VO-BB - 19 YEARS OLD!

SheSpeaksCopy · Guest

I was in a recent conversation with a buddy the other day and the topic of big money for little jingles came up. We both were wondering how much money was made in royalties for some of the national jingles you hear on the radio and TV.

Does anyone know the $tats for Nabisco (Na Bis Co-3 sylables) or how about the "never ending one word wonder jingle" (meow) for Meow Mix? I wonder how much bread the Pillsbury Doughboy generated for the voice behind his trademark giggle.
How about the guy who did the Bud wei ser frog?
How about James Earl Jones and his AT&T "Bringing people closer every day" spot?

Does anyone here know of any true stories where a little job generated an endless stream of royalty cash?

dscott · Posted: Fri Dec 16, 2005 11:40 pm Post subject: mysteries!

I wonder what the "you have mail" guy was paid by aol so many users ago?
Question

Dave

billelder · Guest

I had heard that it wasn't much at all. I may have read that on the old board. But, I did a Google search and got this:

SheSpeaksCopy · Guest

I was wondering just how lucrative getting a jingle that had such exposure was for the person performing it.

I recently read that the guy who performed the HO, HO, HO notes for Green Giant was able to put his daughters through college on just the royalty money alone! It is a grand thought to do one job and it pays for your childrens education.

SoundsGreat-Elaine Singer · Posted: Sat Dec 17, 2005 9:22 am Post subject:

To tie this in with another topic, I would think this is where having a perspicacious agent can be quite handy.
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The Youthful Mature Voice (Emeritus)
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Frank F · Posted: Sat Dec 17, 2005 1:35 pm Post subject:

Royalties are a good thing. When you figure you get a fair amount of them from commercials and the like they can add up quickly.

I bought my first house with the royalties from just two commercials over a period of two years. There are times when things get a little slow, but the royalties keep coming in to pay the bills - this is nice. Agent representation is not needed, but joining AFTRA and/or SAG IS! (Don't know the Portgorden, Canadian, Australian, or Japaneese version but you get the idea). The protection and collection features by joining a Union are well worth the small amount of fees assocated with the process.

I am not espousing "everyone" join the Union, however, if you really want to garner such things as residuals - when they are deserved, this is the way to go. If you are a good negoitator or your Agent is, you may be able to garner some of these pluses also, but you must be shrewd.

To answer the original question more specifically: look to AFTRA, determine a fair amount of the market and see exactly what residuals would be, say, on a :30 national spot, primary spokesperson, in the top 20 cities, running for a full year after the initial 13 week run. You might be surprised.

Frank F

marko · Guest

Philip Banks · Posted: Sat Dec 17, 2005 2:37 pm Post subject:

In the UK it's Equity, the British actor/entertainer/broadcaster union.

Frank F · Posted: Sat Dec 17, 2005 2:57 pm Post subject:

Just for clarification, Utah - where I live - is a Right-to-Work state as well. I do about 80% of my work out of state. The magic of the internet, ISDN, and now VOIP has created an open playing field. Everyone has a right to play.

So for those who live in an RTW state, there is hope. Market yourself, create a clientele, promote your services, market yourself, market yourself, and market yourself - appropriately.

Buy-outs for non-union Talent can be a good thing. Consider what you ask for in a non-union buy-out contract. Is it for one-year, or in-perpituity? Do you have the "right" to re-negotiate after the term of the agreement? Are you asking for a "fair and reasonable" amount? Many times non-union talent forget what they are doing in the business world. They do not apply fundemental busienss practices such as asking for an amount of pay which is equal-to or better-than what four - 13 week contracts would equal. If your client wants a buy-out; charge appropriately. I have, in the past, added an amount equal to two more 13 week contracts onto a year buy-out.

Banksey, thanks for the clarification on Equity... didn't know - now I do.

Frank F

Philip Banks · Posted: Sat Dec 17, 2005 3:10 pm Post subject:

MichaelJ · Guest

Philip Banks · Posted: Sun Dec 18, 2005 4:39 pm Post subject:

I've just signed a contract to do some TV commercials over the next 12 months with one company, is it compulsory to have kids to send to college or may I buy a new wing mirror for my scooter?

Deirdre · Posted: Sun Dec 18, 2005 4:48 pm Post subject:

I wish our performers' unions were integrated.

I'm so angry at the boneheads running SAG I could just shriek.
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Philip Banks · Posted: Sun Dec 18, 2005 5:03 pm Post subject:

It would make a lot of sense to integrate. I gather that Equity, the UK union used to deal with actors only and there was an organisation called the Variety Artists Federation which the former took under its wing. A full Equity member can be a circus bareback horserider or a voice over and all points in between, surreal thought!

On a serious note it seems odd that in the USA two voice actors could be engaged for the same project and the terms would (I assume) be different if one were a SAG member and the other AFTRA. I know that I am engaged as a Union talent in the USA but only technically or nominally speaking as the terms need to include Equity .......are you still awake? I can't be engaged with some of the benefits simply because as a non- US citizen I do not need them or am not entitled.

When a gig comes in from the USA Anne says.

"Wonderful darling, how much?"

"Oh it'll probably be.........er ..............um.....about............."

"You've no idea have you?"

"No, sorry. More tea?"

Frank F · Posted: Sun Dec 18, 2005 5:08 pm Post subject: