Entertainment Law Asked & Answered

Gordon Firemark
Entertainment Law Asked & Answered

Entertainment Lawyer Gordon Firemark answers listeners' legal questions about Entertainment, Intellectual Property, Copyright, Trademark, Film, Television, Theatre, Music and New Media

  1. 2016. 11. 17.

    Rights of Publicity and Privacy in True Crime Stories – Entertainment Law Asked & Answered

    AUDIO: TRANSCRIPT: http://firemark.com Tom has a terrific question about recounting a true-crime story from long ago… Hi, I'm attorney Gordon Firemark, and this is Asked and Answered, where I answer your entertainment law questions, to help you take your career and business to the next level. OK, here's Tom's question: “I am finishing my first draft on a true story about the murders of four of my family members 66 years ago and the transcripts of the trial cannot be found in Jackson, Mississippi. Can I fictionalize the trial / Jury Room / Names of unknown (and probably not alive), activities and dialogue in my inspired by a true story. The outcome of the Trial is all i can find in a 1950 Life Magazine Article with pictures. This is a forgotten historical event and will add a refresher chapter to our national history.” Well, this is a little sticky… I’d counsel caution when fictionalizing things involving real people and events.  At very least, be sure that you’re not making false statements about living people that would damage their reputations. (That’s defamation).  If you recreate a scene, but inadvertently get some facts wrong, but there’s no HARM, you’re probably OK.  But incorrectly saying a person was on the jury, when he or she wasn't, or vice-versa could be troublesome. Especially if the story suggests some wrongdoing or error by the Jury. Of course, anyone can sue anybody over anything at all, so you want to provide them with as little ammunition as possible by taking whatever steps you can to assure that the account you present is as truthful as it can be. Document your sources for everything that you can. The best practice for this kind of thing is to have 2 or 3 sources for each fact. 66 years ago is a good long time, but some folks may still be alive. I’d suggest tracking them down and interviewing them. Get them to cooperate, if possible… When you get into using people's names, likenesses, and personas, you're talking about either Rights of Publicity or Rights of Privacy. The Right of Publicity is recognized in about half of the US States, as well as some foreign countries. This is the right of a person to control any kind of commercial uses of his or her name, likeness or persona. In some places, that even covers look-alike and sound-alike performances. But remember that I said “commercial” uses. Here, you're talking about telling a story… It's a narrative, and it's based on true events. So, there's an element of newsworthiness, and a public interest in this material being given some exposure. And… You're not selling a product or service or suggesting that the people in question are endorsing anything… So, the right of publicity isn't likely to be an issue… But rights of privacy might be a bit trickier. For example, if a person was, 66 years ago, a notorious figure in the community, but has since led a quiet, respectable life. Retelling their story might constitute an invasion of their privacy, under a theory called “Public Disclosure of Private, Embarrassing Facts”. Generally speaking, these kinds of cases come down to whether a reasonable person would find the re-hashing of things “highly offensive” after so many years. So, I'd be cautious here. You also want to make sure you're not presenting people in a false light… again, in a way that would be highly offensive to the average reasonable member of the public. But, bottom line, finish writing the script… Then, get someone objective to go through and highlight every situation where someone’s reputation might be injured, or one of these other issues might be involved. Then determine whether that person is still living, and whether that reputation is really in jeopardy, and if so, get them to cooperate, sign a life-rights release, or something.

    5분
  2. 2016. 11. 03.

    Music Rights in Video of Play – Entertainment Law Asked & Answered

    AUDIO: TRANSCRIPT: http://firemark.com Scott asks a tricky question about music rights for video of a stage production… Hi, I'm attorney Gordon Firemark, and this is Asked and Answered, where I answer your entertainment law questions, to help you take your career and business to the next level.   OK, here's what Scott wrote in… Q: I create and tour original visual theater. We tour internationally and in every contract the producer or venue pays the ASCAP or other performing rights society fee for the music that is used in our performances. However if one were to record a performance and make it available online for sale who would the international fees be paid to for the video rights to the 20+ snippets of music in the performance? And how would one go about getting the rights to use said snippets of music? First off, I have to say that, based on what he's described, I’m not 100% certain that the venues paying ASCAP and similar types of licenses is enough to get the rights for what they're doing. You see, those Performing Rights Organizations only license so-called “small” performing rights (concerts, coffee-houses, radio airplay, etc.), and not the “Grand” rights that are involved when music is an integral part of a stage production, where the music helps move the storyline and characters forward. It’s possible that they're in small-rights territory, if this show is fairly sparse on plot, storyline, costumes, lights, etc., but it’s also possible that they really need grand rights for what they're doing. Grand Rights licenses are negotiated directly with the music publishers who own / administer the songs. But that’s not the question Scott asked. To use the music in video, you also need to directly license each piece of music from the publishers that own them. The license needed is called a “synchronization” license (which authorizes you to synchronize the song with pictures and dialogue, etc.) AND, if you’re using existing recordings of the music, you also need a “master use” license from the record company that owns the recording you’re using. To add to the hassle, many songs are administered by multiple publishers, (each songwriter’s interest might be handled by a different company)… So you might have to chase down 3 or more publishers for a single song. These licenses are not automatically approved. Publishers usually have to secure approval from the songwriters themselves before licensing this kind of thing, (the songwriters or their heirs… Sometimes have weird views about such stuff) so the publisher will ask for lots of information about the intended use… Context, script pages where the song appears, duration of the piece used, nature of the use (background, visual-vocal, etc.)… And then they’ll quote a price for the use. Licenses are usually done on a “most favored nations” basis, so the highest quote sets the bar for all the music… This can be a tremendously time-consuming process, so you should leave plenty of time. The process: 1. Research to identify who holds the rights to each song 2. Prepare and send a quote-request (sometimes a form, sometimes just a letter asking for the rights needed) to each rights-holder. 3. Wait for approval and quote 4. Sign licensed pay fees/royalties 5. Use the music But here's the other wrinkle… because you’re now revealing the nature of the show to these publishers, they too, will be asking the question whether you’re in “Grand Rights” territory, or whether the ASCAP/BMI rights are sufficient for the live aspect of what you’re doing. And that's it for this session of Asked and Answered. Do you have a question I can answer here? Visit firemark.com/questions See you again soon.

