On Demand Webinar - Available for immediate viewing and unlimited access.
On Demand Webinar - Available for immediate viewing and unlimited access.
James Pacitti has been an attorney for nearly three decades and is licensed to practice in California, Florida, New York, and Pennsylvania. He is the founder and managing attorney of PLF, an entertainment law firm based in Beverly Hills, California. Prior to starting PLF, James was a trial attorney and litigator in state and federal courts across the country. PLF represents a broad spectrum of creatives, including producers and production companies, in the development, finance, production, and distribution of their projects. The firm also acts as general counsel to its clients and advises them on a wide array of entertainment matters and intellectual property rights issues. PLF has handled TV and film productions across the United States and the globe, including the United Kingdom, Europe, Asia, Africa, South America, the Middle East, and Australia. Past and current clients include Academy Award and Emmy-winning producers and production companies. Full Bio Ā»
Learn all about legal clearances and how you can protect the rights to your project with esteemed entertainment attorney James Pacitti of Pacitti Law Firm
PLUS! You'll receive a Mock Script and Film Clearance Report as well as examples of clearance issues that led to court cases!
Producing a TV, film, or multimedia project is an incredibly daunting task wrought with potential legal peril throughout the entire process.
A TV, film, or multimedia project is the amalgamation of a vast array of rights. In order for producers to be able to distribute their projects, it is essential that the necessary rights are secured through expertly prepared and vetted agreements with each rights holder. It is also vital that producers do not infringe on the rights of those only incidentally involved in the production of their project, including copyright and trademark rights holders. In addition, producers must be mindful of issues of defamation, invasion of privacy, and rights of publicity. Successfully navigating through this complicated legal landscape is virtually impossible without the knowledge and assistance of an experienced entertainment attorney. We’re here to help.
In this essential Stage 32 webinar, you will learn the major legal issues that are most likely to arise during your production and how you can steer clear of any potential legal pitfalls so you can successfully produce and distribute your project. Teaching you everything you need to know about clearance issues for your project is esteemed entertainment attorney James Pacitti of Pacitti Law Firm. James has been an attorney for nearly three decades and is licensed to practice in California, Florida, New York, and Pennsylvania. He is the founder and managing attorney of Pacitti Law Firm (PLF), an entertainment law firm based in Beverly Hills, California. PLF represents a broad spectrum of creatives, including producers and production companies, in the development, finance, production, and distribution of their projects. The firm also acts as general counsel to its clients and advises them on a wide array of entertainment matters and intellectual property rights issues. PLF has handled TV and film productions across the United States and the globe, including the United Kingdom, Europe, Asia, Africa, South America, the Middle East, and Australia.
In this information-packed webinar, James will guide you through the clearance process and illustrate why an entertainment attorney is an essential member of your producing team. You will learn everything from how to obtain permission to use work from a third party, how to navigate clearance of using underlying intellectual property (IP), how to copyright of your work and how and why you need to get clearance of your film after production and post-production.
PLUS! You’ll receive exclusive handouts to help you ensure clearance needs on your project are met. Downloads include:
If you are a filmmaker at any stage of your project, you do NOT want to miss this webinar with immensely important information to make sure the production and release of your project goes smoothly.
