QUESTION FOR FILMTVLAW.COM:

With the SAG strike ending so late in the year, is there anything left I can do to get my production off the ground, or is everyone going to wait until 2024 to do anything? Glad it’s behind us but now what?

ANSWER BY BRANDON BLAKE, ENTERTAINMENT LAWYER:

The WGA strike and SAG strike were historic in a lot of ways and let’s face it, a lot changed during these past six months. I think that the business is going to come back strong and the news I hear is that studios and networks want to make up for lost time.

The combined 2023 WGA strike and SAG-AFTRA strike lasted from May 2 (the traditional start of pitching season) until November 8th, the 6 busiest development months of the year. But the development executives at the studios and production companies I have talked with say they plan to work through December and January to make up for the delays, so this is no ordinary winter in Hollywood.

In addition to this article, I share more than a hundred in-depth entertainment industry articles on my website at www.filmtvlaw.com/entertainment-lawyer-qa. Please also check out my bio at www.imdb.me/brandonblake.

The 2023 SAG Strike is Over

The longest SAG strike in history is over, with apparently some solid gains for SAG-AFTRA members. I think the biggest failing by the union was not to better explain what was at stake regarding AI.

Knowing now that the AMPTP was trying to use the strike as an opportunity to increase studio control over celebrity likenesses, it’s not hard to understand why the strike went so long, or why the top performers were the most concerned by the attempted AI rights grab.

This wasn’t about introducing AI into the production and post-production workflow, which is inevitable. It also wasn’t about maintaining the status quo. It was an opportunistic attempt to use AI as a rational for the studios to take control of performers likenesses, apparently at one point in perpetuity.

Up until now, likeness usage was licensed per use (one film or episode), and otherwise controlled by the artists, not by the producers. If the studios indeed tried to overthrow the past working model on likenesses, it was a surprising power grab by studios that seems to have been averted.

So Now What?

The race is on to develop the 2024 television season, as well as to get into production and post on feature films planned for next year. There is a lot of work to do, and also a skeleton crew left at many networks and studios, as there were quiet rounds of layoffs throughout the year.

Is anyone expecting to get in 6 months worth of pitches and development before Thanksgiving or even Christmas? No, not from what I hear. Although the idea of “going to market” in late November and December sounds unusual, that is just what is happening this year, in response to the massive disruptions and also the mandate from the studio heads to preserve next years production cycle.

Opportunities

There are opportunities for independent producers and writers, if you can get out there immediately. Most of the major production companies and studios are still a little shell-shocked from such an unexpectedly long strike, especially with both of the major Guilds out of commission for the busiest part of the year. Added to that they are short-staffed, so there is the real opportunity to get developed projects to networks and studios before the big players have a chance to do it.

Added on to that, while the SAG strike is over and it is legal for performers to go back to work, there is not yet a new Basic Agreement. Additionally, Union members will still have to vote to ratify the agreement, which will take a few weeks.

Financing

While there are opportunities in every circumstance, the end of the WGA strike and SAG strike certainly brings back a level of confidence to financiers. Although there were ways to move forward with the Interim Agreement, there was also a shadow of the strike hanging over the heads of potential backers. What if the strike had lasted as long as the WGA battle with the agencies? Would there be distribution for films produced during the strike?

All of those questions are settled now that Hollywood is finally getting back to work, and that can provide feature film investors with some peace of mind when deciding to back a new project.

Better Late Than Never

While everyone would have preferred for the SAG strike to end right after the WGA strike, it still feels great to finally be on the road to production and distribution of new film and TV again. And although late in the year, we are going to see a pitching season that probably extends into January and beyond. And with streamers often taking a year-round approach, this will be business as usual for a lot of companies.

As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Brandon A. Blake is an entertainment lawyer and producer who works with Academy Award winning actors, directors and filmmakers. A complete biography is available at www.imdb.me/brandonblake.

About the Entertainment Lawyer Q&A:

The Entertainment Lawyer Q&A does not create an attorney-client relationship, nor is the information treated as confidential. Responses to selected questions will be made public and shared with our subscribers. All entertainment law information is informational in nature and is not intended to be acted on without entertainment lawyer counsel.

QUESTION FOR FILMTVLAW.COM:

Hey, I heard like over 100 feature films are in production right now? I’m an indie producer and have been in limbo all this time cause I thought we had to wait to start development till the Screen Actors Guild Strike ended. What’s going on?

ANSWER BY BRANDON BLAKE, ENTERTAINMENT LAWYER:

Appreciate the great question about the ongoing SAG strike. I’m a big supporter of the Screen Actors Guild, which has done a lot not just for actors, but together with the other guilds has made film and television one of the only creative fields where artists can earn a living wage.

Despite the strike, SAG has provided a way for indie filmmakers who support SAG and will agree to the new Basic Agreement to keep making films, even while the big studios are sidelined! It’s one of the best moves the Screen Actors Guild ever made, and it sends a huge signal that they really are the good guys in this whole process.

SAG is taking a page from the WGA playbook during the WGA’s brilliant campaign against the agencies, where the WGA allowed agencies to sign individually to the new agency agreement. First the little independents signed, then the medium sized firms, and eventually it was just WME and CAA that were locked out of representation of WGA writers, and so they signed too.

In addition to this article, I share more than a hundred in-depth entertainment industry articles on my website at www.filmtvlaw.com/entertainment-lawyer-qa. Please also check out my bio at www.imdb.me/brandonblake.

The 2023 SAG Strike

An Update

For anyone who has been living under a rock, or in production in Antarctica for 6 months, we are more than a month into the Screen Actors Guild strike, and all studio film and television production has been halted. SAG is on strike for some very basic cost of living increases, and to address the potential for AI to become a real problem in terms of reproducing the likeness, voices and performances of actors without compensation.

However, there are hundreds of feature films either in production, or that have signed the Interim Agreement and that will soon go into production. These are all independent projects, that do not have distribution or financing through AMPTP (Alliance of Motion Picture and Television Producers) companies.

This is all part of the SAG strategy to isolate the major US studios and put pressure on them to sign a new Basic Agreement with SAG, while at the same time keeping actors working.

The Effect

SAG’s strategy has already created a renaissance in independent film production. Why? Because all of a sudden independent filmmakers without access to studio financing can cast literally the best actors in the world. SAG members understand that by supporting independent film, they are supporting the strike and working towards better conditions for all performers.

There is no better way to say it than that for independent filmmakers, the 2023 SAG Strike is literally the best thing to happen in over a decade. As filmmakers have been struggling against streamers, who have yet to replace the financing that came from the home video market, and then the COVID shutdowns that made independent productions almost impossible, indie film has had a rough ten years.

The effect of the 2023 Strike by SAG is also going far beyond just casting, unlocking new financing for independent films.

Independent Financing

Ever since the COVID lockdowns and the closing of theaters, independent filmmakers have been struggling to find equity financing. The reasons were self-evident: While studios could guarantee streaming runs on their vertical streaming platform, independent films would have to be shopped between streamers that already had their own content streams. That put pressure on both production financing and also minimum guarantees for distribution. Streamers are incredibly opaque, and so it is nearly impossible to determine how many views an independent film is getting, and how much those views are worth to the streamer.

Due to anti-trust lawsuits a generation ago, theaters had to publish box office figures, so it was easier for independent filmmakers to judge their success in the market and negotiate agreements that would provide for fair returns for blockbuster successes. This then made equity financing more available because investors would be able to chart the success of the film they invested in and profit if the film profited.

The 2023 SAG strike has resulted in increased equity financing for independent films for multiple reasons:

1)     There is an overall pot of equity money available for film financing. The studios typically take the majority of that pot, around 80% to 90% of it. Remember, studios need equity financing just as much as independent filmmakers. No film can be 100% debt financed. Because of the SAG strike, the US studio share of the equity financing pot is now down to 0%. Because independent filmmakers can still make movies, they now have substantially more financial resources available.

2)     Cast drives financing. Ever heard the term “bankable star”? It’s not just a film-ism. It means that a particular actor or actress is so famous that banks will lend to films, solely because of the cast member that will appear in the film. So, what happens when studios can’t make movies anymore? There are a ton of “bankable” stars that are looking for movies to make, right now.

3)     Demand without Supply: Finally, given that the studio content pipeline of films is now drying up, distributors are looking for new supplies. That supply of films will come from independent producers and from foreign producers. Increased demand will mean higher MGs and bigger acquisition prices for films, as well as more expenditures in advertising and marketing for independent films. All these things create a virtuous cycle for independent filmmakers, bringing in more equity investment, etc.

Interim Agreement

So, let’s take a look at what is making this the best year in decades for independent producers. It is all about the SAG Interim Agreement, which basically provides independent filmmakers a chance to agree to the next Basic Agreement before it is signed between SAG and the AMPTP.

Does that sound scary? It shouldn’t. Because remember, before the next Basic Agreement comes online, it will have to be signed off by the AMPTP. The studios are going to fight for a fair (and then some) deal, so independent filmmakers don’t have to worry that they will be agreeing to an overly draconian SAG agreement.

So far it has become apparent that both SAG and WGA and requesting relatively modest cost of living increases, some working condition changes that don’t affect independent films much, and some guarantees that future AI technology won’t be able to copy writers’ and performers’ performances and essentially re-use them in perpetuity without payment. None of these conditions affect the ordinary independent producer.

However, there was one unfortunate change to the SAG Interim Agreement.

US Production Locations Exempted

Unfortunately, SAG has modified the Interim Agreement to require films to be shot outside the US. That means locations like Louisiana, New Mexico and Georgia will see big declines in production activity because of this decision.

Hopefully SAG will rethink this change, because American independent producers should not be driven to Canada or Mexico to be able to make movies under the Interim Agreement.

Qualifying Under the SAG Interim Agreement

There is not a simple check the box for whether a movie qualifies for the Interim Agreement. It is something that has to be determined by SAG during the signatory process. However, there are several things that SAG is looking for right now:

1)     The film must have access to financing. The usual SAG bond and financial assurances are still required.

2)     The film cannot be directly or indirectly financed by or have distribution through an AMPTP member company. SAG is requiring real independent productions.

