Film Industry Town Hall, April 18th in Taos!

SANTA FE—The New Mexico Film Office today announced a Town Hall meeting scheduled to take place in Taos on Thursday, April 18, 2013. 

This Town Hall follows a series of town hall meetings that took place in Las Cruces, Ruidoso, Roswell, