Meet Joshua Lastine of Lastine Entertainment Law

Today we’d like to introduce you to Joshua Lastine.

Hi Joshua, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
Growing up in rural Iowa, I always felt like an oddball. It makes sense then that my two biggest passions would also be paradoxical: art and business. I was always drawn to art and storytelling, but I was just as interested in the business side of art: who owned what, how money moved, and what was popular and why. It became clear early in college that entertainment law sat right at the intersection of all of those interests.

I moved to Los Angeles in 2011 and went to law school at Pepperdine in Malibu. While there, I worked a bunch of studio jobs and networked aggressively, which led to my first role at Creative Artists Agency (CAA) and then into representing both studios and talent at major law firms. Eventually, I started my own practice.

Today, I still work with studios and talent, but much of my work focuses on independent filmmakers, creators, and financiers in less traditional, higher-risk situations where structure and strategy matter as much as the legal language.

Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Not at all. The road was anything but smooth. A lot of unpaid internships and minimum-wage gigs were part of the price of admission, but I knew I needed the exposure and the skill set if I wanted a real footing in the business.

I still remember working at Marvel Studios and being asked to haul signed Avengers posters up a flight of stairs at the H.G. Wells building on the Disney lot. Each of those posters was probably worth more than I was making in a year at the time. If I had dropped one, my career might have ended on the spot. I could have said, “That’s not my job—I’m a law intern, not a mover,” but that mindset doesn’t get you very far. Sometimes you have to roll up your sleeves and do the unglamorous work if you want a seat at the table later.

The pandemic was also a major setback—for everyone. And just as the industry started to find its footing again, we were hit with massive media mergers and the rapid rise of AI. There always seems to be a new threat looming on the horizon.

I’ve learned there’s no point trying to fight that reality. This business is built on change, and the only real option is to adapt and keep moving. The people who last aren’t the ones waiting for stability; they’re the ones who learn how to operate, and even thrive, inside the chaos.

We’ve been impressed with Lastine Entertainment Law, but for folks who might not be as familiar, what can you share with them about what you do and what sets you apart from others?
My firm focuses on entertainment, media, and creator-driven businesses. I’m usually brought in when something matters: when money is being raised, rights are being locked down, talent is becoming attached, and deals need to get done.

I work across film and television financing, talent and producer deals, influencer and brand agreements, and complex backend structures.

A lot of my clients operate outside the traditional studio system. They are independent filmmakers, digital creators, emerging entertainment companies, and entertainment financiers. The work often involves building custom structures and complex new deals rather than relying on boilerplate legal agreements. I’m known for being practical, direct, and strategic, especially in situations where the “law school” answer isn’t always the right answer.

Brand-wise, I’m most proud to say that our firm just hit its 5-year anniversary in January 2026, and we’ve grown almost entirely through referrals. That tells me we’re doing something right. Clients tend to stay because they trust my judgment and know they’re getting straight answers, even when those answers aren’t what they want to hear.

I built the practice to be sharp but approachable, serious without being stuffy, and flexible enough to grow alongside the kinds of clients I enjoy working with. If readers take anything away, I hope it’s this: good legal work isn’t about being aggressive or flashy—it’s about clarity, trust, and helping people build things that actually last.

Do you have any advice for those looking to network or find a mentor?
Be top of mind. You never know when an opportunity will come up, and when it does, you want to be the first person someone thinks of. Seek out people who are doing the work you want to do and learn from them—shadow them when you can, take them out for coffee, and ask how they actually got to where they are.

Most people in this business aren’t mythical gatekeepers. They’re regular people who figured things out as they went, and many are happy to share a few hard-earned lessons if you’re respectful of their time. The key is to build real relationships and actually maintain them. Follow up. Show up. Don’t be the typical LA flake—it’s a low bar, and clearing it already puts you ahead.

My advice is to stop asking, “Who can help me?” or “What’s in it for me?” and start asking, “How can I add value here?”

Pricing:

• Partner Hours: $500
• Senior Associate: $400
• Junior Associate: $300
• Paralegal: $100

Contact Info:

• Website: https://lastineentertainmentlaw.com/
• Instagram: https://www.instagram.com/lastinelaw/?hl=en
• LinkedIn: https://www.linkedin.com/company/lastine-impressions-llc