26 December

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Chain of Title: The #1 Reason Films Can’t Get Distribution

Independent filmmakers often believe that distribution depends on festivals, cast, or buzz. In practice, many completed films fail to secure distribution for a far less visible reason: broken or incomplete chain of title. Chain of title issues rarely appear early. They surface when a film finally attracts interest—when a distributor, sales agent, or platform asks a simple question: Do you actually own the rights you’re trying to sell or license?...

22 December

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Immigration Traps for International Filmmakers

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

International filmmakers are deeply embedded in the U.S. film industry. Directors, producers, cinematographers, editors, composers, and writers from all over the world come to the United States to attend festivals, develop projects, meet collaborators, and shoot films. Many are highly accomplished and assume that professionalism, artistic intent, or lack of payment will protect them from immigration problems....

02 December

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Two Approaches to Independent Filmmaking

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

Independent filmmaking remains one of the most creatively liberating yet financially challenging pursuits in the entertainment industry. As distribution models evolve, as streaming platforms redefine audience behavior, and as film markets become more selective, filmmakers must choose their production strategy with greater intentionality than ever. Despite the complexity of the modern landscape, the choices often boil down to two fundamental approaches: producing a film with the smallest possible budget, or structuring a project around a recognizable actor who gives the film commercial weight and market visibility....

15 November

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AFM-25: How Film Financing Really Works Today — Pre-Sales vs. True MG Deals

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

This year I attended AFM-25, and the difference between this market and previous years was striking. I also participated in AFM-2023, where I rented a booth as the Law Offices of Ernest Goodman. That year was productive in terms of meeting people, but everyone remembers how chaotic the venue was. Many meetings happened in crowded hotel hallways, and the elevator system at the previous location simply could not handle the number of attendees. People spent twenty or thirty minutes waiting for an elevator just to get to their next appointment. The environment was not designed for serious business. The move to...

15 November

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How to get financing for your independent film: Insights from lawyer Ernest Goodman

Posted by Ernest Goodman

in Copyright Law, Entertainment Law

Unfortunately, if your film isn't produced by Netflix, it's likely to be buried in their content library, and the same applies to Amazon. These platforms typically don't actively market films unless they're labeled as Amazon or Netflix originals. While there are distribution companies that can place your film on Netflix, significant earnings are not guaranteed. From my experience with numerous films, Netflix is often where they go to die....

10 October

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Chain of Title, Title Reports, Copyright Reports, and Certificates of Clearance

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

During the Hollywood Park Film Festival in 2025, where I served as a panelist on the “Deal or No Deal” legal discussion, several filmmakers and producers approached me with detailed questions about title searches, copyright searches, and other intellectual property clearance issues. Many were surprised to learn that before a film can be distributed or insured, it must pass these legal checkpoints — verifying that its title is unique, its creative materials are properly licensed, and its ownership chain is complete....

05 October

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The Journey of Copyright in Filmmaking

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

From a creative perspective, a film is art — a story told through motion, image, and sound. From a legal standpoint, however, a film is an array of intellectual property rights carefully bound together into a single commercial product....

29 September

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Film Financing & Minimum Guarantee (MG) Agreements

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

Hello everyone, On October 6th, 2025 at 04:00 pm, I’ll be speaking on a panel at the Film Festival at Hollywood Park about film financing and distribution deals. One of the most misunderstood yet crucial deal types for indie filmmakers today is the Minimum Guarantee (MG) Agreement....

22 September

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Film Deals and Intellectual Property

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

Today we will talk about different types of deals in filmmaking — how films are financed, how distribution is secured, and what legal pitfalls filmmakers need to watch out for. On October 6th, 2025 at 12:00 p.m., I will be speaking on a panel at the Hollywood Park Film Festival, answering questions from filmmakers and industry professionals about these very issues....

14 September

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Pay-or-Play vs. “Pay-if-You-Fail” deals in Film Contracts

Posted by Ernest Goodman

in Entertainment Law

Independent filmmaking is full of excitement — new ideas, creative energy, and the promise of seeing your vision on screen. But it’s also full of risk, especially financial risk. One of the most misunderstood (and potentially dangerous) areas is how you attach talent to your project....

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