Disclaimer: The aim of this article is information and enlightenment; please consult a solicitor for individual professional advice.
NOLLYWOOD DREAMS AND PRODUCT PLACEMENT
I have a dream. That one day, I will be delighted to watch a Nigerian-made movie (in 3D, mind you) at the top of the international box office. Now, I don’t mean a movie with Nigerian-born actors like Chiwetel Ejiorfor starring in a Paramount Pictures-distributed, James Cameron-directed ‘Hollywood’ movie. I’m talking of seeing a movie written by a Nigerian, produced by a Nigerian, directed by a Nigerian, shot in Nigeria, and acted by our own sons and daughters of the soil.
The most common excuse on the mouth of Nigerian film producers is that of limited funds. Well, that’s quite understandable, nothing good comes cheaply. I have long repented of complaining and criticizing without proferring solutions, so I have decided to throw more light on one method of fundraising for film producers- PRODUCT PLACEMENT.
Product placement occurs when a brand or product is prominently added and displayed in the scenes of the film, and sometimes written into the lines. It is a refeshing way of advertising because it is not so ‘in-your-face’ like direct advertising. It is a good way of generating funds and free products for the producer and it is a good and credible way of advertising for the brand owner.
Please, let’s clarify something about product placement from the onset. With product placement, you have the brand owner’s permission and you will even benefit from using the product in the film. This is different from where you do not have any permission and you may not even be aware that you are displaying the products or intellectual property of someone else (we do this a lot in Nigeria). If it is incidental inclusion or it does not feature prominently or so many times in the film, it may not be a problem. However, when you display or use a brand/product prominently, especially in a wrong or negative manner, you may be asking for trouble. In any case, we are not discussing that here and now, remind me to bring up the topic later.
Here are some things to keep in mind when contemplating or negotiating a product placement arrangement:
1) Get a lawyer. This is the first and most important caveat. Don’t even think of going through with a product placement deal without thorough and specific legal guidance. The pitfalls are wider than the potholes on Lagos-Ibadan expressway.
2) Let the brand owners know what type of film you are producing. They may need to know the storyline, especially the scene(s) in which you propose to use their product. This is a fair request. However, you need may want to keep some parts of the storyline to yourself, so long as it will not affect the brand in any way (your lawyer will guide you here). In addition, you may have the brand owners sign a Confidentiality or Non-Use and Non-Disclosure Agreement. That way, you have some level of guarantee that your story is safe.
3) Have a written contract between yourself (as the film producer) and the brand owners. Please, do not assume anything. Know and agree for sure.
4) Agree on the method of placement. Will the brand of tissues be prominently displayed when the lead actress is crying? Or will lines concerning the product form part of the dialogue? How many times? For how long?
5) Do not promise what you cannot deliver. This is very important. An instance where this can arise is where you agree with the brand owner that the product will form part of the dialogue twice in the movie, and during editing and post production, you cut off one of the scenes involving the product. You may be exchanging your credibility for a court action.
In addition, it may be wise to insert a clause into the contract that limits your liability to monetary damages and prevents the brand owners from getting an injunction to stop the release of your film for non-performance of a contractual term. Although the success of this type of clause in film-making contracts has not been tested in Nigerian courts, I daresay, it should be successful. The grouse of a few people, however justified it may be, should not stop the progress of the work of a thousand of others.
Generally, it’s just best all round to do what you promised, like you learned in kindergarten. In any case, the brand owners (the ones with sharp lawyers) will require that they see the finished product of the film before it is premiered or released. And this is a logical request; they have their interests to protect.
6) It is also logical for the brand owners to ask you to warrant that your work is an original work and that you have not infringed on the rights of another person (a third party). This is because this third party may find a way to stop the release of the film and of course, the advertisement of their product. However, try your best to ensure that this warranty does not give rise to weighty damages. You may warrant that you’ll refund only the money paid by the brand owners for the product placement and only when the court has found that you did infringe the rights of the third party.
7) It may also be prudent to make it clear to the brand owners that what you are offering them is the placement of their brand/product in the film as agreed and not to a share in the profits, royalties or other proceeds of the film. They are advertisers, not direct profit investors.
