Michelle Phillips Quotes

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

I don't sign contracts for my books.

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.

I think that one of the most useful applications of the Creator's Bill of Rights is that it clearly indicates for creators what rights they have at the outset.

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.

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.

Because we self-published 'Draculas,' we control the rights. Not just for now, but forever.

It's hard for new artists to keep hold of what they own.

Don't sign your publishing away.

An author who gives a manager or publisher any rights in his work except those immediately and specifically required for its publication or performance is for business purposes an imbecile.

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.

Intellectual property has the shelf life of a banana.

Some people are just so happy to get published to, they sign anything. Next thing you know, they've signed over the rights to their book.

I believe in creative control. No matter what anyone makes, they should have control over it.

Hollywood wants to own everything. I don't want to own anything. I don't want people just to make content, I want to empower and teach them to create content they own that they can exploit in any medium.

I think copyright is moral, proper. I think a creator has the right to control the disposition of his or her works - I actually believe that the financial issue is less important than the integrity of the work, the attribution, that kind of stuff.

I have made it a rule for a long time, not to part with the copyright of my drawings, for I have been so copied, my drawings reproduced and sold for advertisements and done in ways I hate.

As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.

The Constitution wanted artists to have control over their works because they knew it would create incentive to create more works. That is clearly still the goal.

If you look at the publishers I've worked with, generally, they're a great bunch. Creation is unlike any other publishing house you can think of. The people I've worked with have integrity and intelligence and, almost always, less money than ideas.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

Before our albums are released I feel like we still own it, that we have control over our music. But once it's out there in the world it's no longer ours.

Copyright is too valuable to be wholly renounced.

An intellectual property worker will take copyright protection on everything he can get.

I don't care what they do with my book so long as the flippin check clears.