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.
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