Georgia Films Create Georgia Jobs: GPP (and others) on the offensive
Posted by Gabe Wardell on Sat, Jan 29, 2011 at 9:09 AM
Are Georgia Tax Incentives About to get Merked??
I received an email last night from the Georgia Production Partnership about the current state of the Tax Incentives which are up for review by the state legislature in light of the state's dire economic budget crisis.
"Did you know that the Film Incentive is under review in the state legislature? It could be written off the books.
GPP is on the offense. Part of our plan is to populate a FaceBook Page with industry success stories. We are calling all members to sign on to this page and tell us how the incentive has impacted you. We need everyone to do this.
Sign on to http://www.facebook.com/pages/Georgia-Films-Create-Georgia-Jobs/125145060889730?v=wall and share "why you stayed in Georgia to work," "why you came back to Georgia to work," or "how you or your company has benefited from the Incentive." Do this now.
A big "shout out" to our Teamsters Local 728. They were the first to sign on the FaceBook Page and tell us how they have more than tripled the number of working members since the Film Incentive was enacted. This is the type of story we need."
In the film, television and gaming production game, competitive tax credits are the single most effective method for attracting lucrative Hollywood films and television series to shoot in your market.
While the initial return of 30% may seem like the state is giving away the store, the impact of such investment pays dividends in other ways—most noticeably jobs. The amount of industry professionals who have returned to Georgia from Los Angeles, New York, Louisiana and North Carolina because of the influx of steady work is noticeable—especially at places like GPP meetings, and in industry circles.
To keep them here, and working, the state needs to maintain an even keel. The incentives package and tax credits need to be reliable, stable and sustainable.
The production boom has also boosted service and hospitality industries like catering, hotels, car services, restaurants, amplified industry-centered services like equipment rental, security, payroll, set-construction, costumes, effects, etc. as well as providing local creative professionals from actors, artists, make-up, builders, craftspeople chances to work.
The Facebook Page is an opportunity for individuals who have benefitted from the legislation to share their stories with the world.
Apryl Hughes I am a MUA and actor, I just moved back to the south east from LA, because I have heard that there is so much work coming to the southeast, especially Atlanta. I really hope that the incentives stay, there are a LOT of people counting on the chance to find work here.
Heather Place I've been a member of SAG for 17 years and feel so fortunate to be able to live and work in Georgia and raise my daughter here without having to relocate to L.A., primarily because of these wonderful incentives! This act is creating jobs for Georgians, keep the work in our state—please!!
Clayton Landey I am a Union Actor since 1975. After 30 years in Los Angeles I moved back to Atlanta. Thanks to the Tax Incentive program I have been a contributing member to this economy ever since. Recurring on Drop Dead Diva, working in Franklin and Bash, Footloose and now Undocumented Executive
Since the signing of the Georgia Entertainment Industry Investment Act on May 12, 2008, dozens of feature films have come to Georgia to shoot, as well as television series like "Drop Dead Diva," "Vampire Diaries," and "The Walking Dead."
If the incentives go away, so does the work.
Sunday, January 30, 2011
Saturday, January 29, 2011
From Columbia Missouri Daily Tribune
Open Column
Missourians benefit from film tax credit
Columbia Daily Tribune
Friday, January 28, 2011
Editor, the Tribune: I know these are trying times for any program in Missouri that is based on tax credits, but the two goals of the Missouri Film Commission are to attract business and to build an in-state industry. Our tax credit program is the current means by which we pursue these goals. We are asking the legislature to continue to fund this program.
Note the economic impact of Paramount’s “Up in the Air” on the urban St. Louis area and the impact of the independent film “Winter’s Bone” on rural Greene and Taney counties. These two productions alone employed more than 130 Missourians and spent more than $12 million in our state. During the months of production, they stayed in our hotels and ate in our restaurants. In the current competitive climate, these movies would not have been made here without financial incentive. In my time on the film commission, I’ve seen the motion-media potential in Missouri.
I see new video production studios and new graphics companies — good ones. Companies that can attract business from other states. I’ve seen the more than 40 professions that are affected by just one film production: electricians, caterers, drivers, musicians, carpenters, etc. These are Missourians. The film tax credit is less than 1 percent of the total tax credits given out by the state and one of the few that bring in outside money to Missouri. This isn’t about Hollywood and celebrities. It’s about jobs and building an industry for our future.
Bill Lennon, chair
Missouri Film Commission
229 Country Bluff Drive
Missourians benefit from film tax credit
Columbia Daily Tribune
Friday, January 28, 2011
Editor, the Tribune: I know these are trying times for any program in Missouri that is based on tax credits, but the two goals of the Missouri Film Commission are to attract business and to build an in-state industry. Our tax credit program is the current means by which we pursue these goals. We are asking the legislature to continue to fund this program.
Note the economic impact of Paramount’s “Up in the Air” on the urban St. Louis area and the impact of the independent film “Winter’s Bone” on rural Greene and Taney counties. These two productions alone employed more than 130 Missourians and spent more than $12 million in our state. During the months of production, they stayed in our hotels and ate in our restaurants. In the current competitive climate, these movies would not have been made here without financial incentive. In my time on the film commission, I’ve seen the motion-media potential in Missouri.
I see new video production studios and new graphics companies — good ones. Companies that can attract business from other states. I’ve seen the more than 40 professions that are affected by just one film production: electricians, caterers, drivers, musicians, carpenters, etc. These are Missourians. The film tax credit is less than 1 percent of the total tax credits given out by the state and one of the few that bring in outside money to Missouri. This isn’t about Hollywood and celebrities. It’s about jobs and building an industry for our future.
Bill Lennon, chair
Missouri Film Commission
229 Country Bluff Drive
Thursday, January 27, 2011
We're BACK!!!
We're BACk!
On Tuesday this week, Jay and I handed a letter to Iowa Governor Branstad's front desk assistant, his long-time friend, Leo Hough. The letter contained accounts of creative Iowans' experiences after the film program was axed by former governor Culver. Today we
returned to the Capitol in our renewed effort to get the Iowa Film Office back. However, a huge boulder of an obstacle now blocks our path because there is no mention of the Iowa Film Office in the budget report. This new budget will be in effect for two years as I understand it. It is like we have fallen into a deep crevice and our arm is stuck.. as in "127 Hours". But even the young man in that film managed to escape, and I am not giving up hope for our own survival, although there may be lasting scars.
Even though during today's visit there weren't many legislators roaming the halls we were still able to meet with several important players. Besides meeting with Mr. Hough, we spoke with the governor's policy chief and one of the key leaders of the new administration, David Roederer, who warmly greeted us and urged us to stay visible and active.
As for the budget, not enough was done by the Iowa film community to influence the budget. Had a massive push been made before the budget was finalized, and before the ink was dry on the paper, perhaps there would have been something for the Iowa Film Office. But instead of being critical or bitter, I am going to keep talking and writing.
I will continue to make these reports and my friend Jay and I will continue to go to the capitol every week during this session.
gene l. hamilton
Wednesday, January 26, 2011
Here's My Letter, Where's Yours?
I just sent a letter to all of our representatives and senators in the Iowa legislature requesting that they re-establish the Iowa Film Office with adequate funding, adequate staffing, better supervision, and away from the disfunction of the Iowa Department of Economic Development. I'm not really sure if my letter will be very effective all by itself. When it comes to swaying legislators numbers matter. If I'm the only one writing letters it is possible that they might think I'm the only one interested in this issue and that they can safely ignore me. If all of you write them, on the other hand, it might get their attention.
