September 15, 2025 • 38 mins
Joe Escalante's weekly plunge into the murky business end of showbiz. This week: Joe discusses the assassination of Charlie Kirk, and how to create the biopic... The Passion of Charlie Kirk, with Mel Gibson directing... One can dream...
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Episode Transcript
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Speaker 1 (00:02):
And now it's time for Joe Escalante Live from Hollywood.
If by Hollywood you mean Burbank across the street promo
meaners it's all that serves beer.
Speaker 2 (00:23):
Good evening, America. Hey, this is gonna be a different show.
I'm coming to you live from the New York Palace
Hotel and beautiful New York City. I got a Sublime
show coming up at the See Here Now Festival in
Asbury Park. They'll be on the Today Show tomorrow morning.
(00:43):
So Channel four if you're gonna want to see Sublime,
do their number one hit in America right now. The
number one hit on radio is Alternative Radio Charts and
Sonata by Sublime, the most well managed band in the universe.
And you know, as far as movie goes, I saw
Spinal Tap. I went to the premiere with the Q
(01:04):
and A with the band and the man, the director
and stuff. It's great, very very satisfying as a sequel,
super fun. Laughed the whole way through. So I recommend
Spinal Tap the sequel and stuff now. However, other than
(01:28):
that kind of a sad week, I went to church
today like I do, and the Catholic Church here in
New York City at Saint Patrick's Cathedral, pretty iconic. A
little disturbed that he didn't say anything about Charlie Kirk.
(01:50):
I was thinking about Charlie Kirk. He's not a Catholic,
he's like evangelical. He's not a preacher. He's just a
leader of a movement called Turning Point. I'm sure you
know all about it. It's been all over the news.
But I thought the priest would mention it, maybe include
him in our prayers, but he didn't. But you know what,
(02:15):
what is it like to say Mass in the middle
of New York City, which in this big building that's
like a tourist attraction. You're trying to have a mask,
but there's people running all around. They're milling about, curiosity seekers, Satanists,
no doubt, no, maybe yeah. People would come to churches,
(02:35):
do you know this, and they try to steal the
host and then they try to perform witchcraft on it.
So that is something they look for at all churches.
If someone doesn't consume the host right in front of
the priest, you got to follow him around and tell
they consume it, or tell it or take it back
from them. Done it myself, Hey, you you got to
(02:57):
consume that or give it to me right now. Anyway,
this guy's got a lot on his mind here in
New York City because who knows what's going on here. Okay,
well let's get to Charlie Kirk. I don't have anything
to add. I'm very sad about it. I'm just brutal
and stupid. So it's not even one of those things.
(03:21):
Sometimes I will just react to these things by thinking, well,
you can't prevent people from snapping. And when they say, well,
you got to take the guns away from them. If
people are going to snap, they're going to snap. They'll
drive a car into a crowd of people. There's those
stab people. If you go to the UK, there's stabbings
all over the place because they don't have any guns.
(03:43):
So those are people that snap. The guy who killed
Charlie Kirk did not snap. He was just I think
it was just part of his political development. He got
to a place where he thought, I've got to kill
this guy and you know whatever, for whatever reason in
(04:05):
his brain. And it's just super sad and demonic for sure.
But how does it relate to this show about Hollywood Joe?
How does it? Well, I'll tell you because we're going
to talk about that. Let's go to the question of
which is going to happen and happen any day now,
(04:26):
so and so company announces Charlie Kirk biopic. Let's just
say it right now, someone will do that. And then
who's going to make it? Well, he's got a big
organization called Turning Point, right, So is Turning Point going
to make it? Or is some big Hollywood studio going
(04:50):
to make it? Who do you think is going to
make it? Let me propose something. You could make it.
Anybody could make it. I could make it. How is
that possible? Well, obviously it's the best case scenario if
(05:17):
the family's involved and they make it. But other people
might say, well, they're not going to tell the truth,
So I want to make one that shows the real
Charlie Kirk. Okay, you could do that, But where are
you going to get the rights to make this movie? Now,
(05:39):
there's a couple of routes you can go if you
wanted to make a movie about Charlie Kirk or any
notable celebrity. Number One, you get the life story rights.
Now where you're going to get him from? You could
get him from his estate. You could contact them and
say I am a famous producer, or I and a
(06:00):
producer you can trust, and I would like to make
a feature film about Charlie Kirk. He would probably tell
you to get lost. But let's say they didn't. Let's
say they said, oh, you're great. Maybe you are Mel Gibson.
So let's just say mel Gibson does this. Mel Gibson
calls up and says, look, I'm a Christian, you're a Christian.
(06:23):
I made a little film called The Passion of christ.
I want to make a little film called the Passion
of Charlie Kirk. Now that would be a huge film,
that would be one of the biggest box office coups
of all time. If you pair those two people up,
and there's two entities up, the Mel Gibson thing and
the Turning Point thing. Okay, so what is he gonna do.
(06:46):
He's gonna make a life story rights option. And the
option agreement is going to say, for this amount of money,
I'm gonna give you Turning Point or the estate Erica
Kirk perhaps is gonna give you the life story rights
to Charlie Kirk. That means that mel Gibson can take
(07:10):
private things that nobody else knows that from private conversations,
things that they that Erica wants to give, give him
private private documents even and he gets to look at
all that. He gets to make a script from all
these the intimate insider info of the Charlie kirk uh
(07:36):
Turning Point organization, his his uh, you know who knows
who knows what his school records? His diary? Right, you
want the diary you're making a biopic. Wouldn't it be
nice to get the diary? Where you can only get
the diary if you make a deal with the estate.
So mel Gibson would go to the estate, and because
(07:56):
he's got that power now, he's going to give him
an option agreement. What does that mean? An option agreement
would be here's let's say here's five hundred thousand dollars
for the option. That option is going to expire in
one year. If I haven't made a movie, have I
(08:16):
either lose the option rights or I have to give
you more money to extend the option. But if in
that time I do make the movie, that we're going
to take that five hundred thousand and apply it towards
this bigger number that will be the full purchase of
the life story rights, and the document would probably say, like,
(08:38):
Erica Kirk is an executive producer, she has consultation on
the script. However, when we if we sell the movie
to the studio, they will have the final say in things.
So and maybe the family doesn't like that, so they say, no,
you can only sell it to someone who will give
me final director's cut. This is too sensitive. I'm not
(08:58):
having this get outside the fan blah blah blah. And
then you would have then you have a deal. Okay,
what if you don't want to do that, and what
if a turning point in Erica Kirk says, we don't
like you, we don't trust you. We're making our own
film over here, we're actually talking to mel Gibson right now.
(09:20):
Then you'd have to go another route. And let's take
a break, check traffic, and we'll explore that other route
right here on Joe'scalante Live from Hollywood. Okay, Joe Scalante
Live from Hollywood. By Hollywood, you mean Burbank. We're talking
about the Charlie Kirk biopick, the eminent Charlie Kirk biopic.
