Foreign Royalties Owed to Canadian Directors

The Directors Rights Collective of Canada is an organization that collects residuals that accrue from foreign screenings of Canadian film and television.  I've received several hundred dollars for work I directed on Monster By Mistake.  The DRCC has money they have not been able to distribute as they cannot locate the directors.

The list is below.  Click on the images to enlarge.  I see the names of several animation directors from the NFB on the list as well as animation directors of TV series.

If you're on the list or know someone who is, contact the DRCC.  For the record, I have alerted Kaj Pindal, whose name is on the list.

Here's the email that accompanied the list:

The Directors Rights Collective of Canada (DRCC) is currently holding royalties for the attached list of directors derived from foreign broadcasts of their work. We have been unable to make contact with them in order to send them these funds. The attached list is comprehensive and includes directors for whom we are holding very little funds, to those for whom we are holding a substantial amount. The list includes estates for those directors who have passed as well as those for whom we believe we have contact information but have not responded. It is also possible that due to the small amount of royalties owing, we have not yet made efforts to contact them.


It is important for all audiovisual directors to be members of the DRCC, regardless of whether a director's work has received foreign broadcasts or not, and whether or not any royalties are currently owing. Membership ensures that they and their works are registered with us and the centralized collecting society database in Europe allowing for identification and subsequent distribution of royalties.

Membership to the DRCC is free with the proviso that once sufficient royalties are collected, a one-time $50 fee is deducted from those royalties. The membership form is also attached and can be submitted via email, fax or regular mail.

The DRCC has over 900 director members, working in all genres, living in Canada and abroad. The DRCC has agreements with 24 foreign collecting societies in Europe and Latin America. In 2012 alone the DRCC will distribute more than $620,000 worth of royalties to its membership. It pays to have rights.

We would appreciate any help you can provide in tracking down these directors so that we can be sure to pay out what is owing to them currently as well as any future royalties collected. Please have a look at the list and let us know of any contact information you may have. Also, feel free to pass the list on to others who may know or who may themselves be on the list. Any help is greatly appreciated.

Also, if you are receiving royalties from the Directors Guild of America (DGA) but are not a member of the DGA nor a resident of the USA, please contact us as there may be avoidable deductions to your payments taking place.


Sincerely,

Hans Engel
Manager
National Directors Division &
Directors Rights Collective of Canada
Directors Guild of Canada
111 Peter Street, #600
Toronto, Ontario M5V 2H1 Canada
 Tel: (416) 482-3825
Fax: (416) 482-6639
Toll Free: 1-888-972-0098
E-Mail:  hengel@dgc.ca
Website: www.dgc.ca



 

Comments

Post a Comment

Popular posts from this blog

Dumbo Part 11

Image
How many elephants in a pyramid? In shot 1, there are eight elephants standing around the ringmaster. In shot 4, there are seven around the ringmaster. In shot 23, the pyramid consists of six elephants. In shot 40.1, there are eight elephants in the pyramid. In shot 41.1, there are seven, as there are in shot 51.1. All of this takes place before they trip over Dumbo and scatter, so the number should be consistent. Hugh Fraser does excellent work in this sequence. He manages to capture the drawing and the personalities of the elephants in a manner consistent with Bill Tytla's work. He does that while dealing with multiple characters whose weight must be animated believably or the sequence loses its effectiveness. Shot 10.2. gets even more complicated with one of the elephants being swung towards and away from the camera, adding a size change to the rest of the difficulties. While Fraser has Tytla's work as a template, the animation challenges here are possibly great...
Read more

What Does A HOME, Mean To You?

By  Richard Brody   Most of us, have heard, the expression, A house, is not, a home, but, we often, pay far too little attention, to that, before we commit to purchasing a particular house. Wouldn't it make sense, if, we spent, a little more time, and effort, considering, what would make us, consider it, to be, a HOME, and what emotional, family, and personal considerations, and necessities, might differentiate between, simply living in some house, and truly, making it, a home, of our own? With that in mind, this article will attempt to briefly, review, consider, and discuss, using the mnemonic approach, some of the key components, involved, etc. 1. Human; humane; heart; heals; houses: A key difference, to consider, in advance, is beginning the process, by delving deeply, into our personal needs, etc, realistically, and based on our real, human priorities, including, whether, it will fulfill some of our humane - needs, such as how it might, address, family needs and consid...
Read more

Dumbo Part 7

Image
Once again, the principle of contrast is front and center here. The first half of the sequence is relaxed and heartwarming while the later half is tense and frightening. The bath section is really a musical sequence, though there are no lyrics. The animation has been tied tightly to the beat and melody of the music. Certainly that was a specialty of sequence director Wilfred Jackson. Animator Bill Tytla, himself the parent of a young son at the time, perfectly captures how a parent and child tease each other and play games, both secure in their loving relationship. One thing that makes their relationship obvious to the audience is the use of touch. Touch is a powerful way of communicating in life and on film. A caress, a pat on the back or a punch in the nose all communicate clearly. Mrs. Jumbo's trunk is there to wash her child, lift her child or caress it. Dumbo pulls on his mother's tail. The willing physical connection between the two makes their feelings for each ...
Read more