Any monies paid into the Echols trust fund is for his son, Seth. The money paid was to the families, not to the defendants. And Baldwin's attorney denied that he received financial consideration:
6 The Court asked the question: "Did you say there
7 was a written contract?" At the top of page 459.
8 Mr. Ford answers: "There are written documents
9 entered into and signed by the client."
10 The Court: "Was there consideration given for
11 the statement? Was payment made?"
12 Mr. Ford: "No, he has received no financial
13 consideration."
I haven't read that document in its entirety in quite a while, but, as Ford later states, not all consideration is financial. So, any consideration received might not necessarily be money. And, money to the families of the defendants is not money directly to the defendant or to his attorneys. All attorneys were working pro bono (or pro se).
ETA: In case some one new doesn't know, Mr. Ford is one of Jason's attorneys.
It's not on the document I posted because that one only goes to page 207.
But I did find page 459 here:
http://callahan.8k.com/wm3/rule37/june10.html
And I don't see what you posted on it, however I did find this:
http://callahan.8k.com/wm3/rule37/june10.html
24 BY MR. MALLETT:
25 Q. Well in advance of shooting, were you paying money and
459 (page)
1 promising money for the benefit of Damien Echols?
2 A. Well in advance of shooting the interviews or --
3 Q. Of the trial. Well in advance of the trial.
4 A. Of the trial, yes.
5 Q. Ah, Jessie Misskelley?
6 A. Yes.
7 Q. Ah, Jason Baldwin?
8 A. Yes.
9 Q. Ah, Mark and Melissa Byers?
10 A. Wasn't really a negotiation with the families of the
11 victims.
12 Q. You paid them money?
13 A. Yes.
14 Q. You entered into some sort of contract with them.
15 A. Yes.
16 Q. Ah, also the Moore family --
17 A. Yes.
18 Q. And also the Branch family?
19 A. Yes.
20 Q. You entered into an agreement whereby you would pay them
21 money in advance of trial for access to them to utilize them in
22 your movie?
23 A. It really wasn't designed for that purpose. In regards to
24 the families of the victims, it was much more a humanitarian
25 gesture than it was any kind of business decision.
460 (page)
1 Q. You are characterizing the payment of money for access to
2 people as a humanitarian gesture. Your business here was to
3 make a motion picture for artistic, commercial and professional
4 reasons.
5 A. Yes, but --
6 Q. You wouldn't have been here if you hadn't had artistic,
7 commercial and professional reasons?
8 A. But I have to say that the issue of financial, you know,
9 payments to any of those families came way, way into the filming
10 process. We were filming for three or four months before the
11 issue of money came up with any of the family members.
12 Certainly we were filming them throughout June, July, August,
13 September before any money, you knew, was even discussed.
14 So to say that access to them was only tied to money would
15 be incorrect.
16 Q. Well, of course, I'm doing what I can to make a record by
17 asking questions.
18 A. I understand.
19 Q. So the subject of money -- I believe you've now told us
20 that the subject of money came up after you had done some
21 filming?
22 A. Yes.
23 Q. Did Mark Byers bring up the subject of money?
24 MR. HOLMES: Excuse me, your Honor. I object.
25 It's irrelevant what conversations he had with Mark
461 (page)
1 Byers about money or any other sources that he has.
2 This is not a discovery deposition regarding the
3 contracts between Creative Thinking and their --
This also was interesting about the content of the HBO documentary at the same link
14 BY MR. MALLETT:
15 Q. Did Home Box Office have the power to control the content
16 that would be incorporated in the film?
17 A. I would say that we had final cut. We would show cuts of
18 the film to the people at Home Box Office, but generally
19 speaking I would say 99 percent of what you see in the film was
20 decided by Joe Berlinger and myself.
21 Q. And I think it's pretty obvious -- but to make it really
22 clear -- in this small operation in which you have about five
23 people and you and your partner own the company, the
24 negotiations with Home Box Office about what would be included
25 or not included was really between you or Joe and someone
447 (page_
1 representing Home Box Office on the other side?
2 A. Right. Creatively it was us -- Joe and myself exclusively
3 -- and probably Sheila Nevins who was the executive producer at
4 Home Box Office.