AnnuAl RepoRt - SACD · SACD Annual Report 2014 p.3 Key ﬁgures SACD AUTHORS SOCIAL ACTION CULTURAL ACTIVITY COLLECTION / DISTRIBUTION 57,130 members (55,436 in 2013) 20,758 living

contents works

AnnuAl RepoRtFiscal year 2014

CULTURE IS DIVERSITY!NOT UNIFORMITY

Director of publication: Pascal RogardCoordination: Catherine Vincenteditor: Jean-Louis Blaisot and Catherine VincentGraphic design: le Goff & Gabarra – www.lgetg.frprinted by: Burlet Graphics

SACD Annual Report 2014 p.3

SACD Key figures

AUTHORS

SOCIAL ACTION

CULTURAL ACTIVITY

COLLECTION / DISTRIBUTION

57,130 members (55,436 in 2013)20,758 living authors benefited from distribution in 2014 (+2%)

performing arts: +7%, i.e. €4.6m, out of which 4.4 in France.this increase can be accounted for both by a rise in collectedsums in paris (+10%, especially owing to successes scored intheatres) and a 7% increase in the Regions, thanks to a coupleof compounded effects, namely the great efficiency of theregional delegates in the first half-year and the successfulresumption of collection in the Regions through the recruit-ment of 25 new, exclusively SACD-dedicated staff membersmaking up the new network.

Audiovisual: -2% (collected sums reduced by €3m), the declineresulting from a sharp fall in private copying after significantinflows of beneficial accruals in 2013 and from lower amountscollected abroad. these decreases are offset by substantialrises connected with the general contracts, through therenewal of two ADSl contracts, as well as in the new mediaapart from private copying with +€2.3m (mainly Youtube).

217M€

M€

collected in 2014 (+0.8% compared to 2013)

207distributed in 2014 (+7% compared to 2013)

Distribution of revenue by income bracket:87.9% of remunerated authors received lessthan €10,000 a year as royalties in 2014 (com-pared to 88.1% in 2013)81.2% of authors received less than €5,000 ayear (81.6% in 2013)

Distribution of revenue by income bracket:87.9% of remunerated authors received lessthan €10,000 a year as royalties in 2014 (com-pared to 88.1% in 2013)81.2% of authors received less than €5,000 ayear (81.6% in 2013)

Out of €100 collected:

overall budget: €5.556mlegal allocations (private copying, Art. l312-9 of the CpI): €4.640mVoluntary allocations: €0.92m

Supplementary allowance for pensions: €3.21mDirect Mutual Aid actions: €0,283m (58 cases of support granted)Mutual Aid (old age/illness) from the paul Milliet Foundation: €0.095m (26 cases of support granted)Social aid: 282 people consulting

€11.13 Administrative costs

€88.87to be distributed

to right holders

87,9%€0 to €10,000

9,2%

1,9%

10,000 to €50,000

50,000 to €100,000

1,0% over €100,000

la hausse des perceptions en 2014 entraînede fait une hausse des répartitions. et laSACD réduit sans cesse ses délais de répar-titions aux auteurs.

+ 70% d’œuvres reconnues et rémunéréesentre 2012 et 2014 avec 30% d’enregistre-ments informatiques en moins.

p.4 SACD Annual Report 2014

2014: Key figures ......................................................................................................... p.03Contents ............................................................................................................................. p.04A few words from the president and the Director General ......................... p.05

SACD: by authors, for authors

Management and social action in 2014 .............................................................. p.06_Board of Directors and Committees in 2014-2015_executive board

new matters in 2014 .................................................................................................... p.08_In France_In Belgium and Canada

Membership and promotions of authors............................................................... p.10_new members_their repertoires_new full members and associate full members

Services for authors ....................................................................................................... p.11Accounting and financial management ............................................................... p.12

_General information_Social and cultural activities: milestones_Management costs_Funding SACD_Financial management_Authors’ contribution_Supervision of SACD activities

Policy and professional actions in France and abroad

Beaumarchais and ............................................................................................................ p.16policy actions .................................................................................................................... p.17

_Authors’ rights, an ongoing struggle_Better dissemination and funding works_Guaranteeing fair remuneration for authors_Renewing audiences and reinforcing the position of women

professional actions and international cooperation .................................. p.20_Relations with professional authors’ organizations_new agreements with users of the repertoire_International cooperation

Economic, social and cultural missions

economic mission .......................................................................................................... p.22_the repertoire and its use_Collections in 2014_Distribution of royalties and authors’ revenue

Social mission ................................................................................................................... p.28_participation in authors’ social organizations_permanent actions

Cultural mission ................................................................................................................ p.31_Key figures_Allocation of sums available for 2014_emblematic events, funds and support_promoting the repertoire abroad_Awards

An artist at school and private copying ................................................................. p.35SACD, a duly controlled society …………………………………………………………………..p. 36Keeping close to young creators …………………………………………….....…………………p. 37

Annexes ............................................................................................................................. p.38_Collection and distribution statistics_Revenue and expenditure accounts_profit & loss account_Social and cultural activities_organizations having benefited from aid for 3 consecutive years_Auditor’s General Report

CONTENTS

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SACD had a busy year in 2014, both inter-nally and with respect to the defence ofcreation and creators. It was an intensiveyear with advances and changes, as wellas struggles against regression. on theone hand, SACD makes every efforttowards modernization and improvementof its collection:/distribution scheme,increasingly transparent actions,and find-ing new responses to the authors’ everincreasing needs and ever more preciserequests; on the other hand, it has tocombat the ideological and groundlessattacks on copyright and individual andoverall creators’ rights. All that takingplace against an unstable and alarmingbackground.

In political terms, SACD has run intensiveeuropean-wide campaigns to tacklethose who, under the guise of Internetfreedom, are attempting to deregulatecopyright, collective management andwork funding. SACD is working alongsidethe creators across europe, SAA, theFrench Coalition for Cultural Diversity andall the creation and creators organiza-tions. the battle is not yet won, eventhough it seems the european Commis-sion is getting a better understanding ofthe issues affecting our sectors.Cultural diversity is crucial for europe, itis the basement and the purpose of ourcontinent. Without diversity, without thefreedom of each Member State to sup-port its national creation to have it sharedand appreciated, europe does not exist.

Supporting creation also requires actionsfor promoting festivals, performances andauthors. the State Council has endorsedthe compensation arrangement for pri-vate copying and dismissed the hardwareimporters’ appeal. that’s good news. Fur-thermore, Apple will pay –It’s abouttime!– the royalties creators have beenasking for years. hence, we can continueto distribute the collected sums and carry

on our cultural activities in favour ofauthors and creation. that’s great newstoo in view of the severe constraints onthe budgets of the local authorities,sometimes jeopardizing the balance oreven the existence of festivals or struc-tures. Supporting creation means, interalia, meeting its financial needs!

that is also at stake in the audiovisualsector. It is the reason why we fought foran increase in the funding of fiction writ-ing. By now, 10% of the producers’ CoSIptaxes wil be allocated to writingexpenses. this will greatly help scriptwrit-ers in their work.the uncertainties over the resources ofFrance télévisions, which funds as muchas 60% of the fictional works, should notresult in cuts in the creation-orientedinvestments. We will be particularly vigi-lant to ensure that the new president willstick to her promises in that respect,ensure work diversity, give a new impetusto original creation and comply with theearlier commitments towards the anima-tion section, especially on the France 3tVchannel. Reforming an enterprise shouldnot be detrimental to the authors, butquite the contrary. this is especially truesince, moreover, tF1 has already obtainedfrom the CSA (audiovisual council), in2014, a decrease in its broadcasting obli-gations as regards animation words, adecision that is challenged by SACD.

Against such a complex background,SACD is acting, upgrading and evolvingin order to keep in pace with the ongoingchanges. First, the establishment of theregional collecting network for perform-ing arts in July 2014 was a success owingto the great involvement of the SACD’steams. though this new arrangement, wecan make management savings whileimproving the quality of the service.

thanks to the efficient management of

SACD, €21.1m of statutory withholdingswill be refunded to the authors this year.

SACD’s next project is a digital restruc-turation. this will allow authors to jointhe society and declare their worksonline, track the careers of their works, itwill also streamline the procedures andoffer access to an upgraded, user-friendlywebsite. Digital techniques are constantlyevolving, we definitely need a strategyfor moving forward again and again whileremaining respectful of the SACD’s DnAand values: dematerializing does notmean dehumanizing; in fact, the directlinks with the authors will be all thestronger.

Keeping abreast of the new digital devel-opments additionally involves negotiatingagreements. A contract similar to thatalready signed with Canalplay has beensigned with netflix and we have madethe first Canalplay distribution. A specialattention is paid to the subscriptionvideo-on-demand sector in which the dis-semination of film and tV productionshas increased by 70% over the last twoyears.

lastly, social action had to address manyrequests. the effects of crisis are becom-ing strongly felt and a growing numberof authors are faced with difficulties. thededicated resources are not sufficientand you will therefore receive fundraisingappeals from the Milliet Foundation. lastyear, Jacques Fansten told you about theforthcoming establishment of AuteursSolidaires; now it’s done. he chairs itsboard of directors. Several actions areabout to be implemented for remunerat-ing authors who will conduct workshopsin underprivileged areas both in the parisconurbation and the regions.We are passionately defending copyright;the fight for authors’ rights is a concernfor all of us.

SophIe DeSChAMpS AnD pASCAl RoGARD

A FEW WORDS FROMTHE PRESIDENT AND THE GENERAL MANAGER

Chair:Sophie DeschampsVice-Chairs:Didier Long, first Vice-Chair,Stage directionLouise Doutreligne, TheatreLouis Dunoyer de Segonzac, MusicCaroline Huppert, Television Claire Lemaréchal, TelevisionBertrand Tavernier, CinemaManaging Directors:Catherine Cuenca, Interactive CreationFrédéric Fort, Street PerformancePhilippe Goudard, Street PerformanceDaniel Larrieu, DanceDidier Long, Stage directionPascal Mirleau, AnimationGeorges-Olivier Tzanos, Animation

Administrateurs :Jean Becker, CinemaDenise Chalem, TheatreSylvie Coquart-Morel, TelevisionLuc Dionne, President of Canadian CommitteeJean-Paul Farré, TheatreMichel Favart, TelevisionJoëlle Goron, TelevisionVictor Haïm, TheatrePhilippe Hersant, MusicLaurent Heynemann, CinemaLuc Jabon, President of Belgian CommitteeJean-Louis Lorenzi, TelevisionJean Marboeuf, CinemaFranck Philippon, TelevisionDominique Probst, MusicFrançois Rollin, TheatreChristiane Spièro, Television

Action sociale :Michel Favart, TelevisionJoëlle Goron, TelevisionChristiane Spièro, TelevisionPhilippe Goudard, Circus ArtsPrix :Denise Chalem, TheatreJoëlle Goron, TelevisionHumour :Catherine Cuenca, Interactive CreationFrançois Rollin, Theatreand, as a qualified personality:Charles NemesLegal Affairs delegate:Georges Werler

Management and social life in 2014

SACD: BY AUTHORS, FOR AUTHORS

partially renewed every year, the Board of Directors meets once a month in a plenary session (and again in Committeesspecialized by repertoire) and decides on the Society’s policy —with consent from the president and Director General,both co-managers.


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BoARD oF DIReCtoRS 2014-2015

eXCutIVe CoMMItteeGeneral Manager: Pascal RogardDeputy General Manager: Janine LorenteMembers: Jean-Louis Blaisot, Pierre-Emmanuel Bourgouin, Linda Corneille, Muriel Couton, Christophe Dubois, Rodolphe Morin-Diolé, Marie-Noëlle Guiraud, Yves Le Coënt, Géraldine Loulergue, Véronique Perlès, Guillaume Prieur, Hubert Tilliet, Catherine Vincent, Frédéric Young.

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BuDGetContRolCoMMItteeThe Budget Control Committee meets once a month to over-see, with the SACD Board, the implementation of the Soci-ety’s annual budget, on whose adoption it is consultedbeforehand. It reports to the General Assembly every year.

Chair:Corinne Klomp, Live PerformanceVice-Chair:Jean-Pierre Igoux, AudiovisualRapporteur:Christophe Botti, Live PerformanceDeputy Rapporteur:Marc Rivière, AudiovisualMembers:Myriam Boyer, Live PerformanceMichèle Dhallu, Live PerformanceNelly Kaplan, AudiovisualSandrine Ray, Audiovisual

CoMMunICAtIonRIGhtS CoMMItteeThis special Committee meets on a quarterly basis and canbe called upon by all members who have been refused com-munication of documents referred to in Article 35 §3 and 4 ofthe Statutes. Its justified opinions are notified to the membermaking the request. Its activity report is submitted to eachAssembly.

Chair:Frédérique Topin, AudiovisualMembers:Jean-Luc Annaix, Live PerformanceClaire Barré, AudiovisualMichel Beretti, Live PerformanceDominique Lefebvre, Live PerformanceAnnick Rannou Laforet, Audiovisual

BelGIAn CoMMItteeChair:Luc Jabon, AudiovisualVice-Chairs:Stéphane Arcas, Theatre, OperaAndré Buytaers, Television, CinemaIsabelle Wery, Theatre, OperaMembers: Julie Annen, Theatre, OperaBrice Cannavo, RadioVanja d’Alcantara, Television, CinemaMiguel Decleire, Theatre, OperaMartine Doyen, Television, CinemaYves Hanchar, Television, CinemaMarie Henry, Theatre, OperaAnnabelle Perrichon, MultimediaMyriam Saduis, Stage DirectionJean-Louis Sbille, Television, CinemaFré Werbrouck, Choreography

CoMIté CAnADIenChair:Luc Dionne, TelevisionVice-Chairs:Benoît Pilon, CinemaMembers:Diane Cailhier, TelevisionBruno Carrière, TelevisionFrançois Gingras, TelevisionMarie-France Landry, TelevisionPatrick Lowe, TelevisionDenys Arcand, CinemaLouis Bélanger, CinemaAndré Mélançon, CinemaMarie Chouinard, Live PerformancePierre-Michel Tremblay, Live Performance

The Belgian and Canadian committees, whose membersare elected by the General Assembly of members residingin Belgium and Canada respectively and are renewed inpart every year, participate in defining the Society’s generalpolicy and have the prerogatives necessary for its imple-mentation in their territories. Their respective Chairs are onthe SACD Board of Directors.


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AuthoRS eleCteD to SeRVe AuthoRS


1SACD: by authors, for authors

Setting up the SACD’s Regional collec-tion network was the most notableproject in 2014. After a 50-year longmanagement of the collection of per-forming art royalties in the regionsthrough a network of delegates sharedby SACeM and SACD, these two soci-

eties have terminated their collabora-tion. SACD has set up its own teamwhich collects the royalties that are dueunder performance rights in mainlandFrance, Corsica, overseas departmentsand territories and in Monaco. theresult was, indeed, a success: an 8%

increase of collected royalties in theregions, an 11% shortening of the aver-age settlement period, a significantlylower number of complaints sent to thetax collectors… Additionally, this newscheme yields annual managementsavings against the earlier one.

THE REGIONAL COLLECTION NETWORK

In order to address the exponentialgrowth of the annual number of showsperformed by lay theatre companies inrecent years, SACD had to streamlinethe permit application procedures. As avery significant step forward in the

upgrading of performing art royaltymanagement, the online service for theprocessing of permit applications wasintroduced on november 4th, 2014. It wasparalleled with a revamp of the flat-ratescale for two purposes: defining flat

rates for the royalties from the perform-ances and getting as close as possibleto the exploitation profiles of the variousvenues and shows.

