Aaron Moss

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One of the joys of living in the DVD/Blu-ray age is that TV fans can easily relive their most joyous television experiences, with series that range from the iconic to the obscure. Megahits like The Simpsons andSeinfeld are obviously readily available, as are cult favorites likeFreaks and Geeks and Arrested Development. Even less iconic one-season-wonders are available for home viewing consumption, like Greg the Bunny, Studio 60 on the Sunset Strip, and my personal favorite,Square Pegs, complete with New Wave soundtrack and a pre-Sex and the City Sarah Jessica Parker as nerdy high schooler Patty Greene.

But given the hundreds of shows to choose from, do you ever wonder why some of the most popular series, like The Wonder Years are AWOL on home video?

As with most questions I’m asked (and this can be problematic when my wife wants to know where I’d like to go to dinner), the answer is copyright law. Continue reading the full story . . . »

Matt Galsor

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Q: A few months ago, I wrote coverage on a non-fiction novel for a production company. Now, I’m interested in writing a screenplay on the same subject matter. If I sell the script to another studio, can the production company sue me? Granted, it deals with a well-known aspect of Polish jazz [the novel's subject matter has been changed], but truthfully, I would never have been interested in the project had I not been paid to write the coverage. Help me!

A: Help is on the way, dear fan of Polish jazz, but truthfully, the help you need is not legal (isn’t not legal same as illegal?). You’re not alone, nobody would be interested in this project unless they were paid, and not even then, and then not even. Okay, I suppose Polish jazz is more pleasing to the ear than Brazilian jazz, but only marginally. Polish jazz once heard once can’t be unheard. You can’t unbutter that toast. But this is just my personal, uninformed opinion, as are most of my opinions. In fact, and I’m disclosing attorney-client privileged information here, two studios are fast tracking big budget Polish jazz projects as we speak, although they focus on the lesser known aspects of it. So you’d better hurry up with yours. Continue reading the full story . . . »

Jesse Saivar

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Q: I’ve got what I think is a great idea for a script. I haven’t written anything yet but have a meeting with a producer about a different project and would like to run my idea by him. While I have a working relationship with him, I’m still a little afraid of having him take the idea and use it himself. Is there anything I can do to protect myself? Big fan of the blog by the way…

A: Thank you for the kind words. Over the past few years, we’ve built up quite an international fan base that’s, frankly, reaching Twilight status. I think this is an opportune time to share with you some of the love letters we’ve received from our fans (all actual e-mails from actual fans).

“Why can’t you give a simple straight answer to a real question.” — Law Professor in New York (with no time for punctuation details)

“I started to read your article about remaking PD movies but did not finish because normally you annoy me with your adolescent humor (which, by the way, is not very lawyer-like).” — Entertainment Paralegal in Los Angeles

“I was prompted by my desire to kindly suggest you cut the adolescent humor from your articles because it is just not lawyer like. Whichever one of you is the comedian – I suggest you stick with your lawyer job.” — Same Entertainment Paralegal in Los Angeles feeling the need to describe why he/she sent the first e-mail

Yes, these are our faithful readers (names redacted for our protection). We strive to please our fans and it gives us comfort to know we’ve been successful. A little message to all you other wannabe-humorous legal blogs that focus on the independent film industry: TOP THAT!!

Now that we’ve gotten our requisite self-congratulations over with, I guess we can take time out of our busy schedule to answer your question. Continue reading the full story . . . »

Stefanie J. Lipson

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[Ed. Note: Law Law Land's concludes its calendar-be-damned Oscar week with new contributor Stefanie Lipson, who takes on the plight of this year's Lifetime Achievement Award winner and his progeny.]