(09:42):
I'm pretty bummed about the assassination of this great individual,
and I don't know. I just thought I would try
to relate it to what I do here in the show,
and we could talk about him and and this is
how I'm doing. So anyway, we talked about in the
last segment that if you wanted to make a Charlie
(10:04):
Kirk movie, what would you do. You'd go to the
estate and try to get the rights. No one's going
to give you the rights. But I came up with
the scenario of what if mel Gibson asked for the rights,
they might give him to him. That would be a
smart thing to do. I think, So Mo Gibson gets
the rights, he gets the access to the diary. Right now,
(10:27):
I think that's the holy grail. Here is the diary.
And I'm not saying he has a diary. I have
a diary. It's called Day one. It's an app a
diary APP been keeping four three years about So let's
say someone ended my life because of this show, and
(10:53):
they said, well, who's got the diary? I want to
get those I want to get that. So you go
to the you go to the estate. Now, as we
said at the end of the last segment, let's say
mel Gibson's already got it wrapped up. But you still
want to make a diary, I mean, a biopic about
Charlie Kirk. Well you can still do it. And this
(11:15):
technique would be, you're going to go someone's going to
write a book about Charlie Kirk. Okay, let's say well
then wait, let's go back a little bit. So you
go to the estate. They don't give it to you.
(11:35):
You go to a close associate, maybe there's a worker.
That person will give you his story rights. I was
there the whole time. Now you're making you could get
his life story rights. You could just blow off the
life story rights to Charlie Kirk and just do get
the rights from one of his associates. I mean, if
you're really sleazy, you could get a rights from a
cousin who hated him, I mean anything. And then you go, oh,
(11:57):
I got this, Now why do you need any this?
We'll get to that later, but let's go to number two.
After the estate or a close associate, you get someone
writes a book and you get the rights to that.
So someone's gonna write They probably already have written a
book about Charlie Kirk's rise to power and his influence
on the young people, and perhaps the twenty for election.
(12:22):
It's probably a book there. I don't know, but let's
say there is. You get the rights to that. Now
you have the rights to everything in that book, and
maybe even the like the organization, the outline, the way
the guy told the story. Because if you make a
(12:43):
movie without that, and that guy says, hey, you know what,
you made the story exactly like my book. You made
your movie just like my book. I'm suing you. So
you want to avoid that, you want to license the book.
Sometimes people doing a life story thing will just buy
out the rights to every book that's been written and
then or maybe two or or the top ones, and
(13:05):
then they have those guys. Then these people are gone.
They're not going to sue them because because the movie
is successful, everybody's gonna sue. Right. So in this case,
you got your your life story writes from a book,
and then you found a distributor, and the distributor said, okay,
this one's this one's based on the intimate knowledge of
(13:27):
what's going on in this book, and that maybe that's
enough to market this movie. Uh, and and then this
guy can't sue you. Blah blah blah. But the family
could still sue you. How could they, Well, they can't
sue you for stuff that's in the public domain, stuff
that's in the newspapers. But they could sue you and saying, hey,
(13:47):
did you got access to the diary and the diary
was maybe leaked or something, or you're you you're or
you snuck into the turning point and you found the
diary and you use stuff like that, or you use
secret information you got from someone else, And they could
say this is private stuff and you don't have the
rights to it, So they could sue you for that.
(14:10):
They might win. I might scare you into you know,
they really don't have to sue you so much as
go to your distributor and say we're going to sue everybody,
so shut down that picture. The picture will be shut
down properly. Okay, So we have the life story rights
from the estate, we have the book. Now here's another
option in this movie. You could get the life story
(14:35):
rights from the perpetrator, from the assassin. Now, if you
do that, there's things called son of sam laws that
try to limit someone who committed a crime from profiting
from that crime, and those are hard. They're usually struck
down by courts. I was involved in this a little bit.
(14:59):
At CBS. We do a guy who's locked up and
he wants to sell his life story rights and we
want them. You know, he might not be a horrible criminal,
he might not even be convicted yet, but he's got
the right to tell his story. Right now, when someone
commits a crime, do they lose their right to tell
a story? Do they lose their freedom of speech? That's
(15:23):
a tough one. It's very easy to say. This is
called the Son of Sam laws because the Son of
Sam evidently was trying to profit by selling his life story.
And there's a lot of victims around and they don't
like that. So it's a very thing for easy thing
for a politician to do. We need a law that
prevents criminals from profiting from crime. Now, everybody says, I'm
(15:45):
for that. That's a great law, but it's very tricky
and it takes a genius to write one that can
pass constitutional scrutiny because, okay, well, let's say you committed
a crime but you didn't do it. Wait, that doesn't
make any sense, does it. No, you're convicted of a
(16:06):
crime but you didn't do it, and you want to
write your story about how you're innocent. Well you can't.
Well you could, but you can't profit from it. Okay.
So then people say, well, I can my brother profit
from it? Can my wife profit from it? Can I
give it out for free? Well, I guess you could
give it out for free because nobody's going to stop you.
(16:27):
So you get a blog and you write it there,
But you can't make some million dollar blockbuster deal. So
that's what the son of Sam laws are trying to prevent.
But when do they take place? What if you get
this blockbuster deal out before you're convicted of a crime, Okay,
during the trial, And that's what happens sometimes. Okay, I'm
(16:49):
going to sell my life story rights for a million
dollars before I'm convicted. Now, you can't stop someone who
hasn't been convicted from committing a crime or from profiting
from a crime, can you. They not, They're they're presumed innocent.
And that became a problem in all these son of
Sam laws, and they began to get struck down because
they would limit the rights of people who hadn't even
(17:10):
been convicted. So this is a long way of saying,
don't go to that. Don't go to the assassin because
you'll be vilified and you'll have a lot of problems
with the son of Sam laws even though you might
get that story out, but it's just not worth it. Okay.
(17:30):
So now there there's one more way that's safer. You
don't need the family's rights and you don't need to
go to the assassin and deal worry about all that.
You don't have to find some close associate relative that
will give you these rights. There's one more way, and
(17:50):
that pay is often used, but it has its own
sets of pitfalls, but we'll talk about those when we
come back. Joe Scolante Live from Hollywood. Then we are
back Joe Scalante Live from Hollywood. If by Hollywood you
mean per Bank. This is two hours of the business,
end of show business. If we do it every Sunday.
(18:11):
Here eleven fifty on your AM dial at k EIB.
Now today we're talking about Charlie Kirk and the horrible
tragedy that will probably end up as some kind of biopic.
People want to know about Charlie Kirk. I want to
(18:31):
know more about him, so people will write books and
articles and there will be a film. And what we're
talking about now is how can you make this film?
So who would be allowed to make the film? And
my answer to you is anybody can make this film.