AN ONLINE SERVICE FOR LAY THEATRE COMPANIES

SACD signed a new agreement withnetflix, the newcomer in the subscriptionvideo-on-demand sector. the terms aresimilar to those in the agreements withsuch French SVoD operators as Canalplay,a service under which SACD has made

the first distribution of royalties in 2014.In addition, general contracts have beensigned with Infinikids and pass M6.As regards the ADSl contracts, SACDbenefits from new intersocietal agree-ments entered into with Bouygues télé-

com, Free, tevolution or Bis tV onlineand SFR. A new agreement has beensigned with Canal + Afrique – a terrestrialchannel.

NEW AGREEMENTS IN THE AUDIOVISUAL SECTOR

the endowment fund Auteurs Solidaires,which had been announced 2013, is estab-lished by now. Chaired by Jacques Fanstenand managed by Véroniques perles, itsmain purpose is to give disadvantaged

groups of population access to culturewhile involving the authors in such mis-sions as social link and support to creation.Auteurs solidaires has a twofold ambition:solidarity of the authors towards under-

privileged populations; solidarity towardsthe authors. three projects are being dis-cussed with three large cities.

AUTEURS SOLIDAIRES

SACD has made every effort to expressthe specificities of the collective man-agement in the audiovisual sector, par-ticularly the fundamental principles whichthe management conducted by SACD isbased on and which almost do not existelsewhere in europe. the Directive wasadopted on February 26th, 20134 andshall be transposed into French law nolater than April 10th, 2015. In 2014, SACD

followed the transposition processtogether with the Ministry of Culture. thepurpose of this Directive is to harmonizethe european rules on the collective man-agement societies, focusing on four mainissues: facilitating the use of collectivemanagement, arranging a greaterinvolvement of the authors in the deci-sions and control of their societies, layingdown the rules and terms governing the

management of rights and ensuring agreater transparency.Whereas some european countries cur-rently have no relevant regulation, thingsare different in France where many spe-cific provisions applicable to the royaltycollection and distribution societies arein force since 1985. SACD already com-plies with many provisions of the Direc-tive. A few adjustments will be necessary.

THE COLLECTIVE MANAGEMENT DIRECTIVE

SACD IS A DYnAMIC SoCIetY thAt IS ConStAntllY KeepInG In pACe WIth ItS enVIRonMent AnD theAuthoRS’ one, thAnKS to ItS 250 eMploYeeS, All oF theM VeRY CoMMItteD to pRoVIDInG SeRVICeS tothe AuthoRS. SACD IS ConStAntlY enGAGeD In InteRnAl ReFoRMS oF oRGAnIZAtIon AnD DepARtMentS.In thAt ReSpeCt, SeVeRAl MAJoR pRoJeCtS hAVe Been CoMpleteD In FRAnCe In 2014.

A dynamic enterprise in the service of

2014 DEVELOPMENTS


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Chaired by luc Jabon, the Belgian Committee and all its teamsin Brussels – spearheaded by the managing director for Bel-gium Frédéric Young – have continued to improve the servicesprovided to the authors, particularly by joining the relevantSACD’s overall projects.

It has been deeply involved in the debates raised by the intro-duction of a new code of intellectual property in Belgium in2014 and successfully advocated for the authors’ rights to acompensation (especially for cable distribution of the audio-visual works) and for the role of the collective managementsocieties. Furthermore, Frédéric Young has been appointedby the government as an independent expert to contribute inthe drafting of new cultural policies.

Several negotiations were also completed, especially in theaudiovisual sector where litigations with broadcasters (nethys,telenet, VtM or VRt) have been settled, allowing significantcomplementary sums to be collected. positive agreementswere also reached, particularly on VoD.

As to performing arts, thanks to the efficiency of the comput-erized procedures and the enhanced follow-up of the humour,live performance and circus art sectors, the SACD’s positionhas been strengthened and large sums have been collectedin spite of severe resignations within the Dutch-speaking soci-ety of authors.

Beyond its usual cultural endeavours in favour of the authorsthrough grants, partnerships and presence in festivals both inBelgium and abroad, the Belgian Committee has put a lot ofeffort in the european Authors house project that was madepossible in 2013 by the acquisition - through SCR SAGelwithin which SACD is associated with SCAM – of the buildingadjoining the offices which currently home the Belgian dele-gation in Brussels: better facilities, permanent hosting of euro-pean organizations involved in the defence of copyright (SAA,IFFRo) and fitting-out of a proper «house» for organizingseminars, training courses, debates and screenings are plannedin the next two years.

the approach to evolution is based on the actual needs of the authors and SACDlistens to them to be as close as possible to their concerns. then, for the first timein 2014, SACD has conducted a satisfaction survey with a representative panel ofmember authors. over 85% of the authors expressed their satisfaction with SACDand its services. Some necessary upgrades have been noted regarding the websiteand the handling of complaints. they are being addressed and improvements areunder way.

CLIENT SATISFACTION

IN BELGIUM

Chaired by luc Dionne, with the collab-oration of élisabeth Schlittler, DelegateGeneral for Canada, the Canadian Com-mittee took action in 2014 in the negoti-ations of licences for preserving theauthors’ acquired rights that are system-atically undermined by the radio broad-casters.

Despite a difficult environment – for bothrelations and budget – in the audiovisual

sector, a second contract has beensigned with an ontarian channel andadvances have been achieved in the col-lection of rights from cable tV. likewise,for performing arts, the delegation hascontinued its works in negotiationsnotwithstanding the more and more hos-tile context for copyright and French lan-guage.

Regarding cultural activity, the Canadian

delegation has successfully proposednew activities to the Quebec creators,such as the Actoral/l’usine C-Montrealfestival that was added to the SACDgrants and an array of projects that hadalready been initiated in previous years(one project, three feedbacks, pour lasuite du monde, as well as l’Atelier Grandnord pour l’Audiovisuel and the dramacompetitions for young audiences.

IN CANADA

authors

85%



NEW MEMBER AUTHORS

THEIR REPERTOIRES

NEW FULL MEMBERS AND ASSOCIATE FULL MEMBERS

In 2014, SACD welcomed 1,508 new authors as ordinary mem-bers, down 11.55% compared to 2013. SACD had 57,130 mem-bers from all membership categories on 31 December 2013,i.e. 3% more than in 2013.

Sex ratio:nearly two-thirds of these new members aremen.

Age ratio:the 30 to 50 year-old age group accountedfor 65% of new members last year.

nationalities:the vast majority of the new members are French, theothers being Belgian, Canadian and of other nationali-ties, either French-speaking or not.

Authors join the Society for the first performance or dissemi-nation of a work. In 2014, 60.5% joined for live performance,36.1% for audiovisual works and the remaining 3.4% for schoolsand sponsorship.

483 ordinary members were promoted to the category ofassociate full member, for a total of 3,937 in SACD today(+4.26% compared to 2013).

340 associate full members were promoted to the categoryof full member in 2014, for a total of 5,862 (+5.72% comparedto 2013) on January 1st, 2015.

57,130

934574

MEMBERS

Membership and promotions in 2014

MenWomen

82,4%French

6,9%

2,5%

Belgian

Canadian

8,2% other nationalities(either French-speaking or not)

60,5%Live Performance

36,1% Audiovisual

3,4% Schoolsand sponsorship


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A WIDE RANGE OF SERVICES FOR CREATORS

PÔLE AUTEURS-UTILISATEURS

THE SACD LIBRARY

LA MAISON DES AUTEURS

PROFESSIONAL SERVICES

In addition to the collection and distribution of authors’ rights, SACD offers its members a multitude of other services:

this Authors-users unit answers all questions, general or spe-cific, on training, rights, registration, retirement..., or identifiesthe appropriate contact. It is the entry point for all authorsinto SACD. Authors −all authors− can go there to find theinformation they need, become members, register theirworks...

the library is dedicated to information,consultation, hospitality and work, opento all creators, both amateur and profes-sional. It is also a resource centre forresearchers, journalists, academics... Itscollections include documents retracingover 250 years in the history of enter-

tainment. It makes use of SACD archivesand information shedding light on theSociety’s history, its authors’ repertoire,programming in theatres and theauthors’ struggles over the years.It also has archives having belonged toauthors of theatrical plays, radio, music,

dance, cinema and television, all availableto the public. In 2014, the libraryacquired 360 texts of plays, amongwhich 134 are still unpublished.

la Maison des Auteurs is a unique venuethat is dedicated to authors and theircreations. Authors can book offices ormeeting rooms, use the Cyberspace andorganize convivial meetings in Café desAuteurs. A 72-seat auditorium alsoenables them to organize screenings, lec-tures and debates.throughout 2014, it has accommodatedmany authors, in the Café, offices and

auditorium, for a total of 131 screenings,some fifty readings and many meetingsand other events organized by SACD andits professional and institutional partners.An overall number of 342 events havebeen organized there.

SACD provides a complete range of pro-fessional services to authors: single man-agement of licensing for works in liveperformance, contract templates foraudiovisual works, negotiation servicefor audiovisual contracts, legal assis-tance, simulation service for audiovisualroyalties, mediation service...SACD is also pursuing the digitization ofits services to achieve better responsive-

ness and ease of procedures. For exam-ple, the online service launched in 2014for lay theatre is available to get a permitwith a few simple clicks. the commentedcontract published on the websitewww.sacd.fr helps the authors tobecome familiar with the legal subtletiesthat are so important for a safe profes-sional environment…

All SACD services can be consulted onthe site www.sacd.fr.SACD is also present on Facebook (face-book.com/sacd.fr), twitter (SACD offi-cial, @SACDparis), Instagram and as wellas iphone and Android applications.

pôle Auteurs-utilisateurs also negotiates, through the Avan-tages programme, benefits for members, such as discountsfor subscriptions to the press, seats for performances, travel,fitness programmes... not to mention temporary social assis-tance for authors in need or their families.

Income Costs

FOR SOCIAL PURPOSES

1.€3.208m allocated to dona-tions, i.e. 2% less than in 2013.this amount corresponds to theincome collected in 2013, theseresources being limited to cov-ering supplementary allowancesfor pensions, which have slightlydecreased last year.

2.rise (+3.1%) of “other income”partly allocated to socialaction, the lower resourcesfrom public domain being off-set by higher prescribed fees,donations and bequests anddebits for foreign transfers.

Increase by over 30% in culturalactivity resources, with:1.private copying revenue up inthe audiovisual (+71%) andsound (+30%) sectors versuscompared to 2013;

2.the rise resulting from thefinancial products transferredto Cultural activity (+38.5%)and the rise of voluntary funds(+15.9%);

3.the decrease in non-distrib-utable royalties allocated to thebudget for Cultural activity(-7.3%) in compliance with thelaw and the remainder (-43%).

1.the amount of supplementaryallowances paid to authors asdonations in 2014 correspondsprecisely to that of the incomeallocated to this;

2.expenses for Mutual Aid arerising remained unchangedafter a sharp increase in 2012and 2013 in spite of still sig-nificant applications for aidsfrom authors in need.

1.the costs correspond preciselyto the amount of income(€4.265m). Imputed to legal andvoluntary income respectively,they continue showing the ove-rall pre-eminence of “mixed” aid.

2.Such mixed aid covers actionsin favour of creation, dissemi-nation and/or training in a sin-gle project.

FOR CULTURAL PURPOSES FOR SOCIAL PURPOSES FOR CULTURAL PURPOSES



ACCOUNTING AND FINANCIAL MANAGEMENT IN 2014

_a rise in collections by 1% compared to2013, with a substantial increase in per-forming arts in France offsetting theslowdown in the audiovisual sector, gen-erating more operating revenues thanthose expected in the budget and(excluding the reversal of provisions) in2013;

All these elements led to excess resources and made it possible to reimburse €2.1m in statutory deductions to authors muchmore than last year (€1.5m) and amounting to twice as much as the “specific deduction” alone.

note: regarding the methods, a new procedure has been implemented as from this fiscal year for the annual adjustment of the operating provisions within the managementaccount now including (both as expenses and income) the “net” movements of transfers from/to provisions, instead of the overall transactions recorded till year 2013 (at the end ofeach year, reversal of all the operating provisions and new global envelope for all the reassessed provisions. In order to prevent that new method from affecting the year-to-yearcomparative reading of accounts, the 2013 reference figures have been recalculated with the new modalities for the accounting of the operating provisions.

the fiscal year, however, went well, with:

the revenue and expenditure accounts includes income and expenses allocated to the latter under the headings “otherincome” (C) or “other operating expenses” (D) (cf. detail in annexes), also taking into account, under the headings “recoveryand re-invoicing of expenses” (A) and “financial costs” (II), the partial recovery of management costs for cultural activity onthe one hand, and the transfer of investment income linked to income for cultural activity on the other hand.

_unquestionably higher operatingexpenses due to specific staff costs andgeneral overheads stemming from theinternalization of collections for per-forming arts in the regions, but undercontrol by means of other – both runningand financial - specific resources;

_exceptional operations again showinga negative balance although much lowerthan in 2013 (€111.6 k versus €875 k) andthe posting of considerable profit shar-ing, albeit less than in 2013.

GENERAL INFORMATION

SOCIAL AND CULTURAL ACTIVITIES: MILESTONES

REVIEW OF MILESTONES:

Accounting and financial management

the Society’s accounts (cf. annexes) show that fiscal year 2014 reflects a year of transition due both to thereturn to an internal management of collections for performing arts in the regions and to the expenses aris-ing– over the same year – from the terminated collaboration with SACeM and the establishment of newregional collecting teams.


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THE COST OF MANAGEMENT

the operating costs –which account forthe true cost of operating SACD– aremade up of the costs debited from therevenue and expenditure accounts (cf.annexes) with deduction of the chargesfor Social and Cultural activity, purelyfinancial operations, provisions and reim-bursements of charges to the Society onvarious accounts and which, accordingto accounting rules, appear as income inthe Revenue and expenditure accounts.

As calculated on this basis, the net oper-ating costs amounted to €36.2m in 2014,i.e. an overall volume significantly abovethat in 2013 (+11.5%).

purchases and external expenses haveslightly increased (+2.2%), since the new

expenses for reorganizing the collectingnetwork in the regions (property rentals,technical installation costs), and the riseof other costs (softwares, documenta-tion, legal expenses, etc.) are offset bysavings achieved on various items (fluids,maintenance works, representation, com-munication and mission expenses) andabove all on the management fees paidto SACeM (end of the joint network asfrom 30/06/2014). hence, the rise inmanagement costs primarily stemmedfrom the reorganization of collection forperforming arts in the regions: dismissalsof the regional delegates (after a firsthalf year with very high remunerationsbecause of the growing collected rights),and hiring of 25 people for the newregional collection unit.

though it had been expected and cov-ered by specific resources (refer to«Funding SACD below»), that increasein the net management costs, along withthe slight rise of the sums collected bySACD over the year (€216.7m vs €215m),is substantially detrimental to the «man-agement cost/collected rights» ratio thevalue of which was 16.70% (vs 15.09% in2013) and nearly returned to its 2012level (16.64%).

that adverse trend, however, shouldremain temporary, since the new organ-isations of collection for performing artsin the regions will ensure –over a wholeyear – a €1.2m saving compared to theformer «mixed» network –with an overallcost of €2.Mm vs €3.6m).

