyright Office / Photo Credit: US Copyright Office

REGISTERING YOUR SCRIPT WITH THE WGA WEST – WRITERS GUILD OF AMERICA WEST (In the Entertainment industry.)

WGA West Logo / Photo Credit: Variety - WGA West

REGISTERING YOUR SCRIPT WITH THE WGA WEST – WRITERS GUILD OF AMERICA WEST (In the Entertainment industry.)
 

No matter where you are located on the globe be smart and register your property before shopping or showing your idea (s) and any material. Once registered, please have a NDA - NON-DISCLOSURE AGREEMENT signed by anyone you show or present your material too, period. They don’t sign, you don’t show. Studios usually will not sign a NDA, for many legal and real reasons. So presenting to them can be a gamble. Let’s face it all they need is an idea and they can create from there and/or take a different direction or concept of an idea.

Always register your property with the WGAW Registry, which accepts stage plays, novels, books, short stories, poems, commercials, lyrics, drawings, music, working title, idea or concept and various media work such as Web series, code, and other digital content. A WGA registration documents the creation date.

The purpose of a WGA registration is to establish and document the completion date of the literary property and protect the writer from plagiarism or theft. With a constant flow of projects being pitched to executives on a daily basis, it is not uncommon for some concepts to become muddled over time until finally, their origins are completely lost. A writer must protect himself or herself against this by establishing a date of creation through the WGA registry.

Not only is WGA registration used as an evidentiary tool, but in the event of litigation, the WGA will provide one of their employees to appear and testify concerning the date of the registration. Registration is a small step that you can take to protect yourself and the good news is that the process is simple, quick and affordable. WGA registration is available to anyone, anywhere, whether or not you are a member of the WGA.

As added protection register with the Library of Congress, U.S. Copyright Office.

WGAW Registry
7000 West Third St.,
Los Angeles, CA 90048
(323) 782-4500
E-mail:   WGAW Registry

Registering Your Script with the WGA West   

FOLLOWING TEXT IS STRAIGHT FROM THE AWESOME FOLKS AT THE WGA-WEST.

WHAT IS REGISTRATION?

Registering your work with the WGAW Registry documents the claim of authorship of a written work and does NOT take the place of registering with the Library of Congress, U.S. Copyright Office which primarily documents the ownership or rights of written work. While both create legal evidence that can be used in court, we recommend contacting the Library of Congress directly with any questions regarding COPYRIGHT procedures or practices.

When you register your script prior to submitting it to contests, agents, managers, or producers, you document your authorship on a given date should there be unauthorized usage...

Registration provides a dated record of the writer's claim to authorship of literary material. The WGAW Registry may produce the material as evidence if legal action is initiated.

WHAT CAN BE REGISTERED?

Any file may be registered to assist you in documenting the creation of your work. Some examples of registerable material include scripts, treatments, synopses, and outlines...

The WGAW Registry also accepts stage plays, novels, books, short stories, poems, commercials, lyrics, drawings, music and various media work such as Web series, code, and other digital content.

WHY WGA WEST REGISTRY?

As the world leader in screenplay registration, the WGAW Registry has been the industry standard in the creation of legal evidence for the protection of writers’ work since 1927...

The WGA West is the home to nearly 12,000 of Hollywood's leading TV and screenwriters, but you do not need to be a WGAW member to use this vital Guild service.

REGISTRATION DETAILS

PURPOSE AND COVERAGE
The WGAW Registry assists writers and other creators in establishing the completion dates of material written for the fields of radio, film, television, video, and interactive media.

Registration provides a dated record of the writer's claim to authorship of a particular literary material. If necessary a WGA employee may produce the material as evidence if legal or official Guild action is initiated.

The Registry does not make comparisons of registration deposits, bestow any statutory protections, or give legal advice. Submitted material is not read by the Registry or other WGAW staff.

REGISTERABLE MATERIAL

Any file may be registered to assist you in documenting the creation of your work. Some examples of registerable material include scripts, treatments, synopses, outlines, and written ideas specifically intended for radio, television and film, video cassettes/discs, or interactive media. The WGAW Registry also accepts stage plays, novels, books, short stories, poems, commercials, lyrics, drawings, music and various media work such as Web series, code, and other digital content.

REGISTERABLE FILE FORMATS

Preferred file formats are ASCII, XML, PDF (Adobe Acrobat), Word, Final Draft , and Movie Magic Screenwriter 2000; however, all file formats will be accepted. You will be prompted to select the file on your hard drive that you wish to register. Please note that only one file for each online registration request will be accepted. Currently the file size limit is 10 MB. Zip files are prohibited.

