LOS ANGELES (CelebrityAccess) – Warner Music Group (WMG) is within the sizzling seat following a lawsuit from filmmaker and artist Martyn Atkins. Atkins alleges that just about half of the footage within the 2021 documentary Someplace You Really feel Free, which chronicles the creation of Tom Petty’s iconic album Wildflowers, was used with out his permission. The go well with, which Atkins lately filed in a California federal court docket, may result in important repercussions for WMG.

Directed by Mary Wharton, Someplace You Really feel Free showcases behind-the-scenes moments and attracts extensively from an archive of 16mm movie. In accordance with Atkins, this footage wasn’t simply stumbled upon; he asserts that he knowledgeable the Petty property of its location inside Warner Data’ storage.

Atkins, who served because the artwork director for Wildflowers and has collaborated with music legends like Johnny Money and Eric Clapton, claims he and Petty had been “quick associates.” Throughout the making of Wildflowers and the following tour, Atkins captured a wealth of footage, all of which he owned and was not a part of any work-for-hire settlement with Petty or WMG.

The filmmaker’s grievance particulars a 1995 association the place Petty supplied to retailer Atkins’ 16mm movie reels and audio parts in a safe Warner Data facility in Los Angeles. Atkins maintained entry to those supplies always, together with in 2014 when he and Petty revisited the thought of creating a Wildflowers documentary. Petty’s enthusiasm for the footage was evident, they usually deliberate for Atkins to direct and produce the mission utilizing his supplies.

Regardless of Petty’s passing in 2017, the idea for the documentary remained lively. In early 2020, Atkins met Petty’s daughter, Adria, and the Petty property supervisor. Throughout this assembly, Atkins claims he disclosed the situation of his archival footage, believing he can be introduced on board to direct and produce the movie. The dialogue coated potential inventive instructions, financing, and scheduling. Atkins left with the impression that he would quickly be engaged on the mission.

Nonetheless, as per Atkins’ lawsuit, he was excluded totally from the method. The documentary went forward with out him, and his footage was used with out his data or consent. Atkins asserts that he anticipated to barter a licensing settlement or obtain a payment if his supplies had been to be included within the documentary. As an alternative, he was blindsided by their use and subsequent launch.

In his go well with, Atkins seeks damages, restitution, and the return of his unique movie and audio supplies. This authorized battle highlights important points relating to mental property rights and utilizing archival supplies in movie manufacturing. Because the case unfolds, it is going to be essential to see the way it impacts the music and movie industries, significantly in regards to the dealing with of long-held archival footage and the rights of the unique creators.