New York Business Lawyers

With the speculative, costly and long-term nature of developing various literary properties (i.e., books graphic novels, etc.) for screen (i.e., film, TV, etc.), producers require an effective mechanism to secure rights for a limited time (without having to spend exorbitant sums for a project that may never secure the financing or other elements necessary to

The rise of collaboration technologies has led to more authors collaborating on screenplays, articles, books, and various other creative works.  This free exchange of ideas can lead to timely, efficient, and lower-cost works, but also inadvertently lends itself to copyright infringement and legal battles over ownership rights.  Hence, collaboration agreements are useful contracts which can


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When purchasing or selling a copyright one has to understand two major concepts: 1) a copyright is not a single slab of intellectual property, but rather a bundle of rights; and 2) sometimes it makes sense to give notice to the world (by recording the transfer with the United States Copyright Office.)   When generally referring


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Since I just began teaching a course at Columbia University on the subject of film financing law, I thought I’d share a diagram handout given to the class.  The basic premise is to visualize the single purpose film financing vehicle as a house with multiple levels, the business entity being the foundational element (akin to

My partner Olivera Medenica has joined the blogging fray and will be covering major issues and developments concerning the music business in her blog, Music Law Muse.  Her most recent entry covers the 9th Circuit court victory of Eminem:  “Eminem won a pretty significant victory in the United States Court of Appeals for the 9th

You may recall some months ago, when Chatroulette was first making its rounds as the new darling of web video spontaneity, I wrote a post on how it completely lacked any terms of service agreement.  What it did have at that time was a “napkin” style agreement of no more than roughly seven points, with

After the film has been developed, every photographer dealing with live subjects must face legal issues that may not be visible to their trained eye. One of the prickliest issues is the friction between the rights of the photographer and those of the individuals photographed. This battle often hinges on the so called “right of


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Hurt Locker Case Demonstrates Process Hurdles in Chasing Phantom Infringers Hurt Locker. We all loved it and Katherine Bigelow is a goddess.  Coincidentally, Brian Geragthy was in a firm client’s movie recently, Open House.  Shameless praise and plugging aside, many of you have heard about the unprecedented Hurt Locker infringement lawsuit.  Blazing a trail heretofore

Writers who often are heard to gripe about the abduction of their ideas by Hollywood are more often frustrated by a procedural doctrine in Copyright known as “preemption.”  That doctrine, simply put, posits that if a claim walks like a copyright claim, talks like a copyright claim, and sounds like a copyright claim, it is

During the IIFF film finance panel I moderated last week, panelist Isen Robbins suggested that the audience take in and review the Dreamworks distribution contract. Why? Because in an unusual turn of events where the producer gets to set the terms for distribution (it is Spielberg after all), this agreement illustrates the most producer friendly

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