What's valuable: me or the IP?

It's clearly the IP. While people like my covers, it's my original songs that are valuable. Tina is a perfect example. She's worth millions.

That character, that moment, that idea = $50 million over several seasons.

It didn't have to be me. In fact, I was poorly qualified.

I didn't just say no: I made numerous screen tests. Yet they still sold the script... says the IP was valuable, not me. - Mr. Barr and his allies probably realised they didn't have chain of title.

They hoped to persuade me, but ended up breaking the law. If they'd simply purchased the script when I gave them a low price, this entire saga could have been avoided: Mr. Barr could've made his lame derivative and The Dakumentary would probably still have existed in some form. He was the one that pursued an all or nothing strategy, not me. I offered multiple compromises, but they all involved him having to cast a Tina. Now I'm simply saying that character is unavailable outside of my book. - In the case of the Beatles idea, it's both. I'm similar enough to understand their dramas, plus I've got a bit of a thing about the 1960's, but it's definitely their hits that make the film enticing. I'm not acting any roles - I refuse to write if people don't stop suggesting that. Said no to singing a role for Hollywood; Wētā/Apple isn't more enticing. I'm out and transgender. I'm not going back in the closet. We're not living in the Walk The Line era. This is going to be revolutionary AI. All the Fab Four are going to be digital, whether that's via motion capture or ML. But yeah, the script is something I'm inventing. My brain's worth more than my body.