3)     The movie must be non-WGA. So, the writer of the literary property cannot be a WGA member.

4)     The movie must be shot outside the United States.

The Time for Independent Film

If you are in development on an independent feature film, contact us and let’s discuss the opportunities. As I delineated above, it’s easy to see why independent film is seeing the best production climate in at least a decade. That’s not to say that the road to producing an independent film is ever easy, but with increased access to cast, financing and distribution, this is the moment for indie films to shine.

As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Brandon A. Blake is an entertainment lawyer and producer who works with Academy Award winning actors, directors and filmmakers. A complete biography is available at www.imdb.me/brandonblake.

About the Entertainment Lawyer Q&A:

The Entertainment Lawyer Q&A does not create an attorney-client relationship, nor is the information treated as confidential. Responses to selected questions will be made public and shared with our subscribers. All entertainment law information is informational in nature and is not intended to be acted on without entertainment lawyer counsel.

QUESTION FOR FILMTVLAW.COM:

I’m getting all kinds of mixed messages about the WGA writers strike and I thought maybe a lawyer would be the perfect person to ask about this stuff. I’m not WGA (wish I could be some day 😊) and am a big fan of the guilds, but isn’t there anything I can do as a producer/writer during this strike? Seems like the trades are saying no way, but I know guys that tell me, “If you’re not WGA, don’t sweat it.” Who’s right?

ANSWER BY BRANDON BLAKE, ENTERTAINMENT LAWYER:

Thanks for a great question about the 2023 WGA strike. I usually try not to write articles about short term news items, but since the writers strike is so important to the American entertainment business - and we don’t know how long it could last - I decided to chip in with some analysis about the dos and don’ts of pitching during the Writers Guild Strike.

First off, I want to say that I’m a big supporter of the WGA and of all the Guilds in Hollywood, which have done a great job of broadening participation in the film and television business – benefiting everyone working in the industry, not just Guild members. My comments are coming from a place of support for the WGA, while also wanting to see the US film and TV business thrive and compete internationally in the coming years.

The Writers Guild of America Strike of 2023 comes at a difficult time for showrunners and producers, because right now should have been the official start of pitching season for television. While we don’t know how long the strike will last, we do know that we will end up with a very compressed pitching season in 2023 that will be very active as soon as the strike ends.

But what about before the WGA strike ends? The fact is that, while US scripted television development is very important to the entertainment business, there is literally a whole world of entertainment work going on - in multiple fields - in countries around the world. The strike is only impacting a small (but important) element of it.

In addition to this article, I share more than a hundred in-depth entertainment industry articles on my website at www.filmtvlaw.com/entertainment-lawyer-qa. Please also check out my bio at www.imdb.me/brandonblake.

Navigating the 2023 WGA Writer’s Strike

An International Perspective

The first thing to remember is that the Writer’s Guild strike is an American phenomenon. The global entertainment industry is moving on, such as the very successful Cannes Film Festival this year in France. Across the UK, the EU, Middle East, Asia, Africa and Latin America, film and television is being written, produced and distributed.

If you are an internationally based writer or producer, this strike might have a very limited impact on your activities. The businesses in your home country might be unaffected. Right now, international markets are still full-steam ahead. If the writers strike continues, international writers and producers might see new market potential in the US. That is a reality of the global nature of film and television. The next “Squid Game” is on its way, strike or no strike.

A Legal Perspective

As an entertainment attorney, I also want to address the legal requirements that face writers, producers and distributors during the strike. The Writers Guild strike affects what are called the “signatories” to the WGA Basic Agreement. Signatories include writers, production companies, and distributors that sign on to the WGA contract, as well as some talent agencies and management companies that sign with the WGA to be able to represent WGA writers.

This is a rarified space, with several hundred active production companies effected, as well as all WGA writers and many of the top agencies in the United States. These companies represent the top of the American film and television industry. If you are one of the members of this club, congratulations! You made it, but the strike is going to be a cost of being in this exclusive club.

Any television writers, producers, production companies, agents or managers in the United States that are NOT WGA signatories have no legally binding obligation to recognize the strike.

However, mind that I said legal obligation. There is, however, a moral obligation to stand with those you believe are in the right. That is why some Screen Actors Guild members - and even people who are not in any guild at all - are joining in the strike, picketing on the lines because they feel it is the right thing to do.

Blacklisting

But what about the WGA’s overt threat to blacklist writers who cross picket lines in the United States? Can the WGA ban writers from joining, or take away membership from current WGA members if they break Guild rules?

With regard to WGA members who have signed up with the Writer’s Guild, the answer is yes. The Writers Guild of America can remove you as a member of the Guild, take away your pension and other benefits, and ban you from joining again in the future.

Once a WGA member is no longer part of the Guild, the WGA can also designate that signatory companies cannot work with that member in the future. But if a writer is not already a member of the WGA, the same rules apply. Regardless of whether a non-WGA writer honors the picket lines, a non-WGA writer still cannot work as a writer for a WGA signatory company. So non-WGA writers are barred from work either way.

However, there is always hope of a future membership in the WGA. That’s no small dream for many writers who would like to join that exclusive club. While it is legally a gray area whether or not the WGA can maintain a blacklist against non-WGA writers - case law will vary from state to state - there is no secret that the Writers Guild threatens to blacklist any non-WGA writer that crosses the picket line.

While that is not a place that any aspiring writer wants to get close to entering, the question becomes, “In a digital age, and a global entertainment industry, what exactly are ‘picket lines’?”

Virtual Picket Lines

The idea of picket lines during strikes comes from colorful imagery of the early 20th century, where workers would literally have to cross a line made by strikers that would encircle the factory being struck. The message from the early unions was simple: cross that line of strikers - The Picket Line -  and you are going to face trouble, anything from getting physically beat up by the strikers, to being forced out of town as a “scab” when the strike was over.

But the era of COVID showed that nobody ever has to go anywhere physically anymore. Does a Zoom call “cross picket lines?” What about an email or text message? The answer varies, depending on what that zoom, email, or text contains.

In a large part, today picket lines are symbolic. Getting writers (and actors and other tradespeople) out in front of a studio gets headlines, shows commuters something is going on, and helps to spread the word that the Guild believes writers are being treated unfairly. While trucks ARE being turned around – and productions shut down – by 2023 WGA picket lines, it is not as much of a physical barrier to entry for everyone involved as it once was. Scripts aren’t delivered by hand anymore. Pitches aren’t done in person. That’s all online, with no picket line in the way.

So how, then, does a non-WGA writer honor a picket line which might only exist as a ten second clip on the local news or a photo in the trades?

For those non-WGA writers who do want to honor the picket lines – which makes up all of my non-Guild clients… and probably the vast majority of American writers – the best way to honor the WGA Writer’s Strike is by not taking or soliciting writing work from WGA signatory companies, including by texts, emails, or zooms.

I can tell you that, as a practical matter, American production companies in live-action film and television who are WGA signatories are not actively seeking to hire screenwriters right now, because their development slates are all on hold while they determine how long the strike will go and where advertisers and audiences will be at an unknown point in the future.

Dos and Don’ts of the 2023 WGA Writers Strike

Since so many are asking – and since the question seems so nebulous in some areas, I am offering a suggested list of dos and don’ts. This is not legal advice. They’re guidelines offered for informational purposes to any writer who wants to honor the spirit of the WGA Strike, but also doesn’t want to sit by idly while other writers are out there securing their place in the future pitching lineup.

These considerations are primarily written for non-WGA members, since WGA members can ask their local leaders about what is right to do during the strike.

WGA Members – Ask the Guild for guidance but, without any doubt, pursuing writing work from – or being hired by – WGA-signatory production companies and studios is out of the question. Pitching existing scripts and doing non-writing work for WGA signatory companies is a gray area. Consider contacting the Guild directly to clear a project.

Animation – A large amount of animated television and feature film work is non-union, so it represents a great creative outlet for writers during the strike. During the 2007-2008 Writers Guild Strike, a lot of development and production occurred for new animated film and television series. Many writers are members of both the WGA and The Animation Guild – which covers most animation. The WGA board has stated that they wish for WGA members not to pursue Animation Guild work, but acknowledge that they need to stay true to their contracts that are already in place.

Reality Television – Like animation, most reality television is non-WGA, so writers can put on their producing hats and get out there and pitch new concepts for reality television. Just like during the 2007 Writers Strike, many networks and platforms might turn towards reality to fill content gaps.

International Television – As I alluded to at the start, there is literally a whole world of entertainment development and production going on, and writers should take the opportunity to explore this massive market. The fact is that most successful television series have big foreign markets, and there is no better and more receptive time to explore international sales than right now.

Existing Scripts and Life Stories – WGA signatory companies have currently put their development slates on hold, but fully written seasons and notable life stories might still find interest.  

Development – Why not get scripts and pitch decks ready now? While you are at it, attach cast and directors. Regardless of whether your project is intended for WGA-signatory companies or international audiences, don’t sit idly. Use the time to get your content to a place where it is ready to start pitching the day the strike ends.

Next Steps

Regardless of where in the world you are based, we can help you get your current project in shape to pitch with detailed insight into mandates and markets. We also have access to key creative talent, so contact us about whether now is the right time to move forward with your film or television project.

As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Brandon A. Blake is an entertainment lawyer and producer who works with Academy Award winning actors, directors and filmmakers. A complete biography is available online at https://www.filmtvlaw.com/lawyers.

About the Entertainment Lawyer Q&A:

The Entertainment Lawyer Q&A does not create an attorney-client relationship, nor is the information treated as confidential. Responses to selected questions will be made public and shared with our subscribers. All entertainment law information is informational in nature and is not intended to be acted on without entertainment lawyer counsel.

Question for FilmTVLaw.com:

I’ve greatly enjoyed all of your articles on the blog, they’ve been a massive help. However, I’m still a little confused about the intricacies of pilot and pitch season, and how they interact with the Upfronts. I would have thought strict ‘seasons’ for pitches were a thing of the past with the rise of streaming, but it seems not. Can you shed a little clarity on the matter?

