ENTERTAINMENT LAW 1.
Int Introductio ction n a. Bran Branch ches es of E-La E-Law: w: i. 6 Branches: 1. Mo Moti tion on Pic Pictu ture res/ s/Fi Film lm 2. TV 3. Music 4. Publ Publis ishi hing ng (Mus (Music ic Boo Boo!s !s"" #. $nter $nterac acti% ti%ee &ig &igita itall Me' Me'ia ia 6. i%e i%e Per) Per)or orma manc nces es b. *tructure o) +ntertainment $n'ustr, i. +stablishe' me'ia: # branches -ith searate cultures but common legal issues ii. Motion Pictures 1. Pro'ucers Pro'ucers *creen-r *creen-riters iters &irectors &irectors 0ctor 0ctor re- re- *tu'ios *tu'ios iii. TV 1. Pro'uc Pro'ucers ers &irector &irectors s *crit *crit rit riters ers 0ctor 0ctorss iv. Music 1. *olo *olo &ue &ue Multil Multilee 0rtis 0rtists ts -or!i -or!ing ng toget together her v. i%e Theater 1. ollab ollabora oration tion o) man, man, artist artistss -or!in -or!ing g )or one one ro'uc ro'ucer er vi. Publishing 1. *ingle *ingle or multi multile le in'i%i' in'i%i'ual ualss -or!in -or!ing g togeth together er vii. +merging Me'ia 1. $nternet 2. $nter teracti acti%e %e ame amess c. +con +conom omic ic Func Functi tion ons: s: i. Pro'uction: The creation creation o) the ro'uct. mar!et. enerall, controlle' b, 5s. ii. &istribution: o- the ro'uct gets onto the mar!et. iii. etailing: o- the ro'uct is sol'.
CA!TER " # TE ENTERTAINMENT !R$CE%%: IT ALL BE&IN% WIT AN I'EA 1.
INTR INTR$ $ AN' AN' 'E( 'E(IN INIT ITI$ I$N% N% # a.
Pitch Meeting: Meeting: The routine resenta resentation tion o) a ro7ect ro7ect b, 0gents Managers Managers 0ctors 0ctors or Pro'ucers to the eole -ith )inancial resources -ho can 8green light9 the )ilm. an itch i'ea the stor, lotline or e%en -ho -ill star or 'irect the )ilm (eamle Blaustein" i. Pro'ucers -ill usuall, get onl, 3 mins to itch; -riters get aro 4#
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reen ight term that re)errs to the abilit, o) someone -ith o-er at the stu'io to gi%e the )inal aro%al an' go
c.
Treatment: 0 short -ritten narrati%e -hich ro%i'es ro%i'es an o%er%ie- o) the )ilm inclu'ing lotlines essential characters sometimes locations an' setting samle 'ialogue an' -hat it -oul' ta!e to ma!e the mo%ie -or!. i. $t is inten'e' to gi%e the rea'er a sense o) ho- the ro7ect might 'e%elo on screen.
d.
Pre
e.
Pro'uction: rincial hotograh, begins an' mo%ie is shot
f.
Post
1
Turnaroun' Turnaroun' &eal i. =nce a screenla, has been 'e%eloe' an' a stu'io has urchase' the scrit an' mo%e' )or-ar' -ith 'e%eloment but no- it -ants to sto no- the ro'ucer can go to another stu'io an' ma!e the )ilm 1. the rights to the ro7ect are sol' to another stu'io >2 in echange )or the cost o) 'e%eloment lus interest i nterest 2. i%es ro'ucer the right to ta!e the ro7ect call it his o-n an' tr, to set it u at another stu'io or 3r' art, )inancing h. o%er i. 0 &ocument in -hich the stor, is bro!en 'o-n s,nosi?e' an' elaine' 1. &ocument ermits rea'er to obtain a @uic! un'erstan' o) the stor, 2. More li!e an outline shorter that treatment a. %cenes a faire A $nci'ents or lots that or'inaril, result )rom a common theme or setting an' are not rotectable un'er co,right la-s. b. =tion 0greements ii. *houl' inclu'e 1. 0''itional omensation )or eten'ing otion 2. Proce'ure )or acting on otion (time )rame consi'eration" I'EA %+BMI%% %+BMI%%I$N: I$N: !ITC !ITCE% E% AN' AN' TREA TREATM TMENT% ENT% Burton (1970) a. Blaustein v. Burton , !rotects Ideas P, producer, pitched idea based on Taming Taming of the Shrew, Shrew, to star Ds and their i. P, agents,received agents,received oral ok from Burton. ii. P had specific specific stars in mind, mind, specific actors, actors, specific specific plotlines etc… etc… 1. D ended up producing producing Kiss e Kate and not his movie. iii. iii. While While there there was no explicit explicit writte written n contra contract, ct, there there was oral agreeme agreement nt to make the movie. iv. P sue' claime' he is entitle' to comensation b, reason o) &Cs use o) his $&+0 -hich -hich he 'isclo 'isclose' se' to them them (as -ell as er @uasi @uasi contra contract ct an' breach breach o) con)i'ential relationshi" 1. ourt 'iscusse' &esn, % il'er lan'mar! case re: rights o) an i'ea 'isclo 'iscloser ser to reco%e reco%err 'amag 'amages es )rom )rom an i'ea i'ea reciie reciient nt un' un'er er B=T B=T eress an' imlie' contract to a, )or the i'ea in the e%en t that the i'ea reciient uses the i'ea a)ter it is 'isclose' to them a. onve!ance onve!ance o" an i#ea can consti constitute tute valua$le valua$le consi#e consi#eratio ration n an# an# can can $e $arg $argai aine ne# # "or "or $e"o $e"ore re $ein $eing g #isc #isclo lose se# # to a purchaser. But once #isclose# to the $u!er, it $elongs to him an# he ma! work an# use as he ($u!er) sees "it. $. %" an i#ea i#ea has $een $een conv conve! e!e# e# with with the &'& &'&* *%+ %+ $! the i#ea creator-seller that he will $e pai# i" the i#ea is use#, then there is no reason wh! the $u!er (pro#ucer) who has $ene"i $ene"ite# te# "rom the conve!an conve!ance ce o" the i#ea i#ea an# "in#s "in#s it valu valua$ a$le le an# an# pro" pro"it itss "rom "rom the the i#ea i#ea,, promi promise se to pa! pa! a reasona$le compensation "or the i#ea, even though he is not legall! o$ligate# to #o so at that time, v. ol'ing PCs i'ea -as rotecte' b, 5 e%en though it -as onl, an orall, imlie' contract 1. Both arties con'uct ro%es an intent to contract an' there)ore & must a, P )or use o) his i'ea ). Dotes: i. Ideas a )e /rotected ) contract0 even if not /rotected under co/ri*ht0 if the ideas disc2osure /rovides /rovides a su)stantia2 su)stantia2 )enefit to the /erson to who it is disc2osed # this su)stantia2 )enefit can constitute consideration for a /roise to /a if the idea is in fact used. ii. Law of Ideas fa22s )etween idd2e *round of 3No 4 for Ideas and 3fu22 4 /rotection *.
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2
L$I *ran *rants ts crea creato torr of an idea idea the the ri*h ri*htt to o)ta o)tain in fair fair co/ensation fro those who )enefit direct2 fro his idea iii. $n'ustr, $n'ustr, ustom: The an'sha!e an'sha!e &eal: *tan'ar' *tan'ar' ontract ontract la- 'oes not al, in )ilm A much is rule' b, custom so that oral contracts ma, not be as roblematic as un'er reg. contract rinciles. iv. &esn, %. il'er il'er / *tanle, %. B* (1E#s": (1E#s": an'mar! i'ea submission cases in 0. Both hol' that i'eas i'eas are not rotecte' rotecte' un'er co,rig co,right ht but the, can be rotecte' b, 5. 1. 5s can be imlie' in )act so that i) the ro'ucer obligates himsel) )or the 'isclosure o) the i'ea then he shoul' be hel' to that romise. 2. &ens, still cite' an' T+ case re: i'ea an' imlie' 5Cs v. *tate a- : $'ea *ubmission *ubmission rotection rotectionss are a matter o) state la- not )e'eral )e'eral co,right. 0n'erson % *,l%erster *tallone (1EGE" A i. P claims that *tallone rie' o)) his i'ea )or oc!, 4 ii. Ma, 1EG2 & resents rough i'eas )or oc!, 4 iii. Hune 1EG2 P -rites 31 age treatment )or oc!, 4 incl lots an' characters 1. ets meeting -ith MM resents it iv. =ct 1EG4 & -rites scrit; Do% 1EG# oc!, 4 is release' 1. P sue' claiming that & stole his i'ea )or the mo%ie; too! it 'irectl, )rom his treatment a. & asserte' that PCs stor, in)ringe' his co,right an' rie' o)) his characters. v. The characters fro Roc5 were so deve2o/ed and detai2ed that the were /rotected ) 4 1. Literar characters are harder to /rotect fro cartoon characters vi. Literar characters ust )e i*h2 de2ineated and hi*h2 deve2o/ed # ust constitute 6stor )ein* to2d7 1. 's characters eet this a. Anderson didnt do anthin* to add to these characters vii. 0n'ersonC 0n'ersonCss -or! I unauthori?e' unauthori?e' 'eri%ati%e 'eri%ati%e -or! that in)ringe' in)ringe' uon *l,Cs co,right 1. 0n'erson %iolate' *l,Cs right to reare 'eri%ati%e -or!/9a'atation right9 2. B/c the se@uel is a 'eri%ati%e -or! it in)ringe' &Cs co,right. Protection o) haracters i. iterar, characters are 'i))icult to rotect as oose' to cartoon characters because ,ou are 'ealing -ith a ersonalit,. 1. Cartoon characters are /rotecta)2e in of these2ves )8c the are /rotected visua2 wor5s ii. Paro', is a comlete 'e)ense to )air use o) co,righte' material. 1. *outh Par! 8hat hat in the Butt9 Buch-al' %. Paramount Pictures (1EE" 8Base' Jon9 treatment of !King !King for a Da".# Da".# D developed a i. P pitched and obtained K for his treatment script, but later later abandoned the idea. idea. 1. D placed K$% K$%D in turnaround turnaround ii. a" &'(), P optioned his treatment treatment K$% K$%D to *arner *arner Bros Bros 1. *B cancels pro+ect after it discovered D was shooting !oming to %merica# iii. P and D agreementagreement1. P would get certain contingent contingent consideration provided provided that D produces a film $ase# upon/ Ps Ps treatment iv. *hat is the standard for !Based /pon#0 1. no agreed industr" term 2. ourt looks to other cases
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c.
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e.
3
1ther issue is access to Ps treatment a. 2ven if there are differences b3w K$%D and T%, when there is overwhelming access to the work, less similarit" is needed. i. 2ven if similarities are few, if 4ualitativel" important, that ma" support a finding of substantial similarit" $. 5andis T%s director was previousl" sent the treatment of K$%D- 2ddie urph" also had access and knowledge of it . 6Based +/on7 has no industr definition0 )ut a court definition )ased on aount of access to the stor and sii2arit )8t the " stories a. if usin* a 69ua2itative2 i/ortant /art of the !s ateria2 in such a wa that features discerni)2e in the second wor5 are su)stantia22 sii2ar.7 v. *imilarit,: an be )oun' i) man, general i'eas are use' together so that here it -as enough that the itch containe' i'eas o) a blac! actor la,ing multile roles coming )rom 0)rica etc. 1. *ccess the threshol# "or su$stantial similarit! is lowere# as there is more access to the prior work $ecause there is a written contract an# a written su$mission a. ompare# to Balustein i#eas were speci"ic an# su$mitter was a$le to prevail $ase# on implie# contract3 i. 4ow much more so here i#eas were also speci"ic an# in this case there was a written agreement vi. his case is ver! important ontract an# %#ea3 *ccess/3 &xamination o" how 5net compensation6 is pai# 1. wins entitle# to "or 86s work that is $ase# upon 6s treatment Barr" 6. Spinello v. %mblin 2ntertainment 7&''89 KJnconscionabilt, i. P sent & scrit about a mo%ie -ith to,s; ultimatel, re7ecte'; & later ma'e 8To, *ol'iers9 1. P sue' alleging that & aroriate' his i'eas an' ma'e them into a mo%ie ii. :ssue *hether script submission form containing arbitration agreement was unconscionable. 1. Where there is no contract of adhesion0 unconsciona)i2it cannot )e found. iii. & mo%e' to comel arbitration er agreement that P signe'; P claime' it -as unconscionable unen)orceable as an a'hesion 5 re7ecte' 1. P -as someone -ith 2 ,ears eerience in the i n'ustr, 2. e ha' oortunities to re%ie- (2" the agreement; coul' ha%e ha' arb clause remo%e' a. 0lso ha' his la-,er re%ie- it . e ha' oortunit, to ursue business else-here sent scrit all aroun' to-n iv. *tu'ios recei%e tons o) unsolicite' scrits; those -riters cannot tr, an' assert an' i'ea claim/ right to comensation i) a stu'io haens to ma!e a similar mo%ie; 1. $n or'er to rotect themsel%es stu'ios 'o not accet unsolicite' materials the, not e%en loo!e' at unless there is manager or agent (so as not to raise an, claims an,-here u the chain that the artist -as ta!en a'%antage o)" 2. There are 'i))erences bet-een i'eas that are solicite' an' unsolicite'. $'eas that are unsolicite' are normall, returne'. . CA /rotects idea if it is disc2osed as /art of confidentia2 re2ationshi/. .
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4
ecent courts are more s,mathetic -ith ne- artists un'erstan'ing that although the, are not barre' )rom negotiating the artists are scare' to ma!e -a%es. *. Da'el % Pla, b, Pla, To,s (DL ase" A i. P sue' claiming that & too! his i'ea )or 8Torna'o Ta?9 an' 'i'nCt a, him 1. laim base' on misaroriation an' contract %iolation )or uncomensate' use o) an i'ea ii. To sho- Misa//ro/riation there must be a no%el i'ea generall, roert, claim 1. $'ea must not onl, be no%el to ,our customers but to e%er,one in the -orl' 2. oo! at its seci)icit, generalit, commonalit, uni@ueness an' commercial a%ailabilit, %er, high stan'ar' to meet a. o- man, eole !no- o) this i'ea is it a common i'ea -i'el, srea' +tc.. iii. Contract c2ai nee's to be no%el to this seci)ic mar!et/erson ,ouCre selling to 1. Ver, )act seci)ic in@uir, that loo!s at the ersecti%e o) the articular bu,er iv. =riginalit, %s. no%elt, 1. Misaroriation $'ea can be out there an' not original but i) the bu,er 'oesnCt !no- about it is still no%el 2. =riginalit, goes to the misaroriation asect o) the claim a. Lou reman' an' loo! bac! an' see i) the to, ha' eiste' v. DL use' to re@uire that i'ea be no%el an' original be)ore roert, interest coul' be in)erre'. 1. 2 New or5 he2d that in a contracts c2ai0 the idea does not have to )e ori*ina2 or nove2 to the wor2d0 the idea on2 needs to )e nove2 to the )uer a. $2d N Law ha' an a'%erse e))ect on the itching o) i'eas in DL; ro'ucers become more com)ortable itching in 0 because 0 la- -oul' more e))ecti%el, rotect their i'eas. h. rosso v. :iramax ;ilm orp. N !ree/tion of %tate Law C2ai ; 8esn! c2ai< i. P claims & %iolate' his O an' breache' an imlie' contract un'er state la- to Shell ;ame screenla, -ith a22e*ation that transfors the action fro arisin* under fed 4 2aw i. &unn % &ream-or!s 5ung
CA!TER ? - C$!RI&T% Co/ri*ht (ora2ities # A. Re9uireents for wor5 to )e 4:
1. O sub7ect matter er 12 2. )ie' in a tangible me'ium o) eression
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3. -or! must originate -ith the author B. Co/ri*ht Notice0 'e/osit and Re*istration 1. i%e -orl' notice o) co,right b, sa,ing 8co,right 2119 or 8O 2119 notice is
2.
otional but gi%ing it is recommen'e' A re%ents an 8innocent in)ringer9 'e)ense a. egistration is also otional but it is a rere@uisite in or'er to sue )or in)ringement; registration rere@ to see! )ees (1" egistration is consi'ere' rima )acie e%i'ence that ,ou o-n a O &uration a. Base' on -ho the author is an' -hen -or! -as create' b. =nce O eires or author )ails to rene- -or! )alls into Public &omain (1" +: *ha- Famil, 0rchi%es Maril,n Monroe ictures case
c. &uration 32 o) O 0ct A 1EQ6 0ct (alies to -or!s a)ter 1/1/QG" Rco,right %ests on 'ate o) creationS 1. &enera22: 2ife of author @ ears 2. oint wor5s: 2ife of 2ast survivin* author @ . Wor5s Made for ire0 Anonous0 !seudonous: D ears after first /u)2ication or 1" ears after creation ;whichever coes first< . 1DDF # Co/ri*ht Ter E=tension Act e=tended duration to current ears (i) Cha22ene*ed in CourtG E2dred v Ashcroft ;+%%C "?< CTEA H vio2ation of Con*ress /ower (2" 1EE 0ct 'uration -as 2G ,ears rene-able )or 2G more; re@uire' O ublishe' on -or! an' )ormal registration; O %ests on 'ate o) registration
C. o,right =-nershi an' Trans)er A b/c so man, 'i))erent eole are in%ol%e' in the creati%e rocess an' ro'ucing/creating t% mo%ies %i'eo games la,s musical -or!s Ver, imortant to ma!e clear %ia contract in'ustr, ractice/custom an' statute -ho actuall, o-ns the co,rights 1. Wor5 for hire # a. 4 Act 11 6wor5 ade for hire7
(1" reare' b, an emlo,ee -ithin the scoe o) emlo,ment; or (2" a -or! seciall, or'ere' or commissione' )or use as a contribution to a collecti%e -or! as art o) E elicitl, state' t,es o) -or! i) the arties eressl, agree in a -ritten agreement signe' b, them stating that this -or! is a MF 1. $n general O sta,s -ith author; MF is a -a, )or mo%ie stu'io/recor' coman, etc to get rights )rom -riters authors etc 2. $n (i2 it is in'ustr, stan'ar' )or all in%ol%e' to sign -or! )or hire contracts o%er to the stu'io. b.
