Novels made into film adaptations have become the go to means of producing for new films in the entertainment industry. Film adaptations of novels have led to many legal disputes over the years. These disputes are based on if copyrights are still protected or are the works in the public domain, due to the works dating prior to 1923. Adding to this heated dispute lets add some more fuel to the fire by reviewing some of these cases in detail. There are a lot of works out there in the entertainment market related to the character Sherlock Holmes. Works such as feature length films and the TV show Elementary, which is based current day in New York City. What most people don’t know is that the character Sherlock Holmes was first introduced in 1887 and was featured in four short novels and 56 short stories dating from 1887 to 1927. The question that is constantly disputed is whether Sherlock Holmes is in the public domain or not. Based on changes to our US copyright act everything prior to 1923 is in the public domain, which is where most of the confusion stems from with the character Sherlock Holmes. With that being said, the characters Sherlock Holmes and his sidekick Dr. Watson’s relationship on what they did and how they worked together were created prior to 1923. However, the estate of Sir Arthur Conan Doyle, is saying between 1923 and 1927 versions of the Sherlock Holmes story, are being featured in the current book scheduled for publication by random house.

In recent news the court system has been receiving their run of industry court lawsuits. Today lets narrow in on a few of these cases, preferably ones dealing with and affecting the entertainment industry. The European Court of Human Rights has supported the conviction on one of the world's largest sharing torrent file websites, Fredrik Neij, and Peter Sunde Kolmisoppi, two of the co-founders of The Pirate Bay. Neij and Kolmisoppi were both charged with Connivance to commit crimes in violation of the Copyright Act. Their sentence was for one years incarceration and a 3.3 million euros (4.3 million US) fine. This sentence was later reduced but the fine was raised to 5 million euros (6.5 million US). Neij and Kolmisoppi then filed an application arguing that under Pirate Bay they received and provided information to Internet users about torrent files, which led them to believe that liability for IP infringement fell on Pirate Bay’s users. They both believed their right to communicate information was protected by Article 10 of the European Convention of Human Rights, which dictates that everyone has the right to freedom of expression. This right also includes the right to embrace opinions, receive and convey information and ideas without restriction by public authority, regardless of borderlines. What Neij and Kolmisoppi didn’t take into account is that the same article also states that this shall not prevent States from requiring the licensing of broadcasting, television or cinema enterprises. The ruling says, (Eriq Gardner, 2013) "Since the Swedish authorities were under an obligation to protect the plaintiffs’ property rights in accordance with the Copyright Act and the Convention, the Court finds that there were weighty reasons for the restriction of the applicants’ freedom of expression."

Once an afterthought in terms of game design and overall music culture awareness, video game music is now an authentic industry of its own. Today, worldwide prominent orchestras perform concerts of music composed specifically for video games and features top of the line film composer soundtracks. Like the purpose of all great scored music, it's supposed to appeal to your heartstrings and drive your emotions wild. Video game music has become over this past decade so indistinguishable from scored music for films, that many have begun to envision a video game to be on the same level as a feature length film. In the past video game music was limited by its hardware but that all changed with the introduction of the CD-ROM. Furthermore, the National Academy of Recording Arts and Sciences (NARAS) decided in the year 2000 to let interactive games compete in the annual Grammy awards.

You have to ask yourself, if performing artist’s use artist managers, what can an artist manager do for a music composer. Essentially promotion will be the focus in managing a composer. Due to artist managers working with various clients they have the contacts to Send your music out, talk to directors about your music catalog and look for commission project opportunities. However, for a composer like myself I prefer to employ an artist manager to handle the business aspect of my career. This will allow me to focus on the creative process, which is the music. There comes a point in a composer’s career when they know that they cannot push their skills as hard as somebody like a manager can push. When a music composer feels overwhelmed by the amount of project details and has countless commitments in a short period of time, in my opinion is where an artist manager can place their worth.

William Ury’s Negotiating for Sustainable Agreements presentation discusses the strategies he has developed at the Harvard Negotiation Project for creating sustainable agreements in diplomacy and business. Ury discusses how much time we already dedicate to negotiation in our everyday lives. Conflict has been suppressed over the years and is now coming to the surface. We have a choice to resolve conflict through family feuds, lawsuits, and wars. Or we can deal with conflicts constructively through listening, dialogue, collaborative problem solving and non-violent actions. You can learn from Ury’s presentation that objective criteria can be used in more ways than just preventing wills from clashing. Using a third side to way in concerns for both parties can also use objective criteria to express concerns in a negotiation that can benefit all negotiators. Learning not to react and gaining the ability to listen will take any negotiation to the next level. This allows you to focus on interest and not positions to learn what is wanted and better assess the direction of a negotiation.

Composer Brian Tyler is best known for his beautiful musical pieces of cinematic orchestral scoring, melded with a groove and contemporary style. Brian has composed for over fifty films and was recently nominated for the Film Composer of the Year award by the International Film Music Critics Association. Lets focus on a movie that score stands out with the use of Brian’s groovy cinematic style of composing. Fast Five was a hit at the box office and part of that is due to Brian’s Hollywood cinematic scoring. Fast Five score was built on a combination of groove music and contemporary music. These genres of music usually don’t go together but Brian Tyler orchestrated these styles together beautifully.

The current release of The Hobbit film has brought fans back into the world of Middle Earth. With that in mind lets re-imagine the musical scores of The Lord Of The Rings trilogy. Howard Shore may have composed for over more than 60 films, his greatest work would have to be his Oscar and Grammy awarded work on The Lord Of The Rings trilogy. The arrangement of the score is rather massive, shore stated on Runmovies.eu. He had to unearth the music; He didn’t just theorize what it was. Four months of research was done before he even wrote a single note. Therefore, he had to discover and immerse himself in the history. The mythology of the Ring has been around for millennia, so mirroring the fantasy world concept of where The Lord Of The Rings comes from was quite a feat.

The MPAA is an abbreviation for the Motion Picture Association Of America; aside from its name what do we know about this company. Well the MPAA is the support and voice of motion picture and television industries in the United States. MPAA’s members consist of the six major US studios for motion picture. Those six motion picture studios are as follows: Walt Disney, Paramount, Sony, Twentieth Century Fox, Universal, and Warner Bros. The MPAA prides themselves in the protection of property rights, free and fair trade, groundbreaking consumer choices and freedom of speech to enrich and empower movies.

LINK: http://www.ted.com/talks/mark_applebaum_the_mad_scientist_of_music.html

TED speakers seem to always have intriguing ways of speaking to an audience and keeping them engaged.  Mark Applebaum’s TED talk breaks the rules of composing in eccentric ways. Mark’s talk is based around the concept of music steadily becoming boring and how a different approach can make it more interesting. Mark inspires his audience with comedic jokes to keep them engaged in the talk. He also uses visual examples to show the audience what he is talking about, which helps to support his theories on boredom and music. (Mark Applebaum 2012) “Is it music? … This is not the important question. The important question is, is it interesting?” (p. 1) Mark’s view on making music more engaging has pushed him to do projects such as the metaphysics of notation.

When you hear the name Daft Punk, the first thing you think of is decades of amazing electronic music. Well think again, French producers Guy-Manuel de Homem-Christo and Thomas Bangalter has touched new ground with their roles as film score composers for the movie Tron Legacy. Coming from producing electronic music in a small bedroom to having their music performed by a 90-piece orchestra has proved to be an intense and challenging experience for the French Duo.