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Yahoo
17-05-2025
- Entertainment
- Yahoo
How The L.A. Fires Sparked A Major Fight To Bring Back Local Film & TV Production: 'We Cannot Wait Until We Have Lost The Business'
For Los Angeles-based production workers, 2025 was supposed to be the light at the end of the tunnel. Instead, the year quickly fell into a pattern that has become all too familiar for the local industry when the hopes that things might finally return to normal were squandered yet again by an unprecedented, devastating event. In January, two historic wildfires ravaged the city, swallowing thousands of homes and leaving more than $250 billion in damages in its wake. After succumbing to runaway production for decades, which avalanched in the last five years following pandemic-related shutdowns and 2023's historically long, dual strikes, California's film and television production had been brought to its knees. But rather than view this latest tragedy as a death knell, it was almost as if it became the jolt the local industry needed to fight back. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story 'Eddington' Cannes Film Festival Premiere Photos: Joaquin Phoenix, Pedro Pascal, Emma Stone, Austin Butler & More Ang Lee Reveals Why 'Brokeback Mountain' Restored His Faith In Filmmaking: "I'm Still Standing, Still Making Movies, Thanks To That Movie" 'I think that really renewed our commitment to doing everything we could to keep this industry vibrant and thriving here in California,' says Rebecca Rhine, the western executive director and associate national executive director of the Directors Guild of America. RELATED: Rhine is leading the Entertainment Union Coalition in one of two prominent campaigns that have emerged after the fires, aimed at returning to the Golden Age of Hollywood. The coalition's primary goal with its own campaign, called Keep California Rolling, has been to lobby federal and state government officials to codify solutions. Meanwhile, Alexandra Pechman and Sarah Smith's Stay in LA campaign is not only appealing to lawmakers but also to famous faces who can wield their own influence to keep production in Los Angeles. Even as firefighters were still battling the flames, the pair amassed more than 6,000 signatures, including from the likes of A-listers like LeVar Burton and Alison Brie, in support of their initiative. 'This isn't just a Hollywood issue. This isn't just something that affects the biggest names you know,' Pechman says. 'This affects florists, small business owners, dry cleaners — all the people of our city really feel the ripple effect when this key, iconic industry is hurting.' RELATED: From 2015 to 2020, about 50% of the 312 productions that did not qualify for California's tax credit incentive relocated to another area, resulting in an approximate loss of 28,000 jobs and $7.7 billion in economic activity, according to a recent report from the EUC. The coalition makes the case that runaway production has widespread impact beyond direct job loss, affecting tourism, hospitality and more local industries. That doesn't mean that those big names don't help the cause. In fact, stars speaking out might be the only way to really get people to listen, Pechman and Smith say. 'That's why people do stay. Someone powerful enough, either in front of or behind the camera, just says, 'Well, I'm not going to make the project unless it's shot here,' and so that is hugely influential,' Smith says. RELATED: Earlier this year, DGA President Lesli Linka Glatter answered that call herself during an impassioned speech at the guild's award ceremony, advocating that productions be filmed where they are set, at the very least. She also promised her next project would film in LA. The show is Imperfect Women with Kerry Washington, Elizabeth Moss and Kate Mara, who Linka Glatter says were instrumental in the push to have the production remain local. 'There are many people that have the power to make those kinds of changes, and now is the time to do it. We cannot wait. We cannot wait until we have lost the business,' she says. State officials had already begun exploring potential solutions to the years-long production exodus in California and, in October, Governor Gavin Newsom proposed a substantial increase to the state's Film & TV Tax Credit Program to $750 million annually, which would make it the second largest in the country. Lawmakers have also introduced a pair of bills aimed at 'modernizing' the program by allowing a wider range of projects to qualify and offering more funds to each individual production. RELATED: Nearly everyone interviewed agreed that, while the state's response is a good start, additional funding alone will not be enough to staunch the bleeding of this particular issue. On a local level, Pechman and Smith have also been focused on making Los Angeles 'feel more production friendly and welcome productions back home,' via overhauls to the onerous and expensive permitting system that deters many filmmakers from attempting to shoot in the city. 