Marathon Funding v. Paramount Pictures CA2/8

CourtCalifornia Court of Appeal
DecidedMarch 4, 2013
DocketB240723
StatusUnpublished

This text of Marathon Funding v. Paramount Pictures CA2/8 (Marathon Funding v. Paramount Pictures CA2/8) is published on Counsel Stack Legal Research, covering California Court of Appeal primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Marathon Funding v. Paramount Pictures CA2/8, (Cal. Ct. App. 2013).

Opinion

Filed 3/4/13 Marathon Funding v. Paramount Pictures CA2/8 NOT TO BE PUBLISHED IN THE OFFICIAL REPORTS California Rules of Court, rule 8.1115(a), prohibits courts and parties from citing or relying on opinions not certified for publication or ordered published, except as specified by rule 8.1115(b). This opinion has not been certified for publication or ordered published for purposes of rule 8.1115.

IN THE COURT OF APPEAL OF THE STATE OF CALIFORNIA

SECOND APPELLATE DISTRICT

DIVISION EIGHT

MARATHON FUNDING, LLC, B240723

Plaintiff and Appellant, (Los Angeles County Super. Ct. No. BC436412) v.

PARAMOUNT PICTURES CORPORATION, a Delaware corporation,

Defendant and Respondent.

APPEAL from a judgment of the Superior Court of Los Angeles County. Mark Mooney, Judge. Affirmed.

Hillel Chodos for Plaintiff and Appellant.

Kendall Brill & Kleiger, Richard B. Kendall and Nicholas F. Daum for Defendant and Respondent.

__________________________ Plaintiff Marathon Funding, LLC, appeals from the judgment entered for defendant Paramount Pictures Corporation in this action for breach of fiduciary duty. The claim arose from a contract by which Marathon invested in several motion pictures produced by Paramount. Because the trial court correctly determined that the parties‟ agreement did not give rise to any fiduciary duties, we affirm the judgment. We also affirm the postjudgment order awarding Paramount attorney‟s fees.

FACTS AND PROCEDURAL HISTORY

In December 2006, Marathon Funding, LLC, agreed to invest in a slate of 14 motion pictures to be produced and distributed by Paramount Pictures Corporation, including what would become the Oscar winner for best picture in 2007 – “No Country For Old Men” – which starred Tommy Lee Jones and Javier Bardem. Pursuant to that agreement, Paramount issued an accounting statement to Marathon in late 2009 that deducted a little more than $2 million from Marathon‟s account. Marathon later determined that Paramount did so to cover a portion of a $15 million payment Paramount made to Jones due to a drafting error Paramount made in its contract with Jones. Marathon sued Paramount for breach of fiduciary duty, contending that Paramount should not have charged Marathon for Paramount‟s error. The trial court granted Paramount‟s motion to hold a bench trial, not a jury trial, finding that this was the proper course because the gist of Marathon‟s action was equitable in nature. The parties stipulated that no extrinsic evidence would be introduced concerning the formation or interpretation of the investment agreement, and that no extrinsic evidence would be introduced concerning their conduct under that agreement except as to the accounting charges that were made. In addition, Marathon stipulated to the facts it characterized as undisputed in response to Paramount‟s earlier unsuccessful motion for summary judgment. The facts showed that Paramount and Marathon signed a “Multi-Picture Investment Agreement” dated December 15, 2006, that called for Marathon to invest in a

2 slate of Paramount motion pictures, including “No Country For Old Men”.1 Marathon is a Delaware limited liability corporation with its principal place of business in New York State, and was formed by Morgan Stanley Asset Funding, LLC, a subsidiary of the international investment bank Morgan Stanley. Morgan Stanley put up $150 million through a separate agency it created to finance Marathon‟s investment. Morgan Stanley also acted as the exclusive agent for refinancing of that credit by allowing other investors, including financial institutions and hedge funds, to invest in Marathon‟s right to receive profit payments under the investment agreement. Under the investment agreement, Marathon received a 50 percent share of Paramount‟s copyright interest in each of the movies covered by the agreement (the covered pictures). Because other financing was obtained for No Country, Marathon and Paramount each ended up with a 25 percent share of that film‟s copyright while the remaining 50 percent went to the new investor, Disney/Miramax. Marathon‟s “Investment Price” in each movie was based on its proportional copyright share of the movie‟s estimated production costs. In exchange, Marathon would receive the same proportional percentage of each movie‟s net receipts. Paramount was responsible for all the marketing and distribution costs of the covered pictures, which, because of their low- budget nature, greatly exceeded the actual production costs. Paramount would advance all direct costs for the movies and, “[a]s between Paramount and Investor, Paramount shall control all decisions (i.e., business, creative, or otherwise) relating to the development and production of each Covered Picture as well as the decisions whether to pursue and consummate any Co-Financing Transaction, and Investor shall have no consultation or approval rights thereto.” The term “net receipts” was contractually defined to mean the gross receipts from the distribution and exhibition of a movie, minus deductions for certain expenses and fees, including third party profit participation payments that might be owed to the

1 Some of the movies, like “No Country For Old Men,” had already been made, while others had not. For ease of reference we will refer to that motion picture as No Country.

3 director, producers, or certain actors.2 Jones‟s contract for No Country included a type of third party profit clause known as a box office bonus which is at the heart of the present litigation. So too did the contracts of directors Joel and Ethan Coen and producer Scott Rudin. These talent contracts were negotiated in early 2006, well before the investment agreement was signed. Production of No Country had also concluded before the investment agreement was signed. The box office bonuses negotiated for Jones, Rudin, and the Coen Brothers provided that each would receive fixed bonuses when either the domestic box office receipts reached certain levels, or when worldwide box office receipts reached twice the domestic level. Paramount hired outside legal counsel to prepare agreements that conformed with the negotiated terms, as reflected in deal memos provided by Paramount‟s in-house negotiator. However, the lawyer mistakenly drafted the agreements to provide that bonuses would be paid once worldwide box office receipts, when multiplied by two, reached the levels prescribed for domestic box office bonuses. As a result, the contracts between Paramount on the one hand, and Jones, Rudin, and the Coen Brothers on the other hand, provided for an unintended increase in their bonus compensation.3 Outside counsel discovered her mistake in June 2006 but apparently did not notify Paramount. Although drafts of the agreements were distributed to various departments within Paramount, including to the legal department and the contract negotiator, a highly- placed Paramount legal executive testified that it was not Paramount‟s policy to review such drafts to be sure they were consistent with the negotiated terms. Instead, Paramount relied on its outside counsel, whom it had used without problems before. According to

2 The formula was more complicated than this, and included something called an Investor Corridor Payment, which was a percentage of gross receipts that would be paid as an advance against net receipts. The full details of this formula are irrelevant to the issues on appeal.

3 The attorney made another error that inflated their share of home video revenues, but that error did not affect Marathon and is therefore not relevant to the issues on appeal.

4 Paramount, it did not discover the errors until 2008, at about the same time as did one of Rudin‟s attorneys. Once Paramount learned of the error in the box office bonus provision, it contacted Rudin, Jones, and the Coen Brothers.

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Marathon Funding v. Paramount Pictures CA2/8, Counsel Stack Legal Research, https://law.counselstack.com/opinion/marathon-funding-v-paramount-pictures-ca28-calctapp-2013.