Wednesday, June 30, 2010

Poised In The Shade For Battle



Jay Villwock and I are poised in the starting blocks, rarin' to go, anxious to get the film program back, but until Iowa Senator Bill Dotzler, Jr. forms his study group comprised of folks from the movie family in Iowa, there's not much we can do.

Jay and I, as well as our friends, Dave Thrasher, John and Kim Busbee, plus fellow actors Neil Wells and John Bush, know that the present film bill in place with a three year suspension will be replaced by a new bill with no suspension at all, but only if Senator Dotzler comes through for us.

I get a sinking feeling when I drive by Hoyt Sherman Place, where I got to play a butler in "Janie Jones", or when I pass other locations of movies shot here in Iowa.

Today I passed a huge building that nearly became a sound studio for a major film production company. That complex is empty, and several other such buildings that were slated to become sound studios around the state are empty as well.

We in the Iowa movie family need to stay vigilant and we need to become actively involved in the next Iowa legislative session when it reconvenes next January. Prepare now. Write to members of the Iowa legislature. Their email contact info is avaiable on the web.

gene l. hamilton

Tuesday, June 29, 2010

Article by Val Prevish

By: Val Prevish, 6/29/2010
Producer Jim Amatulli can rest a little easier as he starts production in Cincinnati on his new movie, "Life After," knowing that when the film reaches the box office he will break even $1.2 million sooner thanks to Ohio's new film tax credit.

"The reality is filmmaking is a risky business," says Amatulli, who says his roughly $5 million budget allowed him a $1.2 million credit. "Tax incentives can help you get a return on your investment. It can make a big difference."

The film industry is undergoing a radical shift as more production companies move their projects out of traditional strongholds such as California and into up and coming locations that offer aggressive tax incentives to get their business. Tempting moviemakers to leave Hollywood and produce their films in other states and countries has become competitive sport among governments looking to enhance their own economies and increase opportunities for employment.

Ohio jumped into the action last year when the state enacted a refundable tax credit of up to $5 million per movie, 35 percent of wages for Ohio cast and crew and 25 percent for non-resident wage and non-wage expenditures. It is capped at $30 million over 2010 and 2011. The new incentives have already caught the attention of filmmakers, says Jeremy Henthorn, director of the Ohio Film Office. This year, expenditures in the state from film production are projected to be more than $31 million. That's a significant increase over previous years before the tax credit was enacted. Six film projects are under way in Ohio, one each in Cincinnati and Akron, and four in Cleveland.

"Every month the number of inquiries increases about new movies being made here," says Henthorn. "Before, you might see a few movies every couple of years."

David Lombardi, a University of Cincinnati DAAP graduate and Northside resident is a freelance digital effects artist and supervisor. Lombardi says that film producers don't make a business move these days without checking on the financial incentives offered in the location they want to film.

"Not only are they ready to take advantage (of tax credits), they look for it," he says. "It's been happening for years."

Aside from money considerations, however, Cincinnati is also fortunate in other ways that give it additional appeal to movie producers, says Lombardi.

"I think the talent base is here," he says, "and you have a good range of locations from urban to rural. Topographically this area is very diverse."

Aymie Majerski, executive producer at Barking Fish Entertainment based in northern Kentucky, says that due to a thriving corporate film industry here, Cincinnati is home to a diverse talent pool of production crew professionals that can help it to attract filmmakers. Majerski just completed a documentary about the career of Pete Rose titled, "4192: The Crowning of the Hit King," which premiers here July 14. At least 90 percent of the movie was filmed in Cincinnati.

She says Cincinnati has unfortunately lost valuable film professionals in the past to cities such as New York and L.A., but she hopes that will change now.

"Sadly, we've lost a lot of talent to the West and East coasts. The incentives offer more chances of keeping those people here."

Majerski says Cincinnati has seen a lapse in moviemakers' interest in the area and she feels the tax incentives may very well reverse that as well.

"That's the reason we haven't had a major motion picture filmed here since 'Traffic,'" (the 2000 blockbuster about drug trafficking in the U.S. and Mexico that was partially shot in Cincinnati) she says of the lack of a tax incentive before 2009. Now that the financial incentives are in place, she hopes movie producers will come back.

"I would like for the major studios and independent filmmakers to give Cincinnati a serious look," she says. "I want them to know that if they start to negotiate deals to work here that the whole community would welcome them with open arms."

Greater Cincinnati & Northern Kentucky Film Commision Director Kristin Irwin says the bottom line is that moviemaking is big business and Ohio and its communities should be as competitive as possible to attract it.

"Film production is an economic development tool that cities can't ignore," she says. "When jobs are needed this is too important to pass up."

Check out our Soapbox video revisiting locations from the feature film "Traffic" shot in Cincinnati and released in 2000.

Sunday, June 27, 2010

From Mlive.com

Nancy Crawley: Proponents of film tax credits in Michigan should welcome scrutiny to validate incentives' value
Published: Sunday, June 27, 2010, 5:50 AM
Nancy Crawley | The Grand Rapids Press Nancy Crawley | The Grand Rapids Press


When West Michigan's film industry gathered last week for the announcement of a new film business, insiders lauded the job-creating engine movies can be.

Randall Emmett said opening his Grand Rapids Film and Services shows Michigan's film tax credits work despite recent headlines about a questionable project.


He was referring to news of an attorney general's investigation into local movie studio, Hangar42's application for $10 million in tax credits.

Others also extolled the virtues of incentives -- which pay film makers up to 42 percent of in-state production costs -- while tsk-ing about "negative" stories.

But those who want to see more Hollywood glamour in town might first consider Iowa where incensed lawmakers have suspended its film tax credits.

To keep Michigan's incentives a good deal for taxpayers -- whose Treasury after all is being tapped -- those people should welcome rigorous scrutiny. Those credits, the most generous in the country, will survive only if they keep taxpayers' confidence.

And frankly, that is getting shakier. Almost weekly there are efforts to dilute or eliminate them.

So, what happened with Iowa's "Half Price Filmmaking"?

Lax oversight of a program that covered 50 percent of production costs led to revelations of absurd spending, state officials fired and movie producers criminally charged.

Specifically, an audit last October found one director bought a $61,000 Mercedes Benz and another a $67,000 Range Rover and a $1,600 feather bed, all with the help of credits.

Auditors also found altered contracts and filmmakers who claimed millions of dollars for product-placement that cost nothing.

The governor suspended the program the next day, saying "Iowans will not be taken for suckers."

The state economic development director resigned. The film office manager was fired and charged with misconduct. This month prosecutors filed a dozen felony charges against moviemakers.

Those who oppose the program called for an end to it.

In Michigan, film office director Janet Lockwood said there are many safeguards built into this state's process. "What happened in Iowa could never happen here."

Her office did initially approve the Hangar42 application for an infrastructure film tax credit, subject to an audit when finished. But a watch-dog group, the Mackinac Center said, hold on, why do the studio owners claim a $45 million investment in an old factory that was for sale a few weeks earlier for $9.8 million?

