For legal protection you register your script (e.g. in the USA with the WGA or USCO) or you maintain evidence. Whether or not you should worry about it is debatable. And it might be different everywhere. But first time movie writers, especially in Hollywood, should rather worry about getting into the industry in the first place. And for that, no matter what some scammy gurus, who teach you the 3 act structure like some form of deep complex science, tell you, your screenplay matters very little.
And, along with this, you have to be able to show that the writer(s) had access to this information while writing the script. To give you an hour long media analysis video to watch, here’s some Lindsay Ellis:
The summary of it was that animators saw The Thief and the Cobbler and might have used some of what they saw as inspiration for some of the character design in Aladdin, but the writer of Aladdin didn’t have access to the movie so Disney could credibly say they didn’t steal the script.
For legal protection you register your script (e.g. in the USA with the WGA or USCO) or you maintain evidence. Whether or not you should worry about it is debatable. And it might be different everywhere. But first time movie writers, especially in Hollywood, should rather worry about getting into the industry in the first place. And for that, no matter what some scammy gurus, who teach you the 3 act structure like some form of deep complex science, tell you, your screenplay matters very little.
And, along with this, you have to be able to show that the writer(s) had access to this information while writing the script. To give you an hour long media analysis video to watch, here’s some Lindsay Ellis:
https://youtu.be/44chgavSaKA
The summary of it was that animators saw The Thief and the Cobbler and might have used some of what they saw as inspiration for some of the character design in Aladdin, but the writer of Aladdin didn’t have access to the movie so Disney could credibly say they didn’t steal the script.