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So what's the problem? "When you sign up for this, you're signing your life away, and you're keeping yourself from any other franchises out there," says an agent whose client is one of the stars of Episode VII. "They will not let you be in another franchise. They're going to be cranking out a new movie every year. These actors never get to read the script before signing on. They don't even know which [subsequent] one they are in. And then they become known for that role, and it's hard to see them in [another] kind of movie." Still, agents keep pursuing roles in the upcoming films even though newcomers can only command a meager $65,000 to $125,000 for Episode VII. "It secures all involved a place in film history," says agent Sarah Fargo, "and guarantees a huge global audience, enhancing an actor's marketability."
I'm in Canada, first, so that may have some strange influence. Second, I'm on our national do not call registry - noting that one of the first things our government did was sell the list to spammers and robocallers, increasing the volume of nuisance calls for 100% of the people who supposedly "opted out".
About 10 years ago, I set my answering machine up with its default outgoing message beginning with the "Intercept" (number changed or disconnected) SIT. Having collected call statistics since before then, I can say with a high degree degree of certainty that **NO automated callers have EVER respected the SI tones**. Ever. Not a single one.
YMMV, of course.
Many if not most of the artists I know, have met, or worked with [both inside and outside of academia] do what they love in such a way that what you're talking about [pay them by the hour] is not even remotely feasible.
Among other things:
* They tend to work for enormous lengths of time on only one thing. Writing a book, for instance, can take years - and often if not usually requires such a devotion of time that doing anything else - like making money by some "normal" means so they can just plain survive, let alone afford to work on their creation - is next to impossible.
* They never get paid -at all- for 80-90% of their "work" [yes, I'm making up numbers, but based on personal experience and observation and interaction with MANY artists this doesn't seem like an exaggeration]
* Most of the artists I have met and known -never- recover anything like what their time "should" be worth for their works of art, even if they do get paid for them. Many works of art -never- make money enough for the artists to even cover total materiel costs let alone how much time it took to create them.
Funny thing is that I'm usually on the side of the argument that you are - I think that copyright as currently implemented in most countries is ludicrous. I also think that the idea of perpetual royalties is outright stupid, and that copyright terms should be shorter than they are.
I can't agree at all with the idea that artists try to somehow get paid hourly for what they do, though. There are too many reasons that idea is utterly impracticable.
Where I live [Manitoba, Canada] and have lived most of my life since 1975, I could count on one hand the number of times I've seen the power go out longer than an hour. Outages lasting longer than a minute [from lightning strikes to transmission equipment, for instance] are few and far between [2-3x per year]. Outages lasting a few seconds occur now and then for similar reasons [weather], but still happen less often than 10x per year. Brownouts are rare in the extreme and almost always caused by nearby equipment failure [also usually because of weather]. Not sure if if would total more than 5 minutes on average but my guess would be - no.
Our power generation here is mostly hydroelectric, but we also have a gas-turbine plant nearby for use during the winter [and it's not always on]. There's also a backup coal generator beside it but it's rarely used nowadays.