Since then, the application has been held up, the attorney general is investigating and lawmakers are busy drafting bills to amend the system.

The dust-up gives critics another reason for junking the incentives, particularly as a state budget deficit looms. Kansas did that and New Jersey is considering it.

So those who want to build a field of dreams here should say, first of all, let's ensure taxpayers get everything they should -- legitimate, job-producing projects. That's how you keep the glamour and glitz on the silver screen.

Saturday, June 26, 2010

by PA State Rep. Paul Costa

June 15, 2010

Pennsylvania needs Film Tax Credit

By Rep. Paul Costa



The glamour generally associated with the film industry disguises the fact that "making movies" is a business. However, it is a $1.4 billion dollar industry and the film tax credit may be one of the solutions to help Pennsylvania's economy recover and thrive.


The return on investment (ROI) for the film industry is in the top 10 percent of all industries in Pennsylvania. Currently 41 states offer some form of a film tax credit program and ours has become the standard.


According to the Legislative Budget and Finance Committee, in 2007 the motion picture industry revenues in Pennsylvania reached $948 million and generated economic impact of nearly $1.9 billion.


Independent local auditors have confirmed that film productions have spent $378 million in Pennsylvania since 2007, when the program was created. Of that amount, $100 million went directly into southwestern Pennsylvania's economy. If you add the economic benefit of those productions and the three-year economic effect of the film tax credit in southwestern Pennsylvania alone you will see that is a total of nearly $200 million. To put that in perspective, that is more than all cumulative film production in the region from 1993-2006.


Local vendors that supply everything from lumber to catering services have seen business increase. In 2009, hotels in southwestern Pennsylvania reported more than 30,000 room nights because of the film industry. When one actor hosted three parties at a local restaurant, that restaurant claimed that they made more on those three private parties than they usually do in six months of nightly business.


The out-of-town crews who basically live in our region for months at a time spend their own money in our state! They shop, go to movies, rent cars, buy gas, and entertain themselves.


Pennsylvania requires a full audit before issuing the tax credit for each production company. Once the audit is complete, and the production shows the money was actually spent in the Commonwealth, a certificate is issued for the tax credits.


LBFC Report stated it quite succinctly, "a competitive film production incentive for film producers can be considered the 'price of admission' . . . for such activity." Let's continue to roll out the red carpet for this industry in the form of a tax credit.



State Rep. Paul Costa is also a board member of the Pittsburgh Film Office.

Thursday, June 24, 2010

Grand Rapids Press Article by Jeff Engel

Film producer's new project lofty goal: Help film a movie a month in West Michigan
Published: Wednesday, June 23, 2010, 7:57 PM Updated: Wednesday, June 23, 2010, 10:24 PM
Jeff Engel | The Grand Rapids Press Jeff Engel | The Grand Rapids Press


GRAND RAPIDS -- Los Angeles film producer Randall Emmett had no clue where Grand Rapids was a year ago, but he hopes his new production services company puts the city on the industry's map.

"We want everyone in Hollywood to know (where Grand Rapids is)," Emmett said at a press conference Wednesday at the JW Marriott hotel where he announced the launch of Grand Rapids Films and Services.

It will provide a "one-stop shop" for producers who want to work in state, focusing particularly on Grand Rapids and West Michigan, he said.

Services include production-crew hiring and training, recruiting local vendors for lighting, catering, hotels, security and other services and budget consultation.

Emmett has shot three movies with rapper Curtis "50 Cent" Jackson in the past year in Grand Rapids, attracted by the state's generous film tax credits.

Now, Emmett would like to facilitate a locally-filmed movie every month through his company, which he told the crowd of 50 is "aggressive," but "what I say, I do."

"Touchback," to be produced by Emmett and George Furla, is scheduled to begin shooting in Grand Rapids in late July. Emmett told The Press Wednesday they are in negotiations with a "major movie star."

He said several more movies are in the works, including an untitled "50 Cent" movie in September.

It also was announced Wednesday the film "Playback" (unrelated to "Touchback") is slated to start filming here Aug. 23.

Emmett recruited friends John Bennett and Larry Robbins, owners of the New York film company Bennett-Robbins Productions LLC, to make the movie in Grand Rapids.

The producers said Emmett raved about the "great" locals they could work with, and they were sold on the state's tax incentives.

The program, which returns up to 42 percent of production costs incurred in Michigan, has been both praised for creating jobs and criticized as too generous in a state facing a budget crisis.

"We hope the state sticks with (the incentive program)," Robbins said. "We'd be happy to shoot 20 movies here."

Emmett's corporate headquarters are to be at 741 Kenmoor Ave. SE, and a 15,000-square-foot production office at 280 Ann St. NE will serve as the "base camp" for crews during filming, Emmett said.

The company will employ two or three full-time employees, he said. He said he is not seeking an infrastructure film tax credit.

His business will partner with Sakonnett Capital Partners LLC to provide upfront financing for film makers.

Anthony Gudas, owner of the Providence, R.I. company, provides loans to filmmakers waiting for their film rebates or tax credits to be paid. Grand Rapids will be his first satellite office.

Gudas, who attended Wednesday's press conference, said he knew he "wanted to be in Michigan" after the tax credit program was announced in 2008, and he's financed several of Emmett's films.

"It's about jobs," Rick Hert of the West Michigan Film Office said about the company. "It's about economic development."

Local business owners testified to the work Emmett's films have generated for them, including those from a caterer, security service and a lighting and camera support company.

Absolute Security's CEO Brian Brookman said his Grand Haven based company will add 15-20 employees to handle the new film projects.

"Movies bring an awful lot of work and an awful lot of income for lots of people," said Dave Lowing of Lowing Light & Grip, which has helped with two of Emmett's locally-shot films. "Randall has done what he said he'd do, and he's doing more of it."

Tuesday, June 22, 2010

From The L A Times ...Where Cameras Roll

Los Angeles Times Article

Hollywood has Georgia on its mind.

After beefing up its film incentive program in 2008, Georgia has emerged among the top five states in the country for film production, attracting such movies as the Academy Award-winning "The Blind Side," the Woody Harrelson horror flick "Zombieland" and the fifth installment of Universal's "Fast & Furious" franchise.

The latest sign of the state's expanding film business: a sprawling 30-acre studio complex that has opened in the former Lakewood Fairgrounds site near downtown Atlanta. The fairgrounds, owned by the city of Atlanta and until recently used as a venue for a flea market, are a local landmark and already a popular filming site, home for such movies as Burt Reynolds' 1977 trucker film "Smokey and the Bandit."

EUE/Screen Gems, a New York City company that also operates studios in Manhattan and Wilmington, N.C., said last week that it would invest $6 million to convert the fairgrounds and its Spanish colonial-style exhibition halls into Georgia's biggest studio. Although it was formerly owned by Columbia Pictures, the company is not related to the Screen Gems production label now owned by Sony Pictures.