(18:52):
And we've gone over two of the ways, and will
now go over a third the third way. Let's go
over the first two. Get the life story rights from
the estate or a close associate or a relative. Now
you got the story, and you got an intimate story,
and you might be able to get that movie made
because you have You are the guy that landed the
(19:13):
rights from the estate. Who can land the rights the
deal from this state? I mean it would have to
be someone they trust. Could be the Ben Shapiro people.
They have a production empire, could be there's one, there's
a couple of these. I mean, you have angel studios
(19:36):
that make these religious films that are wildly successful, and
this would be wildly successful if it's done with the
right people that can tell the story in the way
that the audience would want to see it. Now, mel Gibson,
to me, would be the biggest deal, the biggest deal
in the world that they could make would be a
(19:58):
deal with mel Gibson, because they know the movie's going
to be good, they know it's going to have a big,
big buzz about it and the idea from the Turning
Point People, which is the organization that Charlie Kirk founded,
and I would say they would still be involved in
owning the life story rights. They want to make the
biggest impact, right because they have a message, and their
(20:20):
message is so important to them that they want to
get it out to the most people possible. So they
might be interested in a mel Gibson type scenario. Now
maybe they just want to control the message so much
that they make it themselves in their own entity. Could
be done too, but if you want to make it,
(20:41):
you'd have to get the life story rights from the family,
the estate, or from a close associate, a relative. Blah
blah blah blah blah. Number two, someone writes a book,
you get those rights. Now, Now that person may have
not got any rights, but he just used everything in
the public domain and wrote a book. But he might
have a legal case against you if you read that
(21:02):
book and say I'm going to make a movie based
on this book, and you organized it in a way
where it looked like you did copy the protectable things
in a book, which are things like the way they
tell the story. If it's minimally creative the way they
told the story or organize the story. Let's say the
book starts with like starts with the assassination on the
(21:27):
very first page. Then we're like, how did we get here? Now,
you do a movie and you do the same thing.
And most stories now in my television writing experience, are
the modern thing in the last you know several years
has been start at the end and didn't go how
did we get here? For better or worse? That's what
(21:49):
people seem to like, at least that's what they do
when they when they cross out everything I wrote, and
they say, why don't you do it this way? Okay,
So if you did it exactly like this book, the
guy that has the book could have a claim against
you because he could say, yeah, you know, you told
it the way I started here, and then we went
then we went back to his childhood, and then we
(22:10):
did this, and you did it the same way, and
then we did that, and you did it the same way.
So some people want to be really careful, so there
will license the rights to that book, even though they
don't really need to and they don't need it, but
they just want to get this guy out of the picture,
all right, So that's number two. Number three. Number three
to make a movie is just go with the public records.
(22:31):
Charlie Kirk is a public figure. I can make a
movie about him. I just want to use unprotected materials
as my research. Well, all you have to do is
read anything that's been published and write a story and
don't defame him, and you're off to the races. Now
(22:52):
that's that's a popular way to do it, very easy
way to do it, in expensive way to do it
because you don't need the rights the family or anybody.
All you're doing is reading things that are out in
the public and you're making a movie on that. So
you can do that. Now, what if you hate Charlie Kirk,
can you do that? Maybe you're mad they're making a
movie and you want to tell some other side of
(23:15):
the story. Maybe you're part of the Trantifa. Is that
what they're calling him? Now, maybe you're a trantifan and
you say I want to tell a different story about
Charlie Kirk. Well you'd better be careful because Charlie Kirk
is extremely popular and if you end up defaming him,
(23:35):
they're going to file a defamation claim against you. And
they will probably pick a venue where they know they'll
get a victory in court. And so you better be
careful about that. Could you do it? Yes? Do you
have your right to an opinion? Yes, but I don't
(23:56):
know who's going to distribute that film because not only
would it not make money, that studio would be boycotted,
et cetera. So that's not what you want to do.
Leave that to your rants on the internet. But uh, yeah,
don't do that one. That's a bad one. And then now, okay,
(24:20):
so those are the three ways. Now has this been
done before? Yeah, it's all been done before. Let me
tell you the story about the Long Island Lolita. Nineteen
ninety two. Amy Fisher, who would call what was called
the Long Island Lolita. She made headlines at age seventeen
when she shot Mary joe Buttafuco, the wife of her
(24:41):
alleged lover, Joey Buttafuco. Remember, she met him at a
at a garage like he was a garage mechanic, and
she brought her car in and they started having a relationship,
and the ensuing media frenzy led to three made for
TV movies released within a span of weeks in nineteen
ninety three, each offering a different perspective on the events.
(25:05):
I was a part of this because I was at
CBS at the time. Number One, The Amy Fisher Story
on ABC January third, comes out, nineteen ninety three, starring
Drew Barrymore as Amy Fisher. This film portrayed fisher side
of the story, focusing on her troubled youth and the
events leading up to the shooting. Okay, so they got
(25:26):
the rights to Amy Fisher. Now this is where we
had all these son of Sam laws. Can she profit
from that? Well, I don't remember how that worked out,
but if they do it right before she's convicted, or
if the son of Sam laws are not strong in
that state, you can. You can pay her or pay
(25:46):
her family. And then to get around it, all you'd
have to do is pay her her mother for the
rights to that and then so it's the son of
Sam laws are really hard to enforce because you can
not prevent a mother from telling a story her side
of the story. You just can't, or even profiting from it,
you just can't. So the ABC one had Amy Fisher,
(26:11):
that was a coup. Okay. However, their approach at ABC
actually if I remember it now. I remember. It's hard
to get these ones organized. Is they made their movie
on publicly available information. Okay, so they they did not
(26:31):
secure the life rights from Fisher or the buttafucos, but
they wanted to tell the story of Amy Fisher from
They just thought that was a better thing to grab
ratings because Amy Fisher was really pretty and she and
people wanted to believe her story, and so she had
(26:52):
a sympathetic story. So they made that one. Now we
go to NBC, NBC Amy Fisher My Story, not really NBC,
but the USA Network, which has got the same owners.
That came out the same day January third, nineteen ninety three,
(27:17):
according to my crappy internet research. Its stars Nikola Sheridan
as Amy Fisher. And let's take a break here and
we'll come back. I'll tell you how that one went,
and then we'll get to the CBS one on Joe
Ascalante Live from Hollywood.
Speaker 3 (27:52):
Joe as Cavante, He's my lawyer. You don't want Money's.
Speaker 2 (28:00):
Galante Live from Hollywood. If by Hollywood you mean Burbank.
