1 00:00:03,680 --> 00:00:08,360 Speaker 1: And now it's time for Joe Escalante Live from Hollywood. 2 00:00:08,720 --> 00:00:11,480 Speaker 1: If by in Hollywood, do you mean Burbank across the 3 00:00:11,520 --> 00:00:14,760 Speaker 1: street promo meaners and it's at that serves beer. 4 00:00:26,320 --> 00:00:29,319 Speaker 2: Good Evening, America. We are doing it once again, the 5 00:00:29,360 --> 00:00:33,040 Speaker 2: business end of show business every Sunday on k e 6 00:00:33,159 --> 00:00:38,040 Speaker 2: IB eleven fifty am and also on the podcast version 7 00:00:39,159 --> 00:00:41,320 Speaker 2: later in the night. Sam will upload that and you 8 00:00:41,320 --> 00:00:47,360 Speaker 2: can hear the whole thing, the privacy of your own whatever. Hey, Sam, 9 00:00:47,360 --> 00:00:47,880 Speaker 2: how are you doing? 10 00:00:48,080 --> 00:00:48,720 Speaker 1: I'm good? 11 00:00:48,720 --> 00:00:54,560 Speaker 2: How you doing doing? Okay? This? I did see a 12 00:00:54,600 --> 00:00:56,880 Speaker 2: movie this week, and did you see one? 13 00:00:57,360 --> 00:01:00,000 Speaker 3: I did not, but I did watch for the first 14 00:01:00,120 --> 00:01:04,679 Speaker 3: time with my kid Star Wars, New Hope and Return 15 00:01:06,040 --> 00:01:10,199 Speaker 3: What was it? Empire Strikes Back? And it's the first 16 00:01:10,200 --> 00:01:12,760 Speaker 3: time that he's actually had the attention span to sit 17 00:01:12,880 --> 00:01:16,880 Speaker 3: through a movie in general. So for me, I feel 18 00:01:16,880 --> 00:01:18,600 Speaker 3: like this is an accomplishment as a parent. 19 00:01:19,760 --> 00:01:24,080 Speaker 2: It's a milestone, that's for sure. I did get to 20 00:01:24,120 --> 00:01:31,440 Speaker 2: the bo's office and let's see, I think we're I 21 00:01:31,480 --> 00:01:34,440 Speaker 2: finally saw the number one movie of twenty twenty five. 22 00:01:35,200 --> 00:01:39,640 Speaker 2: The biggest movie of the year in the theaters is 23 00:01:39,720 --> 00:01:42,240 Speaker 2: z Utopia too, Sam, I broke down and I saw 24 00:01:45,120 --> 00:01:46,760 Speaker 2: have you seen it? Not yet? 25 00:01:46,880 --> 00:01:49,040 Speaker 3: No, we have not seen it, but I'm hoping to 26 00:01:49,080 --> 00:01:50,520 Speaker 3: maybe be able to take the kids over to see 27 00:01:50,600 --> 00:01:51,280 Speaker 3: Zutopia two. 28 00:01:53,480 --> 00:01:57,400 Speaker 2: I gotta say, unless it's like, hey, we got kids, 29 00:01:57,440 --> 00:02:02,160 Speaker 2: got to go somewhere and looking for something to do, 30 00:02:02,320 --> 00:02:05,680 Speaker 2: it's a great thing to do. But I wouldn't be 31 00:02:05,720 --> 00:02:06,160 Speaker 2: in a hurry. 32 00:02:07,160 --> 00:02:09,000 Speaker 3: It wasn't that good. You weren't that impressed. 33 00:02:09,480 --> 00:02:13,480 Speaker 2: It's a great film. Really, it's a great film. Uh, 34 00:02:14,680 --> 00:02:21,960 Speaker 2: it's just the technically just beautiful. Like the story's great, 35 00:02:22,000 --> 00:02:25,840 Speaker 2: it's a little complicated, Like I'm just wondering there most 36 00:02:25,880 --> 00:02:27,400 Speaker 2: of the time, how does a kid figure this out? 37 00:02:27,400 --> 00:02:30,160 Speaker 2: I don't know what the hell's going on. So, and 38 00:02:30,240 --> 00:02:31,920 Speaker 2: I'm sitting there in the studio, I'm in the theater, 39 00:02:31,960 --> 00:02:35,440 Speaker 2: I'm focused, I'm paying attention. I'm like, wait what, wait what? Wait? What? 40 00:02:35,880 --> 00:02:39,960 Speaker 2: A lot of that it's a wait what movie. So 41 00:02:43,280 --> 00:02:48,200 Speaker 2: it's like I think it's there's no surprises now. It's good, 42 00:02:48,280 --> 00:02:50,360 Speaker 2: but it's not Toy Story good. Do you know what 43 00:02:50,360 --> 00:02:50,639 Speaker 2: I mean? 44 00:02:50,960 --> 00:02:54,240 Speaker 3: Yeah, well, I mean Toy Story has its own you know, 45 00:02:54,560 --> 00:02:58,760 Speaker 3: ride and area at the park. It's a long standing, 46 00:02:58,840 --> 00:03:03,880 Speaker 3: well beloved franchise within Disney. Zutopia is just really starting 47 00:03:03,919 --> 00:03:06,960 Speaker 3: to come up. It's something that's, you know, getting a 48 00:03:06,960 --> 00:03:09,360 Speaker 3: lot of attention right now because I think it's getting 49 00:03:09,360 --> 00:03:11,560 Speaker 3: a live attention because it was the highest grossing movie 50 00:03:11,560 --> 00:03:15,079 Speaker 3: of twenty twenty five. But at the same time, it's 51 00:03:15,160 --> 00:03:17,080 Speaker 3: not it's gonna be hard to compare it to a 52 00:03:17,120 --> 00:03:18,120 Speaker 3: movie like Toy Story. 53 00:03:18,240 --> 00:03:20,280 Speaker 2: Okay, by the time you saw Toy Story too, you 54 00:03:20,320 --> 00:03:23,520 Speaker 2: knew that there was this is something really special as 55 00:03:23,520 --> 00:03:28,320 Speaker 2: far as the storytelling is going, absolutely, and maybe it's 56 00:03:28,320 --> 00:03:32,240 Speaker 2: original because it's toys, and there's seven thousand animated films 57 00:03:32,240 --> 00:03:38,800 Speaker 2: about animals animated toys not so many, so it's yeah, 58 00:03:38,800 --> 00:03:42,320 Speaker 2: it's good. It's not Toy Story Good. Now it's there's 59 00:03:42,360 --> 00:03:45,720 Speaker 2: going to be a Zootopia three and a Zutopia four, 60 00:03:46,440 --> 00:03:48,160 Speaker 2: and I don't know how long it goes after that. 61 00:03:48,680 --> 00:03:51,440 Speaker 2: But it made three hundred and seventy nine million dollars 62 00:03:51,480 --> 00:03:56,520 Speaker 2: so far, and Avatar Fire and Ash the number one 63 00:03:56,520 --> 00:04:00,880 Speaker 2: movie in America also from Disney, forty four million, so 64 00:04:00,880 --> 00:04:04,280 Speaker 2: it's it's still making more money than Avatar, so it's 65 00:04:04,320 --> 00:04:07,360 Speaker 2: going to be a there's no reason why they're like 66 00:04:08,240 --> 00:04:11,560 Speaker 2: as far as box office goes. You know, it's as 67 00:04:11,640 --> 00:04:14,560 Speaker 2: big as Toy Story, or could be bigger. I don't know, 68 00:04:14,600 --> 00:04:17,680 Speaker 2: but it's just not toy story good. And that's coming 69 00:04:17,760 --> 00:04:23,400 Speaker 2: from an adult has no kids, and you know, I'm 70 00:04:23,440 --> 00:04:27,919 Speaker 2: suffering from a little bit of adulthood trauma. Actually, that 71 00:04:28,000 --> 00:04:29,840 Speaker 2: was a line in the movie that I thought was funny. 72 00:04:31,040 --> 00:04:32,600 Speaker 2: There's a lot of psycho babble in it. I think 73 00:04:32,600 --> 00:04:34,760 Speaker 2: you're gonna love it. Actually, I'm going to tell you 74 00:04:34,839 --> 00:04:38,320 Speaker 2: go see it right away because you're you're like a therapist, 75 00:04:38,360 --> 00:04:42,440 Speaker 2: a psychoanalyst of sorts. Correct. Yeah, okay, this movie is 76 00:04:42,440 --> 00:04:44,680 Speaker 2: full of that stuff and very well done. 77 00:04:44,880 --> 00:04:45,159 Speaker 3: Really. 78 00:04:45,720 --> 00:04:48,720 Speaker 2: Yeah. They're in therapy all the time and they're analyzing 79 00:04:48,760 --> 00:04:51,960 Speaker 2: each other and they're always confessing about their their problems. 80 00:04:52,320 --> 00:04:54,560 Speaker 2: And then one of them says at one point, you know, 81 00:04:54,560 --> 00:04:56,960 Speaker 2: I suffer from childhood trauma blah blah blah. And the 82 00:04:56,960 --> 00:04:59,240 Speaker 2: guy says, I'm going to give you adulthood trauma if 83 00:04:59,279 --> 00:05:01,880 Speaker 2: you don't blah blah blah blah blah. I thought that 84 00:05:01,920 --> 00:05:03,800 Speaker 2: was very funny. That is also think it's a very 85 00:05:03,800 --> 00:05:08,720 Speaker 2: good name for a band, adulthood trauma. If you're looking 86 00:05:08,760 --> 00:05:09,640 Speaker 2: for a name for a band. 87 00:05:09,760 --> 00:05:11,599 Speaker 3: That's the case. How does it compare to a movie 88 00:05:11,680 --> 00:05:14,480 Speaker 3: like say, Inside Out, where it's focused a lot on 89 00:05:14,600 --> 00:05:16,920 Speaker 3: mental health and the different aspects of how you know, 90 00:05:17,200 --> 00:05:18,599 Speaker 3: the brain works. 