'It's also about encouraging studios, whose businesses are headquartered here, to invest in the creative community where they live. I mean, we have such a rich community and history of generational craftspeople, and I think that's such an undervalued resource,' Smith says. 'We have artists who are the best in their game, and if we lose them to other places… it's almost like giving away the rich soil that this place has been growing forever.' Rhine also says the EUC is 'looking at every tool available on the federal level' to bolster statewide incentives and help states compete with international territories like the U.K. and Canada, which have been steadily poaching production from the U.S. for decades. Each state incentive program is designed to compete internationally, but given the unique challenges facing the U.S., the unions argue a federal tax incentive is also necessary. The reality is that the Hollywood unions represent workers across the country who have been impacted by a global production contraction. Per a 2023 report from the Motion Picture Association, the U.S. film and television industry alone supports more than 2 million jobs and contributes over $180 billion in total wages, encompassing 122,000 businesses nationwide. A report from ProdPro suggests that, while the number of global productions increased by 18% and generated an additional $16.2 billion in 2024, production levels last year still 'fell short of expectations'. Some have wondered whether throwing money at the issue is nothing more than a race to the bottom. With so many competing territories that might just increase their own incentives in response to any moves by California and the United States, will the state eventually find itself behind the ball again? RELATED: 'It's not just tax incentives that are luring productions away,' Smith warns. 'The cost of labor, obviously, the cost of goods, the fact that a lot of places have universal health care and pensions. It's tough for Americans to compete and for Californians to compete, given a lot of those factors, but we've just reached a point where it's compete or die,' Smith warned. 'We must take action to preserve an industry that has huge cultural impact and is such an important part of our identity and legacy in Los Angeles and throughout California. I think we've been taking it for granted for too long.' These four women are not alone in sounding the alarm on the bleak state of film and television production in California and across the U.S. In a recent episode of his podcast, Rob Lowe joked with his Parks and Recreation co-star Adam Scott that, if it were made today, the NBC sitcom likely would've been shot in Budapest. He also revealed that his game show The Floor shoots in Ireland, despite having American contestants. In short, things are looking bleak, he complained. It's true, Los Angeles is not the bustling production town it once was. According to a recent report from FilmLA, production in Los Angeles was down more than 30% over five-year averages in 2024. But, there are still a few lone high-profile productions that remain in the city, including ABC's High Potential, Amazon's Jury Duty and HBO's Hacks. 'The whole show is a little bit like our love letter to show business and to comedy and the entertainment industry at large,' Hacks co-creator Paul W. Downs told Deadline in a recent conversation, explaining the desire to film in Hollywood even though much of the show is set in Las Vegas. Hacks lost an iconic filming location when the Altadena home introduced in Season 2 as Deborah Vance (Jean Smart)'s 'side mansion' was engulfed in flames. It is one of several famous structures that are now gone, only adding to the bleakness surrounding the state of film and television in the city that was once the mecca of production. Though the path back is uncertain, the glimmer of hope remains that this will one day ring true again. 'I think our superpower in the film business is our resilience and our sense of community, and that is powerful,' Linka Glatter says. 'I do think in the worst of times, hopefully people's best selves come forward. Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? Everything We Know About Ari Aster's 'Eddington' So Far
Yahoo
02-05-2025
- Entertainment
- Yahoo
Jon Voight Has A Plan To Save Hollywood: Will Trump Or Anyone Else Care?
