Attorney

Dixon Dern on the key to drafting a legal agreement; learning labor law at UPA

Dixon Dern on the scope of his duties as legal counsel for CBS

Dixon Dern on an incident that occured on the set of See It Now ; when someone stole $75,000 worth of equipment and his own life was threatened

Dixon Dern on packaging game shows 

Dixon Dern on intellectual property rights involving characters such as the Hardy Boys; the difficulty in determining rights ownership between authors and studios

Dixon Dern on the creation of the Creative Artists Agency (CAA), which was born out of the departure of Michael Ovitz, Ron Meyers, Mike Rosenfeld, Rollin Perkins, and Bill Haber from the William Morris Agency

Ruth Engelhardt on what it takes to package a show

Thomas W. Sarnoff on working in NBC's production and business affairs office and the buidling of the NBC production facility in Burbank, CA

Nina Shaw on important factors for her to secure for a client, and what she was able to negotiate in her American Playhouse deal

Nina Shaw on important factors for her to secure for a client, and what she was able to negotiate in her American Playhouse deal

Nina Shaw on Norman Lear and Bud Yorkin creating the idea of spin-off shows and navigating the corresponding new legal territory

Nina Shaw on her interest in entertainment law and why she chose to work at O'Melveny & Myers in Los Angeles; on there being few African-American lawyers at O'Melveny & Myers when she joined; on working in the entertainment department of O'Melveny & Myers with another African-American lawyer and getting used to there not being many African-American lawyers at that time

Nina Shaw on negotiating talent deals in the 1970s and '80s and how race and gender affected salaries; on negotiating deals for minors

Nina Shaw on starting a firm with Ernie Del and Mike Rubel and on others who wanted to work at the firm; on the firm being a diverse group

Nina Shaw on selecting clientele to represent

Nina Shaw on representing minors

NIna Shaw on how talent agents, managers, and lawyers work together

NIna Shaw on differences between negotiating talent deals for film v. television

NIna Shaw on her negotiating style

NIna Shaw on responding to changes in the industry - media consolidation, etc.

NIna Shaw on negotiating endorsement deals for clients -- as in for Misty Copeland -- and on how the digital world has given people access to talent

NIna Shaw on dealing with infringement of clients' names and likenesses and the impact of right of publicity

NIna Shaw on how the legislation that forbids employers from asking about pay history has impacted the industry

Nina Shaw on her primary responsibility to her clients

Nina Shaw on the formality of attorney/client professional relationships

Nina Shaw on wanting people to see the law as virtuous

Nina Shaw on inclusion riders

Nina Shaw on the diversity at her then-current law firm

Nina Shaw on what makes a good entertainment lawyer

Nina Shaw on what she enjoys about coming to work each day

Nina Shaw on career regrets

Nina Shaw on her proudest career achievements