From the parking lot of Halloween Spirit.

(Remember the wigs! I forgot to buy my daughter a wig for her costume.)

Thursday, October 31st,

Hey Filmmaker,

Let’s talk ownership.

Not the feel-good, yeah-it’s-my-project kind of ownership.

I’m talking about real, legal ownership—rights, revenue, the whole deal.

If you’re going to pour your soul into a film, you need to keep control of it.

Period.

Because here’s the hard truth: Hollywood’s full of people ready to promise the world, but only if you sign it all away.

And if you’re not careful, that’s exactly what’ll happen.

You’ll end up on the sidelines of your own movie, watching someone else call the shots, collect the checks, and—if it does well—walk away with the rewards.

Hollywood is full of promises, but if you sign the wrong contract, you could lose control, miss out on revenue, and find yourself sidelined as others profit from your hard work.

Here’s why owning your film is essential and how you can protect yourself in a world where everyone wants a piece of the action.

THE MODERN FILMMAKER

This Issue: Don’t Sign Away Your Dream: Why Owning Your Film Is Non-Negotiable.

Last Issue: Mastering Group Dynamics: The Four Stages of Forming, Storming, Norming, and Performing.

On Sale Now: The Modern Filmmaker’s On Set Filmmaking Dictionary

So There I Was… (Story Time)

So there I was, meeting with a filmmaker fresh out of school.

He was buzzing with excitement about his new script, which had caught the interest of a major studio.

Money was on the table, the buzz was growing, and it looked like a dream come true.

But then came the contract.

The studio offered funding, but they wanted complete creative control.

They would choose the cast, make editorial changes, and dictate the final cut.

Buried in the legalese was a clause that would take all revenue rights, leaving him with a small fraction of profits, if any.

He signed anyway, thinking he’d find a way to make it work.

But he didn’t.

The film never got made, and his script was buried in the studio’s vault.

Seeing his experience was a wake-up call for me.

I decided that if I was going to make films, I was going to own them.

Because here’s the thing: Your film is your voice.

If you give up ownership, you risk losing control, creative freedom, and financial stability.

Here’s why owning your film is non-negotiable and what every filmmaker needs to know to protect their work.

Why Owning Your Film Is Non-Negotiable: The Key to Protecting Your Vision as a Filmmaker

Owning your film isn’t just a matter of pride—it’s a matter of survival.

When you own your work, you maintain control over its fate, from the storyline to the revenue it generates.

Here’s why every filmmaker should make ownership a priority:

1. Creative Freedom

When you retain ownership of your film, you keep creative control from start to finish.

You have the final say on the storyline, casting, visual style, and the countless decisions that define a film’s tone and message.

Without ownership, a studio or investor can take your story in directions you never intended, and you could be left watching someone else reinterpret your work.

The Matrix series directors Lana and Lilly Wachowski fought to retain creative control over their franchise, preserving the visionary elements that made it iconic.

If they had relinquished ownership, their sci-fi concepts might have been altered to suit executives’ ideas of “mainstream appeal.”

2. Revenue Rights

Revenue ownership is just as essential.

Filmmakers know the allure of a big upfront payout, especially when trying to break into the industry.

But giving up revenue rights can cost you far more in the long run.

When a film is successful, its real revenue often comes from royalties, licensing, and distribution deals—channels you lose access to if you don’t retain ownership.

George Lucas’s decision to retain merchandising rights for Star Wars allowed him to capitalize on the franchise’s success, ultimately building Lucasfilm. T

his decision turned Star Wars into one of the most profitable franchises in history and gave him the freedom to create future projects on his own terms.

3. Legacy and Influence

When you own your work, you’re not just creating a product—you’re building a legacy.

Ownership means you retain the ability to make decisions about future adaptations, sequels, and how your work will be remembered.

For a filmmaker, each film represents part of your career’s narrative, and retaining ownership lets you shape that narrative long-term.

Ava DuVernay owns the rights to many of her works, allowing her to stay true to her voice and advocate for stories that reflect diverse perspectives.

Maintaining control over her work has helped her build a brand that represents her values and vision.

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How to Protect Your Ownership in Filmmaking

In an industry where everyone wants control, holding onto your film’s ownership can be a battle.

But by understanding key strategies, you can protect your rights and retain the creative and financial benefits of your work. Here’s how:

1. Understand the Terms Before You Sign Anything

It sounds basic, but many filmmakers jump at the first contract without fully understanding the terms.

Don’t rush into a deal without knowing exactly what you’re agreeing to.

If necessary, hire an entertainment lawyer who can help you decode the fine print and protect your rights.

* Look out for phrases like “in perpetuity” or “exclusive rights.”

These terms often mean you’re giving up ownership for the foreseeable future.

2. Fight for Revenue Rights

Studios often offer an upfront payment and take most of the back-end profits.

To protect yourself, negotiate for a fair share of revenue across distribution channels—DVD, streaming, international rights, and syndication.

Don’t be afraid to push back for a deal that respects your future earnings.

* Insist on clear language around profit-sharing and consider adding performance-based bonuses.

The more clarity you have, the better protected you’ll be.

3. Take Control of the Production Process

The more you control the funding, the more you control your film’s future.

If you can secure independent funding, whether through crowdfunding or private investors, you retain autonomy.

By keeping financing in-house, you’re less likely to face demands from studios or investors looking to change your vision.

Clerks director Kevin Smith funded his debut film with credit cards to maintain creative control.

The risk paid off, and the film’s success allowed him to maintain ownership, launching his career and unique voice in the industry.

4. Limit Distribution Agreements

Distribution is essential, but long-term contracts can jeopardize your ownership.

Always avoid clauses that lock you into perpetual deals.

Shorter distribution agreements give you the option to revisit terms and renegotiate for future platforms as your film gains value.

Richard Linklater’s Dazed and Confused faced distribution issues, but because he retained rights, he could continue to earn from re-releases, streaming, and anniversary showings.

Red Flags to Watch for When Signing Ownership Deals

Certain red flags can indicate that a studio or investor is looking to take over more than you bargained for. Be cautious if you encounter these in negotiations:

* Demand for Full Creative Control: Investors who want the final say over edits, casting, or storytelling might end up steering your film in a direction you never intended.

* R