CELEBRATING CALIFORNIA

ANYONE WHO NEEDS REMINDING OF CALIFORNIA’S CAPABILITIES AS A FILMING LOCATION ONLY NEEDS TO SWITCH ON THE TELEVISON OR PAY A VISIT TO THEIR LOCAL CINEMA. ANDY FRY TAKES A TOUR OF THE WORLD’S MOVIE CAPITAL

RECENTLY-released feature flms including Nope, Don’t Worry Darling, Everything Everywhere All at Once, The Fabelmans and Babylon ofer the perfect showcase for both California’s stunning vistas and its remarkable production design expertise.

Top Gun: Maverick, The Gray Man and Bullet Train, meanwhile, are proof that The Golden State can handle the logistical complexity required to create theatrical and streaming blockbusters.

For California Film Commission (CFC) executive director Colleen Bell, 2022 was a year that “really demonstrated the richness of the state’s ofering. The range of locations, stateof-the-art equipment, world-class crews and flm-friendly authorities continue to be a major attraction to both US and international flmmakers.”

Locations are a particular attraction, Bell says: “California is like an entire nation in one state. Recent high-profle productions showcase our incredible topography which includes mountains, coastline, deserts, and the spectacular Redwoods in the North of the state. California can double for many diferent locations — with the added bonus that we have 300 days of sunshine a year.”

Then, of course, there is California’s resoundingly successful flm & TV tax credit — frst introduced in 2009 and now in its third cycle. Credited with reversing long-term decline in California’s competitiveness, the current edition of the fve-year programme provides $330m every fscal year (July 1 to June 30) to productions that meet eligibility requirements. So far, the credit (worth 20-30% depending on the nature of the project and the criteria it meets) is reckoned to have generated $6.2bn in direct in-state spending since edition three launched in 2020. “The competition today is global, so it’s wonderful to see our state’s commitment to maintaining our status as the world’s flm and TV production capital,” Bell says. “The tax credit is an incredibly efective tool, and is working precisely as intended.”

Despite challenging macro-economic conditions, overall in-state spending by projects in the tax credit programme grew by $200m, from $2.1bn to $2.3bn, during 2021-2022. For the current fscal year, spend for the frst six months is provisionally estimated to be $1.6bn, suggesting the growth trend will continue despite the tougher fnancial climate. “What’s really exciting for us is that Governor Newsom also recently announced that the tax credit programme is being extended until 2030 — programme 4.0 will run from 2025-2030,” Bell says. “That extended runway provides studios and vendors with the consistency and stability they need to make longterm decisions about infrastructure investment. It gives them certainty.”

For Bell, one of the great successes of the programme is the way it has helped California achieve a range of strategic objectives. A case in point is the return of blockbuster movies which, prior to the introduction of the tax credit scheme, had started deserting the state for rival production hubs. Netfix’s The Gray Man, for example, flmed in California for 62 days and generated $100m in qualifed expenditures, employing 300 crew. Bullet Train, starring Brad Pitt, shot for 60 days and generated $86m in spend. Set on board a high-speed train travelling from Tokyo to Kyoto, California also successfully doubled as Japan through the use of digital LED screens and a meticulous set build on Sony Pictures Studios.

According to Bell, this momentum will be maintained as the latest additions to the programme come online. Among the new wave of big-budget productions shooting in California are Beverly Hills Cop 4, Unfrosted and Atlas, a Netfix sci-f thriller starring Jennifer Lopez. Also on their way are the hotlyanticipated Joker: Folie à Deux and Thomas Crown Afair “There’s also Netfix production Rebel Moon: Part 2, which is bringing 150 flming days to the state,” Bell says.

Commenting on his decision to bring Joker: Folie à Deux to California, director/writer/producer Todd Phillips says: “Having spent several years flming in iconic locales here in the US and around the globe, I’m looking forward to returning to work in the place I call home and to serving the state by bringing a project of this scope to California. No other city has more resources than LA when it comes to our industry, and to have this kind of support from the tax credit programme is a nice welcome.”

No Other City Has More Resources Than La When It Comes To Our Industry

TODD PHILLIPS

The programme also continues to be efective at persuading TV productions to relocate from other flming destinations: “The entire programme has a done a great job attracting series from other production hubs,” Bell says, “but for Programme 3.0 we allocated an extra $30m to this area and widened the defnition so that more productions could be eligible for the credit.”

