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Turns out, he was busy reconsidering Tyra Banks

July 28, 2006 First Person, Los Angeles

You know how you can go months without seeing someone, then suddenly, they’re everywhere? This morning as I was getting into my little Prius, screenwriter/neighbor/inconstant blogger [Josh Friedman](http://hucksblog.blogspot.com/) rolled up in the Death Star Escalade to discuss our respective children’s nap schedules in anticipation of a playdate.

Yeah, I said playdate. This is how we roll in the Southside.

Of Hancock Park.

I suspect Josh was taking his family to BLD (“Breakfast, Lunch, Dinner”), the new restaurant that took over where Red used to be, and is pretty much exactly like Red but white instead, and without those Mexican Cokes.

In typing that, I realize that I’ve now lived in L.A. long enough that I expect everyone to share my specific geo-cultural references. Or, more bluntly, I’ve now lived here long enough to stop caring when they don’t. It only takes a New Yorker six months to become this jaded. Los Angeles takes a decade.

Later today, I followed a link to the [trailer](http://trailers.apple.com/trailers/universal/theblackdahlia/) for Josh’s upcoming movie, The Black Dahlia. I don’t know how he got his name in red in the credit block, but from now on I’m putting that in my contract. I want red and a little box around it.

Upon checking the feeds this evening, I see Josh has finally posted [something new](http://hucksblog.blogspot.com/2006/07/snakes-on-motherfucking-catwalk.html) on the blog. And while I’d like to take credit for this rare occurrence, the more pressing matter is addressing some corrections/clarifications:

* My assistant does not bring me breakfast, though he often brings lunch. (However, I do not [blog about](http://www.janeespenson.com/) it.)

* In daily life, my house is light-filled like a Richard Curtis movie. However, to achieve the look of this on film for The Movie required giant lights and hard gels velcro-ed to all the doors and windows.

As Tyra knows, beauty takes work.

That’s all.

Because really, he should drive a Chrysler LeBaron

July 8, 2006 QandA, Rights and Copyright, The Nines

questionmark*My question concerns referencing branded objects in a screenplay. I’ve read that including name-brand references should be avoided in screenplays because you would need legal clearance in order to feature them.*

*That being said, what if my character drives a Chrysler LeBaron? Can’t I say he drives a beat-up Chrysler LeBaron? And not just as a description, but if it was mentioned in the dialogue as well.*

*Understandably, name brand references wouldn’t make or break my script, but I feel it adds a nice level of depth and detail to my characters if you know they like Gucci shoes and not fancy Italian boots.*

*I guess my question is, what are the do’s and don’ts of brand name references?*

*– Aaron Murphy*

In a screenplay, you can do anything. You can have Ronald McDonald shank Elmo with a sharpened Barbie over a pack of Marlboros.

The trouble comes when you’re moving from the printed word to the projected image. The corporations who hold these trademarks and copyrights don’t look kindly on other people profiting off them, even if the usage is not necessarily disparaging.

So, when you set out to make a movie, someone is generally assigned the chore of getting permission to use other people’s copyrights and trademarks. These “permission slips” are called clearances. During the summer of 1993, while I was interning at Universal, this was my job. I helped do clearances for [The War](http://imdb.com/title/tt0111667/) and [Reality Bites](http://imdb.com/title/tt0110950/), mostly working on props and set decoration.

How do you get permission? You ask.

A large part of the job is figuring out who to ask. In 1993, the Internet didn’t exist in anything approximating its current form, so my fingers got very fast at dialing New York information (212-555-1212) to track down corporate offices.

Once you get the right person on the phone (or email), you explain what the movie is, why you’re asking, and if they could sign and fax back the attached clearance form. As I mentioned in an [earlier article](http://johnaugust.com/archives/2004/getting-permission), Nolo Press’s book *Getting Permission* has templates for clearance forms, and a lot of information about how to handle everything from artwork to music. You can also see a generic version of what we used for The Movie here: [.pdf](http://johnaugust.com/Assets/clearance.pdf) or [.doc](http://johnaugust.com/Assets/clearance.doc).

My assistant Chad handled the majority of the clearances for The Movie, mostly artwork and books featured as props. It’s tedious work, but not particularly brain-draining. (In fact, I wrote my first screenplay while doing clearances.)

How do you know what needs to be cleared, and what you can just get away with using/saying?

I fall back on my standard advice: as a writer, just do what’s best for the script. If that’s Gucci shoes and Chrysler LeBarons, knock yourself out. Don’t worry about phantom problems. Rather, focus on writing the best screenplay you can.

Down the road, when your great script gets ready to become a great movie, there will be producers and other clever people to help you stress out over clearances.

Update on the promiscuous player problem

July 7, 2006 Big Fish, Geek Alert, The Nines

My plea for a DVD player with [loose morals and low standards](http://johnaugust.com/archives/2006/i-want-a-cheap-slutty-dvd-player) was answered by many thoughtful readers. I ended up picking the Philips DVP-642 ($49 at Amazon), which not only zips through questionably-recorded dailies, but even Peixe Grande e Suas Historias Maravilhosas, the Portuguese version of Big Fish.

Thanks again.

Why I don’t have Google ads, part 432

April 27, 2006 Rant, Television

While checking out the Technorati feeds, I noticed that the good folks over at [LostBlog](http://www.lostblog.net/lost/tv/show/air-vents-are-for-air#comments), mentioned my recent rant “[Air vents are for air](http://johnaugust.com/archives/2006/air-vents-are-for-air).” Naturally, the Google ad that followed the story was perfect for readers who wonder why cinematic air ducts are not only unrealistically large, but also surprisingly tidy:

Google Ad

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