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I can't say why Ferrer used that word -- maybe she really did feel comfortable. But also maybe Ferrer knew that the question of people being uncomfortable on the set was a whole issue, and thought she could reassure/ingratiate herself to Baldoni by making a point of saying "I was so comfortable! You made me really comfortable! Good job creating such a comfortable set!" This is kind of a classic form of kissing up, but it's like maybe you fixate on that specifically because it's a big issue. |
That's true, it doesn't always make sense to file an MTD if you don't think you can win it. But I will note that at the last hearing, Lively's attorney indicated that they would be filing a motion to dismiss the amended complaint. So they appear to think they can at least narrow the claims against them via MTD. |
The point is that the film was not "stripped of his name." The movie said "Directed by Justin Baldoni." He was the director. His name is on the movie. "A film by" credits are not super common and often controversial. It would be very unusual for a newish director to claim it on a movie like this, where he didn't write the script AND the script was based on a book by someone else AND the version released wasn't even edited by Baldoni. I've never heard of someone in a situation like that taking a possessory credit. Justin might have still felt sad about that, I don't know. But then he felt sad about something that it was frankly weird for him to feel entitled to in the first place. The Cohen brothers don't even take a possessory credit on their movies, and they write all their films and have a distinctive and recognizable style and have been nominated for many Oscars. Baldoni thinks he's a bigger deal than the Cohen brothers. Please. |
Very much agree with this. I had several close friends from high school who move to LA to try to get into Hollywood after HS. My sister also went after college to try and work in the production side. A couple of people I know even made it -- I know one woman who has acted pretty consistently in character roles and commercials for the last couple decades, another who worked on a bunch of movies as an AD and has made his own movies, and another who was an extra in a bunch of films and then made several indie features before calling it quits in her 30s. So no big stars but lots and lots of hours logged on film sets. It is incredibly common for people to gush enthusiastically about objectively miserable, uncomfortable experiences. It is especially common for young actors to claim to enjoy putting themselves in dangerous or very unpleasant situations, to brag that they cannot be embarrassed or put off by problematic or inappropriate behavior. That's because that's how so many jobs are, and especially early in your career, your goal is to convince everyone (your agent, casting agents, producers, and directors) that you are game for anything, you won't complain, and nothing will faze you. I don't know what Ferrer's experience on the set was at all. It was her first movie. I don't think her thank you text to Baldoni is indicative of anything. I think it would be far more useful to see footage of the set and to find out what she told her best friend or her roommate when she got home -- that's much more likely to be the truth than what she said in that note. |
lol no. You don’t build credibility by filing a crap complaint then amending it. |
MTD can definitely be granted in the scenario where the complaint is poorly drafted (perhaps because the point was never to actually win the case …) |
Lively’s legal team hasn’t made a single good strategic decision, so this is hardly surprising. At least her lawyers are maximizing their billings. |
Sure, but the Court will typically allow plaintiff to replead. |
The judge would have allowed them to replead anyway. This just moves up the timeline and saves the judge time. Now he just has to consider the actual dispositive arguments made by The NY Times. |
People should stop infantalizing IF. Her words were her words. Making assumptions that she couldn’t have meant them because she’s a young actress sucking up to the director makes no sense once you learn she’s a freaking Clooney. People just stop. Neither BL nor IF were powerless on that set. IF isn’t speaking up because she wasn’t harassed. |
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Can anyone speak to how kindly the judge is likely to look up on Wayfarer having to replead to address the group pleading issue when they've already filed an amended complaint?
It just seems like a really obvious defect in the original complaint that they could have resolved with the first amended complaint. Wondering if judge's ever say "nope, you had your shot." Another legal question: would the judge tell them to replead to address the group pleading issue BEFORE looking at the other arguments in the MTD? This seems a little unfair because the MTD was drafted based on the amended complaint. If they file a second amended complaint, won't NYT have to then file a new MTD, since there may be substantive changes to the complaint that could impact their other arguments. Plus they will be able to amend with the NYT's other arguments in mind. It just seems to me like Wayfarer wasted the court's time by filing not one but two defective pleadings with an obvious technical issue that will get it dismissed, and this is forcing the NYT to spend a lot more money and time just to get to the substantive issues. Does the court ever call out behavior like that in a plaintiff? |
Since you seem to have some knowledge of this, what did you make of Blake claiming the PGA mark? |
It's not infantilizing to note that Ferrer is 23, and this was her first film. She's barely worked in Hollywood and had very recently graduated from college. She didn't grow up on film sets, wasn't a child actor. She was a novice and it is highly unlikely that she would provide a director with any honest negative feedback in that situation. Being related to George Clooney doesn't change that (and they are somewhat distantly related -- I think her dad is Clooney's cousin? It's not a tight connection). |
They probably have a good argument that Baldoni didn't sufficiently plead facts to establish extortion. The defamation and intentional interference with contractual relations (with WME) will probably survive an MTD. |
I think it's highly irregular and that it was especially ballsy of her to insist on them recommending her for it even though Wayfarer clearly didn't want to. However, I still don't have a good sense of how this movie was actually made. Like I still don't have a sense of how involved Lively was in the final edit, for instance, or exactly how much of the production she had a hand in. In a weird way, the argument that she stole the movie from Baldoni actually works in favor of her argument that she deserved the p.g.a. mark -- if she genuinely took over, then maybe she does deserve it? But it's super unusual. Usually that mark is reserved for someone who really shepherded the project through to completion. Here, the production was so contentious with all these power struggles, not just Baldoni and Lively but also Wayfarer and Sony, and it's really unclear to me. I still think it's crazy she got the p.g.a. mark but I'm also open to learning more about exactly who production decisions were made on the movie and how those power struggles unfolded and got resolved on a case by case basis. I have read the texts/emails between Wayfarer producers and between Wayfarer and Sony but there's still a lot missing (most notably the communications between Lively and Sony, and between Lively and other professionals on the production, like editors, set designers, costumers, etc.) that would provide a much fuller picture of exactly who was doing what. |