Wyler v. Feuer

85 Cal. App. 3d 392, 149 Cal. Rptr. 626, 1978 Cal. App. LEXIS 1982
CourtCalifornia Court of Appeal
DecidedOctober 10, 1978
DocketCiv. 52418
StatusPublished
Cited by30 cases

This text of 85 Cal. App. 3d 392 (Wyler v. Feuer) 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
Wyler v. Feuer, 85 Cal. App. 3d 392, 149 Cal. Rptr. 626, 1978 Cal. App. LEXIS 1982 (Cal. Ct. App. 1978).

Opinion

*395 Opinion

FLEMING, J.

Claiming fraud and failure of consideration plaintiff Leopold S. Wyler sued to rescind a limited partnership agreement, under which as limited partner he invested $1.5 million in the production of a motion picture on the early life of French singer Edith Piaf. The jury found for the defendants, and the trial judge awarded them $125,000 in attorney’s fees. Wyler appeals the adverse juiy verdict and asserts as reversible error: the insufficiency of the evidence; the nonsuit on plaintiff’s mismanagement cause of action; the jury instructions on failure of consideration; and the inconsistency of the jury’s special verdict and its general verdict.

Facts

Defendants Cy Feuer and Ernest Martin, associated as Feuer and Martin Productions, Inc. (FMPI), have been successful producers of Broadway musical comedies since 1948. 1 Their first motion picture, “Cabaret,” produced by Feuer in conjunction with Allied Artists and American Broadcasting Company, received eight Academy Awards in 1973. Plaintiff Wyler is president and largest shareholder of Tool Research and Engineering Corporation, a New York Stock Exchange company based in Beverly Hills. Prior to 1972 Wyler had had no experience in the entertainment industry.

In 1969 Simone Berteaut wrote a best-selling book about her early life with her half-sister Edith Piaf. Martin became interested in the book as a possible motion picture, and in August 1972 FMPI acquired worldwide motion picture and television rights to the book for $50,000, plus a percentage of motion picture profits. This was the first motion picture defendants attempted to finance themselves, “Cabaret” having been financed by Allied Artists and ABC. Because defendants desired to avoid studio financing with its burdensome overhead and loss of i artistic control, 2 they sought to finance the Piaf picture through a combination of: (a) private investment under a standard agreement whereby investors *396 receive 50 percent of profits in return for 100 percent of financing, and (b) production financing. Production financing consists of advance sales of distribution rights prior to completion of the motion picture, for sums certain, payable on delivery of the film to the distributor. If both producer and distributor are favorably known in the motion picture world, the producer can obtain a bank loan, discounted at a high rate of interest and secured by the distributor’s promised payment for distribution rights.

In November 1972 Feuer went to Paris to audition actresses for the lead role of Piaf, and there he discovered Bridgette Ariel, an unknown bilingual French actress who closely resembled Piaf. He also met Wyler in Paris, and the two discussed the Piaf motion picture and the financing of its budget of $1 million for a French-language version of the picture. Wyler expressed interest in the project. In January 1973 defendants decided to film French and English-speaking versions of the motion picture simultaneously, which raised their estimated budget from $1 million for the French version to $1.5 million for both French and English versions. In February 1973 Wyler and Feuer met in New York, and Wyler offered to provide $750,000 of the proposed $1.5 million budget. However, Wyler rejected the standard ratio of 25 percent profits for 50 percent financing and demanded 37Vi percent of profits. Defendants’ secretary interrupted this meeting to announce that “Cabaret” had been nominated for 10 Academy Awards.

On February 19 Martin and FMPI’s attorney, Irving Cohen, met Wyler in Beverly Hills and told him they could not accept his money until they had commitments for 100 percent of the needed financing. Wyler offered to finance the entire $1.5 million budget for 50 percent of profits, subject to the following conditions: defendants would obtain up to $750,000 production financing outside the United States; for each $100,000 production financing so obtained defendants would receive an additional 1% percent of profits; if defendants raised all the $1.5 million through production financing, Wyler would still receive 25 percent of profits for his original commitment. The parties resumed negotiations the next day with Leon Kaplan in attendance as Wyler’s adviser. Kaplan, a prominent entertainment attorney, asked that Wyler be given the right to approve the final screenplay, the final budget, the completion bond surety, and United States distribution arrangements, and expressed his opinion that defendants’ estimate of $750,000 from production financing outside the United States was realistic, since he thought $250,000 to $300,000 could *397 be raised from distribution rights in France alone. At that meeting Kaplan recalled that Warner Brothers had some motion picture rights to the Piaf stoiy. Martin, who had been employed at Warner Brothers in 1970, replied the risk of copyright infringement would be minimal, since defendants’ motion picture would be based on Berteaut’s book and not on any Piaf material owned by the studio; at Warner Brothers he (Martin) had discussed the subject with Warner executives, who had not objected to his project; in any event defendants would obtain an errors-and-omissions policy to insure against liability for copyright infringement.

On 1 March 1973 a deal memorandum preliminary to the final limited partnership agreement was executed. In addition to the foregoing terms and conditions it included a provision inserted at Cohen’s request that failure to raise production financing would not constitute a default but would reduce defendants’ $150,000 producer’s fee (payable from initial distribution receipts) by $10,000 for each $100,000 of the $750,000 not raised through production financing, down to a minimum fee of $75,000. 3 .

On 13 July 1973 the parties simultaneously executed a limited partnership agreement and a modifying memorandum which increased the proposed budget to $1.6 million and the proposed production financing to $850,000 in order to take into account the appreciation of the French franc. These documents followed the terms of the deal memorandum and declared that Wyler would provide, interest free, 100 percent financing, consisting of $350,000 already advanced plus 5 million francs (approximately $1.25 million), and that defendants would obtain $850,000 in production financing outside the United States by September 30. Defendants further agreed to defer their producer’s fee until Wyler’s capital contribution had been repaid. With respect to defendants’ obligation to obtain production financing, the agreement provided: “[Defendants] agree to obtain not less than [$850,000] of production financing in the form of nonretumable loans repayable solely out of proceeds from distribution of the Picture or in the form of outright sales, solely from territories outside of the United States, on or before *398 September 30, 1973. ... If [defendants have] not raised the aforementioned sum by September 30, 1973 [defendants] shall continue to be under an obligation to raise such sum after said date.

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Bluebook (online)
85 Cal. App. 3d 392, 149 Cal. Rptr. 626, 1978 Cal. App. LEXIS 1982, Counsel Stack Legal Research, https://law.counselstack.com/opinion/wyler-v-feuer-calctapp-1978.