Bruce Campbell Quotes

It can't really happen today the way it did back then and part of that is because I think there's a bit of a competitive scare over at Marvel and DC so they lock guys up with exclusive contracts.

Working with franchises can be challenging, but at the same time I really did enjoy working on 'Star Wars,' for example, and I have done a lot of 'Dungeons & Dragons' games, but I still enjoy it very much.

All over the world copyright holders are trying to limit consumers' rights. We cannot have that.

Natalie's estate is handled by Global Icons, and they police the world so her picture isn't on a T-shirt or coffee cup unless we approve of it.

Perhaps not unusually for a popular film produced over three decades ago, there have been a dizzying parade of corporate characters trading rights to 'This Is Spinal Tap' through the years. Yet our requests for timely statements of the film's income have been met with a series of slammed doors.

When you look at sports leagues today, they manage a lot of intellectual property, which means it takes you into a lot of different kinds of businesses.

When you're working on a Marvel movie, their legal department do not play.

When we were at MGM, we never did much about merchandise tie-ups There were too many executives and lawyers to go through.

We're always looking for ways to extend all of our intellectual property. We've seen that's what happened with 'Harry Potter' and 'The Lord of the Rings.'

People can take your name and write a book about you and they make money off of it. How is the public supposed to know you're not authorizing that book? As soon as you make a big stink about it it only makes the book sell more.

The same applies to the music and film industries. Until the heads of the labels start wanting to make money rather than creating controversy, tension, and excuses about why piracy is making the job so hard that no one could do it but them - and oh by the way, they need a raise to really focus in on the fight - the music industry is going to have a very tough time of it.

The idea that I can be presented with a problem, set out to logically solve it with the tools at hand, and wind up with a program that could not be legally used because someone else followed the same logical steps some years ago and filed for a patent on it is horrifying.

Most of my money is more brand association deals. I own my publishing so that's allowed me to leverage my brand in ways that most people cannot or will not because they won't make any money doing it.

Celebrities have been using MySpace since the site's launch and it's a natural extension for us to now offer them an aggregated channel where they can be in control of their own image.

It's called showbusiness, and the business end of it is very important, especially now. You have to learn the business end of it; otherwise, you get ripped off left, right and centre.

I get contacted daily by people in America saying is there any legal way to download 'The IT Crowd', but the whole mechanism is too rigid to allow for things like that.

In the epic war over Silicon Valley's intellectual property, Bill Gates was on the side of licensing copyright and robust protections for intellectual property. He wasn't on the side of the hackers, and he didn't want information to be free.

It happens in this business - The Rolling Stones were ripped off, so were the Beatles. George Harrison hardly had anything left in the end.

One of my favorite things was I got to work with Avi Arad on a movie for Sony, and we don't realize this, but he's the reason toys were sold off of cartoons, more or less. He created the Gobots!

The standard publishing contract is replete with clauses that strip authors of control over their books.

We need to create technologies - and a culture of respect, and an updated legal doctrine, too - that allow creative folks to make money from their own efforts.

The fights that I had with DC and Marvel, I won. And guess what? They profited by it.

I always liked 'Johnny Blaze,' but we announced it on TV, and it was under copyright by Marvel. Then I had 'Johnny Spade,' and that name sucked, then I had 'Johnny Nitro.' Johnny Nitro was one of my favourite names.

When I created the email in the U.S., my mentor could have easily copyrighted it and taken credit for it.

It's one thing if you write a song and somebody else sings it because you give the OK. But if your voice is on something and you don't get the credit, it's kind of hard.