Class 2. The good news — none of the students I taught in class #1 got scared away by the amount of material they have to learn this semester. Which is awesome. Bonus points for me getting the opportunity to work with such a friendly and intelligent group.
Downside of class #2 — most of the students didn’t get the required books until the last few days, so I was teaching another class without the students 100% prepared. Which made teaching a little difficult, as trying to explain certain aspects of transactional entertainment law to someone who has read “zero” before the discussion can be an adventure, something like translating Norwegian into Apache into Braille into paradiddles. Or something like that.
Anyway, we got through everything, it’s all good. We covered the SAG-AFTRA talent agreements, copyright law, and then reviewed “Contracts System 7” (of course) … a contract analysis system that I created and refined over the last few years, which covers the fundamental “must-have” provisions in all film and television production agreements.
Then, we went through actual contracts, using my contracts system for the analysis. Student interest led to shock and awe when we went through the legal release that you have to sign to audition for American Idol. Nothing against American Idol, btw. Most, if not all, professional television releases are pretty much the same in terms of content, and have no doubt about it — the documents are conceived by very smart and determined lawyers, who have a clear mission. Gather all rights, allow the network to do whatever its want with those rights, and protect the network from anything and everything. If you have never read a typical television release, check it out, they are easy to find online — it’s a fun read actually. Well, maybe not fun. But interesting.
By the end of class #2, we made progress. But now that everyone finally has the books, it’s time to dive in, and I expect the students to be ready for class #3.
That’s it for now. Thanks for reading.