Preamble

We, the members of the Caucus for Producers, Writers & Directors, believe that the American public is deserving of and entitled to excellence in television programming. We believe this can result only from the efforts of a diverse pool of talented men and women working in an open, free and supportive environment. We believe that our rights and responsibilities originate with the assumption of the credit that appears on screen. By setting forth the following statement of our creative rights we hope to define appropriate boundaries between the individuals who create entertainment and the entities that finance and distribute those creations.

1. The Right to Creative Rights
2. The Right of Representation and Association
3. The Right of Creative Survival
4. The Right of Fair Competition
5. The Right of Diverse Ideas
6. The Right of Script Determination
7. The Right of Talent Selection
8. The Right of Production Control
9. The Right of Final Determination
10. The Right of Timely Response

1. The Right to Creative Rights

The rights and responsibilities of each of the credited producers, writers, and directors, inseparable from screen credit, can not be negotiated away or avoided. It is the obligation of every writer, director and producer to defend these rights and responsibilities and to oppose the granting of unjustified screen credits.

2. The Right of Representation and Association

Independent and strong artistic guilds are essential to a healthy and supportive creative environment. Nothing contained herein may diminish rights already won in collective bargaining nor limit an individual guild in future collective bargaining efforts.

3. The Right of Creative Survival

In assuming screen credit, we put our reputations, and thereby our careers, at risk with every project. We have the right to be protected from imposed conditions which place our very creative survival at risk.

4. The Right of Fair Competition

Efforts made by those who control the means of exhibition to extract ownership or rights as a condition of pickup is unfair competition and an attack upon excellence in programming

5. The Right of Diverse Ideas

Concentration of ownership of media is inherently contrary to the interests of diversity of ideas and quality programming. Censorship of content, whether it is applied by Government, advertisers, pressure groups, or networks/cable services themselves, is contrary to the American tradition of free speech and the creation of a rich television environment.

6. The Right of Script Determination

While the financier/distributor retains the right to approve the story and script and to provide notes and guidance as to areas of concern, the ultimate responsibility for all script content, including changes, rests with one or more of the producers, writers, or director.

7. The Right of Talent Selection

With the exception of star casting for ratings purposes, the selection of all creative staffing is the responsibility of one or more of the producers, writers, or director. Disapproval of any element must be on a show cause basis.

8. The Right of Production Control

Consistent with the provisions of the financing agreement or budget, all creative decisions regarding production, including locations, staff, shooting schedule, etc. are the responsibility of one or more of the producers, writers, or director.

9. The Right of Final Determination

Consistent with format, standards and practices and the approved script, all decisions regarding final editing, music, and sound are the responsibility of one or more of the producers, writers, or director.

10. The Right of Timely Response

Because each project represents a commitment of both time and creative energy, we are entitled to prompt responses with regard to rights of approval and sufficient lead-time so as to enable quality work.

Further information:

• Los Angeles Times Article
• Purpose & Background of the Bill of Rights