We are back talking about Amy Fisher right now, and
how you can make a biopic in many different ways
and how there could be multiple biopicks on the amazing
life of Charlie Kirk. If people get you know, if
they get a little it's sleazy. You know, people will
(28:23):
make crappy ones. There'll be one Unfox Nation called Who
is Charlie Kirk? Guarantee that it's probably up already, and
you know there'd be many documentaries, but I'm talking about
scripted dramas in the life story of Charlie Kirk. And
then we are comparing what happened to the Amy Fisher
story in nineteen ninety three. So in nineteen ninety three,
(28:46):
three movies about Amy Fisher came out, all in the
same couple of weeks. So the first one that we
talked about Drew Bayrmore as Amy Fisher. Number three Nicolaic
Sheridan as Amy Fisher. This one was based on Fisher's
own autobiography, offering an account from her perspective. So USA
(29:06):
did secure the life rights from Fisher from Amy Fisher,
and so that was although it was on cable, it
was publicized as the only authentic portrayal of her story.
So we got ABC that just did publicly available information,
(29:28):
but did a sympathetic version showing the troubled upbringing of
Amy Fisher. And then we have the USA Networks doing
the only authentic one according to them, because they have
the life story rights, meaning they have the diary, the
(29:48):
daily journal that she made, blah blah blah, and that's
how they're going to publicize that one. And you don't
have to worry about the Amy Fisher family suing you
because you made a de with them. ABC has to
worry about it because if they say anything defamatory, they
don't have a relationship with them. Or the Buttafucos. Now,
(30:12):
let's speak of the Butterfucos. This was the one I
was involved in. This one was called Casualties of Love,
the Long Island Lolita Story. This is CBS, starring Alissa
Mulano as Amy Fisher and Jack Scalia as Joey Buttafuco.
The perspective is this version aimed to prevent Joey Buttafucos
(30:33):
to present Joey Buttafuco's viewpoint. Okay, he's the guy whose
wife got shot because he had an affair with the girl.
This one depicted Amy Fisher as a manipulative young woman.
Now this is Joey Buttafuco's opinion. So they're making a
movie about his opinion. Now, can Amy Fisher sue them? Well,
(30:56):
if they say things that are blatantly not true and
make you spit on the ground, a defamation case. However,
she's a public figure. She thrust herself into the public
figure world by pulling the trigger on Joey Buttafuko's wife
to get him out of the way so she could
run off with him and live happily. Ever after this
old greasy man from the garage. So CBS obtained the
(31:18):
life story rights from Joey Buttafuco, which was not hard,
No son of Sam laws, because this guy is just
a greasy mechanic and how to make a buck. So
we gave him the money. That wasn't my decision, so
don't blame me. But and then we were able to
(31:40):
use all his personal experiences, his journal, his intimate conversations
that he had, And if Amy Fisher is going to
sue us, we're gonna say, this guy has given us
these rights, and he's indemnified us, and he has told
us that they are true. So if you want to
sue us, don't sue us. Sue him. How you get
out of that, all right. So you have three of them,
(32:02):
one from the victim's point of view or the victim adjacent,
one from the killer's point of view or the shooter
the wife didn't die, and then one just taking stuff
out of public domain. So that's how we do it. Okay. Now,
what if you're making a documentary, Well, obviously you're making
(32:22):
a documentary. You could do one of two things. You
can make your own You could take pictures yourself of
Amy Fisher running around or Charlie Kirk or if you
are if let's say you were following them around taking pictures,
you can make a documentary. If you're filling them all
the time, you can make a documentary. Now, when he's
(32:44):
out in public, it's arguable that he doesn't have the
right of privacy, so you could release that footage because
he's out in the world, and generally that goes for
everybody walking around town. If you appear in someone's documentary
and you try to sue them and say that you
didn't give permission to show you to show people your image, well,
(33:07):
eventually you have to. If you're proving someone, you have
to have certain improvable damages. So Let's say you walked
out of your house and someone was filming you and saying,
this is the person that lives in this town and
I don't like her, and I want her. I want
everybody to know that she wears these same pair of
(33:29):
pants every day or something like that whatever, And you're like, hey,
that's that's damaging to me. I don't want I want that.
You're you're interfering with my right of privacy. I'm going
to sue you. I don't want to be in your documentary.
I didn't sign a release. And the documentarian is saying, well,
I don't have to get a release because what are
(33:50):
your provable damages. You're certain improvable damages. Well, you're showing
my image to everybody, and that hurts me. I have
a right to not be seen by all these people.
That doesn't work, because if you're going outside, how do
you know who's going to see you? Now, if this
film is distributed to a million viewers, how did you
(34:10):
know those million people weren't going to walk by that
day or just see you from afar or see you
wherever you walked around. You don't know you went outside.
Obviously you're okay with going outside. So this person depicted
you doing what you do every day. Hard to prove
any damages because you're out there the end. So you're
(34:31):
making a documentary, you could kind of do whatever you want.
But you will have a problem when you try to
get distributed because they will say, well, do you have
the rights to this and that? And you say I don't.
I don't need to. They're out in public, and you say, yeah,
but they might sue us, and I'm not really that
interested in being sued, So go get the rights and
come back and I'll distribute it for you. So you
(34:52):
do have that problem, But if you want to distribute
it yourself, you're probably not going to run into too
many problems because people are cannot really control their image
if they're outside running around. Okay, so if you want
to make a Charlie Kirk movie documentary, you can license.
You can do that that way. You can just license
footage that other people have taken and you can interview
(35:15):
a bunch of people and you know, get releases from
them and say and you can cite things that are
already in the public publicly available information and make a documentary.
You don't have to get anybody's permission to do that.
You can make the documentary that is authorized by the Kirks,
(35:37):
and you would, you know, you make a deal with them,
then you get access. Right now, you're getting access to
their family photos, baby photos and journals, documents that are
private stuff like that, and then you would you would
go that route, and there's going to be people They're
gonna make. I mean, I think for a long time
(36:00):
this guy is impact is I'm hearing these crazy numbers
of how many people have inundated the turning point offices
to start turning point chapters. Now, what is a turning
point chapter? Now this is not mine. I'm in the
Catholic world, so we don't have anybody with this kind
of energy. So I don't really know too much about it,
(36:21):
but I believe it's just a movement to get young
people to start thinking about things like family and patriotism,
like start a family earlier, have more kids, and introduce
them to Jesus Christ, raise them in the church, patriotic values,
(36:47):
things like that. So if there are really are tens
of thousands of new chapters going to be opened because
of this, you know, popularity of people taking a look
at his organization and what he does, and then the
sympathy from being you know, cut down in his prime,
(37:07):
so many of those chapters being opened. Uh, this guy
is going to be a legend like JFK. I mean there,
I wouldn't be surprised if there's airports named after Charlie
Kirk in the future, certainly buildings at schools. So there's
gonna be a lot of documentaries, books and movies, TV shows, everything.
(37:34):
So this is a little bit of a primer about
how that would go about it. Maybe you want to
do Oh wait, sorry this was such a downer, but
it really wasn't. Uh. I don't know. I just wanted
to do this and I uh, next week will have
a regular show. I hope you learned something. Joe's quanted
(37:56):
Live from Hollywood now, leaving you with just a taste
of the greatest song ever written.