6
1. There)ore no imlie' emlo,ee
(4" ourt also )oun' that the co,right ha' not be trans)erre' to Uuintanill a because
2.
there -as no instrument o) con%e,ance (#" ere wor5 was not ade for hire )ecause there was no written instruent where the /arties e=/ress2 a*reed that wor5 wou2d )e ade for hire as re9uired ) su)section ;"< of definition. Hoint or! an' Hoint =-nershi a. 0almuhamme' % ee (1" P hire' as consultant b, &en?el ashington )or the )ilm Malcolm . 1. a' some sa, in scrit etc. hele' ma!e )ilm more realistic an' authentic to $slam. (2" P 0lleges that he is a 7oint author o) the mo%ie. 1. or! ma'e b, Hoint<0uthor 2 or more authors -ho inten' )or their arts to be merge' as a unitar, -hole (3" Dot all creati%e contributors o) a )ilm are consi'ere' 8authors9 or 87oint authors9 o) a )ilm A there nee's to ob7ecti%e mani)estations o) an intent to be coauthors. 1. P o))ere' no e%i'ence that he -as the Win%enti%e or master mi n'C o) the mo%ie. (4" 0uthorshi is re@uire' un'er the statutor, 'e)inition o) a 7oint -or! an' that authorshi is not the same thing as ma!ing a %aluable an' co,rightable contribution. 1. P lac!e' control o%er the -or! an' absence o) control i s strong e%i'ence o) the absence o) co
(a) +%en lee -asnCt a 7oint author arner Bros ma'e him sign a MF agreement; ho- much more so P -ho -or!e' un'er ee
b. McMuni*a2 v B2och
(1" P author sue' alleging & coual co?owners o" the @ "or =W 2. W more like a compilation, contri$utions or separate an# in#epen#ent works complie# to create a collective whole (ex enc!clope#ia or antholog!) (i) @ in each separate contri$ution to a W is a #istinct @ in the W as a whole an# vests with the in#ivi#ual author who create# (4" Test )or H: ichlin % MM 3 )actors
(#" ere: caseboo! is a 7oint -or!
Q
1. 1 contract e%i'encing P an' & intent to be co
(6" Do arititon o) O 1. Trans)er o) O onl, allo-e' -ith a %ali 'l, eecute' signe' -riting trans)erring o-nershi (i) annot be trans)erre' b, a go%Ct bo', or o))icial '. +loiting the Bun'le o) ights 1. O 0ct 16 eclusi%e rights o) co,right hol'er:
a. ero'uction b. &istribution c. Publicl, &isla, d. Publicl, Per)orm e. Per)ormance through 'igital au'io transmission. f.
Prearation o) 'eri%ati%e -or!
E. Termination ights
1. 23 termination o) trans)ers an' licenses grante' b, t he author a. in the case o) an, -or! ecet )or MF the eclusi%e/noneclusi%e grant o) a trans)er or license o) O (or an, in'i%i'ual O" eecute' b, author a)ter 1/1/1EQG other-ise than b, -ill is sub7ect to termination
2. Mi22s Music0 Inc. v. %nder a. *n,'er assigne' his entire interest in all rene-als o) the co,right to 8hoCs *orr, Do-9 to Mills in echange )or an a'%ance ro,alt, an' MillsC commitment to a cash ro,alt, on sheet music an' #X o) all net ro,alties that Mills recei%e' )or mechanical rero'uctions. (1" An#er the 197 *ct the author an#-or his-her heirs have the right to terminate an assignment o" renewal 1. But there is a derivatives works e=ception> ills and the record companies have the right to an" derivative works made3in e=istence prior to the termination. (i) Mills is entitle' to recei%e comensation )rom those 'eri%ati%e -or!s as -ell. (ii) But it also 'oesnCt reclu'e the heirs/author )rom see!ing out ne- 'eals as -ell 2. hat the termination 'oes is it reclu'es Mills )rom eloiting the -or! an, )urther unless he has an agreement -ith *n,'erCs heirs. (2" $ssue: license grant to mills -ho then license' it o%er to recor' comanies 1. *n,'er -riter/comoser
2. Mills ublisher (i) as hel o) arr, Fo 0genc,
G
. Publisher see!s -a,s to commerciall, eloit the -or! an' recor' the &s (i) omoser R*n,'erS ma!es a 'eal -ith Pro'ucer RMillsS that in echange )or the O the comoser -ill get some )orm o) ro,alties . ecor' oman, recor's an' commerciall, eloits the -or!
C. &eri%ati%e or! +cetion (i) $) & -as ma'e be)ore the O termination the & can still be
3.
use' b, the recor' coman, but at the same P still gets ro,alties Termination o) o,right a. 23 termination )or grants ma#e pursuant to 67 *ct (an,thing a)ter 1/1/QG"
(1" 23 authors can terminate trans)ers an' grants b. 34 termination )or grants ma#e prior to 1-1-7D (rior to CQ6 0ct" (1" 34 authors an' their heirs c. neither al, to MF d. neither al, to 'isositions %ia ill
4. ho- to balance the 'uration issue a. 1EE 0ct 2G2G rene-al (1" congress later eten'e' rene-al erio' an' li)e o) alrea', eisting -or!s 1E Rtotal Q# ,earsS a)ter T+0 2 Rtotal E# ,earsS b. 1EQ6 0ct li)e #;
(1" 1EEG sonn, bono etension RT+0S li)e Q (. Assi*nent Ri*hts # 1. 0uthorshi rights inclu'e the abilit , to assign ,our -or! to another but the, also can
2. 3.
con)lict -ith rene-al terms *te-art % 0ben' (1EE" A oolrich -rote the stor, 8$t a' to be Mur'er9 an' assigne' rights to stor, a. agree' to rene- at aroriate time 'ie' be)ore that time (1" estate assigne' rights assignee ma'e it into a mo%ie
b. 2n' ircuit: o-ner o) O in & ma, continue to use the eisting & accor'ing to the original grant )rom the author o) t he re
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a. 0lies to er)ormances in concerts mo%ie theaters e%en nightclubs
2. Per)orming right societies/ er)orming right organi?ations (P=" !ee trac! o) - i'e< 3.
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#. 6. Q.
G.
ranging uses o) the songs a. These orgs grant licenses that allo- ublic er)ormances 3 Main P=s A a. 0*0P b. BM$ c. *+*0 *ong-riters can onl, belong to 1 o) the 3 P=s at a time (1" Lou can change org (2" Music ublisher can be -ith all o) them b. The, )igure out ho- man, times a -or! is er)orme' an' the, )igure out ho- to a, out ro,alties (1" $n general A 1. #X to song-riter 2. #X ublisher (i) P+F=M+ &=+* D=T +T 0DL =L0T$+* F= PJB$ P+F=M0D+ =F *=D* (a) Proose' Bill in congress that -oul' gi%e er)ormers some o) the income )rom ublic er)ormance ro,alties c. +ach an' e%er, %enue -here music is er)orme' must ha%e an agreement -ith the P=s in or'er to ublicl, er)orm the all the music in the catalogs o) each in'i%i'ual P= d. Dot 7ust li%e ban's but &H as -ell must !ee trac! o) la,list an' ho- man, times the, la, songs Mechanical ro,alties base' on ho- much ,ou get ai' )or each & resse' base' on o,right (" P= cases a. $nstructi%e i) there is a 'isute b/- P= an' ser%ice ro%i'ers re: the rates the, can go to 8rate court9 in *& o) DL an' the, can argue their case J* % BM$ a. $ssue -hether mar!et %alue is base' on -holesale retail or other metric b. ourt onl, nee's to elain ho- it reache' a rate to allo- 2n' ir to 'etermine -hether it -as reasonable (1" &ist ourt can use its o-n )ormula to come u -ith the rate to charge (2" 2n' ir 7ob is to 'etermine the reasonableness o) it J* %. 0*0P A a. $ssue re: setting interim )ees )or a blan!et license )or ublic er)ormance o) 0*0P 2M songs on LouTube b. assessment o) interim )ees -as inten'e' as a temorar, measure to ensure a reasonable )lo- o) Y to 0*0P -hile the arties negotiate or l itigate a bin'ing )ee. c. 0n interim )ee -as to be set 0*0P (1" 0*0P ha' the bur'en to establish the reasonableness o) the )ee 1. $) 0*0P )aile' to establish a reasonable reasonable the court -oul' 'etermine it (2" 0*0PZs roosal: Y12M )or 2#<2G (3" LTCs counter: YQE# 1. atio 1# to 1. (i) The court )oun' neither roosal reasonable.
1
d. The court )oun': (1" )or a blan!et license )or the er)ormance o) 0*0P music on LT interim )ees o) Y1.4M )or 2# < 2G an' YQ5 er month )or Hanuar, 1 2E an' on -as reasonable 1. To be continue' until the 'etermination o) )inal )ees 2. sub7ect to retroacti%e a'7ustment -hen )inal )ees -ere 'etermine'.
. Mora2 Ri*hts # 1. base' on French O rotections a. ight to create b. ight to 'isclose c. ight to -ith'ra- -or! a)ter itCs been 'isclose' d. ight to attribution e. ight o) integrit, f. ight o) rotection )rom ecessi%e criticism 2. J* o,right 0ct onl, grants Moral ights rotection )or certain V$*J0 $T* a. Per V00 16a o) O 0ct The Visual 0rtists ights 0ct (1EE"; i. =DL 0PP$+* T= =5* =F V$*J0 0T 1. Painting 'ra-ing rint or sculture so long as there are less than 2 coies 3. Pro%i'es limite' rotection )or Moral ights in J*0 a. Ri*ht of Attri)ution 8 Misattri)ution # Ri*ht to )e /ro/er2 attri)uted as the creator of the wor5 (1" ou have the ri*ht to a5e sure our nae is /ro/er2 stated8 connected to it (2" !erits author to )e reco*niKed as author of the created wor50 or /u)2ish as anonous or under a /seudon in order to /revent wor5 fro )ein* attri)uted to another0 and to /revent our nae fro )ein* used on wor5s not created or distorted b. Ri*ht of Inte*rit # Ri*ht to /revent odifications to the wor5 that wou2d )e /reudicia2 to authors re/utation (1" Ri*ht to /revent a2terations0 distortions or destructions of wor5 4. Turner +ntertainment % ouston (F0D+ 1EE4" A a. &Cs -or! rotecte' un'er the ight o) $ntegrit, !eeing the mo%ie in blac! an' -hite goes to the heart o) the -or! an' a''ing color changes it I. =PL$T $DF$D+M+DT 1. $ntro a. #1 =F 0T an,one -ho %iolates an, o) the eclusi%e 16 rights o) the co,right o-ner is an in)ringer b. To ro%e in)ringement P must establish: (1" e o-ns the O -or! (2" & coie' the -or! or %iolate' on o) the 16 eclusi%e rights c. P can o))er 'irect or circumstantial e%i'ence (1" ircumstantial evi#ence usuall! consists o" showing 8 ha# 1. *ccess to work F su$stantial similarit! $-w the works d. =nce P est. PF case bur'en on & to re)ute b, sho-ing: (1" Proo) o) in'een'ent creation (2" e onl, too! non<rotecte' arts o) PCs -or! (3" Jse o) Ps -or! -as allo-e' (e: )air use" (4" Ta!ing can also be so small that it is consi'ere' 'e minimis
11
2. 'i iniis Ta5in*s a. inggol' % Blac! +ntertainment TV (1EEQ" A (1" O egulations ibrar, o) ongress 'i))ers in o,alties ai' )or -or!s use' as Feature' %s. Bac!groun' 1. Feature' )ull
2. Bac!groun' an, 'isla, [than )ull screen/substantiall, )ull screen or
3.
)ull screen )or [3 secon's (2" 3 concets o) 8'i minimis9 in O 1. the action is technicall, a %iolation o) la- an' is an in)ringing use but the use is so small an' tri%ial that the la- -ill not imose legal conse@uences an' it is not -orth it to sue o%er (i) utting a comic stri on the )ri'ge 2. @uantit, o) co,ing is onl, to such a tri%ial etent that it )alls belo@uantitati%e threshol' (amount o) time" o) substantial similarit, -hich is al-a,s a re@uire' element o) actionable co,ing. . ele%ant to )air use amount an' substantialit, o) the ortion use' in relation to co,righte' -or! as a -hole. (3" ere the -or! 8hurch Picnic9 oster -as use' as a -all hainging in the church hall use' in the bac!groun' in an eiso'e o) oc 1. Ma!es E aearances )or a total screen time o) 26.Q# secon's (i) laim that the @uantit, o) the co,ing (%ie-able on screen" -as belo- the threshol' )or actionable co,ing (ii) =0 re%erses T (a) Main shot o) 4<# secon's -here )ull ainting is %isable other brie) segments -here ,ou can see it ($) This use is more than 'i minimus use (i" Painting is recogni?able -ith enough 'etail )or 8la, obser%er9 (c) This use constitutes actionable co,ing 'irect Infrin*eent # a. *hel'on %. Metro<ol'-,n Pictures (2n' ir 1E36" (1" eal li)e stor, ublic 'omain
1. stor, o) Ma'eline *mith !ille' lo%er a)ter he blac!maile' her into
(2" (3"
(4" (#"
sta,ing -/ him -/ inaroriate letters sheC' -ritten. Pla, base' on real li)e Boo! base' on real li)e 1. Film base' on boo! (i) la, o-ner suing mo%ie )or in)ringement *imilarities b/- Film an' Pla, Villains *outh 0merican men; similar beha%ior
1. 2. . .
&eath scene Poison use' +n'ing en' scene (trial %s meeting" (alibi" Threat *cene la, %illain threatene' to eose the relationshi; mo%ie %illain threatene' to eose %ia letters ta!en )rom real li)e
(6" ourt hel': substantial arts o) mo%ie li)te' )rom la, (Q" *ccess 8e"en#ant ha# access to 6s work an# the works were su$stantiall! similar
12
1. D can tr" and defend itself b" sa"ing> "es, : copied but what : copied and used was not protectable and therefore not actionable under ?&@) Ab3c he copied from real life3PD b. Bright Tunes Music or. % arrisongs Music t' (1EQ6" A (1" eorge arrisonCs 8M, s-eet lor'9 %s. 8eCs *o Fine9 1. *ongs ha%e %irtuall, i'entical beat (2" & aarentl, came to song in'een'entl, but e@uall, aarent that 2 songs are %irtuall, i'entical 1. Geems that 8 su$consciousl! remem$ere# an# repeate# as a pleasing com$ination o" soun#s. (i) &ven i" unintentional, is, un#er law o" cop!right, in"ringement. (3" *ccess is resume# i" there is striking similarit!/ or su$conscious cop!ing/ 1. ourt sai' that although arrison 'i'nCt inten' to co, the song the -orl'-i'e access (*F -as a -orl'-i'e hit" le' to him subconsciousl, co, it 2. anCt ro%e access but court loo!s at ho- -i'el, -as 'isseminate'. (i) *ubse@uent cases cite this case in re)erring to Billboar' charts an' other oularit, gages in 'etermining access . Jnclear -hether court lessene' access nee'e' ossible 'ue to stri!i ng similarit, c. Bater % M0 (1EGQ" A (1" Theme )rom +T P claims & rie' it o)) )rom her
(2" PCs song meant to reresent the emotion Ho, 1. comoser an' she ha' la,e' together (3" &s ma!e etrinsic/intrinsic argument sa, general i'ea )or song ma, be same but 'onCt soun' similar (4" 0bsent access stri!ing similarit, ma, gi%e rise to ermissible in)erence o) co,ing. (#" *imilarit, o) eression onl, issue here all other oints conce'e' (access o-nershi i'ea" 1. *imilarit, o) eression teste' intrinsicall, 'een's on resonse o) or'inar, an' reasonable listener an' not eert 'issection. (i) ere reasonable min's coul' 'i))er no *H 2. No )ri*ht-2ine test ;e.*. -note ru2e< for when sii2arit )ecoes su)stantia2. (i) +%en i) coie' ortion relati%el, small in roortion to entire -or! i) @ualitati%el, imortant ma, roerl, )in' substantial similarit,. (6" To 'ismiss on intrinsic groun' lac! o) similarit, o) eression %er, high bar. d. ran' Jright % arner (1EE1" A (1" First 8samling9 case 1. Dot 7ust ta!ing the chor's or melo'ic construction an' al,ing to song 2. The, are actuall, samling the soun' embo'ie' in a )inishe' master recor'ing an' )eaturing it in their 8ne- song9 (2" hange' music in'ustr, in that a)ter this case there is no- an insistence to get consent/ermission to samle e. Three Bo,s Music or. %. Bolton (2" A (1" $sle, Brothers recor'e' a song. Man, ,ears later Bolton recor'e' a similar< soun'ing song. The $sle, Brothers sue' )or co,right in)ringement.