Nearly five months after President Donald Trump announced his 'special ambassadors' to Hollywood, one of them appears poised to present a plan to revive the film and television industry in the United States — but what, exactly, does that entail? Jon Voight has been taking meetings around town with union reps and studio executives to understand the issues plaguing domestic production, Deadline has confirmed. So far, Voight met with the Directors Guild of America, Teamsters and IATSE, sources tell us. The Writers Guild of America has not met with Voight, and it's unclear whether SAG-AFTRA has entertained a conversation. More from Deadline Trump 101: Why POTUS' Lawsuit Against CBS Over '60 Minutes' Is Seen As Dubious – Analysis Trump Celebrity Supporters: Famous Folks In Favor Of The 47th President Apple CEO Tim Cook Sees $900 Million Hit From Tariffs In June Quarter If Rates Stay The Same - Update We understand that Trump's other two ambassador picks, Sylvester Stallone and Mel Gibson, are not involved in Voight's conversations. The Tulsa King star and Passion of the Christ filmmaker have not facilitated any formal discussions on the topic on their own either, it seems. The exact plan that Coming Home Oscar winner Voight, whose daughter is Angelina Jolie, has prepared for Trump is unclear, but sources with knowledge of his conversations with Hollywood insiders tell us they expect a federal tax incentive to be the main component. As the lack of production in L.A. displays, the U.S. film and television industry has suffered greatly from a growing number of runaway productions over the years. International territories including the UK, Canada and Hungary have significantly beefed up their own financial incentives, tax credits and infrastructure during the past decade. Stateside, while individual states from the heavy hitters of New York and Georgia to smaller jurisdictions like New Mexico have done what they can to bolster their own local industries, union representatives have been raising the idea of a federal tax break to further incentivize domestic production for some time. D.C. and Hollywood insiders say they are skeptical about whether the Trump administration would go for something like this, though. The president long has demonstrated a general disdain for Tinseltown — despite his own past as a reality TV star — especially after its outpouring of support for former Vice President Kamala Harris' presidential run. RELATED: Also, sources have pointed out that any major funding initiative using taxpayer dollars would contradict the administration's rhetoric on trimming the fat from the federal budget and bringing down the national debt. The Trump administration has spent four months gutting federal agencies and slashing funding for infrastructure, research and more. Never mind that federal spending in Trump's first 100 days is up $200B from this time last year. However, bolstering domestic film and television production is in line with Trump's agenda to bring jobs back from overseas, more generally. In his Truth Social decree in January, Trump said he was appointing Voight, Stallone and Gibson with 'the purpose of bringing Hollywood, which has lost much business over the last four years to Foreign Countries, BACK—BIGGER, BETTER, AND STRONGER THAN EVER BEFORE!' He also vowed to 'get done what they suggest,' so there is the possibility that Trump would entertain the idea if it came from the right person. How that will go over with his constituency is another question altogether. RELATED: Sources with knowledge of Voight's conversations around Hollywood have said that union and studio leaders have tempered expectations about what might come from his appeal to Trump. Voight's efforts come as Hollywood's major unions are focusing their attention more specifically on bringing production back to California. In October, Gov. Gavin Newsom proposed an expansion of the state's Film & TV Tax Credit Program cap from $330M annually to $750M. Deadline understands that this is very high priority for Newsom, and he's very determined to make sure it's approved by the Legislature. If approved, it would give California a much-needed leg up as the second-largest film and television tax incentive program in the country after