Joan Rivers Wins Privacy Dispute at Appeals Court

A woman who approached the comedian and appeared briefly in her 2010 documentary didn't have a reasonable expectation of privacy.

On Thursday, the 7th Circuit Court of Appeals affirmed a lower court's dismissal of a suit from a woman who appeared for sixteen seconds -- or 0.3 percent, according to judicial math -- in the documentary Joan Rivers: A Piece of Work.

Ann Bogie, the plaintiff, sued Rivers, IFC Films and others for invading her privacy and misappropriating her image.

In the documentary, Rivers gives one of her stand-up routines and makes a joke about Helen Keller. (She said that she doesn't like children but would make an exception for Keller "because she didn't talk.") One audience member, who had a deaf son, took offense and heckled her.

After the concert ended, Rivers was approached by Bogie backstage, and the two had a conversation that was captured on film. Bogie told Rivers that she "never laughed so hard" in her life. She mentioned that "rotten guy" -- referring to the heckler -- and, after Rivers expressed sympathy for the heckler, Bogie responded, "I was ready to get up and say ...'Tell him to leave.'"

Bogie apparently regretted those comments and sued.

"[Bogie] voluntarily approached a celebrity just after a public performance," the appeals judges writes. "Any reasonable person would expect to encounter some kind of security presence, and indeed here that presence was visible. Furthermore, the camera crew must have also been visible to Bogie as they were filming both Rivers and, of course, Bogie. Courts have found that even performers themselves cannot count on a reasonable expectation of privacy in their own backstage areas."

"The public's interest in Rivers' long career and fame in general clearly puts this case on par (at least legally) with films about Woodstock and the fictional Borat," says the appeals court, with its own film criticism in parentheses.

Finally, Rivers also gets the same respect given to Spurlock when he was sued for including a woman for three-to-four seconds in Supersize Me on a hidden camera and the same leeway given to Warner Bros. over its Woodstock film.

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