Study Guide I, ASCAP, CH. 1-3

by Aubrey Tucker — last modified Jan 30, 2011 01:17 PM — History

Study Guide I,to accompany Mark Litwak's "Dealmaking in the Film and Television Industry", Chapters 1-3, plus the ASCAP pamphlet on Music for Film

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MUSB 2355 STUDY GUIDE I

ASCAP “Music in Film”, Litwak CHAPTERS 1-3

ASCAP: “Music in Film” Deals

1.      To use a song in a film, the producer signs a ____ license with the song’s publisher.

A: mechanical  B: synchronization  C: performance  D: source

2.      The average price range paid for inclusion of a song in a major motion picture is-  A: $5K- $10K  B: $15K-$20K  C: $20-K-$45K  D: $50K- $75K

3.      The term of the license to use a song in a film is virtually always-  A: 5 years  B: 10 years  C: 20 years  D: The life of the copyright

4.       When using a prerecorded song, in addition to the publisher license, the producer must also sign one with the-  A: Record company  B: Recording Artist  C: Song writer  D: Film composer

5.      Composers writing songs for films almost always sign a ___ agreement.  A: Royalty artist  B: Work for Hire  C: Synchronization  D: Publishing

6.      Song writers for film usually can expect to be granted- A: a songwriting fee  B: screen credit  C: mechanical royalties  D: all of these

7.      The feature film composer almost always signs a ___ agreement.  A: Royalty artist  B: Work for Hire  C: Synchronization  D: Publishing

8.      The feature film composer usually can expect to be granted- A: a composer fee  B: screen credit  C: mechanical royalties  D: all of these

9.      The time given to the composer to produce the completed film score is usually- A: 4 to 12 weeks  B: 10- 20 weeks  C: 6 months  D: One year

MUSB 2355 SG I p.2

Litwak Ch. I- Introduction  

10.  Hollywood film exports exceeded ___ in revenues in 2007. A: $10B  B: $15B  C: $17B  D: $40B

11.  A typical major studio release, with production and marketing, has more than ___ invested in it.  A: $25M  B: $ 50M  C: $75M  D: $100M

12.  The Hollywood film industry was started largely to escape lawsuits and prosecutions for patent law violation pursued by___.  A: Edison  B: Bell  C: Carnegie  D: Rockefeller

13.  The Hollywood studio system came to an end in the 1950’s after- A: The Supreme Court held that the studios had to divest themselves of their theater chains  B: The rise of television  C: both A and B  D: neither A or B

14.  Stephen Spielberg called the passing of the great moguls in the film industry a great ___ for the film industry. A: improvement  B: tragedy  C: relief  D: none of these 

15.  Hollywood studios are now mostly run by: A: Lawyers  B: Film stars  C: Corporate boards  D: Professional managers

16.  Most of today’s studio heads are considered-  A: Dealmakers  B: Filmakers 

C: Screen writers  D: Directors

17.  Before television, about ___ Americans went to the movies every week.  A: 10M

B: 20M  C: 50M  D: 100M

18.  Star Wars was signed by the first studio it was offered to. (T/F)

19.  In 2007, only __ motion pictures had a gross domestic box office of $100 million or more. A: 5  B: 7  C: 11 D: 17

20.  The major Hollywood studios produce most of their films in-house. T/F

21.  Before television, ___ million Americans went to the movies every week. A: 10  B: 20

C: 40  D: 50

MUSB 2355 SG I p.3

Ch. 2- Dealmaking

22.  One common practice that leads to productions with poor screenplays is-  A: Pay or Play clause  B: Too much emphasis on products  C: Star writes screenplay  D: Director writes screenplay

23.   Contracts can be either WRITTEN or-  A: EMAIL  B: ASSUMED  C: ORAL  D: None of these

24.  Ideas are copyrightable. (T/F)

25.  Producers prefer exclusive development deals. T/F

26.  Studios prefer First Look development deals. T/F

27.  The best way for the writer to protect herself in a development deal would be to use a written agreement. T/F

28.  Short Essay: Discuss the two basic types of option contracts.

29.  Short Essay: What is a product-placement agent and what 4 basic inducements can they offer filmmakers?

30.  Chart a Dealmaking timeline starting with Development.

31.  What are EXCLUSIVE, FIRST LOOK AND HOUSEKEEPING Development deals? Which does the studio want? Which do producers want?

Ch. 3- Permissions

32.  Besides a release to depict a historical character in a film, you may also need releases for their-  A: spouse  B: children  C: Friends  D: all of these

33.  Producers will usually grant the subjects to be used for a bio-pic script approval. (T/F)

34.  Short Essay: Name at least 4 issues to be resolved in a “Life Story” agreement.

35.  Briefly discuss the Location Release.

Be able to answer 3 questions (with answers), pp.51-52

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