Movie Studio bills introduced in Nevada Legislature, Warner Bros. no longer involved in second proposal
Assembly Bill 238, which would put a Sony Pictures Studio in Summerlin, was introduced Monday, sponsored by assemblymember Sandra Jauregui and assemblymember Daniele Monroe-Moreno.
Senate Bill 220, which would lead to building a film studio at UNLV Harry Reid Research & Technology Park, was introduced Wednesday, sponsored by State Senator Roberta Lange.
Lange told 8 News Now while Warner Bros. was originally part of the bill's plan, the entertainment company did not have the same vision.
'It's really great to bring a new demographic,' Paula Lopez told 8 News Now.
Lopez spoke to 8 News Now about future changes she's looking forward to seeing in her Summerlin neighborhood.
'Hopefully driving won't be too bad,' Lopez said of the studio's future location. 'But I work east, so you know.'
The Summerlin Production Studios Project, a $1.8 billion plan between Sony Pictures Entertainment and Howard Hughes Holdings would feature 13 buildings including sound stages, production facilities, and mixed-use. It would be located near Flamingo Road and Town Center Drive.
AB238 would provide $80 million in film tax credits from 2028 to 2043 and require at least $400 million to be invested in Nevada.
According to the bill, 50 percent of photography days would have to take place in the state, and a film must be finished in 18 months.
Assemblymember Sandra Jauregui called this an opportunity to expand the economy.
'We have a real opportunity to do just that,' she told 8 News Now in Carson City. 'To bring in jobs and a new industry. Hey when hospitality slows down, it doesn't matter, because this industry is going to exist.'
Senate Bill 220, which would provide about $15 million in film tax credits per year over the same period, is similar with a slightly different focus; introducing college students to the industry.
'The centerpiece is UNLV and The Pipeline training, and creating workforce,' State Senator Lange said. 'CSN and NSU will also be involved.'
Though Warner Bros. is no longer involved, State Senator Lange said she is still working with Birtcher Development and Manhattan Beach Studios, which will act as a broker for future development.
State Senator Lange said her goal would be to eventually merge the two bills.
'I believe it's in the best interest of the state of Nevada,' she explained.
Lopez told 8 News Now she is looking forward to seeing the next steps forward.
'Some new life,' Lopez concluded. 'That maybe Nevada hasn't been open to before.'
State Senator Lange also said her bill would be union-built and union-operated.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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'A load of rubbish,' is how guitarist David Gilmour characterised the record, which took form as the group were coming to terms with the exit of their original leader, Syd Barrett – shown the door after his out-of-control acid habit left him hollowed out and permanently frazzled. 'We were at a real low point… I think we were scraping the barrel a bit at that period,' said Gilmour. Scraping the barrel they may have been with songs such as the 13-minute Alan's Psychedelic Breakfast and Breast Milky (part of the side-one song cycle). But in one respect, the LP was boundary-shattering – and that, of course, has to do the sleeves designed by their regular collaborators, the aforementioned Powell and Storm Thorgerson, who worked as Hipgnosis (and who knew the Floyd from their early days in Cambridge). Thorgerson and Powell would later come to be regarded as masters of the art of album design, but in the early 1970s they still had the mindset of unruly undergraduates making it up as they went. Which is how they came to present Pink Floyd with the mocked-up album sleeve consisting of a photograph snapped by Thorgerson of a Holstein-Friesian named Lulubelle III. It was intended largely as a joke, but Pink Floyd loved its daring – no album or artist title, no band photograph. Their label, EMI, was less enamoured of the concept. 'Ah, Friesians,' said Len Wood, the boss of EMI Records. Still, he knew better than to get in the way of a band whose blend of artsiness and whimsy had already brought great success – and three weeks later, Atom Heart Mother was topping the charts. Dark Side of the Moon, 1973 Determined to improve on the botched and indulgent, as they saw it, Atom Mother Heart, Pink Floyd produced their masterpiece, Dark Side of the Moon. 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The band loved it – to Thorgerson's chagrin, as it was the first of several mock-up album sleeves he had prepared. Didn't they want to see the other options, he wondered, at a meeting at EMI Studios in Abbey Road? Drummer Nick Mason would later dub him 'a man who couldn't take yes for an answer'. Wish You Were Here, 1975 Pink Floyd were slowly falling apart when they came to make their follow-up to Dark Side of the Moon. To the perpetually angst-ridden Waters, the title track was a lament both for the absent Barrett (unrecognisable when, bloated and confused, he visited the group during the recording sessions) and also for the fact that they were becoming strangers to one another. He was commenting, too, on how the record business turned musicians against one another while cheerfully ripping them off. That was the message that Powell and Thorgerson seized upon for the cover. 'There was a lot of anger, especially in Roger, about the record business,' said Powell. 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