The company plans to build a 37,500-square-foot soundstage, to open next year, and refurbish four other buildings on the property that date to the turn of the last century. When the project is completed in March 2011, the complex will encompass more than 100,000 square feet of sound stages and office space, as well as a set construction shop and lighting and grip facilities.

"Hollywood has been working in the state in the last couple of years in a very significant way, but Georgia has a real dearth of viable facilities," said Chris Cooney, chief operating officer for EUE/Screen Gems. The nearest large-scale studio to Atlanta is RiverWood Studios, about 45 minutes outside the city, which is operated by Raleigh Studios of Hollywood.
Cooney said producers, directors and studios asked the company to open a facility in Atlanta, given its central location and the allure of the state's film tax credit, one of the highest in the nation. Among the projects expected to shoot at the Lakewood facility is an adaptation of the Broadway play "For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf" from Atlanta-based filmmaker Tyler Perry.

Under the program, producers can receive a credit equivalent to 30% of their in-state production expenses, which they can apply toward any tax liability they have with the state. Alternately, producers can sell the credit to a third party and pocket the cash, thus lowering production expenses. The credit is broad, applying not only to films and TV shows, but also commercials, music videos, video game development and animation.

Since the credit was increased to 30% from 20% in 2008, production has flooded into the state. Film and TV production spending tripled to $770 million in 2009, according to the Georgia Film Office. In the last two years, 26 movies have shot in the state.

"For the last two years we've had a really, really good run,'' said Bill Thompson, deputy commissioner in the Georgia Film Office.

He said the new studio would make the state even more attractive to filmmakers. "We've always known that one of our deficiencies was that we didn't have enough studio space. It couldn't come at a more perfect time."

-Richard Verrier

Monday, June 21, 2010

Nice Note From Nice Fellow Actor


Got this email from Rick Septer, AKA "Creepy Man", from his role in "Dylan's Wake", where he and I appeared in a bar scene last summer. Thanks, Creepy Man!!!! (p.s.: the picture is of my craft services lunch there..yummy!)

Here's his little note:

I just want to say that you, Gino and Jay have really done a lot to keep this thing alive. You both deserve credit. I would also like to say having worked with you both was a lot of fun. I just hope the chance will come again.

the Rick

Sunday, June 20, 2010

Fade to black? Cutting film tax break misses the big picture

The following editorial (link below) describes New Jersey's governor considering cutting their film tax credit in order to balance the budget. Too bad we didn't get any advanced warning and we didn't get the opportunity to oppose it. Our governor just decided to unilaterally blast it out of the water - Culverize it! - without asking anybody else whether it was a good idea, other that his yes men. Let's work to get a film incentive back in and to get him out.

http://blog.nj.com/njv_editorial_page/2010/06/fade_to_black_cutting_film_tax.html

Friday, June 18, 2010

Michigan film tax incentive keeps cameras rolling at Pixofactor

Last time I checked, still no new film businesses of consequence opening in Iowa. Who says film incentives don't do any good.

Mich. film tax incentive keeps cameras rolling at Pixofactor
http://www.detnews.com/article/20100617/BIZ/6170380/1001/Mich.-film-tax-incentive-keeps-cameras-rolling-at-Pixofactor

Atlanta studio opens as filming in Georgia booms

Yet another article about a new film studio in Atlanta, Georgia. To think a version of this could have happened in Iowa.

Atlanta studio opens as filming in Georgia booms
http://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/06/atlanta-studio-opens-as-filming-in-georgia-booms.html

Wednesday, June 16, 2010

New Mexico Still Going Strong But Threats Lurk

In this article you can see that even with a successful film program there are those who oppose it. If Iowa's can be resurrected and made to function well perhaps those who would threaten it could be fended off.


Tuesday, June 15, 2010

The plot is thinning on Iowa film fiasco

This is a Letter to the Editor from Gene Hamilton and Jay Villwock that appeared in the Tuesday, June 15, 2010 issue of The Des Moines Register:


We appreciate the Register's continuing coverage of the Iowa film tax-credit situation, including the June 11 article, "New Charges Filed in Film Probe."

Remember the '70s TV ad where the old lady at the burger counter asks, "Where's the BEEF?" Well, Iowa's film industry is likely to ask that same question when it comes to the open-ended and nearly year-long investigation of Iowa's film tax-credit program.

Let's take an inventory of state agencies that joined in this probe parade: auditors, tax experts, prosecutors and criminal investigators - a Grand Inquisition that so far has yielded charges against only one film out of more than 100 film projects.

For this, the state has slammed the door on every Iowan involved in the film industry, not to mention out-of-state producers who had plans in place to create permanent studio facilities for multiple film projects to be made here in Iowa.

As the never-ending Iowa film tax-credit probe continues, and while the Iowa film community joins the legions of Iowa's unemployed, many creative Iowans must have that famous Peggy Lee song running through their heads: "Is That All There Is?"

- Jay Villwock and Gene L. Hamilton, Des Moines

Yes, Virginia, There IS A FILM PROGRAM!

Virginia boosts incentives for filmmakers
Washington Business Journal - by Jeff Clabaugh


Virginia Gov. Bob McDonnell Monday officially signed into law two bills that will help the Commonwealth compete for film and television productions.

One bill creates Virginia’s first-ever tax credit for the film industry. Another increases from $200,000 to $2 million funding for the governor’s Motion Picture Opportunity Fund for fiscal year 2011.

Both are designed to lure the production of film, television, documentaries and digital media to Virginia.

“These measures … are smart investments to create jobs and raise revenue through economic growth,” McDonnell said at the signing in Richmond. “Virginia has so much to offer with its rich history and natural beauty, and it is critical that we capitalize on this to attract new motion picture productions to the state.”

Under the legislation, production companies can apply for tax credits on money spent on labor, goods and services in the state.

Virginia joins 42 other states and the District with similar incentives. The tax credits will take effect January 2011.

Sunday, June 13, 2010

From the Colorado Springs Business Journal

Lights, camera but too little action

by John Hazlehurst

Published: June 12,2010



Thousands of filmgoers attend screenings each year of the area’s three film festivals.

Thousands of filmgoers attend screenings each year of the area’s three film festivals.

The Springs’ film community struggles for notice, support

The Colorado Springs Film Commission’s website says the area’s “film resource community is one of the best-kept secrets in the West!”

One of the more important secrets, according to local filmmaker Pete Schuermann, is that there’s no Colorado Springs Film Commission per se.

“It’s just a phone line at the CVB (Convention and Visitors Bureau),” said Schuermann. “There really isn’t any local support for film or for filmmakers.”

Despite that, Colorado Springs does have a vibrant and varied, if small, film community.

Three film festivals — the Lavender film festival, the Rocky Mountain Women’s film festival, and Indies Spirit — each screen dozens of films to thousands of attendees every year. Colorado College, UCCS and Pikes Peak Community College sponsor mini-festivals throughout the year. Locally made films are always part of the festival menu.

