Elisabeth Moriarty

Contact Elisabeth

I’m a mom. I’ve experienced the miracle of childbirth, and it truly is wondrous (and terrifying and, well, sticky). Yet I’ve always been confounded by the popular practice of bringing a camera into the delivery room to chronicle this incredibly private and moving moment. The purpose for many seems to be to hold uncomfortable slide shows for friends and family. That’s entertainment? Personally, I just don’t get it.

Still, during pregnancy, I found myself addicted to the plethora of childbirth reality shows, in which the process of labor and delivery (and typically the first few weeks of baby’s life) is documented with Jacques Cousteau-like surveillance, and then run five days a week on basic cable for all to see. I found it fascinating, yet couldn’t help but ask myself: why do people sign up for this? With all due respect to Andy Warhol, not everyone needs to be famous for fifteen minutes, particularly women in labor and gooey, newborn babies. Many apparently disagree, and to you I say: better you than me. Continue reading the full story . . . »

Jesse Saivar

Contact Jesse

Q: There’s a song on one of my favorite albums that I’ve always thought would be perfect in a movie. I’ve been making movies for a few years now and finally have a project that the song is perfect for. Who do I need to contact to get permission?

A: Let me guess. You want to use “Oops I Did It Again” in your sequel to Titanic. I’m glad you feel passionate about the song. Now comes the hard part. You’ve got to figure out what rights you need and from whom you need them. Continue reading the full story . . . »

Rachel Valadez

Contact Rachel

If you aren’t aware that the current film industry buzzword on the lips of theater-goers and film industry executives alike is “3D,” then you must have been living under a rock since December 18, 2009. That’s the date James Cameron’s 3D, Oscar Award-winning epic, Avatar, opened in theaters across the country and around the world. In the wake ofAvatar’s unprecedented success (it is the highest grossing film of all time after all), action film junkies, fan boys and girls, family fare devotees and those just wanting to check out the big summer blockbuster, are eager to see whether they will be watching their next “can’t wait” movie wearing those ever so attractive glasses. Continue reading the full story . . . »

Rachel Wilkes Barchie

Contact Rachel

On April 12, 2010, Conan O’Brien thrilled fans in this blogger’s hometown of Eugene, Oregon with the kickoff to his new touring stand-up show that makes light of his severance contract with NBC: the “Legally Prohibited From Being Funny on Television Tour.” As has been widely reported, the terms of O’Brien’s severance prohibit his appearance on TV, radio or internet appearances until at least May and on starting a new TV show until September. Starting in November, it was announced last month, O’Brien will be appearing Monday through Thursday at 11 p.m. on TBS in a yet-to-be-named show (in my unsolicited opinion, I like the simple ring of “The Coco Show”). Continue reading the full story . . . »

Ricardo Cestero

Contact Ricardo

In late March, Irving Azoff’s company, Front Line Management, sued Guns ‘n Roses front man Axl Rose for nearly $2 million of unpaid fees. Amazingly, this is the third major talent v. manager lawsuit in just the first three months of 2010. First was Sly Stone suing his former manager Jerry Goldstein for allegedly co-opting $50 million in royalties from Sly’s music, likeness and trademark. Then March brought a lawsuit between Lady Gaga and her ex-boyfriend and manager Rob Fusari, and the Axl Rose matter. So, why the sudden rash of manager disputes? Maybe it’s some mysterious plot by entertainment industry executives to reap strife between talent and their representatives. Or maybe the managers’ moons are in Venus and the talent’s moons are in Cancer (whatever that means). But I think there’s a far simpler explanation: given the unique nature of the relationships between talent and their managers, when the talent wants out, the managers are easy targets. Continue reading the full story . . . »

Matt Galsor

Contact Matt

Q: Recently someone claimed to still own the American rights to the Sherlock Holmes stories and threatened to withhold them. What is copyright law as regards a work like this? I used a book published in 1912 by Earl Derr Biggers and made into a play by George M. Cohan in 1913 as the basis for a play of my own, specifically because I thought both would be well into the public domain. Do I need to worry about copyright clearance for something that old? Biggers died in 1933 and Cohan in 1942. Continue reading the full story . . . »