13
1. Bolton argue' that he coul'nZt remember e%er hearing the $sle, Brothers song an' that he came u -ith his song all b, himsel) (a!a in'een'ent creation". (2" The Trial ourt )oun' )or the $sle, Brothers. Bolton aeale'. =0 a))irme' (3" A co/ri*ht /2aintiff ust /rove: 1. $wnershi/ in a co/ri*ht 2. Infrin*eent (i) i.e.0 that defendant co/ied /rotected e2eents of the /2aintiffs wor5 (4" Infrin*eent can )e shown ) 'irect Evidence0 or *ccess plus su$stantial similarit!/ 1. Proof of access re4uired the defendant had an opportunit" to view or cop" plaintiffs work. (i) This generall" means a reasonable opportunit" or reasonable possibilit" of viewing plaintiffs work. This is 'e)ine' as more than a 8bare ossibilit,.9 (#" ircumstantial e%i'ence o) reasonable access is ro%en in one o) t-o -a,s: 1. 0 articular chain o) e%ents is establishe' bet-een the lainti))Cs -or! an' the 'e)en'antCs access to that -or! (such as through 'ealings -ith a ublisher or recor' coman,"; = 2. The lainti))Cs -or! has been -i'el, 'isseminate'. (i) This is the more common means -ith music. (a) Music can be 8subconsciousl, coie'9 (6" *ubstantial similarit, is satis)ie' b, a t-o<art test o) etrinsic an' intrinsic similarit,. 1. +trinsic similarit, in%ol%es the anal,tical 'issection o) a -or! an' comarison o) the songs through eert testimon, inclu'ing i'entical notes their lacement in a song uneecte' 'eartures )rom metric structure etc. 2. $ntrinsic similarit, is sub7ecti%e an' as!s 8-hether the or'inar, reasonable erson -oul' )in' the total concet an' )eel o) the -or!s to be substantiall, similar.9 (Q" Bolton asserte# a #e"ense o" in#epen#ent creation 1. Hali# #e"ense to a claim o" @ in"ringement (i) &""ective where there is limite#-no access $-w the two works, regar#less o" how striking an# su$stantial the similarities $etween the works ma! $e 2. 0rguable in this case but court - asnCt going to o%erturn rior ruling (G" =0 sai' that & alie' the la- correctl, an' that the 7ur,Cs 'ecision -as not reache' b, an, t,e o) error; it is reache' %ia soun' reason; court is not here to o%erturn Hur,Cs %er'ict i) not clearl, erroneous (E" *$&+ D=T+ O &=+*DCT P=T+T 8T$T+9 =F =5*
1. Fact that both $sle, Bros an' BoltonCs song ha' same name 'oesnCt matter f.
)or O in)ringement (i) Ma, be rotecte' b, TM an' in'ustr, custom/ractice MM %. 0merican on'a (1EE#" A (1" Hames Bon' ar commercial case (2" & ma'e a car commercial that uses similar character to PCs O Hames bon' (3" 2 O -or!s: 1. PCs mo%ies 2. Hames bon' haracter
14
(4" is asserting that 86s work in"ringes on their @ o" the =ames Bon# character 1. haracter is @ $ec it constitutes the stor! $eing tol#/ - character
(#"
#elineation/ test (i) Things that make +ames bond> ;adgets, tu=,martini 7shaken not sturred9, license to kill, suave manner, one liner, dr" british sense of humor, fanc" car, love interest &Cs in)ringement 1. 0ccess (i) ommercial in%entor a'mitte' to seeing the mo%ies (a) Mo%ies are release' -orl'-i'e
(ii) haracter in commercial -as re)erre' to 8Hames Bob9 (a) asting calle' )or 7ames bon' t,e actors/actresses 2. *ubstantial similarit, Les (i) +trinsic test: comares seci)ic ob7ecti%e criteria o) t-o -or!s lot
theme 'ialogue moo' setting ace character se@uence o) e%ents (a) & 'i'nCt substantiall, co, a art o) an, one )ilm
($)
(ii)
8 copie# inherent parts o" a Iames $on# "ilm an# the! are su$stantiall! similar in the commercial (i" an'some hero 'r, -it rett, girl)rien' %illain use o) ga'gets music etc $ntrinsic Test: (a) %s total concept an# "eel/ is su$stantiall! similarJ
($) re@uires a 'etermination o) -hether an or'inar, %ie-er -oul' thin! the, are substantiall, similar (i" nee' to as! a 7ur, but P -oul' li!el, re%ail g. 0llen % *cholastic (211" A (1" P -rote a 8i%ing an'9 boo! about ill, the i?ar' claims that arr, Potter an' oblet o) Fire in)ringes its -or! 1. PCs boo! is a bout a ,oung -i?ar' arta!ing a ,earlong - i?ar'ing contest; Publishe' in 1EGQ; 16 ages o) tet 16 o) ictures (i) &Cs -or! is also about arr,Cs articiation in a -i?ar'ing tournament; ublishe' in 2; Q34 ages all tet small ictures abo%e chater titles 2. o,right in)ringement court nee's to see i) there is substantial similarit, bet-een the rotectable arts o) PCs -or! an' loo! at the total concet an' )eel o) the t-o -or!s theme characters lot se@uence ace setting (i) Test )or ** is base' on i) an or'inar, la, obser%er -oul' recogni?e &Cs -or! as being an allege' co, o)/ riing o)) PCs O -or! (2" Total concet an' )eel: 1. two $ook are completel! #i""erent (i) 1 pages v 73 $ooks st!le an# su$stance too 2. P %aries in moo' 'etails structure %er, tangential; e%ent mentione' not 'escribe'; ne- characters not 'e%eloe' . &: cumulati%e -or! scenes buil' an' transistion stor,line 'e%eloe' an' comle characters )ull, 'e%eloe' an' elaine'
1#
(3" Theme: 1. P: no 'iscernible theme that is rotectable (4" haracters 1. Ver, high stan'ar' to sho- substantial similarit, in a character (i) Both ill, an' arr, share that the, are teenage -i?ar's
(#" (6" (Q"
cometing in a cometition (a) ill, is not 'e%eloe' an, )urther -ith an, 'eth arr, is Plot an' *e@uence 1. =nl, share the common groun' o) a -i?ar' cometition Pace: &: )ace ace'; cli)) hangers; P A nothing *etting: Both share setting in +uroe -i?ar' schools an' -orl's but P onl, mentions & 'e%elos them
(G" In su
no su)stantia2 sii2arit )etween the two wor5s
4. Contri)utor Infrin*eent a. MM % ro!ster (2#" A (1" Jn'er -hat circumstances is 'istributor liable )or O in)ringement b, 3r' arties (2" (3"
(4"
-ho use the ro'uct 1. Pro'uct has both la-)ul an' unla-)ul uses P argues that ro!ster is contributoril, liable b/c t heir so)t-are enables the 'irect in)ringement. &: & -on (citing *on,"; =0 a))irme' P2P sharing so)t-are has legitimate an' legal non
1. imits *on, ruling; ro!ster )ormulate' a ne- test 2. & ha' 5D=+&+ o) the in)ringing uses o) its so)t-are
(#" :&K& L+WM&8& +; %;K%% AG&G %G + &+A4 + ;%8 8%GK%BA+K M%*BM&, &&8 + G4+W *;;%K:*%H& G&G *L& + ;+G&K %;K%:& (6" %ntent to in#uce in"ringement will $e presume# where active steps taken to in#uce in"ringement 1. 8 took active steps to encourage in"ringement
(i) *#vertise# itsel" as the new napster/ (ii) ourt "oun# that onl! a$out 10N o" people use rokster "or non?in"ringing uses 8 #i#n6t tr! to stop in"ringement
(iii) (iv) 8 never $ut never $locke# an! users (v) &i' not 'e%elo an, )iltering tools to 'iminish in)ringing (vi) Ma'e mone, thru a'%ertisements (a) the,Cre ma!ing mone, o)) o) the in)ringing uses.
(Q" %n#ucement Kule-Mia$ilit! +ne who #istri$utes a #evice with the o$Iect o" promoting its use to in"ringe cop!right, as shown $! clear expression or other a""irmative steps taken to "oster in"ringement, is lia$le "or the resulting acts o" in"ringement o" thir# parties
16
1. he in#ucement rule is limite# to purpose"ul, culpa$le expression an# con#uct
(i)
4ere he! wante# to in"ringe. he! #evelope# so"tware "or it. he! ma#e mone!. (G" ontri$utor! %n"ringement !ou intentionall! in#uce or encourage #irect in"ringement (E" Hicarious %n"ringement pro"iting "rom #irect in"ringement while #eclining to exercise a right to stop or limit it 1. rokster pro"ite# "rom the a#s (1" Lia)i2it of 'evice Manufacturers 1. Gon! %ntent to in#uce in"ringement will not $e presume# where #evice is capa$le o" a su$stantial non?in"ringing use 2. rokster But intent will $e presume# where active steps taken to in#uce in"ringement b. lass Dotes: (1" $n'een'ent reator &e)ense 1. angs on access i) t-o eole -or!ing comletel, in'een'ent o) each other -ith no access to each otherCs -or! create i'entical -or!s then there is no O in)ringement (2" $n)ringement: 1. $) ,ou ha%e roo) o) 'irect e%i'ence all ,ou nee'
2. But most cases are base' on circumstantial e%i'ence (i) ircumstantial +%i'ence ourts loo! at: (a) 0ccess to -or! ($) or! -ith it (c) ircumstantial access (i" M, s-eet lor' subliminal co,ing
. Fair Jse (i) emember to !ee in min' the 16 ights an' ho- the, -or! -ith FJ& (a) ero'uction ($) 0'atation an' & (c) &istribution (#) Per)ormance
. 'efenses to Infrin*eent 1. $ntro (1" =nce P success)ull, sho-s groun's )or 'irect or contributor, in)ringement the
2.
bure'en shi)ts to & to 'e)en' themsel%es that the, 'i'nCt co, Inde/endent Creation Most coon defense
(1" & claims that he create' his ne- -or! -ithout the bene)it o) PCs (i) +: Michael Bolton case 2. $n'een'ent creation -ill mostl, hang on &Cs acces to PCs -or! 3. "nd defense is innocent infrin*er 4.
/erson didnt 5now the were co/in* ;see
Mavric5< 3r' 'e)ense is that ro%i'es certain actions that 'onCt constitute in)ringement
a. O 0ct 1Q11Q; 1Q Fair Jse
#. Ma%eric! ecor'ing o. %. arer (21" A
1Q
a. irl uloa'ing songs; not innocent in)ringer (1" 0))irme' & liable )or in)ringement o) 3Q songs 1. e%erse re: innocent in)ringer 'e)ense (i) & sai' that 'etermination -as a @ )or the 7ur, b. *he uloa'e' an' share' music %ia P2P net-or!s (1" O in)ringement on 2 groun's 1. rero'uction an' 'istribution (2" Do @uestion that she in)ringe' PCs -or!s 1. *he claims $nnocent $n)ringer &e)ense 8she in)ringe'9 thin!ing it -as the same as listening to online ra'io stations an' there)ore shoul' be sub7ect to lo-er 'amages (3" 4er knowle#ge or lackthereo" or her lack o" intent to in"ringe is irrelevant 1. O02 i" the @ hol#er places notice on the work (@ !ear, name/) then the innocent in"ringer #e"ense is $arre# $-c people are presume# to have proper notice hat the work is @ protecte# (i) the music 'i' an' there)ore she cannot assert $$& (a) +%i'ence that she -ithhel' her har' 'ri%e also 'oesnCt hel c. Dotes: (1" =ne ,ou lace co,right notice on -or! 8O RnameS R,earS9 e%er,one has notice o) ,our registere' O an' the, no longer can sa, W$ 'i'nCt !no-9 1. o-e%er un'er CQ6 0ct (er Berne" notice is no longer re@uire' )or rotection (rotection goes to 'ate o) creation" there)ore it is best to encourage authors to lace notice on -or! b/c 'oing so -ill gi%e them the 8rotection9 o) 42 an' re%ent in)ringers )rom asserting $nnocent $n)ringer &e)ense 2. Jn'er 1EE 0ct )ailure to gi%e notice -or! )alls into P&
,. Fair Jse A 1. arer o- Publisher $nc. %. Dation +nterrises (J** 1EG#" A a. Prior to arer an' un'er 1EE 0ct Fair Jse -asnCt in 7u'iciall, base' b. Presi'ent For' -rote a boo! about atergate an' sol' it to arer o-. (1" arer o- sol' the eclusi%e right to rint an ecert in Time Maga?ine )or Y2#!. (ai' hal) u )ront" 1. a maga?ine calle' The Dation got a unauthori?e' co, o) the ecert an' ublishe' it in his maga?ine. (i) Time cancele' their 'eal -ith arer o- an' 'i'nCt a, 2n' hal). c. 4arper P Kow sue# avask! "or cop!right in"ringement Q violate# Kight o" ;irst u$lication (O10()) (1" ight o) 1st ublication 00L* $T T+ 0JT=
(2" Da%as!, argue' that he -as rotecte' b, the )air use ro%ision because For' -as a ublic )igure an' his reasons )or ar'oning Dion -ere o) %ital interest. 1. This -as such a hot toic that Da%as!, 'oing the ublic goo' b, 'isseminating it as broa'l, as ossible. 2. Plus he onl, use' 3 out o) For'Cs 2! -or' manuscrit. (3" T: P; =0: &; d. AGG reverse# an# "oun# "or 4arper P Kow Q o ;air Ase (1" The J* *ureme ourt use' the )our<)actor test o) 1Q. e. (actor 1 # !ur/ose and character of the useO
1G
(1" as use commercial or non The !work# 7book e=cerpts9 is news and news reporting 7? enumerated public beneficial activit"3categor"9 is protected b" $/D 1. Protect news b3c there it has a sociall" benefitting purpose3 broad public benefit 2. /SS> Cations intent3goal wasnt news, it was to scoop competitors and sell more magaines. 7didnt act w3good faith and fair dealing9 ThatEs a commercial use which goes against a finding of fair use b3c Cation is profiting off Times F material (i) ourt rules that this $actor goes against $/D
(3" " The nature of the co/ri*hted wor5 1. or! 0utobiograh, ecerts 2. AABM%G4&8 (i) ourt )ocuses on 8unublishe'9 nature o) -or! to sa, that Factor
(4"
>2 cuts against FJ (a) B-c author gets the right o" "irst pu$lication. ($) his soun#s ver! much like :oral Kights an# &uropean right o" #ivulgation (ii) Kationale R1 ersonalit!-rivac! heor! (a) *uthor has interest in protecting its unpu$lishe# work (where an# when it6ll $e pu$lishe#), author6s personalit!-privac! an# right to control its work (iii) Rationa2e ": +ti2itarian Theor boo!s mo%ies etc ma!e the most mone, -hen the, are )ist ublishe' (a) :$ $/D is allowed here and Cation publishes first, itll have a huge negative economic impact on P (iv) ourt agree' -ith Dation that the la- generall, recogni?es a greater nee' to 'isseminate )actual -or!s than )iction $ut the "act it was unpu$lishe# gave ;or# more rights than i" it ha# alrea#! $een #isseminate#. (v) Man, courts rule' that i) a -or! -as unublishe' it -oul' )in' no FJ&; (a) 1EE2: ongress amen'e' 1Q to sa, that 7ust b/c -or! is unublishe' is not enough to bar a )in'ing o) FJ i) such )in'ing is ma'e uon consi'eration o) all the abo%e )actors. (vi) Wor5s of facts v wor5s of fiction (a) or! -as unublishe'; e%en though it - as )act base' boo! it is still rotectable . 4istorical narrative (i) enerall, historical -or!s get thin O an' -eigh i n )a%or o) FJ&; (ii) But since this -or! -as Presi'entCs memoirs -or! -ere his o-n -or's an# ation appropriate# his actual wor#s ver$atim, their appropriation went $e!on# the "acts, there"ore no ;A8 (iii) :n general, the more e=pressive and creative a work is, the less this factor favors $/D (a) 5ess e=pressive, and more fact based the work is, thinner F and more likel" $/D ? The aount of the ori*ina2 wor5 used ;9uantit and 9ua2it< #
1E
1. More & ta!es -eigh against FJ&; ess the, ta!e )a%ors FJ& 2. Uuantitati%el, =nl, 3 -or's out o) ] 25 -or's )rom boo! . Pua2itativ2 These ? words were 6the heart of the )oo57 and as such a su)stantia2 aount was ta5en (i) Dation ublishe' section that 'ealt -ith the Dion Par'on.
. ;or R ? Mook at $oth the
2.
%erbatim (#" Q The effect on the /otentia2 ar5et 1. Mooking at the e""ect an# harm on the regular market "or work (i) Dot as much b/c lent, o) eole -ill still -ant to rea' the entire boo! 2. Mooking at the e""ect an# potential harm on the market "or #erivative works (i) &eri%ati%e Mar!et Mar!et o) )irst serial rights (a) There -as actual e%i'ence o) harm in this case because Time cancelle' their contract in resonse to Da%as!,Zs acts. (ii) Future harm to arer %ia harm to reutation an' abilit, to get )uture business )rom Time an' other maga?ines ambell % 0cu))<ose Music $nc (J** 1EE4" A a. $s 2 i%e re-Cs aro', o) o, =rbisonCs 8Prett, oman9 )air use b. $n or'er to un'ergo a FJ& anal,sis there -i ll be an issue o) O in)ringement; i) ,ou are ma!ing FJ& argument ,ou 8a'mit9 co,ing (1" ourts/2 i%e re- a'mit that but )or FJ& claim thereC' be O in)ringement 1. 2 i%e re- sa, the, too! )rom P but are arguing ne- song is a aro', an' there)ore FJ c. U court nee's 'i' the, ta!e too much o) origingal d. & *H )or 2 i%e re- Paro', ,es FJ&; (1" =0 no FJ& b/c use -as commercial an' too much borro-ing o) Oe' -or! e. AGG Iust $eing commercial in o" itsel" is not enough to sa! no ;A8
(1" ommercialit! (;A; R1) is $ut 1 "actor to consi#er3 it is not the onl! one 1. J** re%erses an' )in's FJ& f.
(actor 1 # Is the /ur/ose and character of the use coercia2 or noncoercia2O 1. Gu$?"actors in ;actor R1
(i) %s it ommercialJ (ii) %s it a statutoril! enumerate# pu$lic $ene"icial activit! (a) ;air #ealingJ rans"ormativeJ aro#!J (iii) 7ust because PCs use -as commercial 'oesnZt create a resumtion that it is no FJ. ommercialit, is 7 ust one )actor to be consi'ere'. 2. %G &W W+KL K*G;+K:*%H&J (i) 8oes in"ringing/ work superse#e-su$stitute the original, or #oes it a## something newJ
2
(ii) ;its with goal o" cop!right to promoting innovation an# arts
.
