FOR more than three decades, Frank Rittman has been at the forefront of intellectual property and entertainment law, safeguarding the rights of some of the world’s largest media organisations.
From the bustling offices of New York’s publishing world to leading regional initiatives across Asia, his career reflects a deep commitment to protecting creative industries in an ever-evolving digital age.
Now, as an independent business consultant based in Bangkok, Rittman works with entertainment and IP clients throughout Asia.
With a sharp legal mind and a track record that spans the world’s book publishing, music and movie industries, he offers clients a unique blend of legal expertise and applied business experience.
In this exclusive with Sarawak Tribune, Rittman reflects on his career journey, the changing landscape of intellectual property law and his vision for the future.
ST: How did your background lead you to specialise in intellectual property law?
RITTMAN: My father was a lawyer and my mother was a singer, so I grew up surrounded by both legal and creative influences. Initially, I considered criminal law but found it too emotionally taxing.
My interest in entertainment law grew as I realised how pivotal intellectual property was in protecting creative works. I began my career in book publishing in New York during the 1980s before transitioning to the music industry, and then finally on to movies.
I was drawn to the complexity of licensing, as well as the international scope of intellectual property rights coordination and enforcement.
What was your experience like working on international intellectual property issues?
In 1989, I began managing international relations at the National Music Publishers’ Association and the Harry Fox Agency, focusing on negotiating agreements with global collecting societies to ensure fair compensation for creators.
US music publishers heavily relied on foreign revenue but tracking and collecting royalties worldwide varied significantly.
While the US and Europe had robust intellectual property systems, Asia in the 1980s lacked awareness of paying for music.
Businesses often played music without licences, and royalty tracking was manual in places like Malaysia and Singapore, lagging behind the West.
Some territories didn’t pay royalties, necessitating education and legal strengthening.
To address these challenges, a subsidiary was established in Singapore to bridge gaps, leading to my relocation there in 1997.
In 2001, I transitioned to supervising enforcement and advocacy for the Motion Picture Association across Asia for 15 years.
Subsequently, I advanced to the Motion Picture Licensing Company in Hong Kong in 2018 before settling in Thailand four years ago.
Each market presented unique challenges and insights, shaping my extensive industry experience.
Comparing your experience back then with today, how do you view the rise of digital platforms and the increased risk of piracy?
On the one hand, digital technology and streaming platforms allow artists to reach a broader audience but it also facilitates piracy on a scale never before imagined.
I was working in the music industry when the first wave of unlicensed file-sharing platforms like Napster, Grokster, and mp3.com emerged. We took legal action against them under our clients’ instructions.
They devastated the recorded music industry, which was worth about $40 billion globally at the time.
People stopped going to record stores.
My kids, for example, never had the experience of saving up their money to buy albums like I did. The mindset and consumer expectation shifted to music being free and accessible everywhere.
The movie industry experienced the same phenomenon a few years later as advances in compression technology made it easier to transfer large data files back and forth.
Why is the topic of AI and intellectual property important right now?
With the rapid rise of artificial intelligence, we are witnessing AI’s ability to “compose” music, “write” lyrics, and generate creative content. I used those words sarcastically because of the entertainment industries’ concerns regarding copyright protection.
Although platforms like ChatGPT claim that their outputs are original, they are, in fact, derived from vast amounts of existing entertainment content and internet data.
This blurs the lines of ownership and raises questions about how to protect creators’ intellectual property rights in a digital age.
The hot topics for legislators around the world at the moment and for the foreseeable future are (a) whether or not AI-generated content should be eligible for copyright protection; and (b) whether or not there should be liability exceptions allowing for the unauthorised use of copyrighted works by generative AI systems.
What are your thoughts on the rise of AI in music creation?
AI is a double-edged sword – brimming with potential yet fraught with controversy. Generative AI models like Suno and Udio have “trained” on millions of copyrighted works without permission, credit, or compensation, raising serious ethical and legal concerns.
As someone with 35 years in the industry, I’ve seen this pattern before but the scale is unprecedented. Currently, 30 to 35 lawsuits in the U.S. allege unauthorised reproduction of copyrighted works, with potential damages reaching billions. Yet, the AI genie is out of the bottle, and halting its development seems impossible.
Another alarming issue is the overwhelming flood of AI-generated content. Udio alone generates 10 music files per second – over six million per week.
These tracks can manipulate streaming algorithms, diverting revenue from human creators.
One U.S. case revealed someone using AI and bots to create millions of fraudulent streams, threatening musicians’ livelihoods.
My son, a musician, earns more performing live and selling merchandise than from his hundreds of thousands of streams.
This highlights a flawed system that undervalues creators.
Without significant reform, the situation will worsen, leaving artistes struggling to compete against AI’s relentless output and exploitation.
The balance between innovation and fairness must be urgently addressed. How does AI affect creators and what can be done to address these issues?
Major challenges in the digital age involve protecting creators’ rights, ensuring consent for use and fair compensation. AI-generated content complicates attribution. Clearer usage regulations and robust enforcement are crucial.
Platforms must adhere to intellectual property laws, educating users on original content support.
Ongoing litigation will shape these dynamics as players consolidate, new licensing systems evolve, and policymakers address legislative gaps.
Progress is slow, prompting debates on the pace of change. What future challenges do you foresee in intellectual property law?
As technology continues to evolve, new challenges will always emerge as policy makers try to keep pace with all of it. On the copyright side, AI-generated content, digital piracy and the global nature of the internet will continue to drive updated legal frameworks.
Ensuring fair compensation for creators while balancing technological innovation will be an ongoing struggle for the foreseeable future. But I think garnering respect for creativity and intellectual property rights, as basic as that sounds, will continue to be an issue for future generations.
What has been the most memorable moment of your career, and why does it stand out?
There are so many recollections – particular deals that went the right way, legislation falling into place, collaborative achievements – but generally speaking, it’s the people I’ve met along the way. Working in entertainment, i.e., music, books and movies is a fun business.
The people who gravitate towards it can be enjoyable to work with. I guess the best memories are the personal relationships I have built and maintained with people around the world – people I might never have met otherwise. Maybe it’s the same in every industry, but I’ve had a lot of fun. Being in an industry where parties and entertainment are part of the job has brought a lot of smiles and happy memories.
Are there any personal or professional goals you’re excited to pursue in the coming years?
Aside from my consulting work, I presently represent Sony Pictures, Warner Brothers, Disney/Fox, Paramount Pictures and Universal Studios for Thailand specialising in non-theatrical exhibition.
This means I handle licensing for the public performances of their movies in places like schools and educational facilities, government and corporate offices, community service organisations and facilities as well as bars and restaurants.
We are also now introducing into Thailand an exciting new in-room VOD platform created in the United Kingdom specifically for the hospitality and healthcare markets featuring the latest Hollywood blockbusters, international news channels and health/lifestyle programming.
Beyond that, who knows?
I’m the curious type – I might even go back to school one day. If you go back to school, what would you study?
Probably graduate research in something that interests me. I am fascinated by the role of copyright in international trade relations, particularly how it became a major trade issue for the United States at one point.
There was a time when the copyright industries drove a lot of government policy but that dynamic has shifted in the last five years.
