Alfons Emilian: Actor, director and music composer in San Antonio, Texas.

I found this 2019 article from CNN about master recordings -- whoever owns them, owns control. The same can be said about the book publishing industry.

While a publisher can help you get established in the industry, and it is a partnership, the bottom line is that the publisher keeps the rights. You essentially do all the work and then hand it over to a corporation in the hopes of continuing royalties.

While music keeps playing, books dry up.

In case you were wondering why Taylor Swift has gotten away with rerecording her albums -- it's the act of rerecording, perhaps different musicians, an extra song, or some other change-up is how one gets to create a new copyright.

In books, perhaps an update of non-fiction content with a title change. Or a fiction book introducing a new character or chapter.

I love what Chance the Rapper says in this article: After gaining early fame online, Chance the Rapper said he’ll “stick with SoundCloud until the day I die,” forgoing a record label so that he retains the rights to his music.

This is why I self-publish my books. Control is everything. I have three traditionally published books and the only way to own that content is to republish it with updated content.

The downside is control isn't cheap.

https://www.cnn.com/2019/07/01/business/taylor-swift-rights-trnd/index.html

Hi all - i recently received an offer to option my comedy! (yay!) 

Questions for all writers who have optioned their work: 

What are the options fees you received upfront? 

Has anyone been able to negotiate to keep publishing rights or other rights typically granted upon exercise?

Have you ever optioned a show and regretted it/or wished you had asked different questions or had clarity you didn't have? 

Is there anything you'd do differently for new agreements/tell others to do?

If you had a profit-sharing agreement what was the percentage like? 

*If you'd prefer to share these things in private - feel free to DM!**

This is my first show, but having had a lifetime of business partnerships to learn from,  I'm looking for ways to protect against the worst-case scenario and "be well-positioned for the best". Being a noob in this world though, I'd love others' experiences!

YESSS!!!  BLOOD SWEAT HONEY, the team behind The Blair Witch Project is interested in a screening of my horror project, LA LECHUZA.  This is what its all about.  From starting out as an Extra to making yourself a Lead.  From being tired of waiting for a call to making your own Indie Film when no one believed in you.  This is the moment I've been waiting for, a breakthrough into the Majors.  This is for those who stand alone and wish to become greater and make a name for yourself.  The American Dream is still alive and thriving if you keep striving.  BELIEVE IN YOURSELF and soon you shall ascend from the darkness to the Spotlight.  Coming to a close, GENIUS MODE on.  I feel Unstoppable.  Sprinkle some Magic dust.  Here we go!  Whoo-hoo!!!!! 

https://www.imdb.com/title/tt15553438/

Pretty excited finishing this self-financed Horror project. Took me over 2 years and now I'm finally coming to a close.  When you truly believe in something and wear most of the hats, you know how that feels.  What a relief!  Talking with distributors and hope to see this film in theaters soon:

https://www.youtube.com/watch?v=sIEGxUHG1WY

Awesome! "III DAY" is now streaming on TUBI. Check it out when you get a chance. Thanks for your support and wish you the best: https://tubitv.com/movies/722433/iii-day

Read your bio, really cool you worked with Kevin Smith.

As the Executive Director of the IIPG, I watch distribution trends and events closely. All independent film makers should. And if you do, I wonder what your thoughts are on this:  while theatrical attendance is still less than half what 2019 levels were, and the Thanksgiving bump has already dropped to below pre-Thanksgiving levels, the outlook is not good. However, among the MPA cartel, two players are preferring Spielberg for wide theatricial releases. First, his West Side Story remake with Disney is set for the only major studio theatrical release this Christmas, and second, his The Fabelmans with NBCUni is already set for a wide Thanksgiving 2022 release.   I link to Deadline articles about both below.

Given that theatrical is a zero sum game - in other words when one studio takes up screens, those screens - and thus the revenue and marketing effect are denied to others - what does this say about the actual outlook for cinema coming back? And about independent producer's access to the theatrical market which has effectively been entirely blocked in the last year? Thoughts?

https://deadline.com/2021/12/disney-hopes-for-long-holiday-dance-with-st...

https://deadline.com/2021/12/steven-spielbergs-the-fabelmans-based-on-fi...

Hello all, my name is Alfonso Vega and I'm seeking Distribution for "ILL DAY".  I have been approached by other distributors but I am keeping my options open.  The post-apocalyptic horror is about two brothers trying to survive the Pandemic and has won two awards for "Best Horror Feature".  I also have another Creature Feature in post-production entitled "LECHUZA".  I'm seeking Producers for my next action-packed Zombie Thriller.  Thank you for your time and look forward to networking.

https://vimeo.com/638488545 imdb.me/AlfonsoVega

My latest creature feature.  Really excited to finish this one:  https://vimeo.com/639179410