In addition, other screenplay software and standard computer file formats are acceptable. For example, graphics files in .tiff, .jpg, or other popular formats may be used to register work.

Make certain you are uploading the correct file and version of your material. All registrations are final upon submission and cannot be changed, substituted, or voided.

TITLES

Titles are not registered with the WGAW Registry, as they are not protected by registration. The title or filename is mainly used to identify material within specific registrant records. The Registry does not make comparisons of titles or record title changes for registered material. Title changes do not require re-registration of material.

When submitting material to agencies or companies, you may use any title that you prefer.

CHANGES TO MATERIAL

You may change your work as much as you prefer; however, when the storyline has been affected or changed extensively, it becomes new material and should be registered or documented again in some manner.

It is solely at your discretion to submit multiple drafts or completed drafts of the same work for registration. The Registry does not make comparisons of drafts or material content.

All submissions, including subsequent drafts of existing registrations, are considered completely separate registrations and should be submitted accordingly with the required fees.

VIRUSES

The online registration system will not accept files containing viruses. Registrants attempting to register online with a file containing a virus will be notified to clean the file and try the online transaction again. If the file cannot be cleaned, the Registry suggests registering by mail or in person. Any credit card charges from virus-laden transactions are reversed within three business days.

REGISTRATION FEES

Registration fees are $20 (U.S.) for the general public, $10 (U.S.) for WGA members in good standing. The online system accepts only Visa/MasterCard as a form of payment. You will be billed in your local currency if outside the U.S.

Registration fees for hardcopy materials are payable in cash, check, money order, or credit card (Visa/MasterCard). All fees paid either by check or money order must be payable in U.S. dollars, as well as drawn from a U.S. bank account. Checks and money orders may be payable to WGAW.

The Registry does not accept bank transfers of any kind, nor release bank account information under any circumstance.

Material and payment may be sent by mail or hand-delivered to the WGAW Registry, 7000 W. Third Street, Los Angeles, CA 90048. U.S.A.

DURATION AND EXPIRATION

Registration is valid for a term of five (5) years. Upon expiration, registration may be renewed for an additional five-year period at the current registration rate. Renewals will be accepted up to three (3) months prior to the expiration of the original registration. A grace period is extended allowing renewals as late as three (3) months following the expiration date.

At the time of registration, or renewal, you authorize the WGA to destroy the material without further notice to you on the expiration of the first term of registration or any renewal period.

IDENTIFYING REGISTERED WORK

Registrants may choose to identify registered material with the following language: "WGAW Registered" or "WGAW #_____" How and where you identify your material as being registered is completely at your discretion. You do not need permission to show your work as being registered.

ACCESS TO REGISTRATION INFORMATION

Only the writers listed on the registration receipt may request confirmation of registration, the registration number, date of deposit, or any other information.

The Registry will honor such written requests from writers regarding the registration of their own work(s) only if accompanied by photo identification. All verification or confirmation requests from a writer should contain as much specific information as possible, such as registration number, title of material, effective date, and social security number of writer, and may be submitted by facsimile, mail, or in person. The fax number for the Registry is (323) 782-4803.

In the event an author is deceased, proof of death and consent of the representative of the heirs and/or estate must be presented in order to obtain specific information regarding the material. The representative must provide court documents authenticating his or her claim as legal heir.

ACCESS TO COPIES OF DEPOSITED MATERIAL

Because the deposited material cannot be returned to the writer without defeating the purpose of registration, registered material may not be withdrawn. It is therefore important to always retain a separate copy of the material being registered.

If a writer finds it necessary to obtain a copy of deposited material, duplicates may be purchased for the price of registration upon written request by one or more of the listed authors, identified by photo ID. In the event an author is deceased, proof of death and consent of the representative of the heirs and/or estate must be presented in order to obtain a copy of the material.

Duplicates of online registrations will not be in paper form. Your online registration will be returned to you in an electronic format (CD) and sent via certified mail.

In no event, except under these provisions, shall any deposited material, copies of deposited material, or information regarding deposited material be provided unless an official guild action, court order, or other legal process has been served.

PRIVACY

The WGAW Registry has thoroughly evaluated the needs and security issues surrounding electronic submissions. The protection of your personal information is of the highest priority to the WGAW Registry.

Your personal information is requested for specific purposes and will be kept confidential. Unless you designate otherwise, it is only used in connection to your transaction(s) with the Registry and for information about the Registry, and it will not be disclosed to outside organizations for any purpose.

Only the writers listed on the registration record may request confirmation of registration, the registration number, date of deposit, or any other information. If necessary, a Registry employee may produce registration information or material in response to legal process or official Guild action.

