Credits in US Film and TV Agreements: Who Gets Them, Why They Matter, and How to Deal with Conflicting Demands
Credits in US Film and TV Agreements: Who Gets Them, Why They Matter, and How to Deal with Conflicting Demands



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Course Description

This program was recorded on April 25, 2019

In the US entertainment industry, credit is more than just a matter of ego. One of the deans of the entertainment law bar explores and explains these issues and how they can be useful when negotiating a contract in the US film and television industries.

Attorney Thomas D. SelzThomas D. Selz
Thomas D. Selz is a founding partner of Frankfurt Kurnit Klein & Selz focusing on all aspects of entertainment law. Mr. Selz’s practice includes advising on documentary film, fictional and fiction-based-on-fact feature films, television pilots, tv series and miniseries, live stage productions, publishing, music publishing and sound recording, and clearance work for problematic material to make the product acceptable to networks, publishers and Errors and Omissions insurance carriers. Mr. Selz also counsels clients on copyright (including termination and renewal rights under the 1976 and the 1909 Copyright Acts) and trademarks, from clearance searches to deciding which classes to file in, to registration, and the need for additional US Patent and Trademark Office filings.
Contact Thomas D. Selz

1 General Credit

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  1. Who benefits from credits, and how?
  2. What rules govern credits?
  3. How can the benefits of credits be used in negotiating for credit in an agreement?
  4. What happens if there is a breach of a credit obligation?