Customer Reviews

The Pocket Lawyer for Filmmakers, Second Edition: A Legal Toolkit for Independent Producers

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This is a great handbook for anyone in the film or media industry. I have an earlier version of this on my Kindle, there are some additions to this version as opposed to the last one. There is updated information on film tax credit changes, production incentives. The EZ tabs on the outside of the book make it very easy to find information. There are the basics and then more in depth topics that can keep you farom having to call your entertainment attorney most of the time. When the cost per hour for some of these guys is between $200 and $400 an hour, that is always a plus! Having examples of letters of intent, as wellas suggestions on distribution via Amazon, NetFlix, YouTube, etc are all covered in this volume. In the digital age, in any sort of entertainment field, you need to know these things. At the particular time that I received my own copy of the book, I needed an updated form of an NDA for an upcoming film project. It had exactly what I needed when I needed it. Keep it on your desk where you can get to it.

I have been independently studying entertainment law, especially contracts, and find this book to coincide well with what I have been learning. I feel this book will save me a lot of time as I move forward with making my own films and am so glad I found it! If you are looking for a book of contracts, this is not the book for you; however, if you want help understanding contracts and various legal aspects pertaining to filmmaking, this is the best book I have come across!

The Pocket Lawyer for Filmmakers, Second Edition: A Legal Toolkit for Independent Producers

As any one who has read my reviews will tell you I am really into reading about filmmaking in any form. So when I found out about this book I jumped all over it. You see as much as I am into the filmmaking process there are some things I still wonder about. This book right here just happened to be all about one of those topics, one I never really think about honestly. That of course is the legal side of the process and not just copyrights, I am talking about everything.

This book has it all included here including of course copyrights and such from scripts films and ideas. In fact that last one is really interesting since it tells you how you can protect your ideas and concepts when pitching them to people. It even tells you how to get the state to fund your film, yes you read that right. Also included are ways to get other people including agents, executives, actors, and other filmmakers to look at you stuff.

Still the best thing about this book is how easy it is to read and for such tough subject matter that is really important. The added things like the charts and stuff as well as the Q&A portion make it even easier. Of course I am saying nothing new here as other reviews have mentioned all these things and more already. Still I must say that if you are into filmmaking then you must own this for all legal and business issues.

This is a highly informative book that I find to be very easy to read and very interesting. I do highly recommend this book even if you are not into filmmaking this is still a great read. I learned all kinds of new things here. So go out and pick this up now producers as it will be invaluable to you, order it now.

I'd visited Volunteer Lawyers for the Arts in NYC for advice on reviewing a distributorship agreement. Since I wasn't certain of receiving legal help, I'd asked if there were any resources that they'd recommend. They suggested this book - The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers.

The book is divided into these sections: (1) Contracts and Intellectual Property; (2) Financing Your Movie; (3) Creating, Acquiring, and Managing Film Property; (4) Production Service Agreements, Product Placement and Hiring Cast and Crew; (5) Production - depiction releases, location releases, copyrights on the set, artwork license, representations and warranties, trademarks on the set, E&O and contractual obligations; (6) Post-Production issues: Music Licensing, Prerecording Music Licensing, Composer's Service Agreement; Film Clip License Agreements; Credits & Copyright Noties; (7) Distribution Agreements: traditional distribution deals, distributor's fee deal, major deal points, distributor's expenses, tips for attracting a distributor, a DIY plan, dvd distribution, DIY online distribution, content aggregator deals; and (8) Law Library and Appendixes with A Filmmaker's Guide to Intellectual Property; A Filmmaker's Guide to Contract Law; A The Clause Companion; and A Filmmaker's Guide to Labor and Employment Law.

The book can be read by topic or in order. I did a particularly close reading of the section on distributorship agreements. In his discussion of distributorship agreements, Crowell provides a clear explanation of how money from ticket sales gets to the distributor and producer and approximate percentages and amounts that the distributor usually reaps. I found his chart of the Theatrical Distribution Money Pipeline particularly helpful. Crowell also gives helpful notes on what an independent producer should pay particular attention to and where a distributor might try to pass on costs that are traditionally their responsibility. Crowell's expertise and experience are particularly helpful in this regard and in spotting different sources of revenue, media and markets where a distributor can distribute a film (e.g., theatrical, free tv, pay tv, VOD and PPV, home video, commercial video, internet, airline, ship, hotel/hospitality, scholastic, and military). Crowell's advice on what is market (particularly in the areas of "distributor's recoupable expenses", nonrefundable advances from distributor, territorial minimums for distributor, financial thresholds in terms of gross receipts when negotiating the term period of a distribution agreement), what a producer should be careful not to grant (or to carefully negotiate), and when not to cede control is critically important, is worth the price of the book.

As the book stresses, each contract is different. This book isn't a contract form book, it's a book that introduces readers, producers and creatives on the legal and financial aspects of producing, marketing and distributing a film. Appendix C: The Clause Companion lays out the major deal points that should be negotiated and agreed upon before the contracts are prepared and signed. Here are some of the areas that Crowell explains: approval (resolving creative differences); types of compensation (fixed, contingent, deferred, participation, residuals, royalties and bonuses); conditions precedent to the agreements; credits; engagement (service contracts); special clauses, such as favored nation clause, holdback provisions, key man clauses, kill fees, net profits, option on future services, and pay or play clauses; representations and warranties; rights granted, reserved rights and the reversion of rights.