Answer by Brandon Blake, Entertainment Lawyer:

In the swiftly changing climate of getting pitches and pilots ready for the eyes that need to see them, that’s a great question! I’m glad to hear you’ve had great use of our library of entertainment industry articles (found at https://filmtvlaw.com/entertainment-lawyer-qa). There’s a wealth of knowledge to explore in the questions people just like you have asked of the firm, so it’s always worth checking for new data.

Now let’s get to the core of your question- yes, pitching season and pilot season are very much still a critical part of any independent producer’s diary. While the streaming boom has created space for something of a ‘year round’ pitching season, if you’re looking at broadcast networks, cable networks and ad supported streamers, there’s still a schedule where you can grab extra attention at the right times of year. Some networks have shifted to something of a bi-annual model- but it still pays to know the pilot and pitching dates. Our firm does a lot of work with pitching series concepts and pilots to major networks, key steaming platforms, and cable networks should you need any assistance.

What’s the Difference Between Pilot Season and Pitching Season?

Traditionally, pilot season opens in January, with most new pilots put into production between February and May. This is really where things have changed the most. A lot of streamers and networks quit producing proper pilots, and instead order straight to series. When a season was 24 episodes, it made sense to create a separate pilot first, but there isn’t much cost difference between a pilot and a limited series of three episodes. Some pilots are still produced in the February through May timeframe, so a network might be a little busier with production during this period, but nothing like in years passed when the whole network would be focused on the production of new pilots.

If you are independently producing a pilot, then keep this time period in mind, because you will have the maximum audience if your pilot can be completed in this time slot. At one point spec pilots were uncommon, but times have changed, and if your production company has the means to do this, you can ‘skip the development queue’, in a way, and allow the network/streamer to see a pilot without any of the associated in-house expenses. This can also leave you more adaptable for platforms that are looking at pilots out of ‘pilot season’.

Pitching season is a more nebulous concept, but the busiest peak of activity is late May to the end of the year. This coincides with the end of the Upfronts, which we will look at in more detail in a moment. Traditionally, pitches will continue until the December holidays, leaving execs this time off to consider what will get that coveted pilot order. While sizzle reels still fall into this strategy, having a pre-shot pilot will work a little differently.

So What are the Upfronts?

Typically taking place in the third week of May, the Upfronts are where networks, and now more and more streamers, leverage their upcoming ‘fall season’ properties to help drive advertising sales for their platform. While the pandemic era saw much of the Upfront week having to happen ‘offscreen’ via digital platforms, 2023 will be the year where vibey in-person events return to normal with abandon, so it’s an exciting year. The bulk of Upfront activity this year will take place from the 15th May onwards, although the post-pandemic landscape is a little changed and we see some Upfront-like pitches and previews happening as early as late March and through April. The ‘big event’, as it were, will still be the flashy pitches and big displays happening in New York in late May, however.

Advertising has become a key issue for major streamers in the changed production landscape. So, while the Upfronts were once dominated by big cable networks like Fox and the linear side of other studios, this year we will see streaming-focused Upfront activity from platforms like Netflix, Disney/Disney+, NBCUniversal, YouTube, and Warner Bros Discovery.

Will all ad-supported streamers be represented? Not quite. The Upfronts are only for major platforms and often, but not always, those that produce in-house content and need to leverage that advance ad-spend to help pre-pay for their new content. So, yes, you will see companies like Roku at the Upfronts, coming off $1 Billion in ad commitments for last year, but don’t expect to see every FAST streamer there.

The platforms ‘pitch’ their new pilots and series at the Upfronts, hoping to attract advertiser interest. Not only does this provide the development cash needed to take popular properties ahead with a full series, it also allows for pre-selling ad space that might otherwise be subject to the ups and downs of ad demand throughout the year.

So while the dynamics of ‘pitch’ and ‘pilot’ season are changing, there’s still a massive focus on this key season and the need to present attractive new properties to eager ad-space buyers. You may successfully pitch out of season now- but getting a foot in the door during this critical time of year can still lead to a quick route to success.

Getting Your Project to the Right Eyes

Without a solid agency, entertainment law firm or production company in your corner with contacts with networks/studios/streamers, you won’t be able to leverage this busy time of year the way you need. The fact is, major streamers, networks and production companies will not even look at your project without solid representation. Consider it a prerequisite for pitch and pilot season and find a partner you can trust.

Our firm has decades of experience helping producers just like you get their foot in the door at major networks and streamers, so feel free to reach out today if you’re looking to get your project seen by the right people. As always, I provide these articles for informational purposes only, and they do not replace tailored, specific accounting, legal, or tax advice. Always seek experienced entertainment legal counsel before making your final decisions!

- By Brandon Blake, Entertainment Lawyer

Question for FilmTVLaw.com:

Hi there. I work as a writer and occasional producer in TV, but I’ve been on a hiatus for the last few years. With the demise of agency packaging, it seems like the industry has opened up a whole lot, and I need to get up to speed on the shift. Would you mind digging a little deeper into the changes and new potential out there for people like me?

Answer by Brandon Blake, Entertainment Lawyer:

You are right, some big changes in the past two years. There’s been a landmark shift in how business gets done in Hollywood since the successes of the protracted WGA writers’ strike in 2020-2021. I’ll go into a little more detail on it in a minute. While it created a huge change in how business gets done in Hollywood, it was very much for the best, not only for WGA and non-WGA writers, but for the industry as a whole and the way independent television development works. If you’d like to stay up-to-date with these sorts of shifts in the entertainment industry, you’re welcome to spend some time with my other in-depth entertainment industry articles at https://filmtvlaw.com/entertainment-lawyer-qa.

Recapping the 2020-21 WGA Strike

To recap for any other readers not in the loop, the WGA enacted strike action sought to bring an end to the then-common practices of paid packaging and affiliated production. Lasting an epic 22 months, a key cornerstone of the action was removing an ‘agent’s right to negotiate packaging fees’. They also wanted to see a reduction in the interests of agencies in production houses- which, as you can imagine, led to a rather self-serving cycle where cash flowed only one way.

WGA-affiliated writers were told to avoid using agents who hadn’t signed the new agreement. With all of the then-’Big Four’ having significant interests in the production side of the business, the strike was a protracted one indeed, with the major agencies being the key holdouts. Eventually, each signed their own version of the deal, requiring them to reduce production interests to under 20% and cease packaging. The WME was the last to sign.

Why Was It Needed?

As you can imagine, agents are well placed to ‘package’ differing talents together, as they can represent cast, writers, and more. In theory, packaging wasn’t a problem- it was simply the process of matching talent with writers and presenting a ‘bundle deal’ to the production companies, studios, or networks. That’s why packaging per se isn’t dead- in fact, it can still be a bonus for some indie script pitches- but the key word was paid.

The problem arose due to (somewhat hidden) conflicts of interest, where the production companies/studios were paying for the packaging. This created an atmosphere where it was possible the agent was working less in the writer’s best interest (hunting the best deal) and became more about working on the production side as an extension of the studio. Being well positioned to guide a project through development is fantastic, but not while working against the primary client’s best financial interests.

The Current Landscape

With this shift, we return to a place where agents are working not for production companies, but on getting the biggest fees possible for their writers. Whether packaging did disproportionately affect writers specifically, as the WGA claimed, can be debated- but the overall result is a healthier atmosphere for everyone, including those involved in independent television production and development.

Firstly, it makes finding agency representation a bit easier for writers, if that’s a route you want to go, as onboarding talented new clients has moved back to the agencies’ main prerogative. More importantly, however, writer-producers in the indie industry can still leverage the benefit of ‘packaging’ their works with an interested cast. Studios do like having the burden of gaining interest in a project removed, after all, as it makes their lives easier and the project more viable for them. Nor does it short agents, as renewed demand for their client list will finally be seen as a good thing.

So it wouldn’t be hyperbole to say an unintended side effect of the WGA deal was opening up an entire new era in independent television development.  

What About Production Companies?

Plus, the production companies don’t lose out, either- and the playing field is a lot more level for smaller companies. Under the old system, you would be locked to the directors, cast, and writers represented by just one agency (and thus heavily favoring larger companies). This need to have everything repped by a one-stop shop has fallen away, in-house production companies are rarer and with less agency interest, a better balance can be struck.

Again, this makes a particularly favorable shift for indie outfits of all sorts, which now have a much better chance of getting that coveted ‘foot in the door’. Now, instead of being in a quasi-investor role, forced to only accept what agents bring to the table, production companies can fully control their own development and packaging and invest in the product.

The Role of Representation

However, to make the most of the new era of independent television development we are now in, quality representation of some sort is a must. Most networks and studios will only work with proposed packages from known representation they have worked with before, for liability reasons. It no longer has to be an agent- a great entertainment lawyer will open as many doors (if not more) than the classic agent structure on the development and producing side of things.

I have personal contacts through almost every major network and studio out there, and their top executives will happily pay attention when our firm submits. In fact, few entertainment legal firms have the depth of relationship and scope of contacts I do. Let alone in as many fields- I’ve handled everything from dramatic and comedy series for networks and streamers through to feature films, docuseries, and reality work.

So if you’re looking to self-develop your next indie TV product, feel free to get in touch. As always, I provide these articles as general information, not specific legal, tax, or accounting advice. So always seek your own experienced and individual legal counsel before making financial or legal decisions.

Question for FilmTVLaw.com:

This is a question I’m sure you've seen before. However, I have a project with solid potential in the works. As it stands right now, it could be well developed as either a TV project or a film, and I’m not too sure which way would be best to pursue. Friends, even some in the industry for years, seem torn, and some have even suggested trying for both. I worry that that would split my focus too much, honestly.

Do you have any advice for this situation? What is my best bet to get this project into production?

Answer by Brandon Blake, Entertainment Lawyer:

Great question! This is something of a million-dollar question at the moment, and you are right- you won't be the first (or the last) to face this dilemma. As we see so often in the entertainment industry, there’s no one-size-fits-all solution, either, and many factors can affect your ultimate decision. However, as someone who works very closely with both studio execs and networks/streamers, I do have some insights I can share with indie producers like yourselves which I hope will offer you some guidance on how to further develop this project. If you have any other questions on the entertainment industry, you’ll find a host of other tips at https://filmtvlaw.com/entertainment-lawyer-qa to help.

