CLEARANCE TOOLKIT > EXPLAINERS

How to Clear (Almost) Anything

The definition of “clear” can be ambiguous, but if we think about it in the way it’s most commonly used (usually by someone stressed with a lot on their plate) it’s essentially shorthand for:

“Can I put this on camera without getting in trouble?”

Sometimes, it’s something crucial to the director, writer, or designer - like a scripted prop or significant piece of art. Other times, the team isn’t too bothered about specifics, they may just need four artworks with autumnal tones or a stack of trashy holiday novels.

It's important to know how much flexibility they have and how open they are to suggestions. A great clearance consultant will offer alternatives that will speed things up, bring them in more cheaply and shortcut complicated permissions.

With enough money, time and resources it's usually possible to clear almost anything. Don't get me wrong, there are some very hard “no’s” in the clearance world. Product vendors will absolutely not want to be associated with drug use or misuse of alcohol or any other nefarious dealings. They wont want their products to be disparaged in dialogue, seen in a poor light or malfunction in any way.

But for everything else, where the context is neutral or positive, both sides are willing, and the budget covers it - you’ll generally get a positive outcome. The challenge is getting that agreement sorted in time for the shoot.

There are countless variables that can derail it - from major legal hurdles to minor snags (like someone being on annual leave)

It can sometimes feel like the clearance gods are against you, but when a request lands on your desk, it helps to break it down into the three main blockers:

Time

This covers -

Your time - How big is your workload? How many other clearances are calling for attention? How much of your time are they paying for? Only a day a week? Or full time?

The Production team's time - How much capacity do they have to focus on what you're offering? Can they make changes needed to the script/design/budgets?

The vendor's time. - Are you dealing with a huge multinational that will take weeks to process requests? Or just one friendly publisher who can sign a release quickly?

Money

Which includes -

Budget - Is there enough allocated to cover the fee they’re asking for? Are they able to make a reasonable offer?

Quid pro quo - Can they offer anything in lieu of a fee? Will they allow promotion on social media? Or give a credit?

Resources

Legal Advice - Do you have access to lawyers who can review or amend contracts quickly?

Creative Capital - Do you know if the vendor will be excited about your project? Is it being made for a big studio with established actors? Or something cheaper and quicker for terrestrial telly?

Senior backing - Will the Exec Producer happily step in to add some gravitas to any negotiations? Or is the request more of a creative whim from a designer?

The Clearance Pie (or Time Bomb)

When a request lands on your desk, thinking in terms of these three variables will help you assess the situation quickly.

I like to imagine these factors as a pie chart (or, sometimes, a bomb- once you hit the edges, it explodes in a sea of stressed set decs and probs buyer)

It’s a useful way to visualise what resources you have to work with, but it’s important to remember that you can’t fully control any of them - not even your own time. (Your priorities will always be shaped by the production’s needs and budget.)

A simple clearance

Something like Renting public domain artwork like this Still Life oil painting from a vendor like Spiller.

The clearance fee is £0, a standard release form can be signed, all it takes is a small amount of your time. Which means your “pie” is well within your capacity - everything runs smoothly!

A complex clearance

Something like securing Weeping Woman by Pablo Picasso as a scripted action prop is another story. You’d need to go through DACS, which would likely refer the request to the Picasso Administration.

If the film involves drug use or anything controversial, they’d likely reject it outright. With high profile artworks like this you often also need to share detailed images of the created artwork to ensure it meets their criteria for reproduction and pay for their specific digital files.

If they approve it, the fee could be in the thousands - especially if the artwork is central to the plot. In this case, your pie segments would bypass their limits, and the time bomb would explode—cue shouting and someone crying in the corner.

Cutting your cloth

This is where you can help the production find workable alternatives.

Why this artwork? Is it the style, colours, or subject matter they are drawn to?
Is the artist significant? Is Picasso (or another artist) chosen for their work, legacy, or something they said/did?
Does the painting have a historical connection? Was it chosen because of its backstory (e.g, an art heist or controversy)?
Is it a symbol of something broader? Is the artist’s sheer fame being used as shorthand for wealth, power, or status?

When you find the key behind that creative decision you can start to suggest alternative options - alternatives that pull the time/money/resources back inside your circle.

You might suggest artworks by Juan Gris or another Paul Klee - 2 contemporaries of Picasso with works in a similar Cubist style and now in the public domain

Senecio, 1922 by Paul Klee (d. 1940)

Juan Legua (1911) by Juan Gris (d. 1927)

Or possibly artworks with similar subjects. You might suggest contemporary artist for a commission or find a stock image to licence

Woman in a Chemise by André Derain (d. 1954)

iStock ID 182394691

It usually pays to have a least one “good/fast/cheap” option ready. For requests that will take longer than 1 day or 2 to arrange or have any complications I will always work with the team on the most basic and bullet proof plan - just in case.

Having a backup plan means no one panics while you work on Plan A.

So that's how you clear almost anything.

I've played fast and loose with the meaning of “cleared” here - but it's on purpose - it’s important your own understanding of what “cleared” means front and centre. If you think the job is to arrange permissions for a high profile artwork as a key part of the narrative and action prop - then you’ve absolutely smashed it.

If you think the job is to license the artworks they requested - then sometimes that job can’t be done and you will have let them down.

Understand why they have made their creative and pragmatic decisions then help them to find alternatives that work for copyright permissions and everyone wins

In summary

Clearing props, artwork, and brand names for film and TV can be complex, but it mostly comes down to three key factors: time, money, and resources. Ultimately, successful clearance isn’t just about getting permission—it’s about balancing production needs, legal risks, and creative solutions.