As a fellow dreamer who dared to move to Los Angeles with the hope of becoming a part of the storied film community, I wholeheartedly resonate with the sentiments expressed in this piece. The city that once sparkled with the magic of cinema now seems to be fading, much like the glamorous stars of yesteryears who graced its silver screens.
A scene from the movie “Once Upon a Time in… Hollywood” stands out – it’s all about Spahn Ranch. It feels more like a haunting, eerie place than a town, with an unsettling atmosphere lurking beneath. The buildings aren’t worn gracefully by age, they’re decaying because of disuse. The caretaker is no longer able to see or think clearly.
I rarely shoot projects in Los Angeles unless necessary. Whenever it’s obligatory, I find filming in Los Angeles County quite frustrating. As a co-owner and managing director of Rakish, a production company that’s signed with the Directors Guild, IATSE, and Teamster 399, my complaints aren’t about the quality of work – I respect the skilled professionals we’d work with in LA. Instead, it’s the logistics and challenges associated with filming there that I find less than ideal.
Instead, the moans stem from a variety of issues that any 2024 producer can relate to. For instance, securing locations in the greater Los Angeles area is particularly challenging compared to most domestic production sites, and it’s also much costlier than other markets. Location fees are exorbitant. Additionally, the rising costs for gear rentals and crew wages don’t align with the actual budgets that production companies receive from advertising agencies and brands. Furthermore, annual minimum wage increases in Los Angeles only account for macroeconomic inflation but disregard the microeconomics specific to advertising – what advertisers are prepared to pay in today’s market.
As a film producer and business proprietor, what truly matters to me is finding the ideal location for our shoots. To make this decision, I consider three key factors: Does the production center offer suitable locations? Is the local workforce capable of meeting our specific requirements? Will it fit within our budget constraints? If the answer is affirmative for each question, then I am open to setting up shop anywhere. This sentiment is likely shared by everyone involved in the project.
Los Angeles has the crew, that’s a yes. That’s typically the only yes.
Are the right locations found in LA? From a creative perspective, yes, but it’s not always an ideal place for filmmaking. The permitting process in LA is unlike anywhere else, and LA’s unique challenges can make even simple projects feel like a series of small setbacks. Whether you’re trying to secure permission for a street grid or a private residence, the answers are often “no” or “it will cost you significantly.
In today’s film production industry, opting for “no” or expensive solutions isn’t enough anymore due to a fundamental issue: Although there has been a substantial increase in the availability of competent film studios, the demand has leveled off, comparatively speaking. Furthermore, the actual costs of ancillary, non-labor resources have decreased significantly, except in specific cases where you absolutely need to shoot on the Alexa 65, optimize for Imax, or shoot on film. However, these situations are exceptions rather than the norm; they represent aspirations more often than necessities for most productions. Is your budget feasible in Los Angeles? Sadly, the answer is usually no.
The other day, I found myself in a barbershop in Montrose. There, I heard conversations between what seemed to be a 1st AD and a TV producer, discussing the dry landscape of LA’s film production. Feeling inclined, although not invited, to chime in, I said “the sky is blue.” However, I chose to listen instead.
I heard stories of strife. Foreclosed, multi-generationally owned homes. Parents traveling to distant locations for months at a time; alienated wives and husbands and children. Jeopardized pensions. So-and-so leaving the business after 20 or 30 years; taking a pay cut to stabilize income. And this person moving to Atlanta and this one to Austin and this one to somewhere else in hopes of finding steadier work. “I’m blessed to have a six month gig in Dallas, but I don’t know if I can keep my marriage together.” This was the 1st AD’s story.
I understand that industries can change over time, as places that are thriving today might not be tomorrow. Consider Appalachia, many Midwestern cities, even San Francisco now, and let’s not forget Detroit’s past struggles. It’s no secret that filming in Los Angeles County has its challenges, but I prefer to focus on solutions rather than dwelling on the negative narratives often associated with this topic in news and public discourse.
This is my attempt to push us into solution. The Los Angeles film community has thus far become comfortable in strife – at least those appointed to act on the film community’s behalf. It’s time to articulate discomfort and demand action.
What does the way forward look like? These are the top line things that come to mind for me.
— Propose legislative actions to foster the film industry within Los Angeles County. For instance, establish a unified LA County permitting system with uniform pricing instead of varying rules from one zip code to another. Also, consider loosening some regulations for a more welcoming environment. At present, Los Angeles lags behind other competitive film locations – this is undeniable. In simpler terms, let’s make the county more inviting for filmmakers.
— Laws limiting location fees in Los Angeles County. This means if you want to offer your property for filming, there’s a maximum fee you can legally ask, such as X. The legislation also includes different tiers and categories of locations, each with their own set fee limits.
— Tax breaks for vendors supplying film-specific gear and rentals to the film community; in effort to make local pricing of said gear competitive with non-LA markets. Breaks for property taxes, sales tax, etc. for vendors who meet a specific criteria.
— A statewide film rebate program that is genuinely lucrative; that actually attracts production to the state from outside of California. The influx of volume will pay for the rebate via sales tax and income tax; plus mitigate film-worker retention within the state, creating and protecting legacy revenue.
— A red alert alignment across unions and guilds regarding union minimums and staffing requirements within Los Angeles county. An emergency moratorium on increases in crew minimums; a temporary lowering of crew minimums until stabilization within the Los Angeles marketplace can be declared.
To my comrades within the film industry who belong to unions and guilds, I strongly express my support for the union cause in our field. As a fellow member of the DGA, I stand proudly behind this belief. Although reducing minimum wages might initially seem regressive in light of the financial hardships many are facing – it’s crucial we look at the bigger picture. Lower rates could generate more job opportunities. Filling positions swiftly with these lower-priced opportunities may ultimately bring in more income than fewer, high-paying ones. For the sake of long-term stability, I kindly ask for your thoughtful consideration on this matter.
Let me make this clear: There are deep-rooted financial problems in commercial advertising as a whole, and these issues contribute significantly to the budget crises we see today. It’s important to note that Los Angeles isn’t responsible for this, nor is any production community merely trying to keep up with inflation. Both parties – creators and advertisers – need to compromise to achieve balance quickly. However, this topic calls for a separate opinion piece altogether.
I may not be a legislator or an economist, and my knowledge beyond creating extends primarily to production. My ideas for change might seem simplistic or unconventional to some. Yet, it was this very simplicity and boldness that drew me to Los Angeles, particularly the film industry. These are the characteristics that shaped Hollywood into what it is today.
If we fail to ensure fair competition now, Los Angeles might end up resembling Spahn Ranch – deserted and no longer recognized as a major hub for filmmaking. While contracts may still be signed and deals made in LA, actual filming would cease. Therefore, is the reputation of Los Angeles as the world’s film capital merely a front or a solid base? The choice is ours now to make that determination.
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2024-10-10 18:25