    4분
  3. 2016. 10. 27.

    How To Get Permission to Use a Song in a Film or Video – Entertainment Law Asked & Answered

    AUDIO: TRANSCRIPT: http://firemark.com Music Rights – How do you get permission to use a song in your video or film? Hi, I'm Gordon Firemark, and this is Asked and Answered, where I answer common entertainment law questions, so you can take your entertainment industry career and business, or just your hobby, to the next level. So, in a previous Asked and Answered session, I talked about fans making cover videos and posting them on Youtube and Facebook. And I explained that, when you include a musical composition (even your own recording of the song) in a video or film, you need special permission, called a Synchronization or Sync License from the owners of the copyright in that song. So here's how you get that license. It's actually pretty simple, conceptually. You find out who owns the copyright, You submit a request You wait for an approval, called a “quote” You agree to pay the required license fee in a written contract prepared by the copyright owner And you're set. In practice, however this is a bit more complicated. That's because lots of songs are written by multiple songwriters. Collaborators. And, each of those songwriters might be represented by a different publishing company. And you need permission from all of them. So, you've got to track down all those publishers so you can ask. Now, a good place to start this is by looking at the liner notes for a recording of the song you're using. Oh, wait, this is the 21st century, and you're listening to an mp3 that doesn't have liner notes, or on a streaming service… Again no liner notes. So, first check out the source where you got the music in question, and see if it lists the names of the songwriters and their publishers. Then google those companies. OR, head over to ASCAP.com and BMI.com, and search their repertoires. Then, contact each publisher, and request the permission for the use you have in mind. Then you wait for the quote, and then the license agreement…. Which you have to read, and understand, and comply with its terms… And that's how you clear music rights. More work than you thought, huh? This is why TV shows and Film Production Companies have staffers who do this stuff for them. Most shows and films have a music supervisor who helps find the music, and identifies the owners, and then a lawyer or paralegal or other executive will handle the actual licensing. For a film project, or a TV show, that makes sense, But for your typical YouTube or Facebook video… It's probably overkill. Maybe you'd be better off using some original music you wrote, or a track from a royalty-free source. That's it for this session of Asked and Answered. Submit your entertainment law questions at http://firemark.com/questions. See you next time. 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 viewers'’ detrimental reliance upon the information appearing in this feature.

    3분
  4. 2016. 10. 20.

