Film Musicians Secondary Markets Fund Marks 50th Anniversary

12/4/2021 8:00:00 PM

Film Musicians Secondary Markets Fund Marks 50th Anniversary

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Film Musicians Secondary Markets Fund Marks 50th Anniversary

The Film Musicians Secondary Markets Fund, which collects and distributes residuals to union musicians who play on films and TV shows, will mark its 50th anniversary in 2022. It’s become a fi…

, which collects and distributes residuals to union musicians who play on films and TV shows, will mark its 50th anniversary in 2022.According to executive director Kim Roberts Hedgpeth, this money constitutes about 1 percent of the so-called “producers’ gross receipts” from the sale of a film or TV show into a “secondary market”: free TV, cable TV, streaming services, home video or other venues. (Musicians are not entitled to share in profits from the original box office take.)

American Federation of MusiciansThe amounts range from a few hundred dollars to – in some cases, where older musicians have worked on many popular films – sums running into the hundreds of thousands.And that money is key for a professional player to survive in today’s marketplace, says

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Courtesy of Gemma La Mana/Fox The Film Musicians Secondary Markets Fund , which collects and distributes residuals to union musicians who play on films and TV shows, will mark its 50th anniversary in 2022.Torino Short Film Market kicked off its inaugural edition in November 2016, the young event already set a clear intention: To catapult new talents into the wider film industry.Torino Film Festival , where she accepted the Stella Della Mole Award for Artistic Innovation.Licorice Pizza , the 1970s coming of age film set entirely in the valley I know.

It’s become a financial lifeline for many musicians, from helping them to achieve financial security to being a primary income source during their retirement years. Every July 1, the FMSMF sends checks to nearly 17,000 working musicians, retired musicians, and the beneficiaries of musicians who’ve passed away. “Our job is to find these new talents that critics or audiences will later discover. According to executive director Kim Roberts Hedgpeth, this money constitutes about 1 percent of the so-called “producers’ gross receipts” from the sale of a film or TV show into a “secondary market”: free TV, cable TV, streaming services, home video or other venues.” “Back then, Italian women would exist mostly within the domestic world. (Musicians are not entitled to share in profits from the original box office take.” To do so, the young event put into a place what would become one its flagship initiatives – a feature pitch session called Oltrecorto (or Beyond the Short).) This all started around 1960 when producers wanted to sell their movies to TV but faced opposition from actors, writers, directors and craftspeople who asked to be repaid when their work appeared in another medium. The valley, ironically enough, is an easy place to get stuck in.

Producers came up with this concept — a small percentage of the profits from licensing the work — and it has become standard practice in the industry since that time. In recent years, such efforts have begun to bear fruit. This woman has given so much to cinema, perhaps unconsciously, she was so full of light, beautiful, has experienced so many things and then ended up alone, in a wheelchair and died in a hospice. The FMSMF functions as a middleman between the American Federation of Musicians (the union representing professional players) and the various studios, networks and independent producers who are signatories to AFM agreements calling for these payments. “We are a non-profit payroll house that acts like a multi-employer pension plan,” Hedgpeth explains. “Our goal is to offer a platform where people can meet, that they can use us as a tool,” says Vannucci. “We’re a one-stop shop. “It’s a wink at Fellini, who loved [dream sequences] very much,” said Bellucci, also mentioning her brief role in David Lynch’s “Twin Peaks,” in which she featured in the dreams of FBI deputy director Gordon Cole, played by Lynch himself. If you are a musician who did a score at Sony one day, at Fox another day, and at Warner Bros.” As a part of Torino Film Industry , which runs parallel to the Torino Film Festival, the short film market hosted 450 accredited attendees this year, while boasting new support from the Italian Trade Agency in order to expand its international profile. He treats the valley not as an existing cultural touchstone but as the place it truly is: A place that alternates between desolation and tight-knit communities, enveloped in a casual culture that lacks the intensity of the rest of Los Angeles.

another day, and your [initial] checks might be coming from all kinds of different places, when it comes to residuals, you only need to look for one check from us.” The amounts range from a few hundred dollars to – in some cases, where older musicians have worked on many popular films – sums running into the hundreds of thousands. 29 to Dec. If you have something strong to give, it doesn’t matter how long you are on the screen. The fund has seen an ever-growing allotment of money owed to the musicians. Back in 1988, it distributed about $10 million. 10 – although the market’s content library will remain available to buyers for the next sixth months. By 2000, the figure had grown to $43 million and in 2019 it broke the $100 million mark. “In the past, being beautiful was inseparable from being an actress. Magnolia also returns to the valley, focusing more on the mosaic of characters that inhabit it.