Now, on to your question.

TV vs Film Development

No doubt you’re already aware of some of this, but let’s start with a review of the basics. Feature films, of course, are developed as a single production, with a format over 80 minutes in length. When developing for TV instead, you are looking at an episodic format in the 30-60 minute range, with scope for expanded storytelling but a need to maintain the speed of pacing and audience interest over a far longer total runtime while still delivering satisfying chunks of action throughout each episode. Short run series keep getting shorter, but 6 episodes is still a good minimum target.

Perhaps I should also mention that, while 10-15 minute episodes can be found for some animation and children’s formats, it’s seen as the hallmark of the web series rather than a serious TV contender. Developing as a web series will typically lock you out of network interest and distribution via a streaming platform.

Your friends advising simultaneous development have either been misinterpreted, or have the wrong idea of how that situation could work. Some producers will choose to first aim a story with extended potential at the feature film market, with the hopes of it then moving into a ‘spin-off’ style TV series. You need only look to the Marvel franchise for many examples. If you decide this is the future you’d like for your work, your focus should be solely on developing a compelling feature film, not developing the series alongside the film.

We do sometimes see ‘advice’ suggesting that an 80-90 page film script could also be pitched as a TV pilot. I advise against this. Serious producers know that there’s a world of difference between a 90 page pilot and a 90 page film (and pilot’s shouldn’t be 90 pages). You’re better off choosing a solid direction and working to showcase your project to the best for a specific format rather than trying this attempt to cover all bases.

What the Market Says

Now onto the meat of your question. You will see that most advice on similar topics focuses heavily on the market and current trends. And that should definitely inform part of your decision. Having financing and an audience that’s open to your work matters. However, there are other factors that should also influence which you choose, and it’s important not to lose sight of them chasing trends. Market realities matter, however.

Right now, the streaming platforms themselves are chasing high-value content. Especially as the initial streaming boom of the pandemic settles down, and we reach the ‘crunch years’ that will sort out which streamers survive and sustain their subscribers, and which fail or become relegated to the B- and C-tiers. They want full content rosters to fill their screen time and draw in new eyes to the service.

Series obviously have an advantage here. Not only do they offer hours more streaming content, some believe that viewers become better ‘invested’ in series-style programming, and are more choosy with what features they will consume.

In the recent past, I would also have advised that financing can be more difficult for features, as the typically higher budgets require investors with private equity to boost your coffers. The evolution of so-called ‘top tier’ series formats with immense budgets (think Game of Thrones or Rings of Power) has muddied this a little. However, we’ve also reached an era where streamers are willing to invest that heavily in one or two anchor series like that, but they still have more scope for mid-tier solid and dependable series. The non-blockbuster film market, on the other hand, is a sector that's been slow to recover.

However, you’ve likely noticed that more indie films get made (still) than TV series. Despite the smaller market and tighter financing, there’s a lot more competition for those spots. Also worth noting is that TV series currently rule the viewer metrics. It’s rare to see a feature film on the Nielsen Top 10 list for a week or even the month period currently.

So from a pure market perspective, TV looks increasingly like the way to go.

The Development Process

But the market isn’t everything. Your creative process matters too. Delivering a sloppy TV pilot that could have been an excellent feature film will do you no favors. Consider:

●       Length and Format: Do you have the means to create at least 6 hours of solid content in the series format? Not every idea can stretch easily, and good series are not just over-length movies.

●       Budget and Time: If you have the means to supply or raise part of the budget (think 20-50%) for a feature film, you can get the cameras rolling in a surprisingly short time. TV shoots take longer to develop, green-light, and shoot.

●       Cast: If you’re craving top-tier cast, know it’s nearly a necessity in the indie film market. You will need contacts (like a law firm like ours) to source that cast. And with A-tier casting comes the expectation that you will cater the role to their tastes. Cast is still important to series too, of course.

Last, but not least, there's the story. Film has a reputation for tighter, more contained storylines. But some stories and characters are better developed over the length of a series. Sometimes, you will find film producers dismissive of that, with a greater focus on financing and planning than the script itself. It's not a given, of course, but this is creating a trend where the better stories are now being told in series formats. Films are increasingly about fast action and solid backing from cast and financiers.

By carefully evaluating these key areas and considerations, you should arrive at the right direction to pursue for your own project. Of course, I can only offer these tips and insights as general information, and you shouldn’t consider this project-specific advice. Always seek experienced entertainment legal counsel before making financial or legal decisions.

Should you need help bringing your project to life on major streamers, networks, and studios/production companies, our firm is well placed to help you make the connections you need. Feel free to reach out to us about your TV or film development representation as you need.

- By Brandon Blake, Entertainment Lawyer

Question for FilmTVLaw.com:

I’m a young writer with a TV pilot script I believe has great potential finished and ready to shop. However, I’ve had some more experienced writers already in the industry warn me to protect my script before I do so. However, no one’s advice seems consistent. What is the best way for me to look after my rights while still getting this script to the eyes of the people needed to take it to the next level?

Answer by Brandon Blake, Entertainment Lawyer:

Thank you for a very solid question! As an entertainment attorney with several decades experience, this delicate balance between protecting the rights of my client’s work and helping them get their projects to life on the right network or production company is a key concern I keep in mind. If you’re curious about other matters we handle regularly, you can always dive into the other entertainment law industry articles we have here at www.filmtvlaw.com/entertainment-lawyer-qa

But back to your question. What steps can writers take to protect themselves while shopping scripts, especially for TV series? Of equal value, what isn’t recommended before pitching?

This is a question that’s even seen some recent press time, as we’ve seen the WGA win several landmark arbitrations around writers and scripts of late. While the ‘self-dealing’ residual issue recently raised with Netflix is more a matter for writers with scripts actively in production and how they are paid for it, you may want to familiarize yourself with their win on what classifies as ‘active development’. This enacts further protections for writers who successfully pitch and sell a script, but see the project languish without pro-active attempts to finish it. It also gives you, the writer, greater powers to ‘recover’ that dead script and sell it somewhere where it can come to life.

But let’s look at the protections you need to get it there, first.

Can You DIY?

Unlike many entertainment legal issues, there are some things you can do to help yourself here. Filing copyrights at the US Copyright Office (eco.copyright.gov/eService) has become surprisingly streamlined of late. There’s no reason not to do this, whether you plan ahead before you start shopping or do it now on a project you’re already shopping. They have fairly solid guidance, and it’s pretty easy to do.

It’s an easier process than Trademark Applications, but they have also gotten fairly fussy about ‘Works Made for Hire’, so if you prefer, you can use a legal service like ours to help you choose the right options for your work.

The WGA

If you are already a WGA member, WGA registration of your script will be mandatory. While it’s been seen as the default protection for scripts even if you aren’t a member, however, it can be a false sense of security. Why? Because there’s no statutory protection, and there’s a fast expiry (5 years). Few remember to renew the registration, and sit with unprotected scripts.

NDAs (Non-Disclosure Agreements)

No doubt NDAs have been among your peer’s recommendations. Some producers and writers believe that NDAs need to be signed by anyone reading the script.

And yes, they are a powerful level of protection, as you end up with a signed contract detailing your expectations- everything from the idea to the title, which cannot be protected by copyright law. However, most major production companies, networks, and studios simply won’t sign one before looking at an outside script. Many will flip the idea on you, and require a submission release that limits your rights to sue in the event of plagiarism/infringement for the idea.

Sadly, there’s little an individual can do about this. For every firm that will sign, five more will not. For TV pitching especially, this can damage your odds. This is one of the key reasons for using legal protection on your side-an entertainment law firm like ours- instead of DIY pitching.

Trademarks

Trademarks can be of use for aspects of your IP in a TV series. For example, if the title is of particular importance, or you’ve created unique logos, characters, or designs that qualify for protection. Animated projects might consider this for character protection, and reality series might consider this step in some events since less of the overall pitch materials can be copyrighted.

Why Entertainment Law Firm Representation Gives You the Edge

Blake & Wang P.A have never had a client’s feature or series project plagiarized or even infringed. One of the best things you can do to protect your IP rights to a TV series script is use proper, informed legal representation to help through the pitch process.

Consider the power you will have in using a third-party in your submission- one keeping detailed notes about what has been submitted and to whom. Now consider that they are a law firm, with full ability to enforce their client’s rights in front of a court- how likely is it someone will take the chance on infringement?

Additionally, unlike the non-disclosure, major production companies, studios, and networks like it when clients come to them covered by respected entertainment law firms. Having a respected legal practice at the table gives both parties greater confidence that they are dealing with mature, trustworthy and serious parties who are above-board and dealing in good faith. It’s a win for everyone.

Should you need representation in television pitches, or copyright and trademark law, feel free to reach out to our firm about your needs. Remember, we can only provide these articles as a general source of information, they do not represent tax, accounting, or legal advice. You will need experienced entertainment legal counsel before making legal and financial decisions.

- By Brandon Blake, Entertainment Lawyer

Question for FilmTVLaw.com:

With the John Wick franchise remaining as popular as ever, and some major movement on the Lionsgate front in recent months, how do I get my own project through the Lionsgate door? While I’m not new to the filmmaking market, I’m keen to take my work to a higher level, and as one of the most compelling and active ‘smaller big’ names in Hollywood currently, I feel like they’d be ideal for my new work. Any advice you can offer? And thanks for the fantastic content!

Answer by Brandon Blake, Entertainment Lawyer:

Another great question! As always, thanks to everyone who’s been so active with questions and comments on the blog. While I can’t get to every one of you, I felt this one would probably resonate with more than just the commenter. Of course, they (and you all) are also welcome to check out my other Q&A sessions right here at www.filmtvlaw.com/entertainment-lawyer-qa . You’ll find it packed with entertainment related advice and articles just like this.

