- Cover
- Halftitle
- Title
- Copyright
- Contents
- Disclaimer
- Dedication
- Acknowledgments
- About the Author
- Part I. Overview of the Pocket Lawyer
- Part II. Legal Building Blocks: Contract and Intellectual Property
- 1. Copyright and Intellectual Property
- 2. Issues in Film Contracting
- Deal Points
- Who Are the Parties?
- What Are You Getting?
- What Are You Giving in Exchange for What You’re Getting?
- What Rights Do You Have or Are You Giving Up?
- What Promises Are Being Made?
- What Protections Do You Have?
- What Rules Govern the Business Relationship Between the Parties?
- What Happens When Something Goes Wrong?
- Part III. The Production Company
- Part IV. Development
- Creating, Acquiring, and Managing the Film Property
- 6. Idea Rights: (Protecting Your Pitches and Avoiding Idea “Theft”)
- 7. Creating a Screenplay
- 8. Acquiring Screenplay Rights
- Buying Rights
- The Screenplay Option/Purchase
- Major Deal Points: The Option Agreement
- Major Deal Points: The Purchase Agreement
- Hiring a Screenwriter
- Major Deal Points: Writer’s Services Agreement
- Screenplay Adaptations
- Major Deal Points: The Literary Property Acquisition Agreement
- Life Story Rights
- Major Deal Points: Life Rights Consent and Release
- 9. Chain of Title: The Care and Feeding of Your Copyright
- Part V. Pre-Production
- 15. Extras and Depiction Releases
- 16. Locations
- 17. What’s on the Set?
- 18. Post-Production Staff
- 19. Music
- 20. Film Clips and Stock Footage
- 21. Credits & Copyright Notice
- Part VIII. Distribution
- IX. Conclusion, Law Library Appendices A–D
To my wife, Natali, my sons, Connor and Xander, my parents, Caleb and Sheila, and to frustrated filmmakers everywhere.
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