with Carol Contes, Esq. & Glenn Feig, Esq.
As a performer, director, or writer, should you join a talent guild, and at what point in your career would it be ideal to do so? As a producer, how would you go about hiring above-the-line guild talent, and should you do so?
- Collective bargaining agreements (CBAs): What are the reasons, consequences, and processes of becoming a signatory to a guild CBA?
- Residuals: When must producers pay residuals? What methods do guilds use, in connection with obtaining financial assurances from producers, to ensure producers pay residuals in perpetuity?
- Low budget agreements: What are the correct guild agreements to use for various low budget projects?
- Creative rights: How does DGA or WGA membership affect a member's creative rights in their work? What creative rights to non-guild artists hold?
Questions are welcome!
Free parking is available.
Carol T. Contes represents individual artists such as performers, composers, writers, directors, producers, and digital artists, as well as entertainment entrepreneurs and independent producers, across the globe. Carol was the Assistant Executive Director of AFTRA, and has held legal and business affairs positions at ICM, ABC Television Network, Paramount Television, and Turner Entertainment. She has also worked in the video game industry for Electronic Arts. She has spoken at conferences sponsored by the American, San Francisco, and Century City Bar Associations, and is a member of the Beverly Hills and Los Angeles County Bar Associations. Carol received her J.D. from James E. Rogers College of Law and her undergraduate degree from the University of Arizona. Carol has been licensed to practice law in Arizona and California for more than twenty years, and is a panel attorney with the lawyer referral services of California Lawyers for the Arts.
Glenn Feig is a partner at Reder & Feig LLP, a boutique entertainment transaction firm in Beverly Hills, where he has provided full service legal production counsel on over 200 motion picture productions. He has represented dozens of domestic and foreign independent motion picture production companies, distributors, sales agents, and financiers, as well as writers and directors. He has extensive experience in structuring, negotiating, and drafting agreements governing domestic and foreign production deals, international co-productions, acquisition of rights, above- and below-the-line talent, motion picture financing, completion bonds, and various musical services, as well as merchandising, licensing, clearance of rights, and new media issues. Glenn also possesses an expertise in dealing with SAG, WGA, and DGA, and advises the firm's clients regarding all necessary interactions with those guilds.