$-c i" it is trans"ormative, 8 has a##e# something new (iii) aro#ies are also sociall! $ene"icial commentar! or criticism o" original %n general, all aro#ies are trans"ormative $-c it uses enough o" ol# work to conIure up image o" it an# comment on it (i) ourts love aro#! $-c (a) rans"ormative a## something new, ($) Gociall! $ene"icial commentar! or criticism
(c) he >ualit! o" the commentar! or criticism is irrelevant (ii) (iii)
(#oesn6t matter what !ou think o" it) (#) +riginal work must $e part o" the target o" the paro#! But not all trans"ormative use is paro#! ommentar! v aro#!J
(a) aro#! the original work nee#s to $e at least part o" the target o" the social criticism ($) ommentar! !ou are Iust writing a social commentar!, #o not nee# to tie it to certain work (2" %s 2 Mive rew6s song a paro#!J Ses
g. (actor " - The nature of the co/ri*hted wor5. (1" J**: this 'i'nZt reall, al, since the artistic %alue o) aro'ies is o)ten )oun' in their abilit, to in%ariabl, co, oular -or!s o) the ast. h. (actor ? # The aount and su)stantia2it of the ori*ina2 wor5 used. (1" +%%C: ' used the heart of the ori*ina2 wor50 )ut that co/in* the heart is re9uired in order to )e a successfu2 /arod. 1. context is ever!thing an# the >uestion o" "airness asks what else the paro#ist #i# $esi#es go to the heart o" the original/ (i) ok, !ou took some original "or !our paro#!, "ine3 $ut what else #i# !ou a##J 2. A22owance for !arodies (i) Ma ta5e a si*nificant aount of ori*ina2 wor5 as 2on* as it serves the /arodic /ur/ose (a) *ince ambell substitute' mostl, his o-n l,rics it coul'nZt be sai' that he too! more o) the original -or! than -as necessar,. ($) $t can onl, be aro', i) ,ou can recogni?e the original material. (=n the other han' satire 'oesnZt re@uire recognition o) the original material" (2" ourt reman#e# to #etermine i" 2 Mive rew coul#6ve taken less o" song i. (actor Q # The effect on the /otentia2 ar5et (1" 2ffect on direct marketG effect on demand through replacement (2" 1nl" care about market effect through replacement *ill Parod" compete with original on market 1. op"right law doesnt care if parod" will have negative impact on demand for original- that people wont bu" original b3c of parod" (3" &""ect on :arket "or #erivative WorkJ 1. &eri%ati%e mar!et )or aro',: (i) 0cu))<ose coul' theoreticall, sell the rights to another aro'ist (a) That is unli!el, to haen
21
(ii) &eri%ati%e mar!et )or ra: (a) eman'e': Dee' to see i) there is a mar!et ($) oul' =rbison sell the rights )or a raer to samle this
3.
song *untrust Ban! %. oughton Mi))lin (21" A a. P sue' & claiming that &Cs boo! The in' &one one in)ringes on PCs one ith The in' (1" & a'mits that she base' her boo! on T 1. P is trustee o) the Trust that hol' the O )or T (ublishe' 1E36" (i) Maintains an' eercises all o) the 16 rights (2" & issue' in7unction against ublishing o) &Cs boo!; 11th ir o%erturne' (3" & claims her ne- boo! T& is a criti@ue o) PCs 'eiction o) sla%er, an' i%il<ar era 0merican *outh 1. 0rgues that her ne- boo! is a aro', o) T an' there)ore ermissible Fair Jse 2. Do @uestion that there is substantial similarit, b/- -or!s (i) But still ma, not be in)ringing i) it is a Fair Jse o) PCs -or! (ii) Dot all aro'ies -ill be )oun' to be )air use an' rotecte' )rom in)ringement liabilit, . or! I aro', i) its aim is to comment on or critici?e a rior -or! b, using elements o) the original to create a ne- artistic -or! as oose' to a scholarl, or 7ournalistic one (i) Paro', nee's to mimic an original to ma!e its oint an' so has some claim to use the creation o) its %ictimCs imagination. b. Factor >1 A urose an' character o) -or! (1" ourts lace great -eight on the trans)ormati%e %alue o) the ne- -or! 1. The more trans)ormati%e the ne- -or! the less -ill be the signi)icance o) the other )actors li!e commercialism. (i) +%en though the ne- boo! -as sol' )or ro)it court laces greater -eight on its trans)ormati%e nature (ii) ru= of profit3nonprofit distinction is whether the user stands to profit from e=ploitation of the cop"righted material w3out pa"ing the customar" price. c. Factor >2 A Dature o) -or! (1" Dature o) co,righte' -or! )actor little -eight aro'ies almost in%ariabl, co, ublicl, !no-n eressi%e -or!s d. Factor >3 A amount coie' (1" 0mount an' substantialit, o) ortion in relation to co,righte' -or! as -hole< -hen aro', ta!es aim at original -or! must be able to con7ure u at least enough o) that original to ma!e the ob7ect o) its critical -it recogni?able. 1. =nce enough has been so ta!en an, )urther ta!ing must seci)icall, ser%e the ne- -or!Cs aro'ic aims. (2" Jse 'oes not necessaril, become in)ringing the moment it 'oes more than siml, con7ure u another -or!. 1. Dee' to see -hat the ne- -or! ta!es /uses 2. $s it the heart o) the other -or! e. Factor >4 A e))ect on the mar!et (1" Fact that aro', ma, imair mar!et )or 'eri%ati%e uses b, the e))ecti%eness o) critical commentar, no more rele%ant un'er co,right than the li!e threat to the original mar!et.
22
4. +l%is Presle, +nterrises $nc. %. aece (1EE6" A a. & too! ol' )ootage o) el%is )rom TV sho-s an' turne' it into a long 'ocumentar, (1" in)ringement can be base' uon con)usion that creates initial consumer interest e%en though no actual sale is )inall, comlete' as a result o) the con)usion. b. PCs are grou hol'ing O relating to +l%is (1" & ro'uce' a %i'eo 'ocumentar, about +l%is using PCs O materials. 1. PCs sue' )or in)ringement an' got an in7unction; & aeale'. (2" the issue is to -hat etent ma, a )ilm ma!er use %i'eo ics an' music in its biograh, -/o ermission )rom O o-ners an' still be consi'ere' FJ 1. & 'i' 4FFJT an' hel' &Cs use \ FJ an' issue' in7unction c. =0: a))irme' &; 'i'nCt abuse its 'iscretion d. =0 note' &Cs use -hile a biograh, -as clearl, commercial in nature. (1" The biograher sought to ro)it 'irectl, )rom the O it use' -ithout getting a license. (2" use -asnCt trans)ormati%e an' use li!el, 'i' a))ect the mar!et )or those materials. L. REME'IE% 1. $ntro a. #2#13 'iscuss reme'ies
(1" " te/orar 8 /eranent inunction (2" #3 court can imoun' an' 'isose o) all in)ringing coies (3" #4 'amages 1. $nnocent in)ringement 'amages 2. Q;c< %tatutor 'aa*es ;instead of /rovin* actua2 daa*es< (i) )8w S-S?, (ii) ill)ul in)ringement 'amages Y1#5 er in)ringement (4" ## costs )ees (#" #6 criminal liabilit, 2. BM % on?ale? A *T0TJT=L &0M0+* a. +sers of (i2e %harin* %ites (1" J*+* 0+ $0B+ 'esite )air use 'e)ense b. P sue' & )or O in)ringement alleging she i n)ringe' uon their O -hen she
c.
'o-nloa'e' music online using a )ile
(1" *he 'o-nloa'e' more than 13Q co,righte' songs all o) -hich -ere sa%e' on
3.
her comuter. (2" *he 'i' not o-n legitimate coies o) 3 o) the songs an' so 'amages er #4(c" are aroriate 1. 42('" barre' an, re'uction in 'amages because she ha' notice t hat the songs that she 'o-nloa'e' -ere O o)a Enter/rises Inc. v. !anoraa Records0 Inc. ;"< # Enhanced %tatutor 'aa*es a. P music ublishing comanies sue' & ma!ers o) !arao!e 'iscs )or in)ringement. (1" & P YG65 'amages; & aeale'
b. & recor'e' an' sol' !arao!e 'iscs -ithout consi'ering -hether it in)ringe' the intellectual roert, rights o) others.
23
(1" P hel' O to songs use' b, & on its !arao!e 'iscs. 1. P sent a cease an' 'esist letter but & )aile' t o obtain licenses to use the
4.
songs. c. =0 & ma'e an' sol' the !arao!e ac!ages )or a ro)it -hich cut against FJ&. & also coie' the rele%ant comositions in their entiret,. (1" & ehibite' a rec!less 'isregar' )or the comaniesZ rights reliance on FJ& -as unreasonable. d. &Cs in)ringements -ere -ill)ul an' 7usti)ie' enhance' statutor, 'amages. (1" 0ttorne, )ees -ere 7usti)ie' as -ell %he2don v. Metro-&o2dwn !ictures Cor/. ;1DQ< # A//ortionent of !rofits a. *tor, o) Ma'eline *mith !ille' lo%er a)ter he blac!maile' her into sta,ing -/ him -/ inaroriate letters sheC' -ritten. as a similar la, then boo! then mo%ie (1" la, o-ner suing mo%ie )or in)ringement b. &amages: P can elect 'amages or ro)its (1" Jsuall, elect statutor, 'amages bec ro)its must be ro%en" c. P sought re%ie- o) =0Cs 'ecision that aortione' etitionerZs share o) the net ro)its 'eri%e' b, reson'ents )rom a motion icture in)ringing etitionersZ co,right. (1" J** a))irme' =0 aortione' a-ar' o) ro)its against & -ho in)ringe' PCs la, in ma!ing a similar mo%ie. 1. 0-ar'e' P the ortion o) net ro)its attributable to &Cs O in)ringement 2. P -ere entitle' onl, to that ortion o) the net ro)its 'ue to them b, &Cs use o) the O material.
CA!TER Q # TRA'EMAR,% AN' MERCAN'IIN& A. TRA'EMAR,% # a. $DT= A i. 0 -or' 'esign logo or combination or such that manu)acturer uses to i'enti), its goo's 1. TMs i'enti), the source o) goo's; guarantee its consistenc, in @ualit,; a'%etise )or its ma!er an' attrach bu,ers ii. 3 )unctions o) TM 1. TM can be a -or' 'esign or combination thereo) se' b, a manu)acturer to identif its goo's ". $'enti), the source o) the commercial ob7ect ?. &uarantee the constanc,(" an' the consistenc, an' o) the @uali t, o) the mar!et Q. Advertise the manu)acturer an' attrac! customers . TM ma, also 'escribe the ro'uct iii. T,es o) TMs 1. %ervice ar5s identif services a. +: ,our local 'r, cleaners; Bloc! ta re ". Certification Mar5s identif *oods or services eetin* certain 9ua2ifications a. +: oo' ouse!eeing *eal; +nerg, *tar seal; MP00 mo%ie ratings ?. Co22ective Mar5s identifies *oods0 services or e)ers of a co22ective or*aniKation Q. Trade naes to I' the co/an i%. Dotice: 1. Manu)acturers ro%i'e notice to in'icate the, claim a TM on their goo's
24
TM or *M )or common la- tra'e/ser%ices mar!s; use on goo's i) mar! is not ,et )e'erall, registere' $. ^ 8egistere' J* PT=9 8eg. J* Pat. 0n' TM =))9 use' )or )e'erall, registere' TMs i. )e' registration is not re@uire' but necessar, to get 'amages an' allo-s ,ou to reclu'e an in)ringer )rom using innocent in)ringer 'e)ense %. 2 t,es o) rotection 1. Fe'eral TM Protection anham 0ct ". ommon/*tate a- Protection enerall, 1st in time I )irst in use %i. 8&istinguishable9 e@uirement 1. No !rotection &eneric Mar5s a. e)er to a 8genus9 o) -hich the articular ro'uct is a 8secies9 i. Mil! sugar $. Protecte' mar!s can become also become so commonl, use' that the, become generic 1. 0sirin ?ier etc ". Lowest Leve2 'escri/tive Mar5s a. &escribe the ro'uct must have ac>uire# 2n#ar! meaning in the mar!etlace to be rotecte' i. Vision enter )or a glasses store ?. Mediu Leve2 %u**estive Mar5s a. *uggest attributes o) the ro'ucts i. For' Mustang suggests )ast car ii. Q<11 stores their hours o) oeration Q. i*hest Leve2 (ancifu2 and Ar)itrar Mar5s a. Fanci)ul: Ma'e u mar!s that canCt be )oun' in the 'ictionar, an' thus have no meaning or connotation that relates to the goo#s supplie# an# their >ualities i. 5o'a! *tarbuc!s Veri?on $. 0rbitrar,: contain -or's that can )oun' in the 'ictionar, but are unrelate' to the goo's sulie' an' the goo'sC @ualities an' thus alie' arbitrar, i. 0le omuters Fossil atches 0ma?on.com Bran' Dames A i. Bell % *treet-ise ecor's t' (1EG6" A 1. P I er)ormers ; & I recor' ro'ucer -ho recor'e' an' sol' their recor's ". *uing o%er -ho o-ns the grouCs name 8De- +'ition9 ?. PCs -ere aroun' an' )oun'e' grou be)ore & signe' them an' -or!e' -ith them; a' a hit recor' -ith 8can', girl9 in Gs Q. P -ant to )ire & an' continue but & claims o-n the rights to the name a. De- +'ition see! right to aear er)orm an' recor' un'er that mar! 'isa))irme' 5 -/ recor' label . & recor' label claims that the, emlo,e' the )i%e in'i%i'ual Ps to ser%e as )ront )or concet the, 'e%eloe' an' to romote recor'ings embo',ing that concet. a. 8 claims that mark ew &#ition i#enti"ies the recor#ings rather than the group mem$ers i. /rooter e=/ended considera)2e effort on *rou/0 /2aed instruents0 wanted the 2i5e ac5son . ourt: P o-ns mar! 8De- +'ition9 a. =-nershi o) a mar! is establishe' b , riorit, o) aroriation. Priorit, is establishe' not b, concetion but b, bona )i'e usage. i. P -ere the )irst to use er)orme' as D+ be)ore & signe' them a.
b.
2#
c.
$. ublic association i. ublic associates D+ -ith the singers not 7ust the name o) the ban'; -oul'nCt be D+ -ith # ne- members ii. ublic association 'oes not comel the conclusion that the name belongs to them. o-e%er such a )in'ing is rele%ant to 'etermination o) o-nershi. c. Jse P must sho- 'emonstrate that his use o) the mar! has been 'eliberate an' continuous not sora'ic causal or transitor,. i. usage must be consistent -/ a resent lan o) commercial eloitation. . & acte' as a ro'ucer an' -as ai' shoul'nCt get o-nershi rights o%er something he 'i'nCt create (name" F. hile anham 0ct is in%o!e' onl, through use in interstate commerce common la- rights can be ac@uire' through interstate or intrastate usage. a. ecogni?e' that a 7unior user ma, occasionall, ac@uire rights to mar! use' in goo' )aith an' in 'i))erent mar!et clearl, not case here. 9. ourt must first identif" the 4ualit" or characteristic for which the group is known b" the public, ma" then proceed to ownership in4uir", who controls that 4ualit" or characteristic. a. Corm in the music industr" is for the artist or group to own its own name. 1. Uualit, -hich the mar! De- +'ition came to be i'enti)ie' -/ -as )irst an' )oremost the Ps goo' there)ore are the entertainment ser%ices the, ro%i'e. The, an' no on else controlle' @ualit, o) those ser%ices the, o-n the mar!. ii. 5assbaum % *teen-ol) Pro'uctions $nc. (2" A 1. *teen-ol) bro!e u numerous echanges o) name rights ". P bassist relin@uishe' an' -hen he 7oine' a ne- ban' 8orl' lasic oc!ers9 he ma'e historical re)erences to association -/ ban' in subse@uent ban' a'%ertisements a. P )ormerl, o) *teen-ol); )oun'ing member o) *teen-ol) i. & sue' o%er his use o) the TM name ?. $ssue< -hether 5assbaum agree' -oul' not i'enti), sel) i n romotional materials -ith a true statement o) his )ormer association -/ the ban' *teen-ol). a. & rule' )or &; =0 re%erse' in PCs )a%or . erms o" L #o not $ar Lass$aum "rom re"erring to his "ormer mem$ership in Gteppenwol" . 5 language re)ers to use o) the trade name *teen-ol) an' not to the simle use o) the name to ro%i'e accurate historical in)ormation that -oul' not lea' reasonable eole to thin! that his ne- ban' -as *teen-ol). a. e is allo-e' to use the name *teen-ol) to re)er to his rior association -ith ban'; $. 0DCT J*+ $T $F P+=P+ T$D5 D+ B0D& $* *T+PP+D=F / 0**=$0T+& $T $T i. Jse -as in small letters in corner o) a's ii. Main )ocus -as on 8=& 0**$ =5+*9 . 0s )or ossible %iolation o) anham 0ct hrases such as 8Formerl, =)9 or 8=riginal Member =)9 use' b, orl' lassic oc!ers romo greatl, re'uces the li!elihoo' o) con)usion about the source o) the ban'Cs music. a. P not ha%e use' something to e))ect o) 8The De- *teen-ol).9 *P=T* *T0* i. $DT= A 1. *orts stars can ma!e lots o) mone, )rom en'orsement 'eals there)ore the, nee' to rotect TM names an' rights o) ublicit,
26
a.
e: 5areem sue' M )or its use o) his birth name e- 0lcin'or in an =l'smobile commercial
ii. ases: 1.
'.
+T or. %. Hireh Pub. $nc. (23" A a. Tiger -oo's case i. & ublishe' art-or! ainte' b, ush $. 1EEQ A 8The Masters o) 0ugusta9 i. rominentl, )eature' Tiger -ith other )amous gol)ers ii. ainting ha' ushCs name on it an' he signe' them c. F$*T 0M+D&M+DT TJMP* 0 i. This is artistic eression this is cultural canCt go a)ter it claiming %iolation o) rights o) ublicit, ii. Persons image or likeness cannot function a T &. annot attach Hndar" meaning to a person iii. an onl" protect via right to publicit", not ?8Ia #. 0 ro%i'es 'e)ense to an in)ringement claim -here the use o) the mar! is a use other-ise than as a mar! -hich is 'escriti%e o) an' use' )airl, an' in goo' )aith onl, to 'escribe the goo's o) such art,. i. ele$rit!6s name ma! $e use# in the title o" an artistic work so long as there is some artistic relevance. 1. Ase o" Woo#s6s name on the $ack o" the envelope containing the print an# in the narrative #escription o" the print is purel! #escriptive an# there is nothing to in#icate that it was use# other than in goo# "aith. e. 0 43(a" ro%i'es cause o) action against 'eceti%e an' mislea'ing use o) a merchantCs mar! i. Not ever word0 nae0 s)o20 or device 9ua2ifies as a /rotecta)2e ar5G rather0 it ust )e /roven that it /erfors the o) of identification. ". *s a general rule, a person6s image or likeness cannot "unction as a tra#emark, is not inherentl! #istinctive in the tra#emark sense o" ten#ing to in#icate origin. i. Jn'er some circumstances hoto o) a erson ma, be a %ali' tra'emar!_i) )or eamle a articular hoto -as consistentl, use' on seci)ic goo's not t he claim here. g. Jse o) i'entit, rimaril, )or the urose o) communicating in)ormation or eressing i'eas not generall, actionable as a %iolation o) the ersonCs right o) ublicit,. i. Dot limite' to ne-s reorting eten's to entertainment an' other creati%e -or!s. h. M* shoul# $e applie# to artistic works onl! where the pu$lic interest in avoi#ing con"usion outweighs the pu$lic interest in "ree expression. i. +ntitle' to )ull rotection o) 1st 0 rather than more limite' commercial seech rotection signi)icant creati%e comonent a''e' to oo's i'entit, (-as trans)ormati%e" Mislea'ing 0uthorshi A i. olumbus ose t' % De- Millennium Press (22" A 1. P &a%i' Bal'ucci suing & )or TM in)ringement er 0 43(a" a. *ee!ing to en7oin them )rom ublishing mar!eting selling boo!s ". P -rote a short stor, that -as inten'e' to be 1 art o) a 1#<art antholog, o) sorts
2Q
hange' antholog, name to match PCs short stor, Put his name in big letters on co%er =nl, mention 8antholog,9 an' other authors in small rint Promote' the boo! on ama?on an' bn.com resol' G5 boo!s the -ebsites ha' the boo! liste' as 8Might, Hohns9 b, Bal'ucci sue# on groun#s o" a (a) violation a. hat 86s actions woul# lea# consumers to think that this 1C?stor! antholog! is a single 8avi# Bal#ucci $ook i. (a) prohi$its "alse a#vertising, the use o" an author6s name in connection with a work in which the author6s true participation or contri$ution is m isrepresente# P nee's to sho- that &Cs misreresente' an inherent @ualit, or characteristic o) the ro'uct a. To such an etent that it materiall, mi sreresente' it i. meets this stan#ar# P sho-e' that & set out to 'ecei%e the ublic a. Prominentl, lace' PCs name on )ront co%er $. Mar!ete' the antholog, o) 14 stories as i) it -as PCs boo! = er 43(a" is more so an intentional misreresentation Jntil & )ies the co%er an' the boo!Cs content it is en7oine' )rom ublishing mar!eting selling 'istributing an, ortions o) it (incl PCs stor," a. $. c. #.
