While SHOOT has chronicled the filming incentives push in assorted states throughout the country over the past several years–and California’s inability to follow suit–somewhat lost in the argument for an anti-runaway production measure in the Golden State is the need to change public and legislator perceptions on one key front.
That front came to the fore during last month’s public hearing of the State Assembly Select Committee on the Preservation of California’s Entertainment Industry. At that session committee chair and Assemblymember Paul Krekorian (D-Burbank) said that a number of state legislators believe that financial incentives for the filming industry shouldn’t be a priority when funding for education, health care and other services is hard to come by. But, he asserted, the fact is that the lack of anti-runaway production legislation is forcing good paying, working middle class jobs out of the state. And the tax revenue that would be generated by keeping those jobs in California could go a long way towards helping to bankroll progressive education and social service programs.
“How many more services could we provide today if we had taken the proper action [to retain the filming business] a decade ago?” Krekorian asked. “We’d be creating new money to spend on those needs,” concurred committee member and Assemblyman Anthony Portantino (D-Pasadena), who observed that media coverage of filming incentives is skewed, promoting the misnomer that such measures amount to financial backing for big name celebs and entertainment “moguls.” Portantino and fellow committee member, Assemblyman Cameron Smyth (R-Santa Clarita), related that the true beneficiaries of filming incentives would be the middle class workers whose livelihoods are in and/or related to this industry.
In her testimony before the Select Committee, Amy Lemisch, executive director of the California Film Commission, cited a Los Angeles Economic Development Corp. (LAEDC) report that provided a handle on tax revenues generated by filming. For example a feature film with a budget of $70 million translates into nearly $10.6 million in state taxes. A commercial spending $560,000 would generate $47,000 in state taxes. And keep in mind that these are underestimates–state unemployment and disability taxes as well as state taxes on any corporate profits are not included. The productions described also generate substantial tax revenues for city and county governments, including sales tax, business license fees, utilities and parking taxes, permit fees and hotel taxes.
David Phelps, director of external relations for the AICP, testified that the commercial production industry has an annual economic impact of some $4.5 billion. And according to the LAEDC, commercialmaking generated roughly $83 million last year in California sales and income taxes alone.
Phelps added that there’s a misconception that a big chunk of spot production would be shot in California anyway. The reality in this bottom-line business, he said, is that “every job is up for grabs” when it comes to where to film. This, observed Phelps, has been recognized by some 34 states that have enacted production incentive measures, most of which encompass commercials.
“Se7en” Turns 30, Gets A Special Restoration From David Fincher For Its Re-Release
For David Fincher, seeing “Se7en” in 4K was an experience he can only describe as harrowing. That or a high school reunion.
“There are definitely moments that you go, ‘What was I thinking?’ Or ‘Why did I let this person have that hairdo’?” Fincher said in a recent interview with The Associated Press.
He’s OK with the film being a product of its time in most respects. But some things just could not stand in high-definition resolution.
“It was a little decrepit, to be honest,” said Fincher. “We needed to resuscitate it. There are things you can see in 4K HDR that you cannot see on a film print.”
Ever the perfectionist, he and a team got to work on a new restoration of the film for its 30th anniversary re-release. This weekend the restored “Se7en” will play on IMAX screens for the first time in the U.S. and Canada, and on Jan. 7, the 4K UHD home video version will be available as well.
The dark crime thriller written by Andrew Kevin Walker and starring Brad Pitt and Morgan Freeman as a pair of detectives looking for a serial killer was somewhat of a career-reviver for Fincher, whose directorial debut “Alien 3” had not gone well. “Se7en” was not a sure thing: It was made for only $34 million (and only got that when Fincher managed to persuade studio execs to give up $3 million more). But it went on to earn more than $327 million, not accounting for inflation, and continues to influence the genre.
Fincher has over the years overseen several restorations of the film (including one for laser disc) but decided this needed to be the last. It’s why he insisted on an 8K scan that they could derive the 4K from. He wanted to ensure that it wouldn’t have to be repeated when screens get more... Read More