One such film, “The Last Bogatyr,” directed by 21 year-old UCCS student Sarah Lotfi, has received national recognition. Lotfi was one of nine young filmmakers to be nominated for a Student Academy Award. “The Last Bogatyr,” set in Russia during World War II, was shot on a shoestring budget along the Front Range, and premiered in Colorado Springs in January.

The film was made for almost nothing — an example, says Kevin Shand of the Colorado Office of Film, Television and Media, of the “democratization of filmmaking.”

“Technology has democratized filmmaking,” Shand said. “You can shoot a pretty good movie with a $5,000 camera, maybe get it into art houses, on Amazon, on NetFlix, give your investors a decent return, pay your bills, and go on to the next project.”

Schuermann, 45, has done just that — and better.

He’s directed two feature-length films, as well as dozens of shorts, trailers, and commercials. His widely praised documentary “Haze” focused on the dangers of binge drinking on college campuses.

Schuermann is now working on a new feature, “Creep!” It’s the story behind the creation of one of the worst films ever, “The Creeping Terror,” a 1960s sci-fi/horror feature.

The city’s most successful filmmaker, Ginger Kathrens, has worked out of her production studio on the west side for the last 25 years.

Kathrens won multiple Emmys in 1993 for her documentary, “Spirits of the Rainforest.” She’s also well-known for three hour-long films for PBS in which Kathrens documented the birth and life of Cloud, a wild stallion whom she first filmed as a newborn colt in 1995.

Kathrens currently devotes her time to the Cloud foundation, which is dedicated to the protection of wild horses. She’s not working on any film projects, however.

“I’d like to be working,” she said with a laugh, “so if you know of anything, let me know.”

Schuermann hopes for greater support some day from the powers that be.

The lack of money makes that difficult.

“The film commission is only part of my job,” said CVB employee Floy Kennedy. “Our funding has been cut back, like everybody’s.”
More incentives sought

Shand, for one, believes Colorado is losing millions of dollars in economic activity every year because it offers so little in tax incentives to film production companies.

“We’re at the bottom,” he said. “We haven’t written a check in the last two years. A couple of years ago I was talking to a producer, laying out our incentives, and she just said, ‘We’re not coming there’ and hung up.”

They’re not hanging up on states like New Mexico.

In 2002, New Mexico established a film incentive program that offered filmmakers tax rebates, workforce subsidies and even state-funded investment.

The incentives worked, according to a 2009 Ernst & Young analysis.

The program, which offers a 25 percent post-production rebate to moviemakers, created more than 9,000 jobs by attracting “more than 115 major film productions to New Mexico since its adoption,” the accounting firm’s report said.

Colorado, in contrast, offers a 10 percent rebate of certain production costs to companies shooting movies, commercials or television episodes within the state.

Colorado University’s Leeds School of Business earlier this year recommended the state increase the rebate from 10 percent to 15-20 percent to prevent the film production industry from shedding 30 percent of its jobs by 2013.

Despite the study’s prediction that increasing existing incentives would grow industry output by 55 percent to $226 million over the same period, the state legislature made only a few minor tweaks in the program, leaving the rebate at 10 percent.

According to the Leeds study, the legislature’s inaction may cost the state more than 1,500 primary jobs and as many indirect jobs.

Since “Things to do in Denver when you’re Dead” in 1994, only a handful of movies have been shot in Colorado.

Decades ago, Hollywood studios often filmed major productions in Colorado. Iconic American films such as “Stagecoach,” “Butch Cassidy and the Sundance Kid,” and “Downhill Racer” were shot wholly or partially in the state. And half a century ago, “One Minute to Zero,” a wartime drama starring Robert Mitchum and Ann Blyth, was filmed entirely in Colorado Springs.

Film incentives are offered by more than 40 states today. New Mexico is the most incentive-laden state in the intermountain West, while Nevada is the least.

Colorado and Colorado Springs aren’t completely shut out of the entertainment business.

The CVB’s Kennedy said the area often hosts film and video productions.

“Most of what we get is reality TV, HGTV episodes, commercials and documentaries,” she said. “Last year, Hyundai filmed a national commercial here.”

A Hyundai commercial is not the apex of filmmaking, of course, but it’s not chopped liver.

“They’ll spend $500,000 to $1 million in a few days, use local resources and the money flows right into the Colorado economy,” Shand said.

Matt Stevens, a principal mover of the Indie Spirit film festival, thinks the state could do more to help, though he seems to understand why it can’t — at least for the moment.

“We got some support from the Downtown Development Authority for the (Indie Spirit) festival,” he said, “and the CVB worked out a trade with the Warehouse (restaurant) to sponsor a dinner, so the out-of-town filmmakers got a free meal.

“(But) given how broke everyone is, I was surprised that they could even do that.

Friday, June 11, 2010

From Paul Steffensen, Master Prop Man

EUE/Screen Gems opens studio near Atlanta
37,500-square-foot soundstage slated to open in March

By Borys Kit

June 4, 2010, 06:12 PM ET

Updated: June 6, 2010, 03:56 PM ET
EUE/Screen Gems is getting into the franchise studio soundstage business.

The company, which has studio facilities in Wilmington, N.C., and New York, is opening a studio complex in Atlanta.

EUE/Screen Gems has leased the 30-acre site of the former Lakewood Fairgrounds near midtown and is beginning a multimillion-dollar renovation of the property. The older Spanish-style buildings will remain intact, but plans call for the development of office space, a mill shop and lighting and grip facilities.

Construction will begin soon on a 37,500-square-foot soundstage slated to open in March; the size will rival the company's Wilmington Stage 10 facility but without that site's water tank.

The company was attracted to Atlanta because of Georgia's 30% tax credit on production and postproduction services for films and TV shows as well as such rising media as gaming and animation. Atlanta also offers direct flights to Los Angeles and New York.

The new studio gives an urban edge to complement the rural and coastal nature of the Wilmington studio, home to the CW series "One Tree Hill" and HBO's "Eastbound & Down" and such films as "Nights in Rodanthe" and "The Secret Life of Bees."

Atlanta has been growing in terms of studio facilities, and the EUE/Screen Gems joins Tyler Perry Studios to vie for top-dog status. TPS is situated on 30 acres on a former Delta Airlines center and boasts more than 200,000 square feet of studio and office space.
EUE/Screen Gems opens studio near Atlanta
37,500-square-foot soundstage slated to open in March

from Bloomberg Businessweek

The Associated Press June 10, 2010, 8:19AM ET
NC House panel clears wide incentives bill

By GARY D. ROBERTSON
Story Tools

RALEIGH, N.C.

Boosters of an economic development package that cleared a House committee Wednesday said it will help bring good jobs to the state and perk up the ailing tax base -- even though a university study argues a portion of the tax breaks that woud be extended are no longer effective.

Part of the bill is similar to a measure designed to encourage computer data centers, an energy turbine manufacturer and a paper plant to expand in the state. Those expanded enterprises alone could generate at least 1,200 jobs and more than $2 billion in capital investment, deputy state commerce secretary Dale Carroll said.

