Good basic legal information oriented towards the independent feature film producer but useful for anyone who wants to produce film or other distributed video. Won't replace having an attorney but will allow you to do some things by yourself and understand what is going on when you need to hire one. Similar to "The Independent Film Producer's Survival Guide" but with enough distinct material (example contracts for instance) to be worth having both.

Comprehensive and a terrific resource. The goal is not to use the book instead of legal advice, but it is a terrific starting point.

This is a useful and inspirational book that explains a variety of legal film production matters and provides drafts of contracts for basically every aspect of film & TV production. And it covers all major players in the colossal process of making a film, helping to make sure that whatever your role in the production is, you understand your rights.

This book is a good collection of legal contracts for the industry, but it doesn't have a CD-ROM or associated website where you can download the contracts as a starting-point template.

I believe the author is gouging us by forcing us to buy the CD separately. Very cheesy business practice. I hope you have OCR software to scan these pages into your computer.

This is a very handy, inexpensive source of basic film industry contract forms. It will at least guide you through the key contractual issues in most aspects of independent film production and distribution. (Studio deals are usually a good bit more complicated.) A couple of caveats: First, the book is showing signs of age. The current (second) edition of this book appeared in 1998. Most of the forms don't reflect the impact of the Internet, iPods etc. -- so if you rely on them today "as is", you might not get all the rights you want or need. Second, the book's coverage of television is limited. You'll find contract forms for distribution of a film on domestic or overseas TV, but you won't find any agreeements for developing or licensing a television series. Still, the book remains useful.

Litwak provides about as much as a professional could share in this throrough outing. He also shares 'boilerplate' contracts for virtally all key players in a film production. Of course, direct experience is the best teacher, but EVERY neophyte in film or television must own this book, and its a handy reference for seasoned professionals and part-timers.

Also check out his companion book, "Dealmaking..." which has priceless cues on what gray areas to avoid in negotiating with lawyers and their clients.

Essential for producers, directors, writers and anyone hoping to get financed or paid or both!

Mark Litwak's book is by far the best book available on film and television contracts. His book is a no nonsense, thorough guide to the complex world of contractual law for an industry that has a history of taking advantage of those who don't take the time or spend the money to hire good legal representation. He is an advocate for the rights of artists, writers, actors, etc., and his contracts are a good basis for negotiations and deals in the TV/Film industry. Even if you hire your own attorney, this book will help you understand the structure of your deal and alert you to details and potential booby traps in all that fine print. D. Kuspa