The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers
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| The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers | |||||||||||||||||||||||||||||
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* You have an idea you want to pitch to a production company; how do you safeguard your concept?
* There's a painting in the background of your independent film; is it necessary to clear the rights? * The screenplay you and a friend wrote gets optioned; how do you split the proceeds fairly? * How do you get a script to popular Hollywood actors or deal with their agents? Find quick answers to these and hundreds of other questions in The Pocket Lawyer for Film and Video, the next best thing to having an entertainment attorney at your beck and call. Written by a TV-producer-turned-entertainment-lawyer, this no-nonsense reference provides fast answers in plain English: no law degree required! The Pocket Lawyer is designed to help producers reduce legal costs by providing the vital information needed to make informed decisions on the legal aspects of film, video, and TV productions. Film and video production is a litigation lighting rod: actors get hurt, copyrights are infringed, and contracts are broken. Big-budget producers have lawyers on retainer, but many independent filmmakers are left legally exposed. Arm yourself with the practical advice in this book. You will not only avoid common pitfalls, but become empowered in your daily work. Too many otherwise competent producers turn over every aspect of the deal negotiations to their lawyers and agents. This book explains the principal deals common to every production, putting producers back in the co-pilot seat with their representatives. The format is carefully designed for quick reference, so you get the answers you need, fast. Features include: * Clause Companion: explains the meaning and impact of typical contract clauses, taking the headache out of reading them. * F.A.Qs: instantly answers the most commonly asked legal questions. * Warnings: alerts you to critical areas and common mistakes. * Pro-Tips: advice on unions, escrow accounts, etc. for producers who want to distribute their video widely. Key features * Avoid legal pitfalls with this quick reference guide: get instant answers * Written in plain English for filmmakers, not lawyers * Three books in one: a handy manual on film contracts, a step-by-step guide to critical legal issues on and off the set, and a quick reference on copyright and intellectual property issues |
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| 05-04-08 | 5 | 1\1 |
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Having the hindsight of producing several movies, I wish I had read this book much earlier. ANY filmmaker would benefit from reading this book as early in their career as possible and then keeping it on their shelf as an invaluable reference tool to return to again and again.
(Review Data Last Updated: 2008-05-10 07:57:55 EST)
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| 04-03-08 | 5 | 3\3 |
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This review is specifically directed to aspiring professional screenwriters: GET THIS BOOK.
(Note I did not say "buy" this book, since, if you truly are an aspiring professional screenwriter, you're probably sucking your own body lint for food and live under a bush overlooking the Santa Monica pier.) Yes, do whatever you have to do. Beg, borrow, steal...pawn...get this book. You've already read your Sun Tzu: "If you know the enemy and know yourself, your victory will not stand in doubt." Hollywood was built on exploiting talent, and specifically exploiting writers. It's time we (YOU!) writers start preparing for the business side of things because gosh knows the other guys are plenty prepared already. Reading this book will make you realize three things. 1. Actually getting your great little/big screenplay made will be incredibly complicated, even if you're just selling it to someone who already knows what they're doing. 2. There are ways to make your script more attractive for producers/distributers and more lucrative for you. 3. Thom Crowell is an informative and entertaining scribe. I had a friend of mine in negotiations with a major studio executive. True story. Wrote a little script called "Balls, No Balls II." Guy tried to get my buddy to sign a contract without an NDA. My buddy stood up, whipped out his Pocket Lawyer and KA-BLAW! Smacked that suit right in the mouth! "You want my high concept? I WILL be signing that NDA!" Hmmm, actually this never happened. But at least I know what an NDA is now. Do you? Oh, you don't? GET THIS BOOK! And yes, AMAZON, you do offer a very reasonable price. I suppose buying it isn't out of the question. (Review Data Last Updated: 2008-05-05 10:35:54 EST)
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| 03-05-08 | 5 | 2\2 |
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I am an in-house attorney for a film production company. This book is a great resource to point you in the right direction in many respects: reminders of what terms various contracts/agreements should contain, the different types of agreements common to the film industry, copyright information ... just to name a few items. Money well spent for a very focused look at legal aspects to the film industry.
(Review Data Last Updated: 2008-04-03 20:18:46 EST)
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| 08-16-07 | 5 | 2\2 |
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This is a really good book with much info, and at a really good price, too!
(Review Data Last Updated: 2008-01-23 08:43:31 EST)
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| 08-15-07 | 5 | 3\3 |
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This is a really good book with much info, and at a really good price, too!
(Review Data Last Updated: 2008-01-24 16:48:33 EST)
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| 08-01-07 | 5 | 1\1 |
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Mr. Crowell has done the art and legal worlds a great service by distilling so many critical issues of intellectual property into an enjoyable and widely informative format. The index and chapter systems make quick searching easy; and the humorous and humble prose let's you relax while learning. The demystification of legalese is not an easy task, but it's much needed, and Mr. Crowell has thrown a valuable contribution into the fray. Being a film and music artist, as well as a law student, Mr. Crowell's work is a must read for any with a similar background; and it goes a long way to supporting those artists who seem to underestimate themselves when it comes to the legal side of their creative endeavors. The Pocket Lawyer for Filmmakers empowered me, and I'm sure it will do the same for countless others.
