As reported in last week’s lead story, the renewal of the Film California First program comes as welcome news to the commercialmaking community. Despite a budget crunch triggered largely by California’s energy crisis, Gov. Gray Davis (D-CA) and the state legislature apportioned $10 million to fund year two (July 1, 2001-June 30, 2002) of the anti-runaway initiative.
Film California First translates into producers realizing certain savings, including reimbursement of state and federal employee costs related to filming, and local public costs for fire services and non-police safety. Administered by the California Film Commission (CFC), the program applies, for example, to costs incurred for California Highway Patrol services that are required in order to lens on state highways. Eligible projects include commercials, TV programs and theatrical features.
In its first year (actually six months, because the program didn’t get fully up and running until January ’01), more than 500 production companies filed applications and received nearly $5 million in rebates.
"The results we have achieved with commercial, television and film production show that the Film California First program has helped keep production business in the state of California," contended CFC director Karen Constine.
"Given the difficult economic climate in Sacramento, the fact that the governor continues to support Film California First sends a strong message to us—and to everyone—about the importance of filming to the economy," assessed Steve Caplan, senior VP, external affairs, for the Association of Independent Commercial Producers (AICP).
Gary Rose, partner/executive producer of bicoastal spot production house Moxie Pictures—which has participated in the Film California First program—said, "It’s tough enough to compete with advantageous exchange rates in other countries. The state of California is sending out an important message—that it is willing to offer incentives to compete in the global market. There are so many wonderful things about shooting in Los Angeles, for example, and it’s nice to see that the state has taken notice and simply said to producers through its action that ‘We want you here.’ "
Beyond sending a film-friendly message, the program has caused others to take notice. "A state [California] that is considered to be a market leader—or the market leader—has taken an aggressive stance," noted Caplan. "I’ve spoken to many film commissioners from other states, and some are considering their own types of programs or plans. This [Film California First] is not a one-size-fits-all approach that applies to all states. But it’s getting some other states to look for their own ways to encourage production through certain incentives."
It’s a dynamic that was initially anticipated when Film California First was passed into law last year. At that time, Dawn Keezer, chair of Film U.S., an industry group of nearly 200 state and local film commissioners, characterized the California initiative as "a wonderful development."
Keezer, who serves as director of the Pittsburgh Film Office, said that "California is seen as the leader. It’s where the bulk of production traditionally takes place. By taking this step, California is underscoring the need for others to do something to help address the runaway production issue. It’s a signal to the rest of the U.S. and the federal government, as well. This can only help us, and perhaps at least spur more states to help themselves."