There really isn't any excuse not to write, not if you care about working in film without having to take up residence in another state. The film tax credits might be in suspended animation right now and possibly remaining so until the court trials are over with but there is certainly no reason why we can't have a film office to support what little film production activity can happen. And it is not necessary that you write each and every legislator like I did. All you need to do is to write the state representatives and senators who work for you. Who are they? Perhaps these two links will help. Both of these pages contain the email addresses of those who represent you in the legislature.
Representatives
http://www.legis.iowa.gov/Legislators/house.aspx
Senators
http://www.legis.iowa.gov/Legislators/senate.aspx
So here is my letter (Where's yours?):
Dear Representative/Senator __,
During the previous terms of Governor Branstad, the Iowa Film Office helped to increase the number of motion picture and television projects brought into Iowa. Before it was established, hardly any productions were shot here. After it was established this number increased noticeably but not as much as it could have, given that, even then, the office was understaffed and underfunded.
Under the last Film Office director we got a good idea of the promise of film in Iowa as well as the potential pitfalls given poor management and underfunding. While there may be no incentive program operating right now, there is still a need for an Iowa Film Office in its role as a representative of Iowa to producers, both out of state and locally.
Film in Iowa is not necessarily bad and the Iowa Film Office can definitely do good for the state under the right circumstances. For this reason I am asking you to consider reinstating funding and staffing for the Iowa Film Office. With adequate funding and staffing it might be possible to iron out the problems that existed and more closely focus on the role and services that it can provide. I'd also ask that it be moved to a different department than the Iowa Department of Economic Development (perhaps the Iowa Department of Cultural Affairs, as Governor Branstad had suggested) and that it be directly supervised by the Governor's office for maximum accountability. We all know what happened when IDED supervised it and I would hope that we could avoid a repeat of that.
My hope is that you will restore enough funding to the Iowa Film Office so it can operate efficiently, staff it with enough people for it to function, move it to another department so it is not tampered with and put it under the governor's direct supervision so that it is accountable.
Respectfully,
David Thrasher
There really isn't any excuse not to write, not if you care about working in film without having to take up residence in another state. The film tax credits might be in suspended animation right now and possibly remaining so until the court trials are over with but there is certainly no reason why we can't have a film office to support what little film production activity can happen. And it is not necessary that you write each and every legislator like I did. All you need to do is to write the state representatives and senators who work for you. Who are they? Perhaps these two links will help. Both of these pages contain the email addresses of those who represent you in the legislature.
Representatives
http://www.legis.iowa.gov/Legislators/house.aspx
Senators
http://www.legis.iowa.gov/Legislators/senate.aspx
So here is my letter (Where's yours?):
Dear Representative/Senator __,
During the previous terms of Governor Branstad, the Iowa Film Office helped to increase the number of motion picture and television projects brought into Iowa. Before it was established, hardly any productions were shot here. After it was established this number increased noticeably but not as much as it could have, given that, even then, the office was understaffed and underfunded.
Under the last Film Office director we got a good idea of the promise of film in Iowa as well as the potential pitfalls given poor management and underfunding. While there may be no incentive program operating right now, there is still a need for an Iowa Film Office in its role as a representative of Iowa to producers, both out of state and locally.
Film in Iowa is not necessarily bad and the Iowa Film Office can definitely do good for the state under the right circumstances. For this reason I am asking you to consider reinstating funding and staffing for the Iowa Film Office. With adequate funding and staffing it might be possible to iron out the problems that existed and more closely focus on the role and services that it can provide. I'd also ask that it be moved to a different department than the Iowa Department of Economic Development (perhaps the Iowa Department of Cultural Affairs, as Governor Branstad had suggested) and that it be directly supervised by the Governor's office for maximum accountability. We all know what happened when IDED supervised it and I would hope that we could avoid a repeat of that.
My hope is that you will restore enough funding to the Iowa Film Office so it can operate efficiently, staff it with enough people for it to function, move it to another department so it is not tampered with and put it under the governor's direct supervision so that it is accountable.
Respectfully,
David Thrasher
Tuesday, January 25, 2011
Time Is Ticking FASSSSSST! Come ON, Do Something!!!
TIME IS TICKING!
Legislators need to know that we need to re-establish the Iowa Film Office and properly fund and staff it! Unless enough of us act, we will have another TWO YEAR wait until another chance presents itself.
Today Jay and I took a letter to the Iowa governor containing accounts of how the axing of the film program hurt Iowans.
From Oregon Capitol News, by Sarah Ross
Film incentives to get another look in the legislature
January 24, 2011
BY SARAH ROSS
PORTLAND- With Oregon’s $7.5 million film incentive program set to expire, the question for legislators remains, how important is keeping the film industry alive in the state?
It’s been present in Oregon since the “Silent Era.” It’s brought in celebrities of high caliber and helped transform little-known stars into household names.
From the most recent success of Portlandia to the location for TNT drama Leverage, the film industry in Oregon has been active for decades and has claimed major successes in just the last few years with the blockbuster Twilight.
But few Oregonians are aware of the work it takes to bring these names to film in the state. With competition from states like Louisiana and Michigan which give away millions more in incentives to bring the industry to their states, even films like Twilight have moved to those locations for continuous production.
“Of the forty-plus states that offer tax incentives, or film incentives, Oregon ranks among the lower third in terms of money that producers can access,” said Vince Porter, Executive Director of the Governor’s Office of Film and Television.
In the recent election, many new fiscal conservative governors have taken these film incentive programs to task as part of their budgetary downsizing. New Jersey Governor Chris Christie even went so far as to eliminate the program in New Jersey all together.
While fiscal conservatives may see the elimination of this program as an easy decision, it does have consequences.
As an example, Porter mentioned that at hearing news of the elimination of New Jersey’s film incentive program, Law and Order SVU immediately uprooted their production to New York state.
“For better or worse, the current environment for film production is that your state needs to have an incentive program in order to get that kind of work,” said Porter.
In the 2009 legislative session, the state legislature passed an increase in funding for the Office to attract production teams to the state. Since that time, the Office has given away $7.5 million in tax rebates each year to projects which spend over $750,000 in the area. The projects are eligible for up to a 20 percent rebate on goods and services purchased in Oregon.
Not only can projects get these rebates on goods and services, but projects which spend at least $1 million locally are given a 16.2 percent cash rebate on wages paid within the state.
To spur growth in the local film industry, the Indigenous Oregon Production Investment Fund was created in 2009 to provide the same 20 percent rebates to Oregon-based projects spending at least $75,000.
The extension of the $7.5 million cap on film incentives is set to expire in the coming year, meaning that a new piece of legislation to adjust that sunset date and extend the cap will be coming down the pipe in the 2011 legislative session.
“I anticipate a debate,” said Porter. “Anybody that has a key program that involves tax credits this year should be ready for a debate.”
“We do have a lot of people…within the legislature who conceptually very much think that this has been a good performing effort and one worth continuing,” he said.
January 24, 2011
BY SARAH ROSS
PORTLAND- With Oregon’s $7.5 million film incentive program set to expire, the question for legislators remains, how important is keeping the film industry alive in the state?
It’s been present in Oregon since the “Silent Era.” It’s brought in celebrities of high caliber and helped transform little-known stars into household names.
From the most recent success of Portlandia to the location for TNT drama Leverage, the film industry in Oregon has been active for decades and has claimed major successes in just the last few years with the blockbuster Twilight.