91 00:05:19,120 --> 00:05:22,680 Speaker 2: Yeah, I don't remember, okay, but I'll tell you what 92 00:05:24,560 --> 00:05:28,320 Speaker 2: once you walk out of the theater. Very well made movie. 93 00:05:28,400 --> 00:05:33,560 Speaker 2: Shakira song is awesome, super cool people in it. Like, 94 00:05:34,400 --> 00:05:40,000 Speaker 2: what have we got in this movie? We got Jennifer 95 00:05:40,040 --> 00:05:50,960 Speaker 2: Goodwin from Big Love, Jason Bateman, we got Shakira doing 96 00:05:50,960 --> 00:05:57,440 Speaker 2: that thing, Octavia Spencer, Idris Elba plays a character, Bob 97 00:05:57,480 --> 00:05:59,520 Speaker 2: Eyder plays a character. How do you like that? 98 00:06:00,080 --> 00:06:00,200 Speaker 4: Well? 99 00:06:00,240 --> 00:06:03,440 Speaker 3: And Shakira had the song on the first movie as well. 100 00:06:03,480 --> 00:06:06,000 Speaker 3: And that's part of what I think is going on. 101 00:06:06,000 --> 00:06:09,880 Speaker 3: Because Shakira has got so much international appeal. I get 102 00:06:09,880 --> 00:06:12,400 Speaker 3: the feeling this movie was made much more for the 103 00:06:12,480 --> 00:06:15,760 Speaker 3: international audience instead of one that's more American focused. 104 00:06:16,720 --> 00:06:18,880 Speaker 2: Yeah, you could dub any language in this thing, and 105 00:06:18,920 --> 00:06:23,120 Speaker 2: it's gonna be good. Yeah, good movie. You're gonna love it. 106 00:06:23,120 --> 00:06:26,680 Speaker 2: From all the psychoanalysts stuff, it's hilarious. So anyway, it's good, 107 00:06:26,720 --> 00:06:30,920 Speaker 2: not toast very good, but very good. But then when 108 00:06:30,920 --> 00:06:32,840 Speaker 2: you go into the lobby after the theater. You see 109 00:06:32,839 --> 00:06:38,520 Speaker 2: like three, at least three posters for other animated films 110 00:06:38,520 --> 00:06:42,120 Speaker 2: with a gang of ragtag group of animals gonna solve 111 00:06:42,120 --> 00:06:45,480 Speaker 2: some caper or something. So it's getting a little old. 112 00:06:46,480 --> 00:06:48,120 Speaker 2: I think I'm good on this. I don't need to 113 00:06:48,120 --> 00:06:57,520 Speaker 2: see Zootopia one. Some good other ones for this weekend, 114 00:06:57,560 --> 00:07:03,679 Speaker 2: the big ones, Greenland two, Migration. I didn't see Greenland one, 115 00:07:03,960 --> 00:07:06,400 Speaker 2: but let me tell you what a great time for 116 00:07:06,440 --> 00:07:09,159 Speaker 2: a movie called Greenland when you know Greenland is in 117 00:07:09,200 --> 00:07:11,480 Speaker 2: the news every day that I mean, we're gonna we're 118 00:07:11,480 --> 00:07:14,960 Speaker 2: gonna buy it, We're gonna take it over, We're gonna 119 00:07:15,880 --> 00:07:17,400 Speaker 2: blow it up. I don't know what we're gonna do, 120 00:07:17,840 --> 00:07:21,920 Speaker 2: but yeah, great thing. I don't know if you've been 121 00:07:22,000 --> 00:07:23,840 Speaker 2: to Greenland, Sam, have you been to Greenland? 122 00:07:24,000 --> 00:07:26,920 Speaker 3: No, I'm not much of a cold weather climate kind 123 00:07:26,960 --> 00:07:27,240 Speaker 3: of guy. 124 00:07:27,800 --> 00:07:29,760 Speaker 2: Okay, well this is why I'm the host of the show. 125 00:07:30,040 --> 00:07:33,040 Speaker 2: I have been to Greenland. And let me tell you. 126 00:07:33,480 --> 00:07:36,200 Speaker 2: When I was going to school in Rekuvic, you get 127 00:07:36,320 --> 00:07:40,880 Speaker 2: a quick prop plane over to Greenland and check it 128 00:07:40,960 --> 00:07:42,840 Speaker 2: out if you wanted to. So I did. I went 129 00:07:42,840 --> 00:07:48,600 Speaker 2: over there and hung out with some eskimos. Interesting and yeah, 130 00:07:48,680 --> 00:07:54,360 Speaker 2: and they were a happy eat folk and happier than 131 00:07:54,360 --> 00:07:56,600 Speaker 2: you and me perhaps, but they can only live on 132 00:07:56,640 --> 00:07:58,800 Speaker 2: the very edges of the country, you know, because it's 133 00:07:58,840 --> 00:08:02,080 Speaker 2: all it's block of ice. And they were just all 134 00:08:02,080 --> 00:08:05,760 Speaker 2: they would talk about is this palette of beer that 135 00:08:05,840 --> 00:08:08,720 Speaker 2: was sitting in the middle of the town and you 136 00:08:08,720 --> 00:08:10,880 Speaker 2: don't have to put it refrigerated because just you know, 137 00:08:11,440 --> 00:08:13,480 Speaker 2: it's just a palette of beer covered by a net. 138 00:08:14,520 --> 00:08:18,840 Speaker 2: And I'm like, what's with that thing? Well, the government 139 00:08:18,920 --> 00:08:23,000 Speaker 2: isn't gonna let us into it until Tuesday, so they 140 00:08:23,000 --> 00:08:25,120 Speaker 2: had like a weekly or a bi weekly allotment of 141 00:08:25,160 --> 00:08:27,560 Speaker 2: beer and they just then they had to sit there 142 00:08:27,560 --> 00:08:28,920 Speaker 2: and look at it all the time. That's all they 143 00:08:28,920 --> 00:08:34,920 Speaker 2: thought about. And they made some good they were good craftsmen, 144 00:08:35,160 --> 00:08:39,000 Speaker 2: and I bought some stuff from them, and I didn't 145 00:08:39,040 --> 00:08:40,640 Speaker 2: drink any beers in front of them because I didn't 146 00:08:40,640 --> 00:08:41,839 Speaker 2: want to make them feel better. They're not allowed to 147 00:08:41,880 --> 00:08:44,280 Speaker 2: have any I guess it's all. I mean, it's really 148 00:08:44,280 --> 00:08:46,440 Speaker 2: weird that kind of thing, like the Danes are, you know, 149 00:08:46,559 --> 00:08:50,120 Speaker 2: just like just kind of controlling them and giving them 150 00:08:50,120 --> 00:08:53,080 Speaker 2: what they need. You know. It's like our Indian reservations here, 151 00:08:54,679 --> 00:08:59,600 Speaker 2: but super interesting, great strategic place to own. I hope 152 00:08:59,600 --> 00:09:04,000 Speaker 2: we get it. Other other movies that are big right now, 153 00:09:05,400 --> 00:09:10,079 Speaker 2: A Housemaid, Sidney Sweeney movie talked about last week, Primate 154 00:09:10,200 --> 00:09:14,320 Speaker 2: about the people that have a monkey, shouldn't have a monkey, 155 00:09:14,679 --> 00:09:16,880 Speaker 2: Marty Supreme, I say, the best movie of the year, 156 00:09:18,800 --> 00:09:25,640 Speaker 2: Runaway Best Picture Favorite, and then SpongeBob Song Sung Blue. 157 00:09:25,720 --> 00:09:28,640 Speaker 2: I would say that's going to be nominated for Best Picture, 158 00:09:29,120 --> 00:09:32,760 Speaker 2: and I believe Kate Hudson Mike get a Best Actress 159 00:09:32,760 --> 00:09:39,400 Speaker 2: from that, and then David from Angels Studios, and that 160 00:09:39,520 --> 00:09:46,800 Speaker 2: rounds it out. This week, other movies are coming out 161 00:09:46,920 --> 00:09:51,160 Speaker 2: and a few. There's one movie that's interesting to me 162 00:09:51,280 --> 00:09:56,840 Speaker 2: is called a Magellan. It's by a Filipino director starring 163 00:09:56,880 --> 00:10:00,800 Speaker 2: Gabriel Garcia Bannal. I think that's his his full name. 164 00:10:02,160 --> 00:10:06,200 Speaker 2: He is, you know, one of the best Spanish speaking 165 00:10:06,240 --> 00:10:12,720 Speaker 2: actors of our time, and he plays Mitchellen and you 166 00:10:12,760 --> 00:10:15,319 Speaker 2: know it's going to be a horrible indictment on Western 167 00:10:15,360 --> 00:10:18,600 Speaker 2: civilization and Catholicism. But it looks really good anyway, so 168 00:10:20,240 --> 00:10:23,360 Speaker 2: probably when or at least be nominated for Best Foreign Film. 169 00:10:24,240 --> 00:10:27,760 Speaker 2: Other ones people are looking forward to Iron Lung. It's 170 00:10:27,800 --> 00:10:37,719 Speaker 2: about a guy who has bad kidneys, and that's about it. 171 00:10:37,800 --> 00:10:40,839 Speaker 2: You know, it's a quick January is a time notorious 172 00:10:40,880 --> 00:10:45,400 Speaker 2: for releasing movies that aren't that good, and they were 173 00:10:45,520 --> 00:10:50,400 Speaker 2: or are not going to be considered for awards. So 174 00:10:50,840 --> 00:10:53,760 Speaker 2: you put him out in January, because if you need 175 00:10:53,800 --> 00:10:55,400 