On-location production in Greater Los Angeles rose 18 percent the first quarter of 2010 as compared to the same quarter last year based on figures released by FilmL.A., the not-for-profit community benefit organization that coordinates filming permits for location shoots in the City of Los Angeles, L.A. County and other select local jurisdictions in the area. A total of 11,087 permitted production days (PPD) were recorded for January-March 2010, compared to the 9,408 logged during the first three months of ’09.
Helping to drive this growth were commercials which jumped a whopping 61 percent from 1,266 PPD during the first quarter of ’09 to 2,034 PPD for the same period this year. The increase provided the commercials category–beset by annual declines since ’06–its strongest quarterly showing in three years.
The quarter saw a marked increase in the number of automobile commercials, which had fallen off in ’08 and ’09 as the recession led to reductions in ad spending. Sixty-six car spots were shot on location in L.A. during the first three months of ’10–31 more than were lensed the first quarter of ’09.
There’s been industry conjecture as to what has fueled the jump in automotive ad activity, a prevalent factor cited being the massive recall of Toyota models due to safety concerns. For one, Toyota itself seems to have stepped up its spot production to retain business in light of the problems it’s encountering, with deaths and accidents being attributed to alleged acceleration problems in several of its vehicle models.
At the same time, other automotive manufacturers view Toyota’s woes as an opportunity to win back marketplace share, thus spurring on the creation and production of aggressive ad campaigns.
In the big picture, a turn in the economy from recession to at least a slow recovery may have sparked increased commercial production spanning automobiles and other product categories.
Additionally, FilmL.A. spokesperson Todd Lindgren cited the Winter Olympics–a mega TV event–as a first quarter catalyst for the jump in spot location filming which benefited Los Angeles.
Impact of incentives
Still, though, some question whether the upturn in commercials can hold over the long haul given California’s lack of financial incentives for spot production as compared to many other states which offer tax credits, rebates and other economic enticements to the advertising industry.
By contrast, California does offer an incentives package for certain qualifying feature film and TV projects. The California Film and Television Tax Credit has helped Greater L.A. register a one percent gain for the just wrapped quarter (929 PPD) as compared to the same span in ’09 (921 PPD). From January through March ’10, a total of 11 state-incentivized feature film projects shot on location in the region, translating into 184 PPD or 20 percent of the quarterly yield for this year’s opening quarter.
“I can say with certainty that most, if not all, of the incentivized feature films would not have shot in California were it not for out tax credit program,” stated Amy Lemisch, director of the California Film Commission, which administers the program.
Meanwhile TV production–which has endured three consecutive quarters of double-digit percentage losses–managed a first quarter gain this year of 14 percent (4,881 PPD in ’10 vs. 4,279 PPD in ’09). TV pilots and reality TV led among TV subcategories with PPD gains of 42 percent and 38 percent, respectively. However, TV dramas and sitcoms declined 17 percent and six percent, respectively.
The television pilot season performed well, with more projects shot in the region than in prior years. Of the 129 total projects FilmL.A. tracked in the ’09/’10 development cycle, 76 filmed in Los Angeles, giving the region a 59 percent share of overall TV pilot production. This share is slightly larger than what L.A. captured during the previous development cycle. L.A. landed 59 out of 103 available projects for a 57 percent stake in ’08/’09.
Robert Eggers and Willem Dafoe Reunite For “Nosferatu”
When Willem Dafoe enjoys working with a filmmaker, he'll often jump at the chance to do it again.
The list of directors with whom the 69-year-old has worked with more than once is extensive, including Wes Anderson,Yorgos Lanthimos,Paul Schrader,Lars von Trier and, now for a third time, Robert Eggers. "If it's good, you come back," Dafoe said plainly.
The pair spoke about Eggers' adaptation of "Nosferatu" that hits theaters Wednesday, some of the challenges they faced making "The Lighthouse" — their first project together released in 2019 — and the unique relationship that exists between actors and directors.
The interview has been edited for clarity and brevity.
Q: Willem, I read that you called Robert after you saw "The Witch." What did you say?
DAFOE: I want to meet you and I want to know who this filmmaker is.
Q: What is it about him that keeps bringing you back?
DAFOE: Well, if it's good, you come back. When I saw "The Witch," I thought, "Wow, this is a film about a period that I'm not particularly knowledgeable about, but I enter it so easily. This is relevant. It's rooted. It's my story. I'm with these people."
That's quite an incredible trick because a lot of period films, they're always pointing to themselves. They're always sending messages. They're always showing. This had a kind of energy and the kind of physicality and sensuality that I thought, "Who does this? I gotta see this guy." And then I had a wonderful experience in "The Lighthouse" and I played a part that was really fun in "The Northman." So, when he wants to do this passion project and offers me this beautiful role of Professor Von Franz, I say,... Read More