Luckily, I actually have first-hand experience working with the Lionsgate teams. And you’re quite spot-on with that description. Despite being one of the younger of the major Hollywood studios, Lionsgate offers a compelling balance between ‘big enough to get things done’ and ‘small enough to take interesting chances,’ and they’re much more willing than some of the other Hollywood names to take chances on new IPs and interesting projects with potential. With some Hollywood staple franchises in the bag- alongside John Wick in his many incarnations, the Saw films retain evergreen popularity on the horror market, as does the Expendables franchise in the action market, and they have many other beloved IPs in the bag to match. We’ve recently seen them start to get a little more aggressive on the streaming front, too, with a push to elevate their Starz platform (now rebranded as Lionsgate+ outside the US) into a more solid streaming competitor, and some interesting partnerships with the UK’s Sky to push into the booming European streaming markets.

But before we dig too deeply into Lionsgate itself, let’s step back and take a broader look at how agencies and studios like Lionsgate partner up to push TV and film projects into their studio ecosystem. Then we can double back to breaking into that loop as an independent creator or producer.

Agencies act as the typical launch point for the flow of stories and scripts to studios, production companies, and networks. Packaging, while not as dominant as it once was, allows agents to get other interested parties (especially A-list talent, known directors, and other people with ‘name recognition’ and existing fans) on board with a script or idea. This is often done through in-house project shopping to start, allowing them to bring in current clients that have interest in the project.

Once there’s enough ‘evidence of interest’, as it were, these agencies then push the project in front of interested studios, focusing on producers and acquisitions execs who like to work with similar genres or projects. If the producer/exec bites, there’s a similar repeat of this in-house shopping, where they approach others within the studio ecosystem to drum up interest. Once it has enough momentum to sell itself, it will be bounced to the CEO and President of the studio for a true green light.

With so much of this done internally, it can be difficult for indie operators to ‘break in’ to the loop. Luckily, there’s a lot that independent producers who want to further their scripts and projects can do.

Obviously, making the most of packaging helps. I’ve worked with clients before to bring in A-list interest (perhaps under the Lionsgate circumstances I should point out a client and I brought Keanu Reeves on board to a project before) during the development phase through my personal contacts.

With that in the bag, it is easier to draw in major agency interest to the writer and producer, too, adding fuel to the shopping fire. By doing this ‘legwork’ for the studio development execs, bringing them not just a solid script but interested talent with a stake in the project’s success, you make your project much more compelling than the pile of other great scripts sitting on their desk, and you become a prime candidate for green lighting.

So, to offer some more focused advice:

1. Write a Great Script

Obvious, yes, but you’d be surprised how often this isn’t in place. If a major studio like Lionsgate is looking for purely speculative material and nebulous ideas, they have enough talent in-house to get the job done without looking at indie creators.

Only when you have a fantastic, fully actualized script should you look to add to it with solid basic promotional materials- look books/pitch books, websites, posters, and a great one-sheet of the best quality.

I have 2 decades of experience in the entertainment business, and I can assure you- I can often tell what projects will get attention from the script and promo materials alone. That’s how important this is. You’ll see a lot of talk about ‘bigger’ promos- think trailers, demo reels, sizzle reels, and pilots. Sure, these are great additional materials- if you already have the ability to exactly produce your material at broadcast quality. If the studio is going to have to ‘imagine’ what you could do with a better budget, skip it and stick to the solid essentials you can produce well. They can imagine their own content. You need to sell them yours.

None of it is worth anything without a script that looks and feels production ready, so don’t waste your time elsewhere until that’s in the bag

2. Know your Market

Learn everything there is to know about the market for your project- especially the cast, the directors, and the production companies, studios and streamers that can make your project a success. Note that is the very first step we take when we represent a new client, and it’s a critical one.

You’ve got your eye on Lionsgate specifically, so I assume you’ve probably done some of this legwork. Redo it again, and then consider another pass until you know them and what they like inside-out.

3. Partner Up

Now is the time to start attaching some enticing cast and a director. Sure, you won’t be bringing the entire cast of your show (we presume) to the table with you, but being able to show actionable interest from key entities makes you that much more appealing as an independent project to the studio. If you don’t have the contacts, our firm can do the heavy lifting on this step and start getting your project to major name talent.

4. Find Your ‘In’

Get the project to the right people responsible for green lighting film and television at the entity of your choice. Step 2 should have helped you narrow this down a lot. A solid partnership with a firm like ours, which has these existing relationships in play to leverage and go to bat for you, can be very helpful.

Feel free to contact our office about rates for our packaging and representation services, and please do not decide about complex entertainment legal matters without consulting an experienced entertainment lawyer first. At BLAKE & WANG P.A. I have been representing feature film projects and television series for more than 22 years. Please feel free to contact my office at www.filmtvlaw.com to find out about our availability.

QUESTION FOR FILMTVLAW.COM:

Hi. What’s your thoughts for TV pitching season in 2022? I’ve heard it’s starting soon, but am not sure when is the best time to take my current projects out ‘into the world’? Is this even something to worry about with streaming networks?

ANSWER BY BRANDON BLAKE, ENTERTAINMENT LAWYER:

This is a great question about pitching in 2022 and pitching in general, thank you!

Traditionally, the Upfronts wrap up the third week in May, after which pitching season kicks off as execs get down to finding the right projects to develop for their network over the next year.

What to Expect For 2022 TV Pitching Season

While we’re still feeling some echoes from the pandemic, a lot of things have gone ‘back to normal’ across the industry. This year, the Upfronts are planning to go back to in-person events unless something very disruptive occurs.

Do they matter in the era of year-round streaming? While the window to pitch has certainly opened up, and you’re going to be able to get some industry interest at all times of the year, it’s still a mistake to dismiss broadcast and cable linear TV.

Also, we’ve seen a big move very recently into the Upfront space for YouTube this year. While it’s not the first streaming network people think of, YouTube has come to dominate with a big chunk of viewership. Plus, of course, where one streamer goes we will soon see more and more enter. There’s also a lot of cross-over in this space, and many streaming hits continue to start on a cable or broadcast network.

Overall, as we’ve also seen big players in the industry reform around the streaming model, many ‘traditional’ TV spaces are blurring with streaming more and more, and it’s not unreasonable to anticipate that this will continue as the kinks are ironed out of streaming as the go-to model.

As a producer in 2022, it’s still wise to broaden the number of places you pitch to, as it can considerably increase your success rate. In fact, Blake & Wang P.A assist with getting pitches to more eyes and places than most producers can access themselves. We have major networks, TV studios, and streamers alike reading client’s scripts at the moment.

Key Things to Know About TV in 2022

There are some key things to understand about the TV and streaming space at the moment. Firstly, 2021 saw a flurry of mergers, acquisitions, and reformatting in major industry players. Some key aspects to remember are:

1. There’s been a rise in interest in non-English streaming content that’s set to boom throughout 2022 and likely beyond. It’s been primed and driven by the massive success- and global connection- with some key South Korean content over the last few years, including the massive and unanticipated interest in Squid Game and, on the film side Parasite. We’ve very recently seen Netflix amp up its non-English content spend in French, European, Asian, and even African 'homegrown’ content. This is set to become a new area to push for TV producers capable of delivering compelling content in this area. A non-English script is no longer a niche area of focus.

2. This year we will see the final closing on the Warner Media-Discovery Merger. This has a lot of implications for what sort of content will be being pitched and what will be most desirable. I’ll take a look at this below.

3. The pandemic-driven domestic subscription boom is over. Now we’re seeing streamers reposition themselves to find new ways to appeal to a saturated market. A key part of this is through lower-tied AVOD (ad-supported) tiers. This will bring the Upfronts back into key focus and make them much more relevant again, as that is where a lot of advertising deals are closed. Another reason I say we will see streamers moving into the Upfront space over the next few years, rather than a move away from them.

What’s Hot to Pitch in 2022?

The Warner Media-Discovery merger is going to be a big shaper for the reality/unscripted TV industry. Discovery has become known as something of a Netflix for reality TV already, and the upcoming merger and refocus on Discovery+ is only going to enhance this.

Of course, a lot of subjects fall under ‘unscripted’, and not all of them are going to pitch equally as well. For some, the market is saturated, for others, the market could still be developing. It’s not a given that unscripted is a better area to focus on than scripted, and many quality scripted pitches will be picked up this year. While demand for content is high because of streaming, oversupply is still a risk. Although looking away from staples and spinoffs is risky, this is a year where that risk may pay off.

In short, pay attention to these key factors and let them guide you, but a quality concept with a strong potential will be well received no matter what, so don’t chase the trend dragon to the extent you lose sight of the intrinsic value of your productions and projects.

Blake & Wang P.A is here to help you find the right home for your pitches, especially through the 2022 pitching season. We have a vast network of contacts and access to a range of industry ears that a producer will not be able to replicate through their own contacts. Sometimes, the difference between a successful or a failed pitch is getting the right eyes on it, not what the subject matter is. With streaming hungry for content, there’s room for a wide variety of projects.

As always, it’s a complex arena, and one in which experienced entertainment legal counsel is essential. We’re offering this piece as a general guideline, but it doesn’t replace personalized, specialized legal counsel. If you need help getting your pitch to the right people this pitching season, we are here to assist.

Law is not a catch-all arena. If you spend even a few minutes delving into the specifics of the legal profession, you’ll soon find a dizzying array of specialized roles. While some, like tax lawyers, will be immediately understandable to the layman, others are more niche. What exactly does an entertainment lawyer do for their clients? We asked Brandon Blake, a successful entertainment attorney and founding partner with entertainment legal specialists BLAKE & WANG P.A, to break down the specific responsibilities and intricacies of his profession and why and when you might reach for an entertainment lawyer’s help.

No specific case law

First up, it’s worth noting that there is no set body of case law that calls itself ‘entertainment law.’ Instead, the entertainment lawyer will find themselves working with a broad range of legal sub-niches, from ‘preventative’ legal matters like protecting intellectual property rights and negotiating contracts throughout the industry, to advising clients on how to best boost earnings and structure their tax matters, right through to actively representing them in court should disputes arise.

What does an entertainment lawyer do, then?

This means that any aspiring entertainment attorney will first acquire their Doctor of Jurisprudence degree (or J.D.). This is the preferential degree for anyone entering the legal field here in the U.S, and a key starting point for anyone in the legal profession. From there, the entertainment lawyer will need to acquire a vast body of legal knowledge in the following areas:

· Intellectual property: There are few industries where protecting intellectual property is as important as entertainment. Creative professionals from a vast range of industries- think music, comedic routines, scripts, logos, and much more- need to establish their rights to their intellectual property, and the proceeds that come from using it, so they will turn to an entertainment attorney for help.