Speaker 2: to be considered for awards, you got to have it 176 00:10:55,400 --> 00:10:58,719 Speaker 2: out in twenty twenty, twenty twenty five. If you don't 177 00:10:58,760 --> 00:11:00,480 Speaker 2: care about the words, because you know you're going to 178 00:11:00,480 --> 00:11:03,720 Speaker 2: be asked out, then put it out in January, not 179 00:11:03,760 --> 00:11:10,800 Speaker 2: that much competition, and you will You've lost nothing. All right, 180 00:11:10,840 --> 00:11:12,600 Speaker 2: Let's take a break, check the traffic and we'll come 181 00:11:12,640 --> 00:11:15,719 Speaker 2: back more with Joe Scolante Live from Hollywood. Joe Scolante 182 00:11:15,760 --> 00:11:21,560 Speaker 2: Live from Hollywood. We are back. Let's take a look 183 00:11:21,559 --> 00:11:28,319 Speaker 2: at this case, Sam where X formerly known as Twitter 184 00:11:29,200 --> 00:11:36,800 Speaker 2: as a little music industry problem, Like you know, everything 185 00:11:36,840 --> 00:11:38,880 Speaker 2: on the internet, it's all the while less now, and 186 00:11:39,240 --> 00:11:43,520 Speaker 2: how are we going to deal with copyrighted materials that 187 00:11:43,640 --> 00:11:50,000 Speaker 2: are placed into the social media platforms? Normally you have 188 00:11:50,080 --> 00:11:55,280 Speaker 2: to make a deal with I mean, on a micro level, 189 00:11:56,040 --> 00:12:01,800 Speaker 2: if I've written a song and someone will to distribute 190 00:12:01,840 --> 00:12:05,360 Speaker 2: it or exhibit it or broadcast it, they need a 191 00:12:05,400 --> 00:12:08,880 Speaker 2: license for me, because that is my intellectual property. I 192 00:12:08,920 --> 00:12:11,480 Speaker 2: have a copyright in it, and it's gonna last ninety 193 00:12:11,520 --> 00:12:13,679 Speaker 2: five years or whatever. We talked about Betty Boop going 194 00:12:13,720 --> 00:12:16,440 Speaker 2: into the public domain last year. I'm sure Sam, you 195 00:12:16,480 --> 00:12:18,920 Speaker 2: already started your horror film Betty Boop. 196 00:12:19,520 --> 00:12:22,559 Speaker 3: Alrighty, it's in the works, got the treatment set and everything. 197 00:12:23,200 --> 00:12:26,520 Speaker 2: Good for you. And you know so, I'm gonna own 198 00:12:26,559 --> 00:12:28,719 Speaker 2: this for ninety five years. If you want to use it, 199 00:12:30,920 --> 00:12:33,480 Speaker 2: if you want to sing it, you gotta pay me. 200 00:12:34,720 --> 00:12:39,559 Speaker 2: If I make a record, you gotta you want to 201 00:12:39,559 --> 00:12:42,080 Speaker 2: play that, now, you gotta pay me for that. You're 202 00:12:42,280 --> 00:12:45,319 Speaker 2: now you're exhibiting my record, you're distributing it, you're causing 203 00:12:45,360 --> 00:12:49,640 Speaker 2: it to be played. You need a mechanical royalty. You're 204 00:12:49,679 --> 00:12:56,280 Speaker 2: mechanically reproducing a version of that song. I dare you. Anyways, 205 00:12:56,320 --> 00:12:58,120 Speaker 2: this is how it works. So a long time ago 206 00:12:58,559 --> 00:13:02,920 Speaker 2: they did a couple things. They put together these performance 207 00:13:03,000 --> 00:13:06,000 Speaker 2: rights societies, and it kind of started out with not 208 00:13:06,080 --> 00:13:10,120 Speaker 2: just sheet music, Sam, but piano roles from player pianos. 209 00:13:10,760 --> 00:13:15,720 Speaker 2: And if you wanted to play these songs in your 210 00:13:15,760 --> 00:13:19,679 Speaker 2: player piano in your old timey saloon, you had to 211 00:13:19,800 --> 00:13:23,760 Speaker 2: buy the disc, the wax cylinder or whatever that would 212 00:13:23,800 --> 00:13:26,240 Speaker 2: go into the player piano and cause the keys to move, 213 00:13:26,760 --> 00:13:31,840 Speaker 2: and then you would have to pay a mechanical royalty 214 00:13:29,400 --> 00:13:39,000 Speaker 2: to mechanically reproduce this song. The recording of this or 215 00:13:39,040 --> 00:13:41,360 Speaker 2: the I guess that would be mechanical. The recording of 216 00:13:41,360 --> 00:13:45,880 Speaker 2: the song back then would be the mechanical cylinder. So 217 00:13:45,880 --> 00:13:49,360 Speaker 2: you got to pay a royalty for the underlying song, 218 00:13:49,440 --> 00:13:52,440 Speaker 2: and you have to then someone has to pay a royalty. 219 00:13:52,640 --> 00:13:55,440 Speaker 2: Most of the time, except for on radio, you have 220 00:13:55,520 --> 00:14:00,320 Speaker 2: to pay a royalty to the person who own the 221 00:14:00,360 --> 00:14:05,360 Speaker 2: recording of that particular song. Let's say it's Tom Petty 222 00:14:05,800 --> 00:14:09,600 Speaker 2: singing a song written by Tony Bennett. Okay, so the 223 00:14:09,679 --> 00:14:14,240 Speaker 2: song is played Tom Petty theoretically or as a record 224 00:14:14,320 --> 00:14:17,320 Speaker 2: label owns the recording rights. So he's going to get 225 00:14:17,440 --> 00:14:22,240 Speaker 2: a royalty for use except for on radio. And then 226 00:14:22,560 --> 00:14:25,920 Speaker 2: the guy who wrote it, Tony Bennett, he's going to 227 00:14:26,040 --> 00:14:32,960 Speaker 2: get a royalty, a performance royalty for somebody playing a 228 00:14:33,040 --> 00:14:35,840 Speaker 2: song written by Tony Bennett. So this is very complicated. 229 00:14:36,160 --> 00:14:39,920 Speaker 2: So a long time ago, people started these performance rights 230 00:14:39,920 --> 00:14:47,760 Speaker 2: societies and they would they would ban together. Let's say 231 00:14:49,200 --> 00:14:54,200 Speaker 2: all the artists say, okay, join our society. And then 232 00:14:54,240 --> 00:14:57,360 Speaker 2: when we will make a deal with these let's say 233 00:14:57,360 --> 00:14:59,960 Speaker 2: we'll just call him radio stations, well the radio station, 234 00:15:00,240 --> 00:15:02,360 Speaker 2: and then the radio stations will pay us, and we'll 235 00:15:02,360 --> 00:15:04,640 Speaker 2: pay you, and we'll give them a blanket license to 236 00:15:04,680 --> 00:15:09,320 Speaker 2: play all the music in our catalog. And then later 237 00:15:09,440 --> 00:15:12,920 Speaker 2: on there were two, three, and then now four of 238 00:15:12,920 --> 00:15:18,000 Speaker 2: these performance right societies that are five actually own all 239 00:15:18,000 --> 00:15:20,680 Speaker 2: the music in the world basically, and so you've got 240 00:15:20,720 --> 00:15:23,440 Speaker 2: to have a license from all of them to really 241 00:15:23,560 --> 00:15:28,640 Speaker 2: perform music copyright material legitimately. Now that's on the radio 242 00:15:28,680 --> 00:15:32,480 Speaker 2: and on television, you get these blanket licenses to broadcast. 243 00:15:32,600 --> 00:15:35,440 Speaker 2: That doesn't mean if you have a song in Zootopia two, 244 00:15:35,720 --> 00:15:38,920 Speaker 2: that's a different license. You've got to get a sync license. 245 00:15:38,960 --> 00:15:41,440 Speaker 2: You got to go to the songwriter, get a license 246 00:15:41,480 --> 00:15:43,240 Speaker 2: from that person, and then you have to go to 247 00:15:43,280 --> 00:15:45,400 Speaker 2: the record label get a license from them. There's no 248 00:15:45,640 --> 00:15:51,080 Speaker 2: society controlling that like a monopoly. That's different. But once 249 00:15:51,120 --> 00:15:53,400 Speaker 2: the song's in the movie and then that gets played 250 00:15:53,400 --> 00:15:56,520 Speaker 2: on TV, then you're dealing in the blanket license era 251 00:15:57,160 --> 00:16:01,000 Speaker 2: or zone where the TV network is going to get 252 00:16:01,000 --> 00:16:05,800 Speaker 2: a blanket license from ASCAP, BMI, CE, sack All Track 253 00:16:06,040 --> 00:16:09,360 Speaker 2: and this other weird one owned by Irving Azof And 254 00:16:09,400 --> 00:16:11,000 Speaker 2: you get all those licenses and you can play any 255 00:16:11,000 --> 00:16:12,840 Speaker 2: song you want in the world. That's why. When and 256 00:16:12,880 --> 00:16:14,680 Speaker 2: the same thing, if you have a stadium, you get 257 00:16:14,680 --> 00:16:16,960 Speaker 2: all these licenses, you can any song in the world 258 00:16:17,000 --> 00:16:19,920 Speaker 2: can be played at that stadium. That's why when people say, 259 00:16:19,920 --> 00:16:22,320 Speaker 2: like I don't want Donald Trump playing my songs, well, 260 00:16:22,520 --> 00:16:24,600 Speaker 2: guess what. The stadium that he's got his event at 261 00:16:24,680 --> 00:16:27,000 Speaker 2: already has a blanket license. He can play whatever he wants. 