BEHIND THE SCENES – 127 HOURS

http://www.movieweb.com/movie/127-hours/behind-the-scenes-footage-part-2

HARNESSING FILM, TELEVISION AND MEDIA PRODUCTION AS AN ECONOMIC DRIVER.

Association of Film Commissioners International Film Commissions Presentation: June 2012

FILM AS ECONOMIC DRIVERThe Numbers

The Economic Argument

Buoyant Business Model

• PWC Global Entertainment & Media Outlook 2012 – 16

• Global spending on entertainment and media (E&M) rose 4.9 percent in 2011 - a little faster than the 4.5 percent increase in 2010, but below gains in previous growth years.

• During the next five years, E&M spending will grow at a 5.7 percent compound annual rate to $2.1 trillion per annum.

Dynamic Demand

• Thirteen countries in 2011 had E&M spending above $25 billion, led by the United States at $464 billion.

• China passed Germany in 2011 to become the third largest E&M market in the world.

• Brazil overtook South Korea in 2011 and during the next five years will pass Canada and Italy to become the seventh largest market.

Growing Market for Products

• Of the countries with more than $10 billion in consumer/end-user spending in 2011, the fastest-growing through 2016 will be China at a CAGR of 9.9 percent, followed by India and Brazil, both at 9.0 percent.

• The US will continue to dominate consumer spending through 2016.

Long Value Chain

Economic Impacts

• The Film Sector is a dynamic economic driver. • In particular, the production of film, television

and new media productions on location can contribute significantly to the creation of local jobs, the stimulation of small businesses, and the support of economic activity throughout a host community.

Manufacturing-on-the-Move• 24 percent or almost one-quarter of 154 American films released in 2003 were

filmed outside the USA.

• One third of all DGA pilots for dramatic series filmed last year were made outside the United States.

• One quarter of all DGA dramatic television series broadcast on American television in 2003 were made outside the U.S.

• 69 Of 110 movies for all forms of television and miniseries filmed under DGA contract in 2003 were shot outside the USA.

• Virtually two thirds of all long-form television (movies of the week, movies for television, and miniseries), made for the American market last year under DGA contracts, were filmed outside the U.S.

• 68% of Television Commercial producers (AICP Members) have used international destinations

How the Film Industry contributes

• The greatest economic opportunities arise from large-scale inbound production.

• These can provide freelance work for more than 1500 people with work created for camera operators, sound and lighting technicians, caterers, plumbers, carpenters, animal trainers, truck drivers, make-up artists, graphic artists, photographers, set designers, painters and actors.

Not (just) about Bond in a fast car

Local Supplies, Local Skills

Direct Involvement• Actors• Camera • Casting Agents• Computer effects & graphics• Crew / Labour• Crewing Agents• Distributors• Equipment Rentals• Film editing and projection• Financing• Grips• Lighting & Sound• Location Management• Location scouting

• Make-up• Music & sound• Photography• Production Accounting• Scriptwriting• Set construction• Special effects• Titles• Transport accommodation• Video post production• Wardrobe

Indirect Involvement• Accommodation owners• Taverns, bars and restaurants • Transport - taxi services, tours, trips,

airport and other transfers • Incidental Services such as florists, hair

salons, beauty parlours, craft shops• Laundry services -ironing only, full

laundry, sewing and repairs • Portering, Courier & Freight services • Rugs, wall hangings, furniture, textiles,

art • Saddles, harnesses & leather goods• Construction - collection of materials,

thatching, building trades • Maintenance services - vehicles, plant

and equipment

• Metal workers• Environmental services -

gardening, bush clearing, composting

• Tour operator services • Travel agencies • Tour guides /

Chaperones • Marketing services • Training services

Real People, Real Jobs• “From what I earned on

Blood Diamond, I was able to afford to pay for my youngest daughter’s first year at a nursing college. I would never have been able to afford this on what I used to earn in the clothes factories.”

• Seamstress Eunice Gumede, wardrobe department, Blood Diamond.

BEHIND THE SCENES: THE HOBBIThttp://youtu.be/tzubEQek900

Case Study 1: The Last Samurai

Direct Spend

Breakdown of SpendLine Item %

Crew 38.07%

Equipment 12.90%

Set Construction 7.59%

Vehicle Hire 7.26%

Art Department 6.99%

Stock 6.80%

Talent 6.48%

Success Stories Illinois: $25 million contribution to the economy in 2003,

75$ million in 2004, Louisiana: $4 million contribution to the economy in 2001,

$125 million in 2004, $600 million to June 2005 (3000 jobs created; 27 films shot in 2004) $1 billion by 2009

New York: Incentives introduced 2004. $325 million extra contribution to the economy

British Columbia: $801 million contribution to the economy (2004). Increased film tax incentives (2005) and generated an additional $350 million. 30000 jobs created, 197 films shot in 2004 - transformed labour hire practices.