(Review Data Last Updated: 2007-10-12 16:13:30 EST)
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| 06-16-07 | 5 | 2\2 |
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This book has allowed me to craft a sound legal structure around my ideas, and my film making has become a true business venture. "Pocket Lawyer" has already saved me from several minor blunders, like not posting a Notice Release when shooting in public, and it will undoubtedly save the day in bigger ways as my projects grow. Where was this book when I was in film school? Valuable legal advice has never come so cheap--well worth the $21.75.
(Review Data Last Updated: 2007-10-12 16:13:30 EST)
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| 06-12-07 | 5 | 1\1 |
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The Pocket Lawyer for Filmmakers: A legal Toolkit for Independent Producers is a perfect text book for film students, and for anyone wishing to get a quick grasp on the complexities of the legal business of film financing, producing and selling too. It's an easy read, and a great reference book for Instructors and independent Film Producers / Filmmakers.Il Giardino Armonico
(Review Data Last Updated: 2007-10-12 16:13:30 EST)
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| 04-14-07 | 5 | 2\2 |
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This is an outstanding tool for anyone and everyone working in film. If you're a creative artist, it's easy to forget that making a film is a business venture--and one you hope will turn a profit! "The Pocket Lawyer for Filmmakers" is a welcome wake-up call. Thomas Crowell gently reminds readers to protect their interests and keep an eye on the bottom line at all times. If thoughts of "business" and "protecting your interests" make your eyes glaze over, have no fear. "The Pocket Lawyer" is a breeze to work with. It's clearly written, full of helpful examples, and anticipates every question you could have. The book follows the entire process of making a film, from forming a production company to distributing a completed film. Each chapter tells you what to expect at every step, and how to deal with it. Personally, I found the sections translating copyright law into simple English massively useful. Also, the book includes a stripped-down "law library" that gives filmmakers a primer in intellectual property and labor law. Whether you're a novice screenwriter wannabe (like me!) or a seasoned independent producer, you need this book! "The Pocket Lawyer for Filmmakers" is indispensable.
(Review Data Last Updated: 2007-10-12 16:13:30 EST)
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| 03-23-07 | 5 | 1\1 |
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This book contains a wealth of information presented in a clear, concise, yet thorough manner. Whether you are a writer, producer, composer, or actor, this book will help you understand the legal issues that are part of the process of filmmaking. You can use it as a quick reference to answer a specific question, or you can read it from the beginning as the author unpacks legal concepts and the step-by-step process of setting up a production company to selling your film. As a bonus the book has appendices that make up a valuable law library of intellectual property, i.e. copyright, trademarks, contract law, labor, and employment law. And if you are a lawstudent or lawyer, this book is better than any entertainment law class you will ever take and at a fraction of the price.
(Review Data Last Updated: 2007-04-11 17:59:38 EST)
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| 03-23-07 | 5 | 2\3 |
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This is a great book for independent film producers who need to get up to speed quickly on the "business of film."
(Review Data Last Updated: 2007-10-12 16:13:30 EST)
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| 03-22-07 | 5 | 1\1 |
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This book contains a wealth of information presented in a clear, concise, yet thorough manner. Whether you are a writer, producer, composer, or actor, this book will help you understand the legal issues that are part of the process of filmmaking. You can use it as a quick reference to answer a specific question, or you can read it from the beginning as the author unpacks legal concepts and the step-by-step process of setting up a production company to selling your film. As a bonus the book has appendices that make up a valuable law library of intellectual property, i.e. copyright, trademarks, contract law, labor, and employment law. And if you are a lawstudent or lawyer, this book is better than any entertainment law class you will ever take and at a fraction of the price.
(Review Data Last Updated: 2007-04-10 10:12:16 EST)
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| 03-07-07 | 5 | 3\3 |
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Not only does this book give you the answers you need - it does so quickly without your first having to sort through a bunch of legalese. If you want to find out how to negotiate an actor's deal, just flip to the right page and start negotiating.
No long, boring contracts to fight through. Each deal is broken down into handy "deal points," allowing you to get a grip on the important aspects of each deal without caught up in legal mumbo jumbo. The fact that the author was a television producer helps make the book readable - even humorous at times. Highly recommended. (Review Data Last Updated: 2007-07-05 23:42:42 EST)
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| 03-03-07 | 5 | 1\1 |
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Even though I've practiced law for many years outside of the entertainment law area, now that I have moved over into independent film production, I have found the legal issues involved in properly putting together a film to be daunting. If these entertainment law issues are hard for me, as an experienced attorney, I can imagine that they are dramatically more difficult to handle for everyone else. As a result, it is frankly tempting to instead focus on the artistic side of filmmaking so you can skip slogging through the legal quagmire, but you do so at your peril. This is true for a number of reasons, but most importantly, you are taking a huge risk because distributors won't touch a distribution deal for a film with serious legal problems. Fortunately, I've found that this book takes away much of the pain of learning about the legal issues in film, simply because it is so approachable. After reading this book, I really believe that even non-lawyers can quickly grasp the legal challenges of filmmaking. Best of all, the book skips typical "legalese" and instead offers easy to understand, quick references to the contracts, rights clearance and negotiating issues that everyone should understand. Not only did I like the book, but it really is unique, because there's very little else out there on this subject. It really should be on the desk of every producer. I couldn't recommend it more.
(Review Data Last Updated: 2007-03-07 21:49:42 EST)
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