How Can Hollywood Stop a Production Exodus?

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Survive until 2025″ was the rallying call in the industry following COVID, as they faced strikes and a combined struggle of both physical and metaphorical downturns.

As a dedicated fan of the arts, I echo the sentiment: “We Can Rise Again.” For countless writers, drivers, vendors, actors, electricians, costumers, builders, location managers, production assistants, union members, caterers, small business owners – who have endured one blow after another, year in and year out – as the streaming landscape shifts, roles diminish, and jobs vanish, I believe we can regroup, rebuild, and rise stronger than before.

After the arrival of ’25, our neighborhoods were devastated, and the term “reconstruction” took on a deeper significance. We must reconstruct the destroyed homes, playgrounds, schools, and businesses. The iconic seaside attractions that were lost. The communities that once hosted Fourth of July celebrations and barbecues, fostered businesses, nurtured families, laid the groundwork for a prosperous future across generations. Additionally, we must find a way to rebuild our sense of purpose that was also destroyed in this disaster.

It’s widely recognized that Los Angeles symbolizes the dream of starting with little and achieving greatness. Hollywood isn’t just a physical location; it represents an aspiration for success in entertainment. Historically, it’s been known as the birthplace of dreams. We often assume that Hollywood will always be the hub of the entertainment industry. After all, it hosts the Oscars, is home to talent agencies, studios, and streaming platforms, and is where many celebrities and creators reside. However, what truly powers Hollywood isn’t just its glamour, but the hidden creative force that fuels production – a vibrant blend of craftspeople, artists, technicians, and laborers who turn this city into a fertile ground for nurturing new ideas.

Neglecting the creation process could lead us to forfeit the profound, cross-generational wisdom that fosters top-tier innovation. Like fertile ground teeming with minerals that’s hard to replenish once it becomes barren and is swept away, so too is the unique knowledge we possess in Los Angeles. While every city shouldn’t be confined to embodying the dream, we must guard against transforming our city solely into an entertainment hub centered around corporate boardrooms and red-carpet events. If we do, we risk losing the essence of our craft – the collaborative spirit that drives us to create within a community and a legacy.

Ever since initiating the “Stay in L.A.” petition on January 23, advocating for urgent actions to restart film production within our city, we’ve gained a firsthand understanding of what it entails to make Los Angeles attractive for filmmaking once more. We acknowledge that L.A.’s budget won’t be able to match countries offering low-cost labor, socialized healthcare and pensions, beneficial exchange rates, and generous incentives.

Since launching the “Stay in L.A.” petition on January 23, we’ve learned a lot about what it takes to make our city appealing for film production again. We know that L.A.’s budget can’t compete with countries offering cheap labor, healthcare benefits, and attractive incentives.

Significant enhancements can yield substantial impacts, as demonstrated by New York City. While its incentives aren’t as alluring as those in Georgia or Louisiana, they are sufficient for film producers to seriously consider shooting in New York when the script demands it. Let’s at least strive to make Los Angeles competitive enough to be a viable option. Here are a few strategies that could help:

1. Improving incentives to match or surpass those of other states
2. Enhancing infrastructure for film production
3. Providing tax credits or grants for filmmakers
4. Creating more opportunities for networking and collaboration in the industry
5. Offering locations with diverse landscapes and architectural styles to cater to a variety of production needs.

Advocate for Governor Gavin Newsom to increase the $750 million budget limit on incentives, and further propose an exemption from this cap in Los Angeles County for a period of three years, as part of the ongoing recovery efforts following the fires.

2. Inform lawmakers in Sacramento that a more attractive incentive is not just about providing corporate benefits, but primarily fosters job creation. By August, the unemployment rate within the film and TV sector had climbed to 12.5 percent – its highest August level since at least 2000 (excluding the pandemic period). This rate is almost three times the national average, signifying a significant struggle in this industry compared to others.

3. Increase the tax credit percentage to 30% for both movies and TV series, a minimum requirement to keep California competitive in the industry. Provide an extra 5% incentive for any film with a budget under $10 million to foster the production of more independent films within California.

4. Advocate for a bill that provides funding for postproduction without requiring filming within the state. Places like New York and the U.K. have implemented this approach, which is why their postproduction industries are thriving while L.A.’s is struggling. This exemption should also apply to music used in film and television soundtracks.

5. Let’s discuss a proposed law affecting the commercial and music video industry, both experiencing a decline. Many actors and crew members rely on short-form productions to get by during gaps in television or movie work.

6. Relax the prohibitions on filming outdoors and in public areas across Los Angeles, taking inspiration from New York City’s effective initiative, while also temporarily lowering permit fees as part of this adjustment, and lessening the stringency of notification obligations to help cut down FilmLA’s workforce expenses.

7. Neighborhood committees could establish film-accommodating thoroughfares and residential areas. The county might grant reduced property tax rates to those who take part in this initiative.

As an enthusiast, I’d propose we seize the opportunity to make underutilized urban and county properties available as “base camps” for production at no cost. Let’s design a user-friendly map that pinpoints all these locations, making it simple for everyone to access this resource.

9. Temporarily waive or postpone Los Angeles city taxes for productions, and propose a temporary city law limiting location fees to prevent excessive pricing (price gouging). This measure aims to help productions financially by reducing costs associated with shooting locations.

10. Undeniably, production companies and streaming platforms should contribute significantly by promising to film more within Los Angeles County, thus showing their dedication towards the region’s recovery following the fires.

Many producers have expressed their disappointment that this initiative comes too late and find it challenging to reach a consensus among lawmakers regarding these matters. However, we’ve been touched by countless personal accounts that emphasize why giving up on Los Angeles is out of the question. Just as every member has a role in making a movie successful, everyone – companies, unions, filmworkers, both above and below the line – shares a responsibility in turning the seemingly impossible into reality. Restarting production wouldn’t just inject money to aid the city’s recovery; it would also rekindle our collective sense of purpose. Production generates jobs, fosters business growth, sustains hope, confidence, and ambition.

If you are someone whose income depends on California’s production, I encourage you to sign the petition at stayinla.org. Let us unite and write a common chapter – we excel at working together and serving shared goals. It’s essential that we all contribute in our unique ways to preserve the magic of Hollywood.

Julie Plec, a versatile figure in the TV industry, serves as both a writer, showrunner, and director. She has been responsible for nearly 500 episodes of television programming, with her most recognized work being The Vampire Diaries franchise. Currently, she’s working on Amazon’s production titled We Were Liars.

As a passionate gamer speaking, I’m proud to share that I, much like the protagonist in my favorite RPG, am a self-governing filmmaker and DGA award-winner in the realm of television direction. Lately, I’ve been weaving tales as the director for half of the inaugural season of HBO’s epic saga, Knight of the Seven Kingdoms.

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2025-02-27 20:59