Computer equipment

properties

overheads

3,189

1,350

6,983

*

opeRAtInG CoStS AnD theIR AlloCAtIon In 2014

net personnel expenses

purchases and net external costs

other operating expenses

taxes

Depreciation expenses

exceptional costs excluding provisions

profit sharing

Total operating costs

(K€)

22,065

11,522

220

784

1,310

0

309

36,209

60,94%

31,82%

0,61%

2,17%

3,62%

0,00%

0,85%

100%

*

FunDInG SACD

Deductions from royalties

other operating income (*1)

net financial income (*2)

Sundry and exceptional (*3)

Total

24,188

5,949

5,235

836

36,209

(*1): is deducted from the figure in the Revenue and expenditure Accounts under thisheading the amount of income for cultural activity, income allocated to supplementaryallowance (containment) and to social action and making personnel available(15,177 – 5,556 – 3,491 - €181 k = €5949 k)€

(*2): the amount of financial costs is deducted from the figure in the Revenue and expen-diture accounts under this heading (5,321 - 86 k = €5,235 k)

(*3): this figure represents exceptional income plus the recovery of expenses for culturalactivity, with deduction of net provisions (envelope – reversals), exceptional costsnot taken into account in calculating the operating costs and operating surplus[ 8+7,132 – (2,481 –2,254) – 119 – 12 = – €836 k]

(Figures in k€)

LE FINANCEMENT DE LA SACD

Comme ce fut le cas à six reprises depuis 2007, la SACD aprocédé au titre de 2014 à un remboursement de retenue sta-tutaire significatif, qui réduit sensiblement la contribution desauteurs aux frais de gestion.

Ce remboursement, qui s’élève à 2,1M€, représente en effetune ristourne au bénéfice des auteurs de plus de 8% des rete-nues opérées dans l’année, équivalente à plus de deux fois lemontant annuel du prélèvement spécifique de 0,50% (cf. infra«Contribution des auteurs»).

2.3% Miscellaneous andexceptional incomes

66.8%Deductions

from royalties

16.4% Other operatingincome

14.5%Net financial income



FunDInG opeRAtIonS

Deductions from royalties declined by -4.2% compared tolast year. this decrease, paradoxical as it may seem against abackground of increasing (slightly, indeed) collected rights(+0.8%), results both from a significant reimbursement ofstatutory deductions (+40% compared to the previous year)and from the capping of individual deductions.

Considering the specific increase in management costs in2014, due to the reorganization of collection for performingarts in the regions, the deductions from royalties now onlycover two thirds of the SACD funding needs (versus three-quarters in 2013).

however, when cumulated with other operating income(lapsed royalties, authors’ membership fees, operatingincome, etc.), they are on the rise (+1) compared to 2013 –mainly because of higher, lapsed royalties, donations,

bequests and deduction for foreign transfers – and they nev-ertheless enabled the Society to fund over 90% of its man-agement costs with its operating income.

Financial income has strongly grown (+61%) due to the excep-tional externalization of specific financial products (from theSACD’s portfolio of assets and accounts for a 16.8% contri-bution to the management costs, i.e. much above its usuallevel (less than 10%).

As to the miscellaneous and exceptional incomes, they havereturned – after the short negative period in 2013 – to almostthe same contribution level as in 2012.

As usual, the investment income realizedby the Society have completed its oper-ating income and balanced its manage-ment budget, exceptionally to a muchgreater extent than in 2013, in order tocover the specific costs incurred by thereorganization of collection for perform-ing arts in the regions.

this contribution of investment incomefor 2014 still delivered modest returnson our managed capital, albeit they haveslightly increased compared to 2013.

In an european economic environmentmarked by a slow resumption of growthand the implementation of very accom-modative monetary policies inducing acollapse of the interest rates and a near-stagnation of the stock markets, SACDhas adapted its management to maxi-mize the yield on its equity.

For current funds (where outstandingdebt progressed by 8.5% and reachednearly €177m), the security allocation ofassets was pursued, but the share allo-cated to cash uCItS was reduced to theminimum necessary for daily adjust-ments, because of their flat or even neg-ative returns.

Funds were allocated first to termdeposits, structured contracts with guar-anteed capital, or capitalization con-tracts offering better returns, as well asto “short-term” uCItS debenture secu-rities that performed well.

At the end of the year, this allocation ofassets helped obtain a total of m€8.7minvestment income (both latent and real-ized), including €3.4m generated in theyear and representing overall a netreturn of some +1.91%, slightly higherthan in 2013 and, of course, very muchmore than the performance of the stan-dard interest rate eonia.

For the portfolio, managed in the frame-work of the dedicated SACD Investisse-ment open-end investment fund, expo-sure to speculative shares has remainedclose to 35%. the european high-yieldsecurities, as well as uS securities havingbenefited from the rise of the dollaragainst the euro, have contributed to theperformance of that portfolio.

Regarding income from “rates”, makingup approximately two-thirds of thefund’s overall assets, the debentures(convertible, variable rates and shortduration), held either directly or throughuCItS, have benefited from the lowerrates.

this strategy enabled out our investmentfunds to take sufficient advantage ofmarket tends and advantageously yield+4.43% (i.e. +€1.7m). At the end of thefiscal year, the unrealized gains – afterthe externalization of €1.9m capital gainsthat were recorded under income of thefiscal year – amounted to €9,15m.

FINANCIAL MANAGEMENT

ReMInDeRSACD hAS tWo tYpeS oF CApItAl, the FInAnCIAl MAnAGeMent oF WhICh – thRouGh the ReVenue It YIelDS –IS one oF the SoCIetY’S SouRCeS oF InCoMe:

_current funds, made up of royalties await-ing distribution (or unlapsed non-distrib-utable royalties), are managed directly bythe Society departments through securi-ties investments, essentially money-marketfunds, ensuring stable but rather modestreturns.

_The “portfolio”, made up of permanentcapital belonging to the Society and result-ing from donations and bequests accumu-lated over time, is managed through a“dedicated” open-end investment fund- meaning that SACD is the sole investor.Its allocation is more diversified in termsof assets (shares, debentures and money-market funds). It is part of long-term man-agement aiming to add value.

In 2014, the Society’s managedcapital amounted to a perma-nent volume of some

206€ M


1

DeDuCtIon tARIFFS

the deductions on royalties applied in 2014 are listed below:

DeDuCtIonS BY InteRMeDIARY SoCIetIeS

Before being processed by SACD, royalties that are not directly collected by the Society are generally subject to a deductionmade by intermediary societies, in particular foreign ones, to remunerate their intervention in terms of collections and distri-butions.Regarding the private copy levy, the intervention of CopIe FRAnCe gives rise to deductions – from the royalties it transfersto SACD–as detailed (rates and amounts for 2014) below:

Performing Arts

paris

France (outside paris), Belgium, luxembourg

Switzerland, Canada, Abroad

Commissioning allowances

Audiovisual

performing and mechanical reproduction rights (France)

private copying (France, Belgium)

performing and mechanical reproduction rights (Belgium, Canada)

performing rights and private copying (abroad)

Videograms and phonographs

Special contracts

Written works

Reprographic rights in Belgium

Reprographic rights in France

9%

13%

7%

2%

11%

11%

7%

3%

5%

7%

Nature of royalties

private copy levy for audio works

private copy levy for audiovisual works

Rate

1.18%

1.57%

Amount withheld in 2014 (€)

€24,954

€130,202

2,5 %, 5,5 % ou 10 %*(2)

*(1)the 10.60% rate is applicable to lump sums collected as from 1 January 2013. For prior lump sums, the rate is 11%*(2)the 2.5% rate is applied to specific contracts concerning Radio France and the 10% rate to specific tV or Cinema contracts (reduced to 5.5% for renewals)

A contribution to managing the Society, whose legal and economic necessity is defined by the Statutes, annual fees must bepaid by all authors. they were maintained at €40 in 2014 (unchanged for eight years).

AnnuAl MeMBeRShIp FeeS

In compliance with the Board of Directors’ decisions on the2014 budget, the specific deduction that was established in2004 in order to re-balance the Society’s operating resourceswas maintained at the rate of 0.50% (prevailing since 1 July2007) in 2014.

the other statutory deduction rates are listed in the tablebelow, it being understood that the reimbursement of thestatutory deduction of €2.1m, which was applied once yearthis year, reduces by some 8% the amount that is actuallydeducted from the royalties paid to authors.

In this context, the mean deduction rate, calculated at theend of each fiscal year (including the so-called CCSA - the

share of secondary collections for “social and administrativepurposes” collected from live performance and allocated bySACD to cover its administrative costs), was, in 2014, slightlylower than in 2013 or even in 2012. It amounted to 11.13% ofcollections (compared to 11.78 in 2013 and 12.17% in 2012) andwas split among the repertoires as follows:

_performing Arts: 5.19% (compared to 16.37% in 2013)_Audiovisual: 9.33% (compared to 9.91% in 2013)_Written word: 4.76% (compared to 4.9% in 2013)

these figures indicate that, on average, €88.87 out of €100 ofroyalties collected and distributed by SACD are intended forauthors.

DeDuCtIonS FRoM RoYAltIeS

AUTHORS’ CONTRIBUTION

10.6%*(1)


Beaumarchais et…

POLITICAL AND PROFESSIONAL ACTIONSIN FRANCE AND ABROAD

2

Founded in 1777 by pierre-Augustin Caron de Beau-marchais, SACD has adapted this heritage of authors’rights to all technological developments and even tothe digital revolution. to defend authors’ rights andadapt to their needs, SACD is in constant contactwith creators and institutional and political bodies.

In 2014, many personalities attended events organ-ized by SACD, including: Fleur pellerin, eric Assous,Audrey Azoulay, Rodolphe Belmer, patrick Bloche,René Bonnell, Frédérique Bredin, Véronique Cayla,Jean-Claude Carrière, Costa-Gavras, Jean-pierre andluc Dardenne, nasser Djemaï, Aurélie Filippetti,Isabelle Giordano, Adèle haenel, Jean-pierre leleux,pierre lescure, Madeleine louarn, Bertrand Méheut,Jean-luc Moreau, nonce paolini, Sylvie pierre-Brosso-lette, Rémy pfimlin, Katell Quillévéré, Jean-paulSalomé, olivier Schrameck, Abderrahmane Sissako,patrick timsit, Jacques toubon, Serge toubiana…

Fleur pellerin, Adèle haenel, nasser Djemaï, Katell Quillévéré, Costa-Gavras, Jean-Claude Carrière,Jean-pierre leleux, Rodolphe Belmer and Bertrand Méheut, nonce paolini, eric Assous and Jean-luc Moreau, patrick timsit, Frédérique Bredin and Abderrahmane Sissako, Audrey Azoulay andAude Accary-Bonnery, olivier Schrameck.

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2

As per Article 3 of its Statutes, SACD stands up in “defence of its members’ moral and material interestsand of the author’s profession. In 2014, SACD launched various actions (intelligence, coordination, interven-tions, proposals), all for the same purpose: preserving authors’ social and professional dignity; ensuringtheir place in the creative economy and ceaselessly recalling that there can be no living creation without afair remuneration for authors; promoting authors’ rights, the indispensable instrument for authors’ moraland economic status.

AUTHOR’S RIGHT, A NEVER-ENDING STRUGGLE

After a year 2013 marked by major threats to cultural diversitydue to the opening of the trade negotiations between europeand the united States, the threats came once again from theeuropean Commission: Jean-Claude Juncker, its new presi-dent, has made it a priority to reform the copyright law andmanage to «break down national barriers on copyright regu-lation». In the european parliament, the Mep Julia Reda wasentrusted with the copyright directive assessment work.

SACD, particularly in connection with the French Coalition forCultural Diversity and SAA, has advocated with the nationalauthorities, Commission officials and Meps for the defence ofcopyright, which is being severely attacked whereas it is thevery basis for creation funding and authors’ remuneration.We shall further our commitment even though it seems theCommission is starting listening to the main arguments of theauthors.

SACD ACtIon puRSueD FouR MAIn oBJeCtIVeS:

political actions

GUARANTEEING A FAIR REMUNERATION FOR AUTHORS

providing authors with a fair compensa-tion for the exploitation of their worksis, indeed, central to the fights wagedby SACD. that’s particularly true ineurope, where SACD has lobbied withthe Meps during the debates on the Cas-tex’s report on private copying levies.the mobilization was a success, sincethe report has acknowledged the rele-vance and legitimacy of private copying

As regards to new dissemination mediasuch as video on demand, SACD is fullyentitled to collect the authors’ remuner-ations. Collective management is a pow-erful tool to address the complexity ofthe digital world. once again under theleadership of CnC, it has pursued thedialogues with the producer organiza-tions to collect the authors’ remunera-tions.

and called for its extension to cloudcomputing.

In France, SACD has actively contributedto the Cinema symposium organized byCnC. It has supported - and obtained –measures to make the financialaccounts of films more transparent forthe authors.

Rodolphe Belmer, lorena Boix Alonso, pascal Rogard, FrancineMariani-Ducray.

patrick Bloche, Sophie Deschamps, pascal Rogard

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2political and professional actions in France and abroad

POLITICAL ACTIONS (CONT.)

SUPPORTING THE CULTURAL DEMOCRATIZATION AND THE GENDER EQUITY

More than ever, the advancement of artseducation must rank high. therefore,SACD has renewed, for its third edition,together with the “Culture avec la Copieprivée” association, the «An artist atschool» operation patronized by Jean-Claude Carrière. owing to that operation,some fifteen authors returned to theschools they had attended in childhoodto debate with over one thousand stu-dents.

the culture community is outward-look-ing and should also combat the discrim-inations that are still prevailing in it and,particularly, are experienced by women:lesser access to decision-making posi-tions, gender stereotypes, minor expo-sure allotted to the works filmed orstaged by women. through the organi-zation of debates, the publishing of aflyer dealing with gender assessment,ongoing contact with the CSA and the

ministry of Culture and communication,SACD has made major commitmentsonce again in 2014. these commitmentsshall be pursued, since there is still muchwork to do to reach gender equity!

BETTER FUNDING AND DISSEMINATION OF WORKS

Spurred on by SACD, positive steps havebeen taken by the public authorities: 10%of the producers’ CoSIp are earmarkedfor fiction writing expenses andincreased amounts are allotted to ani-mation and fiction by the audiovisualinnovation fund. Additionally, SACD hascontributed to the editing and publishingof an opinion piece signed by 194 promi-nent personalities and creators from theaudiovisual and cinema sectors in orderto prevent the cuts in the CnC’sresources. the funding was maintained!

It has also made its best efforts to defendthe culture and performing arts budgetsin a context of budgetary stringency(both for State and local authorities).

the French commitment to promote asteady support to creation was extended

tion of works. nothing should prevent aready accessibility of works on the digitalplatforms once the periods of exclusivityhave elapsed. this is not the case today,and many audiovisual and cinemato-graphic works remain unexploited. therules should be revisited to incite theright holders to exploit the works, andthe media chronology has to bereformed to make the works more avail-able.

public-service television has a key roleto play in the dissemination of works;SACD has therefore urged it to ensure abetter airing of the performing artsworks on its channels and to aim at mak-ing films available on catch-up tV.

to europe through proposals aiming atgetting the new stakeholders in digitaland Internet technologies to contributeto the funding of creation.

