What does the phrase “pay-or-play” mean contractually? What is the significance of this phrase in entertainment contracts?
2. What is the difference between “above-the-line” and “below-the-line” deals?
3. What type of agreement must all creative contributors sign for a film or tv project? What is the significance of this type of agreement and what are the necessary components that must be included in these agreements?
4. Discuss the difference between Turnaround v. Reversion of a project. What are the pros and cons of each from the perspective of a non-writing producer and writer?
5. What is the “7 Year Rule” and how does it relate to entertainment contracts? What are best practices for a Studio to protect themselves from violating this rule?
6. What is the purpose of conducting a Chain of Title report?
7. Describe the process of how a film or television project originates at a Studio and the role key Studio departments play in connection therewith.
8. As discussed in class, there are many scriipted and unscriipted films and series about real individuals and true stories where the creators did not obtain permission from the real-life subjects. How are the creators able to distribute these works without any such agreements/permissions in place?
9. Considering current trends in the industry and the current entertainment landscape, what is your expectation of how the entertainment industry may or may not change in the next five to ten years?
