Whether it is 'The Bill' entertaining your couch potato cousins in Canada, or a classic 'Benny Hill' popping up on the TV in your Italian hotel, someone, somewhere has to ensure that the artists and writers involved in the original making of that programme are paid. If any slip-ups were to occur, the artists and contributors in the shows, from 'Goodnight Sweetheart' to 'Wish You Were Here' would soon lose confidence in the integrity of their paymaster. Written in User Language using Model 204 as the database, this sophisticated technology enables the artists payments department of Pearson Television to ensure that every artist in all their shows is paid the correct fee for all primary or secondary programme usage. In essence, this includes first and repeat transmissions in the UK, plus royalties for overseas sales, video versions, cable and satellite transmissions and non-theatric sales to closed networks such as schools, clubs and airlines. Often, artists payments have to be made on programmes dating back over twenty years.
Many shows have a long shelf life and remain top sellers for decades.
Amongst these are 'The Sweeney', 'Minder', 'Rumpole of the Bailey', 'Benny Hill'. Payments made to artists will vary according to the agreement their agents and their performing Union has negotiated with a television production company. The Unions responsible for artists are Equity, the Musicians Union and the Writers' Guild. There are separate sets of agreements in place historically, under the auspices of Thames Television, Euston Films and the independent production companies acquired by Pearson Television. All agreement details for every artist in every programme have to be input to the Artists Payments System, which has been uniquely configured to generate correct payments from the information given .