As I prepare to
ask Carl Lewis about his negotiation experience, he receives a phone call from
Don King. He is taking a trip to Russia to represent Don on an upcoming boxing
match. From eavesdropping on his call
with Don, it is obvious that Lewis is a very busy man who knows his stuff!

(All background information was obtained
from Carl during the phone interview)
After a few
days playing phone tag, I was able to link up with Lewis for a brief phone
interview.
Kiera: What
inspired you to pursue entertainment law?
I have a very strong musical background. I’ve been playing piano for years. I love music and entertainment, and wanted to
find a way to tie my musical background with my legal training. Instead of being a performer, I wanted to
provide legal council to other performers and athletes.
Kiera: What types of negotiations do you make on a day-to-day basis?
Carl: Oftentimes I
work directly with songwriters, musicians, and producers on contracts, production
deals, and publishing. On the boxing
side, I represent fighters in negotiating their management contracts, promotional
deals, and compensation. I also
represent them in deals with television networks such as HBO, ESPN, and
Showtime. I never represent the
production company; I represent the actual fighters themselves. I handle a lot
of negotiation deals that focus on the promotional packages for the fighters. We are negotiating those types of deals
everyday.
Kiera: What is the key to finding mutual benefit for both parties while negotiating?
Carl: The world famous boxing promoter Don King
taught it to me best… you’ll love this! He told me, “When you’re negotiating,
working together works”. That’s my philosophy
when we are making deals. I’m not working
against the opposite party, we are working together. We have to try to compromise. The beauty of negotiation in entertainment is
that when you are working with a huge artist, such as Beyonce, sometimes it’s a
‘take it or leave it’ deal because they are so popular. Those negotiations are
usually easy. However, when you are dealing with an up and coming artist or
fighter, there is always room for negotiation, but I always try to make the
deal a team effort and not a fight between two separate parties.
Kiera: Have you
ever been in a situation where positional bargaining was used and neither party
came to an agreement.
Carl: Several. Sometimes you have to agree to disagree. My mindset is, if we cant make a deal today,
we can make one tomorrow. Going back and
forth is never productive. Maybe you have to walk away, regroup, and try again. Sometimes it’s more beneficial to both parties
to make an agreement than to not do business with each other at all.
Kiera: This is
my last question. Can you give me an example of how you’ve used objective
criteria in negotiations?
Carl: My firm is actually handling a case right now where my client thinks her case is worth 1 million and the opposite party wants to settle on minimal dollars. We’ve been in negotiation for about two or three days now. We are now about $35,000 apart and we need to close the deal. Looking at the objective criteria, it is clear that my client is negotiating too high and this has assisted in our decision to lower our deal.
Kiera: Well, I
think that’s all I have for you! Thanks so much for taking the time to talk to
me.
Carl: No Problem! Keep
doing well in school!
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