But few Oregonians are aware of the work it takes to bring these names to film in the state. With competition from states like Louisiana and Michigan which give away millions more in incentives to bring the industry to their states, even films like Twilight have moved to those locations for continuous production.
“Of the forty-plus states that offer tax incentives, or film incentives, Oregon ranks among the lower third in terms of money that producers can access,” said Vince Porter, Executive Director of the Governor’s Office of Film and Television.
In the recent election, many new fiscal conservative governors have taken these film incentive programs to task as part of their budgetary downsizing. New Jersey Governor Chris Christie even went so far as to eliminate the program in New Jersey all together.
While fiscal conservatives may see the elimination of this program as an easy decision, it does have consequences.
As an example, Porter mentioned that at hearing news of the elimination of New Jersey’s film incentive program, Law and Order SVU immediately uprooted their production to New York state.
“For better or worse, the current environment for film production is that your state needs to have an incentive program in order to get that kind of work,” said Porter.
In the 2009 legislative session, the state legislature passed an increase in funding for the Office to attract production teams to the state. Since that time, the Office has given away $7.5 million in tax rebates each year to projects which spend over $750,000 in the area. The projects are eligible for up to a 20 percent rebate on goods and services purchased in Oregon.
Not only can projects get these rebates on goods and services, but projects which spend at least $1 million locally are given a 16.2 percent cash rebate on wages paid within the state.
To spur growth in the local film industry, the Indigenous Oregon Production Investment Fund was created in 2009 to provide the same 20 percent rebates to Oregon-based projects spending at least $75,000.
The extension of the $7.5 million cap on film incentives is set to expire in the coming year, meaning that a new piece of legislation to adjust that sunset date and extend the cap will be coming down the pipe in the 2011 legislative session.
“I anticipate a debate,” said Porter. “Anybody that has a key program that involves tax credits this year should be ready for a debate.”
“We do have a lot of people…within the legislature who conceptually very much think that this has been a good performing effort and one worth continuing,” he said.
Friday, January 21, 2011
by Dorothy Pomerantz at Forbes.Com
The Improving Economics of Independent Film
Jan. 20 2011
By DOROTHY POMERANTZ
What will be this year's 'Little Miss Sunshine'?
Thousands of people are converging on Park City, Utah, today for the start of the Sundance Film Festival, the biggest independent film festival of the year. Sundance is where films like Little Miss Sunshine, The Usual Suspects and The Blair Witch Project made their debuts.
For the past few years though, Sundance has been at the center of an industry in trouble. Like the rest of the economy, the independent film world got hit hard by the global crisis. Before 2008, Wall Street bankers with more money than they knew what to do with were directing extra funds into the film world in the hopes of turning a profit or at least getting to meet Scarlett Johansson.
That created a glut of independent films that were competing for limited theater space and audience attention. As a result marketing budgets started to exceed production budgets. The economics of making independent films fell apart around the same time Wall Street crashed. Independent film branches like Paramount Vantage and Warner Independent closed their doors.
But today, things are starting to look up for independent films. The glut is gone. And with fewer players, those left standing can focus only on quality films that have box office potential instead of making a grab for any movie with any buzz at all.
And it’s getting easier to finance movies than it was two years ago.
“The amount of equity required to finance a film has diminished,” say Steven Beer, a lawyer at Greenberg Traurig who is helping to sell three films at the festival this year including a documentary about A Tribe Called Quest. “The Jobs Creation Act gives filmmakers a federal tax credit for qualified production. Couple that with state incentive programs which can offer up to a 40% return on a per project basis.”
Plus filmmakers have more outlets than ever to show their films. It was once seen as a Scarlet Letter to have your movie go straight to DVD. But video on demand and streaming through iTunes and Netflix don’t carry the same kind of stigma.
“Theatrical release is no longer the Holy Grail for the independent film community,” says Beer. “You’re better off using a limited release to raise awareness. VOD streaming and digital downloads are much more fertile ground for revenue.”
As part of the Comcast/NBC merger which was approved by the FCC earlier this week, Comcast agreed to work with the Independent Film and Television Alliance to allow for more independently-produced shows and movies on NBC stations. As part of the deal Comcast will meet with the IFTA to help independent producers “license their content to Comcast Cable for distribution on new media platforms.”
And as movies like Black Swan have shown, independent films cam be quite profitable. Made for only an estimated $13 million, the film has so far grossed $76 million. That’s better economics than something like How Do You Know which cost an estimated $120 million and has brought in only $30 million to date.
Jan. 20 2011
By DOROTHY POMERANTZ
What will be this year's 'Little Miss Sunshine'?
Thousands of people are converging on Park City, Utah, today for the start of the Sundance Film Festival, the biggest independent film festival of the year. Sundance is where films like Little Miss Sunshine, The Usual Suspects and The Blair Witch Project made their debuts.
For the past few years though, Sundance has been at the center of an industry in trouble. Like the rest of the economy, the independent film world got hit hard by the global crisis. Before 2008, Wall Street bankers with more money than they knew what to do with were directing extra funds into the film world in the hopes of turning a profit or at least getting to meet Scarlett Johansson.
That created a glut of independent films that were competing for limited theater space and audience attention. As a result marketing budgets started to exceed production budgets. The economics of making independent films fell apart around the same time Wall Street crashed. Independent film branches like Paramount Vantage and Warner Independent closed their doors.
But today, things are starting to look up for independent films. The glut is gone. And with fewer players, those left standing can focus only on quality films that have box office potential instead of making a grab for any movie with any buzz at all.
And it’s getting easier to finance movies than it was two years ago.
“The amount of equity required to finance a film has diminished,” say Steven Beer, a lawyer at Greenberg Traurig who is helping to sell three films at the festival this year including a documentary about A Tribe Called Quest. “The Jobs Creation Act gives filmmakers a federal tax credit for qualified production. Couple that with state incentive programs which can offer up to a 40% return on a per project basis.”
Plus filmmakers have more outlets than ever to show their films. It was once seen as a Scarlet Letter to have your movie go straight to DVD. But video on demand and streaming through iTunes and Netflix don’t carry the same kind of stigma.
“Theatrical release is no longer the Holy Grail for the independent film community,” says Beer. “You’re better off using a limited release to raise awareness. VOD streaming and digital downloads are much more fertile ground for revenue.”
As part of the Comcast/NBC merger which was approved by the FCC earlier this week, Comcast agreed to work with the Independent Film and Television Alliance to allow for more independently-produced shows and movies on NBC stations. As part of the deal Comcast will meet with the IFTA to help independent producers “license their content to Comcast Cable for distribution on new media platforms.”
And as movies like Black Swan have shown, independent films cam be quite profitable. Made for only an estimated $13 million, the film has so far grossed $76 million. That’s better economics than something like How Do You Know which cost an estimated $120 million and has brought in only $30 million to date.
Wednesday, January 19, 2011
Gov. Branstad Quote From Beth Malicki Interview
On the Iowa Film Office
"I think it was ill conceived and badly managed that while tax credit- I think that was a mistake."
"I think we can have film in Iowa. I don't think we need to give a big tax break to people who don't live in Iowa and don't pay taxes in Iowa. We need to revamp it. I want to restore the film office. I want to do it in a way that's efficient and economical and I believe that based on that we can attract film. But if we spend more than we benefit, it doesn't make sense."
"I think it was ill conceived and badly managed that while tax credit- I think that was a mistake."
"I think we can have film in Iowa. I don't think we need to give a big tax break to people who don't live in Iowa and don't pay taxes in Iowa. We need to revamp it. I want to restore the film office. I want to do it in a way that's efficient and economical and I believe that based on that we can attract film. But if we spend more than we benefit, it doesn't make sense."