And now it's time for Joe Escalante Live from Hollywood.
If by Hollywood you mean Burbank across the street promo
meaners it's all that serves beer.
Speaker 2 (00:23):
Good evening, America. Hey, this is gonna be a different show.
I'm coming to you live from the New York Palace
Hotel and beautiful New York City. I got a Sublime
show coming up at the See Here Now Festival in
Asbury Park. They'll be on the Today Show tomorrow morning.
(00:43):
So Channel four if you're gonna want to see Sublime,
do their number one hit in America right now. The
number one hit on radio is Alternative Radio Charts and
Sonata by Sublime, the most well managed band in the universe.
And you know, as far as movie goes, I saw
Spinal Tap. I went to the premiere with the Q
(01:04):
and A with the band and the man, the director
and stuff. It's great, very very satisfying as a sequel,
super fun. Laughed the whole way through. So I recommend
Spinal Tap the sequel and stuff now. However, other than
(01:28):
that kind of a sad week, I went to church
today like I do, and the Catholic Church here in
New York City at Saint Patrick's Cathedral, pretty iconic. A
little disturbed that he didn't say anything about Charlie Kirk.
(01:50):
I was thinking about Charlie Kirk. He's not a Catholic,
he's like evangelical. He's not a preacher. He's just a
leader of a movement called Turning Point. I'm sure you
know all about it. It's been all over the news.
But I thought the priest would mention it, maybe include
him in our prayers, but he didn't. But you know what,
(02:15):
what is it like to say Mass in the middle
of New York City, which in this big building that's
like a tourist attraction. You're trying to have a mask,
but there's people running all around. They're milling about, curiosity seekers, Satanists,
no doubt, no, maybe yeah. People would come to churches,
(02:35):
do you know this, and they try to steal the
host and then they try to perform witchcraft on it.
So that is something they look for at all churches.
If someone doesn't consume the host right in front of
the priest, you got to follow him around and tell
they consume it, or tell it or take it back
from them. Done it myself, Hey, you you got to
(02:57):
consume that or give it to me right now. Anyway,
this guy's got a lot on his mind here in
New York City because who knows what's going on here. Okay,
well let's get to Charlie Kirk. I don't have anything
to add. I'm very sad about it. I'm just brutal
and stupid. So it's not even one of those things.
(03:21):
Sometimes I will just react to these things by thinking, well,
you can't prevent people from snapping. And when they say, well,
you got to take the guns away from them. If
people are going to snap, they're going to snap. They'll
drive a car into a crowd of people. There's those
stab people. If you go to the UK, there's stabbings
all over the place because they don't have any guns.
(03:43):
So those are people that snap. The guy who killed
Charlie Kirk did not snap. He was just I think
it was just part of his political development. He got
to a place where he thought, I've got to kill
this guy and you know whatever, for whatever reason in
(04:05):
his brain. And it's just super sad and demonic for sure.
But how does it relate to this show about Hollywood Joe?
How does it? Well, I'll tell you because we're going
to talk about that. Let's go to the question of
which is going to happen and happen any day now,
(04:26):
so and so company announces Charlie Kirk biopic. Let's just
say it right now, someone will do that. And then
who's going to make it? Well, he's got a big
organization called Turning Point, right, So is Turning Point going
to make it? Or is some big Hollywood studio going
(04:50):
to make it? Who do you think is going to
make it? Let me propose something. You could make it.
Anybody could make it. I could make it. How is
that possible? Well, obviously it's the best case scenario if
(05:17):
the family's involved and they make it. But other people
might say, well, they're not going to tell the truth,
So I want to make one that shows the real
Charlie Kirk. Okay, you could do that, But where are
you going to get the rights to make this movie? Now,
(05:39):
there's a couple of routes you can go if you
wanted to make a movie about Charlie Kirk or any
notable celebrity. Number One, you get the life story rights.
Now where you're going to get him from? You could
get him from his estate. You could contact them and
say I am a famous producer, or I and a
(06:00):
producer you can trust, and I would like to make
a feature film about Charlie Kirk. He would probably tell
you to get lost. But let's say they didn't. Let's
say they said, oh, you're great. Maybe you are Mel Gibson.
So let's just say mel Gibson does this. Mel Gibson
calls up and says, look, I'm a Christian, you're a Christian.
(06:23):
I made a little film called The Passion of christ.
I want to make a little film called the Passion
of Charlie Kirk. Now that would be a huge film,
that would be one of the biggest box office coups
of all time. If you pair those two people up,
and there's two entities up, the Mel Gibson thing and
the Turning Point thing. Okay, so what is he gonna do.
(06:46):
He's gonna make a life story rights option. And the
option agreement is going to say, for this amount of money,
I'm gonna give you Turning Point or the estate Erica
Kirk perhaps is gonna give you the life story rights
to Charlie Kirk. That means that mel Gibson can take
(07:10):
private things that nobody else knows that from private conversations,
things that they that Erica wants to give, give him
private private documents even and he gets to look at
all that. He gets to make a script from all
these the intimate insider info of the Charlie kirk uh
(07:36):
Turning Point organization, his his uh, you know who knows
who knows what his school records? His diary? Right, you
want the diary you're making a biopic. Wouldn't it be
nice to get the diary? Where you can only get
the diary if you make a deal with the estate.
So mel Gibson would go to the estate, and because
(07:56):
he's got that power now, he's going to give him
an option agreement. What does that mean? An option agreement
would be here's let's say here's five hundred thousand dollars
for the option. That option is going to expire in
one year. If I haven't made a movie, have I
(08:16):
either lose the option rights or I have to give
you more money to extend the option. But if in
that time I do make the movie, that we're going
to take that five hundred thousand and apply it towards
this bigger number that will be the full purchase of
the life story rights, and the document would probably say, like,
(08:38):
Erica Kirk is an executive producer, she has consultation on
the script. However, when we if we sell the movie
to the studio, they will have the final say in things.
So and maybe the family doesn't like that, so they say, no,
you can only sell it to someone who will give
me final director's cut. This is too sensitive. I'm not
(08:58):
having this get outside the fan blah blah blah. And
then you would have then you have a deal. Okay,
what if you don't want to do that, and what
if a turning point in Erica Kirk says, we don't
like you, we don't trust you. We're making our own
film over here, we're actually talking to mel Gibson right now.
(09:20):
Then you'd have to go another route. And let's take
a break, check traffic, and we'll explore that other route
right here on Joe'scalante Live from Hollywood. Okay, Joe Scalante
Live from Hollywood. By Hollywood, you mean Burbank. We're talking
about the Charlie Kirk biopick, the eminent Charlie Kirk biopic.
