7 Projects will spend $713 Million in Calif., with nearly $470 million in wages to below-the-line workers and payments to in-state vendors
Efforts by Governor Gavin Newsom and the state legislature to expand funding for California’s Film & Television Tax Credit Program are enabling a greater number of new and relocating TV series to be produced in the Golden State.
With additional funding provided in the state’s budget agreement, the California Film Commission announced five new series and two relocating series are among the projects selected for the latest round of tax credits.
The new series–“Star Wars: Skeleton Crew” (Lucas Film), “My Glory” (WB Discovery), “Presumed Innocent” (WB Discovery), “The Residence” (Netflix) and “The Sympathizer” (HBO)–are the first new TV series accepted into the tax credit program since 2019
The absence of new TV series was due to the large number of recurring series already in the program. The budget agreement, which received broad bipartisan support, increased funding for the tax credit program over a two-year period.
“Increased investment in our tax credit program strengthens California’s ability to compete and continue building on our status as the world’s media production capital,” said Colleen Bell, executive director of the California Film Commission. “We are, once again, welcoming new TV series into the program, which creates jobs and economic opportunity here in the Golden State.”
The current round of tax credits also includes two relocating series–“Killing It” (NBC Universal) and “Rap Sh!t” (HBO)–which will move production from Louisiana and Florida, respectively. With these latest wins, California’s tax credit program has welcomed a total of 27 relocating TV series from other states and nations
“Killing It” co-showrunners, writers and executive producers Luke Del Treidici and Dan Goor affirmed the tax credit program’s impact on their decision to relocate production from New Orleans.
“‘Killing It’ is a show about dreams coming true, so it’s only fitting we would pack up our bags and move to Hollywood,” said Del Treidici.
Goor added, “We are thrilled to be making season two in California, which not only has amazing crews and the best facilities but is also where our children are located.”
In addition to the new and relocating series announced today, the tax credit program currently has 16 recurring (legacy) series accepted during previous allocation rounds and in various stages of production
The seven new and relocating TV projects announced today are on track to spend a total of $713 million in California during their next season of production. Based on information provided with each tax credit application, they will generate a combined $468.2 million in “qualified” spending (defined as wages to below-the-line workers and payments to in-state vendors). Only the qualified portion of each project’s budget is eligible for tax credits under California’s uniquely targeted incentive program. This means that the projects announced today will generate about $245 million in spending that is not incentivized. The California Film Commission has reserved a total of $90.8 million in tax credit allocation for the seven projects.
By far, the project with the largest qualified spend is Lucasfilm’s “Star Wars: Skeleton Crew,” which is on track for nearly $136 million in qualified expenditures during its first season. The new series coming to Disney+ in 2023 is about a group of kids lost in the “Star Wars” galaxy who try to find their way home. It stars Jude Law, with executive producers Jon Watts, Chris Ford, Jon Favreau, Dave Filoni, Kathleen Kennedy, Michelle Rejwan and Colin Wilson.
Together, the seven new and relocating series will employ an estimated 1,953 crew, 545 cast, and 21,691 background actors/stand-ins (the latter measured in “man-days”) during their next season of production. They will spend an estimated 559 filming days in California, including 20 shoot days planned outside the Los Angeles 30-Mile Studio Zone. They will also generate significant postproduction jobs and revenue for California VFX artists, sound editors, sound mixers, musicians, and other workers/vendors.
The California Film Commission received a total of 18 applications during the June 13-15 application period for TV projects. The list of conditionally approved projects is subject to change, as applicants may withdraw from the tax credit program and their reservation of credits reassigned to one or more projects on the waitlist.
The next application period for TV projects will be held September 19-21. The next application period for feature films will be held July 18-20.
Eleanor Adds Director Candice Vernon To Its Roster For Spots and Branded Content
Director Candice Vernon has joined production house Eleanor for U.S. representation spanning commercials and branded content. She has already wrapped several jobs at Eleanor, which waited to announce her until they had a body of work together.
Via Eleanor, Vernon made history as the first Black director on a Febreze commercial. The “Small Spaces” campaign marks a major departure from Febreze’s typical blue-and-white world. The home of the “Revolving Door” commercial is a beautiful array of bold sunset hues, African prints, and African art.
Vernon said, “I asked myself, what feels right to me? What feels new? I wanted to bring an essence of not just Black Americans but the full diaspora. I wanted to make a statement that we’re not a monolith.”
Following the success of the “Small Spaces” campaign, Febreze brought Vernon back for a comedy-infused trifecta exploring the hilarious situations that call for an air freshening hero.
Febreze Brand VP Angelica Matthews said, “About two years ago, we realized the consumers that were the most loyal to Febreze were the African American consumers. And the more we learned, the more we realized the richness that we were really missing. So we said we have to go beyond just Black casting, we need to get Black directors that truly understand the culture that truly understand how to bring authentic performances out on screen. We really looked around the industry and noticed there’s actually a shortage of African American directors who have experience doing commercials. When we all saw Candice’s reel, we could all tell the passion for the craft, passion for really trying to help us from where we are to where we’re trying to go.”
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