262 00:16:27,680 --> 00:16:32,440 Speaker 2: All right. So that's a little background primer. Now we 263 00:16:32,520 --> 00:16:35,400 Speaker 2: have a situation where what happens on things like X 264 00:16:35,480 --> 00:16:38,720 Speaker 2: or Twitter or Snapchat or things like that, Well, they 265 00:16:38,760 --> 00:16:41,120 Speaker 2: have to figure this whole system out all over again. 266 00:16:41,720 --> 00:16:46,520 Speaker 2: Now X is to try to get the publishing rights, 267 00:16:46,560 --> 00:16:50,680 Speaker 2: the rights from the songwriters, not necessarily the recording of 268 00:16:50,760 --> 00:16:54,040 Speaker 2: the song, but the underlying credit from this person who 269 00:16:54,040 --> 00:17:00,200 Speaker 2: wrote the song. X. Twitter is accusing these major music 270 00:17:00,280 --> 00:17:07,639 Speaker 2: publishers of illegally coordinating these digital takedowns as a group 271 00:17:07,840 --> 00:17:12,840 Speaker 2: boycott to force a unified licensing deal, turning copyright enforcement 272 00:17:12,880 --> 00:17:17,320 Speaker 2: into a high stakes anti trust battle. Now, okay, so 273 00:17:17,359 --> 00:17:20,439 Speaker 2: anti trust is what it's anti monopoly. I hope this 274 00:17:20,480 --> 00:17:23,000 Speaker 2: isn't getting too boring, but it's kind of exciting to 275 00:17:23,080 --> 00:17:29,840 Speaker 2: me anyway, because what is it. What's happening is X. 276 00:17:30,400 --> 00:17:33,280 Speaker 2: If you upload a song, the recording of a song. 277 00:17:34,720 --> 00:17:37,720 Speaker 2: Let's say Shakira's a Utopia song, you're going to go 278 00:17:38,480 --> 00:17:40,600 Speaker 2: it's going to be played on X and they got 279 00:17:40,640 --> 00:17:44,280 Speaker 2: to pay somebody. What's the rate? Okay, someone's got to 280 00:17:44,280 --> 00:17:48,080 Speaker 2: figure out the rate of how much they get the 281 00:17:48,200 --> 00:17:51,800 Speaker 2: songwriter gets paid every time that it gets played. So 282 00:17:54,200 --> 00:17:57,120 Speaker 2: you go individually to that person that wrote the song, 283 00:17:57,200 --> 00:17:59,440 Speaker 2: say how much how much you want? Let's say he says, 284 00:17:59,480 --> 00:18:02,919 Speaker 2: I want poet point one sense every time it gets played. Okay, 285 00:18:02,960 --> 00:18:05,639 Speaker 2: you'll take it. And then another guy comes along and 286 00:18:05,640 --> 00:18:09,600 Speaker 2: says to that guy and says, hey, let's get together 287 00:18:09,920 --> 00:18:14,359 Speaker 2: and collude and we'll all tell we'll all get together 288 00:18:14,880 --> 00:18:18,560 Speaker 2: and tell X that they have to pay five cents 289 00:18:18,600 --> 00:18:22,320 Speaker 2: a song every time it's played. And you're like, oh, 290 00:18:22,359 --> 00:18:24,200 Speaker 2: that sounds even better. So then we go and let's 291 00:18:24,200 --> 00:18:29,359 Speaker 2: get other people to agree too, and then we will 292 00:18:29,800 --> 00:18:33,080 Speaker 2: we will do digital millennium copyright takedown notices. Those are 293 00:18:33,119 --> 00:18:36,160 Speaker 2: things that how you get stuff off the internet. If 294 00:18:36,200 --> 00:18:39,760 Speaker 2: they don't have the rights, you send them these takedown notices, okay, 295 00:18:39,880 --> 00:18:43,720 Speaker 2: and then say, so everybody in this group getting together, 296 00:18:43,840 --> 00:18:46,880 Speaker 2: banding together, and we're going to tell them take down 297 00:18:46,920 --> 00:18:50,520 Speaker 2: all our songs unless you pay this other amount five 298 00:18:50,560 --> 00:18:53,199 Speaker 2: cents a song. I want five cents every time it's played. 299 00:18:53,520 --> 00:18:55,120 Speaker 2: And they're going, we can't afford that. And we got 300 00:18:55,119 --> 00:18:56,320 Speaker 2: this guy over here says he'll do it for a 301 00:18:56,320 --> 00:18:59,680 Speaker 2: point one cent. You're like, welly, have all these people 302 00:18:59,680 --> 00:19:03,040 Speaker 2: banded together, these associations, these groups, and we all say 303 00:19:03,080 --> 00:19:05,760 Speaker 2: you have to have five sents. Well, that sounds pretty 304 00:19:05,760 --> 00:19:10,520 Speaker 2: good for the songwriter, correct Sam, Yeah, for sure. However, 305 00:19:11,760 --> 00:19:16,560 Speaker 2: if it's determined that a collusion, under the anti trust laws, 306 00:19:18,640 --> 00:19:22,200 Speaker 2: it is illegal to band together and try to create 307 00:19:22,560 --> 00:19:26,560 Speaker 2: price fixing. Okay, we want competition in the world normally, 308 00:19:26,800 --> 00:19:30,320 Speaker 2: not price fixing. So X alleges that the National Music 309 00:19:30,359 --> 00:19:36,480 Speaker 2: Populacers Association and several major music publishers have coordinated their 310 00:19:36,480 --> 00:19:41,639 Speaker 2: refusal to license music individually, not individually, but instead they 311 00:19:41,800 --> 00:19:47,720 Speaker 2: used these They got together and they're using these takedowns 312 00:19:49,840 --> 00:19:54,040 Speaker 2: as a group, like they're meeting in a cabal and 313 00:19:54,080 --> 00:19:58,439 Speaker 2: then deciding and doing it as a price fixing scheme. 314 00:19:59,240 --> 00:20:03,000 Speaker 2: Under Section one the Sherman Antitrust Act, competitors acting together 315 00:20:03,119 --> 00:20:08,040 Speaker 2: to refuse to deal can constitute any legal restraint of trade. 316 00:20:08,080 --> 00:20:09,919 Speaker 2: This is my specialty in law school, so I love it. 317 00:20:10,240 --> 00:20:13,280 Speaker 2: A single copyright holder may lawfully decline to license its works, 318 00:20:13,600 --> 00:20:17,080 Speaker 2: but anti trust law draws a bright line when competitors 319 00:20:17,119 --> 00:20:21,320 Speaker 2: coordinate refusals, particularly when they control a substantial share of 320 00:20:21,359 --> 00:20:25,000 Speaker 2: a relevant market. Excess theory is that the individual publishers 321 00:20:25,000 --> 00:20:29,240 Speaker 2: could license directly, but instead are collectively withholding these licenses 322 00:20:29,680 --> 00:20:32,720 Speaker 2: and doing these takedown notices to apply pressure. If they 323 00:20:32,760 --> 00:20:36,000 Speaker 2: prove this, the coordination is itself a violation. Courts do 324 00:20:36,040 --> 00:20:38,440 Speaker 2: not need to even determine whether the resulting prices were 325 00:20:38,440 --> 00:20:40,600 Speaker 2: reasonable or unreasonable. They're just saying you can't do that. 326 00:20:42,280 --> 00:20:43,119 Speaker 2: Does that make sense to you? 327 00:20:44,680 --> 00:20:47,119 Speaker 3: A lot of it does and a lot of it doesn't. Here, 328 00:20:47,200 --> 00:20:49,040 Speaker 3: let's go to break and we'll discuss it further. 329 00:20:49,600 --> 00:20:54,960 Speaker 2: Okay, so boring, but so interesting. Joe Scalante Live from Hollywood. 330 00:20:56,160 --> 00:21:01,360 Speaker 2: Joe Scalanti Live from Hollywood, by Hollywood. You bank, all right, 331 00:21:01,680 --> 00:21:08,640 Speaker 2: So let's wrap up this Twitter versus the Music publisher's story, 332 00:21:10,000 --> 00:21:17,200 Speaker 2: and I apologize for the dryness, but it monopolies aren't. 333 00:21:17,320 --> 00:21:19,800 Speaker 2: Everybody likes to play monopoly, Okay, So I'm not even 334 00:21:19,840 --> 00:21:21,399 Speaker 2: gonna apologize for it anymore. 335 00:21:21,440 --> 00:21:24,320 Speaker 3: No, don't apologize because this is something that's impacting the 336 00:21:24,400 --> 00:21:28,480 Speaker 3: music industry in a huge way going forward because everybody's 337 00:21:28,480 --> 00:21:31,080 Speaker 3: trying to figure out how to get monetized and how 338 00:21:31,160 --> 00:21:33,879 Speaker 3: to get their music monetized if it's streaming online or 339 00:21:33,960 --> 00:21:35,760 Speaker 3: on one of these social media sites. 