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Merchan'i?ing ights (lecture" A 1. +loiting the bran' b, selling an, t,e o) goo's -hich contain the bran'Cs name logo name etc 2. Merchan'i?ing ights a. rant someone the right to use our name li!eness ortrait icture an' biograhical material in connection -ith selling merchan'ise i. $n a''ition to ro,alties )or sales o) the recor'ings man, ol' recor' 'eals inclu'e' clauses that ga%e the recor's coman, a large ortion o) merchan'i?ing rights &.
Bran'/Pro'uct $ntegration A Bran' integration is the term use' to 'escribe -ea%ing seci)ic ro'ucts an' bran's into entertainment content 0lthough it is concetuall, similar to ro'uct lacement bran' integration connotes a o more transarent subtle an' creati%e aroach •
Bran'e' +ntertainment or Bran' $ntegration +ntertainment A $s ro'uct lacement on a bigger (an' more eensi%e" scale. o $t can re)er to an, me'ium TVmo%ies %i'eo games e%en boo!s •
h, ha%e Pro'uct Placement Business necessit, b/c o) high ro'uction costs Music ro'uct lacement can hel 'e)ra, the negati%e economic e))ects o) irac, Boo!s o- Margins so PP/P$ hels boost ro)its • • •
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Vi'eo ames Bran' $ntegration hels 'e)ra, high ro'uction costs TV &iminishing 0u'ience 0u'ience Fragentation TiVo/ &Vs Peole s!i commercials on &V so hels a'%ertisers get ro'ucts in the sho- to still o 8a'%ertise o Peole -atch an, 'i))erent things
egulations / Public Polic, oncerns Both the FT an' F la, acti%e roles in 'etermining -hat ro'ucers must 'o -hen the, 'eci'e to ta!e YY in echange )or inclu'ing an a'%ertiserCs ro'uct in their rogram or )ilm 0 -a, to curb the amount o) in)luence a'%ertisers can t r, an' imose on the o music/t%/)ilm in'ustr, 0lso a -a, to ma!e sure the, 'onCt imact the creati%e rocess •
0PT+ # A P$V0L 0D& PJB$T$L $T* A. $T =F P$V0L *T0T+ 0 P=T+T$=D a. $ntro A i. Maritote % &esilu Pro'uctions (1E6#" A 1. istorical )iction base' mo%ie about 0l aone 2. Famil, sue' claiming an in%asion o) their right o) ri%ac, . ourt hol'ing ight to ri%ac, 'ies -ith the erson a. *ince the mo%ie 'i'nCt ortra, these )amil , members there is no cause o) action . oncurrence no right o) ri%ac, claim but it -as a nice thing to 'o because it she' the )amil, in a negati%e light ii. 'ean !rosser descri)es the state 2aw /rotection of /rivac as Q distinct torts 1. Intrusion u/on the !s sec2usion or so2itude or into his /rivate affairs 2. !u)2ic disc2osure of e)arrassin* /rivate facts a)out the ! . !u)2icit which /2aces the ! in a fa2se 22i*ht in the /u)2ic ee . A//ro/riation for the 's advanta*e of !s nae and 2i5eness iii. K%4 +; ABM%%S M*%:G *K& G*& B*G&8 Q + ;&8&K*M M*%: 1. W4* S+A &&8 + G4+W *A*MMS AG&8 6G %8&%S *8 *K+K%*&8 6G *:& +K M%L&GG + 86G *8H**& W%4+A 6G &K:%GG%+ *8 4&K& W*G %=AKS a. M *MG+ *88G + 86G +::&K%*M *8H**& 2. *tates can ha%e their o-n schemes; but %er, similar to a. ali)ornia a''s a 8!no-ingl, aroriate'9 re@uirement . $) ,ou cant meet state ro%isions can al-a,s argue right o) ublicit, b. Pri%ac, ights in the De-s A i. iller v. CB (0 =0 1EG6" A 1. re- -as )ollo-ing along arame'ics cre- )or a 'ocumentar, a. Film cre- )ilme' arame'ics -/out househol'Cs ermission -erenCt as!e' to lea%e 'i' not see! ermission to broa'cast a)ter 'ecease' aire' $. &ecease' )amil, sue' alleging in%asion o) ri%ac, i. oul'nCt ma!e out his )ace but enough sho-n to 'etermine his i'entit, 2. :ssueMe=tent to which $irst %mendment freedom of press and speech protect this t"pe of newsgathering. . %n or#er to #etermine %+ nee# to #etermine i" the "ootage woul#6ve $een o""ensive to an average person a. $mmaterial -hether a%erage %ie-er -oul' recogni?e; i. -i)e not a%erage %ie-er. . $ntrusion 'oes not raise )irst amen'ment 'i))iculties 'oes not in%ol%e seech or other eression thus tresass.
2E
Film cre- 'i' not secure consent to )ilm 7ust )ollo-e' arame'ics in an' )ilme' $. *ince -i)e ha' rorietar, interests at han' she ha' an' interest in the right to ri%ac, as a cohabitant o) the resi'ence o- coul' the, ha%e gotten consent it -as an emergenc, a. et it a)ter the )act be)ore the )ootage airs =bligation to not ma!e unauthori?e' entr, into ri%ate remises o) in'i%i'uals 'oes not lace imermissible bur'en on ne-s gatherers nor is it li!el, to ha%e chilling e))ect on eercise o) 1st 0men'ment rights. Thus 1st no 'e)ense no *H coul' ha%e in%asion o) ri%ac, an' $$+&. $n'ustr, stan'ar' -as to get consent be)ore entering a.
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Pri%ac, ights in ealit, TV A i. Bachelor Bob uine, 1. eclusi%it, clause in TV 5 that rohibite' him )/ romoting other ro'ucts (his ban'" -/out ro'ucerCs ermission thereb, 'iluting %alue o) his ublic image an' tarnishing the seriesC goo'-ill an' ublic esteem. 2. Uuestion is -hether can contract a-a, right to 'o something -as 'oing be)ore sho-. First ruling )a%orable to Bob. ii. reenstein % rei) o (2E" A 1. ene *immons case a. & originall, tol' him that he -oul' not be able to aear on camera -hile acting as a segment ro'ucer. i. o-e%er & -as !no-ingl, )ilme' )or the realit, tele%ision sho$. & also signe' release ac!no-le'ging he ma, be on camera c. *ai' that & imlicitl, consente' to assignment o) rights b, not -al!ing behin' the camera i. 0s a'%ise' b, the signs oste' on the street 2. claim a. 5no-ingl, misaroriate' . ommon la- claim A a. Jse' $. 0roriate' c. Do P consent #. $n7ur, . e%i'ence o))ere' sho-s that & consente' b, his con'uct t o aear on the sho-. C. Because & )aile' to sho- lac! o) consent he cannot ro%e a robabilit, o) re%ailing on the merits o) his common la- or statutor, misaroriation claims Pri%ac, ights in &ocumentaries an' Moc!umentaries i. 0ronson % &og +at &og Films (21" A 1. Michael Moore *ic!o mo%ie 2. & )ile' an 0nti<*00P motion to stri!e PCs suit )or state la- i n%asion o) ri%ac, an' misaroriation o) li!eness claims. a. P argue' that the inclusion o) his home %i'eo in a 'ocumentar, )ilm %iolate' his right to ri%ac, an' misaroriate' his li!eness. . T: & met its bur'en o) establishing that P state la- claims -ere base' on con'uct that -as rotecte' b, the 0nti<*0PP 0ct. a. PCs suit -as base' on &Cs eercise o) )ree seech in connection -ith a matter o) ublic interest the ro'uction o) a 'ocumentar, )ilm a''ressing the healthcare crisis in 0merica. $. PCs aearance in )ilm -as 'irectl, connecte' to the 'iscussion
3
P coul' not sho- b, clear an' con%incing e%i'ence the robabilit, o) re%ailing on his state la- claims. a. Misaroriation claim -as barre' b, 1 st 0 $. laims -ere reemte' b, 31 O0 because the, arose solel, )rom the use o) the allege' co,rightable home %i'eo. c. P coul' not establish the elements )or hi s claim o) in%asion o) ri%ac,. C. &T grante' &Cs secial motion to stri!e PCs claims )or in%asion o) ri%ac, an' misaroriation o) li!eness. a. 0-ar'e' & reasonable attorne,s )ees an' costs an' 'amages Y15 ii. Hohnston % =ne 0merican Pro'uctions (2Q" A 1. Borat case P -as in atten'ance at the ra,er grou; on camera )or 3 secon's a. *ue' )or in%asion o) ri%ac, )alse light an' misaroriation 2. $n%asion o) ri%ac, )aile' b/c it -as at a ublic ra,er meeting . False ight can be hear' b, 7ur, a. b/c eole -erenCt 'eicte' in the roer -a, i. mo%ie ma!ers claime' that borat -as )ilming a religious 'oc . Misaroriation o) name or li!eness )or commercial gain groun's )or that un'isute' that the mo%ie -as a commercial enterrise an' it -as un'isute' that &s 'i' not obtain PCs elicit ermission to be )eature' in an, other )ilm ecet a religious 'ocumentar, to be sho-n in a )oreign countr,. e. Pri%ac, +ectations on the $nternet i. Boring % oogle $nc (21" A 1. oogle Mas 8*treet Vie-9 car -as 'ri%ing aroun' )ilming the street )or oogle mas 2. ar ulle' into a ri%ate 'ri%e-a, a. =-ners sue' )or tresass an' in%asion o) ri%ac, i. Do in%asion o) ri%ac, b/c this isnCt o))ensi%e to an a%erage erson the, -ere )iling things on the street le%el that an,one can )ilm. B. Ri*ht of !u)2icit # a. $ntro i. +lements o) a laim )or ights o) Publicit, 1. &Cs use o) the PCs i'entit, 2. 0roriate' PC name or li!eness to &Cs a'%antage commerciall, or other-ise . ac! o) consent b, P . esulting in7ur, ii. an e%en go as )or to ha%e a right o) ublicit, claim in %oice 1. +: Bette Mi'ler For' case; Tom atts heetos a' ()oun' to be misaroriation o) Mi'ler an' aitsC %oice" 2. Voice nee's to be 'istincti%e b. +conomic interest in Publicit, i. `acchini % *cris<o-ar' (J** 1EQQ" A 1. P is a human cannonball er)ormer; er)orms at count, )air a. 0'mission to his sho- is inclu'e' in regular tic!et no etra cost 2. & %i'eo tae' the entire er)ormance an' sho-e' it on the e%ening ne-s a. P 'i' not grant his consent an' he -as not ai' . claims that this uncompensate# $roa#cast o" his per"ormance violates his rights o" pu$licit! a. 4e6s not looking "or inIunction an# pulling vi#eo "rom air $. 4e Iust wants to $e Iustl! pai# "or his per"ormance .
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& trie' to argue a J* onstitutional issue re: 1st 0 that this is ne-s a. But roblem -ith that is that the, sho-e' the entire er)ormance %s. 7ust a cli )or ne-s reorting uroses C. *tate =0 O claim )or un)ie' -or!s a. -oul' be un'er 1EE 0ct scheme $. P has right o) 1st ublication/)iation an' & %iolate' that right . Time % ill < 7. ight o) ublicit, emanates )rom rt o) ri%ac, a. $ntrusion on PCs solitu'e $. Pri%ate )acts 'isclose' o) PCs ersonal li)e c. False light ublicit, D. 0roriation o) PCs name or li!eness )or commercial uroses (-/o the PCs consent" 9. $n recogni?ing rt o) ublicit, ct )oun' const )ree seech -asnCt a 'e)ense )or broa'casting ii. en't % ost $ntern $nc (1EEQ" A 1. heers A obots case ma'e to loo! li!e Dorm an' li)) )rom sho2. ourt hol's that there are genuine issues o) material )act )or a 7ur, t o consi'er i) there is a right o) ublicit, claim against the robot ma!ers . * ivil o#e provi#es that an! person who knowingl! uses another6s name, voice, signature, photograph, or likeness, in an! manner "or purposes o" a#vertising or selling w-out such person6s prior consent shall $e lia$le "or an! #amages sustaine# $! the person or persons inIure# as a result thereo". a. &egree to -hich the robots resemble caricature or bear an imressionistic resemblance clearl, material to claim. $. Must be 'eci'e' -/out re)erence to contet in -hich aear. . el' in $leet that actor ma, not bring an action )or misaroriation un'er 3344 -hen the onl, claime' eloitation occurre' through the 'istribution o) the actorCs er)ormance in a co,righte' mo%ie aellants here not see!ing to re%ent Paramount )/ ehibiting its co,righte' -or! in heers. C. laims are not reemte' b/c contain elements such as in%asion o) ersonal rights that are 'i))erent in !in' )/ co,right in)ringement. . ommon law cause o" action "or appropriation ma! $e plea#e# $! alleging (1) 86s use o" the 6s i#entit!, (2) appropriation o" 6s name or likeness to 86s a#vantage, commerciall! or otherwise, () lack o" consent, an# () resulting inIur! 7. Publicit, rotects more than !no-ing use o) PCs name or li!eness )or commercial uroses rotecte' un'er 3344 rotects against aroriations o) PCs i'entit, b, other means. D. A//e22ants ar*ue that it is the /hsica2 2i5eness to !s0 not the characters0 that has coercia2 va2ue to '. a. *ctor or actress #oes not lose the right to control the commercial exploitation o" his or her likeness $! portra!ing a "ictional character. 9. Per Pro) art o) right o) ublicit, is right to searate themsel%es )rom commercial en'orsement o) certain enterrises. 10. Vanna hite case
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i. Do right o) ri%ac, a)ter 'eath still ma, ha%e right o) ublicit, 1. +: 0l aone case court sai' rights 'ie -ith the erson ii. *ome states ma, recogni?e a right o) ublicit, but not all recogni?e a &+*+D&$D =P that continues a)ter the celebrit,Cs 'eath iii. *ha- Famil, 0rchi%es % M orl'-i'e (2Q" A 1. Maril,n Monroe case a. ill 'i' not eressl, be@ueath a right o) ublicit, $. *he le)t a resi'uar, clause in her -ill i. *$T: 0ll the rest resi'ue an' remain'er o) m, estate both real an' ersonal o) -hatsoe%er nature an' -hatsoe%er situate o) -hich $ shall 'ie sei?e' or ossesse' or to -hich $ shall be in an, -a, entitle' or o%er -hich $ shall ossess an, o-er o) aointment b, ill at the time o) m, 'eath inclu'ing an, lase' legacies $ gi%e 'e%ise an' be@ueath as )oll o-s: 1. Ma, eis 2#X; &r. 5ris 2#X 2. *trasburg the rest 2. $n'iana has a &=P . N8CA are the states we are 2oo5in* at she was a doici2iar of one of those two states a. NETIER A% A 'E%CEN'IN& R$! . &eclare' her a 'omiciliar, at 'eath in DL (base' on rior ta cases" a. DL 'oesnCt recogni?e =P to 'ea' eole $. DL 'oesnCt recogni?e =P to 'ea' eole C. ali)ornia: a. hange' la-s to allo- )or a 'escen'ing =P i. Prior to 1EG# 'escen'ants o-n 'ecease' right o) ubliciti, ii. oing )or-ar' Lou can trans)er/assign =P . &escen'ing Post
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This hol'ing 'oesnCt etinguish la- or rights o) ri%ac, ublicit, an' tra'e secrets a. so long as those 'onCt 'eal -ith O sub7ect matter an' 'eal -ith 'i))erent elements other than those containe' in a O in)ringement suit. viii. =0 a))irme' T &. ;irst *men#ment onsi#erations a. ome', $$$ Pro's. $nc % ar, *a'eru $nc. (22" < 3 *tooges case A i. gu, ma!es T
CA!TER # A&ENT% AN' MANA&ER% A. INTR$ a. Mana*er and A*ent are two distinct ro2es $. Mana*er - ro2e is to advise and counse2 the artists affairs i. Managers are not regulate' b, the states so an,one can be one ii. ange o) commissions: #<2#X (e%en as high as 33X" (+l%isZ manager got #X" c. A*ent # /riar ro2e is to so2icit o)tain and /rocure e/2oent for c2ients or ateria2 for future e=/2oitation i. *tates ha%e that go%ern ho- the, can rocure emlo,ment ii. +: re@uirements: 1. must be registere' 2. must ha%e a lace o) business . bon' re@uirements
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ommissions are cae' 1. DL 1X ca o) commission (u to 2X )or classical music" 2. 0: 1X; is reme'ial an' restricti%e (as a result o) ast agent abuse" e: i) agent is not registere' agent must return all commissions" iv. 3E note 3 < DL labor commissioner 'oes not ha%e authorit, to nulli), contract an' nulli), commissions v. -h, -oul' someone hol' themsel%es out as an agent but not register then commissions -oul' be uncae'
iii.
B. A&ENT% # a. Ca2 La)or Code 1.Q ;"?< # def of 6A*ent7 and 6Actor7 i. 0 agents are regulate' b, this an' *0 ro%isions (i) re. )ilm artists" $. il<elm 0genc, %. ,nn (1EG1" A i. oretta ,nn -or!e' closel, -/ mgr that le)t un'er 2<,ear mgt 'eal ne- mgr a 'run! man, eiso'es o) manager miscon'uct ii. *ctions o" manager entirel! inconsistent w- #ut! owe# the artist un#er the L. 1. *greement $etween artist an# agenc! was a $ilateral L wherein each part! was o$ligate# to ren#er certain per"ormances, un#er an implie# o$ligation to restrain "rom #oing an! act that woul# #ela! or prevent the other6s per"ormance. iii. 0genc, entitle' to its commissions o))set b, 'amages to ,nn
3#
claime' 0T0 %iolate' B0 bet-een *0 an' agent associations in that the, -ere ost<'ate' sanne' more t han 3 ,ears an' -ere not eecute' at right time i. there)ore the, %iolate' 16(g" an' -ere %oi' iii. *0 anel 'etermine' 1EE# agreements -ere %ali'. 1. Foun' that -hile agreement %iolate' 16(g" o) *0 B0 anel grante' 'e )acto -ai%er o) %ariance a)ter 'etermining rammerCs interests -ere both )urthere' an' rotecte' b, counsel a. 0lthough the agreement %iolate' letter o) B0 it 'i'nCt necessaril, %oi' the ne- 'eal. i. B0 sa,s -ai%ers in -riting but must be construe' in larger contet o) 16(g" an' in'ustr, ractice. 2. *0 -ill generall, accet agreements that 'o not strictl, comort -/ 16(g" $) there is su))icient e%i'ence to suort anelCs )in'ing that *0 -ai%e' the %ariances b/- the ne- agreement an' 16(g" i. *o long as the si'e agreements rotect actor an' agent 1. there -as in this instance iv. Huris'iction as )or agenc,Cs consulting )ees 16(g" alies to reresentation o) actors b, agents in connection with, or relating to the actorCs emlo,ment or ro)essional career. 0rb anel 'etermine' consulting -as in connection -/. v. oint here is that, even w- these rules, i" artist is represente# $! competent counsel, can waive violations. otes on 90 #i""erence $etween S an# * i. +& 2 G* KAM&G3 10N agent cap ii. F=J* D=T+ 3 0 commissioner can nulli), contracts; DL* canCt a.
