The news is good–but nonetheless carries a sobering historical perspective–relative to on-location spot filming in Los Angeles. According to year-end data released by FilmL.A., Inc. (formerly the Entertainment Industry Development Corp.–EIDC), the number of filming days for commercials on location in 2005 increased a little more than four percent as compared to ’04. Based on FilmL.A.-handled lensing permits, the final tally for spots in calendar year ’05 is 6,983 production days, which is 280 more days than in ’04.
The ’05 performance continues a fairly steady growth path for commercialmaking in Los Angeles since the large drop-off of ’00. Indeed spot biz plummeted precipitously in ’00, which is when the six-month actors’ strike against the advertising industry took place. That strike arguably exacerbated what had already been a deepening runaway commercial production problem, with American spots scurrying to Canada and overseas for production. The resulting negative impact on the U.S. economy, including in such markets as Los Angeles and New York, was felt well after that strike was settled.
Now that spotmaking in Los Angeles seems to have turned the corner in its recovery as evidenced by the latest FilmL.A. figures, the reality is that the current actors’ contract is set to expire in October. Suffice it to say that the Screen Actors Guild (SAG) commercials contract is of prime industry concern and the hope is that negotiators on both sides of the table can learn from the past.
Adding to the angst for some has been the recent changing of the guard at SAG, with Alan Rosenberg elected Guild president, succeeding Melissa Gilbert who did not seek reelection. Rosenberg ran on the promise that he would be tougher in negotiations with management, contending that agreements reached during Gilbert’s tenure fell short of what actors deserved in terms of recompense and benefits. He cited in particular the failure to gain proper residuals for DVD sales during the last contract hammered out with the major feature/TV studios.
During Gilbert’s presidency, SAG reached agreement with the advertising industry on a contract in relatively short order in ’03, well before the expiration of the previous pact. Gilbert’s predecessor, William Daniels, presided over SAG during the strike in ’00. He campaigned for and won office on the pledge of being a tough negotiator seeking significant concessions from management.
The FilmL.A. figures represent the number of film-permitted, on-location production days in the City of Los Angeles, Diamond Bar, South Gate and West Hollywood, unincorporated areas of Los Angeles County, the Angeles National Forest, and in more than 800 facilities operated by the Los Angeles Unified School District. The tally of filming days does not include production that occurs only on soundstages or in surrounding cities. Permit applications handled by FilmL.A.–which oversees the joint Los Angeles City/County Film Office–account for an estimated 80 percent-plus of on-location shooting in L.A. County.
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