(if you don't have time to read just answer the first or 2, would help a lot!)
1- Do you think music supervisors will accept my music more if I am with ASCAP? (compared to an european PRO) I mean being with ASCAP will make them simpler to work with me?
And if I work with film makers from UK, Australia, Japan.. will be easier for them if I‘m with ASCAP? (compared to italian SIAE)
2- I noticed that ASCAP has agreements with many more countries than italian PRO SIAE: does that mean I’m leaving money on the table because my PRO didn’t have agreements in those countries?
3- It’s better to have an European PRO for European countries or I should choose ASCAP everywhere because it’s more famous and american/hollywood centered??
4- Will ASCAP collect royalties when a film is played in other countries theaters?
5- Do I need a company to join ASCAP as both publisher and writer?
1- Do you think music supervisors will accept my music more if I am with ASCAP? (compared to an european PRO) I mean being with ASCAP will make them simpler to work with me?
And if I work with film makers from UK, Australia, Japan.. will be easier for them if I‘m with ASCAP? (compared to italian SIAE)
2- I noticed that ASCAP has agreements with many more countries than italian PRO SIAE: does that mean I’m leaving money on the table because my PRO didn’t have agreements in those countries?
3- It’s better to have an European PRO for European countries or I should choose ASCAP everywhere because it’s more famous and american/hollywood centered??
4- Will ASCAP collect royalties when a film is played in other countries theaters?
5- Do I need a company to join ASCAP as both publisher and writer?
Statistics: Posted by Daniele Nasuti — Tue Aug 13, 2024 6:50 pm