Briefly explain the main reason a Producer will try and obtain an “option agreement” from a writer and what provisions should be in the option agreement.
Briefly explain why most sound recordings in the United States have two separate copyrights.
- Briefly explain the concept of “pooling.”
- What is a “subfloor?”
- Briefly explain “separated” or “subsidiary” rights in motion pictures.
- Briefly explain what a “CPM” is and how it works.
- When recording artists sign “360” deals, would they prefer their record company to have a passive interest or an active interest in their revenue streams? Briefly explain.
- Briefly explain the main reason a Producer will try and obtain an “option agreement” from a writer and what provisions should be in the option agreement.
- Briefly explain the difference between album cycles and years as a measure for an entertainment industry agreement. Which types of agreements are most likely to have either of these as the determining factor for the length of the Agreement?
- Briefly explain the difference between “marketability” and “playability.”
- Briefly explain the concept of “Tarzan Economics.”
- Briefly explain why a motion picture studio might only issue a new movie in “limited release?”
- What is the approximate audience size for a niche cable network like NatGeo? What is their rating or share for most of their shows?
- What are the “Sweeps” and why are they important?
- What is the significance of getting an “at the source deal?”
- In the United States we have a doctrine of “automatic copyright.” Briefly explain what that means.