Monday, January 17, 2011
Back Lot or Industry? - Iowa's Place in the Film Business
When supporters of an Iowa Film Incentive talk, it is usually along these lines: "We need film incentives so film producers (Hollywood) will come to Iowa, shoot their films, spend money, and support the Iowa Film Industry". They usually talk and think of Iowa as solely a location. They speak of economic impact in terms of purchases at local businesses. All this is well and good but it certainly does not create an industry, at least not a permanent one. This is because if the flow of films ebbs, those Iowans working in the business will have to either go elsewhere to seek opportunities or find another line of work.
Regarding Iowa as strictly a shooting location and placing ourselves entirely at the whims of the production slate of Hollywood studios is a very limiting way of thinking. To consider Iowa as being exclusively a location brings a few problems and limitations with it. Weather is one of them. Most productions are likely to be shooting during the warmer months of the year. This leaves film workers idle during the winter months.
When considering Iowa as a location most producers imagine only farms and small towns. This hardly makes Iowa unique as there are similar farms and similar small towns in other states and in Canada.
Even in thinking of Iowa as just a location, the thinking is limited because Iowa encompasses more than farms and small towns. There are many wooded areas that could stand in for other locations (think "Robin Hood"). There are areas with sheer rock faces (the bluffs along the Mississippi), and places with tall buildings (Des Moines and Cedar Rapids). Beyond that, most people forget that it is possible to build sets to represent other places. For example, for the film "Aaseamah's Journey" an Iraqi village was built. That's right, in Iowa! Just because this is Iowa doesn't mean that filmmaking with imagination can't happen.
About this "film industry" of ours: Although many call it such, presently it is made up of just a few small companies that produce local and regional television commercials and industrial films. This hardly qualifies us as a mecca for film production. Having feature film productions come in from Hollywood is unlikely to change this much. What is needed is our own indigenous film industry - one with projects that originate within our own borders. If any of these achieve success it may be enough to create the conditions to build permanent businesses and infrastructure.
The film business is not just camera crews on location. There are other facets of the business that function before, during, and after principal photography. Most of these functions are not dependent on locations (mountains, deserts, oceans) or weather and many could certainly be in Iowa.
Functions that take place before shooting and could be anywhere include, and are not limited to, screenwriting, storyboards, film completion bonds, insurance, and budgeting. Why couldn't some of these activities take place in Iowa? Being in close geographic proximity is not as much of an issue as it once was because of technological improvements with communication.
During principal photography, not everything needed is location dependent. During the days of the studio system, sound stages were heavily used and many films today still employ sound stages for part of their production. Because sound stages offer more precise control over shooting conditions and protection from weather, they would be an ideal addition to Iowa's film infrastructure. Besides augmenting the needs of visiting Hollywood productions, they could also make it possible to produce Iowa originated productions year round. If some stages were built with unique characteristics, such as an extra large studio tank, or special equipment for green screen or motion capture, it might be possible for Iowa to attract some movie business that doesn't involve farm and small town locations.
Sound stages also encourage television production. Television shows would be good for the Iowa film community because they typically employ film workers for longer periods of time than feature films and thus provide more stable employment. Television should not be ignored when we talk about a film industry.
A film doesn't end when the cameras stop rolling. There are many processes needed to finish a film and there is no reason they can't happen in Iowa. Films need to be edited, sound mixed, and color corrected. Films need to be scored and, if it is not released digitally, lab work must be done. Why can't at least some of this be available in Iowa?
Lastly a completed film must be marketed and distributed. Distribution is where the real power lies in the industry and it is the function that completes the production chain. Why not have some distribution companies in Iowa? The established companies may have most of the advantages but nothing ever stays the same. With imagination Iowa could have a piece of this business. With distribution in place we could say we truly have a film industry.
So what is Iowa's place in the film business? Back lot or industry?
Regarding Iowa as strictly a shooting location and placing ourselves entirely at the whims of the production slate of Hollywood studios is a very limiting way of thinking. To consider Iowa as being exclusively a location brings a few problems and limitations with it. Weather is one of them. Most productions are likely to be shooting during the warmer months of the year. This leaves film workers idle during the winter months.
When considering Iowa as a location most producers imagine only farms and small towns. This hardly makes Iowa unique as there are similar farms and similar small towns in other states and in Canada.
Even in thinking of Iowa as just a location, the thinking is limited because Iowa encompasses more than farms and small towns. There are many wooded areas that could stand in for other locations (think "Robin Hood"). There are areas with sheer rock faces (the bluffs along the Mississippi), and places with tall buildings (Des Moines and Cedar Rapids). Beyond that, most people forget that it is possible to build sets to represent other places. For example, for the film "Aaseamah's Journey" an Iraqi village was built. That's right, in Iowa! Just because this is Iowa doesn't mean that filmmaking with imagination can't happen.
About this "film industry" of ours: Although many call it such, presently it is made up of just a few small companies that produce local and regional television commercials and industrial films. This hardly qualifies us as a mecca for film production. Having feature film productions come in from Hollywood is unlikely to change this much. What is needed is our own indigenous film industry - one with projects that originate within our own borders. If any of these achieve success it may be enough to create the conditions to build permanent businesses and infrastructure.
The film business is not just camera crews on location. There are other facets of the business that function before, during, and after principal photography. Most of these functions are not dependent on locations (mountains, deserts, oceans) or weather and many could certainly be in Iowa.
Functions that take place before shooting and could be anywhere include, and are not limited to, screenwriting, storyboards, film completion bonds, insurance, and budgeting. Why couldn't some of these activities take place in Iowa? Being in close geographic proximity is not as much of an issue as it once was because of technological improvements with communication.
During principal photography, not everything needed is location dependent. During the days of the studio system, sound stages were heavily used and many films today still employ sound stages for part of their production. Because sound stages offer more precise control over shooting conditions and protection from weather, they would be an ideal addition to Iowa's film infrastructure. Besides augmenting the needs of visiting Hollywood productions, they could also make it possible to produce Iowa originated productions year round. If some stages were built with unique characteristics, such as an extra large studio tank, or special equipment for green screen or motion capture, it might be possible for Iowa to attract some movie business that doesn't involve farm and small town locations.
Sound stages also encourage television production. Television shows would be good for the Iowa film community because they typically employ film workers for longer periods of time than feature films and thus provide more stable employment. Television should not be ignored when we talk about a film industry.
A film doesn't end when the cameras stop rolling. There are many processes needed to finish a film and there is no reason they can't happen in Iowa. Films need to be edited, sound mixed, and color corrected. Films need to be scored and, if it is not released digitally, lab work must be done. Why can't at least some of this be available in Iowa?
Lastly a completed film must be marketed and distributed. Distribution is where the real power lies in the industry and it is the function that completes the production chain. Why not have some distribution companies in Iowa? The established companies may have most of the advantages but nothing ever stays the same. With imagination Iowa could have a piece of this business. With distribution in place we could say we truly have a film industry.
So what is Iowa's place in the film business? Back lot or industry?
Sunday, January 16, 2011
What NOT to do with the Iowa Film Incentives
There's been a flurry of activity lately behind the scenes regarding bringing the Iowa Film Incentives back. With the scandals that caused the current program to be suspended there's a strong effort underway to get things right this time. This would be by replacing the current program with a new and improved one. The hope is to eliminate the omissions and remove loopholes that allowed the program to be abused. Many of the steps to take or not take are obvious. But there are a few things to avoid that look good at first glance but are likely to prove troublesome in practice.
