Kathryn Arnold


How to Protect Yourself from Investor Lawsuits in Film Financing

March 30, 2017

Investing in films is a risky and speculative business. The allure of potential 9 figure returns is extremely enticing to an investor. The business is sexy (stars, red carpets, potential big money, being a part of “Hollywood.”) However the ultimate returns often allude the very person that put up their hard earned equity. So many...
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5 Tips on How To Work With Film Packaging Agents

March 2, 2017
5 Tips on How To Work With Film Packaging Agents

Film packaging agents working in film finance divisions at talent agencies wear many hats. They attach talent, directors and financing for in-house projects the agency represents. They work with outside producers and package projects to pull financing together. They represent finished films for sales and worldwide distribution. And they do all the above. Packaging agents...
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“Day and Date” Release Patterns, What is VOD’s Impact on the Distribution Timeline?

February 8, 2017
“Day and Date” Release Patterns, What is VOD’s Impact on the Distribution Timeline?

Release windows in content distribution are still a challenge for the exhibitor, distributor and filmmaker alike. The exhibitor wants exclusivity in the theatre for as long as possible so they can earn as much revenue before other platforms claim their share of the pie. The distributor and filmmaker want the film out in as...
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American Film Market 2016 – Global Film Finance – Now and the Future

November 10, 2016

The interesting irony about the film business is that as much as things change (technology, distribution platforms, executives,) as much as things stay the same—primarily film finance structures. Tried and true strategies were reinforced this week at the AFM Conference, which hosted 6 days of high-level panels sponsored by Entertainment Partners and Greenberg Traurig...
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False Representation vs. Breach of Contract in Film Financing – Who Wins?

May 7, 2015

Investment in film has the potential for high reward but is always combined with high risk. Little or no collateral, lack of liquidity, changing consumer demand, market competition and over zealous promises made by the filmmakers all contribute to the risk factor. Investors must rely on strong market analysis, distribution pre-sales and the integrity...
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Economic Damages: A Case Study – The Actor

February 10, 2015

The large majority of lawsuits involving individuals in the entertainment industry revolve around lost wages or fees. These claims can often allege millions of dollars in lost earnings depending on the role the person plays within the industry. Given the exorbitant amount that some actors, writers, directors, and producers can earn, it’s easy to...
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Transmedia Infusion…Are Indie Film Distributors’ Days Numbered?

January 6, 2015

Hollywood’s move into the OTT/direct to consumer service, seen by HBO and potentially Showtime and Starz, is both inevitable and a game changer. As more and more consumers cut the cord and view their programing direct from the creator —as seen for the last several years on YouTube— and now on Netflix, Amazon Prime...
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TO WHAT LENGTHS WILL BROADCASTERS GO TO EXPLOIT HUMAN DRAMA?

January 5, 2015

He’s either recognizable, or he’s not, was the relevant question on a recent case where I served as an expert on behalf of a deceased man’s family. They were horrified and distraught after seeing their loved one in his coffin, on a highly successful cable network. Yes, the man was shown in his blue...
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Movies Aimed at Teenage Girls Bring Box Office Bank

June 13, 2014

In a recent interview with Conrad Wilson on American Pubic Radio’s “Marketplace” I shared my thoughts on the recent box office successes of girl driven teenage movies. For more on the topic, please read on. The Fault in the Stars, a teen drama about two young lovers bonded by Cancer was number one at...
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A Case Study: Guild Residual Calculations – Studio vs. Independent Film Finance Models

April 1, 2014

The Writers Guild of America (WGA), Screen Actors Guild (SAG), and the Director’s Guild of America (DGA) track the international box office, DVD, VOD and television revenues of films around the world in order to assess the correct residual amounts for their members. The challenge facing the Producer however is that the Guilds utilize...
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