Brandon Milostan is a member of Greenberg Glusker’s entertainment group where he negotiates entertainment deals for emerging and established actors, writers, producers, directors, musicians, social media influencers, financiers and distribution and production companies.
He works on traditional theatrical motion picture, television, and SVOD deals and applies this knowledge and background to an industry that is constantly reshaped by new media sources and emerging technologies.
He ranked in the top 12 of his law school class and was recognized as a 5-time Masin Family Academic Excellence Gold Award Winner. Having completed his undergraduate and law school education at UCLA, Brandon, is a loyal UCLA football season ticket holder.
Publications
Article
Swimming with the Stream
June 3, 2024
Entertainment attorneys Brandon Milostan and Graham Fenton authored "Swimming with the Stream" in Los Angeles Lawyer. Excerpt: Ready to feel old? If Bart Simpson were real, he would be three years away from AARP eligibility, and the primary time period in Back to the Future is about as close to World War II as it is to today. Moreover, it has been nearly 17 years since Netflix launched its streaming platform and started the biggest Hollywood “back-end” profit participation revolution since Lew Wasserman’s famed net profits deal for “Golden Age” star Jimmy Stewart. Despite still being viewed by some as an avant-garde, flash-in-the-pan exploitation medium and traditional broadcast boogeyman, exhibition via streaming already occupies 15-20 percent of the entire history of film and TV (depending on when the count starts), with no meaningful response from Hollywood to the back-end paradigm shift that Netflix and other streamers ushered in. That all changed in late 2023 when Hollywood responded as the Screen Actors Guild and the American Federation of Television and Radio Artists (SAG-AFTRA), the Writers Guild of America (WGA), and Directors Guild of America (DGA) were each able to negotiate success-based streaming bonuses for actors, writers, and directors of made-for-streaming projects, a contrast to the back-end structure (or lack thereof) that has come to dominate the direct-to-streaming market, one that may crack open a door that agents, managers, and attorneys can now kick down.
Article
Bye Bye Back End, Hello Streaming
May 1, 2019
The meteoric rise of Netflix has completely reshaped content production, distribution, and consumption in Hollywood. For better or for worse, these changes are altering talent compensation structures and, as a result, affecting the practices of entertainment lawyers. Because Netflix utilizes a subscription-based business model, it cannot monetarily calculate the performance of any individual title. Unable to precisely determine a title’s performance, Netflix is unwilling and arguably unable to offer its talent an interest in the hypothetical profits that an individual title would realize, a marked departure from the standard practice in the entertainment industry. To the extent talent would like a return to the pre-Netflix contingent compensation model, the onus will be on entertainment lawyers to craft back-end-like compensation structures for the streaming era.
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