17 May

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Cheap Title Reports vs. Professional Clearance

In today’s entertainment industry, filmmakers frequently look for the fastest and cheapest possible title report before submitting a project to festivals, distributors, streaming platforms, or E&O insurance carriers....

10 May

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Cheap Trademark Filing vs. Real Trademark Strategy

Posted by Ernest Goodman

in Entertainment Law, Trademark Law

Today, we will talk about consequences of the use of cheap trademark filing services. In today’s online world, many businesses look for the fastest and cheapest way to file a trademark application. At first glance, this seems reasonable. A trademark filing may appear to be simple paperwork: fill out a form, pay a fee, and wait for approval....

29 April

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AI in Hollywood: Law Is Behind Technology

Posted by Ernest Goodman

in Copyright Law, Entertainment Law

Artificial intelligence is already embedded in the film industry. It is not theoretical. It is not “coming soon.” It is here. But its implementation is uneven, cautious, and often deliberately hidden behind traditional workflows. At the same time, other markets—particularly India—are moving faster, experimenting openly, and accepting risks that U.S. studios are unwilling to take....

20 April

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🎬 When Life Story Becomes Content: The Legal Risk

Posted by Ernest Goodman

in Entertainment Law

There is a persistent assumption in film, media, and online content creation that reality provides protection. If something actually happened, it can be shown. If a person has already become public, their story is available. If events are documented, then telling them again should not create legal risk. That assumption feels intuitive. It is also fundamentally wrong....

17 April

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🎬 What Happens When a Crew Member Claims Ownership

Posted by Ernest Goodman

in Entertainment Law

Today, we will talk about work-for-hire agreements. In film production, ownership is often assumed—but rarely verified. Many filmmakers operate under the belief that once a project is completed, the film “belongs” to the producer or the production company. That assumption may feel intuitive, especially when one party finances, organizes, and oversees the entire production....

30 March

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How People Pretend to Be Bigger Than They Are in the Film Industry

Posted by Ernest Goodman

in Entertainment Law

The film industry runs on perception. Reputation, access, and relationships often matter just as much as talent. But this creates a predictable side effect—an environment where some individuals build not real influence, but the illusion of it. Over time, especially through real experience at markets and festivals, you begin to recognize a pattern: people who try to appear bigger than they are by attaching themselves to others, exaggerating their reach, and using environments that look impressive. I’ve encountered this repeatedly—and in different forms....

29 March

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⚖️ The Use of Your Legal Name as a Trademark

Posted by Ernest Goodman

in Entertainment Law, Trademark Law

Many professionals instinctively believe that their legal name belongs entirely to them in every context, including business. It feels natural to assume that if you are born with a name, you have the unrestricted right to use it commercially. However, trademark law operates on a very different principle. Your legal name does not automatically grant you exclusive rights in the marketplace. It does not guarantee trademark protection, and in certain situations, you may even be restricted from using it in connection with your own business. This disconnect between intuition and legal reality is where many costly mistakes begin. Trademark law is not...

16 March

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Copyright vs. Trademark in Film Titles

Posted by Ernest Goodman

in Copyright Law, Entertainment Law, Trademark Law

One of the most common misunderstandings among filmmakers is the belief that the title of a film is protected by copyright law. In practice, this is almost never the case. In the United States, the legal protection of film titles falls primarily under trademark law and unfair competition law, rather than copyright law. Understanding this distinction is important for filmmakers, producers, distributors, and anyone working in the entertainment industry....

09 March

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Two Levels of Acting in Film

Posted by Ernest Goodman

in Entertainment Law

Through my work with producers and directors, I am sometimes approached by actors who are primarily looking for connections. They would reach out hoping that I might introduce them to producers, directors, or casting professionals....

28 February

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Why “Deferred Pay” Agreements Collapse in Court

Posted by Ernest Goodman

in Entertainment Law

Deferred compensation is one of the central economic mechanisms of independent filmmaking. It allows production to move forward in the absence of immediate financing and creates the sense that risk is being shared collectively by everyone involved in the project. Yet in litigation the phrase “deferred pay” rarely functions as filmmakers expect. Courts do not evaluate the emotional or collaborative context in which the agreement was signed; they analyze whether a legally enforceable obligation to pay for completed services exists. When work has already been performed and the agreement does not clearly and precisely make payment contingent upon a defined...