The result has been dramatic, with nine series taking the bait. Among these, Amazon Originals Hunters relocated from New York, Peacock’s Killing It moved over from New Orleans and HBO Max’s Rap Sh!t swapped out Florida. Commenting on the decision to relocate Killing It, Dan Goor, co-showrunner and executive producer, said California “not only has amazing crews and the best facilities but is also where our children are located.”

Another key dimension of the tax credit programme is its ongoing efort to get producers to embrace the entire state of California, not just the Thirty Mile Zone (TMZ) around LA where the bulk of production takes place: “The state has 33 million acres of forests, seven million acres of desert, 840 miles of coastline, 482 cities, and 58 counties,” Bell says, “so there is huge scope for producers beyond the boundaries of the TMZ. That’s why we introduced an additional 5% tax credit for outof-zone flming. Producers can also get bonus points during the application process if they commit to flming outside the TMZ — so that provides them with a boost in getting into the programme.”

So far, out-of-zone spending under Programme 3 has hit the $5m mark, with San Diego (Animal Kingdom), Ventura County (Promised Land) and Orange County (Kimi) among benefciaries. Previously — with funds allocated under programme 2 — Don’t Worry Darling spent 19 days in Barstow and Riverside Counties, generating $2.1m in local spend. It’s worth noting also, says Bell, that several productions have also uncovered location gems across the state even without tax credits.

“We know flming is important to local communities and businesses,” Bell says, “because of the revenue it brings in, so it’s important for us to try and spread production across the entire state.”

In Bell’s opinion, another factor that helps that state stand out as a filming making hub is its people-centric approach to the business. “The current tax credit programme encourages training and diversity, creating career pathways for the state’s underserved communities. But more than that, California has a unique spirit and respect for personal freedom and diversity that is deeply cherished by people in the production industry.”

Drilling down into California’s on-the-ground performance, the city of Los Angeles saw 36,792 filming days in 2022, welcoming TV dramas including Bel-Air (Peacock), Bosch Legacy (Freevee), Fatal Attraction (Paramount+) and Snowfall (FX); and movies like Netflix’s Atlas and Beverly Hills Cop 4 This comes on top of all the work that takes place in the city’s numerous studios.

Commenting on LA’s appeal, location manager Mandi Dillin says: “Los Angeles is really a city without limits. My career is a testament to the variety of locations and projects you can make here — 1930s LA, future LA, future China and Singapore, the Wild West, New York countless times (in the 1980s and modern day) and let's not forget Mars and other intergalactic locales. In terms of California as a whole, we have it all and we have the experienced film crews who set the bar for professionalism.”

Within the vicinity of LA, Dillin says she has been able to work on so many diverse projects “because of the availability of over 100 years of architecture to choose from — some of the oldest and newest buildings in California are in LA. We also have a variety of landscapes which allow for non-California stories to film here. We're known for beaches and palm trees but we have diverse neighbourhoods with deciduous trees that can double for nearly anywhere. We also have a commitment to preservation which allows pre-war buildings and original neighbourhoods to thrive.”

Dillin says one of the most noticeable impacts of the tax credit from her point of view has been a resurgence in movies in the $20m-$30m budget range. “I'm personally excited about this. Bringing more small and mid-level features home to Hollywood can be a gateway for some of those bigger feature films to follow.”

In terms of her own work, Dillin says, “2022 was one of the busiest years of my career. In January I began principal filming for season two of Perry Mason. I had a short ‘vacation' during which I moved into a new home and then I began prep on season three of The Morning Show before I could even unpack. We're in the final days of filming The Morning Show right now. Both projects take viewers on very different but all-encompassing journeys — back in time in LA and in modern-day New York City.”

2022 Was One Of The Busiest Years Of My Career

MANDI DILLIN

The story is equally upbeat in the filming hubs that have grown up around the edges of LA’s Thirty Mile Zone — the most well-established being the city of Santa Clarita. Located around 30 miles north of downtown LA, filming generated an economic impact of $38.5m — up 2.2% year-on-year. “Since the Santa Clarita Film Ofce began issuing permits for flming in 2003 there has been growth every single year and 2022 was no exception,” says city mayor Jason Gibbs. “Home to dozens of sound stages, a multitude of studios and movie ranches and unique settings for location flming, Santa Clarita is one of the most flmed communities in California, helping to boost our local economy and provide quality jobs.”