(09:42):
I'm pretty bummed about the assassination of this great individual,
and I don't know. I just thought I would try
to relate it to what I do here in the show,
and we could talk about him and and this is
how I'm doing. So anyway, we talked about in the
last segment that if you wanted to make a Charlie
(10:04):
Kirk movie, what would you do. You'd go to the
estate and try to get the rights. No one's going
to give you the rights. But I came up with
the scenario of what if mel Gibson asked for the rights,
they might give him to him. That would be a
smart thing to do. I think, So Mo Gibson gets
the rights, he gets the access to the diary. Right now,
(10:27):
I think that's the holy grail. Here is the diary.
And I'm not saying he has a diary. I have
a diary. It's called Day one. It's an app a
diary APP been keeping four three years about So let's
say someone ended my life because of this show, and
(10:53):
they said, well, who's got the diary? I want to
get those I want to get that. So you go
to the you go to the estate. Now, as we
said at the end of the last segment, let's say
mel Gibson's already got it wrapped up. But you still
want to make a diary, I mean, a biopic about
Charlie Kirk. Well you can still do it. And this
(11:15):
technique would be, you're going to go someone's going to
write a book about Charlie Kirk. Okay, let's say well
then wait, let's go back a little bit. So you
go to the estate. They don't give it to you.
(11:35):
You go to a close associate, maybe there's a worker.
That person will give you his story rights. I was
there the whole time. Now you're making you could get
his life story rights. You could just blow off the
life story rights to Charlie Kirk and just do get
the rights from one of his associates. I mean, if
you're really sleazy, you could get a rights from a
cousin who hated him, I mean anything. And then you go, oh,
(11:57):
I got this, Now why do you need any this?
We'll get to that later, but let's go to number two.
After the estate or a close associate, you get someone
writes a book and you get the rights to that.
So someone's gonna write They probably already have written a
book about Charlie Kirk's rise to power and his influence
on the young people, and perhaps the twenty for election.
(12:22):
It's probably a book there. I don't know, but let's
say there is. You get the rights to that. Now
you have the rights to everything in that book, and
maybe even the like the organization, the outline, the way
the guy told the story. Because if you make a
(12:43):
movie without that, and that guy says, hey, you know what,
you made the story exactly like my book. You made
your movie just like my book. I'm suing you. So
you want to avoid that, you want to license the book.
Sometimes people doing a life story thing will just buy
out the rights to every book that's been written and
then or maybe two or or the top ones, and
(13:05):
then they have those guys. Then these people are gone.
They're not going to sue them because because the movie
is successful, everybody's gonna sue. Right. So in this case,
you got your your life story writes from a book,
and then you found a distributor, and the distributor said, okay,
this one's this one's based on the intimate knowledge of
(13:27):
what's going on in this book, and that maybe that's
enough to market this movie. Uh, and and then this
guy can't sue you. Blah blah blah. But the family
could still sue you. How could they, Well, they can't
sue you for stuff that's in the public domain, stuff
that's in the newspapers. But they could sue you and saying, hey,
(13:47):
did you got access to the diary and the diary
was maybe leaked or something, or you're you you're or
you snuck into the turning point and you found the
diary and you use stuff like that, or you use
secret information you got from someone else, And they could
say this is private stuff and you don't have the
rights to it, So they could sue you for that.
(14:10):
They might win. I might scare you into you know,
they really don't have to sue you so much as
go to your distributor and say we're going to sue everybody,
so shut down that picture. The picture will be shut
down properly. Okay, So we have the life story rights
from the estate, we have the book. Now here's another
option in this movie. You could get the life story
(14:35):
rights from the perpetrator, from the assassin. Now, if you
do that, there's things called son of sam laws that
try to limit someone who committed a crime from profiting
from that crime, and those are hard. They're usually struck
down by courts. I was involved in this a little bit.
(14:59):
At CBS. We do a guy who's locked up and
he wants to sell his life story rights and we
want them. You know, he might not be a horrible criminal,
he might not even be convicted yet, but he's got
the right to tell his story. Right now, when someone
commits a crime, do they lose their right to tell
a story? Do they lose their freedom of speech? That's
(15:23):
a tough one. It's very easy to say. This is
called the Son of Sam laws because the Son of
Sam evidently was trying to profit by selling his life story.
And there's a lot of victims around and they don't
like that. So it's a very thing for easy thing
for a politician to do. We need a law that
prevents criminals from profiting from crime. Now, everybody says, I'm
(15:45):
for that. That's a great law, but it's very tricky
and it takes a genius to write one that can
pass constitutional scrutiny because, okay, well, let's say you committed
a crime but you didn't do it. Wait, that doesn't
make any sense, does it. No, you're convicted of a
(16:06):
crime but you didn't do it, and you want to
write your story about how you're innocent. Well you can't.
Well you could, but you can't profit from it. Okay.
So then people say, well, I can my brother profit
from it? Can my wife profit from it? Can I
give it out for free? Well, I guess you could
give it out for free because nobody's going to stop you.
(16:27):
So you get a blog and you write it there,
But you can't make some million dollar blockbuster deal. So
that's what the son of Sam laws are trying to prevent.
But when do they take place? What if you get
this blockbuster deal out before you're convicted of a crime, Okay,
during the trial, And that's what happens sometimes. Okay, I'm
(16:49):
going to sell my life story rights for a million
dollars before I'm convicted. Now, you can't stop someone who
hasn't been convicted from committing a crime or from profiting
from a crime, can you. They not, They're they're presumed innocent.
And that became a problem in all these son of
Sam laws, and they began to get struck down because
they would limit the rights of people who hadn't even
(17:10):
been convicted. So this is a long way of saying,
don't go to that. Don't go to the assassin because
you'll be vilified and you'll have a lot of problems
with the son of Sam laws even though you might
get that story out, but it's just not worth it. Okay.
(17:30):
So now there there's one more way that's safer. You
don't need the family's rights and you don't need to
go to the assassin and deal worry about all that.
You don't have to find some close associate relative that
will give you these rights. There's one more way, and
(17:50):
that pay is often used, but it has its own
sets of pitfalls, but we'll talk about those when we
come back. Joe Scolante Live from Hollywood. Then we are
back Joe Scalante Live from Hollywood. If by Hollywood you
mean per Bank. This is two hours of the business,
end of show business. If we do it every Sunday.
(18:11):
Here eleven fifty on your AM dial at k EIB.
Now today we're talking about Charlie Kirk and the horrible
tragedy that will probably end up as some kind of biopic.
People want to know about Charlie Kirk. I want to
(18:31):
know more about him, so people will write books and
articles and there will be a film. And what we're
talking about now is how can you make this film?
So who would be allowed to make the film? And
my answer to you is anybody can make this film.
