Can Cannes Help California Get Its Groove Back?

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Striding along The Croisette en route to the Palais, I can’t help but notice an intricate line of tents overlooking the yachts docked in the Bay of Cannes. Each tent bears a national flag, symbolizing the nations eager to captivate the producers, investors, and executives attending Cannes, searching for enticing locations (and primarily, lucrative incentives) for their forthcoming ventures.

Toward the conclusion of this row of tents lies the American Pavilion, a traditionally significant venue where the largest global purveyor of entertainment interacts with foreign visitors, and each U.S. state showcases their tax benefits and facilities.

Or simply:

The American Pavilion, historically used for meetings between the world’s leading entertainment exporter and international guests, as well as a platform for individual U.S. states to promote their tax incentives and facilities, is located near the end of these tents.

Previously, only New York had its designated day in the early 2000s, but California had never before actively tried to attract the attention of those attending the Cannes Film Festival. It’s worth noting that Los Angeles has been the global epicenter of entertainment for a long time, essentially an entire city centered around the film and television industry. However, due to production moving to other states and nations over the years, California decided to make an appearance at Cannes in an attempt to reclaim some of the ground it had lost.

After the fires and labor disputes, Los Angeles aims to communicate that they are ready for business, according to Julie Sisk, founder and president of the American Pavilion, who initiated California Day, held on May 15th. The California Film Commission and Visit California collaborated on this day at the Pavilion, which is owned by PMC, the parent company of The Hollywood Reporter.

At the event, there were various California wines matched with sushi, See’s Candies served as a sponsor, and there were attractions like a bus photo booth and an imitation of the Hollywood Walk of Fame. However, what stood out most was the passionate debates onstage about filming in California, along with private discussions offstage. A common theme was that film production once deeply influenced Los Angeles, to the point where Californians never believed it could vanish. Maybe they grew overconfident.

As a movie enthusiast, I’ve often heard that producing films in L.A. is financially prohibitive due to its high costs. And it seems like the general consensus is that even with California Gov. Gavin Newsom revealing plans last year to double the annual film and TV tax incentive cap from $330 million to $750 million, this fund will be swiftly depleted.

It’s often speculated by an indie director and a producer that only a handful of studio movies receive tax credits annually, but in reality, closer to 10 films do so. This misunderstanding highlights California’s perception issue, even amongst filmmakers who wish to shoot there. In truth, as of this year, 51 films have been granted incentives, with the majority being independent productions and a few studio features.

Colleen Bell, California’s Film Commissioner, explains that an increase in our budget will allow us to take on more projects and avoid rejecting skilled productions due to financial constraints. Additionally, there are two bills being considered by the California legislature, which aim to make changes within our programs.

At California Day, writer-producer Michal Zebede admitted that filming in Los Angeles can be costly but suggested creative solutions. For her 2020 series “Party of Five,” some scenes were filmed in California locations like Palm Springs and Santa Clarita, which offered local incentives and cheaper permits. The team would just travel to work daily from L.A., helping to reduce expenses. As Zebede pointed out, if the production had chosen to shoot in Atlanta, where they almost filmed the show, they would have had to fly cast and accommodate cast members in first class accommodations first.

Film producer Jonathan King, known for movies like “Spotlight” and “Green Book,” which won best picture awards, mentioned during a different discussion that he hasn’t had the opportunity to film extensively in Los Angeles since 20 years ago on “Dreamgirls.” However, he expressed optimism that this might change, possibly with some assistance from Jon Voight, who is one of President Donald Trump’s special representatives to Hollywood. Earlier this month, Voight put forward a proposal for boosting film production within the U.S., which has generated quite a bit of discussion.

As an ardent supporter, I’ve just learned that our beloved monarch has given his nod of approval to a staggering 95% of this proposed plan. Particularly captivating for him are the concepts of federal incentives that can be layered upon state incentives, along with collaborative production agreements with other nations. He’s also expressed a desire to shift the discourse around filmmaking, emphasizing its striking similarities to manufacturing a product.

King stated, “We’ve spread the notion that Hollywood is associated with the media aristocracy, and producing movies is an exclusive cultural pursuit. However, when I’m filming a movie, I’m usually in construction boots and maybe a bright orange safety vest, as we’re essentially building something.

Producer Ray Maiello, referring to the movie “My Dead Friend Zoe”, expressed his viewpoint: “Just like in all European nations, it’s essential to nurture film as a reflection of our culture.

In simple terms, producer Jon Kilik, who has collaborated with filmmakers like Spike Lee and Oliver Stone, stated that among all locations, New York is arguably the costliest place for filming. However, he added that not only have New York and New Jersey managed to offer financial incentives through rebates, but they have also motivated studios by doing so – a clear example being the upcoming $900 million Netflix complex in New Jersey.

Regarding the manager of Pavilion, Sisk, she perceives her job as being impartial towards various U.S. states. In her own words, “Since there’s no United States Film Commission, occasionally we take on the task and act in its place.

In summary, Film Commissioner Bell observed that there was plenty of excitement and participation during California Day at the American Pavilion. He noted that the spirit of the California Dream was thriving in Cannes, as numerous filmmakers expressed a strong desire to kick-start or continue their projects within our state.

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2025-05-17 16:24