Lights, Cameras, Action! Los Angeles Greenlights Resumption of Filming for Productions

Written by Jeremy Mittman and Carly Epstein Over the last week, California and Los Angeles have announced the protocols that must be in place for music, TV, and film productions to re-open. On Friday, June 5, 2020, the California Department of Public Health (the “Department”) stated that music, TV, and film production may resume “no sooner than June 12, 2020” subject to several conditions.  The … Continue reading Lights, Cameras, Action! Los Angeles Greenlights Resumption of Filming for Productions

Fair Use & Tater Tots

Written by Timothy M. Carter In 2011, Plaintiffs Tamita Brown, Glen S. Chapman, and Jason T. Chapman composed and recorded the children’s song Fish Sticks n’ Tater Tots (the “Song”), which details a student’s journey from her classroom to her school cafeteria to eat fish sticks and tater tots for lunch.[1]  Six years later, the documentary film Burlesque: Heart of the Glitter Tribe (the “Film”) — which … Continue reading Fair Use & Tater Tots

The Definition of Film Fest Success – For Financiers and Filmmakers

Movie projector on dark background
Photo credit: istock.com/fergregory

By Steve Krone

The familiar annual rhythm of the major film festivals – Sundance in January, Berlin in February, Cannes in May and so on through Toronto in September – is well underway. And with Sundance and the Berlinale already in the rear-view, and SXSW right around the corner, it’s fair to say the 2019 sales environment looks to be very buoyant.

Although the single-film Sundance sale record was not eclipsed in 2019, the number of films that sold for eight figures was the highest ever, with numerous films racking up paydays in the $10-15 million range. Understandably, press reports out of Sundance tend to focus on these lofty (and once dreamlike) selling prices. It makes sense: the big numbers make great headlines, and the selling price is often the only deal information made publicly available.

But filmmakers – and in some situations, even film financiers – are not always best served by selling to the highest bidder. From a filmmaker perspective, the largest upfront payment, as great a thrill as it may be, does not necessarily translate into the best support for the film or most effectively accomplish the short- and long-term goals of the filmmakers. And even from a financier perspective, the biggest initial return does not always equate with maximizing the profitability of the film and the long-term interests of the financiers. Continue reading “The Definition of Film Fest Success – For Financiers and Filmmakers”