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Matthau % *uerior ourt (2Q" A i. illiam Morris 0genc, reresente' alter Matthau )or 4 ,ears 1. ot 1X commission o) all comensation recei%e' un'er motion icture emlo,ment contracts negotiate' or rocure' b, M0 a. 4a# a written L3 expire# in 19703 Gince then agenc! relationship continue# without renewing the written L 2. *"ter 6s #eath, son stoppe# pa!ing the agenc! commission a. *ons succee'e' to PCs rights un'er the 5 ii. The relationshi bet-een P 0D& M0 -as go%erne' b, a B0 bet-een *0 an' 0T0. 1. B0 is !no-n as *0Zs 8ule 16(g"9 or 80genc, egulations.9 iii. Ru2e 1;*< inc2udes the )asic contract )etween %A& and ATA0 and *overns a22 as/ects of the re2ationshi/ )etween an actor and the actors a*ent0 inc2udin* the for and content of an written contract )etween actor and a*ent coverin* re/resentation in theatrica2 and te2evision otion /ictures. 'eviations re9uire the written a//rova2 of %A&. iv. M0 sought arb to comel son to a, 1. er the 5 b/- P an' M0; as -ell as *0 B0 2. son re)use' to a, commissions since en' o) 2# claime' no %ali' 5 on -hich M0 can ma!e a claim )or Y an' 'eman' arb v. Petition to comel arbitration see!s seci)ic er)ormance o) an agreement to arbitrate 1. Gince son an# loan out compan! were not part! to an! o" these agreements, was wrong to grant W:*6s motion to compel ar$itration a. Dor is there an, legal rincile un'er -hich the, ma, be boun' b, PZs agreements to arbitrate 'isutes -it h M0. vi. 0bsent some )orm o) imlie' authorit, there is no basis uon -hich to bin' son an' TM to PCs agreement to arbitrate 'isutes -ith M0 1. TM \ 3r' art, bene)iciar, o) PCs agenc, agreements 2. PCs 5 'i'nCt urort to bin' successors an' assignees
36
. MANA&ER% A a. ro-n % 5ie'as (1EE2" A i. 'oes a ana*er have a dut to contro2 and onitor the )ehavior of the artist ii. e' ot hili Peers concert at eorge Mason J 1. 0)ter the concert 0nthon, 5ie'as seuall, assaulte' stu'ent acti%ities re a. *ue' man, eole in%ol%e' inclu'ing P manager iii. P claime' a secial relationshi eiste' b/- P an' management coman, 1. eneral rule alies unless secial relationshi eists b/ actor an' thir' erson imosing 'ut, to control thir' ersonCs con'uct or secial relationshi eists b/ actor an' other -hich imoses 'ut, to rotect. 2. 0s to secial relationshi b/ oet? an' P gi%ing rise to liabilit , P has not allege' such a relationshi. +amles o) such are carrier<assenger business in%itoruires people who procure emplo!ment "or entertainment artists (movies, tv, ra#io) to $e license# as agents 1. &:&'%+ no license "or people who procure recor#ing contracts +MS ii. P not license'; argues that the license re@uirement %iolates &P rights an' e@ual rotection la-s 1. 0rsenio hall manager; ai' 1#X ro,alt, a. & see!ing to %oi' the management contract b/c P acte' as agent iii. P challenges 0 license re@uirement on groun's that it %iolates their 'ue rocess an' e@ual rotection rights argues no rational basis )or ecetion )or securing recor'ing 5s 1. icense re@uirement eemtion shoul' al, to all those that rocure entertainment contracts iv. $ am strictl, a manager $ am not here to rocure emlo,ment $ am not an agent (see also management contract g 2 1()" " v. recor#ing L is o" #i""erent nature than those in common usage in in#ustr! involving personal services. 1. Purose o) 5 is to ro'uce a ermanent an' rea,able sho-case o) the talents o) the artist. 2. Problems o) attemting to license or regulate this acti%it, arise )rom ambiguities intangibles an' imrecisions o) the acti%it,. This is a su))icientl, rational basis )or eemtion. vi. P argues 8occuation o) rocuring emlo,ment9 %iol ation o) &P 'ue to %agueness
3Q
$t is clear that 8occuation9 inten'e' to be 'etermine' accor'ing to stan'ar' that measures signi)icance o) the agentCs emlo,ment rocurement )unction comare' to the agentCs counseling )unction. vii. %" agent6s emplo!ment procurement "unction constitutes signi"icant part o" agent6s $usiness as a whole, then he is su$Iect to licensing re>uirement even i" with respect to particular client, procurement o" emplo!ment onl! an inci#ental part o" overall #uties. 1. e%erse also true. viii. =0 hel' 0 -as not %ague: 1. manager canCt rocure emlo,ment li!e an agent (unless recor'ing 5 base' on ast customs an' ractice" ix. 0rtists o)ten get out o) 5s -/manager b, stating the manager rocure' emlo,ment Marathon +ntertainment $nc % Blasi (0 * 2G" A i. & allege' that P %iolate' 0ct b, soliciting an' rocuring emlo,ment )or her -ithout talent agenc, license ii. ourt alie' 'octrine o) se%erabilit, P !ees Y )or managerial ser%ice but not )or rocuring emlo,ment 1. 0rtistsC ManagersC 0ct -as name o) Talent 0gencies 0ct be)ore certain changes clearl, ma'e to 'ra- line b/- agents an' managers allace article about agents losing to mgrs i. Managers unregulate' an' usuall, get 1#X can ro'uce clientsC ro7ects an' ta!e lucrati%e ro'uction )ees an' on
c.
#.
e.
3G
=nl, no- 'oes & claim P )rau'ulentl, in'uce' b, not 'isclosing that he ha' neither accounte' )or nor ai' ro,alties o-e'. vi. 8 *rgues owe# "i#uciar! #ut! to #isclose. 1. An#er S Maw, "i#uciar! relationship inclu#es technical relations an# in"ormal relations whenever one person trusts in, an# relies upon, another. vii.
0PT+ Q A 0L+* 1. $ntro A a. a-,ers must un'erstan' the intricacies o) entertainment agreementsC secial meanings to e))ecti%el, reresent their clients. b. a-,ers can -or! as agents managers or la-,ers in the entertainment )iel'. c. To -or! in the entertainment in'ustr, it is hel)ul i) the la-,er ac@uires !no-le'ge about cororate an' business la- ta la- labor la- criminal la- )amil, la- 5s immigration an' $P la-. 2.
Croce v. Kurnit (1984) –
a.
3.
P sue' 'e)en'ants three in'i%i'ual businessmen an attorne, an' recor'ing ublishing an' ersonal management comanies )or breach o) 5 an' )rau'. i. P -i'o- -as marrie' to a success)ul recor'ing artist -ho 'ie' in a lane crash ii. 0rtist entere' into 5s -ith recor'ing ublishing an' ersonal management cos 1. as unreresente' b, counsel an' attorne, & signe' the contracts )or &s an' outline' the 5 terms )or P. b. Fi'uciar, &ut, (5urnit" i. & o-e' F& to P; breache' F& 1. & -as intro'uce' to the P as 8the la-,er9 2. & elaine' the legal rami)ications o) the 5s -hich containe' a number o) legal terms/concets to P 3. & -as a rincial in the transactions 4. & )aile' to a'%ise P to obtain outsi'e counsel #. P lac!e' in'een'ent legal reresentation. ii. & )aile' to a'%ise P to retain in'een'ent legal counsel an' ga%e them legal a'%ice re: 5s to them. c. Jnconscionabilit, i. The terms o) the 5s -ere not unconscionable or un)air. ii. Because o) the uncertaint, in%ol%e' in the music business an' the high ris! o) )ailure o) ne- er)ormers the 5s -ere not un)air e%en though the, )a%ore' & iii. PCs actions 'o not rise to the le%el o) roce'ural unconscionabilit,. 1. This situation lac!s the elements o) haste an' high ressure tactics 2. an' the 5s 'i' not ro%i'e )or the sole bene)it o) the &s; a. P bene)itte' millions Y )rom 5s. '. eme', i. ecission is inaroriate because &Cs breach o) F& is not so )un'amental as to 'e)eat the intent/urose o) the 5 an' the 5s ha%e been er)orme'. ii. P is entitle' to 'amages resulting )rom &Cs breach o) F& 1. Faile' to a'%ise P to see! in'een'ent counsel 'amages I costs an' )ees in rosecuting the )rau' unconscionabilit, an' B o) F& claims iii. But )or PCs breach PCs comlain -oul'nCt ha%e arisen so & has to a, )or it. J+*: a. ;i#uciar! 8ut! (S) i. &ven in the a$sence o" an express attorne!?client relationship a law!er ma! owe a "i#uciar! o$ligation to persons with whom he #eals.
3E
1.
4.
%n particular, a "i#uciar! #ut! arises when a law!er #eals with persons who, although not strictl! his clients, he has or shoul# have reason to $elieve rel! on him. ii. 0 )i'uciar, relationshi is one )oun'e' uon trust or con)i'ence reose' b, one erson in the integrit, an' )i'elit, o) another. 1. The relationshi eists in all cases in -hich in)luence has been ac@uire' an' abuse' in -hich con)i'ence has been reose' an' betra,e'. 2. The rule embraces both technical )i'uciar, relations an' those in)ormal relations -hich eist -hene%er one man trusts in an' relies uon another. b. *tatute o) imitations )or Frau' an' Breach o) Fi'uciar, &ut, (DL" i. The a//2ica)2e statute of 2iitations is ears for fraud and )reach of fiduciar dut. ii. ;or G+M purposes a cause o" action against an attorne! "or acts arising out o" the attorne!Ts representation o" the plainti"" #oes not accrue #uring the perio# o" that representation. (reene) 1. 0 la-,erZs %arious acti%ities on a clientZs behal) can be seen as art o) a course o) continuous reresentation concerning the same or relate' roblem. (reene" iii. The *= is not ermitte' to run -here the one claiming the bene)it o) the statute is the one charge' in la- -ith the 'ut, o) asserting an' en)orcing the claim be)ore the statute runs. (Pet %. ustig" c. Jnconscionabilit, (DL" i. *n unconsciona$le contract a""ronts the sense o" #ecenc!, an# usuall! involves gross one?si#e#ness, lack o" meaning"ul choice an# suscepti$le clientele. ii. 0 claim o) unconscionabilit, re>uires some showing o" an a$sence o" meaning"ul choice on the part o" one o" the parties together -ith contract terms -hich are unreasonabl, )a%orable to the other art,. iii. hether a contract or an, clause o) the contract is unconscionable is a matter "or the court to #eci#e against the bac!groun' o) the contractZs commercial setting urose an' e))ect. '. &octrine o) +lection o) eme'ies (DL" i. 0 art, must elect bet-een an action in e@uit, )or rescission o) the contract an' an action at la- )or 'amages. 1. +lection is to be ma'e a)ter trial. e. ecission (DL" i. an etraor'inar, reme', onl, grante' -here the breach is )oun' to be material an' -ill)ul 1. i) not -ill)ul so substantial an' )un'amental as to strongl, ten' to 'e)eat the ob7ect o) the arties in ma!ing the contract. a. escission is not aroriate -here the )ailure -as not a breach going to the root o) the contract. eragos %. Borer (21" A a. & illegall, %i'eotae' Michael Hac!son an' his t-o la-,ers P -hile the, -ere )l,ing in a chartere' airlane. i. & lanne' to sell the %i'eotae to a me'ia coman, )or a large sum o) mone,. 1. Be)ore he coul' P )ile' suit against & obtaine' an in7unction rohibiting the sale o) the %i'eotae. ii. Plainti))s sue' )or in%asion o) ri%ac, an' use o) name an' li!eness iii. &: )or P comensator, 'amages Y2.2#M an' uniti%e 'amages YEM 1. & aeale' insu))icient e%i'ence to suort the amount o) 'amages. b. ol'ing: i. &Cs 7u'gment o) 'amages shall be re%erse' an' reman'e' unless P agrees to a re'uce' a-ar' o) & Y1#5 an' P& )or Y65 ii. omensator, &amages
4
1.
c.
Y a-ar' be,on' an, reasonable amount in light o) the e%i'ence a. The amount a-ar'e' to P I so great that it shoc!s the conscience. 2. comensator, 'amages -ere ecessi%e as a matter o) la-. 3. there -as %irtuall, no e%i'ence that an,one actuall, %ie-e' the %i'eotae. 4. statement that he 8)elt9 the %i'eotae 'amage' his reutation -as not suorte' b, an, other e%i'ence. iii. &Cs tortuous con'uct -as not the roimate cause o) 'amages arising )rom some o) the more etreme actions ta!en b, lainti))s. 1. P increase' securit, measures in the -a!e o) the %i'eotae 2. P 'i' not resent an, e%i'ence o) the costs o) their ne- securit, measures. i%. Puniti%e &amages 1. The uniti%e 'amages a-ar' -as ecessi%e as a matter o) la- because it %iolates &Cs 'ue rocess rights. 2. &Cs con'uct -as not articularl, egregious comare' to other con'uct that 7usti)ies uniti%e 'amages. a. con'uct 'i' not en'anger the health/sa)et, o) others an' 'i' not cause an, h,sical harm. b. targets o) &Cs con'uct -ere not )inanciall, %ulnerable. c. no e%i'ence o) reeate' miscon'uct b, &: this -as 1 'eal 3. Base' on &Cs con'uct 4:1 ratio )or P& cannot be 7usti)ie'. a. *ince the P& a-ar'e' to P ecee'e' the 4:1 ratio &Cs 'ue rocess rights -ere %iolate'. J+*: i. *tan'ar' o) e%ie- )or 0llege' +rrors in the Trial ourtCs Factual Fin'ings (0" 1. TCs )actual )in'ings are re%ie-e' un'er the substantial e%i'ence stan'ar' o) re%ie-. 2. =0 ma, inter)ere -ith TCs 'etermination onl, -here the sum a-ar'e' is so 'isroortionate to the e%i'ence as to suggest that the %er'ict -as the result o) assion re7u'ice or corrution RcitationsS or -here the a-ar' is so out o) roortion to the e%i'ence that it shoc!s the conscience o) the aellate court.9 3. 0n aellant has the bur'en to sho- not onl, that the trial court erre' but also that the error is re7u'icial. a. 0n error is not re7u'icial i) in'een'ent groun's una))ecte' b, the error suort the 7u'gment. ii. Measure o) Tort &amages (0" 1. 8is the amount -hich -ill comensate )or all the 'etriment roimatel, cause' Rb, the tortious con'uctS -hether it coul' ha%e been anticiate' or not. 2. $n cases in%ol%ing an in%asion o) ri%ac, this amount inclu'es out
41
3.
The 'i))erence bet-een the uniti%e 'amages a-ar'e' b, the 7ur,9 an' comarable ci%il enalties -here a%ailable. %. The &egree o) erehensibilit, 1. The most imortant in'icator o) the reasonableness o) a uniti%e 'amages a-ar' is the 'egree o) rerehensibilit, o) the 'e)en'antZs con'uct. 2. ourts utili?e )i%e )actors to hel 'etermine the 'egree o) rerehensibilit, o) a 'e)en'antZs con'uct: a. -hether the harm -as h,sical an' not merel, economic; b. (2" -hether the con'uct 'emonstrate' an in'i))erence or rec!less 'isregar' )or the health or sa)et, o) others; c. (3" -hether the target o) the con'uct -as )inanciall, %ulnerable; '. (4" -hether the con'uct -as reeate' or an isolate' inci'ent; e. an' (#" -hether the con'uct -as the result o) intentional acts or mere acci'ent. 3. Puniti%e 'amages shoul' onl, be a-ar'e' i) the 'e)en'antZs culabilit, a)ter a,ing comensator, 'amages is so rerehensible as to -arrant the imosition o) )urther sanctions to achie%e unishment or 'eterrence. 0PT+ G A JD$=D* 1. Intro a. 0ll guil's are not unions; guil's are not in%ol%e' in collecti%e bargaining )or its members ). &oes an actor nee' to 7oin multile organi?ations i. &een'ing on -hat the artist 'oes it ma, be -orth it because 'i))erent organi?ations ma, rotect artist in a 'i))erent manner ". *0 A *creen 0ctorsC uil' a. A union for co22ective )ar*ainin* ). es actors stuntment ro)essional singers that er)orm in mo%ies an' TV i. For er)ormers -ithin the J* ro'ucers base' in the J* (e%en i) actual )ilming is on location abroa'" c. D=T 0&$= ?. A(TRA # Aerican (ederation of TU and Radio Artists a. *ome o%erla b/- 0FT0 an' *0 i. $nclu'es Darrators singers announcers ii. 0rtist that 'esign soun' e))ects iii. 0ctors that er)orm on li%e an' tae' t%/ra'io rograms iv. Protect singer that has tae' commercials on ra'io an' tc Q. 0+0 A 0ctorsC +@uit, 0ssociation a. Jnion ). Protects li%e theater actors i. Me)ers of /rinci/a2 actors0 e=tras0 chorus 1. %ta*e directors and assistants ii. !rotection on2 *oes to the e=tent of 2ive theater /rotductions . Writers &ui2d of Aerica # W&A a. 2 arts 0 est an' 0 +ast i. Jnion ). TV an' Mo%ie -riters . Pro'ucersC uil' o) 0merica < P0 a. Re/resents and advances the interests of a22 TU and (i2 /roducers i. N$T M+%IC . 'irectors &ui2d of Aerica - '&A a. Jnion that res 'irectors assistant 'irectors unit ro'uction managers technical coor'inators -ith resect to TV an' Mo%ie ro'uctions ). Degotiates on their behal) salar, an' other arrangements
42
F.
D.
1.
11.
1".
1?.
