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Inspiration August 10, 2016
If you’re interested in a career in entertainment law, you know that golden reality television moments, like Khloe Kardashian explaining tampons to a young Kendall Jenner, don’t make it to your TV screen without lots of behind-the-scenes work. The contracts, negotiations and risk analysis behind each juicy moment demands an entertainment lawyer at the top of her game, like Bunim/Murray Productions’ VP of Business and Legal Affairs, Dani Wassel.
Wassel oversees day-to-day business and legal matters for the company’s award-winning unscripted television programs, such as “Keeping Up With the Kardashians,” “The Real World,” “The Challenge” and “Best Ink.” In addition to managing the legal aspects of production for these shows, she negotiates with rights-holders, on-camera talent and producers to bring new shows or films into development and potential production for the company.
Entertainment law can be especially rewarding if you are motivated by the opportunity to support creative work. However, spots in the field are limited and competitive; only a handful of opportunities exist at studios, production companies and boutique entertainment law firms. Everybody knows everybody in the entertainment industry, so don’t think you can blow off one firm and get hired somewhere else. Networking will be essential to your career success as you build the authentic relationships necessary to succeed in this tight-knit industry.
We spoke with Dani Wassel to break down exactly how to make it big in entertainment law, from landing your first legal role in the entertainment industry to rising to the executive level. Learn from Wassel’s experiences and get tips to jump-start your entertainment law career.
ENTITY: At what point in your education/career did you decide that you wanted to work in entertainment law? Why were you drawn to it?
DANI WASSEL: I decided really early in law school that I wanted to go into entertainment. I have always been more of a creative type, so I thought if I wasn’t going to make a living creating art, maybe I could make a living helping others make art.
ENTITY: What were some of the first steps you took to put yourself on the path to success? Looking back, is there anything you wish you had done differently?
DANI WASSEL: During law school, as soon as my course load allowed me to, I started interning everywhere I possibly could. I worked at a music label, a production company, a television network, a boutique entertainment law firm… I got around. I definitely did my share of networking and taking people to lunch (“I would LOVE to pick your brain about your path to success!”) but not as much as other people do, because I’ve never really been into those fake/trying too hard aspects of the industry. I’ve never liked the Beverly Hills lifestyle – it’s just not for me. But, I tried to make as many authentic professional relationships as I could and I still try to maintain all of those relationships today.
And no, I wouldn’t have done anything differently. Why look back? I do fantasize about working on more passion projects in the future – art that changes the way people think and gives voice to underprivileged communities. But for now, I also understand the importance of guilty pleasure reality TV. Current events are dark as hell right now… I think the public appreciates some well-edited unscripted escapism.
Entity: What was your first job after law school (and how did you get it)?
Dani Wassel: I worked at a small boutique entertainment firm in Beverly Hills. One of the attorneys at the firm had come to my law school for some networking events and I met her there.
ENTITY: What was your journey like from associate to executive? How did you make it to where you are today?
DANI WASSEL: I’m really fortunate that I work for such a great, supportive company. I started at Bunim/Murray Productions as a second-year attorney, now I’m Vice President of Business and Legal Affairs and I supervise three other attorneys and a rights manager.
Over the years, I’ve had to prove myself, mostly to the creative execs and producers I work with. (My inner nerdy lawyer wanted to end that sentence with“with whom I work.”) It’s been important for the creative execs to see me not as their enemy – not as a lawyer who says NO all of the time – but as a member of the team, and someone who will brainstorm creative solutions in light of business and legal risks. I’ve worked to build a relationship of trust so that producers know that we are working together to create the best content possible (hopefully without being sued).
ENTITY: What do you find most challenging about your job? Most rewarding?
DANI WASSEL: It’s most challenging to negotiate with the screamer-type lawyers and agents. I really, really despise working with the type of representative who uses bullying tactics to (try to) get their way. The kind of person who starts screaming the second you get on the phone. I am so much more of a carrots versus sticks negotiator, so it really kills me when representatives are just assholes, for lack of a better word.
Big picture, there are so many things in the world to scream about. Gun violence. Systematic racism. Homophobia. Why are you screaming at me about your client getting a private dressing room? It’s challenging when people don’t put what we are doing into perspective.
The most rewarding part of my job is undoubtedly working in the field with the producers and being one of the many people who get their hands dirty, so to speak, to produce a TV show. Most of the time, I’m sitting at a desk, negotiating and drafting. However, when we have a higher risk production (e.g., if we are shooting at an international location where producers can’t easily call when there’s a problem) then we often send a production attorney on-site to assist.
Whenever I travel in the field, it blows my mind how hard all of the producers and crew work 24/7. It’s incredibly inspiring to see firsthand how all of the legal jargon and contracts come into play in the real world. When you’re running around to various locations, handwriting changes into a contract, and counter-signing five minutes before cameras start to roll, you learn a lot about risk analysis and what’s really important. And then you happen to be doing that in Thailand or Cuba or Armenia!
entity: What do you think is the biggest misconception about working in entertainment law?
DANI WASSEL: Are there misconceptions? [laughs] I think probably what everyone thinks is true. My life is nothing like the show “Entourage,” but I also don’t do talent representation.
ENTITY: Now that you’re in an executive position, what do you think is the smartest thing an aspiring entertainment lawyer can do to get their foot in the door?
DANI WASSEL: Get as much experience as you can! If you’re still in school, try to get internships for class credit. There’s really no mystery about how to get a job. I’ve hired a bunch of junior attorneys, for many of whom it was their first or second job. We like resumes that show a passion for entertainment.
Also, PLEASE, make sure there are no typos on your resume. That is such a pet peeve of mine. And then, assuming your resume is (typo-free) and shows entertainment experience, it’s just about being the right personality fit. And unfortunately, there’s no advice someone can give in that regard!
ENTITY: Did you do anything to build your brand as an entertainment lawyer? What advice would you give someone who is trying to advance their career in entertainment law?
DANI WASSEL: I don’t think this is super applicable for me since I’ve been at the same company for years now, but I do try to maintain my reputation within the industry. Everyone knows everyone, and you often have to work with the same people multiple times.
ENTITY: Do you perceive any challenges that are particular to women in this industry? If so, how have you dealt with them?
DANI WASSEL: It’s interesting. Of course nationwide (worldwide, really), the gender gap is a very real, unfortunate reality within the patriarchal system. I am an outspoken feminist and on a personal level, I often confront people when they make assumptions about gender roles or heteronormative lifestyles and occupations.
However, on a professional level, I am incredibly privileged and I can’t say that I have ever felt discriminated against or burdened because I am a woman. I do not believe I would be any further in my career, nor would I be making any more money, if I were a man.
Again, though, I think I’m a minority in that respect, unfortunately. I work for a progressive company with many female and LGBTQ executives (although, admittedly, there are not many people of color in executive roles here). It’s an undeniable reality that most of the entertainment industry is dominated by straight, white men. So, while I’ve been incredibly fortunate, I think other women working in the entertainment industry, particularly women of color, have had very different types of experiences.