Picking up the story, Evan Thomason, economic development associate at the city of Santa Clarita, says the growth in California’s production business has “given investors the confdence to build additional infrastructure. Here in Santa Clarita, we’ve seen the arrival of LA North Studios, which focuses mainly on feature flms, and the expansion of Santa Clarita Studios, which typically targets high-end television. LA North, for example, hosted both The Fabelmans and Don’t Worry Darling.”

As for TV series to visit Santa Clarita Thomason picks out a wide range including Your Honor, CSI: Vegas, Bosch Legacy, Lincoln Lawyer, The Patient, Mayans MC and Curb Your Enthusiasm. “I think the real key to Santa Clarita’s success is that we ofer a complete package — studios, ranches, locations, expertise and a community that embraces the arrival of new productions.”

There are also plans for a major new complex in Santa Clarita, adds Thomason adds. The Rye Canyon Studios project, recently approved, is planning on building 28 new sound stages (470,000 sq ft) and 255,000 sq ft of ofce space.

In addition, he adds, ranches have invested in infrastructure and facilities to meet the growing demand from producers.

“Santa Clarita is home to several well-known movie ranches,” Thomason says, “and I think this is one of the factors that really sets Southern California apart as a production hub.”

It’s a compelling argument. While flm and TV studios are being erected all around the world, there’s nothing that really replicates California’s long-established movie ranch model.

The likes of Disney-owned Golden Oak, Melody Ranch and many others provide flmmakers with wide open expanses where they can shoot spectacular scenes or build elaborate sets in peace. Some, like Blue Cloud, have standing sets that can be used to recreate Mexican pueblos or Middle-Eastern backdrops. Many ofer ample parking, ofce space and workshops.

A recent endorsement of the California ranch model was flmmaker Jordan Peele’s thriller Nope, which was shot at two ranches, located on the border of Santa Clarita and Agua Dulce. A hugely ambitious production, Nope involved the construction of a three-storey ranch house and a theme park, which was later taken down and rebuilt at Universal Studios. Describing the flm, Peele says a core underlying theme of the story is the human addiction to spectacle: “Nope stands apart from my other flms in that it’s a bigger adventure than I’ve ever tried to tell. From a flmmaking perspective, it is by far my most ambitious. I purposely wrote something without any regard to how possible it was. Thankfully my director of photography Hoyte van Hoytema responded positively to the script and its challenges.”

Such is the surge in production that Santa Clarita is not the only spot in the LA vicinity that is enjoying a production boom. Antelope Valley and Palmdale have become busier since the creation of a secondary studio zone in 2015 — which efectively extends the Thirty Mile Zone by 10 miles. Recent visitors include TV series The Rookie and Westworld and feature flms The Forever Purge, Fall and Mile 19. Among popular haunts is the Four Aces Movie Ranch, which ofers an eerie roadside diner and gas station. In the case of Fall, a vertiginous movie about two young female mountaineers stuck up a remote telecoms tower, the production team also utilised striking locations out in the Mojave Desert.

Location manager Mandi Dillin says: “I'm getting more calls than usual about smaller ranches in the outskirts of LA and Ventura counties. People seem to be educated about the tax credit awarding points for work outside of the Thirty Mile Zone. I know that producers are motivated to work outside of the Thirty Mile Zone because of the tax credit. It opens up more location flming options.”

On another positive note, she says: “I'm waiting for the National Park Service to break ground on rebuilding Paramount Ranch, destroyed in the 2018 Woolsey fre. Rebuilding one of our prized Western Towns will bring another asset back to the flm community. I often get calls about standing Western Towns.”

Alongside Santa Clarita, Simi Valley has also become a key flming hub, hosting TV series including Westworld and Bosch Legacy, and breakout movie Everything Everywhere All at Once. Starring Michelle Yeoh the latter based most of its tightly budgeted 38-day shoot in Simi Valley. The flm then went onto secure a host of Oscars at 2023's Academy Awards.

In a sense, the flm is a good illustration of how California’s tax credit can nurture career development. The movie was created by filmmaking duo Dan Kwan and Daniel Scheinert, who received a tax credit for both this project and their previous production Swiss Army Man. Off the back of Everything Everywhere All at Once, they have signed a five-year partnership with Universal.

