{"id":669852,"date":"2025-05-17T16:17:52","date_gmt":"2025-05-17T13:17:52","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/can-cannes-help-california-get-its-groove-back\/"},"modified":"2025-05-17T16:17:52","modified_gmt":"2025-05-17T13:17:52","slug":"can-cannes-help-california-get-its-groove-back","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/can-cannes-help-california-get-its-groove-back\/","title":{"rendered":"Can Cannes Help California Get Its Groove Back?"},"content":{"rendered":"
\n

\n\tAs you walk up The Croisette toward the Palais, there\u2019s a long, winding series<\/a> of tents overlooking the yachts anchored in the Bay of Cannes. Atop each tent is a flag representing the country that hopes to impress the producers, financiers and executives gathering at Cannes on the hunt for locations (and most importantly, financial incentives) for their next projects.<\/p>\n

\n\tNear the end of these tents is the American Pavilion, which historically has been a place for the world\u2019s biggest exporter of entertainment to meet with international guests, and for individual U.S. states to tout their tax incentives and facilities.<\/p>\n

\n\tNew York had its own dedicated day in the early 2000s, but never before had California made a concerted effort to court the Cannes crowd. After all, Los Angeles has long been the most influential city on earth when it comes to entertainment, an entire town built around the movie and TV business. But after years of production shifting to competing states and competing countries, California finally came to Cannes to make the case for regaining some of the ground it\u2019s lost.<\/p>\n

\n\t\u201cPost the fires and the strikes, L.A. wants to get the message out that we are open for business,\u201d says Julie Sisk, founder and president of the American Pavilion and who conceived of the idea for California Day, held on May 15. The California Film Commission and Visit California partnered on the day at the Pavilion, which is owned by THR<\/em> parent company PMC.<\/p>\n

\n\tThere were California wines to pair with sushi. See\u2019s Candies came on as a sponsor, while there was a bus photo booth and a re-creation of the Hollywood Walk of Fame. But most importantly, there were impassioned panel discussions onstage, as well as private debates offstage about the pain and gain of filming in California. One refrain: Production was once so integral to the fabric of Los Angeles that Californians never thought it could disapp<\/a>ear. Perhaps they got complacent.<\/p>\n

\n\tThere is prevailing wisdom that it\u2019s prohibitively expensive to shoot in L.A. And the common belief is that even after California Gov. Gavin News<\/a>om unveiled plans last year to double the state\u2019s cap for the film and TV tax incentive from $330 million to $750 million a year, this bucket will be quickly depleted.<\/p>\n

\n\tOne indie director speculated to THR<\/em> that just a few studio movies will eat up the credit every year, while one producer guessed that about just 10 films get that credit. Neither is true \u2014 and this confusion illustrates California\u2019s perception problem, even among filmmakers who would like to shoot there. (For the record, 51 films have been approved this year for an incentive, most of them independent productions, along with a few studio features.)<\/p>\n

\n\t\u201cThis budget increase will mean we can bring in many more projects and not have to turn away qualified productions due to lack of funding. There are also two companion bills making their way through the California legislature that seek programmatic changes,\u201d says Colleen Bell, California Film Commissioner. <\/p>\n

\n\tOn one panel at California Day, writer and producer Michal Zebede acknowledged that shooting in Los Angeles is expensive but noted there are workarounds. On her 2020 series Party of Five<\/em>, some filming took place in California in places such as Palm Springs or Santa Clarita, which had their own local incentives and less expensive permits. The crew would simply commute to work every day from L.A. \u201cYou end up offsetting some costs,\u201d Zebede noted. \u201cIf you\u2019re going to shoot in Atlanta, where we almost shot the show, then we would\u2019ve had to fly cast and lodge cast first class.\u201d<\/p>\n

\n\tProducer Jonathan King, whose credits include best picture winners Spotlight<\/em> and Green Book<\/em>, noted on a different panel that he has not been able to film extensively in Los Angeles since 20 years ago on Dreamgirls<\/em>, but hopes that something will change, perhaps with a little help from Jon Voight, one of President Donald Trump\u2019s \u201cspecial ambassadors\u201d to Hollywood, who earlier this month released a much-talked-about proposal for spurring production in the U.S.<\/p>\n

\n\tKing has read the plan and said he agrees with 95\u202fpercent of it, in particular ideas of federal incentives that can be stacked on top of state incentives, as well as co-production agreements with other nations. He would also like to see the conversation about filmmaking reframed to note that, in many ways, it\u2019s manufacturing a product.<\/p>\n

\n\t\u201cWe\u2019ve allowed the idea [to proliferate] that Hollywood is part of the media<\/a> elite and making movies is an elite cultural activity,\u201d King said. \u201cWhen I\u2019m shooting a movie, I\u2019m wearing construction boots and probably a neon orange safety vest, because we are manufacturing something.\u201d<\/p>\n

\n\tAdded My Dead Friend Zoe<\/em> producer Ray Maiello: \u201cAs they do in all the European countries, we should support film as a cultural output.\u201d<\/p>\n

\n\tProducer <\/strong>Jon Kilik, known for his work with Spike Lee <\/strong>and Oliver Stone, noted that New York is likely the most expensive place to film in the world, yet, \u201cNew York and New Jersey have not only figured out the rebate, they\u2019ve also incentivized the studios,\u201d pointing to New Jersey\u2019s upcoming $900\u202fmillion Netflix complex.<\/p>\n

\n\tAs for Pavilion boss Sisk, she sees her role as being agnostic when it comes to different U.S. states. Says the Cannes veteran: \u201cThere isn\u2019t a United States Film Commission, so we sometimes step in and fill that role.\u201d<\/p>\n

\n\tSumming up the mood of the day, film comissioner Bell notes: \u201cThere was a lot of enthusiasm and engagement at California Day at the American Pavilion. The California Dream felt alive in Cannes \u2014 a desire among so many filmmakers to shoot their first project or subsequent projects in our state.\u201d<\/p>\n<\/div>\n

If you liked the article, do not forget to share it with your friends. Follow us on\u00a0Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n

\n

If you want to read more Like this articles, you can visit our Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n

Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

As you walk up The Croisette toward the Palais, there\u2019s a long, winding series of tents overlooking the yachts anchored in the Bay of Cannes. Atop each tent is a flag representing the country that hopes to impress the producers, financiers and executives gathering at Cannes on the hunt for locations (and most importantly, financial…<\/p>\n","protected":false},"author":1,"featured_media":669853,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2025\/05\/RM6_7060-e1747468386655.jpg?w=1440&h=810&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[28928,155500],"class_list":["post-669852","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-cannes","tag-cannes-2025"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/669852","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=669852"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/669852\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/669853"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=669852"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=669852"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=669852"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}