The bill, if approved, could create $93 million in tax breaks annually by 2015, according to an analysis performed by legislative staff. But the measure should generate more tax revenues than it gives out to qualifying companies because the new jobs will generate income taxes and sales taxes from the items the workers purchase, said Rep. Bill Owens, one of the bill's primary sponsors.

"It's all about jobs," said Owens, D-Pasquotank, adding that tax revenues won't rebound in the slow recovery "unless we have people paying into the system." Companies won't receive tax credits, cash payments or sales tax refunds unless they create jobs or make investments, Owens added.

But the measure also would extend through 2013 some business tax credits first approved in the 1990s that give breaks to companies for each job they created in a handful of industries, and if they buy machinery.

The North Carolina Center for Competitive Economies, an organization linked to the UNC-Chapel Hill business school, presented a report to lawmakers in early 2009 arguing that incentives previously under the state's William S. Lee Act should be allowed to expire. The center found the credits worked well in the 1990s by giving firms a slightly higher employment growth rate than those that didn't get them. But the gap narrowed over time. The incentives were modified in 2006.

Rep. Pryor Gibson, D-Anson, another primary bill sponsor, said these per-job and machinery credits are still a key bargaining chip in trying to recruit companies deciding where to build.

"If we don't at least compete with the states that are attracting these industries, then we're not going to attract them," Gibson said. "Are they effective? (Companies) certainly take the money when they say, 'what are you going to do to attract us?'"

The measure, which now goes to the House Finance Committee, would also:

-- expand tax breaks for film productions that shoot in North Carolina and extend credits for renewable fuel facilities and the sales tax refund for certain fuel purchases by airlines and stock car racing teams.

-- create a new production tax credit of up to $7.5 million for companies that develop in North Carolina computer simulation programs for military training, education and entertainment.

-- give preferential tax treatment to companies that build inside an "Eco-Industrial Park," a business park whose tenants don't pollute, with state grants and tax breaks designed to promote green businesses in North Carolina.

Thursday, June 10, 2010

From The Omaha World-Herald

Published Wednesday June 9, 2010
Film, TV industry pushing NJ to keep tax credit

By DAVID PORTER
« Entertainment AP


SECAUCUS, N.J. (AP) - With a television series' dismantled set as a backdrop, a procession of actors, producers and directors made their case for New Jersey to extend its tax credit for production companies, an incentive that could be cut from the state budget by the end of the month.

Representatives from "Mercy" and "Law and Order: Special Victims Unit" urged Republican Gov. Chris Christie to reconsider ending the 20 percent tax credit the state has offered since 2006 to lure movie and TV production companies to the state. Both TV series are filmed largely in New Jersey.

Other productions to film in New Jersey in recent years include TV drama "The Sopranos" and feature films such as "The Wrestler" starring Mickey Rourke as a professional wrestler past his prime and "Julie and Julia" starring Meryl Streep as cooking legend Julia Childs.

"If there hadn't been a credit program in place, New Jersey would not have been an option" as a location for "Mercy," series producer Jim Bigwood told the hearing chaired by state Senate Budget Appropriations Committee Chairman Paul Sarlo, a Democrat and supporter of the tax credit.
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Wednesday's hearing was held in the warehouse where hospital drama "Mercy" has been filmed since last year. The series was not renewed by NBC but had been considered for cable, a possibility that was nixed because of uncertainty over New Jersey's tax credit, according to Brian O'Leary, tax counsel for NBC Universal.

O'Leary contrasted the fate of "Mercy" with that of "Law and Order: Criminal Intent," a New York-filmed series that NBC dropped but opted to move to USA Network.

"There was a stable credit in place in New York at the time that allowed that to happen," he said.

Critics have characterized New Jersey's film tax credit as an unnecessary handout to Hollywood. Christie has vowed to cut it from the state budget that must be passed by July 1.

"Like so many other items and programs in virtually every corner of the state budget, cuts had to be made and priorities considered in closing a $10.7 billion budget gap," Christie spokesman Michael Drewniak said Wednesday. "Unfortunately, many things we would like to have kept could not be saved this year."

Forty-four states and the District of Columbia have some form of tax credit program for production companies, and some offer credits as high as 35 to 40 percent. Companies qualify by meeting benchmarks for in-state hiring and spending.

New Jersey is the only state considering ending its tax credit program for budgetary reasons, according to Vans Stevenson, senior vice president for state government affairs for the Motion Picture Association of America. Some states are expanding their programs, he said.

Many of Wednesday's speakers described the ripple effect a television production can have. A scene on "Special Victims Unit" requires makeup artists, contractors, set designers and dressers, truck drivers, caterers and many others, said Tamara Tunie, who plays a medical examiner on the show.

"It's one scene on one episode on one show, and there are hundreds of people working to make it happen," she said.

"Special Victims Unit" has paid about $540 million in wages over 12 years to its cast and crew, not counting its featured stars, said producer Gail Barringer. The show also has paid about $150 million to New Jersey vendors over that time, she said.

According to the MPAA, about 7,000 direct jobs were related to production in New Jersey in 2008, an increase of nearly 1,000 jobs from 2006. New Jersey vendors received about $507 million in business from production companies, compared to $387 million in 2007, the association said.

Wednesday, June 9, 2010

From Zach Patton at Governing

The Value of Movie Tax Incentives
States spend billions on incentives to lure film productions away from Hollywood. Some say it's gone too far.

by Governing's Zach Patton, June 2010


In the 2009 movie Whip It, 17-year-old misfit Bliss Cavender longs to escape the beauty pageants and big hair of her tiny hometown of Bodeen, Texas, by joining an underground roller-derby league in Austin. In the film--actress Drew Barrymore's directorial debut--Bliss stares wistfully across the desolate Texas plains while killing time during her waitressing shift at the Oink Joint, the local barbecue dive that sports a giant pink pig on the roof and a sign touting its signature menu item, the "Squealer."

It's quintessential small-town Texas. Only it's not. It's southeast Michigan. Whip It was filmed almost entirely in and around Detroit. And Ypsilanti, a town near Ann Arbor, stood in for the fictional Bodeen. The Oink Joint was actually Ken's Diner, a shuttered restaurant in the little town of Birch Run, north of Flint. (Thanks to the increased local notoriety, Ken's has since been reopened and rechristened the Oink Joint. The giant pink pig, however, remains in storage.)

If you're wondering why a movie seeking to capture the flavor of Austin and its environs would set up shop in Michigan, it helps to know that for the past two years, the state has been home to the nation's most generous film incentives. Thanks to an aggressive tax-credit plan created by Gov. Jennifer Granholm in 2008, productions that shoot in Michigan can be reimbursed by the state for as much as 42 percent of their expenses.

That was enough to lure Whip It, which originally planned to shoot entirely in the Lone Star State. During filming, the movie's screenwriter told an Austin newspaper that the Michigan deal was just too good to pass up. "For a year, it was going to be Texas, and if it hadn't been for money, it would have been Texas all the way."