A better work funding… and a better dis-semination too! First, the presence ofworks must be provided when their dis-semination is threatened. to that pur-pose, SACD fought the CSA’s decision toallow tF1 to reduce its obligation tobroadcast animation works by 25%. Inthe framework of its institutional con-tacts, it has also stood by its will to pro-vide a better dissemination – currentlyinsufficient - of the performing artsworks.

the opportunities made available by thedigital world should be used to facilitatethe permanent and sustained exploita-


2

SoCIetY oF AuDIoVISuAl AuthoRS (SAA)

SAA (SoCIetY oF AuDIoVISuAl AuthoRS) WAS FounDeD In 2010 BY euRopeAn ColleCtIVe MAnAGeMentSoCIetIeS to RepReSent the InteReStS oF theIR AuDIoVISuAl AuthoRS, pARtICulAR the SCRIptWRIteRS AnDDIReCtoRS.

SAA’s main goals are to:_defend and reinforce the moral and eco-nomic rights of European authors of cine-matographic and audiovisual works(scriptwriters and directors);

_ensure their fair remuneration for eachexploitation of their works;

_develop, promote and facilitate rights

management by collective managementsocieties

Based in Brussels, SAA groups 25 audiovi-sual societies from 18 European countriesand indirectly represents some 120,000scriptwriters and directors. Since the endof 2011, Janine Lorente has been President

and Cécile Despringre is Director.www.saa-authors.eu [email protected]: @saabrussels

FRenCh CoAlItIon FoR CultuRAl DIVeRSItY

Since its foundation in 2004, SACD hasdirected and co-ordinated the French Coali-tion for Cultural Diversity (www.coalition-francaise.org) grouping 52 professional cul-tural organizations, with Pascal Rogard aspresident. It is a member of the Interna-tional Federation of Coalitions for culturaldiversity, comprising the 43 national coali-tions existing at present worldwide.

In 2014, the Coalition for Cultural Diversity’s goals were to:_structure the 13 coalitions existing in Europe and raise their profiles with the EuropeanParliament and European Commission ;

_arrange contacts with the MEPs and the new European Commission following the Euro-pean elections of May 2014;

_support the diversity of cultural expressions: Awards for Cultural Diversity, responsesto European Commission consultations, support to the Chaillot Forum and the mobi-lization of European creators; organization of a symposium on cultural taxation at theEuropean Parliament;

_defend the Cultural Exception: monitoring of the trade negotiations and mobilizationto avoid the adoption of a Communication Cinema that would be detrimental to thecurrent audiovisual and cinematographic policies.


2political and professional actions in France and abroad

SACD has maintained its financial support, i.e. €536 k, to seven professional authors’ organizations that are sufficientlyrepresentative in the related sector and actively promote and defend authors in accordance and in all solidarity with SACD’sown actions.

In ACtIVelY DeFenDInG AuthoRS’ pRoFeSSIonAl AnD MAteRIAl InteReStS,SACD tooK ACtIon In SeVeRAl WAYS In 2014.

In 2014, in accordance with the respective exploitation specificities for each of its repertoires, SACD kept on acting toimprove the remuneration of authors, either by amending its tariff policy or by negotiating with users of its repertoire.

the support granted went to the following organizations:

_Guilde Française des Scénaristes (grouping scriptwriters for television and cinema),_Groupe 25 images (professional association of television directors),_SRF (Society of Film Directors),_EAT (Writers associated with the theatre),_SNMS (national Stage Directors union),_AGRAF (Grouping of French Animation Authors),_Syndicat des Chorégraphes Associés (union of Associated Choreographers).

RELATIONS WITH TRADE ORGANIZATIONS

NEW AGREEMENTS WITH USERS OF REPERTOIRES

In Live Performance, two protocols weresigned set up in 2014:_with the SYnDeAC (national artistic andcultural enterprise union), the mainunion in the public sector grouping thelargest structures, such as the CDns,Scènes nationales and companies,whose protocols had been long-dis-cussed, a new treaty was concluded.this “broadcaster” agreement aiming atpromoting the circulation of works,specifies the collection rate and basisand makes the calculation of minimumguarantees simpler;

_with SnSp (national public theatreunion), an amendment to the earlier

_“Rire Onet”, a festival organized by theonet-le-Château commune in the Avey-ron dept. (a treaty concluded in part-nership with FFh / Fédération des Fes-tivals d’humour);

_and, finally, “Latitudes Contemporaines”,a choreographic festival organizedannually in lille.

lastly, most of the treaties with amateurtroupes have been revisited following thepricing reform (flat-rate system) and newagreement have been signed with thealready partner federations, as well aswith another federation in the Alsaceregion, namely the “Groupement duThéâtre du Rhin”.

treaty was adopted to reform and sim-plify the calculation of the minimumguarantees, comprising a procedure fortaking the impacts of grants intoaccount.

Four new treaties were also signed withthe following festivals:_the “Biennale Internationale des Arts duCirque Provence Alpes Côte d’Azur”,organized by the ARChAoS associationin Marseilles;

_“Région en scènes”, a festival organizedby the le Cercle de Midi association invarious places of the pACA-Corsicaregion;

professional actionsand international cooperation


2

In the audiovisual sector, negotiationshave been conducted and/or concludedwith:_terrestrial channels (CAnAl+ AFRIQue)for the satellite distribution of the chan-nel either direct-to-home or to local net-works, as well as for catch-up tV andadditional contents;

and possibly mobile network, as wellas VoD (tevolution);

_as well as such SVoD (Subscriptionvideo on demand) service providers asnetflix, Infinikids and pass M6.

_special-interest channels (trace Africa,trace tropical, Beblack) for broadcast-ing via cable, satellite, ADSl and mobilenetwork;

_ADSl distributors (Bouygues telecom,Free, Revolution, Bis tV online-AB Sat)for broadcasting of tV services, catch-up and radio via ADSl and fibre optics

Moreover, the Society is pursuing its active participation in the technical andpolicy bodies of CISAC (International Confederation of Societies of Authors andComposers, www.cisac.org), as Vice Chair of the Board of Directors since 2010. In2014, it remained involved in standardizing the exchange of royalties throughsuch a database as IDA – audiovisual works and rights holders– managed bySACD on behalf of all audiovisual societies, or ISAn (international identifier foraudiovisual and cinematographic works), as well as common standard documen-tation exchange formats (for performing arts).

Within CISAC, it has also contributed to the establishment of «Writers and DirectorsWorldwide», an international council of authors in the audiovisual, live performanceand literature sectors, chaired by Yves nilly (SACD’s first vice-chair till June 2014),which held its first meeting in Mexico City.

CISAC brings together 230 members from 120 countries and represents nearly4million creators from every part of the world and all the artistic repertoires:music, audiovisual, drama, literature and visual arts.

Founded in 1926, CISAC is a non-profit non-governmental organization headquar-tered in paris and having regional offices in Africa Burkina Faso), South America(Chile), Asia-pacific region (China) and europe (hungary).www.cisac.orgtwitter: @CISACnewsFacebook: CISACWorldwide

In order to develop collections abroadand increase the representation of itsmembers, SACD signed new reciprocalagreements or partnerships in 2014:_in the sector of Performing Arts, theSociety has signed several reciprocityagreements (with GCA in Georgia,CopYRo in Romania and KAZAK inKazakhstan), as well as an extension ofits prior agreement with RAo (Russia)to live performance recording;

_in the audiovisual sector, SACD hasalso signed another two reciprocal rep-resentation mandates for the exploita-tion of secondary rights (private copy-ing / cable) with AthInA-SADA(Greece) on the one hand and CIneMA(ukraine) on the other hand.

SACD has also renegotiated its agree-ments with SGAe (Spain) after re-assigning the management of its audio-visual repertoire to the society DAMA asof 1st January 2015; SGAe retains, themanagement of SACD’s performing artsrepertoire.

INTERNATIONAL COOPERATIONS

International meeting of authors at WIpo


SACD’S ECONOMIC,SOCIAL AND CULTURAL MISSIONS

3

the economic mission

THE REPERTOIRE AND ITS USE

In 2014, the registration of new works in the Society’s repertoire (cf. box) increasedagain (+23.17%) compared to 2013. In the audiovisual sector, the number of regis-tered works continued to rise (+32.31%). As last year, this increase was largely dueto the development of series and true-life drama, it being known that having tomake a registration for each episode in one series mechanically increases the num-ber of registered works.

In performance arts, the number of registrations has fallen compared to 2013(-11.19%), but that trend must be put in light of year 2013 with the combination ofexceptional factors, particularly adjustments of registrations. Actually, the volumeof registrations was back to its 2012 level.

neW WoRKS

_5,714 for Performing arts (15% of the totaland -11% compared to 2013)

_31,981 for audiovisual (85% of the total and+32% compared to 2013)

37,695neW WoRKS WeReReGISteReD In 2014,InCluDInG:

Concerning the figures on how therepertoire is used (cf. box), it can benoted that, in the performing Arts sector,the number of shows in paris steeply rose(+8%), in line with the growing amountof royalties (+10%). Conversely, in theregions and near paris, the overall num-

ber of shows has slightly declined (-1.6%),mainly due to the amateur exploitations(-12%), whereas the collected royaltiesare on the rise (+7.4% in the regions and+6.6% in Ile-de-France. In the audiovisualsector, the number of disseminatedworks in 2013 – the royalties of which

were mostly distributed in 2014–increased by 41.9% whereas the pro-gramme hours were up by «only» 28%.the same trend was noticed in 2013 andlargely resulted from the ever growingnumber of short formats.

REGISTRATIONOF AUDIOVISUAL

WORKS

85% 15%

REGISTRATIONSOF PERFORMING

ART WORKS

Radio 28%

Cinema 2%

Television 70%

69% Theatre

11% Choreography

4% Stage direction

3% Street performance

2% Circus arts

10% Music


3

Efficient collection and distribution of authors’ revenue

_Television: 96%, with 234,176 hours of programmes_Radio: 4%, with 10,964 hours of programmes

In this total, the French broadcasters account for 91.03% of the works and 91.30% of the timing.

neARlY

peRFoRMAnCeS In pARIS

oVeR

peRFoRMAnCeS In the pRoVInCeS

125,00050,000

AUDIOVISUEL

WoRKS BRoADCASteD In 2013*253,801

houRS oF pRoGRAMMeS245,140

nuMBeR oF peRFoRMAnCeS In pARIS

Amateur

professional:

Private theatres

Subsidized union theatres

Subsidized non-union theatres

Independent troupes and others

Total

741

20,472

2,891

1,637

24,190

49,931

23,857

3,048

19,069

500

78,595

125,069

Amateur

professional:

Private tour organizers

Subsidized union

Subsidized non-union

Independent troupes and others

Total

nuMBeR oF peRFoRMAnCeS In the pRoVInCeS AnD Île-De-FRAnCe

nuMBeR oF WoRKS BRoADCASteD

tV works

Films

Short films

Radio

Total

169,703

31,544

3,690

48,864

253,801

66,87%

12,43%

1,45%

19,25%

100%

KEY FIGURES FOR USE OF THE REPERTOIRE

PERFORMING ARTS

*note: the final figures on audiovisual broadcasts for 2014 were not known when this report went to print.

note: these figures include works whose rights have been entrusted to SACD by foreign societies.


3SACD’s economic, social and cultural missions

COLLECTIONS IN 2014

SACD collections in 2014 amounted to €216,674,107, up 0.8% compared to 2013, mostly thanks to Performing Arts (+7.4%).

on the other hand, the royalties collected in the audiovisual sector decreased (-2%), a fall occurring after the rise in 2013(+13.5%) and being due to the significant decrease of the collections from private copying (after strong recoveries in 2013following the signing of new contracts) and the lower collections from abroad and Canada, partly offset by the increase of thegeneral contracts and the new media.

on the other hand, in the performing arts sector, after a previous overall 3% rise in 2013, the amount of collections has increasedboth in France (+8.3%) and abroad (+2.2%) and grew up to an unprecedented level of €67m.

the strong progression in the performing arts and the decline in the audiovisual sector considerably alter the respective weightof the Society’s repertoires:_ performing Arts €67,065,592 i.e 30.9% (vs. 29% in 2013)_Audiovisual €148,992,906 i.e. 68.8% (vs. 70.7% in 2013)_Written works €615,610 i.e. 0.3% (unchanged)

In peRFoRMInG ARtS, the overall 7% increase is due to a combination of factors:

_progression in the exploitations in Paris(+10.1%), which reverses the downwardstrend seen over the previous three yearsand results from successful shows intheatres as well as an increase of royal-ties from the paris opéra;

_progression, too, in the collections fromÎle-de-France (+6.6%) and the otherregions (+7.3). the rise in the regionsstems from two compounding effects:the great efficiency of the regional del-egates in the first half of the year and

the rewarding internalization of activitywithin the regional collection unit in thesecond half, thanks to the professional-ism of the team of 25 exclusively SACD-dedicated new staff members entailingthe improvement of all the manage-ment and quality indicators (particularlythe payment deadlines);

_overall progression in collections fromabroad (+2.2%), but there was a con-trast between the downturn (-2.5%) inFrench-language countries with a

“direct intervention” (Belgium, Canada,luxembourg) and the rise +5.1%) in thenon-francophone countries where thestrong increase in royalties from Italyand Spain or the more modest one inthose from Germany, Russia and theeastern countries offsets the decline ofpayments from Switzerland andArgentina (where significant rises hadoccurred in 2013).

In the AuDIoVISuAl sector, the decrease (-1.97%) is attributable to:

_In France, nearly unchanged collections year-on-year (-0.2%), but a sharp drop in private copying (after significant accruals collectedin 2013) offset by great progressions – especially owing to the general contracts (+2.2%) with the beneficial renewal of two ADSlcontracts (SFR and Free) - as well as the progression of the new media, excluding private copying (+104%), particularly thanks toYoutube (the Dailymotion contract being currently renegotiated);

_royalties globally dropped abroad (+10.2%) after large accruals in 2013, both in the French-language countries (-6.8%) – particularlyin Canada (-38%) – and the non-francophone countries + Switzerland (-15%) with decreases, especially in Germany, after a prettygood year in 2013, and Spain (where the substantial fall in the SGAe performances incited SACD to shift to another partner society– DAMA).

For the WRItten WoRKS, collections in 2014, as marginal as ever, are progressing (+1%), thanks to collections fromBelgium (+25.7%)


3

COLLECTIONS FOR 2014 AND THEIR ALLOCATION

France

private copying

General contracts

Individual contracts

Contracts for video and new media

Direct collection countries

Abroad

Total

124,86110,636

107,392

2,223

4,610

14,6049,528

148,993

Variation2014/2013

-0,20%-31,27%

+2,20%

-3,34%

+103,93%

-6,83%-15,00%

-1,97%

AUDIOVISUAL

France

paris

ÎdF / provinces/ DoM toM

Direct intervention countries

Abroad

Graphic editing

Total

57,808 20,462

37,345

3,3715,877

1067,066

Variation2014/2013

+7,39%+10,12%

+7,27%

-2,49%+5,11%

+101,40%+7,39%

PERFORMING ARTS

Reprographic rights Belgium

Reprographic rights France

Total

215

401

616

Variation2014/2013

+25,71%

-8,55%

+1,04%

WRITTEN WORKS

(Figures in k€)

55.69% Provinces DOM TOM

8.76% Abroad

5.03% Direct intervention countries

30.51% Paris

0.01% Graphic editing

65.17% France

34.83% Belgium

1.49% Individual Contracts France

3.10% Contracts video & new media

Direct intervention countries 9.80%

PERFORMINGARTS

68.77%

AUDIOVISUAL

30.95%

WRITTENWORKS

0.28%

General contracts France 72.08%

Private copying 7.14% Abroad 6.39%



DISTRIBUTIONS OF ROYALTIES Distributions in 2014 account for 95.6%of rights collected during the year. theamount of royalties distributed in 2014–€207,056,264– was up by 6.51% com-pared to last year.