The WGAW Registry will honor written requests from writers regarding the registration of their own work(s) only if accompanied by photo identification. All verification or confirmation requests from a writer should contain as much specific information as possible, such as registration number, title of material, effective date, and social security number of writer, and may be submitted by facsimile, mail, or in person. The fax number for the WGAW Registry is (323) 782-4803.

ADDING AUTHORS TO ONLINE SUBMISSIONS

If you add authors to your transaction, please do not type over the "Registrant/Author" or "Author 1" information. Instead, simply fill in the necessary information to the "Author 2" section. It is important to include all authors' information as part of the registration. Authors CANNOT be added to a registration record once it is completed.

SPECIAL CHARACTERS

Certain keyboard characters (such as colons, semicolons, hyphens, slashes, periods, etc) that appear in the filename may impede your ability to upload your file properly. Please be sure your filename has no special characters before registering online.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Stack Exchange, Ken Davenport – The Producers Perspective,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

WGA West Logo / Photo Credit: Variety - WGA West

Thursday, March 7, 2019

HOW TO WRITE MOVIE SCRIPTS – SOME BASICS (In the Entertainment industry.)

Script Page / Photo Credit: Script Studio

HOW TO WRITE MOVIE SCRIPTS – SOME BASICS (In the Entertainment industry.)

How to Write Movie Scripts - Some Basics

You can write a script without any prior experience, but bear in mind that your first may not be your best. Write a few practice scripts - these could be pretty short - before you send work to a director. If you're good at writing and language, that's a good start! Downloading and reading some of the best script/screenplays available in your genre is a great way of accessing and absorbing techniques and style.

How long does it usually take to complete a script?
This will depend on how fast you write, how much time you have to work on the script, and how long the script will be. Having the entire plot already outlined before you begin will help the process go by much faster. Short, simple scripts may take only a few hours, while longer, more complex scripts may take a few months.\

What is a script? 
  • An outline of the elements of a story for a visual medium…
  • The director’s interpretation of the story…
  • A concept for TV or movie… 
The world of film is extremely competitive. You may have the best movie idea of all time, but if your script isn’t formatted correctly, there’s a high chance it will never even get read. Follow these steps to maximize your chances of seeing your writing on the big screen.

Understand what a script is. The script, or screenplay, outlines all of the elements (audio, visual, behavior, and dialogue) that are required to tell a story through movies or TV.

A script is almost never the work of a single person. Instead, it will go through revisions and rewrites, and ultimately will be interpreted by the producers, directors, and actors…
Movies and TV are audiovisual mediums. This means that you will need to write your script in a way that encompasses the visual and auditory aspects of the story. Focus on writing pictures and sounds…

Read the scripts of some of your favorite movies. Find movie scripts online and decide what you like (and don’t like) about them. Get a feel for how the action is portrayed, dialogue is written, and characters are developed.

Flesh out your concept. Assuming you already have an idea you want to write about, sketch out all the necessary plot details, relationships, and personality traits that will guide your story. Which elements are the most integral to your concept? How do your characters interact and why? What’s your larger point? Are there any plot holes? Write notes addressing these points in any format you see fit.

Outline your story. Begin with a basic flow of your narrative. Focus on the conflict of the story; conflict drives drama. 
  • Keep length in mind. When in script format, each page is roughly one minute of screen time. The average length of a two-hour script is 120 pages. Dramas should be around the 2 hour mark, comedies should be shorter, around one and a half hours…
  • Also keep in mind that unless the writer is already known, has connections, or is extremely bankable, a long screenplay doesn’t have a realistic chance of getting picked up. If the story you need to tell can’t be condensed into less than two hours of screen time, you might be better off turning it into a novel… 
Write your story in three acts. The pillars of a screenplay are the Three Acts. Each act can operate independently, and when taken together provide the full arc of a story. 
  • Act One: This is the set-up for the story. Introduce the world and the characters. Set the tone of the story (comedy, action, romance, etc.). Introduce your protagonist, and begin exploring the conflict that will drive the story. Once the protagonist is set towards the objective, then Act Two begins. For dramas, Act One is typically 30 pages. For comedies, 24 pages…
  • Act Two: This act is the main portion of the story. The protagonist will encounter obstacles on the path to the resolution of the conflict. Subplots are typically introduced in the second act. Throughout the second act, the protagonist should be showing signs of change. For dramas, Act Two is typically 60 pages. For comedies, 48 pages…
  • Act Three: In the third act, the story reaches its resolution. The third act contains the twist of the story, and ends with the final confrontation of the objective. Because the story has already been established in the second act, the third act is much faster-paced and condensed. For dramas, Act Three is typically 30 pages. For comedies, 24 pages… 
Add sequences. Sequences are parts of the story that operate somewhat independently from the main conflict. They have a beginning, middle, and end. A typical sequence will be about 10 to 15 pages in length. A sequence tends to focus on a specific character. 
  • Sequences operate with a separate tension from the main story, and often affect how the main story will play out…. 
Start writing scenes. Scenes are the events of your movie. They take place in specific locations and always serve to drive story forward. If a scene does not do this, then it should be cut from the script. Scenes that serve no purpose will stick out in the audience’s mind as flaws, and will drag the story down.

