Mark Edwards Quotes

A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.

If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.

I have represented people in book deals.

Their argument, and I think it's a correct one, is that they'll make more money from the trades and the hardcovers if nobody messes with the creative team.

Well, I think that it is complicated in that the first four albums were all with Universal so they have the rights to that and therefore it is a lot easier for them to do that period.

We are forced by the major publishers to include electronic rights in the contracts we make with publishers for new books. And there's very little we can do about that.

The moment somebody is making money off the recipes, that's when you'll see digital rights management around it.

Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.

When a record co. finds a guy now, they want to own everything. They want to own the rights to market that person's particular name. They want a piece of the action all the way through.

I didn't need to borrow money from the record company, because if I had my own publishing company, and I had my own writers, I'd have enough to get and do whatever I wanted to do.

Make sure you know what you are signing when you sign a recording contract.

I spent two years in the Army. And my older brother, who was also a great positive influence on me, encouraged me to think about law school, and I said - well, I didn't have any money.

Artists need support, time and money to develop their ideas, and if people rip stuff off, you don't have to be that brilliant to figure out that you're ultimately going to affect the end product.

I had forgotten until I looked up old notes that I sold the film rights of my first book, a life of Mary Wollstonecraft: there was a lunch, a contract, a small sum of money, then nothing.

I've copyrighted 3,000 songs.

With Ghost Tunes, you just try to do what's right. And what's right is whatever the copyright owner wants to do with their music, they do it.

Whether it's a song you write or a television show or a movie or professional wrestling, there are three components to IP law. There is publishing, there are writers, and there are performers. The publisher is always the owner.

Money is not all in life, and not in football, but it's quite important, and to have the lowest budget in the league means to finish in the top 10 may be an even bigger result.

When I was very young, I sold the rights to my work... through 2000.

One of California's largest exports for royalties is creative content.

Don't sign your publishing away.

If somebody makes a record, no matter how many years later it's released, they or their families should be entitled to the proceeds.

I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.

Only I hold the right to all my songs.

I'm not in favor of stealing music.