The critically acclaimed A Serious Man–produced, directed and written by Joel and Ethan Coen–has not only registered on the artistic barometer, landing Oscar nominations for best picture and best original screenplay, but also made its mark on the bottom line for the State of Minnesota.
Already on the awards show circuit A Serious Man has garnered best screenplay honors from the National Society of Film Critics, best original screenplay from the Writers Guild of America, was named one of the year’s best pictures by the American Film Institute, and is slated to receive the Robert Altman Award at the Film Independent Spirit Awards.
And on the fiscal front, A Serious Man shot for 44 days during the fall of 2008 in locations throughout the Twin Cities metro, including Bloomington, Edina, St. Paul, Minneapolis and Roseville. The production budget brought just over $6 million to the local economy and employed 130 Minnesotans in crew positions. Hundreds of Minnesotan actors played key roles or worked as extras in the film about suburban Minnesota in 1967.
The feature marked the first professional return of the Coens to their home state since Fargo (1996), which was nominated for best picture and earned best original screenplay Oscars for the Coens as well as a best actress Oscar for Frances McDormand for her portrayal of Marge Gunderson.
Clearly the importance of filming to Minnesota’s economy–as exemplified in A Serious Man–hasn’t been lost on the state which continues to maintain Snowbate, Minnesota’s Film Jobs Production Program offering a reimbursement of 15 to 20 percent of Minnesota production expenditures. The incentive is available to feature films, national TV or Internet programs, commercials, music videos and documentaries.
Illinois reportIndeed Illinois too recognizes incentives programs as integral to keeping and attracting film, TV and new media production, which has a profoundly positive impact on the state’s economy. This is evidenced in figures for 2008 (the last full year thus far reported on in the state), which saw some $141 million brought into the Illinois economy along with 5,392 job hires (excluding the number of extras who were employed).
At the time of the figures being released in ’09, Warren Ribley, director of Illinois Department of Commerce and Economic Opportunity, said, “Illinois’ film industry continues to bring tremendous revenue to our state when it is most needed. Despite national economic challenges, the film industry proved its resilience by having the second most profitable year in Illinois history.
A number of high-profile films and TV series were produced in Illinois in ’08, including: Universal Pictures‘ Public Enemies starring Johnnie Depp and Christian Bale, and directed by Chicago native Michael Mann (who helms commercials via Alturas Films, Santa Monica); Warner Brothers‘ The Informant starring Matt Damon and directed by Steven Soderbergh; Nothing Like The Holidays starring Chicagoan Freddie Rodriguez, Debra Messing and John Leguizamo, and produced by native Chicagoan Bob Teitel; and The Beast, a television series starring the now late Patrick Swayze and executive produced by native Chicagoan Steven Pearl.
On the heels of the ’08 showing, a strengthened Illinois Film Tax Credit was enacted in January ’09, offering a 30 percent tax credit to filmmakers for money spent on Illinois goods and services, including wages paid to Illinois residents, Previously the tax credit was 20 percent. In addition, the yearly sunset provision was removed, highlighting the state’s long-term commitment to growing the film industry. Features, TV, commercials and branded content are among the disciplines qualifying for the incentives package.
Looking ahead As we enter 2010, SHOOT sought input from artisans and executives in the Midwest as to business prospects for the new year. We posed two questions:
1) What’s your assessment of business prospects for 2010 (spanning commercials, branded content, television, features)? Are there certain opportunities emerging that the Midwest has a leg up on or can take particular advantage of–and/or what if anything should city and state governments and officials do to help promote business in the Midwest?
2) Tell us about one particularly unique project that you have been involved in during the last three months. Include name of client and agency (if there was one), type of work, when and where it will air or appear online and why it was unique (i.e., type of work it was, how the project came about, there was something unique about the players who collaborated, etc).
Here’s a sampling of the feedback we received:
Tom Duff, president, Optimus, Chicago1) From all the people we talk to and all we see, 2010 has a brighter outlook than we’ve seen the last couple of years here in the Midwest. Our agencies are gaining new clients, and new business pitches are at a pace we haven’t seen in a long time. It’s like a breath of enthusiasm has been injected into our nation’s bread basket. We have always had a really strong post community here in Chicago, and our reputation for creative excellence, technical expertise, and “going the extra mile” is second to none in the world. It’s carpe diem time for us in both the production and the post community. We have enjoyed more upfront involvement (which we have been preaching about forever) in the creative process as a result of our clients being challenged with things like HD, file-based workflow, multiple format deliverables, and creative content in a myriad of mediums. These ARE our skill areas, and it is incumbent on us to seize the moment, demonstrate our value and just become more essential than we ever have. It’s a trust and a reliance we all want to have with our clients, now is the time more than ever.
2) Our PSA for Shelterbox, a charity that sends long-term survival kits to victims of disasters, has taken on even greater significance in light of the devastating earthquake in Haiti. Because of this, we want to get as much exposure for the cause as possible.