“Securing and clearing all the necessary rights is essential to all productions. However, proper clearance is often misunderstood by independent film and TV producers. I am looking forward to the opportunity to give guidance on common clearance issues and to convey the importance of involving legal counsel at the inception of the development of a project.” - James Pacitti
James Pacitti
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As the world of independent television and film continues to shift, international co-productions are becoming more common. That’s because crossing borders is often an effective way to find better funding, better locations, and ultimately a wider audience. But international co-productions are not always a slam dunk. Partnering with other countries is a complicated endeavor and brings with it challenges and hurdles you wouldn’t have to face otherwise. Potential pitfalls are plentiful, but then again, so are opportunities. It comes down to putting in the work ahead of time, covering your bases, and making sure you know what you’re doing before diving in head first. Working across countries is hard enough when you’re part of a studio or large corporation. There are still contracts to hash out, politics to navigate, and differences in cultures to understand. But when you’re an independent producer or filmmaker looking to cross country lines, it can feel impossible, an overwhelming prospect where you don’t even know where to start. After all, you don’t have the backing of a legal department and you don’t have experts on payroll. You just have you. So where do you start? Is an international co-production worth it for you? What steps should you take to get the ball rolling and how can do you protect yourself along the way? With more than twenty years in the industry, Alexia Melocchi has worked in nearly every aspect of the entertainment industry. Alexia is currently a producer at Little Studio Films, a representation and production company with more than 25 films and series credits. She serves as Partner and Producer, involved in all aspects of company operations, including distribution and co-production deals, managing production activities, and film and television marketing. Alexia is well versed in the art of international co-productions and will share the secrets, tips, and lessons she’s learned over her two decades in the industry exclusively with the Stage 32 community. Alexia will walk you through the nitty gritty of starting international co-productions and the things you need to know before jumping in. She will begin by going over the pros and cons of producing overseas, both for film projects and television, and when to determine if an international co-production is the right call. She’ll tell you the four aspects of your project you should focus on before making this call. She’ll then discuss what makes a story international and how to use this to your advantage. Alexia will then go over the advantages of having international settings in your script. Next she will focus on tax subsidies and credits in different countries, how these can be targeted, the challenges that come with claiming them, and the rules and requirements you’ll generally need to meet to qualify for them. She’ll also discuss the prospect of working with international broadcasters or producers. Then, Alexia will give an in-depth and detailed rundown of the benefits and challenges of producing in six major countries: Italy, Spain, Canada, UK, and Australia. She’ll offer a breakdown of the specific costs that go into overseas productions, as well as the legal ramifications of these projects, including how international cooperation might affect ownership of your IP and rights. Alexia will discuss what an effective timeline of a successful co-production deal might look like and will finally give you tips on how to work international markets like Cannes to find the partnerships you need. This webinar is useful to producers considering an international co-production as well as writers, actors and directors who feel their talent or material might work well on an international scale Like what you heard from Alexia during this webinar? Send your script to Alexia and speak with her for an hour by clicking here. Praise for Alexia’s Webinar: “Alexia had so much specific and helpful information that I’m going to be able to use moving forward” -Karen H. “Alexia is the best! I’m so glad I got to see this webinar” -Hannah E. “I was impressed with how much the instructor knew about this topic. I have a lot of ideas and tools I can take with me for my own projects now” -Jerry B.
Producers and filmmakers of independent films and TV series deal with a multitude of parties regarding the production, financing and distribution of their films and projects. Many of these parties have a financial interest in the project and are entitled to a share of the revenues generated by domestic and international distribution of the film or series. In order to make the allocation and distribution of revenues manageable, it is important to design a recoupment schedule for your project. The recoupment schedule, also called “the waterfall”, combines all the single deal terms negotiated between the production and investors, financiers, talent, sales agents, co-producers, and service producers. Each project is unique, with its very own financing structure for example, and therefore there is no universal format for a recoupment schedule. However, there are certain guidelines to consider when putting together a recoupment schedule for your project. Understanding these guidelines will not only assure that there is no financial shadiness going on behind the scenes and no surprise lawsuits hanging out in the horizon. It also means that everyone who needs to get paid does get paid...and on time. And that can only raise your stature as someone who can deliver the goods and as a person people want to work with again and again. David Zannoni is consultant for Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies, and is the company's representative for the Americas. David negotiates agreements for films and television series, and he is involved in business development and relationship management specifically in the US, Latin America and Spain. David also runs a consultancy business through Xaman Ha Consulting and Zannoni Media Advisors, and has been focusing particularly on international service providers in the film and TV industries, and film and TV productions in Latin America, amongst others. As a film business specialist David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Spain, and all over Latin America. David will explain in easy to understand detail the world of recoupment schedules and why they are so important to your film or project. In an in depth, interactive presentation, David will discuss sources and allocation of film and TV revenues, the purpose of a recoupment schedule, the entitlements and obligations that are payable out of revenues, and the order and priority of payment for film and TV entitlements. He will discuss various territories around the world including distribution rights and assignments. He will show you which kind of projects use a recoupment schedule and the importance of a recoupment schedule as it relates to securing financing and attaching production partners. David will take away all the guess work that goes into the world of waterfalls/recoupment schedules and simplify the entire process to assure everyone on your team is taken care of and given the sense of security they (and you) deserve! PRAISE FOR DAIVD'S TEACHINGS: "I went into this one expecting it to be dry as a bone in the sun. I was so wrong. David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
In this Stage 32 Next Level Webinar, host Joe Russo will take writers behind the scenes of 2 horror films and 1 horror pilot. This webinar will be an honest, unapologetic look at the successes and struggles during the development process for each case study so you can you learn what to mimic and what to avoid for your own project. You Will Leave the Webinar With: An understanding of how each film and TV project came to be. An understanding of the different strategies used to package each project and how they were introduced to decision makers. A comprehensive look into the notes process so you can learn what went right and, more importantly, what went wrong. Clear advice on how to apply these lessons to your own script or project. Learn directly from Joe Russo, producer who has helped steer writers' projects through the development process to land on The Young and Hungry List, Hit List and The Black List and sell to the Major Studios and Networks. Joe’s extensive production background includes working on productions for FOX, SyFy, A/E, Lionsgate Films and Universal Studios!
