Eels -- Beautiful Freak: Guitar/Vocal Edition with Tablature

Format: Sheet music

Language: English

Format: PDF / Kindle / ePub

Size: 6.32 MB

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Once all of these rights have been cleared, there may be even further hassles to surmount.� The film maker needs to make sure that they have permission for any copyrighted objects or works of art that appear in the film, lest they be sued by an irate rightsholder.�� There have been several recent instances of films being delayed or blocked after release by legal fights over the appearance of copyrighted art in the films.� The Bruce Willis science fiction film Twelve Monkeys was sued because an artist objected to a chair appearing in the movie that too closely resembled a sketch of a piece of furniture that he had designed [305] .� The artist won the suit and settled for a six-figure amount.� An irate sculptor sued the movie Batman Forever because the Batmobile was seen driving past his copyrighted sculpture that was sitting in a courtyard [306] .� The lawsuit was ultimately dismissed on the grounds that the sculpture was actually a part of the building where the filming took place, and that the building�s owners had already given permission to the movie producer to do the filming.�� The Al Pacino film The Devil�s Advocate had a scene in which a copy of a well-known sculpture appears to come to life, with the naked male and female figures writhing in a sexually-suggestive manner [307] .� This adaptation was done without asking anyone�s permission.� The creator of the sculpture, as well as the Washington National Cathedral where the work was displayed, were offended and sued the film�s producers for damaging their reputation.� The film�s producers were forced to remove the offending scene from any further video or cable TV releases.� Filmmakers must take extreme measures to protect themselves against such problems, and they usually take great pains to get clearance for just about anything they do that could even be remotely related to a copyrighted work.�� Most filmmakers today are so completely paranoid about lawsuits that they feel that they have to obtain permission for just about everything they show, no matter how remotely it might be related to copyrighted material.� A lot of material ends up on the cutting room floor because the copyright owner can�t be found, because the fees are too high, or because the owner denies permission or doesn�t even respond to repeated requests for permission.� This has virtually eviscerated fair use within the filmmaking industry.� An oft-quoted example of the hassles involved in obtaining clearances is that of the documentary film-maker Jon Else [308], who was attempting to make a film about stagehands working on a Wagnerian opera.� He wanted to include a scene in which a television set was playing in the background while the stagehands were playing checkers.� The program playing on the TV happened to be an episode from The Simpsons, which lasted only about 4 seconds in that particular scene, providing an interesting juxtaposition of highbrow and lowbrow culture.�� Twentieth Century Fox, who owned the copyright on The Simpsons, insisted on a $10,000 licensing fee for use of the 4 second clip.

Pages: 68

Publisher: Alfred Music (February 1, 1997)

ISBN: 1576236137

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