The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers is a strong resource, written in clear language, with a detailed and helpful index. I highly recommend it for film producers, people in the film industry, and lawyers who want a better understanding of the business side of filmmaking and "what is market."

I was pleasantly surprised at how good this book is. I wanted to check it out because a quality book on this subject would be very useful to me. Fortunately, this is just such a quality book. Thomas A. Crowell and entertainment lawyer has done an excellent job breaking each aspect of producing a independent film. From discussing copyrights and fair use law to distrubution and contracts he covers all aspects of the business of producing an indie film. Already, I have found the book useful. Every independent producer should read this book. It's excellent.

I have had an interest in film for awhile so when I saw this book, I had to give it a go. In the subtitle, it is called a "toolkit". This is quite a bit more than a toolkit. At first I thought it was going to be a basic overview, kind of like many books out there. What I found is an in-depth volume for Independent Filmmakers.

The book is broken up into sections with various chapters. The sections are as follows:

1. FAQs/Intro: This is exactly what you probably think it is. This gives an overview of what is in the book but it gives it in such a way that you can use this section to find the location of answers to your questions at a later point. This book is very good to reference and you can almost think of this section as a detailed table of contents. There are also some great points on beginning contract negotiations.

2. Production Company and Financing Your Movie: This section is actually useful for more than just the film industry. The author discusses various business types (LLC, LLP, S-Corp, etc) and also various professionals you'll need and other such items that go into creating a business. There is also a chapter on financing, including using tax credits.

3. Development: This is not a "how-to" for developing a film. This is how to protect and negotiate your intellectual property. Remember, this is a legal book. Actually, the author gets into some good detail with copyrights here. This is very thorough. It may seem overwhelming at first but the author does a good job in making it understandable (well, as understandable as the law can be).

4. Pre-Production: This is all of the "stuff" you need to do prior to actually going into the production phase of your film. This is hiring people (cast, crew, etc), props, getting corporate backing (a company paying for items so they show up in your film, like advertising), etc. It also includes service agreements and other such contractual information. This section is actually quite long and makes you realize just how much you need to take care of before you start making the movie.

5. Production: This is for when you're actually filming. This includes dealing with property (like trespassing, permits etc), fair use, artwork, trademarks, etc. Obviously, it's not as simple as pointing your camera and hitting "record".

6. Post-Production: Ever wonder about soundtracks? Editing? It's all explained here. The music industry is complicated with its protections and there is quite a bit in here about that. Also, the post-production staff you'll need and how to go about getting them.

7. Distribution: The part you've been waiting for. This is where you deal with getting your film out there and the various legal hoops you need to jump through for protection. Distributors (including online distribution) and theatrical release are covered.

The author is an attorney who used to be a television producer. He has the background and experience in the industry, along with the legal training to back it up. If you even remotely are interested in being an Indie film producer, this is a must have for you.

Wow, what a pleasant surprise. As someone that writes, I'm familiar with many of the general copyright issues but over time I've started incorporating some small script writing. When this came up for review I was eagerly awaiting it as a nice way to introduce myself to other issues that I may overlook.

I was very pleasantly surprsied at how much information was contained in this relatively short book. Even more importantly, how valuable that information was. The problem with being new to an area is not knowing the RIGHT questions to ask in the first place. This book begins with a list of bullet points with question/answer format that makes it very useful as a quick guide while providing more depth for those that require additional information.

An abundance of charts, graphs, examples and additional resources makes this invaluable. If there was anything I'd like to see, it would have been a cd or online access to actual contract samples although the information in the text itself was still sufficient to get a good idea.

The book begins with the basics of setting up a busineses and goes through financing, tax credits plus so much more. The information is up to date and includes a small mention of uTube/other distribution venues, release forms, credits, tracking etc...the assumption is that you know nothing so newbies need not fear getting in over their head.

Quick note - this is NOT a "how to" for filming or the actual art form but rather the business and legal side including financial, small amount of tax related, copyright/intellectual property law and other related considerations. If you are searching for information on filming - keep looking. If you are searching for legal information on the production of a film this is the book.

All in all - this is a FANTASTIC little resource!

This book reallly lays out the basics of pro film making. It makes you very aware of the risks you take when you don't understand the legal behind the business, and makes sure you see why film making is a business. Broken down into clear sections taking you through the entire process from protecting what you created, not violating securities laws when raising money,to understanding a distribution deal. Every independent film maker should have a copy of this book in their library!

Time and again the author warns us DON'T DO THIS WITHOUT A LAWYER. Time and again the details and examples also explain what it actually means in actual practice. Sure, you do need that lawyer, but with this book you will actually understand what they are talking about. So many samples and clear language make this a great purchase!

I was fortunate enough to have Thomas Crowell as a professor, this book was everything that he included in his teachings, and even once the class was over I was able to learn so much additional information from his book. I really recommend this book for anyone producing, financing or creating a film. It is straight forward and easy to understand, this book is everything you will need. Thanks so much!

In the finest tradition of sequels like The Empire Strikes Back, The Godfather Part 2 and The Lord of the Rings: The Two Towers, the team that brought you The Pocket Lawyer for Filmmakers, brings you The Pocket Lawyer for Filmmakers, Second Edition. Just like those famous sequels, this new one exceeds the original in every way. It is fully updated with the most current information to succeed in the film business, including new ways to distribute your film, and how to get state tax credits when you make your film, and so much more. Even if you own the original, you'll want to buy this one too, because the new stuff alone is worth the price of the book.