This year the amount was nearly $109 million (based on total collections from the producers of $124 million).” “There’s a real family feeling inside the community, so we think that letting people meet and mingle is way better than just sitting in a booth,” says Vannucci. “There is no question that the growth in residuals is primarily driven by streaming,” Hedgpeth points out. About 40 percent of the monies currently being collected represent streaming options, suggesting “more product is being moved into secondary markets to a greater extent than in prior years. The prize includes a €3,000 ($3,394) bounty and an exclusive acquisition for the Italian territory, and is eligible to the 16 projects TSFM selected for its XR section. “When I watch [‘Malèna’], I watch it with gratitude.” And that money is key for a professional player to survive in today’s marketplace, says Recording Musicians Association international president Marc Sazer. “When you’re first starting out, it’s an important enticement to a solid career,” he says. “This is a medium that requires lots of money and a different set of expertise, so we want to [be proactive about taking things forward]. The beauty in the valley comes from running distances where it feels like the land will never end.

“Once you’ve developed a career, it’s absolutely essential to be able to raise a family, have a home and lead a middle-class life.’ I went on to make my first French film ‘The Apartment,’ then my first American film ‘Under Suspicion’ with Morgan Freeman and Gene Hackman, and one day he called, saying: ‘Do you remember that film?’ I am tied to it in the most incredible way. And for thousands of retired musicians, it’s a fundamental part of their retirement. “When it comes to financing, does XR deserve a space for itself or to be included in all the other lines of financing for a region or a country? Should XR projects qualify for the same development grants open to what Italy calls ‘flat cinema’ or should they have separate lines of funding? That’s the big question going around Europe right now, and that’s what we’re looking to address.” Last year, in the midst of the pandemic when no one was working, Sazer adds, “the fund did something unprecedented and, frankly, heroic. They distributed that year’s residuals checks months early, and it literally saved people’s lives.” “With women, we sometimes look at each other and understand each other without words.” As Hedgpeth explains: “Musicians suddenly woke up one day and all their jobs were gone. Growing up is a deeply weird thing.

We were the only place that could provide some income to musicians who were just stranded when the industry shut down in March.” The FMSMF staff scrambled and, because they could actually still work in their Encino offices (having been declared “critical infrastructure” for the business, like the Screen Actors Guild), managed to issue checks on May 22 ahead of the traditional July 1 date. I love men, but women inspire me,” she said, pointing out that both sexes should really learn to communicate better. Courtesy of FMSMF Oboist Lara Wickes remembers getting her first FMSMF check in 2010. She was struggling to make a living as a professional musician, juggling recording dates, live performances and teaching. But she had played on the score for James Cameron’s blockbuster “Avatar,” and its sale to cable, DVD and other markets resulted in a $3,000 check, which was “huge” at the time, she recalls. You used to be forced to take on this role of a knight who has to save everyone from everything. When I tell people growing up in the valley is weird I often say “It’s hard to explain.

This money “makes our community better, more comfortable and more able to focus on music-making rather than just survival,” Wickes says. “It feels like I’ve made a much more meaningful contribution if I’m being compensated in a way that’s parallel to the actors and writers and so forth.” Music plays a major role in the artistic triumph or failure of any visual-media project, so for the musicians to share in any financial success is well deserved, execs say.” Compared to Mona Lisa by a member of the audience, Bellucci named Italian actresses as her biggest inspiration, from Anna Magnani to Sophia Loren, noting that she tries her best to remain level-headed. (Imagine, for example, “Titanic” minus James Horner’s Oscar-winning score, or “Jaws” without John Williams’ now-iconic shark theme, both recorded with L.A. Licorice Pizza resonates so strongly because of its skill in depicting the atmosphere of the valley when you’re young: Experiencing everything and processing nothing.

union players. We all need it.) Says AFM Local 47 President Stephanie O’Keefe: “The Film Musicians Secondary Markets Fund supports musicians in two very important ways. It allows musicians to share in the tangible profits of successful projects, but perhaps more importantly it recognizes their contributions to the great American art of filmmaking.” “Some of the best musicians in the world are here,” notes Dennis Dreith, who was administrator of the fund from 1999 to 2014. “The talent pool is incredible. When I saw Alana sitting alone on the curb, watching Gary and his friends dance in the dusk after a death-defying drive down the canyons, I saw that Licorice Pizza understands the isolation and chaos of my hometown, but also the humor and joy.

What you get in three hours (recording time) here would take you three or four times as long” in cheaper, mostly overseas, recording locales, he points out. Adds Wickes: “Everybody in the room, on any recording project, has spent tens of thousands of hours perfecting their craft in order to even be considered (for a recording session). “The best orchestras in the world are also the best-paid orchestras and that’s not a coincidence,” she notes. “A freelancer who does this work can make a salary that’s on par with a top-notch orchestra. And we’ve got to keep the standards as high as we can. The film ends with one of those rare moments where you finally feel at peace.

” Hedgpeth is constantly stressing to producers that “residuals payable to this fund won’t break the bank. It’s a small percentage. If the film doesn’t do well, the percentage is probably negligible. And if you’re paying $1 million in residuals, that means you’ve already made $100 million.” optional screen reader . Leila Jordan is the TV intern for Paste Magazine.