Gordon Firemark -Top Los Angeles Theatre & Film Entertainment Lawyer

Film

 

Our services to the film industry include:

 

  • Counseling and representing producers, writers, actors, directors, and crafts-persons
  • Financing agreements
  • Co-Production agreements
  • Private Placements
  • Production agreements
  • Distribution agreements
  • Structuring production and financing entities (Corporations, LLCs, and Limited Partnerships
  • Investor financing arrangements
  • Option agreements and other matters relating to underlying rights.
  • Life story rights agreements
  • Rights clearance
  • Title searches and interpretation
  • Privacy, publicity and defamation issues
  • E&O Reviews
  • Union and guild matters

Asked & Answered: The Wizard of Oz and the public domain.

An anonymous viewer asks whether the producers of “Oz: The Great and Powerful”, scheduled for release in 2012 needed to make an arrangement with the copyright holders for “The Wizard of Oz”, or whether a loosely based “homage” can be done without copyright clearance

 

My Answer:

Distribution Windows: a broken system?

Peter Kaufman

My good friend Peter Kaufman has a new piece on his blog Deal Fatigue about the broken distribution windows system, and how/whether it needs repair. read his piece here

If you’re a filmmaker, its time to consider that the old model of staggered releases across various media is on the way out.

What you absolutely must know before you approach investors for your film / play / musical.

photo via flickr (bschmove) under Creative Commons License

I am often consulted by film and stage producers who tell me they’re ready to start work on raising the financing for their films/ plays/ musicals, or what-have-you, but often as not,  as we get to work, it becomes clear that they’re not as ready as they think. Before going out to investors, it’s important to have your ducks in a row.

Knowing the following six things before you start raising money will dramatically streamline the process, and get you closer to funding, faster.

1. Know your product.

What is a producer’s product? Well, it seems obvious, right? A film/show about X, Y and Z. But is it really? Well, at this point, you’re talking about maybe someday making a film about X, Y, and Z… but that’s not a product (yet)… it’s a dream. Right now… while you’re “in development” your product is an investment opportunity.  Now, of course you’ve got to have a script, a crew, cast and a plan… and you’d better know who’s going to come see the thing and why.

Asked and Answered: What rights do I need for a classical music film score?

Paul is planning to use public domain music, reinterpreted for his film score and wants to know what rights and agreements he will need.

 

QUESTION:

Paul wants to know: Does a film producer need copyright permission for a classical film music score, if the score is being reinterpreted by the producer’s own composers and musicians. He also asks whether copyright law applies to any of this, the original classical piece, the new score, or what.

ANSWER:

Well, let’s take the last part first. Copyright law protects any original work of authorship for a period of time. Nowadays, works are protected for the life of the author plus 70 years. Under older copyright law, the time-frame(s) were much shorter. Right now, most works created prior to 1923 are in the public domain, and can be used without permission.

So, if you’re using a Beethoven piece written in 1820, you don’t need anybody’s permission to use the COMPOSITION. But, if you’re using an existing RECORDING of that piece, you most likely DO need permission from the record label.

If you’re having a new recording made, and you’ve got a composer and musicians doing a new arrangement, or interpretation, or a mashup, then THAT is actually a new work, and you do need permission to use it.

What you really need is a “work made for hire” agreement with those folks… So you will own the copyright in the new work. If you don’t have that in writing, THEY, not you will own it.

If you own the copyright, because you do have such a contract, then you’re free to use it however you want, including making different interpretations. But, if you don’t own it, then the opposite is true, and you’d need a license to do anything at all with the score… even exhibiting the film.

The same rule is true if you’ve got a composer creating an entirely new, original score. you need to have written contracts with the composer who does the score, and with the musicians who perform it.

Its easy, in the excitement of getting a new project off the ground, to leave this kind of thing to good faith… but copyright law can be tricky and this requirement that things be in writing is important… So take the time to get things done right. The good news is that this isn’t a matter of reinventing the wheel, so an experienced entertainment lawyer can get you the contracts you need quickly and cost-effectively.

Asked and Answered: Orphan Works

Guy asks what to do about rights to a book, when you can’t find the heirs of a deceased author, and the publisher is defunct.

Asked and Answered: Using a pre-existing film title for a new screenplay

Damian asks about using a pre-existing film’s title for his new screenplay. Here’s my answer:

The Modern Moviemaking Movement Action Guide

If you have been following filmmaking trends you know the world of indie filmmaking is changing fast. To help you succeed, I collaborated with TEN of the most prominent filmmaker thought leaders in the world to provide you with a FREE Action Guide. It’s called The Modern Moviemaking Movement, And it will provide you with…

Asked & Answered: Original vs. Adapted works

“When is a work ‘Original’, and when is it an ‘adaptation’?”

Asked & Answered: How do I get a lawyer to represent my script?

Q: Dave asks how to get an entertainment lawyer to sell a script. I give my answer

Asked & Answered: Finder’s Fees to friend with contacts? [Video Answer]

In this video, I answer a question about whether it’s OK to pay a finder’s fee to a contact who facilitates sale of a script.