Financial participation generally takes the form of a percentage of the weekly gross cash receipts (“GWBOR”) from future commercial benefits, plus a percentage of the net income of a business unit created to produce the exhibit. It would not be uncommon, for example, for an NFP to be one per cent (1%) The GWBOR State State Policy Committee and five percent (5%) net income. Some of the more influential PNFs, especially what I`ll call the Manhattan-based “Super-NFP,” could be as high as 2% (2%) request. GWBOR and ten per cent (10%) net profits from commercial transfers of plays by third parties. The right of the PNF to participate in future revenues generally “flows” when the author does not enter into a production contract with a commercial producer within a specified time frame, for example. B three years after the end of production of the NFP. The theory here is that if a commercial producer shows interest in the work, say, eight years after the end of NFP production, that interest was probably not triggered by the production of NFP, and the NFP should benefit financially only if its development efforts were the obvious cause of commercial production. (A less frequent variant of net/gross equity could lead to the NNP, instead of participating in the gross and net profits of commercial production, simply being considered an investor in commercial production, in accordance with the development costs of the NFP. For example, if the NFP spends $400,000 on a new musical, which will then be produced on Broadway for $8,000,000, it is estimated that the NFP has 5 per cent (5%) invested. capital of commercial production.) In my law firm, I have the privilege of representing successful commercial producers, brilliant playwrights (sometimes called “authors” in this article) and imaginative non-profit theatre companies (“NFP”) across the country. These clients all have different interests and needs, and I find myself in a number of different hats on a daily basis. I like to think that the wide range of my theatrical work has given me an insight into the relationships between these different clients.

Not all professional actors are members of the AEA. Some are only members of the Screen Actors Guild (SAG) or the American Federation of Television and Radio Artists (AFTRA), and some may have worked professionally, but have not accumulated enough quality points for membership of the AEA (those who are close are called AEA member candidates). There are far fewer guidelines if you do not work under an AEA contract (i.e.