· Unions and Guilds: Nowhere is union presence in the U.S as strong as it is in the entertainment business. Many professionals, from cast to crew, need to join guilds, unions, and other professional associations relevant to their talent. Many of these same industry pros go on to help organize professional programs to boost talent, vet other members, or otherwise actively engage with their creative communities. An entertainment lawyer helps them meet all dues and remain compliant with union protocols while working.

· Negotiations: Entertainment lawyers can help secure talent releases, negotiate contracts and fees, and advise clients on work that is offered. This can be done instead of, or alongside, a talent agent.

· Managing connections: No creative talent works in a vacuum. The entertainment industry relies on a network of connections, handling everything from venue procurement and professional networking, through production pitches, to handling tax season and finding agents. An entertainment attorney acts as a lynchpin in this process, ensuring everything is smooth and acting as a legal liaison for their client.

Who would an entertainment attorney represent?

Now you know a little more about the job responsibilities entertainment attorneys handle, let’s look at who they represent. Entertainment lawyers could work with anyone within the following industries:

· Music

· Film and TV as talent

· Film and TV as crew or production/direction

· Live comedy and performance arts

· Print and online media

· Illustration and comics

Essentially, any creative work that falls under the broad umbrella of the entertainment business could need the services of an entertainment lawyer. This ranges from ‘traditional’ entertainment like live shows, film, and music right through to newer arts like web series and streaming.

What could I ask an entertainment lawyer to do?

While many creative professionals will work long-term with an entertainment lawyer or firm to manage all legal aspects of their profession, many will also hire an entertainment attorney for a specific task or need. They may even approach the legal team because they have a specialty in a specific field they need. This could include:

· Maintaining distribution rights on creative properties

· Consulting case law relevant to an issue

· Contract negotiations of all sorts

· Establishing ownership of intellectual property, especially in creative collaborations and partnerships

Entertainment lawyers may also be contracted to help initiate legal action for their clients. This often revolves around contract breaches or intellectual property theft.

Do entertainment lawyers work everywhere?

Laws are not the same from country to country, and anyone practicing law has to be registered with the relevant bar association for their country. In America, this is the State Bar of the state where the entertainment lawyer practices.

As with any industry, the entertainment business in the U.S has several focal locations. Los Angeles, California, is a key area, with New York City (and state) and, to a lesser extent, San Francisco, New Mexico, and Georgia playing a role too.

Not that an aspiring entertainment attorney would have to be confined to the East or West Coasts to work in the field. With the boom of the digital era, the film and production industries booming everywhere, but Hollywood still serves as a lynch pin for entertainment finance and distribution.

How do I become an entertainment attorney?

As Brandon mentioned, you need your initial general law degree to work in the field and then to work further on your Doctor of Jurisprudence degree. You need to take the LSAT to gain admission to an accredited law school program, and you will need experience.

If you are already an established lawyer with experience in the field, you can choose to transition into the industry with the experience you have already gained but will need to retrain on entertainment-specific legislation.

Is entertainment law challenging?

All legal practice has its challenges. What is unique to entertainment lawyers?

Firstly, connections. Without connections, nothing moves in the entertainment industry, and lawyers are not exempt. This is especially important for those who want to secure the best contracts for their clients. While marketing can be important in any profession, the average entertainment attorney will spend most of their time working with peers and other professionals, not their clients!

Entertainment is a fickle industry, too, with highs and lows in work volume. The skilled entertainment lawyer needs to be able to develop business for themselves and their clients even when times are lean.

Whether you are a client in need of skilled legal help to boost your entertainment career, or an aspiring entertainment lawyer looking for further guidance, Brandon Blake and the BLAKE & WANG P.A team have the skills and knowledge you need to flourish in the entertainment business.

QUESTION FOR FILMTVLAW.COM:

Hey there. I read that television pitching season starts this week. I’ve got 9 projects ready to go. Can you help me pick which one is the best to start out with? Do I need to worry about pitching season anyway because my scripts are better for Netflix?

ANSWER BY BRANDON BLAKE, ENTERTAINMENT LAWYER:

Thanks for a great question about pitching season. For the Networks, the third week of May is the official start of pitching season, and that is because the Upfronts are over and now network execs are ready to start looking for projects to develop for next year. Due to the disruptions of last year, 2021 is the first year since 2019 with a full Upfront event. In addition to this article, I share more than a hundred in depth entertainment industry articles on my website at www.filmtvlaw.com/entertainment-lawyer-qa. Please also check out my bio at www.imdb.me/brandonblake.

The 2021 Television Pitching Season

So, does any of that matter in an era of year-round streaming and series that are picked up for multiple seasons on Netflix within the same year? Although I don’t think there is any one best moment to pitch a television series now days, anyone who dismisses broadcast networks and cable linear television is making a big mistake. Seventy-five percent of television series revenue still comes through broadcast and cable, and many streaming hits have started out as broadcast and cable series.

As many series as Netflix and Amazon produce, collectively a lot more series are developed and produced by the Networks, pay and free cable, so dismissing this major part of the television industry does not make sense to me. When television producers broaden the number of places to pitch a series, the success rate increases exponentially. One of the things we can help experienced television showrunners and executive producers with is to get a potential series to a lot more places than most producers can access through their own contacts. There is not a major network, streamer or television studio that is not currently reading one of our client’s scripts, and many have more than one.

What’s Hot in Scripted Television for 2021

While I must reserve my knowledge of network and streamer mandates and detailed knowledge about current television industry audiences and demographics for clients, I can provide two general areas of interest right now at streamers and Networks. According to conversations I have had with many network, studio and production company executives, this season is all about dramatic comedies and light, funny dramas.

I am aware of the fact that both of those are inherent contradictions according to usual television genres, and yet that is where the demand is right now. I break that down with details for clients and strategize how to take advantage of this new direction by networks and streamers without creating a mess of traditional formats and series genres.

What’s Hot in Reality Television for 2021

While reality television has been primarily a year-round business for quite some time, it still makes sense to pay attention to the Upfronts and the advertising cycle when pitching reality television.

The reality of reality television right now is that consolidation is causing some demand problems. Discovery is just getting huge and becoming the Netflix of reality television. That is great for our clients, because I have strong contacts with Discovery. However, it is also creating a situation where Discovery has ended up with way too much of some subject matter and genres, and not enough in other places. Added on top of that is the Warner Media deal and reality is going to be complicated for the next year or so.

Industry wide, reality television is facing the same kind of over supply that the feature film industry faced for a long time. That is causing extremely focused demand areas at all of the reality networks, streamers and production companies, where things like talent are commanding a premium, and certain reality niches are driving demand, while some old staples in the reality business are over supplied.

Streaming, AVOD and Beyond

Streaming is starting to look a lot more like network and broadcast as AVOD begins to take hold. AVOD means “advertising-based video on demand.” From what I have been told, major advertisers have been looking for places to spend their money, and a lot of top shows are at subscription services. It was only a matter of time before this major capital got it’s wish, and now it seems almost every streamer either has an ad supported tier or is testing ad supported content.

This would seem to undermine one of the principal reasons that streaming flourished originally, which was audiences fleeing from ad interruptions on broadcast and free cable. However, the promise of either free or reduced-price streaming seems to be appealing to viewers, and that is why this year AVOD is being built into the Upfronts of many of the major Networks that own or partner with a streaming platform.

All of this means that right now is an ideal time to start getting new series out to networks, television studios and major production companies. Please contact my firm if you would like help tailoring a series project to current network demands, or if you would like to broaden your production options and get a series to more potential networks and streamers.

As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Check out my video blog "How to Sell Your Script To a Studio" where I answer the most common question by screenwriters and film producers. As an entertainment lawyer that has represented over sixty produced film and television series I have learned a few things about studios and share insights with clients and friends of the firm.

This video is for informational purposes only and does not represent legal advice. Contact our office with specific legal questions or to schedule a consultation for a quote.

Question for FilmTVLaw.com:

I read about how the Section 168 k deduction is the new film finance tax deduction and that it replaced Section 181? Can an independent film qualify and where do I have to shoot it to get the big tax break?

Answer by Brandon Blake, Entertainment Lawyer:

I am getting more calls than ever before about investor financing feature films. This summer is set to be a goldrush for film producers as both Americans and Europeans rush back to the theaters. My new article answers all the preliminary questions about whether investor financing under IRS Section 168 k is right for a new film or television series. In addition to this article, I share more than a hundred in depth entertainment industry articles on my website at www.filmtvlaw.com/entertainment-lawyer-qa. Please also check out my bio at www.imdb.me/brandonblake.

Section 168(k) Film Deduction Overview

For anyone who has not heard about it, Section 168 k is the new film tax deduction under the Tax Cuts and Jobs Act that replaces Section 181. Most of the provisions are the same, providing a 100% tax deduction for feature film and television series in the first year of distribution. The tax code is more complex for Section 168(k) than it was for Section 181, so it is more important than ever to retain our entertainment law firm to prepare the offering and handle the paperwork for your investors. In order to determine if IRS Section 168 k is right for your film or television series, check out this detailed Frequently Asked Questions where I go step-by-step to help you determine if your film or series qualifies for Section 168 k.

Section 168 k Deduction Frequently Asked Questions:

What Does the Section 168 k Deduction Do for My Project?

IRS Section 168 k under the Tax Cuts and Jobs Act allows your investors to take a 100% tax deduction for the feature film or television series in the first year of distribution. In order for your investors to take the deduction you must qualify the film under Section 168(k). Our law firm will qualify your film or series as part of preparing a securities offering for it.

Does My Film or TV Series Qualify?

Our firm can qualify any US based feature film or television series for the Section 168 k deduction film and television incentive.

Can I Qualify A Film or Television Series That Was Already Shot?