For performing Arts, where the col-lected sums are distributed on averageone month after being received, theincrease in distributions (+6.66%) isconsistent with the growth of collec-tions (+7.39%).

20,758 LIVING AUTHORS, SACD MeMBeRS, BeneFIteD FRoM At leASt one DIStRIButIon In 2014:AMonG theM ARe 13,744 oRDInARY MeMBeRS, 2,272 ASSoCIAte Full MeMBeRS AnD 4,742 Full MeMBeRS.thIS FIGuRe IS hIGheR +2.19%) thAn In 2013.

DIStRIButIon oF ReVenue ACCoRDInG to MeMBeRShIp CAteGoRYAlthough the overall number of authors having been paid royaltiesin 2014 has increased by 2.19%, this rise variously affects the mem-bership categories:_the full members have progressed more than the average(+3.56%) but have remained stable in relative share (22.8% ofthe total);

_the associate full members have progressed less than the average(+0.75%) and have also remained stable in relative share (10.9%of the total);

_as regards the ordinary members, their number has increased inline with the average (+1.97%) and their relative share hasremained stable at 66.7%.

The distribution of revenue still remains very uneven, however,regardless of membership categories. But the reversal of trendtowards growing disparities observed till 2012 (with more authorsat either end of the scale), already felt in 2013, was confirmedthis year: 81.2% of authors (81.6% in 2013 and 81.9% in 2012) canbe found in the lowest income brackets (under €5k), and 3.7% (asin 2013 and vs 3.9% in 2012) occur in the highest income bracketsof remuneration (>k€40), the beneficiaries of the median incomebrackets (€ 5 k to €40 k) growing from 14.7% to15.1%

nuMBeR oF AuthoRS

GRoSS RoYAltIeS pAID

Over €200,000

€100,000 - €200,000

€75,000 - €100,000

€50,000 - €75,000

€40,000 - €50,000

€30,000 - €40,000

€20,000 - €30,000

€15,000 - €20,000

€10,000 - €15,000

€5,000 - €10,000

€3,000 - €5,000

€1,000 - €3,000

€0 - €1,000

Total

Ordinarymembers

0

6

6

16

17

25

78

68

169

515

605

2,149

10,090

13,744

Associate fullmembers

1

8

8

19

17

20

53

42

91

215

191

468

1,139

2,272

Fullmembers

50

147

118

223

161

210

340

241

381

662

403

655

1,151

4,742

Total authors

51

161

132

258

195

255

471

351

641

1,392

1,199

3,272

12,380

20,758

Percentage

0.2%

0.8%

0.6%

1.2%

0.9 %

1.2%

2.3%

1.7%

3.1%

6.7%

5.8%

15.8%

59.6%

100%

Cumulativepercentage

100%

99,8%

98,9%

98,3%

97,1%

96,2%

95,0%

92,7%

91,0%

87,9%

81,2%

75,4%

59,6%

100%

In the Audiovisual sector, where SACDremains dependent on broadcasters’payment schedule and where – fortechnical reasons – the cycle of alloca-tion of royalties collected is longer, thelevel of distribution progressed toocompared to last year (+6.43%). thispositive trend derives from mitigatedresults: the collections had steeplyrisen in 2013 whereas they have ratherdeclined in 2014. this also results fromSACD’s efforts to reduce the mass ofroyalties on hold, thereby increasingthe level of distributions.

For written works, the sums distributedin 2014 come exclusively from repro-graphic rights received during the yearin Belgium, so their evolution(+25.49%) follows that of Belgian col-lections.

23%full members

76%full members

11%associatefull members

9%associate

full members

66%ordinarymembers

15%ordinary members

95,6%


3

DIStRIButIon oF ReVenue BY RepeRtoIRe

For rights holders having been paid royalties in 2014, the overallprogression observed (+2.2%) is more disparate when segmentedby repertoire: the number of rights holders from “Performing Arts”progressed less (+0.7%) than for beneficiaries from the “audiovi-sual sector” (+4%), but more than for “mixed” rights holders(+0.2%). Conversely, the former (Performing Arts) were even mostlyconcentrated in the lowest revenue levels (97.8% received less than€10,000 versus 97.9% in 2013), while rights holders for audiovisualworks only are even more numerous (3.62 vs 3.42% in 2013) in thehighest income brackets (over €50,000). The “multi-repertoire”rights holders are those for whom revenue levels seem the leastirregularly split:_under €10,000 >>> 68.9% (compared to an overall 88.9%),_€10,000 - €50,000 >>> 22.1% (compared to an overall 8.5%)_over €50,000 >>> 9% (compared to an overall 2.6%),

Over €200,000

€100,000 - €200,000

€75,000 - €100,000

€50,000 - €75,000

€40,000 - €50,000

€30,000 - €40,000

€20,000 - €30,000

€15,000 - €20,000

€10,000 - €15,000

€5,000 - €10,000

€3,000 - €5,000

€1,000 - €3,000

€0 - €1,000

Total

PerformingArts

1

4

7

17

11

14

46

59

131

475

553

1,939

9,724

12,981

Audiovisual

26

129

131

225

173

243

440

329

514

1,016

803

1,902

8,166

14,097

PerformingArts and

audiovisual

31

68

40

94

64

80

135

109

178

351

245

429

751

2,575

All accountstaken together

58

201

178

336

248

337

621

497

823

1,842

1,601

4,270

18,641

29,653

Percentage

0.2%

0.7%

0.6%

1.1%

0.8%

1.1%

2.1%

1.7%

2.8%

6.2%

5.4%

14.4%

62.9%

100%

Cumulative percentage

100%

99,8%

99,1%

98,5%

97,4%

96,6%

95,4%

93,3%

91,7%

88,9%

82,7%

77,3%

62,9%

100%

29,653 RIGHTS HOLDERS (lIVInG AuthoRS AnD eStAteS, But eXCluDInG SoCIetIeS) hAD RoYAltIeS CReDIteD totheIR ACCountS In 2014 (I.e. 2.22% MoRe thAn lASt YeAR)

nuMBeR oF AuthoRS

AUTHORS’ REVENUEAs usual, the authors’ revenue, taken individually, remains very dis-parate. Yet –in the context of the increasing volume of distributedroyalties – the overall mass of accounts benefiting from at least onedistribution per year progressed again in 2014 (+2.2%) at a higherpace than in 2013 (+1.75%), evenly spread between living authors(+2.2%) and estates (+2.3%).

47.5%Audiovisual

Audiovisual

60.7%Audiovisual

43.8%Performing Arts

10.4%Performing Arts

8.7%

+Performing Arts

28.9%

+Performing ArtsAudiovisual

GRoSS RoYAltIeS pAID



KEY FIGURES FOR SOCIAL ACTION IN 2014

lA FonDAtIon pAul MIllIet

oVeRAll BuDGet : 3.491

SuppleMentARY AlloWAnCe FoRRetIReMent penSIonS

3.208 MIllIon€

Number of donations: 37Mean amount: €4,245Number of “wards”: 27Amount of grants: €764 to €2,260Number of people consulting the Social Service Department in 2014: 282

Founded in 1926 thanks to a bequest to SACD by the librettistPaul Milliet (1848-1924) to create a Foundation to provide assis-tance to authors suffering from old age or ill health, the PaulMilliet Foundation –granted State approval from the start– hasbeen managing a rest and retirement home for authors in Le Ron-don, Olivet (Loiret), near Orléans, for nearly fifty years.

For some thirty five years, its action has exclusively taken theform of aids or coverage of expenses for authors suffering from

problems linked to old age or ill health, in particular for stays intwo institutions where it has privileged access. An extension ofits Statutes in 2014 enables it to help authors confronted with allthe difficulties of life.

Its income is made up of royalties bequeathed to it (today, essentiallythose of the writer Henri Jeanson), revenue from the capital of itsendowment and –for the past 3 years– donations it receives byappealing to the generosity of authors who are able to contribute.

MutuAl AID: 0.283

0

1

21

23

115

152

504

466

Over €30,000

€20,000 - €30,000

€15,000 - €20,000

€10,000 - €15,000

€5,000 - €10,000

€3,000 - €5,000

€1,000 - €3,000

€0 - €1,000

noMBRe De penSIonnéS pAR tRAnChe De ReVenu

MIllIon€

Allocation to beneficiaries according to income bracket:

Number of beneficiaries: 1,282 peopleMean annual amount of allowances paid: €2,508

MIllIon€

the social mission


3

PARTICIPATION IN AUTHORS’ WELFARE ORGANIZATIONS

SACD participates actively in organiza-tions concerned with authors’ socialsecurity coverage: health and old-ageinsurance within AGeSSA (Associationfor the Management of Authors’ SocialSecurity) and mandatory supplementarypension plans within RACD (Retirementfor Dramatic Authors and Composers)and RAAp, managed by IRCeC.Authors’ representatives, elected tothese three organizations’ Boards ofDirectors, inform them of the concernsof members, both active and retired, tohelp defend the individual and collectiveinterests of the various professionsinvolved. the Society’s administrativedepartments are also present in AGeSSAand RACD.

When it comes to the authors’ socialsecurity scheme, 2014 has been domi-nated by the question of a merger ofAgessa and Maison des Auteurs into onenational fund dedicated to authors andartist authors, which is contemplated bythe line ministries (Culture and SocialAffairs) for the sake of streamlining andeconomy and with a view to improvingthe social welfare status. Various pro-crastinations in the course of the yearinterrupted the process of consultationwith the professional bodies that hasbeen initiated at the beginning of theyear. It is expected to be resumed in 2015and many items shall be addressed,namely the conditions for affiliation (pos-sible discontinued use of the conceptsof coverage and affiliation), the overalldues check-off, the inclusion of ancillaryrevenues, the scheme scope and gover-nance… SACD, which does not object tothe establishment of a single fund, is stilllooking hard at the terms for setting itup and the potential impacts on the sta-tus of authors. pending that, the Societyhas urged the relevant authorities that aprompt response be given with respectto the “buy-back” of contributions asprescribed for those authors who havenot contributed to the pension fund andare willing to regularize their situationsby retroactively joining the pensionscheme).

Furthermore, the statutory functioningof AGESSA (just like that of the Maisondes Artistes) has been disturbed by theexpiry of the terms of their respectiveboards of directors during the first halfof 2014, whereas the future commonstructure was not yet set up. the worksof their various committees – particularlythe committee in charge of social welfare– were therefore affected. the line min-istries did not agree with an extensionof the directors’ terms of office andappointed an interim administrator in thesecond half of the year in order to enableboth entities to pursue their key missions.this was the case with AGeSSA, whosegeneral assembly – chaired by a repre-sentative of SACD – also continued toensure the statutory functioning (budget,accounts, etc.). new elections areexpected to be held by the end of 2015,a date corresponding to the end of theinterim administrator’s appointmentperiod, unless the latter is extended toallow some time for the single fund tobe set up.

Regarding IRCEC and “pensions”, 2014was primarily marked by the reform ofthe RAAp (professional artist authorsscheme). this mandatory supplementaryscheme which – for dramatic authors –supplements the cover provided byRACD, was operating so far according toan optional contribution system that hadbecome inconsistent (since it cameunder private insurance) with the rele-vant european regulations.

on the instigation of the line ministries,the RAAp’s board of directors proposeda reform introducing an 8% proportionalcontribution (reduced to 4% for theauthors contributing to the RACD)accompanied by transitional arrange-ments. A consultation on these proposalsis under way with all the professionalorganizations. SACD, understanding therationale behind the reform, endorses areduced rate of 4%, since it would likethe cumulative payment of contributions(RACD and RAAp) to stay at a sustain-

able level for authors while still providingthem with a good social security cover-age.

In addition, SACD has focused on theimplications of the law of 20 January2014 “ensuring the future and fairnessof the pension scheme”, which providesin particular that the wind-up of the basicpension plan (CnAV or others) impliesthat the contributions later paid inrespect of the mandatory supplementarypension plans no longer accrue any pen-sion rights. In spite of a strong mobiliza-tion of the various sectors of creation,the public authorities did not wish toconsider any exception for the authors.therefore when winding up their basicpension plans, they are advised to takesteps with RAAp and RACD to guaranteethey won’t be affected by these new pro-visions and contribute “for nothing”.

lastly, as regards the continuing profes-sional training for authors, the fund forcontinuing training has continued todevelop its offer for authors. Accommo-dated in a specific section of AFDAS, itis financed from the levies paid by theauthors and broadcasters (recovered bySACD, on behalf of AGeSSA, under itsrepertoire), and by the contributions paidby the societies of authors, includingSACD. the amount of the levy paid bySACD (accounting for 4.5% of the quar-ter of private copying collections dedi-cated to cultural actions, as defined bythe triennial convention signed in 2013)amounted to €160,800 in 2014 (+33%compared to 2013), thanks to theincrease in private copying levies havingmade up the cultural activity resourcesin 2014. Within the fund, professionalcommittees (specific to each creationsector) in which SACD is involved, man-age the available sums and offer crosscuttraining programmes (languages, officeautomation, management, etc.) andtrade-related training sessions.



PERMANENT ACTIONS

Founded from the start on active solidarity between members, SACD constantly uses its own income to implement aidintended to respond not only to the drop in revenue at the time of retirement, but also to difficult situations facing certainauthors, even in active life, by helping them –and their families– in their daily lives.

SuppleMentARY penSIon AlloWAnCeS

SoCIAl SuppoRt AnD MutuAl AID

Concerned with the living conditions ofauthors and their possible spouses, SACDprovides, in the context of benefitsreserved for its members, a supplementto pensions paid in certain conditions.Such allocations, which are not a supple-mentary pension plan and for which thereare consequently no accrued rights, aredonations the Board of Directors decidesto allocate to SACD members. every year,it defines the amount of income to be col-lected in the year and allocated to fundingallowances paid the following year. Cur-rently, the income thus set aside comes,on the one hand, from collections madeby SACD in the sector of performing Artsunder the CCSA (Contribution for Socialand Administrative purposes) and, on theother hand, from the contribution for

Mutual Aid applied to royalties paid toestates and, finally, from revenue col-lected by SACD from the exploitation ofworks in the public domain.the individual amounts of this benefit arethus likely to vary according to theamount of income allocated and the num-ber of beneficiaries. thus, the income allo-cated to supplementary allowances paidto beneficiaries in 2014 amounted to€3.21m (–1.9% compared to 2013). thelevel of income collected in 2014 – to beallocated to the payment allowances in2015 – remains substantially stable sinceit amounts to €3.37m.

the reform of the conditions for grantingthe allowances, implemented as of Janu-ary 2012 in order to match that advantage

with the new demographic and economicparameters of the pension plans and todevelop its spirit of solidarity, enabled toregulate the access of the new recipientsand preserve the average individual levelof the allowances being paid, as evi-denced by the report drawn up at the endof 2013. the latter, based on an actuarialstudy with satisfactory projections, hasunderpinned the maintenance, in 2014, ofthe provisions adopted to secure thefuture of this advantage offered to theauthors by SACD.

Advised by a social worker, the SocialAction Committee, made up of threeauthors who are also Board members,grants aid in the form of donations paidout of its Mutual Aid funds. SACD alsogrants allowances to its “wards” (childrenof deceased authors) to support theireducation and tuition fees.

In 2014, as authors’ social situation wors-ened, the overall volume of the individualaids (mutual aid grants to authors in needplus allowances to “wards”) has remainedat the same level as in 2013 (€283k).Moreover, additional aids have beengranted by taking €24k (vs. only €10k in2013) from the Special Reserve of €200kprovided for social action in 2010 and wascomplemented once again by a contribu-tion of €120k in 2014, through non-dis-

tributable (since non documented) roy-alties paid by the Ministry of nationaleducation on account of the use of theSociety’s repertoire in a pedagogical con-text.