8) A word of advice, though: while you may involve a number of products in the film, you don’t want to crowd the film with a lot of products, such that the sitting room of the lead actress looks like a supermarket. The whole gist of product placement is that it does not even seem like advertising, and so it registers on the subconscious mind of the viewer without all the bias that direct advertising faces.
Please, Nollywood, make my dream come true.
© 2010 Tinukemi Alabi
Comments/Questions: tinukemi@gmail.com
Showing posts with label nollywood. Show all posts
Showing posts with label nollywood. Show all posts
Monday, September 27, 2010
Thursday, July 29, 2010
MUSIC FOR YOUR MOVIE
Disclaimer: The aim of this article is information and enlightenment; please consult a solicitor for individual professional advice.
MUSIC FOR YOUR MOVIE: DOs and DON’Ts
Picture this. You are watching a Yoruba ‘epic’ movie. It’s an ancient war scene set in a local village in Ondo State of Nigeria, and suddenly, the voice of Celine Dion breaks out “Gonna stand by your side noooooow, let me kiss all your tears away…”
No, your sister didn’t just put her phone’s music player on the loudspeaker mode. It’s the part of soundtrack of the Yoruba epic movie you are watching. Yeah, yeah, I know it’s not that bad anymore, but I had to get your attention somehow.
Dear people of Nollywood, we are talking movies + music today. Never underestimate the role of a soundtrack in a movie. In fact, in Hollywood and Bollywood, it is not unusual for a movie to have its own soundtrack album, released separately from the movie.
Let’s understand how to properly acquire music for your movie.
At the onset, let’s distinguish between the music on the soundtrack of a movie that has already been produced and the music that is not yet on the soundtrack of a movie. Both are musical pieces that are protected under the Copyright Act. However, they are protected differently. The music on the soundtrack of a movie is protected as part of a cinematograph film, as it is included in its definition in section 39 (1). The music that is yet to be on a movie soundtrack, however, is protected as a musical work. It is this musical work that is sought to be used that we are concerned with here.
To obtain music for your movie, you have two options:
1. Use already existing music that has been sung and recorded.
2. Create fresh and completely original music for your movie.
Or you can take both options.
Existing Music
If you’re using existing music, bear in mind that the musical piece is a protected work under the Act. Section 5 (1) (a) grants the holder of the copyright of a musical work a number of exclusive rights in the work which includes reproduction, publishing, performance, distribution, broadcasting, adaptation, making of a cinematograph film or record in respect of the work, or doing all of the foregoing in relation to the translation or adaptation of the work.
It may be quite tricky to ascertain who owns the copyright in a song. It may have been written and composed by Mr. Lagbaja and recorded by Mrs. Tamedun of One-Nigeria Record Company. If you want to use the lyrics and composition of the song and get your own sister, Nightingale, to sing it, you’ll need to ask Mr. Lagbaja for a license. This license is called a synchronisation license (synch license).
If, however, you want to use the song as sung and recorded by Mrs. Tamedun, you’ll need to get a master use license from One-Nigeria Record Company to use this specific recording, in addition to getting a synch license from Mr. Lagbaja. In Nigeria, however, all this grammar may not be necessary as it is usually the same person that writes a song and records it.
It’s prudent to make certain that neither Mr. Lagbaja nor Mrs. Tamedun has infringed the copyright of another person entirely (a third party) in writing or recording the song, so you’ll not get ‘implicated’.
Whichever license you get, whether it’s a synch license, a master use license, or both, ensure that it gives not just the right to reproduce and use the musical work on your movie but also includes further rights of publishing, performance, distribution, broadcasting, etc. It may also be clever to envisage the possibility of developing a soundtrack album in the future.
Original Music
You may decide to go the route of producing your own fresh music for the movie. This is especially preferable if you are working with a low budget. You could get a good songwriter to write the song, and beg your choir leader to sing it for you. It’s also possible for you to get a song that is already in the public domain (i.e. a song for which the copyright protection has expired), this means no licenses, no royalties.
It’s generally cheaper to get an unpopular singer to record the song for you. However, if you must use a popular musician, you should ensure that he/she is not under an exclusive recording contract with a record company, or else the record company’s permission will be required.
It’s advisable to insist on a contract between you and the person who is writing/singing/recording the music for you which names you as the owner of the copyright in the music. This is because under section 9 of the Copyright Act, this writer and/or singer would be the owner of the musical lyrics and composition or recording, unless such a contract exists. Ensure that it is a work for hire under the contract, that way, the copyright belongs to you.
