Originally posted by AnsonJames@Mar 9 2006, 10:42 AM
AA was a fabricator pure and simple, even if he sculpted the original he did this as a commision which he was paid for.
If anyone is saying that because AA sculpted the Stormtrooper he owns the rights to the likeness it's surprising that thousands of other propmakers haven't come forward to claim their royalties for the work they were commisioned to do.
A lot of fine artists use other people to realise their concepts - none of them claim to be the owner afterwards because all they're doing is fabricating.
If AA was out of town when Mollo and Lucas were looking for a manufacturer they just would have paid someone else to do it for them.
That was one of the whole points of Ainsworth's original claim to copyright. According to his story, Mollo asked a friend of Ainsworth's for help with creating the helmet. This friend asked Ainsworth to create the helmet,
without telling him what it was for, which he did. Only afterwards did he find out what it was for. As such, Ainsworth was never contracted to
create the helmet, only to supply the pieces.
On the basis of this story, any lawyer would have (correctly) advised Ainsworth that he does hold the copyright to the design. It has nothing to do with ownership of the original moulds, or conjectured radical differences between copyright laws in the UK (or India) and the rest of the world.
However, by Ainsworth's own admission, the friend gave him prints of McQuarrie's production paintings to work from, which, at the very least, means that even if he did sculpt the original helmet pattern, his sculpt was a derivative work.
Furthermore, Ainsworth claims, amusingly, that prior to his involvement, the production team attempted to create the helmets from plaster, at the studio plaster shop.
This is quite telling, for two reasons.
Firstly, why would Ainsworth even be aware of this? It seems likely that Ainsworth would have been told of the difficulties that were being had in the plaster shop at the time that he was asked to create the helmet. As such, knowing what the helmets were for, he would have been subject to a contract, albeit a verbal one.
Secondly, the plaster shop was not, for the most part, that part of the prop department where finished items were made from plaster, but rather where plaster casts of items were taken to facilitate reproduction. As such, and given, as above, that Ainsworth was even aware of the plaster shop, it seems entirely plausible that Ainsworth was given
something - the ready-to-vac pattern even, perhaps - from the plaster shop. If this was the case, then quite clearly Ainsworth has no claim whatsoever.
I suspect that Ainsworth's lawyers only became fully aware of the actual circumstances surrounding the creation of the helmets after the lawsuit began.