Miramax is suing director Quentin Tarantino over his intention to disseminate non-fungible tokens (NFTs) from his 1994 film, Pulp Fiction.
In a new video, Tarantino revealed that he will release seven NFTs associated with the film, including early script sections that were removed from the completed product.
The NFTs will include Pulp Fiction art and commentary from the film’s writer-director, Quentin Tarantino. In a statement, Miramax claims that it sent a cease-and-desist letter to the director after the announcement, but that it was ignored.
The studio has committed significant resources to establish NFT partnerships based on its film library and that Tarantino’s contract discredits all of those efforts.
The company said Tarantino’s act has forced it to introduce this lawsuit to protect and preserve its contractual and intellectual property rights related to Miramaz’s film properties.
If left unchecked, Tarantino’s behavior might induce others to believe Miramax is connected with his project.
It may also mislead others into thinking they have the same rights to negotiate similar deals or offers, when in fact Miramax owns the rights it takes to produce, market, and sell NFTs based on its massive film library.
The “Tarantino NFT Collection” is being released by SCRT Labs and the Secret Network, which are attempting to create a new type of NFT with “secret” content embedded inside.
The NFTs in question are the Pulp Fiction tokens, which would have a visible portion as well as content (including previously unseen script sections) only available to the owner.
Tarantino’s contract with Miramax for the movie “Pulp Fiction” states the director has got some rights to the film. Such rights include soundtrack album, music publishing, print publication, theatrical and television sequel, remake rights, and television series and spinoff rights.
Tarantino’s attorney argued in response to Miramax’s cease-and-desist letter that the director was exercising his “Reserved Rights,” which include the ability to self-publish a screenplay.
Finally, determining the limits on those reserved rights (particularly interactive media and screenwriting publication) will be critical since NFTs were not concept studios or filmmakers were considering in the early ’90s.
