A former journalist, a lawyer today operates at the heart of the legal issues of the audiovisual industry. Meeting.
Going from journalism to law is not the most conventional route. For Me Evelyne Leblancthis transition was however imposed naturally, through the meetings and opportunities that have marked his professional career.
After cutting his teeth in regional journalism, Me Leblanc discovered a marked interest in the legal field.
Always driven by an interest in the world of entertainment and creation, she chooses to concentrate her practice in a field where legal, artistic and commercial issues meet.
Today, she supports companies and audiovisual producers in managing complex legal and operational challenges, helping to advance projects where creativity and business must constantly balance each other.
A year ago, she took the next step by launching her own practice. A decision that allows it to offer personalized and strategic support to a clientele evolving in an industry in constant transformation. Droit-inc went to meet him.
You initially had a career in journalism before becoming a lawyer. How did this transition to law take place?
Law came into my life through journalism. For several years, I worked as a journalist for different regional media. Occasionally, I covered trials and spent a lot of time at the courthouse. I loved this environment. Around the same time, I met a lawyer who had himself made the transition from journalism to law.
This meeting sowed a first seed. Later, when I had the opportunity to pursue university studies, I chose law, telling myself that it would make me a better journalist. Ultimately, I fell in love with the profession.
Did you already know which field to choose?
At first, I didn’t even know the existence of entertainment law. It was a former boss who spoke to me about communications law. This discovery led me to gradually become interested in the cultural and media world. Then, by participating in training and industry events, I began to meet players in the industry.
Each experience confirmed my interest in this sector. I worked in organizations linked to audiovisual, notably on the union side and then with producers, before joining Attraction Images where I spent twelve extremely formative years.
What have you learned during your time at Attraction Images?
I have worked on productions of all sizes: documentaries, drama series, films, web series and productions intended for platforms like Netflix or Amazon. This diversity allowed me to understand all facets of entertainment law. When you work in a large production company, you are exposed to a multitude of legal situations. This is what allowed me to develop the expertise that I exercise today.
Why did you choose to launch your own practice after more than a decade within a major production company?
After several years in the same organization, I felt the need for a new challenge. I had already considered this possibility a few years ago. Then, in 2024, an internal restructuring was an opportunity to ask myself the right questions about the rest of my career. Several colleagues in the industry encouraged me to get started. They told me that there was a real need for specialized lawyers capable of supporting creators and cultural entrepreneurs.
How do you actually support your clients in the entertainment industry?
Most people only see the final product: the documentary, series or film. However, behind each project, there is an immense legal structure. My role is to support creators from the beginning to the end of the process.
I participate in the drafting and negotiation of contracts, copyright management, agreements with screenwriters, directors, technicians and distributors, as well as insurance and risk management issues. I like to compare an audiovisual project to building a house. The foundation is the chain of title. If this foundation is solid, the rest of the project rests on secure foundations.
What are the main risks you need to manage?
A big part of my job is anticipating risks before they become problems. I read the scripts, I watch the episodes, I analyze the content and I make sure that everything complies with the requirements of insurers and broadcasters. Sometimes these are relatively simple questions. In other cases, the issues are much more sensitive, particularly when a production is inspired by real events or features identifiable people.
Do documentaries present any particular challenges?
When recounting real events or using real people, one must be extremely careful. I have worked on several projects inspired by true facts. In these situations, it is particularly necessary to check what information is public, what authorizations have been obtained and what risks of prosecution exist. The more a project affects real people, the more complex the legal analysis becomes.
Some creators sometimes see lawyers as people who limit their creativity. What do you answer them?
I understand that perception, but that’s not how I see my role. My goal is not to say no. My goal is to find solutions. I always seek to preserve the creative intent of the project while reducing legal risks. Often, there is a way of doing things that achieves the creator’s goals without compromising the security of the project. I consider that my job is to support creators, not to clip their wings.