With regard to mutual aid donations, theaverage individual amount of the allo-cated aids has soared (+48%). Withrespect to the “ward” allocations, the levelof which has been significantly raised, thenumber of recipients has increased.

In the same spirit, the Paul Milliet Foun-dation, which has its own income, grantsauthors aids to help them face difficultieslinked to age or diseases and – since thebroadening of its Articles as validated bythe Council of State in 2014 – all the hard-ships of life. the overall volume of its aids

has soared in 2014 and their average indi-vidual levels have increased as well(+17%).

Moreover, in addition to financial aid,SACD accompanies these individualactions with an administrative assistance(various procedures, orientation towardslegal aid, support for access to appropri-ate health care) and, of course, the psy-chological support indispensable in situ-ations of economic or moral distress.

In order to push solidarity further throughsponsorship, an endowment fund known asAuteurs Solidaires was set up by SACD in2014 on an initiative by Jacques Fansten,then Society’s President. It has the twofoldgoal of enabling disadvantaged strata ofsociety to gain access to culture whileinvolving authors in the creation of socialties and the accompaniment of creation.

To carry out its duties, the Fund’s Board ofDirectors – which brings together represen-tatives of SACD and figures from differentbackgrounds, all driven by a shared desire

for social and cultural solidarity - will soontry to get patrons (a priori mostly firms) tosupport the practical and targeted actionsit intends to develop within the currentassociational and institutional fabric.

In order to enable it to initiate its firstaction, SACD has supported it financially in2014 through a grant of €210k as part of itscultural activity. Alongside Jacques Fansten,it is headed by Véronique Perlès.


3

SACD’s cultural activity supports contemporary creation through the 25% compensation for private copyingcollected from the blank recording media. SACD supplements these 25% with voluntary assignments tofoster the emergence of numerous creations, their dissemination and the authors’ training.

thanks to a couple of new contracts signed by Copie France with Free and SFR as well as increased tabletsales which the compensation for private copying applies to, the amounts allotted to cultural activity havesoared in 2014.

KEY FIGURES FOR CULTURAL ACTIVITY IN 2014

oVeRAll BuDGet: 5,556M€

_€4.64m for legal allocations_€0.92m for voluntary allocations

up 30.37% CoMpAReDto 2013, InCluDInG:

uSe oF AVAIlABle AMountS:_cdirect expenses (support, partnerships, etc): €4.82m_including: general actions not imputed to a repertoire: €2.65m

actions per repertoires: €12.17m_contribution to operating costs: €0.73m

pARtneRShIpS: 281 _136 for Performing Arts_75 for audiovisual_4 “cross-repertoire” partnerships_66 to fund aid to creation:

(+7% CoMpAReD to 2013)

9 aids

2 aids

10 aids

14 aids

11 aids

20 aids

Fund for Humour /one-man show

Fund for translation

Fund for Fiction 2.0

Fund for Theatre

Fund for Stage music

Fund for Operatic creation

DetAIlS FoR the FunD to AID CReAtIon

the cultural mission

Sujets à Vif: Irrévérence(s)/commissioned from Marie-Agnès Gillot andlola lafonCreation and performance: Marie-Agnès Gillot and lola lafon

Sujets à Vif : Religieuse à la fraise/commissioned from Kaori Ito and olivier Martin-SalvanCreation and performance: Kaori Ito and olivier Martin-Salvan

pho

tos

© l

n_p

hoto

gra

phe

rs

p.32 SACD Rapport Annuel 2014


CULTURAL MISSION (CONT’D)

ALLOCATION OF THE AVAILABLE AMOUNTS FOR 2014

Focusing its cultural activity primarily on all actions likely to promote creation and dissemination of contemporary French-language dramatic works, in the diversity of textual, musical, choreographic, theatrical, audiovisual and interactive writing,SACD, as in previous years, dedicated the available sums to funding support for cultural activity (€4.8m) and partialfunding of the operating costs for its cultural activity (€0.7m).

Out of the €4,823,700 of support granted, an amount of€2,649,400 went to actions not identified with a specificdiscipline, as follows:

the remainder, representing an amount of €2,174,300, went toactions imputable to SACD’s different disciplines, as follows:

SACD Awards

Decentralized action in the Regions

International actions

Beaumarchais subsidy

ARP

Cultural activity for Belgium

Cultural activity for Canada

SACD Fund

Fund for responsiveness

“Cross-discipline LP” Cultural activity

“Cross-repertoire” Cultural activity (PA + AV)

Cultural activity for Authors’Training

Auteurs Solidaires Fund

€24,000

€60,000

€60,000

€900,000

€69,060

€165,000

€26,000

€195,000

€622,840

€110,000

€46,000

€160,800

€210,700

Theatre

Dance

Music

Radio

Television

Cinema

Interactive Creation

Animation

Circus arts

Street arts

€442,600

€77,400

€362,100

€39,000

€629,500

€242,300

€40,000

€167,900

€78,800

€94,700

THE BUDGET FOR CULTURAL ACTIVITY

SACD’s overall budget for Cultural activity in 2014 is €5,555,910, up 30.27% compared to 2013 (cf. Annexes). the budgets forcultural activity are defined on the basis of the sums received in the year n-1. thus, the rise in private-copying revenue observedin 2013 affects the 2014 budget , whereas the drop observed in 2014 will be felt in the 2015 budget.

ReSouRCeS FoR thIS BuDGet ARe AS FolloWS:

LEGAL ALLOCATIONS

Private copying for video (Art. L 321- 9 of the CPI)

Private copying for audio (Art. L 321- 9 of the CPI)

Non-distributable royalties (Art. L 321-9 of the CPI)

Investment income

Remaining amounts from previous years

€4,640,216

€2,984,555(1)

€588,974 (2)

€760,548 (3)

€78,511 (4)

€227,628 (5)

VOLUNTARY ALLOCATIONS €915,694

Total €5,555,910

legal allocations correspond to the income as defined“strictly speaking” in Article l 321-9 of the Code de laPropriété Intellectuelle (items 1, 2 and 3 above) -with

the consent of the CpC of CMos. SACD adds a share ofinvestment income (item 4) and the reprise of theremaining amounts from previous years (item 5).

For voluntary allocations, the income freely allocatedby SACD to funding its Cultural activity includes: a

share of the distributable royalties from private copyingfor audio, the entire distributable share from private

copying for digital collected in the year n-1 and variousincome from ticket sales during the exploitation of the

performances it produced in various festivals.

luc and Jean-pierre Dardenne (SACD award) Valérie lemercier (Mots en scène)

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3

EMBLEMATIC EVENTS, FUNDS AND FINANCIAL SUPPORT

SACD’s cultural activity is built around:

_major systems directly operated by SACD,primarily including the gradual set-up,since 2005, of several creation Funds. theFunds are allocated by a committee com-prising professionals who are not SACDmembers. Funds currently exist for thefollowing: theatre, humour-one ManShow, Stage Music, Fictions 2.0, operaticCreation, Musical Creation. the SACD’scultural creation teams accompany eachproject individually. Moreover, there aresuch schemes as Ecrire pour la rue andAuteurs d’espaces, e.g. in the street artsector;

_supports to festivals in all its repertories:Avignon off Festival, tV fiction in laRochelle, Série Mania at the Forum desimages, totally Serialized, longueurd’onde, June events, hautes tensions,

PROMOTING WORKS ABROAD

Spring, Festival Mondial du Cirque deDemain, Fipa, Francophonies en limousin;

_coproductions with festivalsles Sujets à Vif with the Avignon Festival(propose eight original cross-discipline cre-ations every year). Auteurs d’espaces, leVif du Sujet Itinérant, l’objet des mots(with Actoral);

_professional encounters or author pro-motion activities (Mots en Scène, pitchingsessions, les Rendez-vous du Conserva-toire, Voix d’auteurs…);

_training activities;_work and author promotion activitiesabroad (Jeunes talents cirque, la Moissondes traductions);

_openness to new media and new writings(Fiction 2.0 Fund, Cross Video Days, paris

Courts Devant and its Fabrique en trans-media, I love transmedia, Marseille WebFest, Web program Festival, l’Académie-SACD-You tube);

_individual aids to authors through theBeaumarchais-SACD association;

_various activities to support creation: theCinéma commission’s favourites, the tVfavourites, the Radio favourites;

the aids and supports, approved by theBoard of Directors, are for all the disciplinesin the SACD’s repertoire: theatre, music,dance, stage direction, circus arts, streetarts, humour, cinema, television, animation,radio, interactive creation.

to help promote contemporary French-language dramaticauthors, SACD transmits manuscripts selected in particular byreading committees of Entr’actes (103 texts read in 2014) and theBeaumarchais-SACD Association, makes a targeted offering to itsforeign partners (determined in particular on the Moisson des Tra-ductions database) and, through its presence in different events,ensures the dissemination of its dramatic repertoire beyond thenational borders.

In this context, thanks to SACD’s action, some fifty authors havehad some of their works translated, published, read or performedin 2014 in over 20 countries.

the Society also develops –in the context of its international cul-tural activity– many actions in partnership with foreign operators,particularly, in 2014:_in the performing Arts sector (theatre in europe with Germany,Spain and Greece, as well as Sweden with the lABo07 project –for the development of a network of contemporary theatre forchildren and young people– , theatre in America in havana andQuébec with l’Atelier Grand nord, and dance with the new YorkDance Festival).

_French film festival in Richmond, for audiovisual

2014 SACD award winners (refer to p. 34)

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CULTURAL MISSION (CONT’D)

the BeAuMARChAIS-SACD ASSoCIAtIonSuBSIDY 2014: €900,000

Founded in 1988, the Beaumarchais-SACD Asso-ciation has been chaired by Jacques De Deckersince 2001, with Corinne Bernard as Director.

In 2014, “Beaumarchais” means:_92 aids to writing (for some 2,000 candidatures)in the SACD disciplines.

_6 projects/12 authors supported by La BourseOrange / Formats Innovants and the organiza-tion of a pitching session at the Gaîté Lyriqueas part the I Love Transmedia Festival.

_Coproduction of 44 shows + 4 in Avignon (17dramas, 11 choreographic pieces, 5 circus shows,

5 street shows and 6 operas);_Coproduction of 10 short films._Support to some ten authors as part of dramareadings (Grignan Festival, MET, Balcon Theatre,Soirées d’Été en Luberon, Paris des Femmes,Lundis en Coulisses, Théâtre Ouvert, SACD’sMaison des Auteurs) to promote new Beaumar-chais-supported authors.

_20 aided translations (in theatre, opera andcinema, television).

_10 publishing aids (in theatre, dance)._8 residence aids (circus arts, street arts, theatre)._Some twelve awards in different cinema and

dance festivals (Paris, Cannes, Contis, Grignan,Brest, Montpellier, Castres, Vannes).

_Revival of the RFI Award. Beaumarchais grantsa residence aid as part of this partnership.

_Cooperation in two contests: one with theFrance-Culture and France-Inter radios stations,the other one called “Transfert Théâtral” withDVA-Stiftung (Stuttgart) and the Goethe Insti-tute (Paris).

_Continuation of international activity withvarious partners from many countries: Germany,England, Belgium, Canada, Italy, Spain, Guinea...

AWARDS IN 2014

2014 SACD AWARD WInneRS

_Grand prize: Jean-Claude Carrière_european award: Jean-Pierre and Luc Dardenne_Cinema award: François Dupeyron_new talent Cinema award: Katell Quillévéré_Suzanne Bianchetti award: Adèle HaenelGranted to a young theatre actress starting a promising careerin cinema

_television award: Charlotte Brandström_new talent television award: Sophie Lebarbier and FannyRobert-Ferrey

_Animation award: Hélène Giraud and Thomas Szabo_new talent Animation award: Augusto Zanovello and Jean-Charles Finck

_Interactive creation award: Alain Damasio_Radio award: Xavier Mauméjean_ new talent Radio award: Camille Kohler_Drama award: Yasmina Reza_new talent Drama award: Nasser Djemaï_Stage direction award: Jean-François Sivadier_translation and/or adaptation award: Huguette Hatem_humour/one-man show award: Muriel Robin_humour/one-man show new talent award: Nicole Ferroni_Circus arts award: Marie Molliens_Street arts award: Les Grooms company_Choreography award: Thomas Lebrun_new talent choreography award: Daniel Linehan_Music award: Philippe Hersant_new talent Music award: Vincent Bouchot

BeAuMARChAIS MeDAlS: Gisèle Casadesus, Reine Prat, Jo Dek-mine, Frédéric Franck, Androulla Vassiliou, Michel Barnier &Antonio Tajani.Awarded to figures who have worked in support of authors andcreation.

_henri-Jeanson award: Pierre Jolivet_SACD award for the Cannes Festival Critics’ Week (cinema, fea-ture film): Hope by Boris Lojkine

_SACD award for the Cannes Festival Directors’ Fortnight(cinema, feature film): Les combattants by Thomas Cailley

_SACD award for the best first French-language fiction work atthe Clermont-Ferrand Festival (short film): Son seul by Nina Maïni

_SACD award for the best French-language animation film at theClermont-Ferrand Festival (animation, short film): Deep Spaceby Bruno Tondeur

_SACD award in the short film category at the Annecy festival(animation): Los Dias de los Muertos by Pauline Pinson

_SACD award in the cross-media category at the Annecy festival(animation): Les Mystères de Paris by Matthieu Dubois (directionand graphics) and Véronique Puybaret (script) after eugène Sue

_SACD French-language dramaturgy award at the Francophoniesen limousin (theatre): Pays by Pedro Kadivar

_RFI théâtre 2014 award at the Francophonies en limousin: Che-min de fer by Julien Mabiala Bissila

_SACD/Max linder Grand Jury’s award: the e-comic Je vous aicompris by Frank Chiche

_SACD/Max linder Asssociation script award: Tube Tube

Supported awards_plaisir du théâtre-Marcel nahmias award : Gérard Desarthe_Jean-Jacques Gautier award: Thomas Jolly_J.M. Bajen Foundation new author award: Quiproquo byCharles-Henri Ménival

_Cent livres award: emmanuelle Marie Chimères Theatre, Biarritz _Author’s performance: Justine Remy


3

private copying was established by the lang law 30 years ago.SACD’s cultural activity dates back to 1987.

every year, the elected authors on the Board of directors tryto identify the priority actions to be carried out and theauthors’ new needs. they are backed by a dedicated teamthat prepares the cases and gives substance to the recom-mended actions. this is how such new creation aids as, forinstance, the Fictions 2.0 Fund, actions promoting multi-screen,the performing art aid funds… could be initiated. SACD alsofocuses on professional encounters in order to provide newwork opportunities for the authors.

the authors in the Board of Directors apply the utmost rigourand strictly adhere to the rules and the budget. no electeddirector can be granted any aid nor may take part in a juryestablished for any SACD support fund. SACD is transparentwith regard to the activities and aids and displays the actionsfunded by private Copying and the allotted amounts on itswebsite every year.

For a greater transparency, all the aids offered by SACD andBeaumarchais association are available through Le Portail dessoutiens which is accessible from the SACD’s website home-page (www.sacf.fr).

private copying also finances such crossactivities for the dissemination of cultureas An artist at school (Un artiste à l’école),a system that has been imagined by SACDand is run by the la Culture avec la Copieprivée association.