Learn from top financier Viviana Zarragoitia, VP of Three Point Capital - exclusively through Stage 32! Get access to exclusive handouts including sample budgets, packages and collection account management statement, sales sheets, sales agent contracts and distribution agreements Over recent years, the independent producing model has shown that films budgeted between $5-$10 Million can not only make a considerable return on investment, but also serve as a launch pad for its creators and win critical acclaim. Take some examples: CODA was made for $10MM and won last year's best picture Oscar. MOONLIGHT was made for $5MM, grossed over $65MM worldwide and won the Oscar for Best Picture. SPLIT was made for $9MM and grossed over $278MM worldwide and continued to propel James McAvoy and Anya Taylor-Joy as global stars. BRUISED was made for $10MM and sold to Netflix after premiering at The Toronto International Film Festival PIECES OF A WOMAN was made in this range and sold to Netflix after premiering at The Toronto International Film Festival GET OUT was made for $5MM, grossed over $250MM worldwide, won the Oscar for best Screenplay and launched Jordan Peele into the elite entertainment stratosphere Knowing how to raise money intelligently for films and projects with budgets between $5MM-$10MM can be your calling card toward taking the next step in elevating your film career. Simply put, if you understand the strategies and methods to help your investors see a return, you get to keep those investors time and time again. And those investors can, and usually do, bring more investors with them if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, it's not impossible, and in fact can be well within your grasp, especially with the right guidance and education. Viviana Zarragoitia is the Vice President of Three Point Capital, one of the entertainment industry's top financiers that specializes in senior lending on film and television projects. Through Three Point, Viviana closes the financing on every film that the company is involved in. She has been involved in the financing of over 100 independent films, and worked with such producers as Cassian Elwes (DALLAS BUYERS CLUB), Rob Barnum (MARGIN CALL), Anthony Bregman (ETERNAL SUNSHINE OF THE SPOTLESS MIND), James Schamus (BROKEBACK MOUNTAIN), Aaron Gilbert (JOKER), Kimberly Steward (MANCHESTER BY THE SEA), Nicolas Chartier (THE HURT LOCKER) and Kevin Frakes (HEREDITARY), among others. Before Three Point Capital, Viviana worked in accounting at Millennium Films and Bold Films, as well as in the finance division of Lionsgate, where she oversaw the preparation of multi-million dollar film and television distribution deals. Viviana has seen it all when it comes to film financing and knows intimately well how films in the $5-10MM range can find success. In this advanced level and intensive on-demand 4-session class, Viviana will comprehensively teach you how you can finance your own film in the $5-10 million budget range. In Session 1 she will provide an overview of the different types of film financing available to you. In Session 2 she will focus on using tax credits, soft money, and grants to help fund your project. Session 3 will delve into equity, pre-sales, gap, and sales agents. Finally Session 4 will look at waterfalls, recoupment and navigating collection accounts. Along the way, Viviana will provide exclusive and valuable handouts that you can take with you for your own projects, including: Sample Budgets and Packages Sales Sheets Sales Agent Contracts Sample Collection Account Statement Example Distribution Agreements
Feature films, documentaries, biopics, book adaptations, and sequels/prequels are all very different from each other, but they share a fundamental legal necessity: the need to acquire certain intellectual property rights in order to make the film. Whether it’s a fictional character or a real-life person; a novel, play, comic book, movie, TV show, or web series if you don’t own or control the underlying rights your film may end up in litigation rather than the theaters. This webinar will introduce you to basic intellectual property concepts and walk-through the key agreements and licensing language you will need when you are making a film based upon somebody else’s property or persona. Too often filmmakers “shoot first and get permission later.” This might be fine for scenes which can be cut if you can’t get the rights but is disastrous when your entire