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QSC Spotlight on Columbia Pictures Case 11.3 Wagner v. Columbia Pictures Industries, Inc. California Court of Appeal, Second District, 146 Cal.App. 4th 586, 52 Cal. Rptr.3d 898 (2007). Background and Facts Actor Robert Wagner entered into an agreement with Spelling Goldberg Productions (SGP) "relating to Charlie's Angels (herein called the 'series')." The contract entitled Wag. ner to 50 percent of the net profits that SGP received from broadcasting the series and from all ancil- lary, music, and subsidiary rights in connection with the series. SGP hired Ivan Goff and Ben Roberts to write the series, under a contract subject to the Writers Guild of America Minimum Basic Agreement (MBA)." The MBA stipulates that the writer of a television show retains the right to make and market films based on the material, subject to the producer's right to buy this right if the writer decides to sell it within five years. The first Charlie's Angels episode aired in 1976. In 1982, SGP sold its rights to the series to Colum- bia Pictures Industries, Inc. Thirteen years later, Columbia bought the movie rights to the material from Goff's and Roberts's heirs. In 2000 and 2003, Columbia produced and distributed two Charlie's Angels films. Wagner filed a suit in a California state court against Columbia, claiming a share of the profits from the films. The court granted Columbia's motion for summary judgment. Wagner appealed to a state intermediate appellate court. In the Language of the Court JOHNSON, Acting Pl. Presiding Judge] Wagner contends the "subsidiary rights" provision in the agreement with SGP entitles him **.to 50 percent of the net profits from the two "Charlie's Aftgels" films. Wagner introduced evidence of the history of the negotiations underlying the "Charlie's Angels" con tract in support of his contention) This history begins with a contract the Wagners Wagner and his wife, Natalie Wood) entered into with SGP to star in a television movie-of-the-wock, "Love Song." As compensation for Wagner and Wood acting in "Love Song." SGP agreed to pay them a fixed amount plus one-half the met profits In the "Love Song" contract net profits were not limited to monics received "for the right to exhibit the Photoplay"Instead they were defined as the net of "all monies received by Producer as con sideration for the right to exhibit the Photoplay, and exploitation of all ancillary, music and subsidiary rights in connection therewith." -- a. The Wien Guild of America in un amciation of screen and devicon writers the negotiates industry wide preements with motion picture and television producen d Wagner's argument is simple and straightforward. The net profits provision in the "Love Song agreement was intended to give the Wagners a one-half share in the net profits received by SGP "from all sources" without limitation as to source or time. The "Charlie's Angels" agreement was based on the "Love Song" agreement and defines net profits in identical language. Therefore, the "Charlie's Angels" agreement should also be interpreted as providing the Wagners with a 50 percent share in SGP's income "from all sources" without limitation as to source or time. Since Columbia admits it stands in SGP's shoes with respect to SGP's obligations under the "Charlie's Angels" agreement, Columbia is obligated to pay Wagner *** 50 percent of the net profits derived from the "Charlie's Angels" movies. The problem with Wagner's extrinsic evidence is that it does not explain the ("Charlie's Angel") contract language, it contradicts it. Under the parol evidence rule." extrinsic evidence is not admissible to contradict t express terms in a written contract or to explain what the agreement was. The agreement is the writing itself. Parol evidence cannot be admitted to show intention independent of an unambiguous written instrument. [Emphasis added.] Even if the Wagners and SGP intended the Wagners would share in the net profits "from any and all sources" they did not say so in their contract. What they said in their contract was the Wagners would share in "all monies actually received by Producer, as consideration for the right to exhibit photoplays of the series, and from the exploitation of all ancillary, music and subsidiary rights in connection there with." For a right to be "subsidiary" or "ancillary," meaning supplementary or subordinate, there must be a primary right to which it relates. The only primary right mentioned in the contract is "the right to exhibit photoplays of the series." Thus the Wagners were entitled to share in the profits from the exploi- tation of the movie rights to "Charlie's Angels" if those rights were exploited by Columbia as ancillary or subsidiary rights of its primary "right to exl bit photoplays of the series" but not if those rights were acquired by Columbia independently from its right to exhibit photoplays Decision and Remedy The state intermediate appellate court affirmed the lower court's summary judg. ment in favor of Columbia. The contract "unambiguously" stated the conditions under which the parties were to share the films' profits, and those conditions had not occurred. Critical Thinking What If the Facts Were Different? How might the result in this case have been different if the court had admitted Wagner's evidence of the Love Song contract? Legal Environment Under what circumstances would Wagner have been entitled to a share of the proj its from the Charlie's Angels movies even though the evidence of the Love Song contract uves irrelent? b. The panel vidence le prohibits the parties from introducing in court evidence of an oral agreement that contradicts the writ ten terms of a contract