SO WHAT WILL MAKE FILMMAKERS CONSIDER SPENDING THEIR MONEY WITH YOU?

DRIVERS OF PRODUCTION

• Costs / Cost-effectiveness / Value

• Diversity of Architecture & Geographical locations

• Availability of local hire of skilled cast/crew/equipment/services.

• Availability of Hotel & Tourism infrastructure

• Accessibility from airports (also parking)

• Diversity of Talent pool

• Government support / access / permits etc.

• Incentives

• Studios / Studio space

• Plus a variety of unpredictable dynamics that are out of a location’s control, such as seasonal weather, star / director personal preference, or storyline.

VALUE ON THE SCREEN

WHAT GOVERNMENTS WANT

• Bureaucratic Processes / adherence to By-laws • New dollars into the area thereby adding to the economic

base• Create local jobs and opportunities• Pay higher-than-average wages in the area thus

contributing to raising standard-of-living• Investment in poor neighbourhoods, counties or areas • Skills Transfer and local Training • Tourism and Marketing Promotion

HOW TO REACH THAT BALANCE?

ABOUT FILM COMMISSIONS

Global Response

• Over 350 governments, at National, State, Provincial, Regional and City Levels, have understood to potential of film & media production as an economic driver.

• To handle their interests they have each created a Film Commission or Film Office.

What is a Film Commission?

A “special purpose organisation” that contributes to the development of a buoyant, competitive, sustainable economy by developing, coordinating and marketing the film industry andfilm-related activities in a specific region.

Primary Responsibility

“to attract film and video production to an area in order to accrue locally-realized benefits from hiringlocal crews and talent, renting local equipment, usingHotel rooms, rental cars, catering services, or anynumber of goods and services supplied on location.”

Brief History• The first film commissions were formed in the United States during

the late 1940's, when Hollywood began to move away from studios and onto location.

• As a result, there was need for film companies to have a local government liaison to coordinate local services such as police, state troopers and highway patrols, road and highway departments, fire departments, park rangers and all of the other essential municipal and government services for shooting a production on location.

• At the same time, jurisdictions realised that there was potential economic value from attracting the film industry, and they required a vehicle to market their offerings.

Film Commission Pioneer

Harry Goulding, Utah 1938 – John Ford’s Stagecoach

What’s in a name?The term “Film Commission” came about because these offices emerged from a form of municipal government that was once common in the United States known as “City Commission Government.” In a city commission government, voters elected a small team of Commissioners who, as a group, were responsible for taxation, appropriations, ordinances, and other general functions.

As individuals, the same Commissioners were also assigned responsibility for a specific aspect of municipal affairs, such as public works, finance, or public safety (remember Police Commissioner Gordon in Batman?)

Once Film was accepted as a Municipal responsibility, one of the Commissioners became the Film Commissioner, and the relative departmentbecame the Film Commission.

Film Commission Models

Film Commissions are usually funded by various agencies of government but they are housed in a variety of models: the governor’s office, the mayor’s office, chambers of commerce, convention and visitors’ bureaus, tourism offices, business and economic development departments.

International Norms?(ie. there is no international norm)

75% of Film Offices are Government Agencies24% are Non-Profit Organizations (in the USA the split is

closer – 51% to 45%)45% of all commissions are managed by Boards of Directors30% are direct government offices.74% of film commissions are small one person offices with

operations budgets of less than $50000 per annum8-10% of all film commissions conduct their own fundraising.

Main Challenges

Main Functions

Main Activities

• Acting as official central point of contact

• Marketing of locations

• Marketing of Local Crew, Equipments & Expertise

• Scouting Support

• Assisting Inbound Productions / Troubleshooting Production

Problems / Facilitating Government responses

• Building a Film-Ready Workforce & Community

• Reporting

Marketing & Promotion

• Film Festivals, Film Markets and Film Business Events

• Trade Publications – Advertising & Editorial

• Social Media & Online• Relationship Marketing• Special Events & Trade

Show.

Marketing & Promotion

Preparing the Groundwork

• Sourcing and coordinating the goods, services, talent and crew available

locally – ensuring that the maximum number of local people and

businesses can be proposed to work

• Preparing / briefing the workforce for the unique demands of production

• Ensuring that training establishments develop and offer courses to fill the

gaps in the workforce offering

• Building a locations database, offering a broad cross-section of available

filming areas locally.

