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Rights and Copyright

Is it fair use to perform one scene?

August 31, 2009 Film Industry, QandA, Rights and Copyright

questionmarkLast year a much beloved directing professor passed away and some of us are working on creating a DVD of her teaching for educational purposes. Her class was filmed one semester before she passed away and we are using this material as the basis for the DVD which will eventually be for sale to teachers and film students.

In her class students used scenes from previously produced screenplays, and directed actors using those screenplays. No clips from the actual films were used.

So the question is this, in order to put a section on the educational DVD of her discussing the breakdown of a script, or actors performing a scene from the script, who do we need to get permission from? Is permission from the author of the screenplay enough? Do we need permission from the studio who owns the screenplay for the film? Is this considered fair use?

— Diane
Los Angeles

Often the most interesting questions are the ones I can’t really answer. I’m hoping some readers with experience on the vagaries of copyright and entertainment law will weigh in with opinions and guidance. Craig? Ted?

In the meantime, I can offer some framework for what we’re discussing.

Studios own copyright on the underlying screenplays behind their movies. The scripts are considered works-for-hire — even if they were originally written as specs. But the credited screenwriter(s) retain the ability to publish the script, which is why I can offer my scripts in the [Library](http://johnaugust.com/library) without getting a call from Sony legal. ((I’ve avoided publishing scripts that are in limbo — abandoned but still owned by somebody — since they could theoretically be made at some point. Just this week I heard rumblings about Tarzan, a movie I thought long dead.))

I recently licensed a scene from my script for Big Fish to be published in a literature textbook. The fact that the publisher went through a lot of hassle to license one fairly short scene suggests that their legal folks believe that use of even a single scene falls outside of fair use. You may disagree, and the truth is I’ve given permission a lot of times when I didn’t think it was even necessary. But my hunch is that if you went to a copyright attorney, she’d say you had to get permission.

But from whom? Here’s where I suspect there’s an important distinction between printing and performing.

If you were simply projecting a page from a script on screen while you discussed it, that feels very close to printing. In fact, studios pay screenwriters a flat fee for the option of including the screenplay on the DVD.

But since your product includes actors performing the scene, you may cross into different territory. In my experience, studios seem to have all rights to film, stage, or otherwise mount a performance of material they own. For example, if Warners wanted to make a Charlie and Chocolate Factory musical, they could use any part of my screenplay without paying or even acknowledging me. That not hypothetical; Karen Lutz and Kirsten Smith wrote the screenplay for Legally Blonde, yet their names are nowhere on the Broadway show. The author of the screenplay material is considered to be MGM.

I think fair use *should* cover you, but I suspect it doesn’t. I look forward to hearing other opinions.

Quoting books in a script

July 31, 2009 QandA, Rights and Copyright, Words on the page

questionmarkIn my script, characters quote from several articles and textbooks to reinforce the validity of their discourse.

My question is: Besides in-text quotation marks, how should I go about crediting the books referenced? Are bibliographies fairly common or allowable in the screenplay format? Or is this only necessary in academic-type publications?

I’ve searched myriad style guides but I find little regarding endnotes/references/bibliographies for screenplays. And I’d like to get it right.

— Dave
New York City

Do you hear that? That BEEP BEEP BEEP sound? That’s a metaphorical truck carefully backing out of the wrong alley you’ve driven it into.

Screenplays don’t need to cite references because they don’t quote things. Or at least, they shouldn’t. Remember: a script is really a transitional document on the way towards creating a movie. Is your film going to have footnotes? Will a bibliography be printed on the popcorn bag?

Sure, you could have a character reading aloud from a textbook:

MARY

Maybe the enthalpy was increasing?

Todd grabs a chemistry textbook off the shelf. Flips through to find a dog-eared page.

TODD

No, see, it says here on page 56 that “exothermic reactions result in higher randomness -- or entropy -- of the system as a whole. They are characterized by a decrease in enthalpy.”

But this would be terrible. *Terrible.*

In fact, I believe this can be generalized into a rule:

**Any scene in which a character quotes from a real or imaginary text will be awful.**

I will quickly add the Whedon corollary:

**”…unless the unlikely existence of the text is part of the joke.”**

Dave, the reason you’re tempted to quote articles or textbooks is that you’re desperately looking for some authority to support your ideas. But the authority needs to come from within your script, not outside. Some examples:

* In The Matrix, anything Laurence Fishburne says has authority.

* In Iron Man, Tony Stark’s suit works because the movie says it does.

* In Up, a bunch of helium balloons can lift a house because it’s charming, damnit.

Cut those quotes. Let characters say what they need to say in their own voices.

Referring to famous people

April 8, 2009 Directors, QandA, Rights and Copyright

questionmarkI’m writing a comedy where two main characters are discussing Michael Bay films. One hates the man and his work, the other is more neutral.

Is this okay and considered “fair”, to talk/discuss/rant about a person like Michael Bay (or Uwe Boll, or Nicholas Cage etc.)? Do you need permission from them?

— James

Feel free to have your characters discuss Michael Bay. Say good things; say bad things; say what you want. It’s pretty hard to cross into libel territory when you just have dialogue about somebody famous like Mr. Bay. Consider what South Park or Family Guy get away with every week.

Is it “fair?” I’d say that as long as it’s funny, you’re fine. When it stops being funny and is simply mean-spirited, you risk alienating your reader. Go and The Nines refer to some real people, not always in a flattering way, and I’ve gotten no objections.

Where you get into trouble is when you take potshots at someone who is not a public figure, like that weird girl in health class. Not only is it legally unwise to call out Millie Walker by name, it’s also unconscionably lame. So don’t do that.

Back to Mr. Bay for a sec: Keep in mind that there’s a difference between referring to a real person in a movie and making a movie about that person.

If you were writing a bio-pic of Michael Bay (Born in Slow Motion: The Michael Bay Story), you would need either his cooperation or significant legal reassurance that whatever protections you were counting on (public record, parody, whatever) could really hold up in court.

Authors’ Guild vs. Kindle

February 26, 2009 Books, Follow Up, Rights and Copyright

Cory Doctorow makes [many of the points](http://www.boingboing.net/2009/02/25/authors-guild-vs-rea.html) I would about the Authors’ Guild’s grumpiness over the Kindle’s text-to-speech function:

> Continuing to take Blount at his word, let’s assume that he’s right on the copyright question, namely, that:

> 1) Converting text to speech infringes copyright

> 2) Providing the software that is capable of committing copyright infringement makes you liable for copyright infringement, too

> 1) is going to be sticky — the Author’s Guild is setting itself up to fight the World Blind Union, phone makers, free software authors, ebook makers, and a whole host of people engaged in teaching computers to talk.

> But 2 is really hairy. If Blount believes that making a device capable of infringing copyright is the same as infringing copyright (something refuted by the Supreme Court in Betamax in 1984, the decision that legalized VCRs), then email, web-browsers, computers, photocopiers, cameras, and typewriters are all illegal, too.

That said, a colleague of mine made a good point: It’s sort of the Authors’ Guild’s job to stir the pot. They might be wrong — they might know they’re wrong — but it’s important to have a group trumpeting the issues of concern to their members.

I think the potential win here will be for Amazon and authors/publishers to find well-priced ways to bundle the text and (real, professional) audiobook versions. I’ve never bought an audiobook, but would consider it if the premium weren’t too high.

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