Building the Deal Behind the Dream: Peter Fields on Law, Innovation, and Influence

For Peter Fields, founding partner of Ritholz Levy Fields LLP (RLF), the intersection of creativity and law has defined his career from the very beginning. “Long before co-founding RLF, I worked as a legal assistant at Tri-Star Pictures and then interned at Columbia Pictures during law school,” he recalls. “Seeing how creative ideas evolve into real productions—and how the legal frameworks support them—gave me a perspective few attorneys get early on.”

Those early experiences proved formative. Watching the creative process unfold alongside legal negotiations gave Fields a unique understanding of how entertainment transactions are built in real time. That perspective later shaped RLF, which took its current form in 2007 when Fields teamed up with partners Adam Ritholz and Jeff Levy. “When we formed the firm, our goal was simple: expand beyond music and represent clients across television, film, publishing, gaming, sports, podcasts, fashion, technology, and digital media. Today, that vision has become reality.”

Despite the firm’s national presence—with offices in New York, Nashville, and Los Angeles—Fields emphasizes that culture remains a priority. “It’s really about people. Great people doing great work for great clients. Culture tends to develop organically when everyone shares that philosophy.”

Over his career, Fields has witnessed massive technological disruption in the entertainment industry. “Earlier, new technologies appeared every few years. Now, shifts happen almost every few months. AI is the biggest emerging challenge. Often, the law has to catch up with business models that are evolving rapidly. It keeps me intellectually stimulated, even when legal precedent doesn’t yet exist.”

RLF is also active in the booming music catalog acquisition market. “Years ago, artists treated their catalogs as heirlooms, and investors paid little attention. Now, catalogs are serious assets. Selling one can provide a financial windfall for artists, while investors see consistent income from licensing, streaming, and public performances.”

Breaking into entertainment law, he notes, is notoriously difficult. “Compared to other legal practice areas, opportunities are limited. Networking is essential. Students and young attorneys need to actively seek professionals in the industry, learn from them, and maintain those relationships thoughtfully. It’s not about making contact—it’s about building lasting connections.”

He recalls one example vividly. “One of our partners, Dan Zupnick, reached out with a cold email referencing our shared Brooklyn Law School connection and his research on my background. At the time, we weren’t hiring, but I encouraged him to stay in touch. He followed up professionally and eventually joined the firm. Today, he’s a partner and part of the next generation of leadership.”

For Fields, communication is the skill that separates great lawyers from the rest. “Intelligence and experience are important, but if a lawyer can’t explain ideas clearly to clients and collaborators, those strengths are wasted. The best attorneys adapt their communication style depending on the situation and the people involved.”

He also stresses that personality matters alongside skill and academic performance. “An impressive résumé alone won’t secure a position if the candidate lacks interpersonal skills. At the same time, charisma alone isn’t enough without the intellectual foundation to support it. I probably have a subconscious bias toward people I enjoy working with.”

Despite the glamorous perception of entertainment law, Fields notes that most of the work is routine. “While I occasionally attend exciting events, the day-to-day reality is far less flashy. Most work happens at a desk, navigating contracts, emails, and negotiations—much like any other demanding legal practice.” Yet he appreciates the consistency of demand. “Even during the pandemic, when production slowed, the firm stayed busy and quickly adapted as demand for new content surged.”

Podcasts are another example of RLF’s evolving practice. “From a legal standpoint, podcasts may be newer, but the principles—content creation, financing, distribution, and intellectual property protection—are the same as music, television, and digital media. That foundation allows us to navigate the podcast landscape confidently.”

Fields reflects fondly on his legal education. “One professor who stands out is Michael Gerber at Brooklyn Law School. He emphasized practical legal strategy and encouraged us to think about the motivations of the other side—an approach that makes all the difference when negotiating deals or resolving disputes.”

He is most proud not of individual deals, but of the firm itself. “Building a practice with talented colleagues, strong culture, and loyal clients—that’s the accomplishment I value most.”

Outside the office, Fields enjoys the vibrant culture of New York, though he rarely strays far from his neighborhood around Park Avenue South. “Two favorite local restaurants, Barbounia and Isabelle’s, are regular stops for great food and familiar faces.” He also unwinds with his Cavapoo, Hank, and a glass of bourbon on ice. “I admit to a TikTok addiction—cute dogs, classic rock concerts, stand-up comedy, ancient history, and geopolitics.”

Even with decades of experience, retirement isn’t on his mind. “I’m proud of what we’ve built, but honestly, I’m not sure what I’d do if I stopped practicing law—and that uncertainty is enough motivation to keep going.”

And when it comes to imagining his life on the big screen? “If a movie were made about me, I’d pick Sean Connery or Daniel Craig as James Bond. Realistically, maybe Mel Brooks during Blazing Saddles—or Jon Stewart. I admire both for their wit and intelligence.”

For Peter Fields, entertainment law is ultimately about blending creativity and precision.

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