• Ensuring that private landowners and building owners are fully briefed in

the unique demands of production

• Creating a list of all permit officials and ensuring they are briefed.

Case Study 2: Lord of War 14 international locations In SA 27 international and 50 local cast

members were employed 388 local crew were employed in SA 22 550 meals were served and 6 218

take-aways were ordered 54 528 bottles of mineral water and 2

890l of cold drink were consumed 168kg of filter coffee was brewed 415 vehicles were used and R800 000's

worth of fuel was guzzled 1 Rolls Royce Silver Spirit and 1 Mercedes

Benz truck were blown up In a week the crew drank 27 bottles of

Jagermeister at the Pofadder Hotel

Case Study 3: I Am Legend • Six nights of filming• 14 government agencies• 250 crew members• 1,000 extras incl. 160 National

Guard members,• three Stryker armored

vehicles & several humvees• a 110-foot cutter, a 41-foot

utility boat, and two 25-foot Response Boat Small craft.

• scene alone cost the studio $5 million

CASE STUDY 5 – THE HELPhttp://youtu.be/CLDiS-WgFrs

Troubleshooting

• Assisting the production should problems arise.

• In particular, liaising with authorities to ensure filming can go ahead.

Benefits of a Film Commission to Film Industry clients

• Local Knowledge• Local Contacts• Local Facilitation• Local Resources• A Local Ally • Vision• Professionalism• Integrity

Benefits of a Film Commission to Local Government & Community

• Industry Knowledge• Industry Contacts• Skilled Facilitation• A Local Ally • Vision• Professionalism• Integrity• Economic Development

Behind the Scenes: The Hulk

• http://youtu.be/iDkbrfjgNdY

NEW OPPORTUNITIESMore recently, destinations around the world have begun developing an even broader scope for the Film Sector support programs – not merely addressing on-location filming, but by becoming the hub of ALL film related activity within a jurisdiction. The activities of Film Commission and Film Offices now regularly include:

Developing Film Incentive Packages Encouraging the development of distribution of local productions Increasing audiences for film product particularly via film festivals Encouraging the study of film Encouraging the acquisition of film related skills Supporting a climate of entrepreneurship within the sector

TOURISM OPPORTUNITIES• Steven R. Miller and Abdul

Abdulkadri at the Center for Economic Analysis at Michigan State University quote Ernst and Young’s 2009 New Mexico report that $2.50 is generated in film tourism for every dollar of in state production ‐expenditure.

• 1998’s The Annals of Tourism Research noted that locations where a successful film has been filmed, there is a 54% increase in tourism visits over four years.

Case Study 6: Miss Potter

• Hill House location, Lake District

• 2006 - 64,500 visitors• 2007 - Film released

106,500 visitors• 65% increase• 2008 - 105,000 • 2009 - 103,000

Miss Potter effect.• 75% of the box office from

outside USA• Japanese tourists average spend

at Hilltop is $132pp• Before 2006, retail income stood

at around $543,000 per annum prior to 2007

• After 2007 retail income was $889,000, (61% increase.)

• It has not dropped lower than $868,000 per annum since then.

• In 2007 the 4m x 7m shop had the highest turnover per metre squared for any shop in the National Trust

Tourism Successes• The Lord of the Rings trilogy

transformed New Zealand into a vacation hot spot.

• The Da Vinci Code has fuelled attendance records at the Louvre Museum in Paris and sent tourists flocking to a Scottish church in search of the Holy Grail.

• Sideways put Santa Barbara's vineyards and wineries on the map.

• And 17 years after its release, the

baseball flick Field of Dreams continues to draw 65,000 sightseers a year to a cornfield in Iowa where they collectively spend over $1 million a year at the t-shirt concession.

SHOW ME THE MONEY – INCENTIVES OVERVIEW

Incentives

Incentives:• stimulate the economy• create high paying jobs• boost tax revenues.

Show Them The Money

• Financial Incentives• Tax Information and

rebate details• Co-production

information• Soft money• Locally applicable

discounts• Free hotel nights / car

hire for location scouts

Types of Incentive

Direct financial Incentives Indirect Financial IncentivesTax-based Incentives including• Tax credit programs • Abatements/reductions• Exemptions • Special geographic tax programs

Tax Credits

• Refundable Tax Credits• Non-refundable Tax Credits• Transferable Tax Credits• Rebates/Grants• Sales and Use Tax Exemption• Investor/Investment tax credits • Loan Programs

FILM IS EVERYONE’S BUSINESS

CONCLUSION

A Film Commission can offer• Leadership• Vision• Professionalism• Integrity• Facilitation• Opportunity Costin pursuit of harnessing the benefits offered by the

global film sector.