Ajay Devgn Quotes

Nokia's industry-leading intellectual property has the potential to create significant value for our licensees and our shareholders.

After going through years of litigation to get royalties due to him, the guy who coined the term 'happily ever after' lived reasonably well for a while.

Labels fund things and have resources for you to use. But just because you sign doesn't mean you sign yourself away so they can then tell you what to do. You need to have a plan yourself before they do.

When you do a studio picture, all the paperwork and legal stuff is already taken care of!

The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.

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.

Unfortunately writers take a very small part of the profit on their books, and I think in the e-book world there is a real danger they will take even less, unless they are vigilant and robust about protecting their own interests.

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

So you have to just be really careful and make sure that when a deal comes along, that it's like the right deal for you... not necessarily the most money, because you have to pay the record label that back in like record sales and stuff.

Agents are deal makers, and they're really, really good at making deals. But they're also exceptionally helpful after the deal is made - agents act as a good intermediary between authors and publishers whenever disagreements come up.

Writing on a contract for a major studio you get the very best.

Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.

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.

Films always make everyone else rich save the author.

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.

If you want me in your film, do a favored-nation clause. Don't determine my worth based on what's left over.

I have a real kind of fundamental philosophical belief that movies are better if everyone gets paid when they work, and if they don't work, the people who worked on them make a little bit of money, and the people who finance them, they lose, but they don't lose too much. I believe that that creates better work.

Perhaps not unusually for a popular film produced over three decades ago, there have been a dizzying parade of corporate characters trading rights to 'This Is Spinal Tap' through the years. Yet our requests for timely statements of the film's income have been met with a series of slammed doors.

I've talked to several CEOs - from a recycling company in Indiana, a furniture company in Kentucky, a brewing company in Colorado, and more - who believe paying higher wages is both the right thing to do and part of a successful business model.

Unfortunately, the business side of the game shows its head every once in a while. But I still think there's opportunity and chances that we can have good conversations as far as an extension's concerned.

It's called showbusiness, and the business end of it is very important, especially now. You have to learn the business end of it; otherwise, you get ripped off left, right and centre.

In broadcasting, especially 'cause people are more public, it's hard to be like 'so what are you making?' Finding that information is huge when you're negotiating a contract. You wanna make sure that you're in the same ballpark.

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.

For us as players, revenue sharing, getting a larger percentage of the pie, is important, but also the overall growth of that pie is important.

With 'PKP,' I did not own the film.