(18:52):
And we've gone over two of the ways, and will
now go over a third the third way. Let's go
over the first two. Get the life story rights from
the estate or a close associate or a relative. Now
you got the story, and you got an intimate story,
and you might be able to get that movie made
because you have You are the guy that landed the
(19:13):
rights from the estate. Who can land the rights the
deal from this state? I mean it would have to
be someone they trust. Could be the Ben Shapiro people.
They have a production empire, could be there's one, there's
a couple of these. I mean, you have angel studios
(19:36):
that make these religious films that are wildly successful, and
this would be wildly successful if it's done with the
right people that can tell the story in the way
that the audience would want to see it. Now, mel Gibson,
to me, would be the biggest deal, the biggest deal
in the world that they could make would be a
(19:58):
deal with mel Gibson, because they know the movie's going
to be good, they know it's going to have a big,
big buzz about it and the idea from the Turning
Point People, which is the organization that Charlie Kirk founded,
and I would say they would still be involved in
owning the life story rights. They want to make the
biggest impact, right because they have a message, and their
(20:20):
message is so important to them that they want to
get it out to the most people possible. So they
might be interested in a mel Gibson type scenario. Now
maybe they just want to control the message so much
that they make it themselves in their own entity. Could
be done too, but if you want to make it,
(20:41):
you'd have to get the life story rights from the family,
the estate, or from a close associate, a relative. Blah
blah blah blah blah. Number two, someone writes a book,
you get those rights. Now, Now that person may have
not got any rights, but he just used everything in
the public domain and wrote a book. But he might
have a legal case against you if you read that
(21:02):
book and say I'm going to make a movie based
on this book, and you organized it in a way
where it looked like you did copy the protectable things
in a book, which are things like the way they
tell the story. If it's minimally creative the way they
told the story or organize the story. Let's say the
book starts with like starts with the assassination on the
(21:27):
very first page. Then we're like, how did we get here? Now,
you do a movie and you do the same thing.
And most stories now in my television writing experience, are
the modern thing in the last you know several years
has been start at the end and didn't go how
did we get here? For better or worse? That's what
(21:49):
people seem to like, at least that's what they do
when they when they cross out everything I wrote, and
they say, why don't you do it this way? Okay,
So if you did it exactly like this book, the
guy that has the book could have a claim against
you because he could say, yeah, you know, you told
it the way I started here, and then we went
then we went back to his childhood, and then we
(22:10):
did this, and you did it the same way, and
then we did that, and you did it the same way.
So some people want to be really careful, so there
will license the rights to that book, even though they
don't really need to and they don't need it, but
they just want to get this guy out of the picture,
all right, So that's number two. Number three. Number three
to make a movie is just go with the public records.
(22:31):
Charlie Kirk is a public figure. I can make a
movie about him. I just want to use unprotected materials
as my research. Well, all you have to do is
read anything that's been published and write a story and
don't defame him, and you're off to the races. Now
(22:52):
that's that's a popular way to do it, very easy
way to do it, in expensive way to do it
because you don't need the rights the family or anybody.
All you're doing is reading things that are out in
the public and you're making a movie on that. So
you can do that. Now, what if you hate Charlie Kirk,
can you do that? Maybe you're mad they're making a
movie and you want to tell some other side of
(23:15):
the story. Maybe you're part of the Trantifa. Is that
what they're calling him? Now, maybe you're a trantifan and
you say I want to tell a different story about
Charlie Kirk. Well you'd better be careful because Charlie Kirk
is extremely popular and if you end up defaming him,
(23:35):
they're going to file a defamation claim against you. And
they will probably pick a venue where they know they'll
get a victory in court. And so you better be
careful about that. Could you do it? Yes? Do you
have your right to an opinion? Yes, but I don't
(23:56):
know who's going to distribute that film because not only
would it not make money, that studio would be boycotted,
et cetera. So that's not what you want to do.
Leave that to your rants on the internet. But uh, yeah,
don't do that one. That's a bad one. And then now, okay,
(24:20):
so those are the three ways. Now has this been
done before? Yeah, it's all been done before. Let me
tell you the story about the Long Island Lolita. Nineteen
ninety two. Amy Fisher, who would call what was called
the Long Island Lolita. She made headlines at age seventeen
when she shot Mary joe Buttafuco, the wife of her
(24:41):
alleged lover, Joey Buttafuco. Remember, she met him at a
at a garage like he was a garage mechanic, and
she brought her car in and they started having a relationship,
and the ensuing media frenzy led to three made for
TV movies released within a span of weeks in nineteen
ninety three, each offering a different perspective on the events.
(25:05):
I was a part of this because I was at
CBS at the time. Number One, The Amy Fisher Story
on ABC January third, comes out, nineteen ninety three, starring
Drew Barrymore as Amy Fisher. This film portrayed fisher side
of the story, focusing on her troubled youth and the
events leading up to the shooting. Okay, so they got
(25:26):
the rights to Amy Fisher. Now this is where we
had all these son of Sam laws. Can she profit
from that? Well, I don't remember how that worked out,
but if they do it right before she's convicted, or
if the son of Sam laws are not strong in
that state, you can. You can pay her or pay
(25:46):
her family. And then to get around it, all you'd
have to do is pay her her mother for the
rights to that and then so it's the son of
Sam laws are really hard to enforce because you can
not prevent a mother from telling a story her side
of the story. You just can't, or even profiting from it,
you just can't. So the ABC one had Amy Fisher,
(26:11):
that was a coup. Okay. However, their approach at ABC
actually if I remember it now. I remember. It's hard
to get these ones organized. Is they made their movie
on publicly available information. Okay, so they they did not
(26:31):
secure the life rights from Fisher or the buttafucos, but
they wanted to tell the story of Amy Fisher from
They just thought that was a better thing to grab
ratings because Amy Fisher was really pretty and she and
people wanted to believe her story, and so she had
(26:52):
a sympathetic story. So they made that one. Now we
go to NBC, NBC Amy Fisher My Story, not really NBC,
but the USA Network, which has got the same owners.
That came out the same day January third, nineteen ninety three,
(27:17):
according to my crappy internet research. Its stars Nikola Sheridan
as Amy Fisher. And let's take a break here and
we'll come back. I'll tell you how that one went,
and then we'll get to the CBS one on Joe
Ascalante Live from Hollywood.
Speaker 3 (27:52):
Joe as Cavante, He's my lawyer. You don't want Money's.
Speaker 2 (28:00):
Galante Live from Hollywood. If by Hollywood you mean Burbank.