The influx of showbiz cash is welcomed by many in Michigan. In a state that's lost nearly a million jobs since 2000 and still suffers the nation's highest unemployment rate, attracting business revenue and creating new jobs--even the temporary, short-term positions associated with movie productions--is seen as a bright spot for the economy. But it's not quite that simple.

Michigan's movie-money measure has drawn all sorts of big-budget Hollywood productions, including Clint Eastwood's Gran Torino in 2008 and 2009's Up in the Air, starring George Clooney. This summer, the state will play backdrop for films starring Hugh Jackman, Pierce Brosnan and Jennifer Connelly, as well as the next installment of the Scream franchise. In the two years since the incentives became available, 89 movies and TV shows have been shot in Michigan. The state's film office says more than 4,000 jobs were created for Michigan crews in 2009, and another 4,000 were created for actors, including extras and day players. In 2007, before the tax credit was offered, film expenditures in the state were $2 million. That rose to $125 million in 2008 and to more than $223 million in 2009. Eastwood proclaimed that the state "will be the new film capital of the world."

Michigan may offer the sweetest deal to moviemakers, but the reality is that almost every state has some incentives designed to attract Hollywood productions. What was unique just a few years ago has quickly become standard. Back in 2002, only five states offered production incentives for film projects. But as of the beginning of this year, more than 40 states do. Arizona, Connecticut, Illinois and Louisiana, for instance, offer 30 percent tax credits or rebates, while Alabama, Maryland and North Carolina offer 25 percent--and on down the line. In fact, these types of incentives have become so de rigeur that even California has felt obliged to get in on the act. Lawmakers last year approved a 25 percent credit for films shot in the Golden State.

All totaled, states distributed $1.8 billion in incentives and tax credits to the entertainment industry from 2006-2008, according to an Associated Press study. "States are trapped," says Robert Tannenwald, an economist and a senior fellow at the Center on Budget and Policy Priorities. "Thanks to the extreme mobility of film production, when one state goes after these movies, another state, if it wants to stay in the game, has to match the deal they're offering."

But as those subsidies have become more widespread and generous, some policymakers are beginning to reconsider the whole idea. In recent months, several states have contemplated reducing the incentives they offer--or eliminating them altogether. Facing unprecedented fiscal pressures, some lawmakers question whether handing out money to Hollywood is the best use of increasingly limited public funds. And there's intense disagreement about the actual economic windfall associated with landing a movie production in your state. After a decade of ever-expanding film incentives, some say it's time to end states' gold rush for the silver screen.

Even in Michigan, where the incentives have brought in such high-profile success stories, the enticements have come under fire from people who say they're unnecessarily generous. The fact is that Michigan still faces a massive $1.6 billion budget gap, and it's been in a fiscal downturn for a solid decade. The state slashed spending on corrections, education and human services. At the same time, it doled out tens of millions of dollars in tax credits--$48 million in 2008, $68 million in 2009 and an estimated $155 million in fiscal 2011. Lawmakers last year debated placing an annual $50 million cap on the incentives that could be paid out. Even Granholm entertained the idea, but remained an avid supporter of the program as it stood. But the film industry and tax-cut advocates rallied, and ultimately no caps were put in place.

State Rep. Pete Lund was one of the legislators fighting for the cap. Lund says he has "no problem" with the basic idea of making tax credits available to film productions, but Michigan's handout is too generous. "I don't think we should be paying their bills," he says. "Is it creating jobs in the state? Sure. What industry wouldn't be creating jobs if the state were paying 40 percent of their bills for them? But you have to wonder how many other jobs we could be creating if we focused on reducing the tax burden on the businesses that we already have."

Michigan's dire economy and generous film incentives make it an extreme case. But the debate that's happened there is being replayed in states across the country. Governors in Massachusetts, Connecticut, Rhode Island, Oklahoma and elsewhere have recently proposed capping or eliminating their tax credits as a way to plug budget holes. Last year in Wisconsin, Gov. Jim Doyle essentially gutted his state's 25-percent no-limit tax incentive, turning it into a $500,000 annual grant program after a state Commerce Department report showed the benefit provided almost no net income for the state.

Kansas recently suspended its incentives for two years to save money. Although the program was modest compared to others, with a $2 million annual limit on payouts, the lack of any incentives effectively takes Kansas out of the running for attracting any projects, says Peter Jasso, the director of the state's Film Commission. "Just the way the industry works now--you have to have some incentive [to offer] to even start the conversation."

Officials in Iowa have suspended their film-credit program until mid-2013, after an independent audit in 2009 uncovered sweeping problems regarding credit oversight. The state had offered the nation's biggest rebate on film costs, reimbursing 50 percent of in-state spending and touting "half-price" filmmaking. But the audit showed moviemakers had grossly overinflated their expenditure figures and received credits for nonqualifying expenses, such as luxury car purchases. The state fired the head of the film office; he and two other employees await criminal trials later this year. Louisiana was similarly rocked by scandal last year when the state's film commissioner was sentenced to two years in prison for accepting bribes to award inflated credits.

But not all states are scaling back. Alabama, New York, North Carolina, Ohio, Utah and California have created or boosted their film incentives in recent months. And even in Louisiana, despite the scandal, lawmakers actually increased the state's tax credit and made it permanent.

Still, film incentives are increasingly coming under fire. Part of the problem is data. It's hard to get a good handle on the exact impact of an in-state movie production. In most places, the only reports on movie-production revenue and jobs come from the state film office--or the movie industry itself. Objective studies are relatively hard to come by. And even where independent studies of film incentives do exist, the data can easily be interpreted in myriad ways.

Take Massachusetts, which has offered a 25 percent film incentive since 2006 and already has attracted numerous big-name projects and stars, including Tom Cruise, Cameron Diaz, Leonardo DiCaprio and Mel Gibson. The Bay State is one of only a couple that require an annual, independent report on how the incentives are performing. When the most recent report was released by the Department of Revenue in July 2009, tax-incentive opponents said it unequivocally showed the credits weren't working. According to the report, the state paid out $113 million in movie tax credits in 2008, while filming in the state generated $17.5 million in new tax revenue and created about 1,100 full-time-equivalent jobs for state residents.

"That's roughly $89,000 spent by the state creating each new job," says state Rep. Steve D'Amico. "In terms of cost-to-benefit, it's clearly not justified." D'Amico sponsored a bill this year--ultimately unsuccessfully--to reinstate a $7-million-per-film cap that had been lifted in 2007. "Our funds are too scarce for us to be wasting money on economic development that has so little impact."

Looking at the same state study, though, film advocates saw Massachusetts' incentives program as an unqualified success. "We're gratified by the outcome," says Nick Paleologos, a one-time legislator who now heads the state's Film Office. The incentives were never meant to pay for themselves with new tax revenue, he says. Instead, they were intended to bring new spending to the state. Paleologos points to the $452 million spent by movie productions in Massachusetts in 2008. That's evidence, he says, that "the tax credit is working and doing what it was intended to do."

