Stunt Doubles in a Bizarre Battle Over Elton John’s Stage Show

Two veteran stuntmen are suing the production company behind Kingsman: The Golden Circle over the unauthorized use of their work in Sir Elton John’s Farewell Yellow Brick Road stage show. Theo Morton and Douglas Robson, who have worked on big-budget films like Game of Thrones and The Batman, claim that 18 seconds of footage from Kingsman was shown without permission during every performance of Elton John’s tour.

This development raises questions about the rights and responsibilities of performers, producers, and owners when it comes to licensing and using footage from films. Do stunt performers deserve a cut of the profits if their work is used in new contexts? Should producers be required to obtain explicit consent before reusing footage?

According to documents filed by the plaintiffs’ barrister, Jonathan Moss KC, the stuntmen were entitled to a percentage of royalties from the film and money made from any “new use” of the footage. However, the defendants argue that the stuntmen had already signed over their rights in the footage and that MARV played no part in licensing the use of the clips for Elton John’s tour.

The court case has sparked a heated debate about ownership and control in the film industry. Stunt performers often work behind the scenes, risking their bodies and livelihoods to bring action sequences to life on screen. Perhaps it’s time for the industry to take a closer look at how these performers are compensated and protected when their work is reused.

The contracts signed between MARV and the stunt performers are a complex example of the agreements that govern the film industry. The plaintiffs’ barrister has argued that the stuntmen were entitled to a percentage of royalties from the film, plus money made from any “new use” of the footage. However, the defendants claim that the stuntmen had already signed over their rights in the footage and that MARV played no part in licensing the use of the clips for Elton John’s tour.

At the heart of this dispute lies a crucial question: what constitutes “new use” of footage? According to the defendants, showing 18 seconds of footage from Kingsman in the context of Elton John’s stage show does not amount to new use. However, the plaintiffs argue that this is precisely the kind of exploitation that their contracts were designed to prevent.

This case is not just about two stunt performers suing a production company; it’s also about the shifting power dynamics within the entertainment industry. As streaming services like Netflix and Hulu continue to disrupt traditional business models, we’re seeing a new wave of talent agencies and producers emerge. Performers must understand their rights and advocate for fair compensation in this changing landscape.

The outcome of this trial will determine whether MARV authorized the use of the clips, was obliged to pay an artist share or seek consent, and whether the stuntmen’s rights were indeed breached. Whatever the verdict, this case has already shed light on a fascinating aspect of the entertainment industry – one that highlights the complexities of ownership, licensing, and compensation in a rapidly changing media landscape.

The stunt industry’s treatment of its most vulnerable workers is also under scrutiny in this case. The fact that MARV’s defense team has argued that there was “nothing charged” for the use of the clips and therefore “nothing payable” to the stuntmen raises questions about the industry’s priorities.