Simi Valley also hosted Damien Chazelle’s Babylon — a lavish homage to the 1920s silent era. Blue Sky Movie Ranch hosted a major sequence where director Jack Conrad (Brad Pitt) oversees the chaotic ‘cast of thousands’ shoot of a movie epic.

Like Quentin Tarantino’s Once Upon A Time in Hollywood, Chazelle’s Babylon doesn't just showcase California’s wide array of location options; it also illustrates how talented the state’s craft base is when it comes to recreating lost eras on screen. Babylon production designer Florencia Martin says: “With its sound stages, 900-person battlefield and six high-end homes, Babylon is at the scale of the mythical movies of the past.”

Chazelle told Martin he wanted the film to look as historically accurate as possible — but he acknowledges that this was a major design challenge. “Florencia had this insane challenge. Not only did her team have to create the Los Angeles of its time, but within that she also had to recreate each movie studio experience and within that each of the fictional movie sets. So we were looking at sets within sets within sets. An empty field was used as basis for building an outdoor silent movie studio with six or seven sets running at all times. It was extraordinary.”

Location manager Chris Baugh had the good fortune to work on both Babylon and Don't Worry Darling. Underlining the way in which California filmmakers continue to push back boundaries, he says: “It was exhilarating. I’ve been a location manager for 30 years but the logistical scope of these films was beyond anything I’ve done. These films really pushed me to the limit.”

The scale of Babylon was one of the biggest challenges, he says: “It was a 180-page script set in period LA, with 70 locations, 300 crew and 500-1,000 extras. A key issue we had was shooting in remote locations during summer with COVID protocols.”

Shifting focus away from LA, San Francisco is another key filming hub. Some 380 miles north of LA, the city offers beautiful, distinctive architecture and access to the geographically splendid Bay Area.

“San Francisco is one of the most cinematic cities in the world,” says Manijeh Fata, executive director of the San Francisco Film Commission. “Between the architecture, hills and coastline, the city has a look that can’t be replicated. I often say that it’s like a character in the story, it’s always trying to steal the close-up.”

At the same time, however, the city has a surprising capacity to double. “Movies like Hemingway & Gelhorn demonstrate the city’s ability to stand in for other cities around the world.”

The location is supported by a talented crew-base and the city’s film-friendly approach to production: “I’ve worked here for eight years,” Fata says, “and there’s a real desire within the city to make things happen for producers. That can be anything from important statement pieces like The Last Black Man in San Francisco through to logistically complex blockbusters like The Matrix Resurrections. That project involved shutting down the financial district for several weekends in succession, and shooting incredibly intense scenes. But all the city’s stakeholders and the community came together to make it work — because we recognise how important filming is to the local economy.”

Fata herself has only recently taken up her post, replacing the long-serving Susannah Robbins. Her appointment was widely welcomed by stakeholders and creatives: “In many ways, our film was a love letter to San Francisco,” says Khaliah Neal, producer for The Last Black Man in San Francisco. “It was always key to our creativity that we filmed there and Manijeh was instrumental and pivotal in making this a reality for us.”

Filming was affected by COVID-19 but is now starting to recover, Fata says. “The year 2022 saw a lot of indie films and TV series including Blindspotting season two. The big news in 2023 is the arrival of The Thomas Crown Affair and it looks like autumn will be busy.”

A key agenda for the city is to encourage productions to stay for longer. One way of achieving this is San Francisco’s local $600,000 incentive, which can be used in conjunction with the state tax credit. Running since 2006, qualifying productions can use the money to offset fees that pay to city agencies. The real gamechanger, however, would be a studio in the city: “We are talking to partners about developing a state-of-the-art facility,” Fata says. “Having sound stages and office space here would give producers a base and allow them to stay for longer.”

Further infrastructure development around San Francisco would also make it easier to access adjacent counties like Solano, Marin, Sonoma and San Mateo. All of these are blessed with their own unique locations, but also have the ability to play ‘anytown America’ — as illustrated in the popular Netflix series Thirteen Reasons Why, which shot in Solano and Marin.

Logistics dictate that most film and TV production is based near California’s urban hubs, but set off on a road trip and it soon becomes obvious why location mangers rarely have to step out of the state in search of elusive money shots. For spectacular coastline there is Monterey while for majestic Redwoods filmmakers can head up to Humboldt and Del Norte counties in the North. Across the state, location managers can find a range of architectural styles for both doubling and recreating anytown America.