340 00:21:36,320 --> 00:21:38,200 Speaker 2: Yeah, and it's very complicated. That's why I tell people 341 00:21:38,200 --> 00:21:40,200 Speaker 2: who want to get into the entertainment industry, and especially 342 00:21:40,240 --> 00:21:45,199 Speaker 2: in the music industry, learn digital rights. Because if you 343 00:21:45,280 --> 00:21:52,800 Speaker 2: learn a digital performance sync master, use these kind of 344 00:21:52,800 --> 00:21:56,800 Speaker 2: licenses and royalties that then rates, you will always have 345 00:21:56,840 --> 00:21:59,879 Speaker 2: a job because this can never go away. It's not 346 00:22:00,080 --> 00:22:02,560 Speaker 2: like if you're a publicist, that's the first thing that 347 00:22:02,600 --> 00:22:07,199 Speaker 2: gets cut in a budget for a record label. But 348 00:22:07,240 --> 00:22:13,240 Speaker 2: if you're into the royalty distribution and payment, you're always 349 00:22:13,280 --> 00:22:19,160 Speaker 2: going to have a job. So let's see. Now, there's 350 00:22:19,160 --> 00:22:22,919 Speaker 2: the Digital MILLENNI Millennium Copyright Act that allowed came up 351 00:22:22,920 --> 00:22:25,600 Speaker 2: with a way to take stuff down from the Internet. 352 00:22:25,840 --> 00:22:28,439 Speaker 2: So under the Digital millennium copyright argue. You send this 353 00:22:28,840 --> 00:22:30,640 Speaker 2: certain kind of letter and you tell them to take 354 00:22:30,640 --> 00:22:32,159 Speaker 2: it down, and they got to take it down. If 355 00:22:32,160 --> 00:22:36,280 Speaker 2: they don't take it down, then you know there's legal liabilities. 356 00:22:36,840 --> 00:22:40,879 Speaker 2: But it was designed as an enforcement of copyright, like 357 00:22:41,119 --> 00:22:45,760 Speaker 2: a shield to protect people from infringement, not a collective 358 00:22:46,320 --> 00:22:50,080 Speaker 2: bargaining sword where everybody can send one of these letters 359 00:22:50,359 --> 00:22:53,200 Speaker 2: and then collude on a price and come back and 360 00:22:53,240 --> 00:22:55,320 Speaker 2: say this is the price you have to pay for 361 00:22:55,680 --> 00:22:58,600 Speaker 2: we all want it. But in a sense, this is 362 00:22:58,600 --> 00:23:02,080 Speaker 2: what the blake At licenses. It's a one price for 363 00:23:02,200 --> 00:23:05,040 Speaker 2: all music. So if you want to put my music 364 00:23:05,119 --> 00:23:09,640 Speaker 2: on your broadcast network, a song written by Sam, you're 365 00:23:09,680 --> 00:23:13,960 Speaker 2: going to pay more or less than you're going to 366 00:23:14,040 --> 00:23:18,040 Speaker 2: pay for a song written by Charlie s z X 367 00:23:18,119 --> 00:23:23,600 Speaker 2: or whatever her name is, Sabrina Carpenter, who gets paid more. Well, 368 00:23:24,040 --> 00:23:26,919 Speaker 2: they all get paid the same. So you have to 369 00:23:26,920 --> 00:23:29,600 Speaker 2: pay the same for Sam Zea's music as you do 370 00:23:29,840 --> 00:23:32,959 Speaker 2: for Sabrina Carpenter's music. So to me, this is what 371 00:23:33,000 --> 00:23:34,879 Speaker 2: I wrote a paper on. It was likely published in 372 00:23:34,880 --> 00:23:40,520 Speaker 2: a lot of you that if that's fundamentally unfair and 373 00:23:40,520 --> 00:23:43,280 Speaker 2: against the Sherman anti tri stack, because you're now that's 374 00:23:43,280 --> 00:23:46,280 Speaker 2: price fixing, and what are the harms of price fixing? 375 00:23:46,800 --> 00:23:49,280 Speaker 2: If you have the same price for everything, only Sabrina 376 00:23:49,320 --> 00:23:52,160 Speaker 2: Carpenter's songs will be used. Sam Zea's songs will never 377 00:23:52,200 --> 00:23:56,680 Speaker 2: be used because you're paying the same for the Sabrina 378 00:23:56,720 --> 00:24:00,199 Speaker 2: Carpenter song. Why not pay those and let the say 379 00:24:00,280 --> 00:24:03,639 Speaker 2: you wanted to charge less for patriotic music or release music. No, 380 00:24:03,720 --> 00:24:08,520 Speaker 2: you can't. They're all the same. So this is now 381 00:24:08,560 --> 00:24:09,959 Speaker 2: a long time ago. When they were doing this, they 382 00:24:09,960 --> 00:24:12,320 Speaker 2: were just bamboozling. In my opinion, and as the subject 383 00:24:12,320 --> 00:24:16,240 Speaker 2: of my paper, they were. They were banboozling the courts 384 00:24:16,240 --> 00:24:17,720 Speaker 2: and saying, oh, this is too hard to figure out. 385 00:24:17,880 --> 00:24:20,320 Speaker 2: The musicians can't figure it out, your honor, you can't 386 00:24:20,320 --> 00:24:23,880 Speaker 2: figure it out. Let us just do this this special 387 00:24:23,920 --> 00:24:28,760 Speaker 2: exception to the antitrust laws, and let us all allow 388 00:24:28,840 --> 00:24:32,400 Speaker 2: us to have these blanket licenses. I was never comfortable 389 00:24:32,440 --> 00:24:37,920 Speaker 2: with it, and now they're the way they're doing it now, 390 00:24:37,920 --> 00:24:39,760 Speaker 2: I think, just just a little more scrutiny because people 391 00:24:39,760 --> 00:24:42,680 Speaker 2: pay attention more and so they're saying, okay, you pay 392 00:24:42,760 --> 00:24:45,560 Speaker 2: us all, we're taking everything down and we're going to 393 00:24:45,560 --> 00:24:48,960 Speaker 2: boycott you, and it's you know, some kind of economic terrorism. 394 00:24:49,520 --> 00:24:53,840 Speaker 2: So that is how Twitter is going to try to 395 00:24:53,880 --> 00:24:59,560 Speaker 2: pay less for music than the music writers want to receive. 396 00:25:00,080 --> 00:25:04,720 Speaker 2: That makes sense. It sounds evil, but if you're a 397 00:25:04,880 --> 00:25:10,040 Speaker 2: shareholder of Twitter, and many of us are, you need 398 00:25:11,040 --> 00:25:13,640 Speaker 2: for them to pay as little for music as as 399 00:25:14,960 --> 00:25:19,880 Speaker 2: the musicians will will agree to. So does this collective 400 00:25:19,920 --> 00:25:25,719 Speaker 2: licensing framework work or is it against the Anti Trust Act? 401 00:25:26,160 --> 00:25:28,800 Speaker 2: The end, I think I'm one of the only shows 402 00:25:28,800 --> 00:25:30,600 Speaker 2: talking about this this weekend on AM radio. 403 00:25:31,560 --> 00:25:35,359 Speaker 3: All right, I would say so, And it's actually way 404 00:25:35,400 --> 00:25:38,560 Speaker 3: more interesting than you're you even yourself are giving your 405 00:25:38,560 --> 00:25:39,000 Speaker 3: credit for. 406 00:25:39,760 --> 00:25:42,560 Speaker 2: Well, thank you. That's why I went into it, and 407 00:25:42,600 --> 00:25:47,480 Speaker 2: that's how I got my job in television, which you know, 408 00:25:47,560 --> 00:25:49,800 Speaker 2: this is lesson for anybody out there in law school 409 00:25:49,840 --> 00:25:52,160 Speaker 2: or whatever there. You pick, if you pick something, if 410 00:25:52,160 --> 00:25:53,719 Speaker 2: you pick a field that you want to work in, 411 00:25:54,600 --> 00:25:57,679 Speaker 2: write an article about it and try to get it 412 00:25:57,680 --> 00:25:59,760 Speaker 2: published in a lot review. And then I was able 413 00:25:59,760 --> 00:26:03,800 Speaker 2: to watch into my interview at CBS and PLoP down 414 00:26:04,480 --> 00:26:11,480 Speaker 2: on the table there an anti trust litigation law review 415 00:26:11,600 --> 00:26:14,040 Speaker 2: article and they're saying, well, what do you know about 416 00:26:14,040 --> 00:26:17,280 Speaker 2: television and Bolvo? Well, here it is. This is my 417 00:26:17,680 --> 00:26:21,160 Speaker 2: indictment of the blanket license that CBS had to pay 418 00:26:21,480 --> 00:26:23,840 Speaker 2: millions of dollars for every year, and I was able 419 00:26:23,880 --> 00:26:26,680 Speaker 2: to tell them, I think it's unfair. I'm on your side. 420 00:26:27,560 --> 00:26:32,560 Speaker 2: And no one ever read that article. Sam. It was 421 00:26:32,640 --> 00:26:38,919 Speaker 2: called ASCAP, BMI and the Sherman Anti Trust Act are 422 00:26:38,960 --> 00:26:43,800 Speaker 2: today's top stars in bed with the blanket License. They 423 00:26:43,920 --> 00:26:46,440 Speaker 2: just read that title and said this guy should have 424 00:26:46,480 --> 00:26:50,760 Speaker 2: a job here. So that's how I would say I 425 00:26:50,760 --> 00:26:53,760 Speaker 2: got the best job out of my entire graduating class. 