We are back talking about Amy Fisher right now, and
how you can make a biopic in many different ways
and how there could be multiple biopicks on the amazing
life of Charlie Kirk. If people get you know, if
they get a little it's sleazy. You know, people will
(28:23):
make crappy ones. There'll be one Unfox Nation called Who
is Charlie Kirk? Guarantee that it's probably up already, and
you know there'd be many documentaries, but I'm talking about
scripted dramas in the life story of Charlie Kirk. And
then we are comparing what happened to the Amy Fisher
story in nineteen ninety three. So in nineteen ninety three,
(28:46):
three movies about Amy Fisher came out, all in the
same couple of weeks. So the first one that we
talked about Drew Bayrmore as Amy Fisher. Number three Nicolaic
Sheridan as Amy Fisher. This one was based on Fisher's
own autobiography, offering an account from her perspective. So USA
(29:06):
did secure the life rights from Fisher from Amy Fisher,
and so that was although it was on cable, it
was publicized as the only authentic portrayal of her story.
So we got ABC that just did publicly available information,
(29:28):
but did a sympathetic version showing the troubled upbringing of
Amy Fisher. And then we have the USA Networks doing
the only authentic one according to them, because they have
the life story rights, meaning they have the diary, the
(29:48):
daily journal that she made, blah blah blah, and that's
how they're going to publicize that one. And you don't
have to worry about the Amy Fisher family suing you
because you made a de with them. ABC has to
worry about it because if they say anything defamatory, they
don't have a relationship with them. Or the Buttafucos. Now,
(30:12):
let's speak of the Butterfucos. This was the one I
was involved in. This one was called Casualties of Love,
the Long Island Lolita Story. This is CBS, starring Alissa
Mulano as Amy Fisher and Jack Scalia as Joey Buttafuco.
The perspective is this version aimed to prevent Joey Buttafucos
(30:33):
to present Joey Buttafuco's viewpoint. Okay, he's the guy whose
wife got shot because he had an affair with the girl.
This one depicted Amy Fisher as a manipulative young woman.
Now this is Joey Buttafuco's opinion. So they're making a
movie about his opinion. Now, can Amy Fisher sue them? Well,
(30:56):
if they say things that are blatantly not true and
make you spit on the ground, a defamation case. However,
she's a public figure. She thrust herself into the public
figure world by pulling the trigger on Joey Buttafuko's wife
to get him out of the way so she could
run off with him and live happily. Ever after this
old greasy man from the garage. So CBS obtained the
(31:18):
life story rights from Joey Buttafuco, which was not hard,
No son of Sam laws, because this guy is just
a greasy mechanic and how to make a buck. So
we gave him the money. That wasn't my decision, so
don't blame me. But and then we were able to
(31:40):
use all his personal experiences, his journal, his intimate conversations
that he had, And if Amy Fisher is going to
sue us, we're gonna say, this guy has given us
these rights, and he's indemnified us, and he has told
us that they are true. So if you want to
sue us, don't sue us. Sue him. How you get
out of that, all right. So you have three of them,
(32:02):
one from the victim's point of view or the victim adjacent,
one from the killer's point of view or the shooter
the wife didn't die, and then one just taking stuff
out of public domain. So that's how we do it. Okay. Now,
what if you're making a documentary, Well, obviously you're making
(32:22):
a documentary. You could do one of two things. You
can make your own You could take pictures yourself of
Amy Fisher running around or Charlie Kirk or if you
are if let's say you were following them around taking pictures,
you can make a documentary. If you're filling them all
the time, you can make a documentary. Now, when he's
(32:44):
out in public, it's arguable that he doesn't have the
right of privacy, so you could release that footage because
he's out in the world, and generally that goes for
everybody walking around town. If you appear in someone's documentary
and you try to sue them and say that you
didn't give permission to show you to show people your image, well,
(33:07):
eventually you have to. If you're proving someone, you have
to have certain improvable damages. So Let's say you walked
out of your house and someone was filming you and saying,
this is the person that lives in this town and
I don't like her, and I want her. I want
everybody to know that she wears these same pair of
(33:29):
pants every day or something like that whatever, And you're like, hey,
that's that's damaging to me. I don't want I want that.
You're you're interfering with my right of privacy. I'm going
to sue you. I don't want to be in your documentary.
I didn't sign a release. And the documentarian is saying, well,
I don't have to get a release because what are
(33:50):
your provable damages. You're certain improvable damages. Well, you're showing
my image to everybody, and that hurts me. I have
a right to not be seen by all these people.
That doesn't work, because if you're going outside, how do
you know who's going to see you? Now, if this
film is distributed to a million viewers, how did you
(34:10):
know those million people weren't going to walk by that
day or just see you from afar or see you
wherever you walked around. You don't know you went outside.
Obviously you're okay with going outside. So this person depicted
you doing what you do every day. Hard to prove
any damages because you're out there the end. So you're
(34:31):
making a documentary, you could kind of do whatever you want.
But you will have a problem when you try to
get distributed because they will say, well, do you have
the rights to this and that? And you say I don't.
I don't need to. They're out in public, and you say, yeah,
but they might sue us, and I'm not really that
interested in being sued, So go get the rights and
come back and I'll distribute it for you. So you
(34:52):
do have that problem, But if you want to distribute
it yourself, you're probably not going to run into too
many problems because people are cannot really control their image
if they're outside running around. Okay, so if you want
to make a Charlie Kirk movie documentary, you can license.
You can do that that way. You can just license
footage that other people have taken and you can interview
(35:15):
a bunch of people and you know, get releases from
them and say and you can cite things that are
already in the public publicly available information and make a documentary.
You don't have to get anybody's permission to do that.
You can make the documentary that is authorized by the Kirks,
(35:37):
and you would, you know, you make a deal with them,
then you get access. Right now, you're getting access to
their family photos, baby photos and journals, documents that are
private stuff like that, and then you would you would
go that route, and there's going to be people They're
gonna make. I mean, I think for a long time
(36:00):
this guy is impact is I'm hearing these crazy numbers
of how many people have inundated the turning point offices
to start turning point chapters. Now, what is a turning
point chapter? Now this is not mine. I'm in the
Catholic world, so we don't have anybody with this kind
of energy. So I don't really know too much about it,
(36:21):
but I believe it's just a movement to get young
people to start thinking about things like family and patriotism,
like start a family earlier, have more kids, and introduce
them to Jesus Christ, raise them in the church, patriotic values,
(36:47):
things like that. So if there are really are tens
of thousands of new chapters going to be opened because
of this, you know, popularity of people taking a look
at his organization and what he does, and then the
sympathy from being you know, cut down in his prime,
(37:07):
so many of those chapters being opened. Uh, this guy
is going to be a legend like JFK. I mean there,
I wouldn't be surprised if there's airports named after Charlie
Kirk in the future, certainly buildings at schools. So there's
gonna be a lot of documentaries, books and movies, TV shows, everything.
(37:34):
So this is a little bit of a primer about
how that would go about it. Maybe you want to
do Oh wait, sorry this was such a downer, but
it really wasn't. Uh. I don't know. I just wanted
to do this and I uh, next week will have
a regular show. I hope you learned something. Joe's quanted
(37:56):
Live from Hollywood now, leaving you with just a taste
of the greatest song ever written.
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