Tracy Heropkie/ Carrie Lewis, executive producers, Foundation Content, Chicago
1) Projects have become so multi-faceted that it’s looking like everything we do in 2010 needs to “have legs” and be adaptable to be used across many platforms. Open and innovative thinking–both creative and budgetary–can give anyone a leg up in this environment. The Midwest is home to several corporate headquarters, SCJ, Kraft, State Farm, Target, Allstate to name a few. With tighter schedules and budgets, keeping production local seems to make sense in this multi-tasking climate. Adding extra travel days to schedules (for both client and agency) doesn’t need to be as much of a concern. Likewise, clients, schedules permitting, can sit in on the editorial process, which helps with overall communication.
2) Foundation produced a spot for Target’s Channel Red that was to play in-store and online that promoted Target’s reusable bag program. The collaboration between our director/editor, graphics team and the amazing Target team created such an effective spot that it got picked up for broadcast as well. We just finished up a project with Draftfcb for BCBS/Florida and scheduling was a concern. We had one-and-a-half weeks for pre-pro/production and one week to edit. The director and editor collaborated to ensure that quality wasn’t sacrificed in the face of tight time constrictions.
Mike Matusek, colorist/partner, Nolo Digital Film, Chicago
1) 2010 is looking great for us, as we have a diverse client base from commercial agencies, independent filmmakers, creative editorial houses, and feature restoration work. All our work goes through our digital intermediate grading theater, so we offer a unique color correction experience for all our clients, whether commercial or long form. We are just finishing up on our third year in business, each year has shown to pick up in business, so 2010 looks to continue that trend. We’ve seen an increase in RED camera productions and other new digital camera formats, whether commercial or feature. We color correct on a Baselight DI system which allows us to be able to seamlessly work with native RED files and have developed an awesome workflow for our clients. We are still seeing a lot of 35mm film come through, but being able to handle new file-based camera material seamlessly is essential, as digital based productions have increased quite a bit in the Midwest.
2) We’re currently finishing an ESPN 30 for 30 documentary by director Steve James called “No Crossover: The Trial of Allen Iverson”. (Steve James is known for directing the feature documentary “Hoop Dreams”). “No Crossover” will air April 13th at 8pm on ESPN. Nolo Digital Film is completing the HD online and color correction for the film. This will be the forth feature documentary that I have worked on with Steve James. The film will have it’s theatrical premiere at the South by Southwest Film Festival in March.
Bruce McFarlan, president and director/animator, Reelworks, Minneapolis
1) My Magic 8 Ball says “ASK AGAIN LATER”. We’ve all read anecdotal evidence for higher TV ad spending in 2010, but how much higher remains the question, and will it be a noticeable increase for most production companies?
My animation studio has weathered a number of recessions in its 30 years, and one rationale for this is that us Midwest-based production companies enjoy lower overhead costs than our brethren on the coasts, making us more competitive when recessions hit and budgets become challenged.
We’re also headquartered in a state that offers incentives for shooting films and commercials in the form of tax breaks on production costs, and rebates.
Given how many dollars are pumped into the local economy when a motion picture is filmed here, it’s a smart move and something that, hopefully, our elected representatives will see fit to continue.
Joe Scudiero, director, Pivotal Pictures, Chicago
1) To put it frankly we’ve already hit the ground running. 2009 was a challenging year; it was difficult to make things stick. I already see much more spending early on. It’s as if clients are coming out of hibernation. I truly believe that we have seen the worst. Don’t get me wrong–it’s still an uphill climb; at least we are moving upward. The Midwest is an epicenter of creativity. A lot of originality is developed here. The only issue is it’s not always produced here. I have filmed all over the world and the talent here is on par to anywhere. Unfortunately we are not always on the radar. In time it will be. We have an awesome tax incentive to keep production here.
2) I am really excited about one particular project, an animation cartoon based on Mob characters called “The Baritonios.” a wacky crime drama surrounding a gang known as The Baritonios. These are the stories, and exploits, of this group of street thugs. We started from scratch developing the characters to designing the overall look of the entire cartoon. It has a film noir look based on the 1940’s done entirely in 3D. It’s currently being looked at by a number of major studios.
Teri Rogers, president/CEO, T2 and Back Alley Films, Kansas City, MO
1) Prospects heading in to 2010 look good across all media platforms and for all creative companies working here in the Midwest. Far from being just the “Fly-Over States,” innovation and creativity thrive here. However, I do think that television commercials may become the much less relevant of media platforms in the next year with content for the Internet and product placement/branded content taking the lead. We are also seeing (for the first time here) new business models being adapted. Agencies adding production services–production companies adding creative and media/distribution strategy. Will we partner going forward–or compete? I think we’ll see a mix of both business models. Either way it goes, we all need to embrace innovation and help clients create value for their consumers–with or without an agency partner. Finally, city and state governments should open up tax credits to more eligible projects and to the companies based here. Any incentive that can be given to help businesses/studios produce marketing and filmmaking in the Midwest–would be most advantageous to our industry.
2) Back Alley Films/T2 just completed a short film for the British clothing company, Fly 53, entitled “The Resistance”. Directed by The Wade Brothers, the film tells a modern day love story–and will debut in January at the Bread and Butter show in Berlin, where over 500 fashion brands tout their image and products. The Wades teamed with another Back Alley Director/DP, Joshua Reis, who acted as DP on the project. The multimedia campaign features the five-minute film, 30-second teaser and numerous still photos. The film will appear on social networking sites and a Fly 53 micro site. “The Resistance” launches Feb. 15.