No, our entertainment law firm cannot qualify a film or television series for the Section 168 k deduction that has already been shot. Only a new feature film or television series that has not yet been shot can be qualified for the Section 168(k) film deduction by our firm. Even if you used investor financing for your film in the past two years, we cannot qualify your project if you already shot your project.

Is There a Minimum or Maximum Budget Under IRS Section 168 k?

No, there is no minimum budget size, and there is no longer a maximum budget either under the Section 168 k deduction film and television incentive. This is a change from the old Section 181 where there was a cap of $25 million.

How Do My Investors Take the Section 168 k deduction?

Your investors can take the deduction if they have invested into a qualifying film, television or theater production, provided that the project is distributed by 2023, and that the producers have filed the appropriate tax statements with the IRS.

Can Your Law Firm Make the Tax Filings for My Project Under IRS Section 168 k?

Yes, our firm will make all of the appropriate tax elections for your feature film or television series under the Section 168(k) film deduction, provided that you hired our firm to set up the securities offering and that our firm represents the offering. We cannot file for the deduction unless our law firm set up the initial securities offering and qualified the film or television series for the deduction.

Do I Also Have To File My Project with the SEC?

Yes, any project that is raising money for an independently produced feature film or television series under the Section 168 k deduction film and television incentive must also file the investment with the Securities and Exchange Commission (SEC). Our law firm will file your project with the SEC as part of putting together a securities offering.

If I Shoot In Georgia, Louisiana or New Mexico, Can I Still Get the 168 k Deduction?

Yes! You can “double up” and take both the Section 168 k deduction film and television incentive, and also still qualify for any state tax incentives.

Do Short Films Qualify for the Section 168(k) film deduction?

Yes, however, you do need to find distribution for the short, which can sometimes be a challenge. But there is nothing in the rules of IRS Section 168 k that would disqualify a project because it does not meet a minimum length.

How Many Films Can I Shoot Under the Section 168 k deduction?

There is no maximum number of films or series you can make under the Section 168(k) film deduction, and our firm can set up a film fund that provides the IRS Section 168 k deduction on each of the films.

I have personally qualified hundreds of films for the Section 168(k) film deduction. Feel free to contact our firm about securities services for your next film or television series. Unfortunately for liability reasons I cannot provide any other details about Section 168 k until you have paid for our securities services and become a client, but I am happy to provide a quote and timeframe for qualifying your film.

As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Premiering my new video blog today "How To Get A Project On Television." I share strategies and tips used by top executive producers to get shows seen and picked up on major platforms like Netflix, Amazon, Hulu, HBO Max and Disney+. After representing television series for twenty-one years I’ve learned what networks and streamers are looking for from producers in terms of materials, level of development, and audience, and I share many of those tips in my new video blog.

Selling a project to Netflix involves hard work and a great series or film, but there is also a trick to pitching a project to Netflix. Lawyer Brandon Blake discusses tips and tricks to how to sell a TV series to Netflix, including the types of materials that Netflix wants to see for a new reality series, dramatic series or feature film, and how to best sell a TV show to Netflix. Attorney representation can be key, and when it comes to selling a project to Netflix, entertainment lawyer Brandon Blake shares everything he knows from 20 years in the film and television business.

Question for FilmTVLaw.com:

I’m hoping you can answer a question for me that I posted earlier about TV pitching season this year. Given COVID and everything, what about pitching season this year and when is a good time to get projects to networks?

Answer by Brandon Blake, Entertainment Lawyer:

Thanks for a great question about television pitching season and the effects that COVID had on the TV schedule this year. We are busy representing scripted dramatic series and reality series to networks and streamers and are getting projects picked up right now. In addition to this article, I share more than a hundred in depth entertainment industry articles on my website at https://filmtvlaw.com/entertainment-lawyer-qa.

Pitching Season 2020

I can say from personal experience and on behalf of clients I am representing to networks and streamers, that this is definitely prime time for pitching season this year. There are some very practical reasons that I believe that pitching season is going to go later this year than usual, and I am going to make some very specific predictions about the type of series that will be picked up. All in all, it’s good news for independent and first-time producers and writers.

Virtual Upfronts

Earlier this year the annual network Upfronts went virtual, for obvious reasons. The effect was that less long-term deals were signed, with a lot of major advertisers making short term, quarterly ad buys rather than going all-in with upfront commitments.

What could all that possibly have to do with television producers and writers? Well, the production and development budgets of networks and many major production companies are coming from those advertisers. Scatter Unit Pricing, which is the cost of buying network ads on a rolling basis rather than “upfront”, is substantially higher, so the Networks are bringing in plenty of money. But that money is on a quarterly basis, with less long-term commitment than in years passed.

That equates into the Networks pursuing more short series, a larger number of lower budget series that can be produced quickly, and most likely fewer renewals for long running series. I have been noticing that all year long as fewer existing series are getting renewed, and some are being renewed, and then cancelled before production restarts.

The Numbers

So how much are Networks making for a prime-time 30 second ad? Earlier in the year the average scatter prime-time pricing for the major networks was $144,584 per 30 second ad, while the cost of Upfront ads was $83,171. That is quite a spread, and this is the reason why Networks have done fine as advertisers switched to short term ad buying. And all of that short term buying by advertisers is having some positive impact for our clients.

First Time Creators and Reality TV

Two trends I see continuing this year are the rise in demand for first-time creators with new series, and the continuing expansion of reality television. First-time television creators and executive producers are getting a bump because odds are, the series are going to be less expensive, and they will be happy with a six to twelve episode run. Additionally, the diversity programs and incentives that every network and platform has set up, many of them this year, are going to tend to favor new series creators.

And for reality television, the per episode cost is much lower and production takes less time, so the Networks can order series and get deliveries with shorter lead time. Since the launch of so many streaming platforms earlier this year was already pushing up demand for reality content, this is the perfect time to get reality television produced.

Streaming Platforms

To some extent, streaming platforms have already gone to a year-round, rolling pitch season. The reason is because they are not subject to the dictates of ad buyers, although Amazon Studios, Hulu, and Peacock all have certain content that is being paid for by advertising.

Additionally, companies like Disney, who have subscription streaming on Disney Plus but also own ad supported networks including ABC and Fox, are going to continue to be influenced by ad buying cycles, even if they have some subscription-only platforms.

For that reason, trends with Upfronts and ad buying tend to influence all of the development decisions at streamers, even if only to the extent that everyone has to compete against ad supported content, even on a purely subscription platform.

Our entertainment law firm does pitch dramatic television series and reality series directly to major networks and streaming platforms. Feel free to contact our firm about film or television packaging and representation services. As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Question for FilmTVLaw.com:

I’m starting up a talent management company but I’m concerned about the Talent Agencies Act. Is that just for “agents”, or do I need to worry about the labor commission now too?

Answer by Brandon Blake, Entertainment Lawyer:

A lot of things are changing quickly in the entertainment industry these days, and probably no single change that is more important to film and television producers than the shift away from traditional agencies to talent management. Overall I think it’s going to be a great thing for the industry, but there are going to be some hurdles to overcome, and the Labor Commission is going to have to embrace this new creativity and working model. In addition to this article, I share more than a hundred in depth entertainment industry articles on my website at https://filmtvlaw.com/entertainment-lawyer-qa.

How Did Agencies Get To This Place?

To be fair, the past two years have been unrelenting for the talent agencies. First the WGA action against agents destabilized the core of many larger agencies, which was packaging. Then, as if that was not bad enough, COVID came along to batter physical production. Most agencies primarily rely on actor commissions for operations, so this meant that both packaging fees and actor commissions had ended, wiping out all sources of income for the agencies. Along the way the California Labor Commission threw in AB5, to shut down lots of indie productions in California, and a perfect storm emerged.

Agencies Versus Managers

Talent management is not a one-to-one replacement for talent agency representation. The reason is because of the Talent Agencies Act, of which there are similar versions in California and New York and many other states.

The California Talent Agencies Act (Cal. Lab. Code, S 1700 et seq.) requires that talent agents in California pay a bond and register with the state before they can “solicit employment” for clients.

I draft talent management agreements, so I know that at the core of every talent management agreement is a provision which requires that the client agree to also maintain agency representation throughout the course of the management contract term.

The reason for that is because technically the manager is only “advising” on career decisions, but the talent agency is actually “soliciting employment” on behalf of the client.

The other reason is because typically managers are also doing other things for the client, like acting as producers and executive producers on projects, and this would create a conflict of interest under the Talent Agencies Act.

No Unsolicited Materials

The other issue, outside of the Talent Agencies Act, is how production companies, studios and networks will treat submissions from the new crop of talent managers.

There’s no doubt that the super star agents who have left CAA and WME will have no problem submitting projects to their pre-existing contacts at the studios and networks, but how will studios and networks treat the new crop of lesser known managers?

That is going to be entirely an issue for internal policy making at the studios and the networks. But the reason for the “no unsolicited materials” rule is supposed to be to allow for a somewhat uninterested third-party to make and document the submission.

But with most talent managers serving as producer and executive producer on the projects they represent, can they still be considered as unbiased and neutral as the established talent agencies were?

The Percentages

There is also the issue of the percentages that talent agents and managers take. I am the first one to point out to clients how much work talent managers do. This is not a “two phone call” situation, and that whole myth needs to be cleared away. It’s a ton of work to represent and package a film or television series.

However, the issue is that talent agencies are taking 10%, on top of the talent managers fee of 15%, so from the client’s perspective, that is 25% off the top. And when I say, “off the top”, that means that the agent and/or manager actually is paid first 100% of funds, and then the remainder is sent to the client.

Is it worth it? I would say 100%, but the question is, if the manager is doing all the work, why is the agency taking 10% of the deal? If the purpose is to simply satisfy the Talent Agencies Act requirements, then the manager could use an entertainment law firm like ours instead, save the commissions and instead pay a low monthly fee for exactly the same representation.

Solutions: Repping the Reps

The California Labor Commission needs to start realizing that the entertainment industry in California is a fragile, precious resource that needs to be nurtured and supported, the way every other nation, and practically every other State in the country treats their own entertainment business.

Unless something changes, the Labor Commissioners are going to wake up one morning in Sacramento and realize that they have literally wiped out the entertainment industry in California, and they have no one to blame but themselves.