Here are some things to avoid doing:
Shifting most of the film credits to higher budget ($25 million and up) productions.
On this surface this idea looks really good. The bigger the production, the more people hired, right? When you look closer to the wide range effects, some problems emerge. Because so much money is at stake on these higher dollar projects producers will tend to cover their bets by hiring already established industry professionals for the more important and high paying positions. For the most part these people will be those from the major production centers (Hollywood and New York, mostly). Because of their proximity to these locals these people are going to have much longer resumes and deeper experience than the average Iowan can hope to get right now. The result of this is that for most Iowans the most likely areas they will be hired for is for the low end and low paying jobs such as Production Assistant or Extra. This would hardly bring in the influx of income that a film program would be expected to bring in.
Smaller productions, although lower paying and requiring closer supervision, do offer a greater chance of advancement than the big films. This can translate into better jobs on the larger budget shows when these people get hired there. It also improves the quality of Iowa's film talent pool making the state a more attractive place to shoot a motion picture or television production.
Another potential benefit of supporting smaller productions is that some of these can be locally originated. If some of these become successes it is possible that some of these producers may want to put down roots, building infrastructure so they can continue to make films in Iowa. Why? Because we as a state supported them, hardly the situation they would find out in L.A.
Big films can be good and they can be exciting but let's not ignore the big producers of tomorrow.
Giving film incentives for using an Iowa-based pass-thru company
A producer can't find the people or equipment they need in Iowa. So they are allowed film credits if they use an Iowa-based pass-thru company to act as a go-between to procure what they need. Sounds like a way of getting things established, doesn't it? Since Iowa doesn't have a sufficient talent pool built up to staff these film jobs the state can still make itself attractive by offering a way around. And therein lies the problem.
Tell me if I'm wrong but isn't the idea of the film incentives to create film employment for Iowans, in addition to the purchase of goods and services - to build an industry, not just to simply bring films into Iowa?
Pass-thru companies are perceived by the public to be a financial shell game - a cheap accounting trick - because, if you look closely, that's exactly what they are - a way of laundering money paid out so that companies can still receive film credits that they would not otherwise receive. Because they are using an Iowa-based go-between to do their procuring of crew and equipment they are rewarded. Outside of the very few Iowans running these pass-thru companies, no Iowans benefit from these transactions.
Instead of training Iowans for important jobs, pass-thru companies allow producers to be still rewarded for not hiring our citizens. Instead of encouraging Iowa-based film support businesses to develop and grow, these pass-thru companies instead
benefit the established players in other states.
Keeping information about films that are set to shoot a secret
While it might be understandable to keep some information about a film production confidential - contracts, casting decisions, budget information (except perhaps that which which involves film credits) - it is not so understandable that the existence of a film and its contact information should be hidden from the Iowa public. Somehow this issue has never come up, but when the typical Iowan, the kind without personal industry connections, finds out about a production being shot, it is already too late. The crew positions are already filled and the film is already cast. The Iowa Film Incentive Program is supposed to give opportunities to all interested Iowans, not just a few select insiders, right?
If any of the above things are included in a new Film Incentive Program there is sure to be trouble ahead and we might not have a chance to recover again.
Here are some things to avoid doing:
Shifting most of the film credits to higher budget ($25 million and up) productions.
On this surface this idea looks really good. The bigger the production, the more people hired, right? When you look closer to the wide range effects, some problems emerge. Because so much money is at stake on these higher dollar projects producers will tend to cover their bets by hiring already established industry professionals for the more important and high paying positions. For the most part these people will be those from the major production centers (Hollywood and New York, mostly). Because of their proximity to these locals these people are going to have much longer resumes and deeper experience than the average Iowan can hope to get right now. The result of this is that for most Iowans the most likely areas they will be hired for is for the low end and low paying jobs such as Production Assistant or Extra. This would hardly bring in the influx of income that a film program would be expected to bring in.
Smaller productions, although lower paying and requiring closer supervision, do offer a greater chance of advancement than the big films. This can translate into better jobs on the larger budget shows when these people get hired there. It also improves the quality of Iowa's film talent pool making the state a more attractive place to shoot a motion picture or television production.
Another potential benefit of supporting smaller productions is that some of these can be locally originated. If some of these become successes it is possible that some of these producers may want to put down roots, building infrastructure so they can continue to make films in Iowa. Why? Because we as a state supported them, hardly the situation they would find out in L.A.
Big films can be good and they can be exciting but let's not ignore the big producers of tomorrow.
Giving film incentives for using an Iowa-based pass-thru company
A producer can't find the people or equipment they need in Iowa. So they are allowed film credits if they use an Iowa-based pass-thru company to act as a go-between to procure what they need. Sounds like a way of getting things established, doesn't it? Since Iowa doesn't have a sufficient talent pool built up to staff these film jobs the state can still make itself attractive by offering a way around. And therein lies the problem.
Tell me if I'm wrong but isn't the idea of the film incentives to create film employment for Iowans, in addition to the purchase of goods and services - to build an industry, not just to simply bring films into Iowa?
Pass-thru companies are perceived by the public to be a financial shell game - a cheap accounting trick - because, if you look closely, that's exactly what they are - a way of laundering money paid out so that companies can still receive film credits that they would not otherwise receive. Because they are using an Iowa-based go-between to do their procuring of crew and equipment they are rewarded. Outside of the very few Iowans running these pass-thru companies, no Iowans benefit from these transactions.
Instead of training Iowans for important jobs, pass-thru companies allow producers to be still rewarded for not hiring our citizens. Instead of encouraging Iowa-based film support businesses to develop and grow, these pass-thru companies instead
benefit the established players in other states.
Keeping information about films that are set to shoot a secret
While it might be understandable to keep some information about a film production confidential - contracts, casting decisions, budget information (except perhaps that which which involves film credits) - it is not so understandable that the existence of a film and its contact information should be hidden from the Iowa public. Somehow this issue has never come up, but when the typical Iowan, the kind without personal industry connections, finds out about a production being shot, it is already too late. The crew positions are already filled and the film is already cast. The Iowa Film Incentive Program is supposed to give opportunities to all interested Iowans, not just a few select insiders, right?
If any of the above things are included in a new Film Incentive Program there is sure to be trouble ahead and we might not have a chance to recover again.
Tuesday, January 11, 2011
Tonight I attended a meet 'n' greet for Iowa Legislators, which was held at the downtown Des Moines Quality Inn. I went with Jay Villwock, who reluctantly drove, and our friend Dave Thrasher. We were able to have conversations with Shawn Hamerlinck, Republican Senator from Dixon, Iowa. Scott and Nathaniel Weiser, lobbyists. Wally Horn, Democratic Senator from Cedar Rapids. Republican Senator Brad Zaun, from Urbandale.
Everyone we spoke with had only positive things to say about moviemaking in Iowa. Some said people like to have movies made here, that it was exciting and fun. Some offered tips as to how to approach the legislature in order to better sell the idea of making the film office a success again. Next week and during each week the legislature is in session, Jay and I will return to the Iowa Capitol and talk to legislative leaders in our drive to keep filmmaking alive in Iowa.
(pictured from last year's session: me, jay, dave, and Senator Hamerlinck)
I Am Taking ACTION.. Please Join Me NOW...
Greetings...
Talk is cheap. I'm taking action and I'm taking it now. I hope you're with me.
