"Korean broadcasters do not pay compensation to creators when they play, for instance the movie The Roundup 2. But in France, there is a law ensuring that script writers and directors are paid a certain portion of advertising revenue separately from television rights when their content is broadcast," said Yoon Jekyoon, the representative of the Directors Guild of Korea (DGK), when discussing the issue of fair compensation. Therefore, members of the Directors Guild of Korea gathered on Wednesday at the National Assembly Members’ Office Building to speak about the need to revise the current Copyright Act to ensure the fair remuneration for film directors’ works and Korean movies’ further success.
Pursuant to Article 100 of Korea’s existing Copyright Law, unless there is a special agreement, the rights needed for the use of cinematographic work are presumed to have been transferred by filmmakers. In other words, problems arise because production companies, not creators, own the copyrights to works, and there is no law safeguarding filmmakers’ rights. The necessity for revising Korea’s copyright law has arisen because of this problem, so members of the DGK and a Democratic Party of Korea lawmaker held a policy conference on August 31.
At this conference, numerous film directors, including Hwang Dong-hyuk (Squid Game) Kim Hanmin (Hansan), and Kim Yonghwa (Along with the Gods), raised their voices arguing for the revision of Korea’s copyright law. Director Park Chanwook also joined via video link to show his support for revising the law. “I hope that a revised copyright bill can be passed as soon as possible,” he said. “Then creators in Korea will be able to work in a world-class environment. I will support the bill until the end.”
Many writers and directors endure hardship while producing a film, with unreasonable compensation supporting them until they complete a movie. “The DGK surveyed 500 directors and found that they earn less than 10 million won a year on average. Some directors earn a lot of money, but many more suffer. I hope the revised bill can assist them,” said Yoon Jekyoon, the movie director of hit films Haeundae and Ode to My Father. He also spoke about the importance of improving the film industry’s environment, saying that as Korean content takes center stage globally, it is necessary to create an environment that attracts talented people.
“Filmmakers often spend one to two years―sometimes more than 10 years―creating and
writing a script. Then we sign a contract relinquishing rights to any royalties. It is as though all the hard work I have put in is sold all at once for a down payment,” Kang Yoonsung said. In addition, Kang Jekyu, the director of the hit films Shiri and Taegukgi: Brotherhood of War said, “Last year, the DGK called me to say I was owed a royalty payment. They explained that a broadcaster in France aired my movie, and it was the payment for that. It was the first time that I received money like that. So I envied creators in France and other countries in Europe who work in a fair environment,” Kang said. He also said that the copyright fee received at the time was not large, but he felt that this was an environment where creators can feel pride and be respected, stressing the need for Korean copyright law to be improved.
Film directors expect that a revised bill will open the gate for receiving royalties for K-content overseas. If an amendment is passed, Korea is also likely to become a culture-advanced country as it would guarantee the right to compensation for creators overseas based on the principle of equality, mutual benefit, and reciprocity between countries. Korean movies are in high demand and continue to grow in popularity. Therefore, a revised copyright law is expected to have a positive effect on K-content productivity and the film industry in Korea.