In the meantime, the work around will have to be that managers are either represented by entertainment law firms, or that “name only” agencies will be on board for the purpose of papering over the requirements of the Talent Agencies Act. However, that certainly doesn’t seem to accord with the spirit of the deal that the Agencies made with the WGA regarding packaging.

Feel free to contact our firm about film or television packaging and representation services. As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

Question for FilmTVLaw.com:

Just read that UTA is going to get out of packaging. Is that a good thing for an indie producer? I don’t understand how this is going to effect me if I wasn’t repped in the first place.

Answer by Brandon Blake, Entertainment Lawyer:

Nothing more ground shaking going on in the entertainment industry these days than what has become the massively successful campaign by the WGA to get signatory agencies to stop the practice of packaging. It’s nothing but a good thing for WGA and non-WGA writers and producers and represents a whole new era in Hollywood. In addition to this article, I share more than a hundred in depth entertainment industry articles on my website at https://filmtvlaw.com/entertainment-lawyer-qa.

PACKAGING – TWO PHONE CALLS OR A LOT OF WORK?

At the heart of all of the controversy between WGA and the agencies is packaging, which is representing an entertainment property (generally a film or television script), and attaching cast and then bringing the project to production companies, studios, networks and financiers.

Up until the past two years, agencies dominated packaging. But the problem emerged when it turned out that the packaging at the agencies was in fact being paid for by the production companies and studios. The WGA believes this created a conflict of interest, because the agencies became an extension of the studios and large production companies, working to put together projects, rather than getting the best rates for represented writers.

What has not been addressed is the fact that packaging is a lot more than just “two phone calls.” While it does rely on an extensive database of contacts, to be successful it also requires developing the properties, knowing network and studio mandates, and basically guiding a project through development. That takes a lot of time and is something that production companies and studios should be paying for since it benefits them. That is what major agencies did in the past to package a project, and it wasn’t cheap, easy or done in two phone calls.

NEW FREEDOMS

If the WGA can get either CAA, WME or ICM to join into the packaging ban, then they will have officially won the fight on behalf of their writers. Agents will no longer be working on the behalf of production companies, studios and networks, but instead will be working on collecting the biggest fees they can for their writers. This means that WGA writer fees on new television series and feature films should go up, which is a serious victory for creators. For decades writer fees have stagnated compared to the increases in rates that A-list cast were collecting. That could be because agency packaging disproportionately hurt writers, which explains why SAG and DGA have not fought the same battle that WGA did against packaging.

For writer-producers who are not currently represented by a major agency this is a double win. First off, if agencies get back to representing writers and talent, rather than packaging and producing movies, they should have more time and more incentive to bring on new writers. That means that more writers should be able to find agency representation.

Second, writer-producers can begin to package their own projects, putting together the same thing that studios and networks got used to getting from the major agencies. A whole new era is starting of independently packaged and developed projects, all of which will be done with the blessing of agencies, because now when there is demand for their clients, they will actually be happy about it.

GOOD NEWS FOR PRODUCTION COMPANIES TOO

This is also great news for production companies, big and small. In the past, production companies would go to one agency and get the agency involved with packaging their project. The problem creatively, and economically, was that now the production company was locked into writers, directors and actors that were represented by just one agency.

Creatively production companies were shepherded into a walled garden, where every element of the project would need to be repped by the same agency. Then add on top of that the in-house production companies, and the production companies were basically urged to sign a financing or production deal with the same company providing the cast and the creative elements.

In a lot of ways, production companies were simply viewed as investors, the ones that actually brought cash into this whole closed ecosystem of packaging and development.

REPRESENTATION

With the end of agency packaging, representation for production companies and writer-producers is more important and valuable than ever. To bring a packaged project to a studio or network, the studios and networks require that a production company have known representation with which they have worked before for liability reasons.

I have personal contacts at nearly all of the major studios and networks, and can guarantee that top executives will review projects submitted through our firm. Very few firms have the scope of contacts or depth of relationships in all fields of entertainment, from feature film to network and cable dramatic and comedy series, reality series and docuseries, I have creative executives in all genres reading great new material.

Rather than simply investing into a WME packaged and developed project, production companies can now grab the reigns and invest in their own packaging and development, so that critical development dollars go to where it ought to be spent, in the development of their own project.

Feel free to contact our firm about film or television packaging. As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.

- By Brandon Blake, Entertainment Lawyer

It seems like it’s a week for good news in the entertainment business! As always, BLAKE & WANG PA is here to guide you through what you need to know about these groundbreaking negotiations. There’s been serious concern in the industry about the expiring contract of the AMPTP with the Screen Actors Guild. If this had gone sour, we would have seen threats of an actor’s strike. Coming on top of the industry-wide ruckus that COVID-19 has left in its wake, this could well have been disastrous. Fortunately, it looks like this particular hurdle has been avoided even before it can become an issue, and the overall result of the newly renegotiated contract looks like a positive boost for the film industry right at a time where that news is very welcome indeed. Interesting as a strike during the unique conditions of the pandemic may have been, that’s something much better to celebrate!

What deal has been cut?

SAG-AFTRA’s national boards have fully approved the union’s 3-year film and TV contract. The vote was split pretty evenly through two-thirds majority, indicating the bulk of the parties involved support the measure, although the third who ruled against it may be worth watching as it goes forward to their members. Overall, feelings on both sides of the deal seem to be positive, and the projected changes to guild member’s packages certainly look attractive.

What effect will this new agreement have on members?

Sources within the union suggest that this new agreement with management representation AMPTP will add well over $318,000,000 to their member’s income over the next three years. That is, of course, nothing to be sneezed at, and is likely to be a fairly viable idea, even given the loss of most of 2020 for filming. They’re also projecting a 26% gain in streaming residuals, enhanced by a change to how foreign streaming residuals are calculated, that will be very welcome as we see the streaming industry booming right now. Lastly, they even project wage increases in the region of 2.5%-3% annually over the three years.

This could be slight optimism speaking. As one of the top entertainment law firms Los Angeles has, we have been well-placed to see the profound impact the COVID-19 shutdown has had (and continues to have) on the industry. While we’re seeing a return to business throughout the film and TV industry, there can be little doubt that the safety measures being imposed on set will overhaul the way film and TV crews do business.

While these precautions are undoubtedly necessary, and we applaud the stringent measures the industry is willing to put in place to protect their casts and crews as well as the unique ways sets are rising to the challenges of shooting in the COVID era, it’s all extra administration and untested territory. With potentially slower filming times due to these challenges, coupled with an overall downturn in income and earning potential throughout all industries in 2020, will we really see wages rise in the sector? If so, the SAG members who benefit will be one of very few industries globally to see any kind of wage uptick. Putting that aside, however, the projections of growth are promising for the industry as a whole, and we hope to see them come to pass.

They are also looking to increase the union’s benefits plant by just under $100,000,000 over that three year period, with over half of that being additional funding for the Health Plan. That’s incredibly admirable, and will no doubt be a tremendous comfort to members going forward.

Will the deal be welcomed?

If there’s one thing entertainment law firms San Francisco-wide are no strangers to, it’s that the guilds and unions don’t always speak as clearly for the individual members as they like to think. With this in mind, will this lofty announcement be well met on the ground?

SAG-AFTRA President Gabrielle Carteris seems to believe so, reinforcing that this deal represents the “needs and interests of our members as they shared them with us during our national Wages and Working Condition meetings held across the country.” It certainly falls in line with future-focused projections for the industry, and can be argued to be a strong foundation to further evolve over the next three years. If there’s one legacy that COVID has left the film industry, it’s that there are going to be significant changes in both the industry as well as the way the film business is done in general, so starting from a stable and mutually-agreed foundation with some guarantees and reassurances is certainly not a bad way to go into an exciting, but slightly uncertain, future for the industry.

David White, the national executive director (and de facto negotiator) for the union added the following:

“I am grateful to our negotiating committee and staff for their tireless and exceptional work on these once-in-a-generation negotiations. In voting to recommend approval of this forward-thinking agreement to our members, the board is helping to usher in a new era for how our members work and earn a living. We achieved unprecedented increases in residuals in the fastest-growing category, we secured ground-breaking protections for members in the areas of nudity, simulated sex, and sexual harassment, and we strengthened our benefit plans.”

While the agreement must still be ratified by members of the union, it’s certainly a welcome positive view of the negotiations and they seem likely to go over well.

What added protections does the agreement bring actors?

We touched on the new difficulties involved in shooting scenes safely (from the infectious risk perspective) in the COVID era above, but this is relatively small stuff next to some other concerns simulated sex scenes and/or nude scenes have raised for union actors in the past. The new agreement looks to put in place improvements in protection for performers undertaking this work that’s nothing short of historic in scope.

While we won’t go into full details here, key points covered include better safeguards for interviews and auditions, a 48-hour ‘cool down’ review period on the signing of riders as well as improved access to discussing these riders, and more. There’s also new stringent rules for production, including clarity on the definitions of ‘closed set’ and strict prohibitions on the use of personal media devices to record. The use of digital doubles and digitization of these scenes in general has also been clarified and ratified.

This is not the only improvement. Positive changes to overtime calculator for stunt performers on weekly/episodic series have been hammered out. Likewise, covered background positions for the West Coast on episodic productions are due to come in in Year Two, creating over two thousand background jobs a year, better pay, and scheduled breaks.

Broadcast syndication, despite being a declining business, also had tweaked provisions, swapping out a dated fixed residual with a revenue-based residual. Protections eliminating advance payment of residuals for future syndication have also been secured.

A historic- and smooth- negotiation concludes

Given that the entirety of the 7 week negotiation period was undertaken by videoconference, the hammering out of the fine detail is admirable. While the board vote didn’t trigger consideration of a minority report, we’ve been told one will be included when the members vote.

While we’re still waiting on the results of this final vote, the overall mood accompanying this announcement is buoyant and discussions appear to have been sensible and productive, so we do not anticipate further hurdles ahead.

BLAKE & WANG P.A always has it’s fingers on the pulse of entertainment news nationwide, so don’t hesitate to reach out to us today if you’re looking for efficient, informed counsel and representation.

As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.