And that figure still doesn't capture the full impact of these productions, he says. For one thing, there's the "multiplier effect"--the money spent by film crews on hotels and food and other services keeps cycling through the local economy again and again. Added to that is the even less quantifiable--but no less important--boost in overall interest in the state. "When Sandra Bullock goes on TV and talks about how great it was to film in Rockport, Mass., it's like having a national celebrity tourism endorser for free." Discounting these kinds of secondary ripple effects misses the big picture, he says. "We may argue about how to count these dollars. But they're real."

Getting good data isn't the only problem. "These film credits have another shoe to drop," says Tannenwald of the Center on Budget and Policy Priorities. He's referring to the fact that in most states, the incentives paid to movie studios are transferrable. That means a film producer can sell unused credits on a secondary market. As a result, the credits could wind up benefiting people who have nothing to do with movies or entertainment. Worse, Tannenwald says, reselling the credits means they may be redeemed years down the line.

In Massachusetts, for example, credits awarded by the state in 2006 might not be redeemed until 2011 or 2012. And the number of the credits being resold is enormous: Of the $166 million in credits given out by Massachusetts from fiscal 2006 through fiscal 2008, $149 million were resold on a secondary market, according to Tannenwald. "It complicates budgeting and forecasting. It's a serious cost to policymakers and to the public in terms of uncertainty." So even if Massachusetts suspended its incentives today, it could still be paying out credits for years to come.

The worry, D'Amico says, is that states' one-upmanship may have created an irreversible system of incentive handouts. Offering these kinds of broad tax incentives to film companies isn't creating a permanent new industry in Massachusetts; it's merely setting the state up to pay an ongoing subsidy it can't easily get out of. Thanks to the constant competition from other states, he says, "these jobs will only persist as long as we continue to offer the credit. It's not as though we're creating jobs. We're renting them. But once you start handing out money, it's really hard to step away."

Despite those concerns and the uncertain economic benefits of film incentives, they remain extremely popular with the public. And that could prove to be one of the biggest obstacles to critics who want to do away with the tax credits. Even in the midst of Iowa's high-profile criminal investigation into its film program, a poll of state residents showed 61 percent still thought the credits were a good idea. In-state movie productions generate buzz, and visits from marquee-worthy celebs can engender no small amount of local pride. That can drown out a lot of talk about job creation and secondary credit markets. "It's hard for people to be rational about this industry," D'Amico says. "Everybody dreams they'll someday be in the movies. Everybody wants to see a celebrity walk down the street."

by Zach Patton


Zach Patton is a GOVERNING staff writer. He writes about a range of topics, including education, social policy issues, and urban planning and design. Patton is also the editor of GOVERNING's Management e-newsletter.

Yay for Terry and Brad! (Not Hatcher and Pitt)


Former Iowa governor Terry Branstad wins the republican primary, which is great because he is reported to be a firm film supporter, as is Iowa legislator Brad Zaun, who won his primary race to face Leonard Boswell in the congressional race. Terry was an early film proponent and I believe he put the program in place. Even if you don't agree with Mr. Branstad, you should vote for him for Iowa governor, rather than re-elect the Big Oaf who abruptly killed our film lives.

Sunday, June 6, 2010

From Entreedicta

From Entreedicta:
Louisiana Film Tax Credit legislation deserves support
PostDateIcon June 6th, 2010 | PostAuthorIcon Author: admin

Fortunately most of Louisiana legislators, including Governor Bobby Jindal, see tax credits as an important part of the state???? the economy and pressure to expand the program. Jindal said he would support extending the current 25 percent tax credits for film extra two years and 5 years on infrastructure credits. Jindal also supports eliminating the 2009 deadline for the Digital Media Production Tax Credit, a program for the development of video games, animation and special effects. And since legislators seem to agree on continuing the debate moves to the question of what the future should look like for the tax credit program? Among the factors being discussed during the debate on the future of LouisianaĆ¢???? Incentive Program for the film are: * Louisiana’s incentive structure created Motion Picture Act allows film producers to state for tax credits on their products to Louisiana and skilled labor costs. These tax credits can be converted into cash and help make a film based productions Louisiana more lucrative for producers and investors. The percentages and use of tax credits are something that the legislature should examine it carefully to ensure that the program remains competitive. * Financial impact of the film industry Cinema has become an important economic engine for Louisiana. Reports on the state Film Office that Louisiana has taken over $ 2 billion in revenues and $ 200 million in payroll generated by the film and television between 2002 and 2008. * Infrastructure development key support film productions of films no longer continue to take place in Louisiana a solid infrastructure related film has taken root across the state. These include post-production services, staffing, finance and even special education programs is now statewide. * Impact of a deteriorating economy, like most states, Louisiana is facing a budget deficit for 2009. Declining state revenues makes it more difficult to extend the tax incentives in times of economic downturn. However, the potential decrease in jobs or revenue from film and television is more concern for state officials. * Increased pressure from other states on the success of LouisianaĆ¢???? State film program of the other are now trying to compete in this sector and have begun to offer incentives of their own. States like Georgia and Michigan have “raised the stakes” in setting tax credit to higher levels has already been done before. It is a great debate in the Member States, whether or not this is financially viable, but the net effect has been greater competition. FBT Film & Entertainment would like to see the film tax credits extended in their current state. While other states have established programs with greater reductions Louisiana has many other factors that contribute to leveling the game, including unique places, strong film infrastructure, highly qualified staff and ongoing support of the state and local officials.

Wednesday, June 2, 2010

WWAY TV-3, A North Carolina TV Station's Report

Wilmington Council meets with Film Commission
Submitted by Shontrelle Robinson on Tue, 06/01/2010 - 1:22pm.READ MORE:

* News
* New Hanover County News
* film incentives
* Hollywood East
* Wilmington
* Wilmington Film Commission


WILMINGTON, NC (WWAY) -- This morning Wilmington City Council found out about a bill in the state legislature to lift the cap on the state's tax incentives for film projects. Council asked the Wilmington Film Commission for a briefing so council could see what the commission has accomplished in the past year.

Commission director Johnny Griffin says it's asking for the caps to be removed so that production companies can get the most bang for their buck in the Tar Heel State.

"Essentially, the 25 percent incentive was passed last year, but because of some caps that were on it the companies have just not been able to fully utilize it," Griffin said. "So essentially what we're asking for these caps to be removed so the companies can fully utilize what was attended for them to utilize in the first place."

Griffin said if the incentive is passed, then the movie business will pick up here in Hollywood East.
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Disclaimer: Comments posted on this, or any story are opinions of those people posting them, and not the views or opinions of WWAY NewsChannel 3,

Tuesday, June 1, 2010

The New Mexico Independent,Great Article

NM paid out $181 million in film tax credits over nearly three years
By Trip Jennings 5/31/10 12:25 PM Digg Tweet

New Mexico can be found a lot on the big and little screen these days. Watch AMC’s critically acclaimed Breaking Bad, featuring two-time Emmy winner Bryan Cranston, and there are the Sandias. It’s hard to tell, but, yep, there’s Galisteo in Legion, a thriller with a God-is-angry-with-humanity-so-here-comes-the-apocalypse storyline that was released earlier this year.