Since 2012, the year of the first edition,some forty artists, authors or producersfrom the audiovisual, performing arts,music, written works and graphic arts sec-tors have taken part in the operation. thesystem is based on a quite simple idea:

sending the creators back to the elemen-tary, middle and high schools they haveattended when they were young in orderto meet today’s pupils and students. overone thousand pupils and students tookpart in the third edition of An artist atschool.

the main four objectives of that operationmake more and more sense every year:fostering transmission of knowledge bycombating social intimidation because,even today, culture too often has an elitist,

AN ARTIST AT SCHOOL, THIRD EDITION

stand-offish and far-off image; givinginformation on the artistic approach andprofessions through the telling of a perso-nal history; strengthening the relationshipsbetween the students and the educationalinstitutions and nurturing an artistic andeducational project around the artist usingvisual aids.

the 2014 edition was sponsored by thescriptwriter and playwright Jean-ClaudeCarrière who met the students at the laka-nal high school, in Sceaux.

_Lise BLANCHET, journalist, chairwoman of the Albert londres award, Jeanne d’Albret high school, St-Germain-en-laye_Julie BERTUCCELLI, filmmaker, chairwoman of Scam, houdon school, paris XVIII_François ROLLIN, author-humorist and actor, hoche high school, Versailles_Jeanne LABRUNE, filmmaker, Marie Curie high school, Châteauroux_Erick BENZI, author-composer, Victor hugo high school, Marseilles_Yves JEULAND, documentarist, Sabatier high school, Carcassonne_Mohamed HAMIDI, filmmaker, henri Sellier middle school, Bondy_Sébastien LIFSHITZ, documentarist, la Bruyère high school, Versailles_Alex JAFFRAY, author-composer, producer and music columnist, Jean perrin high school, St-ouen-l’Aumône_Frantz STEINBACH, record producer, Chaptal middle school, paris VIII_Anne GEORGET, documentarist, Grandmont high school, tours_Franck PHILIPPON, scriptwriter, Missy middle school, la Rochelle_Philippe GOUDARD, author, actor, producer for circus and theatre, Jules Ferry middle school, St-Dié-des-Vosges_Pascal KANÉ, filmmaker, Jacques Decours high school, paris IX

private copying,30 years of cultural dynamism

Chaired by Christophe Barratier, an author, filmmaker and producer in the cinema sector, the La Culture avec la Copie Privée association comprises royaltycollection and distribution societies, associations representing the general public, trade unions and professional associations. The members of the Board ofDirectors are: ADAMI, ADAGP, ARP, PROCIREP, SACD, SACEM, SAIF, SCAM, SOFIA, SPEDIDAM, SPPF.

Mohamed hamidi in Bondy Franck philippon in la Rochelle


SACD, a highly monitored society


THE REPORT OF PERMANENT MONITORING COMMITTEE

THE INTERNALCONTROLS

THE EXTERNALCONTROLS

The General AssemblyThe Board of Directors

The permanent RCDS

The auditor

The communication law CommissionThe budget control Commission

Furthermore, as provided in the Code dela propriété littéraire et Artistique, SACD– like all the RCDSs – transmits its annualaccounts and the related reports everyyear to the Ministry of Culture and com-

munication and also submits to it – priorto its approval by the General Assembly– every draft amendment to its articlesor its rules for collection and distributionof royalties.

likewise, the Society provides its annualaccounts and the related reports everyyear to the chairs of the committees onthe cultural affairs of the NationalAssembly and the Senate.

In 2014, the RCDS permanent monitoringCommittee focused on the artistic and cul-tural activity and the aid to performingarts as implemented by the main RCDSs,including SACD. the Committee also exa-mined the follow-up carried out by all theRCDSs according to its recommendationsin the 2010 and 2011 reports (relating tothe flows and services between societieson the one hand, and to the participationof the societies’ members in social life onthe other hand) and the relevant commit-ments of the said societies.

Regarding SACD’s cultural and artisticactivities, more particularly its support to

performing arts, the Committee – beyondthe reported decline of cultural activityresources over the 2006-2013 period andconsiderations on their insecure future –has made few recommendations: trackingthe operating and management savingsthat are liable to be achieved through theportail des soutiens, developing more for-mal case appraisal procedures and streng-thening the monitoring of the uses ofallotted aids, particularly for the highamounts.

With respect to the follow-up of recom-mendations and commitments, SACD wasonly concerned by the 2011 report on the

participation of the societies in social lifeand the Committee has noted with satis-faction that the Society had fully or partlyimplemented its related suggestions orrequests (particularly as regarded all theinvitation and e-mail voting proceduresfor the general assemblies).

the general report resulting from thesetwo surveys – and released in mid-May2015 – is the 12th annual report of the per-manent Committee. It is fully available onthe Society’s website www.sacd.fr alongwith the remarks made by the Societymembers.

In 2014, SACD AnD YoutuBe oRGAnIZeD the SeConD eDItIon oF the SACD-YoutuBe ACADeMY In the FoRMoF A hAlF-DAY oF eXChAnGeS AnD tRAnSMISSIon oF KnoWleDGe BetWeen CReAtoRS FRoM All unI-VeRSeS, All DISCIplIneS AnD All GeneRAtIonS.

The writing aid « Bourse Orange / Innovative Formats » was born of a partnership between Orange and Beaumarchais-SACDassociation in 2009 to promote the development of novel audiovisual formats linked to the advent of new digital distribution net-works. It is intended to provide help and support to the authors in their writing work in order to develop innovative audiovisualformats that would be interactive and multi-platform, linear and nonlinear, etc.In order to confront the demands made on the authors by the digital revolution, Orange and the Beaumarchais-SACD associationare proud of this partnership marrying technology and creation.

oRAnGe IS A tRuSteD AnD lonG-StAnDInG pARtneR oF CReAtIon AnD CReAtoRS

The writing aid « Bourse Orange / Innovative Formats » was born of a partnership between Orange and Beaumarchais-SACDassociation in 2009 to promote the development of novel audiovisual formats linked to the advent of new digital distribution net-works. It is intended to provide help and support to the authors in their writing work in order to develop innovative audiovisualformats that would be interactive and multi-platform, linear and nonlinear, etc.In order to confront the demands made on the authors by the digital revolution, Orange and the Beaumarchais-SACD associationare proud of this partnership marrying technology and creation.


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the orange Grant/Innovative formats

In 2014, the winners of the Orange Grant / Innovative Formats are:_Bit too much by Sébastien BUFFI_Fucking French Film by Vincent OOGHE_Phonophore by Alain DAMASIO, Floriane POCHON and TonyREGNAULD

_Pilule Alpha by Lella DEROUX, Vincent DIDEROT and Eric VIENNOT_La Pluie à midi by Julie CHHENG_Update Marylin by Pierre ALIVON, Anseau DELASSALLE and SylvieLARDET

norman thavaud

2014 winners

Cyprien tété


2014 COLLECTIONS (VAT EXCLUDED)

LIVE PERFORMANCE

France

Paris

Province


Belgium

Canada

Abroad

Graphic editing

AUDIOVISUAL

France

Private copying

General contracts

Individual Contracts



Belgium

Canada

Abroad

WRITTEN WORKS



GRAND TOTAL

Amountscollected

67,065,592.16

57,807,924.55

20,462,385.65

37,345,538.90

3,371,492.88

3,008,240.02

363,252.86

5,876,594.10

9,580.63

148,992,905.59

124,860,815.40

10,635,515.61

107,392,461.87

2,223,186.15

4,609,651.77

14,604,324.75

13,068,400.30

1,535,924.45

9,527,765.44

615,609.59

401,177.07

214,432.52

216,674,107.34

Variation14/13

7.39%

8.26%

10.12%

7.27%

-2.49%

0.26%

-20.53%

5.11%

101.40%

-1.97%

-0.20%

-31.27%

2.20%

-3.34%

103.93%

-6.83%

-0.93%

-38.15%

-15.00%

1.04%

-8.55%

25.71%

0.75%

CCSA*

7,967,445.49

7,672,313.81

1,921,155.45

5,751,158.36

295,131.68

295,131.68

0.00

0.00

0.00

7,967,445.49

Specificdeduction

711,547.34

587 056,47

42,371.18

526,148.10

18,537.19

74 215,22

66,548.61

7,666.61

50,275.65

1,373.11

1,373.11

712,920.45

SACDdeduction

13,118,465.61

11,067,005.52

817,085.33

9,850,366.46

399,553.73

1,451,274.47

1,301,206.85

150,067.62

600,185.62

18,301.74

18,301.74

13,136,767.35

Royalties to bedistributed

59,098,146.67

50,135,610.74

18,541,230.20

31,594,380.54

3,076,361.20

2,713,108.34

363,252.86

5,876,594.10

9,580.63

135,162,892.64

113,206,753.41

9,776,059.10

97,015,947.31

2,223,186.15

4,191,560.85

13,078,835.06

11,700,644.84

1,378,190.22

8,877,304.17

595,934.74

381,502.22

214,432.52

194,856,974.05

ColleCtIonS DeDuCtIon SACD / ColleCtIonS

(Data in euros)

Annexes

STATISTICS FOR COLLECTIONS AND DISTRIBUTIONS

4

CCSA* Contribution for social and educational purposes, paid in addition to the royalties by the managers of performing art shows


4

INDIVIDUAL DISTRIBUTIONS OF ROYALTIES IN 2014

LIVE PERFORMANCE

France

Paris

Province


Belgium

Canada

Abroad

Graphic editing

AUDIOVISUAL

France

Private copying

General contracts

Individual Contracts



Belgium

Canada

Abroad

WRITTEN WORKS



GRAND TOTAL

Royaltiesdistributed

59,963,132.06

50,505,466.20

18,656,705.71

31,848,760.48

3,091,133.37

2,753,087.93

338,045.44

6,357,186.84

9,345.65

146,878,102.23

120,639,144.54

9,419,131.15

105,300,159.98

2,148,083.47

3,771,769.95

11,862,369.56

10,340,094.73

1,522,274.83

14,376,588.13

215,029.68

0.00

215,029.68

207,056,263.97

Variation14/13

+6.66%

+7.98%

+9.16%

+7.30%

-1.54%

+1.52%

-20.96%

+0.86%

+93.13%

+6.43%

+2.59%

+39.12%

-1.59%

-13.05%

+178.97%

-5.58%

+2.59%

-38.71%

+83.13%

25.49%

+0.00%

+25.49%

+6.51%

Specificdeduction

290,685.64

246,441.94

91,344.71

155,097.23

13,343.76

13,240.27

103.49

30,853.44

46.50

16,152.88

16,152.88

0.00

0.00

16,152.88

0.00

0.00

0.00

0.00

0.00

0.00

0.00

0.00

306,838.52

SACDdeduction

5,466,733.19

4,764,610.83

1,154,911.85

3,609,698.98

288,910.10

286,403.14

2,506.96

412,635.31

576.95

128,624.32

128,624.32

0.00

0.00

128,624.32

0.00

0.00

0.00

0.00

0.00

9,637.67

0.00

9,637.67

5,604,995.18

Netroyalties

54,205,713.23

45,494,413.43

17,410,449.15

28,083,964.27

2,788,879.51

2,453,444.52

335,434.99

5,913,698.09

8,722.20

146,733,325.03

120,494,367.34

9,419,131.15

105,300,159.98

2,003,306.27

3,771,769.95

11,862,369.56

10,340,094.73

1,522,274.83

14,376,588.13

205,392.01

0.00

205,392.01

201,144,430.27

DIStRIButIonS DeDuCtIon SACD / DIStRIButIonS

(Données exprimées en euros)

REVENUE AND EXPENDITURE ACCOUNTSFISCAL YEAR 2014

FISCAl YeAR 2014 FISCAl YeAR 2013EXPENSES

47,381,45211,521,530

784,489

22,245,209

9,266,734

1,309,652

2,253,837

85,865

119,178

308,572

47,895,067

11,966

47,907,033

11,975,127

5,603,418

3,085,083

1,581,581

3,490,761

3,207,542

283,219

5,555,910

4,640,216

915,694

220,063

517

6,837

0

0

0

0

78,511

42,825,033

11,272,368

694,635

18,860,735

7,922,640

1,220,899

2,853,756

59,815

876,470

503,237

44,264,556

25,755

44,290,310

11,223,227

5,223,614

846,916

1,566,979

3,556,818

3,272,031

284,788

4,264,800

3,474,987

789,813

101,022

2,846

282

0

0

0

0

56,687

Profit or loss account total with cents: 47,907,032.76 44,290,310.40

I - OPERATING EXPENSES

A - EXTERNAL PURCHASES AND COSTS

B - TAXES

C - PERSONNEL COSTS

- Wages

- Payroll taxes

- Sundry costs

- Brussels Delegation

D - OTHER OPERATING EXPENSES

a) Authors’ welfare costs

- Supplementary allowance

- Other welfare-related costs

b) Cultural activity costs

- Allocated to legal resources

- Allocated to voluntary resources

c) Other operating expenses

E - DEPRECIATION EXPENSE

F - PROVISIONS

II - FINANCIAL COSTS

Bank interests

Exchange losses

Costs on disposal of investment securities

Costs on disposal of equity shares

Provision for depreciation of securities and related debt

Provision for financial costs

Share of investment costs related to cultural activity

III - EXCEPTIONAL CHARGES

IV - PROFIT SHARING

TOTAL COSTS (I+II+III+IV)

PROFIT OR LOSS FOR FISCAL YEAR

GRAND TOTAL


4Annexes

FISCAl YeAR 2014 FISCAl YeAR 2013RESSOURCES

42,578,234

732,210

24,188,178

15,176,532

2,481,314

5,321,285

7,513

47,907,033

732,210

5,758,528

13,973,681

29,313

0

4,426,657

926,413

8,694,209

3,207,542

5,486,667

5,555,910

4,640,216

915,694

11,372

74,587

2,103,328

258

0

1,901,794

1,229,946

0

0

40,978,247

717,500

25,239,975

13,909,230

1,111,542

3,310,509

1,554

44,290,310

717,500

5,914,207

14,984,873

29,873

0

4,311,023

1,049,232

8,595,198

3,272,031

5,323,168

4,264,800

3,474,987

789,813

12,094

77,283

2,680,036

1,246

0

0

539,850

0

0

I - OPERATING INCOME

A - RECOVERY AND RE-INVOICING OF COSTS

Recovery of costs related to Cultural activity

B - DEDUCTIONS FROM RIGHTS

Deductions from Live Performance rights

Deductions from audiovisual rights

Deductions from writing (reprographic) rights

Deductions from other rights

Deductions from secondary collections

C - OTHER OPERATING INCOME

a) Operating income

b) Sundry income

- income allocated to supplementary allowance (containment)

- other income

c) Resources from cultural activity

- statutory share

- voluntary share

D - REVERSAL OF PROVISIONS

II - FINANCIAL INCOME

Loan interests

Income from sundry credits

Investment security income

Exchange profits

Net gain from equity share sale

Net gain from investment securities:

- From SACD mutual funds investment

- From other investment securities

Reversal of provision for depreciation of equity shares and related debts

Reversal of provision for financial costs

III - EXCEPTIONAL INCOME

GRAND TOTAL (I+II+III)

