02 December

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Two Approaches to Independent Filmmaking

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 May

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US Copyright Office Declares Commercial AI Use Exceeds Fair Use Boundaries

Posted by Ernest Goodman

in Copyright Law, Entertainment Law

Hello everyone! Today, we're going to talk about commercial AI use. The U.S. Copyright Office has recently clarified its position on the use of copyrighted materials in training artificial intelligence (AI) models. In a statement, the Office asserted that employing copyrighted works for commercial AI purposes "goes beyond established fair use boundaries." This determination is based on concerns that such practices could produce outputs that directly compete with original works, potentially undermining the market for human creators....

02 March

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The American Rule in Legal Fees: Why Each Party Pays Their Own Lawyer

Posted by Ernest Goodman

in Civil Procedure, Copyright Law, Entertainment Law, Legal erhics, Pro Bono Work, Trademark Law

The American Rule is intended to encourage access to the courts. If losing a case meant automatically paying the other side’s legal fees, many people might be afraid to pursue valid claims. This rule ensures that litigation is not just a tool for the wealthy. However, critics argue that it allows frivolous lawsuits to flourish since plaintiffs do not face the risk of paying the defendant’s attorney’s fees if they lose....

02 March

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The Doctrine of Work for Hire is Often Misunderstood

Posted by Ernest Goodman

in Copyright Law, Entertainment Law

Today, we're going to talk about the doctrine of work for hire in copyright law. Often, there can be situations where you think you own a copyright because the work was made for hire for you or your production company. But, in fact, contrary to what the contract states, you might own nothing. Let's explore the caveats and ways to solve this problem. Many think that just because they have a contract with artists and have paid for the work, they own the copyrights. Let's say you own a film production company and you've hired a screenwriter to write a screenplay....