I am going to make a petition letter, stating that we Iowans in the film industry, those who will allow me to use their names on a petition-style letter, would like incoming Governor Branstad to fix the film office and ask for his stamp of approval of allocating $500,000 for the Iowa Film Office budget. I will mention the loss of the Iowa Production Guide and state that many of our best film family talent is leaving and has already left Iowa. Maybe throw in that we've waited over fifteen months, without work, and we can't afford to wait much longer for things to get back on track.
I will personally deliver this letter to the gubernatorial transition office possibly as early as next week and know that it will be put into the hands of Mr. Branstad, who I know is supportive of our mission.
Please write back if I may use your name. Include you name, home town, and email with phone number. If you know someone else who like to do this, please pass this along to him or her.
Thanks!
Gene L. Hamilton
p.s. be sure to delete the names on the "to" list in case your response would go to them somehow....
Talk is cheap. I'm taking action and I'm taking it now. I hope you're with me.
I am going to make a petition letter, stating that we Iowans in the film industry, those who will allow me to use their names on a petition-style letter, would like incoming Governor Branstad to fix the film office and ask for his stamp of approval of allocating $500,000 for the Iowa Film Office budget. I will mention the loss of the Iowa Production Guide and state that many of our best film family talent is leaving and has already left Iowa. Maybe throw in that we've waited over fifteen months, without work, and we can't afford to wait much longer for things to get back on track.
I will personally deliver this letter to the gubernatorial transition office possibly as early as next week and know that it will be put into the hands of Mr. Branstad, who I know is supportive of our mission.
Please write back if I may use your name. Include you name, home town, and email with phone number. If you know someone else who like to do this, please pass this along to him or her.
Thanks!
Gene L. Hamilton
p.s. be sure to delete the names on the "to" list in case your response would go to them somehow....
Monday, January 10, 2011
Help From Wendol Jarvis
Hi Everyone,
I apologize that I owe many, many of you return emails and phone calls. I have been working to resolve some of the many problems facing you from the Iowa Film Office debacle. I am starting to return emails and phone calls now and if I do not reach you tonight I will contact you tomorrow. Thank you all for your warm wishes and I look forward to seeing you all soon.
Since the Iowa Production Guide has been deleted from the Iowa Film Office website, I have set up a page on Facebook as a temporary resource for Iowa’s crew and talent.
FILM Iowa showcases the skills and abilities of Iowa's gifted crew and talent, attracts film production and creates good paying jobs. There is no membership fee or cost to be listed on FILM Iowa’s Facebook page.
http://www.facebook.com/pages/FILMIowa/177729688934448?v=wall
Special thanks to Don Gallagher for expediting this process from wireless laptop while sunning himself on one of the sandy Florida beaches.
Please share this information with all of our friends in Iowa’s production community.
Thank you.
Wendol Jarvis
filmiowa@gmail.com
816-529-3335
I apologize that I owe many, many of you return emails and phone calls. I have been working to resolve some of the many problems facing you from the Iowa Film Office debacle. I am starting to return emails and phone calls now and if I do not reach you tonight I will contact you tomorrow. Thank you all for your warm wishes and I look forward to seeing you all soon.
Since the Iowa Production Guide has been deleted from the Iowa Film Office website, I have set up a page on Facebook as a temporary resource for Iowa’s crew and talent.
FILM Iowa showcases the skills and abilities of Iowa's gifted crew and talent, attracts film production and creates good paying jobs. There is no membership fee or cost to be listed on FILM Iowa’s Facebook page.
http://www.facebook.com/pages/FILMIowa/177729688934448?v=wall
Special thanks to Don Gallagher for expediting this process from wireless laptop while sunning himself on one of the sandy Florida beaches.
Please share this information with all of our friends in Iowa’s production community.
Thank you.
Wendol Jarvis
filmiowa@gmail.com
816-529-3335
The Lights Might Be Turned Off
I called the Iowa Film Office just now and the ringing just stopped and there was silence. I have a call in to Jessica Montana at the Iowa Department of Economic Development and am still waiting for a call back.
The Iowa Production Guide is gone, and I wonder if other resource information is also missing.
We in the Iowa Film Family have suffered for fifteen months. We didn't do anything wrong and don't deserve to wait even longer. You and you and you must now join in a concerted effort to get things back on track. Join my Facebook group, IACT (Iowa Actors and Crew Together and Producers, Too) so I can have a list of film family members and activists who can be called to action when necessary.
Iowa Film Office - Iowa Life Changing
Film Production. Iowa Film Office. ... Iowa Department of Economic Development Iowa Film
Office 200 East Grand Avenue Des Moines, IA 50309 515.725.3100 film@iowa.gov ...
www.iowalifechanging.com/film/ - 16k - Cached
pictured with me is fellow actor and film activist Jay Villwock
gino, mad as hell and not going to take it any longer
Iowa's 1st Film Office Director Issues Important Note
This is from Wendol Jarvis, Iowa's first film office director, and one of our most supportive friends:
Dear Friends,
Someone in the current Administration has deleted your Iowa Production Guide from the Film Office website, the Film Office phones have been shut down and the Department of Economic Development has removed all information from its website relating to filming in Iowa and bringing new film industry jobs. It is believed that valuable files may have been destroyed.
Governor Branstad’s first day in the Governor’s office will be January 18th. Each minute that the Film Office is off line, the likelihood increases that producers will no longer consider Iowa as a film location.
Each of you has suffered deep financial losses brought about by the mismanagement of the Iowa Film Office. The Film Office debacle was caused by the Film Office staff, and you do not deserve this treatment.
Please share this information with all of our friends in Iowa. I am devoting all my efforts to resolve this problem for you.
More to follow.
Wendol Jarvis
816-529-3335
filmiowa@gmail.com
Dear Friends,
Someone in the current Administration has deleted your Iowa Production Guide from the Film Office website, the Film Office phones have been shut down and the Department of Economic Development has removed all information from its website relating to filming in Iowa and bringing new film industry jobs. It is believed that valuable files may have been destroyed.
Governor Branstad’s first day in the Governor’s office will be January 18th. Each minute that the Film Office is off line, the likelihood increases that producers will no longer consider Iowa as a film location.
Each of you has suffered deep financial losses brought about by the mismanagement of the Iowa Film Office. The Film Office debacle was caused by the Film Office staff, and you do not deserve this treatment.
Please share this information with all of our friends in Iowa. I am devoting all my efforts to resolve this problem for you.
More to follow.
Wendol Jarvis
816-529-3335
filmiowa@gmail.com
Sunday, January 9, 2011
Picture from TV-13 of Des Moines
Yesterday, January 8th... The Film Alliance of Iowa held its first open meeting and close to a hundred from the Iowa Film Family (all caps because I love them all) attended. Pictured from R to L are: Me, Dave Thrasher, Jay Villwock, Kim Busbee, and John Busbee. At center right background is Kent Newman.
Saturday, January 8, 2011
Film Alliance of Iowa Meeting Today
Film Alliance of Iowa Open Meeting, With Guest, Iowa Senator Bill Dotzler, Jr.
January 8, 2011
About one hundred members of the Iowa Film Family attended a meeting organized by the new Iowa film organization, the Film Alliance of Iowa. The meeting was held in a meeting room in the Iowa Historical Building in downtown Des Moines.
Panel members included Senator Bill Dotzler, Jr., who is the staunchest supporter of filmmakers in Iowa. Others were Suzie Gorrell, Film SE Iowa; Becky Gruening, Des Moines Film Commission; and Doug Miller, Quad Cites Film Coalition.
Des Moines TV coverage of this meeting may be available on their web sites: WHOTV-13 (NBC), and KCCI TV-8 (CBS).
