On April 10 at the Beverly Hills Hotel, the California Film Commission (CFC) held its third annual “Speed Dating” breakfast during which invited location filming decision-makers–feature and TV production executives, indie producers, location scouts and commercialmakers–were matched up for quickie round-robin sessions with 28 regional film office representatives from throughout the state. The table-hopping event gave industry attendees a taste of the diverse locales each city/county/region has to offer.
CFC director Amy Lemisch was gratified to see increased turnout from the spotmaking community, including execs from such houses as RSA Films and Believe Media.
For Lemisch, the session can be described as a calculated counter punch to the mega locations event which was going on across town at the Santa Monica Civic Auditorium–the three day (4/10-12) Association of Film Commissioners International (AFCI) Locations Trade Show, at which film commissions from all over the country and the world come to the Southland to woo Hollywood for filming biz.
While the CFC and assorted city, county and regional California film commissions showcase their wares at AFCI Locations, there’s more of an emphasis by many other exhibiting film commissions on financial incentives such as rebates and tax credits.
California still harbors hope of getting its own filming incentives package off the ground, but the prospects don’t look all that promising given the state’s massive budget shortfall. Meanwhile an estimated 40 states in this country–not to mention numerous other nations–have enticing rebates, tax breaks and credits in place. For example, Michigan generated a major buzz at the AFCI Locations Trade Show with its new program offering filmmakers a 40 percent tax credit on spending in the state on feature, TV and commercial production.
So the CFC and local film commissioners throughout the Golden State are instead putting the spotlight on the locales, services and production infrastructure that California can offer feature, TV, spot and music video producers. And while Lemisch and her state colleagues championed that message at the Locations Trade Show, clearly they were able to communicate it more directly and with less competitive interference at the “Speed Dating” session, which drew some 75 influential contacts.
During this latest round of “Speed Dating,” Lemisch said the groundwork was laid for some projects to film on location in California. “It’s part of our needing to be more innovative in how we present our case.”
During this latest round of “Speed Dating,” Lemisch said the groundwork was laid for some projects to film on location in California. “It’s part of our needing to be more innovative in how we present our case.”
However, until that realization sets in and translates into progressive legislative action, Lemisch said that “Speed Dating,” among other inventive means, are needed to show that California remains film friendly and deep in talent, services and locations.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More