Any option you choose, don’t forget that you have to do this for every musical work you use.
Tiresome, isn’t it? Getting an entertainment lawyer isn’t such a bad idea, after all.
MUSIC FOR YOUR MOVIE: DOs and DON’Ts
Picture this. You are watching a Yoruba ‘epic’ movie. It’s an ancient war scene set in a local village in Ondo State of Nigeria, and suddenly, the voice of Celine Dion breaks out “Gonna stand by your side noooooow, let me kiss all your tears away…”
No, your sister didn’t just put her phone’s music player on the loudspeaker mode. It’s the part of soundtrack of the Yoruba epic movie you are watching. Yeah, yeah, I know it’s not that bad anymore, but I had to get your attention somehow.
Dear people of Nollywood, we are talking movies + music today. Never underestimate the role of a soundtrack in a movie. In fact, in Hollywood and Bollywood, it is not unusual for a movie to have its own soundtrack album, released separately from the movie.
Let’s understand how to properly acquire music for your movie.
At the onset, let’s distinguish between the music on the soundtrack of a movie that has already been produced and the music that is not yet on the soundtrack of a movie. Both are musical pieces that are protected under the Copyright Act. However, they are protected differently. The music on the soundtrack of a movie is protected as part of a cinematograph film, as it is included in its definition in section 39 (1). The music that is yet to be on a movie soundtrack, however, is protected as a musical work. It is this musical work that is sought to be used that we are concerned with here.
To obtain music for your movie, you have two options:
1. Use already existing music that has been sung and recorded.
2. Create fresh and completely original music for your movie.
Or you can take both options.
Existing Music
If you’re using existing music, bear in mind that the musical piece is a protected work under the Act. Section 5 (1) (a) grants the holder of the copyright of a musical work a number of exclusive rights in the work which includes reproduction, publishing, performance, distribution, broadcasting, adaptation, making of a cinematograph film or record in respect of the work, or doing all of the foregoing in relation to the translation or adaptation of the work.
It may be quite tricky to ascertain who owns the copyright in a song. It may have been written and composed by Mr. Lagbaja and recorded by Mrs. Tamedun of One-Nigeria Record Company. If you want to use the lyrics and composition of the song and get your own sister, Nightingale, to sing it, you’ll need to ask Mr. Lagbaja for a license. This license is called a synchronisation license (synch license).
If, however, you want to use the song as sung and recorded by Mrs. Tamedun, you’ll need to get a master use license from One-Nigeria Record Company to use this specific recording, in addition to getting a synch license from Mr. Lagbaja. In Nigeria, however, all this grammar may not be necessary as it is usually the same person that writes a song and records it.
It’s prudent to make certain that neither Mr. Lagbaja nor Mrs. Tamedun has infringed the copyright of another person entirely (a third party) in writing or recording the song, so you’ll not get ‘implicated’.
Whichever license you get, whether it’s a synch license, a master use license, or both, ensure that it gives not just the right to reproduce and use the musical work on your movie but also includes further rights of publishing, performance, distribution, broadcasting, etc. It may also be clever to envisage the possibility of developing a soundtrack album in the future.
Original Music
You may decide to go the route of producing your own fresh music for the movie. This is especially preferable if you are working with a low budget. You could get a good songwriter to write the song, and beg your choir leader to sing it for you. It’s also possible for you to get a song that is already in the public domain (i.e. a song for which the copyright protection has expired), this means no licenses, no royalties.
It’s generally cheaper to get an unpopular singer to record the song for you. However, if you must use a popular musician, you should ensure that he/she is not under an exclusive recording contract with a record company, or else the record company’s permission will be required.
It’s advisable to insist on a contract between you and the person who is writing/singing/recording the music for you which names you as the owner of the copyright in the music. This is because under section 9 of the Copyright Act, this writer and/or singer would be the owner of the musical lyrics and composition or recording, unless such a contract exists. Ensure that it is a work for hire under the contract, that way, the copyright belongs to you.
Any option you choose, don’t forget that you have to do this for every musical work you use.
Tiresome, isn’t it? Getting an entertainment lawyer isn’t such a bad idea, after all.
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