movie depends upon a copyright or life story that you have not effectively licensed. Intellectual property can be complex, and confusing, and the failure to include the right licensing language may result in a film that can never be distributed. To make matters even more complicated, conscientious producers often pull forms from the web that are not designed for their particular projects. In this webinar you will learn from one of the top entertainment attorneys in the industry, Thomas A. Crowell, Esq. A former television producer and director of development for STN, Mr. Crowell counsels clients on a wide range of entertainment law and intellectual property rights issues. He has worked with clients who have had deals with TLC, Elsevier Publishing, Starz, Discovery Communications, Focal Press, the Smithsonian Network, WE: The Women's Entertainment Network, The Science Technology Network, IDW Publishing, and Sony Entertainment. His clients' work is seen in the pages of Marvel and DC Comics and on movie, TV, computer, and mobile screens across the world. He will teach you how to spot problems with licensing agreements, learn what agreements are needed in order to license copyright and “life rights,” and learn how to investigate and correct breaks in a film’s “chain of title.” You will walk away feeling confident that you have the correct copyrights in place for your project!
Taught by 25+ year producer (GOOD WILL HUNTING, AMERICAN PIE, MANCHESTER BY THE SEA), director (KILL THEORY, THE PEOPLE SPEAK) and Project Greenlight Co-Founder, Chris Moore. "I chose to teach at Stage 32 over Masterclass because I believe in their mission. Their education isn't storytelling hour or dated material, it's exclusively about offering practical, actionable, and motivational information on what's happening in the industry right now. This is going to be a fun, but honest 2-part class that will help you navigate the business." - Chris Moore With so many variables in the entertainment industry how do you know the steps to not only give yourself the best chance of breaking in, but also the guidelines on how to sustain a high profile and highly successful career? What if you were able to have a legendary industry veteran look at your current trajectory and give you advice? Stage 32 is going to give you just that. Chris Moore has asked and answered these questions over a remarkable and diverse 25+ year career in entertainment. As an award winning director and producer of over 30 projects such as Oscar-winning Good Will Hunting, American Pie and Oscar-winning Manchester by the Sea Chris has seen and experienced just about everything. And as the co-creator of the wildly successful Project Greenlight, Live Planet (both with Ben Affleck, Matt Damon and Sean Bailey) and The Chair, Chris has made mentoring and teaching creatives serious about a life in entertainment his mission. Chris is here exclusively on Stage 32 in this on-demand 2-part class to shed light on the big-picture questions that you should be focusing on. PRAISE FOR CHRIS'S TEACHINGS: "Such blunt and unfiltered analysis of how things are in Hollywood was enormously helpful, insightful, and vindicating. Absolutely the best deliverance of information I have seen to date." - Jim H. "Loved hearing his personal experience, and his take on Hollywood today. As well, his predictions for the future." - Robin G. "I liked that he is no-nonsense and gave it to us straight." - Alisha M. "I liked Chris' frank analysis and the simplicity with which he laid things out." - Steve R. "Chris was honest and it's clear that he cares about helping others succeed." - Ericka B. "Loved the honest, straight, no bullshit information." - Remo P. "This is the kind of information we need! Specific, concrete things we can do coupled with the truth about what is happening for the majority of people and projects - not the outliers." - Cate C. "I liked hearing about all the different ways to build up your audience. I would love to hear even more about that especially in regards to building it up on social media if you don't really have a background in doing that." - Courtney F. "Great honest truth. Something we all know of deep down but hard to discuss in reality until one takes the chance to make that step. A sense of truth in a tough business." - Victor C. "Chris is very direct but that's what you need to hear." -Mark C. "Love the honest, pragmatic and respectful way that Chris deals with the topics." - Susan S.