We represent authors at all stages of their careers -- world renowned bestselling authors, and those who are being published for the first time.
We represent some of the world’s most successful producers and creative talent, as well as owners of important films, novels and other works on which musicals and plays are based.
Whether we handle a transaction in its entirety, or act as due diligence counsel, we are keenly aware of what distinguishes entertainment businesses from others being purchased or sold.
We represent actors, directors, writers and other talent in all aspects of the motion picture, television, theater and digital media industries.
Our attorneys are at the forefront of new developments in the production and exploitation of branded entertainment.
Copyright is an essential component of almost every transaction involving creators and users of intellectual property and we provide experienced guidance.
We counsel corporate clients in their business strategies, organize corporations and partnerships, and negotiate and draft a wide variety of agreements for major public corporations and privately held businesses.
Our clients include documentary and other non-fiction producers; broadcasters; authors of books and writers of screenplays; digital and print publishers; playwrights and lyricists.
We guide clients across the ever-changing legal and business landscape of digital content. Clients range from multinational corporations to early stage venture companies that offer news, music, satire, commentary, children's programming, and other forms of information and entertainment.
Our clients produce and direct documentaries and other non-fiction series and films for broadcast and cable television; radio; web series and podcasts, SVOD and theatrical release.
The firm represents executives at the highest levels of major entertainment, media, and advertising organizations. We help them structure and negotiate their employment agreements whether for new positions, the extension of existing agreements, or the structuring of settlement and separation packages.
We represent clients in licensing, merchandising, and endorsements including established brands, celebrities, and authors.
Our motion picture practice covers the full spectrum of the movie business. It includes advising independent film producers on financing, co-production, production, and distribution agreements; guiding directors, talent, screenwriters and distributors; and representing some of the world’s leading authors in their film rights deals with major studios.
We represent recording artists, composers, major record labels and independent labels, music publishers, conductors, producers and managers.
We represent presenters, producers, management companies and artists across a broad spectrum of the performing arts including theater, opera and other music.
The firm's television practice covers a broad spectrum of programming across broadcast, cable, and online platforms.
What is the Significance of a “Work for Hire” Clause in a Contract?
Mar 30, 2021
What Role Can Mediation Play in Resolving Disputes that Arise During Production of Documentary Films?
Mar 23, 2021
Given the Alarming Number of Assaults on Journalists Covering Political Events and Protests, How Might Legal Protection for Documentary Filmmakers be Strengthened?
Jan 5, 2021
If Filmmaking During the COVID-era is Inherently Risky, Can Filmmakers Require Crew or Subjects to Assume Their Own Risk and Waive Legal Claims Against the Producer?
Dec 1, 2020
What If I Can’t Afford or Don’t Want to Use an Aggregator? Is DIY Digital Distribution a Feasible Plan?
Nov 9, 2020
To Distribute My Feature-Length Independent Documentary in Digital Media, Should I Use an Aggregator or a Distributor?
Oct 27, 2020
How Can Geoblocking Impact the Video-On-Demand Marketplace?
Oct 20, 2020
COVID-19 Message to Our Clients
Mar 18, 2020
What Key Factors Should be Considered When Evaluating Ex-U.S.A. Production Incentives for Documentary Productions?
Feb 19, 2020
It’s Tempting to Take Photos and Excerpts of Clips from Seemingly Non-Professional Sources That Have Been Uploaded to YouTube and Other Internet Sites, and Use Them in a Documentary as a “Fair Use.” But is it Legal?
Feb 18, 2020
If a Nonfiction Story in a Newspaper or Magazine Inspires Me to Do a Documentary or a Nonfiction Podcast Serial or TV Series on the Same Subject, Do I Have to Ask the Author or Publisher for Permission?
Nov 12, 2019
Why is the Insurance Concept of “Voluntary Parting” a Problem for Equipment Owners in Peer-to-Peer Rentals?
Nov 8, 2019
Should Documentary Producers Be Concerned About Copyrights in Wildlife Footage in Light of the “Monkey Selfie” Dispute?
Sep 24, 2019
Are All Works by the U.S. Federal Government in the Public Domain, and If So, Why Would a Documentary Maker Pay an Archive for Them?
Sep 17, 2019
My Documentary Has a Celebrity Host and We’ll Be Filming in a Remote Location. What Now?
Sep 10, 2019
HBO’s Unlicensed Use of Painting in “Slenderman” Documentary is Too Ambiguous to Avoid Infringement Lawsuit
Sep 3, 2019
When Filming Abroad, Consider the Laws Part 3: If Unlicensed Borrowings in a Documentary (of Clips and Headlines, for Example) Qualify in the U.S. as Fair Use, are Those Borrowings Still Legal When the Documentary is Distributed Outside the U.S.?
Jul 30, 2019
When Filming Abroad, Consider the Laws Part 2: How Does an Originating Production Company Protect Its Underlying Intellectual Property in an International Co-Production?
Jul 23, 2019
When Filming Abroad, Consider the Laws Part 1: Before Filming in a Foreign Country, What Basic Legal Considerations Should Be Addressed?