1Q.
i. Man, times salar, is base' on the )ilmCs bu'get 1. Minimum salar, scale go%erns re<ro'uction an' ost<ro'uction e'iting time A22iance of Motion !icture V Te2evision !roducers # AM!T! a. Bargaining unit that is in%ol%e' -ith the other entertainment units ). Dot a union more o) an a'%isor, bo',/alliance that ma, arta!e in negotiations an' such )or TV an' Film associations Internationa2 A22iance of Theatrica2 %ta*e E/2oees # IAT%E a. JD$=D i. enerall, res cra)tsmen an' technical emlo,ees in%ol%e' in stage motion icture an' t% ii. Degotiate minimums ensions -el)are etc.. )or its membershi Aerican (ederation of Musicians - A(M a. Musicians union reresents instrumentalists i. Members o) the s,mhon, eole -ho la, in orchestra at la,s stu'io musicians Aerican &ui2d of Authors and Co/osers - A&AC a. 8song-riters guil'9 ). music comoser an' l,rics comoser c. 'e%eloe' a uni)orm song-riter agreement i. more )a%orable terms )or its members not generall, )oun' in stan'ar' 5s 1. e: i) song is not use' (a!a commerciall, eloite'" -ithin a certain time rights re%ert to -riter d. D=T 0 JD=D F= =+T$V+ B00$D$D PJP=*+* i. But 'oes ha%e union
h E A ontract in the +ntertainment $n'ustr, 1. $ntro ". ontract Formation A has a 5 e%en been )orme' a. olmes % *mith (24" A i. P -as a )ormer artner o) ill smithCs bac! -hen he -as in still &H Ha??, He)) an' the Fresh Prince ii. Based on an oral promise between P and D, D got P a contract with a record compan" but there was no written contract stating that P was &3I of the group iii. ater P eerience' )inancial har'shis an' & hele' him out 1. P claime' that the Y & ga%e him -as a,ment 'ebts er this oral contract 2. & sa,s the, -ere a gi)t
43
?.
iv. 1% affirmed lower court held that pa"ments D made to P did not constitute acknowledgment of partnerEs alleged debt to musician v. 5esson alwa"s get agreements in writing and clearl" articulate its terms b. ontracts )or minors i. arent-guar#ian must sign to make k en"orcea$le ii. S-* $oth states have extra proce#ures where$! a Iu#ge rea#s, reviews an# approves the contract in or#er to make it en"orcea$le 1. his prevents the minor #isavowing the contract an# sa!ing it is unen"orcea$le when minor turns 1D iii. DL 'uration o) court
44
& issue as soun' recor'ing but comosition also at issue Moto-n too! e%er,thing song comosition an' soun' recor'ing )or ro,alties i. & ai' P an a'%ance on con'ition that original music be comose'. c. Big issue here on)lict in PCs testimon, as to -hat -ent on at recor'ing session i. ontemoraneous -ritings o) both arties that P inten'e' to an' 'i' recor' ne- %ocal music at the session -hich & ai' )or #. Much ne- 'irect roo) a%ailable )or ne- t rial i. & can resent as man, as 1 members o) Mi'night Mo%ers an' the soun' engineer. e. PCs Testimon, regar'ing the time erio's at issues are siml, inconsistent -/ this testimon,. i. Ver'ict set asi'e an' ne- trial grante' 2. Platinum ecor' o. % ucas)ilm (1EG3" A a. $ssue here is i) the, ha%e rights -hen it comes to at home %i'eo 'istribution $. P is the o-ner o) O in certain songs )rom 0merican ra))iti soun'trac! i. *ue' & to reco%er )or breach o) contract c. 5 bet-een P an' & ga%e & rights to use certain songs in mo%ie #. ourt hel# L granting 8 rights o" use o" 6s @ "or soun#track was su""icientl! $roa# to encompass vi#eo #iscs an# vi#eo cassettes, i. L speci"icall! gave 8 the right to exhi$it, exploit, market an# per"orm the motion picture perpetuall! throughout the worl# $! an! means or metho#s now or herea"ter known,/ 1. an be rea' to inclu'e an, ne-l, 'e%eloe' me'ia e. $t -as immaterial -hether co,right o-ner anticiate' all otential )uture 'e%eloments in manner o) ehibiting motion ictures an' i. the absence o) an, seci)ic mention in the 5 -as insigni)icant. ". 5 is clear on its )ace its terms gi%e & the rights ii. Tour ontracts A 1. Michael oel Promotions Pt,. t'. %. Bolton (1EEQ" A a. P is a concert romoter -ho ma'e an' agreement -i th & to set u a G
4#
#.
%ssue here o" whether an# when parties inten#e# to $e $oun# is a "actual issue that shoul# $e su$mitte# to the Iur!. i. Partial er)ormance is an unmista!able signal that one art, (here P" belie%es there is a 5 1. an' the art, -ho accets er)ormance (here &" signals b, that act that it also un'erstan's a 5 to be in e))ect. e. =ust $-c the parties contemplate memorialiEing their agreement in a "ormal #ocument #oes not prevent an agreement "rom coming into e""ect $e"ore written #ocuments are #rawn up. ". he oral agreement was su""icientl! particulariEe# to allow the case to go to a Iur! oral L ha# the num$er o" concerts woul# pro#uce an# speci"ic compensation "or 8
b.
(ILM C$NTRACT% # originall, actor signe' a 5 -ith stu'io an' then the, assigne' them roles; i) the, -ante' to ma!e a mo%ie -ith another stu'io nee'e' a loan out agreement; no- artist in charge o) 8loaning
46
i.
c.
*n#-or special ver#icts in this case in connection wcontractual o$ligations o" Basinger an# :W are preIu#iciall! am$iguous, re>uire reversal. I. $n'ucement theor, A i. ne- agenc, ($M" in'uce' her not to 'o the )ilm. 1. Main ine 'i' see! reco%er, )rom $M but $M grante' motion )or non
4Q
2.
.
ii. *omeone -ith a O scrit in the ro'uction o) a 'eri%ati%e -or! ma, not ecee' the seci)ic urose )or -hich ermission -as grante'. #. Kegar#less Kegar#less o" right right to $roa#c $roa#cast ast e#ite e#ite# # version, version, cuts ma#e constitute# an actiona$le mutilation o" the work. i. Koote# Koote# in moral moral right right right right to have have work work attri$ute# in "orm in which create#, 1. no such such expr express ess rig right ht in in AG "or "or this this t!pe t!pe o" o" work un#er H*K* e. &conomic &conomic incent incentive ive "or "or artist artistic ic an# an# intelle intellectual ctual creation creation that that serves as "oun#ation o" *merican cop!right law cannot $e reconcile# w- ina$ilit! o" artists to o$tain relie" "or mutilation or misrepresentation o" work to pu$lic. i. Moral rights although not eressl, imlie' to certain etent in both ". illiam notable )or hol'ing that 0B boun' b, 5 that BB signe' -/ Mont, P,thon an' )or )in'ing that 0B %iolate' MPCs rights -hen it e'ite' the rograms )or broa'cast on net-or! TV. g. +'itorial choices ma'e b, TV net-or! uset P to such an etent that the )inishe' ro'uct that aire' 'i' not re)lect their inten'e' -or! ,o sheet a. 8&istorting9 the ainting Mutilation o) ainting b, co%ering it u -ith a substance on to o) it i. argue it 'ishonors the artist / misreresents him $. ). 0utr, an' Preminger custom an' usage o) e'iting )or TV or inserting commercials. i!el, 'i))erent )or MP MP not 0merican grou not eecte' to lea%e l ea%e sace )or commercials. Preminger %. olumbia Pictures (1E66" A a. ro'ucer/'irector see!s to re%ent cuts )or commercials minor e'its a)ter licensing )ilm i. 0rgues that -ill 'etract )rom artistic merit o) the -or! ii. 'amage PCs reutation iii. cheaen an' 'estro, commercial %alue o) the -or! iv. in7ure P in the con'uct o) their business v. an' reresent to ublic that the )ilm sho-n is PCs. $. L has the right to make the "inal "inal cutting cutting an# e#iting e#iting o" the picture, $ut shoul# consi#er suggestions "rom 8 in ; i. L?rights L?rights grante grante# # inclu#e inclu#e right right to televi televise se the movie c. eneral eneral clause clause giving giving s right right to "inal "inal cut an# e#it e#it as to to original pro#uction o" "ilm must !iel# to the speci"ic clause with respect to H $roa#cast o" movie i. which which contai containe# ne# no such such righ right. t. #. Dormal customs re%ailing in motion icture an' TV in'ustries as to signi)icance o) right to )inal cut i. )or at least the ast 1# ,ears imlicit in the grant o) TV rights is ri%ilege to cut an' e'it e. P -as a-are o) the ractice contracte' )or aro%al o) such changes in other 5s but 'i' not 'o so here ". (ina2 cut re2ates on2 to a /hase in the /roduction of the /icture for a theatrica2 showin* and has no re2ation to the interru/tions and inor cuts here. g. %" cuts are so signi"icant signi"icant as to constitute mutilation/ mutilation/
4G
i. s ma! make applicati application on "or "or inIunct inIunctive ive or other other relie". h. ;inal cut is is a provis provision ion that that !ou !ou negotia negotiate te "or #irector #irector an# pro#ucer3 #irector usuall! usuall! shoul# get it $ec it "ocus on who gets the "inal wor# on the work $e"ore $e"ore it goes out to the pu$lic . $n'ustr, stan'ar'/custom is -hat re%ails a. an ma!e cuts )or reasonable time constraints an' to ma!e minor 'eletions o) ob7ectionable contet/language $. ourt -as not going to allo- Preminger to en7oin & )rom ma!ing minor cuts i. e -as a seasone' %eteran o) in'ustr, ii. uts nee's to be *= se%ere that -oul' trul, 'amage the -or! an' rise to the le%el o) mutilation ii. Contracts for Rea2it TU 1. +'iting )or ealit, TV a. ealit, TV isnCt scrite' but there is a huge amount o) e'iting -or! $. ithout a -riter it is the e'itor -ho gi%es the sho- its )loc. Mo%ement to ha%e ealit, e'itors to be ai' as scrite' -riters #. *+ $nc. % *tillman (23" A i. & alie' to be on *ur%i%or 1. *igne' a -ai%er -oul'nCt tal! about -hate%er haene' on the shoii. Pro'ucer rigs sho- an' she gets %ote' o)) 1. she 'isclose' that in an inter%ieiii. P sue' that she breache' her contract iv. Breach o) 5 rotectable in)o an' tra'e secrets that agreement sought to rotect coul' not as a matter o) la- inclu'e maniulation o) sho-. 1. $) she 'isclose' an,thing it -as in)o that coul' not be rotecte' thus insu))icient i nsu))icient )or breach. v. *tatements o) sho- maniulation i) )alse an' unri%ilege' are 'e)amator, er se roo) o) actual malice not re@uire'. 1. *+ 'i' not resent e%i'ence o) outright )abrications an' 'isaraging statements ma'e -ith !no-le'ge o) )alsit, or rec!less 'isregar'. vi. ea! ea! 5 unconscionabilit, argument argument she -as an attorne,. 2. Tal! *ho- 0greements a. amo%er'e % *on, Pictures +ntertainment (22" A i!i a!e case i. Dationall, !no-n a'otion in%ite' to be on i!!i a!e e%entuall, agree' ii. re-/securit,/ro'ucers attemte' to )orce Ps to sign ne- 5s an' releases. 1. The, re)use'. +%entuall, Ps -ere )orce' to lea%e. iii. P brought suit )or breach o) 5 )alse im risonment )rau' assault an' batt er, $$+& $$+& negligence negligence er se an' D$+&
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c.
ew ew Ls #o #o not not in#i in#ica cate te ong ongoi oing ng negotiation since ha# signe# an# returne# prior L w-out reservation reservation iv. ;acts allege# allege# su"" su""icie icient nt to support support "alse "alse imprisonment an# assault-$atter! assault-$atter! (threatening $ehavior an# unwelcome touching su""icient) 1. Do 'ut, outsi'e 5 thus no )rau' no outrageous thus no $$+& D$+& no h,sical in7ur, thus no negligence negligence v. Was the there re a LJ LJ 1. onsi# onsi#era eratio tionJ nJ ro romis misee to to appea appearr in in exchange "or the $ene"its receive# (hotel, air"are, etcU) a. *lthou *lthough gh contra contract ct was in"orm in"ormal, al, nothing in its writing state# it reserve# rights until the! execute a "inal contract i. 8 sign signe# e# it it an# an# ret retur urne ne# # it to 6s law!er ii. ii. art artia iall per" per"or orman mance ce in#icates reasona$le expectation Pemerton % *ringer (1EE#" A i. P agree' to come on Herr, *ringer sho1. *igne' a release )rees & )rom an, claims arising out o) the ro'uction 'istribution telecast or romotion o) the shoii. & Tol' him that his arch enem, -asnCt going to be there 1. e -as there an' beat u P iii. *ho- liable 1. $ntentionall,/rec!lessl, resonsible iv. elease has an arbitration clause 1. The claims raise' arise out o) the ro'uction o) the *ho- an' PCs aearance on it. a. The eleas eleasee ertain ertainss eac eactl, tl, those those claims. v. hether &e)en'ants )rau'ulentl, in'uce' Pemerton to enter into the elease is a @uestion )or arbitration. irl Frien's Pro'uctions $nc. %. 0B (2" A i. P create' an i'ea )or 'a,time tal! sho-: 8girl)rien's9 ii. Ma'e a ilot )or 0B it -as 'roe' 1. 5 ha' contingent comensation i) there are an, sho-s ma'e base' uon it iii. 0 )e- ,ears later 0B starts 8The Vie-9 iv. Court focuses on the words 6)ased u/on7 1. =riginal sho- hosts not celebrities but regular eole no celebrit, guests 'eca'e an' ethnicit, 'i))erences single issue sho-s allo-ing )or stac!ing. 2. The Vie- hosts are celebrities celebrit, guests some age 'i))erence but no concerte' e))ort at 'i))erent ethnicities multile issues re@uiring 'a, an' 'ate.
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v. &ssentiall! looking "or su$stantial similarit!, #i""erences so o$vious that no reasona$le Iuror woul# "in# Hiew $ase# on/ ;s. 1. 8s - Bar$ara Walters also can claim in#epen#ent creation, complete #e"ense to 6s claim o" stolen i#ea a. *n# even i" there was access to irl ;rien#s i#ea $. %#ea?su$mission case vi. e%ersionar, right nee's to be inclu'e' seci)icall, in 5 is not resume' to re%ert bac! true in )ilm an' music as -ell. 1. $s usuall, combine' -/ license an' otions. ame *ho- ontracts A a. elbman % Valle,crest Pro'uction t'. (21" A i. 0mbiguous @uestion on -ho -ants to be a millionaire ii. e signe' a release 1. signe' releases stating all 'ecisions o) ro'ucers )inal 2. also hol's harmless ro'ucers an' sho)rom an, claims arising )rom articiation on shoiii. *o -h, is court hearing this 1. 0rgue' that the 5 -as a 5 o) a'hesion an' signe' -ith un)air bargaining o-er an' there)ore unen)orceable iv. ourt 'isagree' -ith that he coul'C%e chose not to come on the sho1. This -as a %ali' 5 a. consi'eration -as contestant aeare' on sho b. in return )or ossibilit, o) -inning an' lo'ging/air)are. v. Possibilit, o) 2 correct ans-ers to @uestion 'oes not in%ali'ate a clause reser%ing )inal 7u'gment. 1. here was no $reach $! 8 a. =ust $-c there ma! have $een 2 correct answers #oesn6t $reach the "inal sa!/ clause vi. claims 8 acte# in B; $! propoun#ing un"air contest >uestion an# Iu#ging ar$itraril!. 1. oint o" contention is that #isagrees w 8s answer, not a $reach o" the L. vii. o reasona$le argument that L is oppressive, unconsciona$le, or contrar! to pu$lic polic!, was given generous accommo#ations to appear on show. $. osner %. Valle,crest Pro'uctions t' (24" A i. 0nother TB0M @uestion 1. orrect ans-er to a @ -as not 1 o) the 4 otions ii. elease that P signe' barre' the claim because it ga%e & the sole right to interret @uestions an' ans-ers iii. *o -h, can he sue i) he signe' the release 1. P claims Degligent on art o) & to create an ans-er -ithout the correct ans-er
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iv. uman error is -hat cause' that roblem 1. laime' the, 'i'nCt )act chec! the @uestion an' there)ore er the 5 he shoul' get another chance v. elease gi%es ro'ucers the )inal an' bin'ing 'ecisions regar'ing issues o) interretation o) @Cs on sthe shoright % *on, Pictures +ntertainment $nc (2#" A i. P signe' a release that he -ont sue & ii. Pat *a7a! 7ume' on P in celebration 1. elease incl. claim )or ersonal in7ur, iii. elease barrs claims )or negligent con'uct 1. laims )or rec!less/intentional con'uct are not barre'
0PT+ 1 +&$T* 1.
2.
$ntro A a. re'it re)ers to the listing o) the ersonCs name net to the )unction he or she er)orme'. b. 8*tor, b,9 cre'it in'icates the erson -ho 'e%eloe' the stor, but 'i' not -rite screenla, c. *creenla, cre'it is 'enote' as 8-ritten b,9 an' ma, go to multile eole i. 89 in'icates -riters -or!ing together to create 7oint -or! 1. central to the %alue the, can comman' in contract negotiations an' such (can get more" ii. 8an'9 in'icates authors -ho contribute' a)ter )irst author ha' )inishe' regular scrit. '. 8*crit suer%isor9 ta!es 'etaile' notes 'uring )ilming ai's 'irector an' e'itor. e. *ome actors -ill )orgo a,ment u)ront )or re'its because the, can lea' greater comensation in the )uture *tar Billing a. Billing 0ctorCs stature ma, be base' on -hether their name is lace' be)ore or a)ter title. i. $) actor is not the star than the sooner their name aears a)ter the star the betterunless the, get the )inal listing. 1. 80n' Tom an!s9 b. *tars -ill sometimes tra'e a, )or cre'it to aear in a lo-er bu'ge )ilm that sho-cases their talent in other genres ma, start to recei%e a higher @ualit, range o) scrits. i. re'it an' billing lin!e' to comensation a, o) stars increases -/ bo o))ice gross o) their ics. c. *ohia oren %. *amuel Bronston Pro'uctions (1E62" A i. The mo%ie +l i' ii. 5 ro%i'es that in all ai' a'%ertising o) +l i' oren -oul' get 2n' star billing abo%e the title 1X the si?e an' t,e o) the title on the same line same si?e same rominence as that use' )or harlton eston -ho got 1st star billing. iii. *he argue' that contract -as breache' 1. her name -as un'er eston an' smaller )ont than title o) mo%ie a. see!ing in7unction o) such a'%ertising i%. this is 8an abo%e the line9 cre'it name coming be)ore title but her name -as on same line as eston %. ase resents substantial issues as to Ps rights genuine @uestion o) -hether oren is reall, in 'anger o) su))ering loss o) restige an' other 'amage. %i. $n7unction -oul' 'o more than reser%e status @uo 1. rights at this 7uncture not so clear as to -arrant in7unction. 2. $n7unction 'enie' but -ill go to earl, trial. '. The riter A Most times )ight is o%er getting a cre'it )or a -riter; sometimes a -riter 'oes not -ant to be associate' -ith a )ilm
#2
i. 5ing %. $nno%ation Boo!s (1EE2" A 1. *tehen 5ing assigne' )ilm rights in short stor, The a-nmo-er Man )or interest in ro)its )rom mo%ies 8base' uon stor,9 a. e oose' ossessor, cre'it an' base' uon cre'it o) subse@uent )ilm 2. & grante' in7unction -hich sai' that & )alsel, 'esignate' P as the originator o) the mo%ie 8The a-nmo-er Man9 a. $n7unction rohibite' use o) 5ingCs name 8on or in connection -ith9 the mo%ie; in t-o )orms o) cre'it i. Posessor, cre'it 8*te%en 5ingCs The a-nmo-er Man9 ii. Base'uantitative an# >ualitative terms, o" the short stor! appearing in the "ilm. 1. here a mo%ie 'ra-s in material resects )rom a literar, -or! both @uantitati%el, an' @ualitati%el, base' uon cre'it shoul' not be %ie-e' as mislea'ing absent ersuasi%e counter%ailing )acts an' circumstances.
