Susan Hill Quotes

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

My family and I would never receive royalties on the revenue that my materials brought into the church; materials that were created on our own personal time.

If you create something, you don't want someone else to go and profit from it; you have your right to make a living and everything. So I respect copyright. What I don't respect is copyright extremism. And I what I don't respect is a business model that encourages piracy.

I own all the characters I created, thanks to the Writers Guild, so nobody can do anything without me. The way it works is: If the copyright owners instigate a project, like the movie, then I get a fee as creator. If I instigate a project, like the musical, I pay a percentage to the copyright owners.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

Authors need to decide if they want to keep forever to themselves, or share forever with a publisher who takes over half the cover price.

We are forced by the major publishers to include electronic rights in the contracts we make with publishers for new books. And there's very little we can do about that.

You'd be naive if you think you are going to retain any control once you option a character to TV.

I think the purveyors of e-books are only too happy for this atmosphere of 'everything belongs to everybody' to increase because it means they don't have to think so much about the original maker of the thing, or they can get away with paying them less.

When a record co. finds a guy now, they want to own everything. They want to own the rights to market that person's particular name. They want a piece of the action all the way through.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

Since [some] American publishers pay nothing to the English authors whose stories they appropriate and publish, other American publishers can not to afford to pay American authors for writing stories.

I think if you contribute to a job, and it's repeated and repeated, and sold over the world, and the producers are making millions, you should benefit from it.

Writers never get a very good deal in Hollywood.

If we're talking about someone creating something new, those rights are fairly well defined (in the United States, at least) under existing copyright law. But then there's often discussion about the rights of people who produce works under work-for-hire arrangements, which can be far more subtle and nuanced.

Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device.

If you want to play somebody's music, you'd better go into his house.

Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.

I think copyright is moral, proper. I think a creator has the right to control the disposition of his or her works - I actually believe that the financial issue is less important than the integrity of the work, the attribution, that kind of stuff.

As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.

I think that one of the most useful applications of the Creator's Bill of Rights is that it clearly indicates for creators what rights they have at the outset.

I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?

Composers and lyricists are not responsible for storyline and casting. One can imagine actors shouldering this responsibility, since they charge for half the film. But producers never ask actors to share the losses. Instead, they train their guns on composers and lyricists.

Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say.

It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.