Georgia, which has no limit on its spending. RELATED: California lawmakers also are weighing two bills, SB630 and AB1138, that are aimed at making some significant changes to the program beyond simply offering more money. Those changes include expanding eligibility and boosting the individual credit amount available to each production. Union reps have stressed that the issue is not simply budget but rather that California's program, which unlike other states is a jobs initiative that directly ties eligibility to the amount of jobs a production is going to create, must undo some of the red tape that has made it nearly impossible for new projects to receive any meaningful funding. Right now, the bills are working their way through Senate and Assembly committees on their way to the floor and have received resounding support from lawmakers so far. The bills also are heavily supported by California production workers, who have sent more than 100,000 letters of support to Sacramento in hopes it'll help move the needle. Ted Johnson and Dominic Patten contributed to this report. Best of Deadline Brad Pitt's Apple 'F1' Movie: Everything We Know So Far Everything We Know About 'Nine Perfect Strangers' Season 2 So Far 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
Hindustan Times
02-05-2025
- Entertainment
- Hindustan Times
Hollywood's most prolific director, with 50 films, doesn't even exist; yet directed Brad Pitt, got Al Pacino an Oscar
'Who is Alan Smithee' can be an interesting trivia question for film buffs. The name has been used in the credits of Hollywood films as a director more time than any other. Even prolific filmmakers like Alfred Hitchcock and Steven Spielberg do not have as many credits as a director as dear old Alan. However, what complicates matters for Alan's legacy is the small matter that he does not exist. Alan Smithee, also spelt Allen Smithee, is the official pseudonym used by film directors, largely in America, when they want to disown their projects. The name was coined by the Directors Guild of America (DGA) in 1968. Since then, it has been used by several directors in 50 films. Whenever a director feels they haven't had the desired creative control over the film and they would not want their name associated with the final product, they can request DGA to allow the use of Alan Smithee. The DGA reserves the final decision once the filmmaker can prove to the satisfaction of a guild panel that they had not been able to exercise creative control over a film. The director is not allowed to discuss in public why they disowned their film. The pseudonym was originally created for a Western titled Death of a Gunfighter. The lead actor replaced director Robert Totten with Don Siegel mid-shoot. Siegel argued that he had only shot one-fourth of the film and that the star had had creative control. Since he did not want the credit, DGA invented Alan Smithee. Surprisingly, the film received rave reviews with Roger Ebert writing, "Director Allen Smithee, a name I'm not familiar with, allows his story to unfold naturally." The name was then retroactively added to Burt Reynolds' 1968 hit Fade In. The DGA then decided to use the name in similar situations thereafter. In the 70s and 80s, Alan Smithee stepped in for disgruntled directors several times. In 1984, David Lynch disowned the extended TV version of his classic, Dune, and Alan Smithee's name was featured as the director. In 1992, Martin Brest disowned a cut in-flight version of his acclaimed film, Scent of a Woman, and again, Smithee stepped up. Al Pacino won the Best Actor Oscar for his role in the film. Three years later, Michael Mann disowned the TV cut of his Pacino and Robert de Niro-starrer Heat, and Alan Smithee took over. Over the years, Smithee 'directed' several other big stars like Brad Pitt in Meet Joe Black, Russell Crowe in The Insider, and Jeremy Renner in National Lampoon's Senior Trip. Smithee also filled in for dissatisfied directors in episodes of many TV shows and music videos. After the turn of the century, as internet proliferation made it impossible to keep a director's involvement secret, Alan Smithee's 'career' slowed down and then halted. The last film that made use of the pseudonym was the 2015 horror film Old 37.