There is perhaps no greater culmination to a Hollywood film career than being honored with the Lifetime Achievement Award at the Oscars (even if, these days, it doesn’t even come with a lousy on-air acceptance speech…maybe that Robert De Niro episode at the Golden Globes scared off the Academy once and for all). Just ask this year’s recipient, Francis Ford Coppola. But after all that hard work in Hollywood, all the false starts (One From the Heart, anyone?) as well as the successes (too many to name, but I’d have to go with Captain EO), the accolades and the press, and adaughter following in her father’s large footsteps, turns out Francis Ford Coppola might have been better off making his fortune another way — at least when it comes to paying estate taxes (good thing he has that winery).

As an estate planning lawyer, I can confirm that Benjamin Franklin was right about the only things certain in life being death and taxes. Inevitably, I must inform clients who start sentences with the phrase “if I die…” that it really ought to be “when I die.” (Apologies to those readers who are offended by my morbidity. You may replace the word “die” in the sentence above with the death-related euphemism of your choice. For celebrities, I suggest “go to that great Starwagon in the sky.”) And taxes are no less inevitable: as the law stands, even those lucky authors who come up with an immensely successful creative work (screenplay, television series, book, song, etc.) and have the good sense to transfer ownership of it during their lifetimes can still get hit with an estate tax bill on their copyrights when they die.

How does that make sense, and what can successful creative types do about it? Let’s discuss. Continue reading the full story . . . »

Brian Berman

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[Ed. Note: Law Law Land's non-calendar-compliant Oscar week continues, as Brian Berman returns to explore the fates of all of those little Oscar statuettes that were handed out during last night's show.]

Los Angeles was lively over the weekend as Hollywood’s finest took the stage at the 83rd Academy Awards. Hollywood’s best, brightest, and most recognizable are always out in force for Oscar weekend. But perhaps no figure shines brighter than Oscar himself (although it’s not actually fair fight, as he is gold-plated).

Standing tall at 13 ½ inches and weighing in at 8 ½ pounds (that’s just over 0.6 stones for our British friends), Oscar’s gold-plated metal figure is recognized the world over. As with any Hollywood star, “Oscar” is just a stage name. Oscar’s real name is the “Academy Award of Merit.” Also, Oscar is technically a “statuette,” not a statue. And for last night’s winners, he might also be their new best friend.

But what if a winner wanted to get rid of his or her Oscar? Maybe he or she needs to raise a little extra money to pay those Ferrari lease payments and Dom Perignon bar tabs. Maybe he or she wants to give a friend or family member a token of his or her love. Or maybe he or she is just weirded out by a naked knight staring at him or her.

It is hard to imagine anyone getting rid of an Oscar, but, for argument’s sake, let’s say that someone wanted to. Could he or she do that? Continue reading the full story . . . »

Brian Berman

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[Ed. Note: Today's post opens up our week of Oscar coverage. On a Friday. Who are you to judge our calendar-related choices? Drop by next week for more posts addressing all the burning, tangentially Oscar-related questions you probably never thought to ask!]

At 14 years of age, Hailee Steinfeld is this year’s youngest Oscar nominee, receiving the nod for Best Supporting Actress for her role as Mattie Ross in the Coen Brothers’ adaptation of True Grit. With her huge role and Oscar recognition, it appears as if young Hailee owns Hollywood at the moment. But who owns Hailee?

Child celebrities have long taken the world by storm, and while their personalities (and, sometimes, their egos) can seem larger than life, we often forget that they are still just children. As such, they are not masters of their own domain. Justin Bieber may be able to make young girls the world over cry on command, but just like every other child in America, the Biebster needed his mom’s permission before cutting off his iconic mop.

The age of majority in most U.S. states is 18. Until then, kiddies, mommy and daddy functionally own you. They control where you live, where you go to school, who you can hang out with and pretty much every other aspect of your life. On rare occasions, children become “emancipated minors,” meaning they break hold from parental bondage, usually by getting married, joining the armed forces, or going to court to ask for their freedom. Until you turn 18 or emancipate yourself, however, your parents control whether or not you can work, including acting and singing. And that has significant implications for child stars like Hailee Steinfeld. Continue reading the full story . . . »