Why does the "Re-Use" fee excuse for not releasing expanded scores only apply to Williams ?

[Jay 37,369]

I don't have a clue about the ins and outs of any of this AFM stuff, unfortunately

[Richard Penna 3,694]

On 15/01/2024 at 9:04 PM, enderdrag64 said:

An expansion like Hook will make LLL like $200k ($40 * 5000 units), even with the money that goes into licensing and paying JW and MM and Jim Titus and Jay and all the other collaborators, I can't imagine that $34k is too expensive - hell, raising the price by $7 would cover it completely!

 

In theory they'd therefore cover just the fees once they'd sold around a fifth of those units. Of course if it's a Williams release they're probably going to have that go out the door within a week.

 

But if a particular label were putting out a handful of scores that required such payments, that's a lot of $34k they need to have available. Imagine having done literally all of the other mastering, legal, approvals stuff and it's ready to send to the pressing plant - but your cash flow doesn't allow you that sort of money to just send $34K to the AFM.

 

Even if the fee has to be that ridiculous amount, why can't it be paid in stages, like they pay for every so many units pressed? By demanding the entire sum up front they're basically putting the entire risk of the release onto the label, rather than accepting multiple smaller payments as stock sells.

[Luke Skywalker 1,795]

I can live with it if they only are able to afford Williams expansions XD

[King Mark 3,631]

Like  I said before most other composers get expanded/deluxe editions RIGHT AWAY  because they let it happen or push for it. Even if it cost more money it's easier to get things done when the movie is just out and people are interested (strike the iron while it's hot).

Williams only want his 70 minute OST out , which means the "fees" come more into play  at a later date because there's no more motivation by anyone to get things done and it's an extra hurdle.