426 00:26:54,280 --> 00:26:56,199 Speaker 2: I didn't have the highest grades, but I got the 427 00:26:56,200 --> 00:26:59,520 Speaker 2: best job. So I've always thought it was interesting. I'm 428 00:26:59,520 --> 00:27:02,600 Speaker 2: glad I picked as a field. Now we're getting into 429 00:27:02,640 --> 00:27:06,800 Speaker 2: something a little bit similar with the Warner Brothers desire 430 00:27:06,880 --> 00:27:14,520 Speaker 2: to purchase, calling the Warner Brothers desire to purchase be 431 00:27:14,600 --> 00:27:17,600 Speaker 2: purchased by Netflix. Now this is interesting sound because let's 432 00:27:17,600 --> 00:27:22,200 Speaker 2: say your Netflix you're trying to buy Warner Brothers, and 433 00:27:22,240 --> 00:27:25,160 Speaker 2: everybody's on board. Okay, you're gonna your Netflix. You don't 434 00:27:25,200 --> 00:27:27,919 Speaker 2: own a studio, You're just this weird streamer and you 435 00:27:27,920 --> 00:27:29,880 Speaker 2: want to order. You're gonna You're gonna buy Warner Brothers. 436 00:27:29,960 --> 00:27:33,159 Speaker 2: Now you're gonna own HBO and the whole Warner Brothers 437 00:27:33,240 --> 00:27:36,959 Speaker 2: catalog of films and whatever else you can get out 438 00:27:37,000 --> 00:27:40,800 Speaker 2: of Discovery. All these channels from Discovery. Uh, some of 439 00:27:40,840 --> 00:27:42,760 Speaker 2: the things aren't included, and you know they trimmed it 440 00:27:42,840 --> 00:27:45,600 Speaker 2: down to what was valuable, and you're gonna buy all 441 00:27:45,640 --> 00:27:48,840 Speaker 2: this stuff and you're gonna have this big Netflix Warner 442 00:27:48,840 --> 00:27:53,080 Speaker 2: Brothers conglomerate. Okay, fine, but you're a public company. You 443 00:27:53,080 --> 00:27:54,639 Speaker 2: can't just sell to anybody. You have to sell to 444 00:27:54,680 --> 00:27:58,040 Speaker 2: whoever is the best person that wants to buy you. Now, 445 00:27:59,000 --> 00:28:01,040 Speaker 2: Paramount comes along, as we have more money for you, 446 00:28:02,040 --> 00:28:06,400 Speaker 2: and we have a better price per share and it's 447 00:28:06,400 --> 00:28:11,719 Speaker 2: better for your shareholders. Now, Netflix Go, Warner Brothers is like, no, no, no, no, no. 448 00:28:11,760 --> 00:28:13,879 Speaker 2: We want to be on by Netflix. They have all 449 00:28:13,920 --> 00:28:17,720 Speaker 2: the money and it's much better. And you know, Paramount 450 00:28:17,760 --> 00:28:20,439 Speaker 2: is already a studio. We don't want to combine our 451 00:28:20,480 --> 00:28:23,040 Speaker 2: studio with another studio. We just want to be on 452 00:28:23,119 --> 00:28:26,520 Speaker 2: by Netflix. Now, normally you would think, well, if they 453 00:28:26,560 --> 00:28:28,840 Speaker 2: want to be bought by Netflix, just sell it to Netflix. 454 00:28:31,040 --> 00:28:33,480 Speaker 2: I'm going to sum this up in a simple way. 455 00:28:35,400 --> 00:28:40,080 Speaker 2: You can't just sell your company to Netflix. If Paramount 456 00:28:40,120 --> 00:28:45,800 Speaker 2: also wants to buy you because your shareholders, some of 457 00:28:45,840 --> 00:28:50,240 Speaker 2: them might say, hey, look, you sold our company, you 458 00:28:50,360 --> 00:28:52,360 Speaker 2: people that are controlling it in the board of directors. 459 00:28:52,360 --> 00:28:54,240 Speaker 2: You sold it to Netflix. We could have got so 460 00:28:54,360 --> 00:29:01,440 Speaker 2: much more money from Paramount, the Paramount CBS organization. And 461 00:29:01,480 --> 00:29:04,200 Speaker 2: then Warner Brothers goes, yeah, but we don't want to 462 00:29:04,240 --> 00:29:06,640 Speaker 2: be owned by those guys. Those guys are clowns. Look 463 00:29:06,640 --> 00:29:11,240 Speaker 2: at the Netflix. These guys are changes. Okay. But the 464 00:29:11,400 --> 00:29:14,000 Speaker 2: guy who's just a shareholder and just wants the maximum 465 00:29:14,040 --> 00:29:16,880 Speaker 2: return is saying, I don't care what you think. Netflix 466 00:29:16,920 --> 00:29:18,959 Speaker 2: has a better building than more modern I don't know, 467 00:29:19,560 --> 00:29:22,120 Speaker 2: I don't care. I need more money, okay. I invested 468 00:29:22,160 --> 00:29:24,400 Speaker 2: in this for money. So you sell it to the 469 00:29:24,480 --> 00:29:26,800 Speaker 2: paramoun guys because they're offering more money. 470 00:29:27,400 --> 00:29:27,640 Speaker 3: Okay. 471 00:29:27,720 --> 00:29:31,080 Speaker 2: So now you have a battle and the Paramount's, you know, 472 00:29:31,120 --> 00:29:34,360 Speaker 2: trying to explain why it's more money, and other people 473 00:29:34,400 --> 00:29:37,840 Speaker 2: saying that's not more money, that's just like smoking mirrors. 474 00:29:38,040 --> 00:29:41,440 Speaker 2: So they're in they explaining their smoking mirrors. Netflix still 475 00:29:41,520 --> 00:29:45,320 Speaker 2: wants to buy Warner Brothers, and Warner Brothers wants to 476 00:29:45,320 --> 00:29:49,840 Speaker 2: be bought by Netflix, but we have to wait until 477 00:29:49,880 --> 00:29:53,120 Speaker 2: they everybody gets and this paramountshom in a public fight 478 00:29:53,120 --> 00:29:55,400 Speaker 2: because they want everybody to know like they're they're the 479 00:29:55,400 --> 00:30:02,400 Speaker 2: best customer. And I think, honestly, I think Netflix is 480 00:30:02,400 --> 00:30:06,120 Speaker 2: a better customer for everybody. But they have to have 481 00:30:06,160 --> 00:30:08,400 Speaker 2: to hash us out. Nothing's easy in Hollywood. 482 00:30:08,440 --> 00:30:12,080 Speaker 3: Sam, clearly, this has been a battle that's been raging 483 00:30:12,120 --> 00:30:14,040 Speaker 3: for the better part of the last month and a half. 484 00:30:14,880 --> 00:30:20,520 Speaker 2: And if Netflix, there's all these conspiracies, If Netflix buys 485 00:30:21,560 --> 00:30:25,840 Speaker 2: Warner Brothers, they could have an antitrust problem themselves. Maybe 486 00:30:25,880 --> 00:30:27,840 Speaker 2: they control too much of the marketplace. This has to 487 00:30:28,720 --> 00:30:30,960 Speaker 2: the federal regulators look into all these mergers and they 488 00:30:31,000 --> 00:30:35,600 Speaker 2: can say no, it's not good for American and for competition, 489 00:30:36,000 --> 00:30:38,800 Speaker 2: and they can strike it down. Then she go, okay, 490 00:30:38,840 --> 00:30:42,600 Speaker 2: well would the government like Paramount. Well, Paramount is owned 491 00:30:42,600 --> 00:30:49,400 Speaker 2: by the Ellison kid and his dad is friends with 492 00:30:49,440 --> 00:30:54,160 Speaker 2: Donald Trump. So I think in the back doors are 493 00:30:54,160 --> 00:30:56,480 Speaker 2: going to look our deal is going to get approved. 494 00:30:56,520 --> 00:30:58,280 Speaker 2: That other deal is not even going to get approved. 495 00:30:58,840 --> 00:31:02,360 Speaker 2: Fixes in now, I don't think Trumpe cares enough to 496 00:31:02,360 --> 00:31:05,000 Speaker 2: get involved in that, but I think may the best 497 00:31:05,000 --> 00:31:10,120 Speaker 2: person win, probably Netflix. Eventually, I think we're going to 498 00:31:10,160 --> 00:31:11,360 Speaker 2: take a break and we're gonna come back, and when 499 00:31:11,400 --> 00:31:13,200 Speaker 2: you're going to start start talking about all the bad 500 00:31:13,200 --> 00:31:17,800 Speaker 2: boys and bad girls in Hollywood and the Little Salt 501 00:31:17,840 --> 00:31:22,400 Speaker 2: and Peppa news for you. On Joe's Scante Live from Hollywood. 502 00:31:42,000 --> 00:31:49,120 Speaker 4: Joe Askant, here's my lawyer. You don't want money, he 503 00:31:49,280 --> 00:31:50,360 Speaker 4: does it all for you. 504 00:31:51,040 --> 00:31:56,440 Speaker 2: Hey, Joe'scalante Live from Hollywood, KiB eleven fifty Am. And 505 00:31:56,600 --> 00:32:04,160 Speaker 2: on the podcast World It Anywhere, And maybe you're driving 506 00:32:04,200 --> 00:32:07,320 Speaker 2: around listening to AM radio the top down southern California. 