    Posting Cover Videos of Songs – Entertainment Law Asked & Answered

    AUDIO: TRANSCRIPT: http://firemark.com Can you cover a song and post a video of it on your YouTube or Facebook? Hi, I'm Gordon Firemark, and this is Asked and Answered, where I answer common entertainment law questions, so you can take your entertainment industry career and business, or just your hobby, to the next level. This one’s going to debunk a common misconception… stick around! So, a Facebook group I'm part of has had a lively discussion going about covering songs and posting videos of their versions on YouTube and Facebook. People are throwing all kinds of information around, and that's one of the big dangers of using online forums for your information. Not everyone with an opinion is an expert… So you're relying on people you don't know, and who don't have any particular obligation to get things right for you… So let's unpack this a bit. Copyright can be tricky, and especially music copyright. OK, first, we have to talk about the fact that for every recorded song, there are actually TWO copyrights. That's right. Most people think about the RECORDING being copyrighted… But what they don't think about is that before the song could be recorded, it had to be written and composed… And that work was done by a songwriter, who might or might not be the artist who made the recording. So, we've got a copyright in the Sound Recording, and that's owned by either the Artist who made the recording, or the Record Company that released it. AND, we have the copyright in the Musical Composition. That is owned either by the songwriter(s) who created the song, or by the Music Publisher(s) that administer the song copyrights. So, now let's look at “covering” the song. When you re-record a song, then you're not actually using the original Sound Recording… So that's not an issue. But you ARE making a copy of the Musical Composition. And that requires a license. Fortunately, the copyright law provides an automatic mechanism for getting this license. It's referred to as “compulsory licensing”, which just means that the owners of the song can't say no if you're just making a new recording. You simply have to pay a royalty rate on all copies of your new recording that you distribute. That rate is 9.1 cents per copy… And you can get this licensing handled, in most cases, through an outfit called the Harry Fox Agency, by visiting http://harryfox.com. And they take care of paying the publishers and songwriters what they're supposed to get. BUT, that's not the end of our analysis… You see, that compulsory license only allows you to make and distribute what the copyright law calls “phonorecords”, which are essentially audio-only recordings, like CDs, Tapes, Vinyl copies, and yes, mp3 files, but  not videos, or other formats where the music is combined with other stuff, like pictures or video footage. For that, you need another kind of license, called a “synchronization” or “sync” license. And that license isn't as easy to get. You'd need to go straight to the owner of the copyright (the publisher or composer) for that permission… And you'd need to submit a formal request, and they'd quote you a license fee.  Which could be anything… Or they could just refuse to give the permission at all. And, if you wanted to post the video (or the audio) as a podcast, or to stream on your own website, there'd be other licenses you need to get… some from the publisher, and some from organizations like ASCAP and BMI. And possibly even from SoundExchange. So that's the straight poop on making cover videos of your favorite songs. But in the Facebook group I was looking at, people were questioning WHY so many fan-recorded cover videos of famous songs are showi...

    5분
  5. 2016. 10. 14.

    Fair Use: Presidential Debate Footage – Entertainment Law Asked & Answered

    AUDIO: TRANSCRIPT: http://firemark.com Paul has a question about using clips from a presidential debate from years ago on his radio show. Hi, I'm attorney Gordon Firemark, and this is Asked and Answered, where I answer your entertainment law questions, to help you take your career and business to the next level. So, here's Paul's question: “I do a live radio call in talk show on investments. Recently I wanted to play an audio clip from the 1984 presidential debate… widely available… About 20 seconds out of the two hour show. Is that permissible to play it from You Tube or other source?” Well, Paul,  the basic rule is that the clip you're using belongs to someone, and you're supposed to get permission. In all likelihood, that someone is the TV network where the clip was originally carried. Now as is the case with presidential debates, it's likely that all three networks carried the debate, so you could take your pick. My guess is that they'll grant you permission to use the tiny snippet, and that's that… But, you might not even need to get that permission… That's because what you're proposing to do could be considered “fair use”, and thus not a copyright infringement at all. But fair use is a tricky thing because it has to be judged on a case-by-case basis. There's not really any bright-line rule to state what is and is not fair use. So, we have to rely on complex a four-factor “test” that needs to be analyzed for each alleged infringement. So here's how Fair Use works… Fair use is a doctrine that evolved under the old US copyright law and then was codified or made a formal part of the copyright statute when it was updated in 1976. The principle is simple. To deal with the inherent conflict between free speech principles of the First Amendment and restrictions on copying imposed by the copyright law, it was necessary to create a defense to infringement for certain kinds of uses under certain circumstances. To do this the courts and Congress set up a multi-factor test. It looks at four factors. The first of these is the purpose and character of the alleged infringing use. Educational, scholarly, critical criticism, commentary and other artistic or transformative uses will weigh in favor of fair use, while commercial or more verbatim copying will tip the balance in the other direction. The second factor is the amount and substantiality of the portion taken from the original. This is where the idea that taking only a small snippet is okay, but in reality it's actually possible to take the very heart of a piece without copying very much of it at all. The third factor is the nature of the original work. If it's an artistic work it's going to be treated very differently than if the original was something very commercial like a billboard ad or a TV commercial jingle. The fourth element or factor is the potential impact on the market for the original if the infringement were allowed to continue. Now obviously if there's no real market harm this factor is going to favor fair use. If the market is strong for this kind of thing and the copying looks like it's just a way to avoid paying for rights or whatever, things are going to come out differently in this factor. Now, none of these factors is dis-positive of the question. The court will look at the overall balance of the factors in making its determination on whether something is fair use. I want to emphasize that this is not a one size fits all thing. Each alleged infringement has to be viewed standing alone by the court in a copyright infringement case. It's not something you just decide, “This use is fair use and so I'm going to go ahead.” The trouble with that is… By the time most folks get...

    4분

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Entertainment Lawyer Gordon Firemark answers listeners' legal questions about Entertainment, Intellectual Property, Copyright, Trademark, Film, Television, Theatre, Music and New Media

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