The option provides for the provisions generated by the purchase of the play once the producer has merged his investors and his money. From time to time, a play is commissioned by a production organization, and in this case, the author will not work “on spec” and the notion of option will not see the light of day. The term in a purchase contract is for a short period of time. If the producer cannot deliver, the author can move on to another potential deal. But if the manufacturer is widely used with the project, the likelihood of other possibilities can be greatly reduced. It is understandable that some authors and screenwriters are reluctant to part with the audio-visual adaptation rights to their project. One possibility is to soften the agreement by offering an advisory role to the author. If that makes them happier, it could also be presented as an executive producer position. I would not offer it in advance, but only if the author is about to leave. When negotiating this role, make sure that the author is not able to interfere with your project: you are there for consultations and you should not need your consent for anything that lets you go beyond the option itself. Option time: The exclusive time limit is granted to the buyer for the exercise of the option. While the usual vehicle for controlling the rights of history is the option agreement, a trend among manufacturers is to use a new legal vehicle to freeze a writer`s creative rights.

Type the scene correctly — the purchase agreement. Then you can find out the rights you need from the author for your project. Do you plan a single program, TV series or streaming service or cinema launch followed by a LICENSE for TV or SVOD? If you`re not sure, the option agreement may offer some flexibility – most authors and agents will understand that you may not know it yet. However, a detailed plan shows you that you have properly evaluated their content and that you are serious about creating a film or series based on it. Shopping agreements give writers more control over their rights. In the option agreement, the producer is given an exclusive option to acquire the drama rights to the book (i.e. film and film rights) during the option period. This means that the manufacturer has exclusive control over these rights and cannot be circumvented during the option period (by anyone).

However, a purchase agreement allows the author to retain full control and ownership of the dramatic rights. The manufacturer can only purchase the project from selected buyers. Since obtaining financing for a film or obtaining a production commitment from a studio or television network takes so long, producers will generally apply for the right to extend the option by at least a second period of 12 to 18 months and sometimes for a third period of 12 to 18 months. I advise the authors to require that the manufacturer, in addition to paying for extensions, also demonstrate “progress in production” to expand the option. Purchase price: the largest payment due to the owner if the buyer exercises the option (opts for the purchase). The language of the contract should define the options with specificity. The author is paid for each option and extension. Often, the option fees are more than what the author received for the advance of the book and sometimes more than the royalties paid. The price of the option depends on the hardware too dependent on the option and the writer.