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Welcome! At the Law Offices of Gordon P. Firemark, we are dedicated to the legal and business-affairs needs of clients in the entertainment and media industries.

By offering the kinds of legal and business-affairs services handled in-house at the larger studios, production companies, talent agencies and record labels, we help small and mid-sized entertainment businesses, individual producers, writers and artists to reliably and efficiently out-source their legal and business affairs work.

Let me help you realize your dreams! Please contact us for a consultation!

3 Reasons why copyright registration is important for all kinds of documents

Copyright registration is increasingly important for all types of businesses and all types of documents. it’s not just about media content.

Companies and individuals should consider registering their copyrights in all kinds of documents they may consider valuable. Sales presentations and info sheets can be easily lifted by competitors, and without a registered copyright, the victim of infringement may be barred from effectively enforcing it’s rights.

Here are three good reasons to register copyrights early.

1. Registration is required prior to filing suit. Although copyright protection exists from the moment a work is created, enforcing the rights conferred by the Copyright Act requires that the work be registered befoe the Courts will hear a plaintiffs case. Since registration can take many months before a certificate is issued, filing early can save valuable time after infringement begins, allowing the plaintiff to file for an injunction much sooner. (expedited filing IS possible, but costly and time still passes while waiting for processing)

2. Statutory damages. Copyright law provides for statutory damages of up to $150,000 per infringement, but only if the copyright was registered prior to the infringement and within 90 days of the work’s first publication. Otherwise, the plaintiffudt prove it’s actual damages, which can be difficult to quantify.

3. Attorneys Fees. Like statutory damages, lawyers fees are available only for works registered early. Since legal fees can easily rise into the six-figures, this can often mean the difference between enforcing one’s rights and failing to do so.

Copyright registration is inexpensive, relatively easy, and takes only a few minutes (if done online), so registering is worthwhile in many situations.

check with an attorney, though, if your documents contain trade secrets or other proprietary information, since registration requires deposit of a copy of the works with the Library of Congress.

Asked & Answered: Contests and the risk of idea theft.

Q:  I often think that when I submit my screenplays for viewing or to a contest, “What would keep someone from taking the idea?” Let me clairfy what I mean. I send in a screeplay for a contest or for someone (producer, whoever) to read. They like the idea but dont purchase my screenplay but instead write one just like it or have someone write it just like it. Change some details here and there and wa-la! They have a winning screenplay and can take all the credit. I never hear back from them and think its just another “no”. Little do I know that my movie is being optioned and produced by someone else under the new screenplay name.

This is something that I think about but cant really see how it can be controlled. (unless its just too obvious.)

A:  This is a valid concern.  Since ideas are not protected by copyright law, we’re forced to look into other legal theories when ideas are “stolen”.  The simple fact is, when you share an idea, you’re giving it to the recipient freely, unless there’s some kind of agreement (i.e., an implied or express CONTRACT) stating that you’ll be compensated, hired, etc., if the recipient wants to use the idea.

With contests, it’s important to read the fine print of the entry submission terms and conditions. Fairly often, these documents  contain onerous provisions explicitly stating that no such agreements exist, or worse, explicitly giving the contest operators some or all rights in the material you’re submitting.    Unfortunately these kinds of contests abound, so it’s incumbent on the writers to think carefully about which contests to enter.    Enter only those that have terms and conditions you can live with.  If the contest is run by a producer, and not some kind of writer’s organization, be skeptical.

The good news is that many of the better-known contests are very  reputable, and the judges are chosen for their discretion.  After all, if word gets out that ideas are routinely stolen through a contest,  that contest will lose its credibility.

So, as I’ve said often in this column, read the fine print, and  be careful with whom you do business.  This goes for contests, producers, co-writers, used car dealers, etc.  Trust your instincts, and don’t take unwarranted risks.

If you’re concerned that your material has been stolen, consult an entertainment lawyer.

This is intended as general information only and does not establish an attorney-client relationship. It is not a substitute for a private, independent consultation with an attorney selected to advise you after a full investigation of the facts and law relevant to your matter. We will not be responsible for readers’ detrimental reliance upon the information appearing in this feature.


For a limited time, readers of this column can subscribe to my FREE e-course “6 ways to Finance A Feature Film” by visiting http://firemark.com/minicourse

Asked & Answered: Can a Public Domain Book be a Trademark?

Q:  I have a letter from the Copyright office that a book, written in 1880, was in public domain.  I wrote an adaptation of that book into a screenplay.  I then found that someone had taken the authors works (28 books) and trademarked them on the Internet.  I talked to an attorney who said that I would probably win in court, but if they fought it, I would have to defend it.

What is your take?  Can I move forward, stating that it is “based on the..book” or just write a new  original script, using the same concept?

A:  This is one of those questions that really requires a lawyer to have all of the specifics, and to conduct a bit of research before giving a definitive answer.

Generally, if the book is indeed in the public domain, you’re free to proceed with your adaptation.  But, the fact that the title of that book has been registered as a trademark MIGHT interfere with your use of that title as the title for the film, but since trademark protection extends only to the specific category(ies) of the goods or services for which they’re registered, it’s possible that the registration doesn’t even extend to a film project by the title in question.

I’d advise consulting a lawyer who can run a quick search of trademark office records to clarify what’s protected.

This is intended as general information only and does not establish an attorney-client relationship. It is not a substitute for a private, independent consultation with an attorney selected to advise you after a full investigation of the facts and law relevant to your matter. We will not be responsible for readers’ detrimental reliance upon the information appearing in this feature.


For a limited time, readers of this column can subscribe to my FREE e-course “6 ways to Finance A Feature Film” by visiting http://firemark.com/minicourse

Entertainment Law Update Podcast – Episode 8 is now available.

To Listen: View the full post!
Download Episode (right click)

Approximate Running Time: 01:06

Episode #8 of my Entertainment Law Update Podcast is now available.
For more information, see the show notes at http://entertainmentlawupdate.com
Topics:

Nexus 1 mobile phone raises ire from author’s estate
Naked High School Musical Stars
Ringback music tones
Fox’s unlicensed use of Jackson footage
Marvel v. Kirby – termination of [...]

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Asked & Answered: protection of work against foreign infringement

Q:  As most writer’s work is filed with either the WGA or copyrighted through the USPTO, how does one protect their work from an overseas company asking to see your screenplay? As the United States’ market seems to be tightening, it seems like producers and prodcos from other countries are much more receptive and open [...]

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