Begin writing dialogue. Once you have scenes, you will have characters interacting. Dialogue can be one of the hardest things to write. Each character needs to have its own distinct, believable voice.

Realistic dialogue is not necessarily good dialogue. Dialogue should be focused on moving the story forward and developing characters. You should not worry about trying to capture reality with dialogue, because in reality conversations are often dull and lifeless…
Read your dialogue aloud. Does it sound halting, stereotyped, or over-the-top? Do all of your characters talk the same way?

Cut away the dead weight. Now that all your ideas are on paper, look for weak links, distractions, or anything that drags. Does the story ever get sidetracked? Are there unnecessary details or repetitions? Do you give your audience enough credit? If it over-explains or doesn’t move your story forward, cut it.

Show your finished work to a few friends. Choose people with different tastes and backgrounds to get a variety of opinions. Be sure to ask for the cold, hard truth; you want constructive criticism, not flattery or lies.

Revise your work as many times as necessary. This may be painful at first, but when all is said and done, you’ll be glad you took the time to properly convey your vision.

Formatting your script
Set your page size. Screenplays are written on 8 ½” x 11” paper, typically 3-hole punched. Top and bottom margins are set between .5” and 1”. The left margin is set to 1.2”-1.6” and the right margin is set between .5” and 1”. 
  • Page numbers go in the top right corner. The title page does not get numbered… 
Set your font. Screenplays are written in Courier 12 point font. This is mainly because of timing. One script page in Courier 12 is roughly one minute of screen time.

Format your script elements. There are several different parts of the script that require specific formatting so that they conform to industry standards: 
  • Scene Heading: This is also called a “slug line.” It sets the stage for the reader by describing the location. The scene heading is written in all caps. First, denote whether it is an interior or exterior scene by writing “INT.” or “EXT.” Then, follow that with the location, then the time of day. Never end a page with a scene heading, push it down to the next page….
  • Action: This is the descriptive text of the screenplay. Write in the present tense and an active voice. Keep the paragraphs short to hold the reader’s attention. A good paragraph size is 3-5 lines…
  • Character Name: Before dialogue starts, the character speaking is typed out in all caps and indented 3.5” from the left margin. The name can either be the character’s actual name, a description if the character is not named in the movie, or by occupation. If the character is speaking off screen, then “(O.S.)” is written next to the character name. If the character is narrating, “(V.O.)” for voice-over is written next to the name…
  • Dialogue: When a character is speaking, the dialogue is indented 2.5” from the left margin, and between 2-2.5” from the right. The dialogue goes directly beneath the character’s name…
Some of the script writing software out there:
  • Final Draft…
  • Celtx Adobe Story…
  • Fade In…
  • Movie Outline…
  • Page 2 Stage…
  • Sophocles…
  • Scripped…
  • Practical Scriptwriter…
Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Stack Exchange, Ken Davenport – The Producers Perspective,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Script Page / Photo Credit: Script Studio

WHAT IS A SHOOTING SCRIPT IN FILM? (In the Entertainment industry.)

Shooting Script / Photo Credit: Jake Carders as Media Studies Blog

WHAT IS A SHOOTING SCRIPT IN FILM? (In the Entertainment industry.)

What is a shooting script in film?

A shooting script is the version of a screenplay used during the production of a motion picture. Shooting scripts are distinct from spec scripts in that they make use of scene numbers (along with certain other formatting conventions described below), and they follow a well-defined set of procedures specifying how script revisions should be implemented and circulated.

It is used during the production process of your movie to help communicate the filming process to all crew members and actors involved.

The shooting script is more elaborate, precise, overwritten version of the screenplay. Unlike what common sense may suggest, the shooting script is not written by the screenwriter. It is written by the director alongside his cinematographer, while both discuss their ideas and shot plan desired for the movie.

In broad terms, the main difference between the screenplay and the shooting script is that the screenplay is a selling tool, whereas the shooting script is a production tool. The following factors make up a shooting script for the production portion of a film or television project.

