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Does the movie producer actually need a movie attorney or activity lawyer being a matter of professional practice? An entertainment lawyer's own bias and my stacking of this question notwithstanding, that might obviously indicate a "yes" answer 100% of the time - the forthright answer is, "it depends". Lots of producers these days are on their own movie solicitors, activity solicitors, or other types of solicitors, so, usually takes care of by themselves. But the film producers to worry about, would be the people who behave as if they're activity attorneys - but without a license or entertainment lawyer appropriate experience to back it. Filmmaking and motion picture training comprise a market wherein these times, unfortunately, "bluff" and "bluster" sometimes act as substitutes for actual knowledge and experience. But "bluffed" papers and inadequate manufacturing procedures will never escape the trained eye of entertainment attorneys doing work for the studios, the suppliers, the banks, or the errors-and-omissions (E&O) insurance carriers. As a result alone, i guess, the job function of film manufacturing counsel and entertainment attorney is still safe.

I also guess that there is always a couple of fortunate filmmakers whom, through the entire production procedure, fly under the proverbial radar without activity lawyer accompaniment. They will apparently avoid pitfalls and liabilities like flying bats are reputed in order to avoid individuals locks. By way of analogy, certainly one of my close friends hasn't had any medical insurance for decades, in which he remains in good shape and economically afloat - this week, anyhow. Consumed the aggregate, some individuals will be luckier than others, plus some individuals will be more inclined than the others to roll the dice.
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Unfortunately the contents that are strong within the movie had been considered unsuitable for public watching by the Board, ergo the film ended up being never released. Tunde Alabi -Hundeyin's "Iyawo Alhaji" is officially in record due to the fact first commercial (direct to exhibition hallway) movie movie to be censored and categorized by the NFVCB in 1994 during the National Theatre, (Cinema Hall) Iganmu. Despite the controversial fire raised, the global publicity provided to "Living in Bondage" over the years invariably imputed the movie into our memory banks while the flag bearer of the Home Video revolution of most times. People, irrespective of Nationality, race, gender, and tribe are met with challenges on a daily foundation. Many of these dilemmas are of the international nature, while others are strange to different communities. Films provide individuals the chance of telling their stories that are own free of alien disturbance.

Nigerian movie producers leveraged on this and produced films projecting our lifestyle, culture, neighborhood fashion, burning problems, dilemmas plaguing our culture, irrespective of the choking stench of tribalism sensed in all sectors. Films were designed for the viewing pleasure of Nigerians initially, (prior to the mass exportation trend), with communications to inspire, motivate, reprove, and correct anomalies specially into the Political, Social systems, to eschew physical violence and all sorts of types of evil.