Those attending this important meeting included actors, make-up and hair artists, transportation crew, producers, union leaders, casting directors, craft services providers, and more. It was like being on a movie set again as friends were reunited, with hugs and smiles in great abundance. A film family reunion that warmed many hearts, including my own.
Senator Dotzler began the meeting by saying, “A good idea is a good idea all of the time”, meaning the Iowa film program that enjoyed huge public support at the beginning and then suffered when Iowa's outgoing Governor Culver axed the film program when abuses of the tax incentives surfaced.
The senator said his fellow legislators became inclined to avoid any involvement with the movie program, owing to the widespread media coverage of abuses and upcoming trials of those moviemakers who took unfair advantage of the tax incentive program. He said the majority of Iowa lawmakers didn't even want to talk about the situation.
Senator Dotzler said film production here keeps creative Iowans from leaving the state, and that having creative thinkers is important for Iowa's culture. He said the Film Alliance of Iowa is a good vehicle to help re-invent the resumption of film production here.
He said it is essential that Iowa legislators be convinced that there will be a good return for the taxpayers' investment in the tax incentive program. The senator also said although lots of legislators are presently against it, with good planning and with a concerted effort they could be convinced to change their minds. He believes we can learn from the failure of the film tax incentive program and bounce back to make a model film bill. He said we would not get a film bill this year, and that it'll be a two year process, meaning 2012 and not later than 2013.
The senator said we must have an Iowa film office set-up this year. Presently, there is no film office and all film matters are clogged with delayed trials of a few moviemakers who didn't fairly report their film-related expenses, and also the delayed trial of former Iowa Film Office director, Tom Wheeler.
Incoming governor Terry Branstad wants to dismantle the IDED and put film matters into the Iowa Cultural Affairs Department, somehow using a combination of private and public entities to manage filmmaking here.
Becky Gruening told the crowd that the Iowa Film Office had been underfunded. She suggested dedicating a budget of $500,000 per year for the Iowa Film Office for two years, and then allow it to be self-sufficient. A staff of three personnel would be needed and a positive public relations campaign would be essential to bring movie producers back to Iowa.
IMPA President, Kent Newman asked Senator Dotzler about the present status of court cases related to movies made here and wondered where things stand. The senator said he only knew what he saw in the press, and that the Iowa Attorney General has been tight-lipped about these cases and that all cases are moving slowly, but not just film-related cases, but all cases.
Becky Gruening told the crowd that although at one point the Iowa Attorney General said there were 100 film projects still coming, the fact is that every single one is dead. An information sheet was shared with everyone detailed this. She also said that despite allegations that Iowa faces a one hundred fifty million dollar tax liability related to films, there is nothing... the moviemakers are gone.
Make-up and hair stylist Andrea Politte spoke-up, and suggested that an entertainment lawyer be added to the film office staff. She said it will come down to marketing to help get things back on track. We're the laughing stock in Hollywood and need to become knowledgeable and competitive. She said people loved having movies made here and that we need to stick together as a united group, and that there is power in numbers.
Senator Dotzler agreed with Andrea and said legislators legislate by the polls, then design a campaign to fit those public opinion polls. He said public opinion is vitally important and that they drive legislation.
Kim Busbee spoke, saying she knows of seventy-two movie industry personnel who have moved out of Iowa and that we must counteract the smear campaign regarding our filmmakers' problems by use of solid facts. She said people were supportive of filmmakers here and that filmmaking is big business, and that we can learn from the mistakes made in film offices of other states who have experienced problems of their own.
Senator Dotlzer said there are thirty new faces in the Iowa legislature and that the film bill is a bipartisan one, meaning there could be no finger pointing regarding any of the bill's problems.
Susie said Florida had a film tax credit program, then it didn't, but now they're back with lots of big shots behind it all.
Kent said the IMPA has an on-line Film Production Guide. When the Iowa Film Office was alive, it was the keeper of this guide.
Teamsters Union representative Matt Ballard told the panel that pass-through companies pulled in workers from others states and that we need to use Iowans instead. He said there are ten thousand Teamster members in Iowa. Susie said the IFA would ensure that Iowans are indeed used first.
Jay Villwock said everyone in the room should talk to people, get involved, meet with state legislators. Doug said a petition should be created with all present at the meeting signing it and more, and then presenting this petition to key legislators. He also said we need to speak with a single voice.
Andrew Erickson (hope this is the correct spelling..) said someone needs to be on site when movies are made, an auditor with film expertise who is certified to oversee the daily activities of a film.. This way, questions regarding any problems could be answered on site and not delayed, such as waiting to take matters to the film office.
Senator Dotzler said the Iowa Film Office exists under a bill and that something can still be done with it. He reiterated that tax dollars appropriated to filmmakers need to show a good bang for the buck. He said we need to maintain strong checks and balances and portray Iowa appropriately.
Gene L. Hamilton
January 8, 2011
About one hundred members of the Iowa Film Family attended a meeting organized by the new Iowa film organization, the Film Alliance of Iowa. The meeting was held in a meeting room in the Iowa Historical Building in downtown Des Moines.
Panel members included Senator Bill Dotzler, Jr., who is the staunchest supporter of filmmakers in Iowa. Others were Suzie Gorrell, Film SE Iowa; Becky Gruening, Des Moines Film Commission; and Doug Miller, Quad Cites Film Coalition.
Des Moines TV coverage of this meeting may be available on their web sites: WHOTV-13 (NBC), and KCCI TV-8 (CBS).
Those attending this important meeting included actors, make-up and hair artists, transportation crew, producers, union leaders, casting directors, craft services providers, and more. It was like being on a movie set again as friends were reunited, with hugs and smiles in great abundance. A film family reunion that warmed many hearts, including my own.
Senator Dotzler began the meeting by saying, “A good idea is a good idea all of the time”, meaning the Iowa film program that enjoyed huge public support at the beginning and then suffered when Iowa's outgoing Governor Culver axed the film program when abuses of the tax incentives surfaced.
The senator said his fellow legislators became inclined to avoid any involvement with the movie program, owing to the widespread media coverage of abuses and upcoming trials of those moviemakers who took unfair advantage of the tax incentive program. He said the majority of Iowa lawmakers didn't even want to talk about the situation.
Senator Dotzler said film production here keeps creative Iowans from leaving the state, and that having creative thinkers is important for Iowa's culture. He said the Film Alliance of Iowa is a good vehicle to help re-invent the resumption of film production here.
He said it is essential that Iowa legislators be convinced that there will be a good return for the taxpayers' investment in the tax incentive program. The senator also said although lots of legislators are presently against it, with good planning and with a concerted effort they could be convinced to change their minds. He believes we can learn from the failure of the film tax incentive program and bounce back to make a model film bill. He said we would not get a film bill this year, and that it'll be a two year process, meaning 2012 and not later than 2013.
The senator said we must have an Iowa film office set-up this year. Presently, there is no film office and all film matters are clogged with delayed trials of a few moviemakers who didn't fairly report their film-related expenses, and also the delayed trial of former Iowa Film Office director, Tom Wheeler.
Incoming governor Terry Branstad wants to dismantle the IDED and put film matters into the Iowa Cultural Affairs Department, somehow using a combination of private and public entities to manage filmmaking here.
Becky Gruening told the crowd that the Iowa Film Office had been underfunded. She suggested dedicating a budget of $500,000 per year for the Iowa Film Office for two years, and then allow it to be self-sufficient. A staff of three personnel would be needed and a positive public relations campaign would be essential to bring movie producers back to Iowa.