Revisions

The first distinctive quality of a shooting script is to create, revise and update a script in a way that will help your crew members notice the changes consistently and effectively. This ensures that everyone involved will be on the same level once the filming process begins. Revisions are made distinctively by implementing eye-grabbing techniques such using different colored sheets of paper and revision symbols.

Revision Symbol

Another physical reference and way to inform your crew members of script revisions is to place a symbol in the corrected area. Most film studios implement asterisks and place them in the left hand side of the script page. This will help anyone searching for the newest revisions made on your script.

Date Updates

Once your revisions have been updated, the next procedure is to clearly state the revision date on the header of the script page. During the production of a film, several revisions will be created and handed out to crew members. With this revision date, it will keep all crew members on the same revision without any mess or confusion during the filming production.

Organized Order

The fourth quality of a shooting script is to organize the order of your script to be filmed. Many scripts enforce this form of organization by incorporating numbered scenes on the left hand margin of the script page. This is particularly helpful for crew members that set up equipment during the scene. In many shooting scripts, a detailed description of camera angles are also listed. By creating a film order, the technical crew members are now able to determine and estimate the time to assemble and disassemble equipment on the set. As a result, this keeps everyone on set involved in the filming process informed and updated.

Page Continuation

Another quality that makes up your shooting script involves and affects the dialogue for your actors. For instance, if the dialogue from one character in a particular scene does not fit in one page, the rest will carry on to the next page. Between each page will bridge the character’s name along with the word 'cont.' standing for continued. This is used because it helps ensure readers of this script that the character is still talking onto the next page. Another example of continuation involves the scene where the location and action takes place. This method also serves a link to fill in the gap from one page to the next.

By implementing this type of script, you will save time, money and avoid a lot of confusion along the way towards the completion of filming. This organized manner helps keep your crew members on the same page along with knowing the updates and revisions for scenes. With an organized shooting script comes a happy set free of confusion, worry and errors.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Stack Exchange, Ken Davenport – The Producers Perspective,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Shooting Script / Photo Credit: Jake Carders as Media Studies Blog

THE DIFFERENCE BETWEEN A SCRIPT AND A SCREENPLAY (In the Entertainment industry.)

Screenplay versus Script / Photo Credit: Scribendi

THE DIFFERENCE BETWEEN A SCRIPT AND A SCREENPLAY (In the Entertainment industry.)

The Difference between a Script and a Screenplay

The main difference between usage in the terms "screenplay" and "script" is the function of the document. However, since a script can also be a screen play, it is interchangeable in that way.

A screenplay is a script written for a screen, whether television or feature, but it's only used when the specifics of what's being worked on might be in question.

Formatting is very similar for both types of projects, the difference has to do more with pacing, the number of locations, acts and scenes than actual formatting differences. Also a stage play has only one edition of the script (unless it's a musical, in which case there's a second book for lyrics) where as a screenplay has editions for each technical role. Originally, the screenwriter prepares a 'writer's draft', but the director and/or cinematographer then produces a 'shooting script' which has more information that pertains to their jobs (such as what locations they're filming at, how often, how long, what's needed at those locations, etc.).

Depending on the complexities of the script, there may be several versions created for different departments and even cast members.

The bottom line is a screenplay is a script and the most readable one, the one a screenwriter produces, is the writer's draft (though that term is rarely used).

The script the actors use during filming is primarily dialogue with minimal stage direction. This is similar to the 'spec scripts' given to agents and producers to generate interest in the work. The primary focus here is on telling the story, the word and actions that convey the message. What sound effects or lighting effects that are important to the actor's performance are noted. But, anything not directly impacting the performance are generally left out.

The screenplay is the extra layer with everything that was left out of the script. It may very well be the 'shooting script' in most cases, which is less of an actor's tool and more of a director's tool. The screenplay includes those aspects of filming that are outside the actor's purview, things like camera angles and cut or fade instructions, effects that the audience will see but have no effect on the actor's performance while on set.

The reason the word 'screenplay' is not used much in live theater is because there are no special instructions for producing the work on a screen or in a film medium. The performance on stage is the entire performance. There are no camera angles or editing rooms. There's nothing extra that needs to be added to the script to make the final performance work for the audience. A screenplay is something that practically only has any value in a film medium.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Stack Exchange, Ken Davenport – The Producers Perspective,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Screenplay versus Script / Photo Credit: Scribendi

WHY DO ACTORS TAKE UNCREDITED ROLES? (In the Entertainment industry.)

Film Billing Credits / Photo Credit: Studio Binder – Bruce Bisbey WHY DO ACTORS TAKE UNCREDITED ROLES? (In the Entertainment industry....