Put the success of Perfect strangers: eighteen million at the box office of the Italian, hundred and ten in the world, the winds remake. Who gains? All except the authors of the film. Because the remuneration that they receive screenwriters and directors, for a well-established practice that distorts the article 46 of the law on copyright, is not attached to the spread and success of their work. I write or direct a film, I am in full at the box office, but the money goes elsewhere. A contradiction. Where, however, there is the possibility of exit. Why is the european Directive on copyright, which must be transposed by the end of march, down the Italian practice in recognizing the authors and their rights, even economic.

Yet, from this match, which is essential for their future and for the future of the Italian audiovisual authors) are excluded. As mere spectators. “The Ministry of Cultural Heritage, there is a permanent committee on copyright that must study how to apply the Directive on copyright in Italy: and there is not even an author of the cinema and series”, report to the Republic Stefano Sardo , one of the creators of 1992, the president of 100autori the largest Italian association of professionals of the audiovisual sector. They are a part of established directors such as Daniele Luchetti . That tells us: “we are Not participating at the table in which it will be formulated in the Italian version of the directive. If you were to come out with a proposal that is not healthy, this injustice, then it means that someone wants us to miss a train: he will be born an inevitable protest.”

the Authors without rights. And without the voice to ask. But at what point is the transposition of the european directive? Explains that Sergio Giorcelli , the legal adviser to 100autori: “Here in Italy we’re at the stage of design scheme of delegated legislation: it is very full-bodied because currently, there are about twenty directives that must be implemented in a short time. The scheme of the bill the delegation is articulated, substantially with an article for each different directive to be transposed, and involves, therefore, all of the different ministries.” From the schema you will then pass to the design of the delegating law. At that point, each ministry has the power to issue a legislative decree. And the concern is to see what comes out. “Who is to the right of cashing the money in the world of streaming is not a question recently,” continues Giorcelli. In addition, the copyright directive also concerns the issue of big data, the use in the network of journalistic work. “Because the directive has these two sections are very different, the hope would be to divide them. It would take two decrees, one for the audiovisual industry and the other on the other of the big data: it would certainly a more rational”.

But behind the technical aspects, there is a fundamental question. If the audiovisual is one of the main vehicles through which a country’s law and tells himself, not to acknowledge to the authors, the rightful remuneration for their creations is to put into question the Country’s capacity to self represent himself. “As far as the tv series, we also the bouquet of the production was expanded thanks to the arrival of Sky, Netflix, Amazon, Tim Vision: the Rai-Mediaset duopoly has been broken”, or Sardinian. “But the industry has taken another road in which the author is not at the centre of everything, does not govern the product and this decision industrial limited the emergence of authors and winning ideas”. And even if the producers want to always have a portfolio of new ideas to present to the platforms, “the increase in demand did not translate into an increase in fees: in fact, there was a substantial reduction for each phase of the development. In addition to this, we, the authors have not any guarantee pension, no maternity leave, no right belonging to workers classified. The only way we have today to earn more is to take on many jobs, with the result that at the end we work worse on every project”.

And if an author decides to focus on quality, “so if I believe in a project and I feel that you will be able to launch my career, and if I decide to invest all my time, refusing other projects, this risk I will never be repaid even in the event of final success, why do not participate in the profits,” continues Wood. “Imagine Stephen King that does not take a dollar from the sales of En, or J. K. Rowling by Harry Potter: well, now you know what happens to we, the authors of cinema and tv in Italy”.

in Short, “if a movie goes well, or very well, the sharing of profits is zero,” says Luchetti. “Not as musicians, that instead of a percentage of the box office receipts of the film the take, as recognized, in spite of us authors. Not us, we do the directing, screenplay, coming up with a movie, but we have no right to participate in the success of the work”. And it is not just a matter of the young authors: “To participate in the success of the authors is in the interest of the whole industry, because it encourages to work better, to the audience and multiply the healthy projects”. Finally, the appeal: “it Is time to remedy this problem, it is a matter of justice, not a privilege. We have confidence in Nicholas Borelli , just back to the direction of the DG Cinema of the Mibact, because it is to keep a watch on this issues”.

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