IMPA President, Kent Newman asked Senator Dotzler about the present status of court cases related to movies made here and wondered where things stand. The senator said he only knew what he saw in the press, and that the Iowa Attorney General has been tight-lipped about these cases and that all cases are moving slowly, but not just film-related cases, but all cases.
Becky Gruening told the crowd that although at one point the Iowa Attorney General said there were 100 film projects still coming, the fact is that every single one is dead. An information sheet was shared with everyone detailed this. She also said that despite allegations that Iowa faces a one hundred fifty million dollar tax liability related to films, there is nothing... the moviemakers are gone.
Make-up and hair stylist Andrea Politte spoke-up, and suggested that an entertainment lawyer be added to the film office staff. She said it will come down to marketing to help get things back on track. We're the laughing stock in Hollywood and need to become knowledgeable and competitive. She said people loved having movies made here and that we need to stick together as a united group, and that there is power in numbers.
Senator Dotzler agreed with Andrea and said legislators legislate by the polls, then design a campaign to fit those public opinion polls. He said public opinion is vitally important and that they drive legislation.
Kim Busbee spoke, saying she knows of seventy-two movie industry personnel who have moved out of Iowa and that we must counteract the smear campaign regarding our filmmakers' problems by use of solid facts. She said people were supportive of filmmakers here and that filmmaking is big business, and that we can learn from the mistakes made in film offices of other states who have experienced problems of their own.
Senator Dotlzer said there are thirty new faces in the Iowa legislature and that the film bill is a bipartisan one, meaning there could be no finger pointing regarding any of the bill's problems.
Susie said Florida had a film tax credit program, then it didn't, but now they're back with lots of big shots behind it all.
Kent said the IMPA has an on-line Film Production Guide. When the Iowa Film Office was alive, it was the keeper of this guide.
Teamsters Union representative Matt Ballard told the panel that pass-through companies pulled in workers from others states and that we need to use Iowans instead. He said there are ten thousand Teamster members in Iowa. Susie said the IFA would ensure that Iowans are indeed used first.
Jay Villwock said everyone in the room should talk to people, get involved, meet with state legislators. Doug said a petition should be created with all present at the meeting signing it and more, and then presenting this petition to key legislators. He also said we need to speak with a single voice.
Andrew Erickson (hope this is the correct spelling..) said someone needs to be on site when movies are made, an auditor with film expertise who is certified to oversee the daily activities of a film.. This way, questions regarding any problems could be answered on site and not delayed, such as waiting to take matters to the film office.
Senator Dotzler said the Iowa Film Office exists under a bill and that something can still be done with it. He reiterated that tax dollars appropriated to filmmakers need to show a good bang for the buck. He said we need to maintain strong checks and balances and portray Iowa appropriately.
Gene L. Hamilton
From The Tundra Drums.Com
Legislators want to extend film industry tax credits for 10 years
Published on January 7th, 2011 10:03 am
By ALASKA NEWSPAPERS STAFF
Today, Sen. Johnny Ellis, D-Anchorage, and Reps. Bob Herron, D-Bethel, and Chris Tuck, D-Anchorage, pre-filed legislation to extend the tax credits that have played a major role in the early success of Alaska's burgeoning film industry, a press release said.
"The recent film industry boom in Alaska has benefited Alaskans and local businesses across the state, and it could grow much more," said Senator Ellis. "Extending these incentives shows film producers Alaska is serious about building this industry for the long run."
In addition to hiring hundreds of Alaskans as cast and crew, film productions such as Everybody Loves Whales hire a wide variety of local businesses for services from rental vehicles, catering and security to construction, plumbing and engineering. Crew members stay in local hotels, eat and drink at local establishments and spend their days off taking in Alaska's many tourism experiences.
"It's very good economically to see more film productions coming to Alaska. Film industry business continues to be a growing part of our business. It's very important to support a growing industry that is a perfect fit for Alaska," said Brian Williams, CEO of Sixth Avenue Outfitters in Anchorage, whose company provides cold weather gear for film production crews.
"As a new small business owner I was thrilled with the opportunity to work with the Ghost Vision film project. It kept me working during a normally quiet business period. I look forward to more opportunities to offer my services to the film industry," said Kylee Hickok, owner of Perks Espresso Catering Company.
According to the Alaska Film Office, film productions applying for the Alaska tax incentives since its inception in 2008 could add over $100 million to Alaska's economy when they are all completed.
"These tax credits encourage the industry to hire Alaskans and set up productions around the state," said Rep. Herron. "This industry provides an opportunity to leverage all that Alaska has to offer, both urban and rural, cultural and scenic, to create jobs and bring investment into the state.
"Filming in Alaska can lead to more business and job opportunities for Alaskans," said Rep. Tuck. "The benefits of this new industry to Alaskans are just beginning, and it's a step toward a more diverse economy for the state."
In 2008 Senator Ellis sponsored and worked with a broad coalition of Alaska businesses to support the passage of Senate Bill 230 to re-establish the Alaska Film Office and create the Alaska Film Production Incentive Program. The new legislation proposes extending the incentives for 10 years past their existing sunset date of July 1, 2013 and continuing the funding level of $100 million in incentive funding for each 5 year period.
Published on January 7th, 2011 10:03 am
By ALASKA NEWSPAPERS STAFF
Today, Sen. Johnny Ellis, D-Anchorage, and Reps. Bob Herron, D-Bethel, and Chris Tuck, D-Anchorage, pre-filed legislation to extend the tax credits that have played a major role in the early success of Alaska's burgeoning film industry, a press release said.
"The recent film industry boom in Alaska has benefited Alaskans and local businesses across the state, and it could grow much more," said Senator Ellis. "Extending these incentives shows film producers Alaska is serious about building this industry for the long run."
In addition to hiring hundreds of Alaskans as cast and crew, film productions such as Everybody Loves Whales hire a wide variety of local businesses for services from rental vehicles, catering and security to construction, plumbing and engineering. Crew members stay in local hotels, eat and drink at local establishments and spend their days off taking in Alaska's many tourism experiences.
"It's very good economically to see more film productions coming to Alaska. Film industry business continues to be a growing part of our business. It's very important to support a growing industry that is a perfect fit for Alaska," said Brian Williams, CEO of Sixth Avenue Outfitters in Anchorage, whose company provides cold weather gear for film production crews.
"As a new small business owner I was thrilled with the opportunity to work with the Ghost Vision film project. It kept me working during a normally quiet business period. I look forward to more opportunities to offer my services to the film industry," said Kylee Hickok, owner of Perks Espresso Catering Company.
According to the Alaska Film Office, film productions applying for the Alaska tax incentives since its inception in 2008 could add over $100 million to Alaska's economy when they are all completed.
"These tax credits encourage the industry to hire Alaskans and set up productions around the state," said Rep. Herron. "This industry provides an opportunity to leverage all that Alaska has to offer, both urban and rural, cultural and scenic, to create jobs and bring investment into the state.
"Filming in Alaska can lead to more business and job opportunities for Alaskans," said Rep. Tuck. "The benefits of this new industry to Alaskans are just beginning, and it's a step toward a more diverse economy for the state."
In 2008 Senator Ellis sponsored and worked with a broad coalition of Alaska businesses to support the passage of Senate Bill 230 to re-establish the Alaska Film Office and create the Alaska Film Production Incentive Program. The new legislation proposes extending the incentives for 10 years past their existing sunset date of July 1, 2013 and continuing the funding level of $100 million in incentive funding for each 5 year period.
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