507 00:32:08,000 --> 00:32:09,520 Speaker 2: Good for you, but you know you could listen to 508 00:32:09,560 --> 00:32:16,680 Speaker 2: this anywhere with the iHeartRadio app anywhere in the world. Okay, 509 00:32:17,440 --> 00:32:22,920 Speaker 2: bad people, bad boys. Usually it's boys. This week it's boys. 510 00:32:25,040 --> 00:32:28,920 Speaker 2: Chris Brown. We might have talked about this before. He 511 00:32:29,040 --> 00:32:34,920 Speaker 2: has sued HBO and Warner Brothers Discovery, remember. 512 00:32:34,640 --> 00:32:37,240 Speaker 3: Them, We were just talking about him. 513 00:32:38,240 --> 00:32:41,200 Speaker 2: They're being sued by Chris Brown over a documentary examining 514 00:32:41,600 --> 00:32:48,200 Speaker 2: his history of alleged violence towards women. You might wonder 515 00:32:48,280 --> 00:32:51,240 Speaker 2: what happens with these documentaries. They're like, you know, you 516 00:32:51,240 --> 00:32:53,320 Speaker 2: make a documentary about Chris Brown. Like, here's a picture 517 00:32:53,400 --> 00:32:55,480 Speaker 2: Chris Brown, Here's video Chris Brown. Here's Chris Brown. In 518 00:32:55,520 --> 00:32:58,360 Speaker 2: his own words, he's a and the documentary says he's 519 00:32:58,400 --> 00:33:03,560 Speaker 2: a bad person. He beats way and you're often wondering, 520 00:33:03,920 --> 00:33:05,520 Speaker 2: how did they get away with that? What if they 521 00:33:05,520 --> 00:33:08,440 Speaker 2: were talking about you, Sam? This is Sam Zia. It's 522 00:33:08,480 --> 00:33:09,800 Speaker 2: a bad person. He beats women. 523 00:33:10,000 --> 00:33:12,600 Speaker 3: Well, if I had documented evidence of me doing so, 524 00:33:12,640 --> 00:33:14,160 Speaker 3: then I wouldn't be able to complain. 525 00:33:16,560 --> 00:33:19,080 Speaker 2: However, you might be because you have a more right 526 00:33:19,080 --> 00:33:21,720 Speaker 2: to complain because you're not a public figure. But maybe 527 00:33:21,720 --> 00:33:24,280 Speaker 2: this show has vaulted you into public figure status. That's 528 00:33:24,320 --> 00:33:26,480 Speaker 2: what the lawyers would say. 529 00:33:26,560 --> 00:33:30,960 Speaker 3: I am the underground goat. 530 00:33:31,200 --> 00:33:35,960 Speaker 2: Okay, So Chris Brown doesn't like what's in this documentary 531 00:33:36,000 --> 00:33:40,160 Speaker 2: because it talks about him, and it talks about just 532 00:33:42,760 --> 00:33:49,560 Speaker 2: you know, we've all heard the stories of him, you know, 533 00:33:49,720 --> 00:33:51,600 Speaker 2: girls that are dating and ending up with black eyes 534 00:33:51,600 --> 00:33:59,600 Speaker 2: and stuff. So the documentary the makers they have to 535 00:33:59,600 --> 00:34:02,680 Speaker 2: go to court, but the judge has signaled in his 536 00:34:02,800 --> 00:34:06,000 Speaker 2: initial ruling on it. This is what judges do. Sometimes 537 00:34:06,000 --> 00:34:07,680 Speaker 2: they give you a hint of how they're going to rule. 538 00:34:08,040 --> 00:34:09,960 Speaker 2: The ruling's coming up, and it's gonna be based on 539 00:34:09,960 --> 00:34:11,160 Speaker 2: this and that, and then you kind of know which 540 00:34:11,200 --> 00:34:13,600 Speaker 2: way it's going. So judges signaled that he's going to 541 00:34:13,600 --> 00:34:20,719 Speaker 2: dismiss Chris Brown's defamation lawsuit against HBO, and then he's 542 00:34:21,000 --> 00:34:25,480 Speaker 2: out of luck. He says the documentary went beyond reporting 543 00:34:25,480 --> 00:34:30,480 Speaker 2: allegations and portrayed him as a serial abuser with a 544 00:34:30,520 --> 00:34:34,759 Speaker 2: proven pattern of violent conduct. So, you know, there are 545 00:34:34,800 --> 00:34:38,000 Speaker 2: allegations against them, and some of them probably aren't proved. 546 00:34:38,160 --> 00:34:39,920 Speaker 2: You know, charges get dropped and all that stuff. But 547 00:34:39,920 --> 00:34:42,120 Speaker 2: if they're laying it out like every one of them 548 00:34:42,160 --> 00:34:46,480 Speaker 2: is true with the reckless disregard for the truth, or 549 00:34:46,480 --> 00:34:49,120 Speaker 2: maybe they know that it's not true, but they're doing 550 00:34:49,200 --> 00:34:53,680 Speaker 2: it anyway, Yeah, then you have a defamation case. Brown 551 00:34:53,760 --> 00:34:58,200 Speaker 2: claims that the film implied he committed criminal acts without convictions. 552 00:34:58,840 --> 00:35:01,279 Speaker 2: There you go. Now you weren't convicted. You kind of 553 00:35:01,280 --> 00:35:02,880 Speaker 2: have a right not to have people going over this 554 00:35:02,920 --> 00:35:08,640 Speaker 2: stuff and portraying it as if you were convicted. They 555 00:35:08,719 --> 00:35:13,920 Speaker 2: use sensational framing and editing to suggest guilt, and they 556 00:35:13,960 --> 00:35:19,920 Speaker 2: minimized or ignored exculpatory context, including dropped or uncharged accusations. 557 00:35:20,680 --> 00:35:23,480 Speaker 2: He argues that they crossed the line from protected reporting 558 00:35:23,719 --> 00:35:28,880 Speaker 2: into defamatory factual assertions that damage his reputation and commercial value. 559 00:35:29,200 --> 00:35:32,399 Speaker 2: The Court is very skeptical over this Sam. They say 560 00:35:32,400 --> 00:35:35,920 Speaker 2: his status is a public figure and brings up the 561 00:35:36,040 --> 00:35:40,400 Speaker 2: requirement to prove actual malice, knowledge of falsity, or reckless 562 00:35:40,400 --> 00:35:42,960 Speaker 2: disregard from the truth. And we've talked about that here 563 00:35:43,200 --> 00:35:47,480 Speaker 2: many times. Since he's a public figure, he doesn't get 564 00:35:47,560 --> 00:35:50,520 Speaker 2: he can't sue people just saying Chris Brown is a 565 00:35:50,520 --> 00:35:55,720 Speaker 2: wife beater. You have to show that there was reckless 566 00:35:55,760 --> 00:35:59,120 Speaker 2: disregard knowledge of falsity because people think he's a wife beater. 567 00:35:59,200 --> 00:36:01,040 Speaker 2: So if I made it, Commander Chris Brown is a 568 00:36:01,040 --> 00:36:04,279 Speaker 2: white figure, look at all these charges, you know, I mean, 569 00:36:04,280 --> 00:36:07,440 Speaker 2: that's kind of it's not nice, but it's it's not 570 00:36:07,640 --> 00:36:10,319 Speaker 2: I don't have any knowledge that it's false false. It's 571 00:36:10,360 --> 00:36:12,680 Speaker 2: not reckless disregard for the truth because I've read it 572 00:36:12,680 --> 00:36:17,120 Speaker 2: in all these from these reputable news outlets. So I'm 573 00:36:17,160 --> 00:36:19,839 Speaker 2: just kind of assembling it all and portraying it in 574 00:36:19,880 --> 00:36:22,399 Speaker 2: my artistic style. Now, if I did, if I went 575 00:36:22,440 --> 00:36:25,040 Speaker 2: out of my way recklessly to make it look like 576 00:36:25,120 --> 00:36:28,000 Speaker 2: he had done things that were like beyond the pale 577 00:36:28,000 --> 00:36:30,600 Speaker 2: and maybe child molestation, and it wasn't you know, it 578 00:36:30,680 --> 00:36:32,759 Speaker 2: was a random accusation, and I never went anywhere. But 579 00:36:32,800 --> 00:36:34,560 Speaker 2: I'm not harping on it, harping on it, harping on 580 00:36:34,600 --> 00:36:37,480 Speaker 2: it knowing that it's going to destroy him. Then you 581 00:36:37,520 --> 00:36:41,560 Speaker 2: could say, Okay, that's defamation. But in general public figure, 582 00:36:41,800 --> 00:36:45,279 Speaker 2: you got to take your lumps in public, especially if 583 00:36:45,320 --> 00:36:48,560 Speaker 2: you have this kind of reputation anyway, so that the 584 00:36:49,920 --> 00:36:55,360 Speaker 2: court you're saying, nah. 585 00:36:53,400 --> 00:36:56,400 Speaker 3: Thing is, his reputation's pretty well known. It's not like 586 00:36:56,480 --> 00:37:00,319 Speaker 3: he's losing supporters. People who already jumped off the ship 587 00:37:00,360 --> 00:37:04,160 Speaker 3: with him already jumped off because of his quote unquote 588 00:37:04,239 --> 00:37:08,960 Speaker 3: violent history with women, including Rihanna very that's a. 589 00:37:09,040 --> 00:37:11,600 Speaker 2: Very good point. What are the damages? If you want 590 00:37:11,640 --> 00:37:15,360 Speaker 2: to sue someone, you better have certain and provable damages. Well, 591 00:37:15,440 --> 00:37:19,640 Speaker 2: here's what people are like. You said, though people already 592 00:37:19,640 --> 00:37:22,560 Speaker 2: know that that'ts you. This documentary didn't cause you any damages. 