I often meet with two (or more) clients who wish to work together to produce a film, a video or some other audio-visual project. Sometimes one person will be designated a project’s producer while the other person may serve as the director. One of the parties often has written or …
Independent producers usually utilize the services of members of various guilds and unions in the entertainment industry such as the Screen Actors Guild (SAG), the Writers Guild of America (WGA) and the Directors Guild of America (DGA) by becoming signatories to a union’s collective bargaining agreement.
Under the guild agreements, the …
As an entertainment attorney, I have presented numerous talks concerning the legal and business issues concerning screenwriting for such venues as universities, film schools, the Independent Feature Project, New York Women in Film & Television, and New York University. These lectures cover the basics such as rights definitions and protection, …
With the conclusion of the 2011 Sundance Film Festival, many sales agents, distributors and mediamakers breathed a collective sigh of relief that more than twenty six deals were negotiated prior to and during the ten day event with some deals about to close in the festival’s aftermath. However, one can …
With the critical and commercial success of such documentaries as Mad Hot Ballroom and the Academy Award-winning short documentary Freeheld, both documentarians and audiences are acknowledging the compelling power of the non-fiction biographical narrative form of storytelling. However, the mediamaker must grapple with a myriad of legal, business, aesthetic and …
When writers submit their scripts into the marketplace, they often encounter producers who cannot afford to purchase the rights. The producer—frequently independent and undercapitalized—may instead offer to “option” the script by paying the writer a sum of money for the exclusive right to take the script “off the market” for …
Music Supervisor Randall Poster discusses the financial realities of putting together a film’s soundtrack.
From the 2010 Independent Filmmaker Conference.
Ed Rosano on the pros and cons of attaining a festival music license.
From the 2010 Independent Filmmaker Conference.
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