Profit or loss account total, with cents: 47,907,032.76 44,290,310.40


4


4Annexes

PROFIT & LOSS ACCOUNT ON 31 DECEMBER 2014

on 31 DeCeMBeR 2014FISCAl YeAR

2013ASSETS

Net value

1,792,027

1,792,027

5,053,916

1,173,095

16,162

32,829

1,411,378

659,298

801,148

341,742

392,621

75,822

5,238

67,970

76,613

0

364,058

6,432,397

198,142

5,263,774

939,196

31,284

13,642,398

51,181,509

3,598,678

5,220

32,276,960

5,700

278,176

5,780

14,716,676

89,313,306

21,221,151

28,898,941

39,043,999

0

48

149,167

112,180,153

6,787,213

259,167,861

199,602

0

199,602

273,009,861

Gross value

5,990,582

5,990,582

15,845,846

1,173,095

19,388

45,544

3,735,526

1,523,984

3,467,172

2,049,465

1,616,361

95,025

750,928

393,491

958,276

17,592

340,549

5,883,740

198,142

4 679,207

932,824

73,567

28,060,717

45,556,852

3,244,670

23,388

30,267,590

9,031

388,825

5,780

11,617,568

83,096,264

25,097,293

30,800,735

27,043,143

0

50

155,043

118,534,397

11,764,770

258,952,284

321,813

0

321,813

287,334,814

Deprec. orprovision

4,364,092

4,364,092

10,796,570

0

5,166

14,993

2,378,317

914,489

2,745,401

1,615,909

1,279,481

40,998

582,931

335,232

866,061

17,592

0

163,673

0

163,673

0

0

15,324,335

673,486

565,725

107,761

0

1,018,791

1,692,277

0

17,016,612

INTANGIBLE ASSETS

Software licences

TANGIBLE ASSETS

Constructions:

a) Land

b) Plantations

c) Exterior arrangement and development

d) Buildings

e) Façade

f) Installation and layout of construction

g) Installation and fitting out of premises

h) Technical facilities

Other tangible assets:

a) Transport equipment

b) IT equipment

c) Office equipment

d) Office furniture

e) Other tangible assets

ASSETS BEING CURRENTLY ACQUIRED

FINANCIAL ASSETS

Equity shares

Claims related to equity shares

Loans

Deposits and guarantees

TOTAL I - NON-CURRENT ASSETS

RECEIVABLES

Author debtors

Supplier advances and down payments

Trade account receivables

Personnel

State and welfare bodies

Trade organizations

Other receivables

CURRENT INVESTMENT

UCITS “Money-market” funds

UCITS “Diversified: - SACD mutual funds

- Other short-term diversified funds

UCITS “Equity”

Shares

Depository receipts

TERM DEPOSITS and MARKETABLE DEBT INSTRUMENTS

FUNDS AVAILABLE

TOTAL II - CURRENT ASSETS

Deferred expenditure

Costs to distribute over several fiscal years

TOTAL III - ADJUSTMENT ACCOUNTS

GRAND TOTAL (I+II+III)Total of Profit & Loss Account, with cents: 270,318,202.31 273,009,860.70

Net value

1,626,490

1,626,490

5,049,276

1,173,095

14,223

30,552

1,357,209

609,495

721,770

433,556

336,880

54,027

167,997

58,259

92,215

0

340,549

5,720,067

198,142

4,515,535

932,824

73,567

12,736,382

44,883,366

2,678,945

23,388

30,267,590

9,031

388,825

5,780

11,509,807

83,096,264

25,097,293

30,800,735

27,043,143

0

50

155,043

117,515,607

11,764,770

257,260,007

321,813

0

321,813

270,318,20

SACD Rapport Annuel 2014 p.43

4

Total of Profit & Loss Account, with cents: 270,318,202.31 273,009,860.70

on 31 DeCeMBeR 2014 on 31 DeCeMBeR 2013LIABILITIES

2,174,479

346,876

11,966

2,533,321

6,675,836

4,667,585

251,690

11,595,111

256,009,794

256,009,794

179,976

179,976

270,318,202

3,429,217

209,700

3,036,919

3,946

283,885

2,602,845

2,092,312

10,966,105

2,395,683

57,653,603

3,872,820

1,267,465

122,389,121

7,590,405

7,158,645

3,470,220

692,206

32,944,217

530,863

95,454

2,104,913

321,122

25,755

2,451,789

5,625,330

5,854,048

157,061

11,636,430

258,771,216

258,771,216

150,426

150,426

273,009,861

2,830,538

185,329

2,609,453

3,070

1,526

2,396,024

2,197,774

10,162,758

1,739,758

57,906,643

3,718,854

1,319,419

120,484,433

9,834,334

9,559,550

4,476,757

459,995

33,761,644

748,678

0

SHARE CAPITAL

RETAINED EARNINGS

PROFIT OR LOSS FOR THE FISCAL YEAR

TOTAL I - PAID-UP CAPITAL

PROVISIONS FOR (SOCIAL) COMMITMENTS

Provision for staff pensions

Provision for long-service medals

Provision for end-of-career allowances

PROVISIONS FOR DISPUTES

PROVISIONS FOR SOCIAL ACTION

TOTAL II - PROVISIONS

CURRENT LIABILITIES

Deposits and sureties received

Loans and overdrafts

Suppliers and related accounts

Personnel

State and Welfare bodies

Sundry accounts payable

Creditor authors

Donations to pay to authors

Trade organizations

Audiovisual royalties to allocate

Authors’ royalties to distribute

Royalties for private copying “Authors’ share” to allocate

Royalties for private copying “Cultural activity share”

Royalties for the written word (France) to distribute

Royalties from Belgium to allocate:

- Audiovisual

- Live Performance

- Reprography, loan

TOTAL III - LIABILITIES

UNEARNED INCOME

TOTAL IV - ADJUSTMENT ACCOUNTS

GRAND TOTAL (I+II+III+IV)


4Annexes

DETAILS OF SOCIAL AND CULTURAL ACTIVITIES

DETAILS OF OTHER WELFARE-RELATED COSTS

DETAILS OF RESOURCES RESTRICTED TO SUPPLEMENTARY ALLOWANCES

FISCAlYeAR2014

FISCAlYeAR2013284,788

224,772

60,016

224,772

4,910

52,605

0

2,500

283,219

229,207

54,012

229,207

9,542

41,470

0

3,000

OTHER WELFARE COSTS

OTHER WELFARE-RELATED COSTS

- Donations, Mutual Aid Fund

OTHER MUTUAL AID COSTS

- Funeral honours

- Life insurance (assistance)

- Donations, welfare subsidies

- Awards, bequests

3,272,031

2,110,225

122,074

140,307

899,424

3,207,542

2,016,505

127,187

155,056

908,794

RESOURCES RESTRICTED TO SUPPLEMENTARY ALLOWANCES

- Contribution for Social and Administrative Purposes (CCSA)

- Collections from the public domain

. Public domain radio television

. Loan for unprotected repertoire

. Rights from the community of authors

FISCAlYeAR2014

FISCAlYeAR2013

SACD Rapport Annuel 2014 p.45

4

DETAILS OF COSTS AND INCOME FOR CULTURAL ACTIVITY

5,555,910

5,555,910

4,640,216

3,908,006

445,012

795,859

392,031

2,275,104

0

732,210

915,694

104,272

186,480

91,858

533,085

4,640,216

2,984,555

588,974

760,548

78,511

227,628

915,694

865,792

15,680

34,223

4,264,800

4,264,800

CULTURAL ACTIVITY COSTS

COSTS IMPUTED TO LEGAL RESOURCES

Direct costs

- Aid for creation

- Aid for dissemination

- Aid for training

- Mixed aid

- Leftovers, current year

Operating costs attributed to Cultural activity(share imputed to legal resources)

COSTS IMPUTED TO VOLUNTARY RESOURCES

Other direct costs

- Aid for creation

- Aid for dissemination

- Aid for training

- Mixed aid

RESOURCES ALLOCATED TO CULTURAL ACTIVITY

LEGAL ALLOCATIONS

Private copying for audiovisual

Private copying for audio

Non-distributable royalties (Article 321-9 of the CPI)

Financial income

Balance of previous years brought forward

VOLUNTARY ALLOCATIONS

Distributable share for private copying of audio

Sundry income

Private copying (text, image, etc)

FISCAlYeAR2014

FISCAlYeAR2013

3,474,987

2,757,487

256,908

576,344

248,202

1,676,033

0

717,500

789,813

73,585

165,079

71,091

480,057

3,474,987

1,744,803

453,727

820,782

56,687

398,989

789,813

675,942

16,690

97,181


4Annexes

ORGANIZATIONS HAVING RECEIVED SUPPORTFOR 3 CONSECUTIVE YEARS (2012/2013/2014)

DANCE

_uzès Danse_Rencontres chorégraphiques deSeine-Saint-Denis

_plastique Danse Flore_les hivernales_June events Festival_C’est comme ça! Festival_IADu (Initiatives d’Artistes en Danseurbaine)

_la Danse de tous les sens_extension sauvage

THEATRE

_entr’actes_Fonds de Soutien au théâtre privé_les Chantiers de Blaye & de l’estuaire_éditions espace 34_Avignon Festival & Compagnie_À Mots Découverts : les hauts-par-leurs Festival

_Actoral Festival_les Mardis Midis des textes libres pré-sentés au théâtre 13

_théâtre 13 Young stage directorsaward

_Francophonies en limousin Festival_écritures en partage_éditions Quartett_SACD theatre Fund_SACD humour / one-Man Show Fund_Conservatoire du Grand Avignon_Binôme/ le sens des mots_Collidram Award_Clastic théâtre_tAM tAM Festival_essayages (biennial aided everysecond year since 2010)

_performance d’auteur_les Journées de lyon des Auteurs dethéâtre

_MIMeSIS Festival

MUSIC

_Fonds de Création lyrique_Fonds de Création Musicale (FCM)_Fonds SACD Musique de Scène_Valorisation lyrique_Musique Française d’Aujourd’hui(MFA)

_Académie nationale de l’opérette(AnAo)

_Centre de la Documentation de laMusique Contemporaine (CDMC)

_MuSICA Festival_Atelier opéra en Création –Festivald’Aix-en-provence

CIRCUS ARTS

_talents Cirque europe_hautes tensions (la Villette)

STREET ARTS

_Chalon dans la Rue_Festival International de théâtre derue d’Aurillac

_écrire pour la Rue_Auteurs d’espace

INTERNATIONAL

_Scène/Bureau du théâtre (Berlin)_Crossing the line Festival (new York)_Sala Beckett (Barcelona)_lABo07_Atelier Grand nord_French Film Festival_Institut Français de tokyo / éditionsthéâtre Francophone

_primeurs Festival

TELEVISION

_Fonds SACD Fictions 2.0_FIpA (Festival International de pro-grammes Audiovisuels)

_Conservatoire européen d’écritureAudiovisuelle (CeeA)

_Festival International des Scénaristes(Bourges)

_Fiction télévisée Festival (laRochelle)

_Séries Mania Festival_luchon Festival_Web program Festival_totally Serialized_la Maison des Scénaristes_les entretiens filmés de la Rochelle_Série Series: les Rencontres de Fontai-nebeau

ANIMATION

_la poudrière_Festival d’un Jour_Fête du Cinéma d’animation (AFCA)_Cartoon Forum_Festival International du CourtMétrage (Clermont-Ferrand)

_Cartoon Movie_Festival International d’animationd’Annecy

_Festival Courts Devant _Festival national du Film d’Animation_Cinéma des Cinéastes_un Festival c’est trop Court _Croq’Anime Festival_les toiles enchantées_Cinéma des cinéastes

CINEMA

_Agence du Cinéma Indépendant poursa Diffusion (ACID)

_Institut lumière_Cinéma des Cinéastes_Directors’ Fortnight_International Critics’ Week_Festival International du CourtMétrage (Clermont-Ferrand)

_Festival International des Scénaristes(Clermont-Ferrand)

_premiers plans Festival _Rencontres Cinématographiques deDijon

_émergence_Grand lyon Festival_Grand prix du Meilleur Scénariste_Festival du Cinéma européen (lesArcs)

_les toiles enchantées_la Maison du Film court_les cinéastes invitent l’ami européen(ARp)

_Myfrenchfilmfestival

RADIO

_longueur d’ondes Festival_Du Côté des ondes (RtBF)_primeurs Festival_phonurgia nova

INTERACTIVE CREATION

_I loVe tRAnSMeDIA

ACTIONS NOT ALLOTTEDTO A SPECIFIC DISCIPLINE

_Beaumarchais – SACD Association

TRANS-REPERTOIRE

_Sujets à Vif (Avignon Festival)_Voix d’Auteurs (Radio France)_AFDAS (continuing training)

4

AUDITOR’S GENERAL REPORT

AuDItoR’S RepoRt on the AnnuAl ACCountSFor the year ending on 31 December 2014

ladies and gentlemen,

As part of the execution of the mission entrusted to us by your General Assembly, we hereby submit our audit reportconcerning the fiscal year ending on 31 December 2014, on:_verification of the annual accounts of the Society of Dramatic Authors and Composers (SACD), as they are enclosed withthis report,_the justification of our appraisal,_specific verifications and information as provided for by law.the annual accounts were approved by the Board of Directors. It is incumbent upon us, on the basis of our audit, to expressan opinion on these accounts.

I - opinion on the annual accountsWe undertook our audit in compliance with professional standards applicable in France; these standards require the implemen-tation of due diligence for the purpose of having a reasonable assurance that the annual accounts contain no significantanomalies. An audit entails checking, by sampling or by other methods of selection, the elements justifying the sums and infor-mation in the annual accounts. It also involves assessing the accounting principles applied, the significant estimations made andthe overall presentation of the accounts.We consider that the elements we gathered are sufficient and appropriate for us to issue an opinion.We certify, in view of French accounting rules and principles, that the annual accounts are consistent and true and provide anaccurate image of the result of operations in the past year as well as the Society’s financial situation and asserts at the end ofthis year.Without calling the above opinion into question, we draw your attention on the following point, described in the note on page12 of the annex dealing with the provisions and reversals of provisions for contingencies and charges. By the end of 2013, theprovisions were fully recorded and reversed. By the end of 2014, your Society has only recognized as a provision or a reversalthe variation of the provision from one year to the other. We draw your attention on the fact that this change affects the presen-tation of the profit and loss account but has no effect on the very income statement nor on the balance sheet.

II - Justification of appraisalpursuant to the provisions in Article l. 823-9 of the Code de commerce concerning the justification of our appraisal, weinform you that our appraisal bore on the appropriateness of the accounting principles applied.the appraisal thus made is part of our approach in auditing the annual accounts, taken as a whole, thereby contributing tothe formation of our opinion as expressed in the first part of this report.

III - Specific verifications and informationWe also proceeded, in compliance with professional standards applicable inFrance, with the specific verifications provided for by law.

With the exception of the facts set forth in the first part of this report, we do not have any other observation to make on thehonesty and consistency with the annual accounts of the information given in the Board of Directors’ Management Reportand in the documents sent to members on the financial situation and the annual accounts.

Drawn up in Courbevoie, on 15 April 2015

the AuditorMAZARS/luc MARtY

Société des Auteurs et Compositeurs Dramatiques (S.A.C.D.)Siège Social : 11 bis rue Ballu – 75009 – PARIS

Société Civile / N° Siren : 784 406 936

Society of Dramatic Authors & Composers11 bis, rue Ballu – 75442 paris cedex 09 France

www.sacd.frfacebook.com/sacd.fr@SACDParis on Twitter

Documents

AnnuAl RepoRt - SACD · SACD Annual Report 2014 p.3 Key ﬁgures SACD AUTHORS SOCIAL ACTION CULTURAL ACTIVITY COLLECTION / DISTRIBUTION 57,130 members (55,436 in 2013) 20,758 living