593 00:37:22,640 --> 00:37:25,080 Speaker 2: You're certain improvable. He's not. 594 00:37:25,200 --> 00:37:28,040 Speaker 3: His legions of fans still, despite all of this stuff, 595 00:37:28,760 --> 00:37:31,560 Speaker 3: those people are not going away. I get the feeling, 596 00:37:31,600 --> 00:37:34,920 Speaker 3: no matter what a documentary says, they're going to support 597 00:37:34,960 --> 00:37:38,839 Speaker 3: him because there was already salacious news about him, just 598 00:37:38,880 --> 00:37:40,799 Speaker 3: you know, beating on women. 599 00:37:41,320 --> 00:37:43,680 Speaker 2: You know who really like someone is not giving up 600 00:37:43,719 --> 00:37:47,520 Speaker 2: support with him is the beaters of women. 601 00:37:48,239 --> 00:37:53,000 Speaker 3: For instance, he does pull well with women beaters. 602 00:37:53,040 --> 00:37:55,000 Speaker 2: I will say that, yeah, yeah, and they're just saying 603 00:37:55,480 --> 00:37:58,719 Speaker 2: I don't see a problem with it. Play another song. 604 00:37:59,640 --> 00:38:02,480 Speaker 2: So but it's just as a classic. If you're a 605 00:38:02,480 --> 00:38:05,560 Speaker 2: celebrity and someone makes a documentary about you, you're not 606 00:38:05,760 --> 00:38:10,840 Speaker 2: gonna get it taken off HBO because also HBO is 607 00:38:10,880 --> 00:38:14,080 Speaker 2: pretty sharp, they know. I mean, I've made so many 608 00:38:14,080 --> 00:38:16,960 Speaker 2: of these things where we sit around with the lawyers 609 00:38:16,960 --> 00:38:21,880 Speaker 2: from the network and go like, all right, here's the story, 610 00:38:21,920 --> 00:38:23,880 Speaker 2: here's how we're portraying it. You know, what are the 611 00:38:23,960 --> 00:38:28,200 Speaker 2: potential liabilities for defamation? You know, and everybody's got to 612 00:38:27,440 --> 00:38:31,799 Speaker 2: do their work and say, well, this one here, indictment 613 00:38:31,880 --> 00:38:34,320 Speaker 2: comes straight from the court records. We're not adding up anything, 614 00:38:34,360 --> 00:38:37,320 Speaker 2: We're not making up anything. Okay, you got this one. Now, 615 00:38:37,680 --> 00:38:42,280 Speaker 2: how about like, well, what about the other sides version 616 00:38:42,920 --> 00:38:48,120 Speaker 2: of that story? Exculpatory exculpatory evidence and stuff like that. 617 00:38:48,440 --> 00:38:51,319 Speaker 2: Not really your job at HBO to put it all 618 00:38:51,360 --> 00:38:54,279 Speaker 2: in there and make it fair. You don't have to 619 00:38:54,280 --> 00:38:57,680 Speaker 2: tell both sides, but you just can't tell things that 620 00:38:57,719 --> 00:39:00,000 Speaker 2: are made up out of whole cloth that you recklessly 621 00:39:00,520 --> 00:39:02,640 Speaker 2: put in there to shape it in a certain way, 622 00:39:02,640 --> 00:39:06,280 Speaker 2: and you knew that it was false. That's kind of stuff. 623 00:39:06,320 --> 00:39:09,680 Speaker 2: You can't do that. That's malice. Now doing a story 624 00:39:09,680 --> 00:39:11,600 Speaker 2: about him is just getting the word out and telling people. 625 00:39:11,600 --> 00:39:14,720 Speaker 2: That's not malice. That's called free speech. It's free speech. 626 00:39:15,160 --> 00:39:19,840 Speaker 2: So he's why he's doing this. I'm sure his lawyer said, 627 00:39:20,160 --> 00:39:23,280 Speaker 2: you'll never win. He's doing it to prevent other people 628 00:39:23,480 --> 00:39:27,239 Speaker 2: from making other documentaries about him, because if there's one 629 00:39:27,400 --> 00:39:30,640 Speaker 2: HBO documentary, someone else could go on and make another, 630 00:39:30,640 --> 00:39:33,160 Speaker 2: a cheap one and put it out on DVD, stuff 631 00:39:33,200 --> 00:39:36,760 Speaker 2: like that, and then that one who's going to invest 632 00:39:36,800 --> 00:39:38,720 Speaker 2: in that when you're going to also have to defend 633 00:39:38,760 --> 00:39:41,560 Speaker 2: a lawsuit. But if you do have to defend a 634 00:39:41,640 --> 00:39:45,040 Speaker 2: lawsuit falsely like this, you can sue him back, or 635 00:39:45,080 --> 00:39:48,000 Speaker 2: file an anti slat motion and say, hey, you're just 636 00:39:48,040 --> 00:39:52,759 Speaker 2: trying to chill free speech, a strategic lawsuit against public participation. 637 00:39:53,200 --> 00:39:56,200 Speaker 2: Public participation meaning you know, telling the stories in public 638 00:39:56,239 --> 00:39:59,120 Speaker 2: of Chris Brown's thing. You're trying to file a lawsuit 639 00:39:59,360 --> 00:40:02,839 Speaker 2: to chill that speech. So I file the anti slat 640 00:40:02,880 --> 00:40:06,200 Speaker 2: motion against you, and if then everything stops, the judge 641 00:40:06,239 --> 00:40:08,160 Speaker 2: looks at it and goes and thinks, if you might 642 00:40:08,200 --> 00:40:12,760 Speaker 2: win on that anti slat thing, then he's going to say, Okay, 643 00:40:13,400 --> 00:40:16,600 Speaker 2: this is over, and Chris Brown has to pay the 644 00:40:16,840 --> 00:40:20,560 Speaker 2: legal fees of the documentary maker. Then you're done. Not 645 00:40:20,600 --> 00:40:22,360 Speaker 2: only you're done, you have to pay the guy's legal fees. 646 00:40:22,760 --> 00:40:26,640 Speaker 2: So you can't just file these willy nilly lawsuits to 647 00:40:26,680 --> 00:40:32,480 Speaker 2: prevent people from talking about your bad behavior. You just 648 00:40:32,480 --> 00:40:34,040 Speaker 2: got to own your bad behavior, and you got to 649 00:40:34,040 --> 00:40:38,880 Speaker 2: confess and make amends, and like I always say, donate 650 00:40:38,920 --> 00:40:42,799 Speaker 2: all your money to a women's shelter or something, and 651 00:40:42,840 --> 00:40:46,120 Speaker 2: then then start over. You know, you have a name, 652 00:40:46,960 --> 00:40:49,640 Speaker 2: then you might be able to work again. The only 653 00:40:49,680 --> 00:40:53,480 Speaker 2: other thing in this realm is Harvey Weinstein. You might 654 00:40:53,520 --> 00:40:56,080 Speaker 2: have a second or two to talk about him. Harvey 655 00:40:56,080 --> 00:40:59,560 Speaker 2: Weinstein is now considering pleading guilty to one of his 656 00:40:59,680 --> 00:41:02,359 Speaker 2: charges just to get it over with, just to just 657 00:41:02,360 --> 00:41:05,319 Speaker 2: to say, like, I don't have time, I don't want 658 00:41:05,320 --> 00:41:06,880 Speaker 2: to go back into court. You know, I don't have 659 00:41:06,920 --> 00:41:10,719 Speaker 2: much time left, so I just can't do it. I'm 660 00:41:10,760 --> 00:41:14,880 Speaker 2: going to plead guilty to this other one. He's already 661 00:41:14,920 --> 00:41:17,200 Speaker 2: serving a lengthy California sentence, but the New York case 662 00:41:17,239 --> 00:41:23,399 Speaker 2: remains symbolically and legally significant. If he does plead guilty, 663 00:41:23,520 --> 00:41:25,919 Speaker 2: you know, then you know, people come after him for more, 664 00:41:29,640 --> 00:41:36,480 Speaker 2: you know, damages, civil damages, and so it's a lot 665 00:41:36,480 --> 00:41:38,160 Speaker 2: for him to think about. But I think he's just 666 00:41:38,200 --> 00:41:40,200 Speaker 2: so tired. I'm just gonna say, look, I'm good. And 667 00:41:40,239 --> 00:41:41,759 Speaker 2: you know, I think he might be listening to the show, 668 00:41:41,840 --> 00:41:44,920 Speaker 2: because that's what I've been telling these cleete guilty and 669 00:41:45,000 --> 00:41:49,680 Speaker 2: start over. Do that makes sense, Sam? Yeah, absolutely, all right, Well, 670 00:41:49,680 --> 00:41:53,160 Speaker 2: I think I think we've done it and we will 671 00:41:53,840 --> 00:41:56,440 Speaker 2: be back again. And I will now leave you with 672 00:41:56,680 --> 00:41:59,520 Speaker 2: just a taste of the greatest song ever written.