That steady activity of film and TV shoots is raising New Mexico’s profile in Hollywood as several films or TV series shot here have racked up Oscar and Emmy awards in recent years. But the bigger profile is also raising the amount of money New Mexico is paying out to film and TV productions through a controversial tax credit program.

Over the past 33 months, 118 film and TV productions were paid $181 million through the program, including $60 million this fiscal year, state documents show.

This year’s payout appears likely to eclipse the $61,464,418.56 New Mexico doled out last year. This year’s total –$60,519,012.63 — was through April 14, more than two months shy of June 30, the end of the fiscal year, documents show.

The film tax credit program is wearing a bigger bulls-eye these days as New Mexico’s lagging economy, and a strained state budget, add urgency to critics’ calls for an end to the program.

Citing pared-down state services, higher unemployment and forced state worker furlough days — most state workers took their fifth, and final, furlough day of the fiscal year Friday, opponents say 2010 isn’t the time to be handing out money.

“We’re cutting services, furloughing state employees. And we’re sending tens of millions of dollars to Hollywood. That ain’t right. It’s wrong,” said first-term Rep. Dennis Kintigh, R-Roswell.

Kintigh, along with two top Senate Democrats, has emerged as a vocal critic of the program, citing worries about the state paying an industry to do business here at a time when New Mexico is hurting.

“We’re told if we don’t provide these incentives they will pack up and leave. If that’s the case the industry doesn’t have any roots here,” Kintigh said. “We don’t do that for the newspapers or the TV business.”

Doing away with the program is short-sighted, advocates say. The tax credits go toward reimbursing a portion of money production companies already have spent here in New Mexico, not to subsidize Hollywood.

Plus the incentives have helped grow New Mexico’s local film and TV industry from a few dozen folks several years ago to about 3,000 individuals earning a living, they say.

The average salary for someone working in the industry is “between $17 and $22 an hour, and that’s for the first 8 hours and then you go into the overtime and double time,” said Lisa Strout, director of the New Mexico Film Office.

At the same time the program helps bring in much-needed tax revenue for the state and local governments, thanks to the 24 major projects a year between films and TV series that New Mexico hosts, Strout said.

End the program, and you risk losing the jobs, not to mention the tax revenue, generated by the tax credit program.

“When certain people say, I don’t believe Hollywood will go away, well, call,” said Lisa Strout, director of the New Mexico Film Office. “I’ve had people tell me, ‘If this goes away, well, yeah, see ya.’”

The tax credit and how it works

The film tax credit isn’t a true tax credit, it’s more like a rebate. The film productions spend money in New Mexico and then the state reimburses a quarter of what each production spends in ‘qualified expenses,’ a broad category that contains any direct production expense purchased in New Mexico that has a state tax attached.

That could mean lumber purchased in New Mexico to help build a set, meals bought from a local caterer or receipts from a local car rental company for vehicles used by producers.

The money New Mexicans earn while working on the production, as carpenters or electricians or technical crew, also qualify as expenses eligible for the 25 percent reimbursement.

Restrictions keep a film production from claiming expenses for non-residents, although there are exceptions. A production company can get a rebate on money paid in rent for non-resident actors and stunt performers (but not for directors or producers), according to rules on the New Mexico Film Office’s website.

A production company also can claim what a non-resident actor or stunt performer is paid as a qualified expense, but only after they are paid through a “New Mexico entity and the non-resident actors agree to file a New Mexico personal income tax return,” the rules say.

If the state has given a rebate of 25 percent, then the 118 productions that were paid $181 million since July 1, 2007, have spent at least $724 million in New Mexico.

That’s a pot of money that likely would not exist without the tax credit and other incentives, including New Mexico’s no-interest film loan program, the state has used to attract film and TV productions, supporters say.

“You cannot just look at the half the connection,” Strout added. “You can’t just look at money going out. You have to look at the money coming in. This is money that came in to this state that is new. The benefit that we’re looking at is to New Mexicans.”

Fact checking and audits

Strout said the state has put in safeguards to ensure the production companies aren’t reimbursed for more than they’re entitled to, including two types of audits performed by the state’s Taxation and Revenue Department.

Rick Homans, the state’s tax and revenue secretary, told the Independent that his department asks smaller productions to document “every single expense.”

“On the larger ones, where there’s mountains of paperwork, we will randomly select invoices or receipts,” Homans said. “If in that random selection we see discrepancies then we will go deeper and deeper. We don’t commit the resources to go through every receipt.”

After going through receipts and invoices, his department then does a line-by-line audit of a production company’s application to confirm that every expense being applied for is eligible for the 25 percent reimbursement.

“If there’s any doubt about a transaction qualifying, then we ask for additional documentation until we’re satisfied,” Homans said.

The tax department has added personnel to its film tax credit division, which does 90 percent film tax credit work to “make sure we are paying these things out appropriately,” Homans said.

A competitive market

It’s not hard to find signs that New Mexico has raised its profile in Hollywood.

In addition to Breaking Bad, two other TV series are shooting in Albuquerque these days – USA’s In Plain Sight and Scoundrels, an ABC series premiering next month.

Meanwhile, dozens of films have been shot in New Mexico, from small character studies like Crazy Heart, for which Jeff Bridges won an Oscar this year, to the 2007 Oscar winner No Country for Old Men, based on Cormac McCarthey’s book by the same name.

But Strout said New Mexico can’t take that steady activity for granted. The competition for film and TV productions is fierce, with 40 other states offering incentives to lure productions their way.

The 25 percent New Mexico reimburses production companies for ‘qualified expenses’ is lower than the rate offered by 12 other states, including Michigan and Louisiana, Strout said.

“We are talking about one of the top exports from this country – the film and media industry –it’s like No. 2 or 3,” Strout said. “That’s why everyone is offering incentives.”

Not a convincing argument

Kintigh doesn’t find Strout’s argument convincing.

“This is a business bailout in advance,” Kintigh said. “We’re paying people to do business in New Mexico. That doesn’t work in any economic sense.”

Kintigh was unsuccessful this past legislative session in trying to stop the program with sponsored legislation. But he had some powerful allies in his fight, including Sen. President Pro Tem Tim Jennings and Senate Finance Committee Chairman John Arthur Smith. Smith has consistently questioned the economic worthiness of the program while Jennings suggested that Gov. Bill Richardson should shut down the program if he vetoed legislation restoring a state tax on food. (Richardson vetoed the tax but did not take Jennings up on his suggestion.)

Kintigh said he realizes what might be lost if the state stops the tax credit program.

“I’m scared they might” leave the state, Kintigh said of the film production companies.

The Roswell lawmaker said he has spoken with supporters of the tax credit program and feels for them.

“If these businesses leave their dreams are smashed,” Kintigh said. “I don’t want to destroy people’s dreams. That really grates on me, the people who have poured themselves into this. They have been sucked into something that isn’t sustainable.”