The Mojave Desert is just three hours from LA — as are the sumptuous agricultural landscapes of Kern county.

Blockbuster movie Top Gun: Maverick provided a picturepostcard summary of the state, ranging between oceans, mountains and forest. Lake Tahoe, up in the northern reaches of the state, was the backdrop to the film’s thrilling snowcovered climax.

Olivia Wilde’s Don’t Worry Darling secured a tax credit for filming outside the Thirty Mile Zone — with Palm Springs a key location. One of the most intriguing tasks, says location manager Chris Baugh, was “finding wide-open landscapes and unusual geographic formations”, with one of the key sequences involving a dramatic car chase across a desert. Equally memorable to audiences, perhaps, was the exquisite and unusual array of mid-20th century architecture on show. Scenes set around the iconic Kaufman House, Canyon View Estates and Barstow County’s Volcano House were especially memorable.

Typifying the options available in California is San Luis Obispo County (SLO), three hours north of LA. Visit SLO CAL communications manager Eric Parker says the county is home to “3,600 square miles of varied terrain: beautiful beaches, lush vineyards, rolling hills, picturesque landscapes, rural barns, swinging western saloons and flat lands. SLO CAL’s most popular film location, the Oceano Dunes, give off the feeling of being in the middle east or Sahara Desert, perfect for previous shoots with Nick Jonas, Beyonce and Rihanna, in addition to scenes from Pirates of the Caribbean. Filmmakers also like the fact that we typically get around 315 days of sunshine per year.”

Recent projects have included NBC’s This Is Us, which filmed its season finale in Paso Robles at Allegretto Vineyard & Resort and CaliPaso off Highway 46. In addition, “a plethora of cars have been filmed for commercials, both along Highway 1 and inside the Oceano Dunes,” Parker says, including Honda, Ford, Buick, Jeep and Toyota. “Film scouts are always on the hunt for the most idyllic rugged and rural spot to shoot their product, and SLO CAL offers the variety they are looking for.”

Identifying the right location in California is made easier by FLICS, an association of 40+ film commissions and offices that are based across the state: “We’re very collaborative,” says FLICS president Sabrina Jurisich, “because we know that the absolute priority for all of us is keeping production in California. Between us we can help producers find the right location and then tell them what infrastructure is in place to support them.”

As for her day job, Jurisich is head of the Upstate Film Commission, a body that facilitates filming across Shasta County, Tehama County and Yuba-Sutter Counties. “I was originally head of Shasta County film commission, but it became clear that there were advantages in offering producers a point of contact and support for neighbouring counties which didn't have such a formal infrastructure for filming. We all benefit economically if we can provide producers with more options and availability.”

North of state capital Sacramento, Jurisich’s enlarged jurisdiction offers iconic landmarks including the Sundial Bridge, national parks, access to a local air force base, ranches, rodeo grounds and a range of distinctive small- to mid-sized towns. “We had a great year in 2022,” says Jurisich, “with 41 projects across film, commercials, music video and student productions. That generated $4.1m in local economic impact which is a record.”

The big highlight of the year was the arrival of feature film The Dresden Sun, starring Christina Ricci. A hi-tech heist, Jurisich says: “It’s the biggest project we’ve had here in a long time and it was based primarily in Shasta County. There were 23 locations — a lot of which were very public — like the city hall and civic centre. That really reflects how film-friendly the Upstate region is.”

The level of production in Upstate is perhaps surprising when you realise that none of it came with state tax credits. “I think that tells you how cost-effective it can be to shoot here,” Jurisich says. “Our hotels, crews and location fees are competitive and we now have low-cost direct flights from Burbank into Redding. When you add in our own regional incentive ($25,000) and the infrastructure we’ve built here, then you can see why shooting in California isn't just about the state incentive.”

Looking ahead, the CFC’s Bell says there is a key change coming in tax credit programme 4.0 that she expects will boost its efficacy. Referring to it as “refundability”, she says it is a relaxing of criteria relating to tax liabilities that will make it possible for more companies to participate in the scheme. In simple terms, this means that several major studios that are currently unable to utilise the tax credit will be able to do so from 2025.