Jul 16, 2019
Court Agrees: Use of “Super Bowl Shuffle” in Documentary is Fair Use
Jun 4, 2019
Memorializing Relationships Early Pays Off Later Part 3: What Other Types of Agreements Should Filmmakers Make in the Early Stages of Documentary Productions?
Mar 12, 2019
Memorializing Relationships Early Pays Off Later Part 2: Does a Film Producer Make a Mistake By Not Entering Into Work For Hire Agreements with Film Crew, Talent, Writers and Other Independent Contractors Whom She Hires?
Mar 5, 2019
Memorializing Relationships Early Pays Off Later Part 1: How Can a Documentary Filmmaker/Producer Manage Investor Relationships and Avoid Conflict?
Feb 26, 2019
Prepare for the Long Haul Part 4: Managing Marketing and Distribution Activities
Feb 19, 2019
Prepare for the Long Haul Part 3: Avoiding Legal Liability
Feb 12, 2019
Prepare for the Long Haul Part 2: Establishing a Chain of Title for Intellectual Property
Feb 5, 2019
Prepare for the Long Haul Part 1: Creating a Business Entity
Jan 29, 2019
Fair Use Doesn’t Shield Unlicensed Use of a Personal Photo – Even When the President Crashes a Wedding
Jan 8, 2019
Public Domain Safety Zone Advances a Year
Jan 2, 2019
A Practical Discussion of Appearance Releases Part 5: What Should You Do If You Discover in Post-Production That Your Team Neglected to Obtain an Appearance Release from an Interview Subject?
Dec 25, 2018
A Practical Discussion of Appearance Releases Part 4: Can an On-Camera Verbal Release Substitute for a Written Release?
Dec 18, 2018
A Practical Discussion of Appearance Releases Part 3: What Is an “Area Release” and What Purpose Does It Serve?
Dec 11, 2018
A Practical Discussion of Appearance Releases Part 2: Why Might Documentary Producers Obtain Appearance Releases Even Though They Don’t Have To?
Dec 4, 2018
A Practical Discussion of Appearance Releases Part 1: What Does a Documentary Appearance Release Typically Contain?
Nov 27, 2018
The Ins and Outs of Educational Distribution Part 5: What Is a Public Performance License and Why Does It Matter?
Jun 19, 2018
The Ins and Outs of Educational Distribution Part 4: What Is a Distribution Window and Why Is It Significant?
Jun 12, 2018
The Ins and Outs of Educational Distribution Part 3: What Is an Appropriate Sales Agreement Term?
Jun 5, 2018
The Ins and Outs of Educational Distribution Part 2: How Are Distribution Fees and Expenses Handled?
May 28, 2018
The Ins and Outs of Educational Distribution Part 1: What Are Educational Rights and How Are They Monetized?
May 21, 2018
Are There Extra-Sensitive Categories of Defamatory Statements?
May 8, 2018
Can a Filmmaker Avoid Legal Liability in a Documentary by Conveying a Potentially Defamatory Statement Through an Interview Subject Rather Than Through Narration?
Apr 9, 2018
Archive Agreements Part 4: What is the Connection Between Obtaining Archive Licenses and Fair Use?
Mar 19, 2018
Archive Agreements Part 3: Are There Other Good Reasons to Read Licenses Carefully?
Mar 13, 2018
Archive Agreements Part 2: What Hidden Obligations Do Some Archive Licenses Impose That Producers May Not Want to Accept?
Mar 6, 2018
Archive Agreements Part 1: How Should Cost Considerations Be Addressed When Negotiating Archive Licenses?
Feb 27, 2018
Music Part 4: When Can Recordings of Public Domain Music Composed More Than a Hundred Years Ago Be Used Without Asking Permission?
Feb 20, 2018
Music Part 3: Can Music Be Included in Films on a Fair Use Basis?
Feb 13, 2018
Music Part 2: Why is a “Festival License” for Music a Trap for the Unwary?
Feb 6, 2018
Music Part 1: Why are Licenses From Both the Record Label and Music Publisher Needed for Each Pre-Existing Musical Work Used in a Film?
Jan 30, 2018
E&O Part 9: What Does E&O Insurance Cost?
Jan 16, 2018
E&O Part 8: Is a Lawyer Necessary for an Application for E&O Insurance?
Jan 9, 2018
E&O Part 7: At What Stage of Production Should You Apply For E&O Insurance?
Jan 2, 2018
E&O Part 6: Where and How Do You Get E&O Insurance?
Dec 26, 2017
E&O Part 5: Why is E&O Insurance Necessary?
Dec 19, 2017
E&O Part 4: What Doesn’t E&O Insurance Cover?
Dec 12, 2017
E&O Part 3: What does E&O insurance cover?
Dec 5, 2017
E&O Part 2: Who Does E&O Insurance Cover?
Nov 28, 2017
E&O Part 1: What is E&O Insurance?
Nov 21, 2017
Introduction to False Light
Nov 7, 2017
Defamation is Broadly Defined
Oct 17, 2017
When Does Artistic License in Editing an Interview Cross the Line?
Oct 3, 2017
Foreign Sales Agreements: Key Terms for Independent Filmmakers
Sep 19, 2017