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11. 0ssignment agreement contemlates substantial alterations in short stor, an' obligates 0llie' to gi%e 5ing cre'it in case o) )ilm base' on short stor, 12. Presumtion o) irrearable harm arises in anham 0ct cases once P establishes li!elihoo' o) success on claim o) literal )alseness a. $rrearable harm )rom this )lo-s )rom the -rong)ul attribution to the in'i%i'ual in the e,e o) the general ublic o) resonsibilit, )or actions o%er -hich he has no control. ii. oo'man %. ee (1EGQ" A 1. P an' & co<-rote song 8et the oo' Times oll9 a. & registere' onl, in his name onl, he recei%e' ro,alties )rom rema!es an' co%ers b. P sought 'eclarator, 7u'gment that -as 7oint -or! an' ro,alties recei%e' )rom use an' eloitation o) the song 2. & has eclusi%e original 7uris'iction o%er ci%il actions -hich arise un'er congressional acts relating to co,rights. a. 0ction 8arises un'er9 i) comlaint )or a reme', eressl, grante' b, O 0ct or asserts a claim re@uiring construction o) the act. 3. This case clearl, in%ol%es alication an' interretation o) co,right o-nershi ro%isions o) 21(a" 4. ases relie' uon b, & are 'istinguishable in that the, concern o-nershi 'isutes arising )rom contractual agreements b/- the arties. C. *ction to esta$lish ownership #oes arise un#er/ @ *ct, thus is w-in Iuris#iction o" "e#. a. %" #oes not an# is merel! L #ispute, it is state matter. i. o- shoul'nCt she be on notice 6. 0s such P is a 7oint o-ner o TT a. O registration shoul' i'enti), her as co
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$nternet re'its i. 5ronem,er %. $M&B < 1. P sa- that he -asnCt roerl, liste' as an +ecuti%e on $M&B age )or M, Big Fat ree! e''ing a. 0s!s $M&B to )i the, 'onCt 2. *ues; & )iles an 0nti<*00P motion a. This is not against a erson arising )rom an, act in )urtherance o) 1st 0 rights o) )ree seech i. But bec MBF -as hugel, success)ul this case has ublic interest 3. e 'i' ro'uce e%i'ence an' 'ocuments that sho- he 'i' hol' eec ro'ucer osition on the MBF crea. But nothing in his e%i'ence sho-e' his entitlement to a +P cre'it i. Dot enough to meet his bur'en 4. 00L* M05+ *J+ T0T 0D 0++M+DT T0T L=J +&$T $* +0L &+F$D+& *P++& =JT 0D& P=V$&+* T0T T+ +&$T $ B+ *T0T+& 0* *J $D 0 FJTJT+ +P=$T0T$=D* a. 8D= 5D=D = ++$D0FT+ &+V+=P+&9
CA!TER 11 # !A $R !LA 1. Pa, or Pla, A a. $ntro A i. 0ctors can negotiate 5 to ha%e a 8a, or la,9 ro%ision 1. $) )or some reason the ro7ect is cancelle' actor -ill still get ai' (or a nice X o) mo%ie salar," as a result o) the time the, committe' 2. *houl' the actor nee' to )in' a ne- role Pa, or la, clause re@uires them to acti%el, loo!ing )or -or! (an' not sit aroun' an' 'o nothng" b. *hirle, Maclaine Par!er %. 2th entur, Fo Film or. (1EQ" A i. P contracte' to act in &Cs mo%ie; incl. Pa, or la, clause 1. stu'io 'roe' ro7ect 2. o))ere' P another )or same salar, she re)use' a. P sue' alleges &Cs )ailure to mitigate 'amages resulting )rom its cancelation o) mo%ie >1 ii. eneral rule measure o" recover! $! a wrong"ull! #ischarge# emplo!ee is the amount o" salar! agree# upon "or the perio# o" service, less the amount which the emplo!er a""irmativel! proves the emplo!ee has earne# or wreasona$le e""ort might have earne# "- other emplo!ment. 1. &mplo!er must show that the other emplo!ment was compara$le, or su$stantiall! similar, to that o" which the emplo!ee has $een #eprive#. iii. &Cs ten'ere' substitute emlo,ment ne- mo%e coul' not be alie' to mitigate the 'amages )rom them 'roing mo%ie >1 an' breaching 5 b/c it -as 'i))erent an' in)erior t,e o) mo%ie comletel, 'i))erent location an' control. iv. &issent
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2n' 5 'ealt -ith the %i'eo a. this ha' the Pa, or Pla, ro%ision 3. i? Ta,lor tr,ing to escae ersonal liabilit, )or 5 Per 5 relationshi bet-een actors an' ro'ucers go%erne' b, 0ctorsC +@uit, 0ssociation 0greement 1. !a or /2a is not a standard a*reeent in the AEA A*reeent it is ne*otiated for on to/ of it a. Actors )ar*ainin* /ower wi22 dictate if the can *et it in the , 0ll -ritings )orming art o) a single transaction are to be rea' together. 1. Broa'-a, Pla, 5 'oes not ha%e the a, or la, but %i'eo agreement 'oes -hich cross
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MJ*$ =L0T$+* A a. M0 ecor's $nc. % 0llison (2E" A i. ecor'ing 5 b/- Bu'', oll, an' ric!ets -/M0 ii. 5: 1. For term o) 0greement soun' recor'ing became roert, o) M0 sub7ect to ro,alt, a,ment (stan'ar'" a. 0)ter oll,Cs 'eath )amil, got the ro,alties 2. +state -as unha, -ith the amount o) ro,alties the, recei%e' a. 0s!e' )or au'it o) ro,alties 'i'nCt haen but estate ne%er )urther ursue' it -ither iii. Jn'er ol' contract ro,alties -ere to be reorte' an' ai' 2 a ,ear 1. oll, ha' 2 ,ears *= ()rom 'ate o) each a,ment" to challenge a. +ach a, erio' ha' 2 ,ear *= i%. Pac!aging 8QGs9coul' onl, ha%e 1 song er si'e so an album consiste' o) numerous recor's ac!age' together 1. Bec. o) the eas, brea!age o) ol' shellace' recor's artists onl, got ro,alties )or EX o) all recor' sales a. & elacement %alue )or 1 recor' use' as t he %alue o) the ro,alties actuall, ai' to the artist %. ourt re)use' to amen' the 5 1. 7u'iciar, 'oesnCt ha%e the o-er to 'o so 2. but it eliminate' the un)air relacement )ee calculation/'e'uction all together a. resulte' in a more )air calculation o) ro,alties ai' to oll, an' ric!ets %i. ontainer harge / Pac!aging &e'uction sli'eA 1. here resect to 'isc honograh recor's (P":
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a. b. c.
12X o) the alicable etail selling Price (*P" o) such P < an' -ith resect to PCs in non<'isc con)igurations 24X o) such Ps; an' -ith resect to Q
CA!TER 1" # 'E(AMATI$N AN' 'I%CRIMINATI$N 1.
'E(AMATI$N a. B esta)2ished edia # i. *ommer % abor (1EE#" A 1. & an' her husban' ma'e comments to erman maga?ine about P a. *ai' that she is ol' bal' bro!e ha' to sell her house hangs out in see', bars an' nobo', in oll,-oo' recogni?es her i. These comments -ere rinte' in the maga?ines 1. Poular in erman, an' also in 0 ". P sue' because the, -ere 'e)amator, a. ause' her negati%e ublicit, an' reutational harm -hich in turn cause' her to lose out on otential acting gigs an' other sources o) income b. *ho-e' e%i'ence o) emotional 'istress ?. omments eose' her to contemt ri'icule an' 'isgrace Q. & !no-ingl, ma'e these comments an' -as a-are that the, -ere )alse an' -oul' cause such a bac!lash a. Hur, )oun' )or P i. P& 4#5 against `sa `sa; G#5 against husban' ii. *ecial %er'ict Y1.2#M against `` an' 2.# %s husban' . e@uirement o) malice . Don
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i. short )at bal' !ne- Herr, in college came )rom Uueens. C2ais to )e hui2iated ) character0 )ein* cast in a fa2se 2i*ht0 invasion of /rivac0 and defaation a. No coon-2aw ri*ht to /rivac in N i. *ein)el' -as a )ictional come'ic resentation thus statute 'oes not al, to its use o) name or li!eness. . 8 calle# a "lagrant opportunist an# Iust tr!ing to cash in on the huge popularit! o" the show a. Guch a statement is a matter o" opinion, not actiona$le as #e"amation. Q. ourt 'ismisses case as )ri%olous an' -ithout base' an' merit a. *anctions P an' la-,er )or Y2# Eer*in* Media i. ohen % oogle (2E" A 1. P a mo'el sue' & o%er allege'l, 'e)amator, statements about the mo'e oste' on Blogger & hosts/controls Blogger ". P argue' that oste' comments constitute' 'e)amation er se in that it imugne' her chastit, an' negati%el, re)lecte' on her business. a. omments re)erre' to her as a s!an! an' a ho ?. P claime' that she -oul' ha%e been a lainti)) in a 'e)amation action i) she coul' ha%e ascertaine' the bloggerZs i'entit,. a. & argue' that the mo'el -as not entitle' to re
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P allege' that &Cs use o) seuall, coarse an' %ulgar language an' con'uct inclu'ing the recounting o) their o-n seual eeriences constitute' harassment base' on se -ithin the meaning o) F+0 Q. ol'ing: P )aile' to establish a PF case o) hostile -or! en%ironment seual harassment in %iolation o) the F+0. a. &Cs le-' tal! an' gestures 'i' not in%ol%e an' -as not aime' at the assistant or other -omen in the -or!lace. b. To the etent triable issues o) )act eiste' as to -hether certain o))ensi%e comments -ere ma'e about -omen other than the assistant because o) their se no reasonable trier o) )act coul' conclu'e that those articular comments -ere su))icientl, se%ere or er%asi%e to create a -or! en%ironment that -as hostile or abusi%e to the assistant. . eman'e' T a))irme' no seual harassment . P ha' to a, 41#5 in attorne,s )ees on groun's that suit -as )ri%olous ureasonable an' -/o )oun'ation a. *tatements -hile ma'e in her resence -ere not 'irecte' against her b. The, tol' her in inter%ie- -hat she -oul' eect eole -oul' be tal!ing about things o) a seuall, elicit nature i. *he chose to al, an' ta!e the 7ob she !ne- -hat she -as getting hersel) into ace &iscrimination i. Murra, % DB (1EGG" A 1. osb, sho- case a. laim )or acial 'iscrimination b, the i'ea submitter $'ea ". allege' that cosb, sho- stole his i'ea )or a blac! )amil, sit
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2. $mlie' 5
CA!TER 1? # $B%CENIT0 UI$LENCE AN' RATIN&%
1.
2.
+0 +J0T$=D =F =B*+D$TL A a. u!e ecor's $nc. %. Da%aro (1EE2" A i. 2 i%e re- ha' song 80s Dast, as The, ant To Be9 ii. & *herri) Da%aro (in F" )oun' it to be obscene sue' to ha%e it ta!en o)) shel) iii. Faile' to ass Miller test &. 0rtistic Value iv. T> +udge held that sheriffs offices action was unconstitutional, thus granted an in+unction, but found the record was obscene. v. C$A reversed # %heriff fai2ed to eet )urden of /rovin* o)scenit )ecause he su)itted no evidence to contradict testion that the wor5 had artistic va2ue. &. Mi22er test of o)scenit shou2d have )een a//2ied ) a ur . %i. Mi22er Test : &. hether the a%erage erson al,ing contemorar, communit, stan'ar's woul# "in# the work ta!en as a -hole appeals to the prurient interest ; H. -hether the -or! 'eicts or 'escribes in a patentl! o""ensive wa!, sexual con#uct speci"icall! #e"ine# $! the applica$le state law ; an' I. -hether the -or! ta!en as a -hole lac!s serious literar, artistic olitical or scienti)ic %alue. %ii. 0ll 3 elements must be loo!e' at in'een'entl, an' all 3 must be met &. riteria B 'oesnCt ass atentl, o))ensi%e an' seuall, elicit ten's to len' more to-ar's ornograh, not a song -i th seuall, elicit l,rics H. riteria gets !noc!e' out here sa,s there is some artistic %alue/elements in 2Cs recor' a. PCs Testi),ing eerts sai' the, -ere re%olutionar, an' inno%ati%e %iii. The court )oun' that the recor' -as insu))icient to 'etermine -hether the -or! lac!e' serious artistic scienti)ic literar, or olitical %alue an' the trial 7u'ge coul' not )in' that the musical -or! ha' no artistic %alue b, siml, b, listening to the music. Film atings a. a%e 'i))erent MP00 ratings )or Films an' Trailers as -ell i. $t e))ects mar!etabilit, an' ho- ,ou mar!et the un'erl,ing )ilm &. +: Trailer 80ll 0u'iences9 b. Hohn arlos Fre, $nter%iec. Mirama or % MP00 (1EE" A i. MP00 is a sel)
6
3.
Q.
iii. ourt cannot change the MP00Cs rating &. Jnless it -as arbitrar, or caricious -hi ch it -asnCt here H. +%en though ourt ma, ha%e 'isagree' -ith the metho's MP00 uses to come u -ith their ratings the ourt -onCt 'isturb rating a. Dobo', -ho is roerl, @uali)ie' to o))er legitimate stan'ar' o) gui'ance; no secial @uali)ications to be on MP00 ratings boar' b. ourt ris into them )or this but that 'oesnCt imact the result o) the case i%. MP00 shoul' ha%e a rational reason )or gi%ing the ratings &. *houl' not ha%e eole -ho are not siml, -orrie' about the economic e))ects an' commercial success o) the )ilm a. igher rating ma!es it more restricti%e to -ho can go an' see it H. Peole -ho are @uali)ie' an' mission is to rotect chil'ren a. *houl' ha%e state' mission an' goal %. hile the court )oun' )ault -ith &Cs rating stan'ar' -ithout an, ro)essional inut about the imact uon chil'ren &. ourt )oun' that P )aile' to allege an, ba' )aith in reson'entZs action. %i. P also )aile' to sho- that & acte' arbitraril, cariciousl, or -ithout rational basis in al,ing its 00P stan'ar' as etitioner ac!no-le'ge' that its )ilm -as not suitable )or those un'er the age o) 1G. &. P also )aile' to resent e%i'ence o) clear an' intenti onal 'iscrimination. %ii. The court in'icate' that etitioner ma, ha%e )ile' suit merel, to 'ra- attention to its )ilm. &. &ismisse' because P )aile' to sho- that & acte' in ba' )aith arbitraril, cariciousl, or -ithout rational basis or 'iscriminate' against it b, gi%ing )ilm an rating. %iii. *trongl, recommen'e' that MP00 re%ises the ratings s,stem that ermits ro)essional basis )or rating )ilms i. MP00 later change' rating to D<1Q &. more connotes ornograh, %s. here -as more artistic )ilm -hich haene' to be seuall, elicit F *eech estrictions a. F % Fo TV *tations (2E" A i. J** uhel' F regulations that ban 8)leeting eleti%es9 on TV broa'casts. &. F regs -ere not arbitrar, an' caricious un'er the 0P0 ii. 2 inci'ents 'uring the Billboar' Music 0-ar's in 2<3 &. her an' Dicole ichie sai' )uc! 'uring broa'cast iii. ol'ing: F ha' not acte' arbitraril, -hen it change' a long
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1. thus0 it fai2ed )oth /ron*s of the test i%. ourt also note' that the l,rics in @uestion ma, be sub7ect to 'i))ering interretations -hich ma, or ma, not be reaching suici'e 1. $s)ourne is /ro)a)2 a2so /rotected fro 2ia)i2it if he were to sin* the 2rics 2ive to an audience )8c severa2 different inter/retations of the 2rics are /ossi)2e. %. Jsuall, in these cases b/4 )ile an ans-er attorne, )iles no action/summar, 7u'gment A usuall, resol%e' here %i. T 'ismisse' suit barre' b, 1 st 0 Faile' the Bran'enburg Test &. o%Ct canCt unish in)lammator, seech unless it is 'i recte' to inciting an' li!el, to incite imminent la-less action. H. =0 a))irme' PCs )aile' to allege an, basis )or o%ercoming the )ree seech rotections o) 1 st 0 an' that P )aile' to allege su))icient )acts to sho- an, intentional or negligent in%asion o) lainti))sZ rights. I. Because there -as no roo) that the recor'e' music incite' the 'ecease'Zs suici'e; there)ore the music -as seech rotecte' b, 1st 0men'ment Uideo &ae Ratin*s And Atte/ts To Censor # a. $ntro A i. Vi'eo atings: &. ame ma!ers %oluntaril, submit to them b. Vi'eo *o)t-are &ealers 0ssCn %. *ch-ar?enegger (J** 21" A i. P %i'eo game ma!ers sue 0 *tate la- banning sale o) %i olent %i'eo games to an,one un'er 1G is unconstitutional ii. T=0 basis )or the la- rotecting the chil'ren )rom eosure to %iolence is a %ali' basis )or the la- but there is no 'istinct correlation an' there)ore rule unconstitutional &. 1st 0men'ment concerns rotection o) )ree seech rotects %i'eo games iii. J**
Po'cast Monroe case: DL \ osthumous rt o) ublicit, an' there)ore no 'escen'able =P an' there)ore nothing to ass to her estate re:ublicit, rights an' use o) her image +%i'ence coming out that she 'ie' as a 0 'omiciliar,; 'ie' in 0 hotel but -asnCt in her 0 home bec it -as being remo'ele' at the time an' sho-s an intent that she -as lanning on sta,ing there at the T=& eorge linton A 'igital 'o-nloa' ro,alties 0u'iot ro%isiosn in recor'ing 5 Dee' it to 'etermine i) the amount a,able to artists are accurate; re%ie- ro,alt, statements o-ne' to artist hallenge' that his 'igital rights shoul' ha%e been consi'ere' as a license an' not a sale (similar to +minem case". 1st sale 'octrine ,ou bu, the O -or! ,ou ha%e right to 'o as ,ou -ish ea'
come
into 7uris'ictions -ith )a%orable ta treatment
O in)ringement Eth intrinsic an' etrinsic e%i'ence (Bolton/MM"
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