Yahoo
30-04-2025
- Business
- Yahoo
Proposal to help LA film production approved by city council
LOS ANGELES - In a unanimous decision, the Los Angeles City Council approved a proposal to reduce fees and streamline processes to support filmmakers in the city. The initiative aims to revitalize local film production and address challenges faced by the industry. What we know The proposal, introduced by Councilman Adrin Nazarian, seeks to adjust city fees, permits, parking, and security requirements for filming on city-owned property. The council has instructed city departments to report back with recommendations within 30 days. Nazarian emphasized the importance of protecting middle-class workers and the film industry that has put Los Angeles on the global map. RELATED: Hollywood film production drastically declines as workers struggle to make ends meet The backstory Nazarian, a former state legislator, previously authored AB 2936 in 2018 to expand statewide production tax credits, though it did not advance. The current motion comes as state leaders consider two bills aimed at revitalizing production. Councilwoman Traci Park highlighted the need for competitive tax credits to encourage film production in Los Angeles. What they're saying Industry representatives, including Greg Zekowski from the Directors Guild of America, expressed support for the motion, citing the need to address challenges that drive production away from Los Angeles. Martin Weeks, president of IATSE Local 728, urged the council to support the proposal to prevent job losses. By the numbers FilmLA, the city's partner film office, raised permit fees by 4% last year. Despite this, FilmLA's rates remain below regional averages, with only 40% of fees funding its operations. The organization reported a 22.4% decline in on-location filming in the first quarter of the year, attributed to various factors including strikes and the pandemic. What's next The council's proposal aligns with two state bills, SB 630 and AB 1138, which aim to expand and modernize California's tax credit program. These bills propose reducing runtime requirements for TV shows and increasing tax credits for productions in specific locations. The Assembly Revenue and Taxation Committee and Senate Appropriations Committee are currently reviewing these bills. Why you should care The film industry is a significant economic driver for Los Angeles and California. Supporting local filmmakers through reduced fees and streamlined processes can help retain production in the region, protect jobs, and sustain the industry's contribution to the economy. The Source Information for this story is from the office of Councilman Adrin Nazarian.
Newsweek
26-04-2025
- Entertainment
- Newsweek
Will Forte Pledges to Climb Mount Everest Over 'Coyote Vs. Acme' Rescue
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors You're going to be hard-pressed to find someone happier about Ketchup entertainment saving "Coyote vs. Acme" than "MacGruber" star Will Forte. Forte was at the premiere of his new show "The Four Seasons" when he told The Hollywood Reporter how happy he was people would actually get a chance to see the movie, and the lengths he'd go to in order to promote it. Read More: 'Alien' Movies, Ranked from Worst to Best "I never thought it would happen so it just came out of nowhere and I'm so thrilled," Forte said. "Thank you Ketchup Entertainment, I'm so excited for people to see this movie. I'm gonna promote the crap out of it, just tell me what you want me to do and I'll go, I'll do whatever — go to the top of Mount Everest, I'm there." Will Forte attends premiere for Netflix's "The Four Seasons" at Directors Guild of America on April 24, 2025 in Los Angeles, California. Will Forte attends premiere for Netflix's "The Four Seasons" at Directors Guild of America on April 24, 2025 in Los Angeles, California. Unique Nicole/WireImage It's not surprising Forte's jokingly pledging to climb mountains over the promotion considering the strong words he used back when it looked like "Coyote vs. Acme" would survive as nothing but a Hollywood footnote. At the time, he told MovieWeb, "My thoughts were that it's f---ing bulls--t. It is such a delightful movie. It deserves so much better than what it got. I don't know, I can't tell you possibly why the decision was made to not release it, but it makes my blood boil." In 2022, Warner Bros. chose to shelve "Coyote vs. Acme" and included it as part of a $115 million impairment charge, but apparently behind the scenes the studio was looking to sell the film to any interested parties. This past March, Ketchup Entertainment, the same studio who took "The Day The Earth Blew Up: A Looney Tunes Movie" off Warner Bros. hands did the same with "Coyote vs. Acme", negotiating global distribution rights for the feature. "We're thrilled to have made a deal with Warner Bros. Pictures to bring this film to audiences worldwide," Gareth West, CEO of Ketchup Entertainment said in a statement. "'Coyote vs. Acme' is a perfect blend of nostalgia and modern storytelling, capturing the essence of the beloved Looney Tunes characters while introducing them to a new generation. We believe it will resonate with both longtime fans and newcomers alike." "Coyote vs. Acme" is directed by Dave Green. The film stars Will Forte, John Cena, Lana Condor, P.J. Byrne, Tone Bell, and Martha Kelly. There is no firm release date yet for the film, but it's expected to bow in the summer of 2026. More Movies: George Lucas Finally Explains Why Yoda Speaks Backwards Predator and Humans Team Up in 'Predator: Badlands' First Look Trailer
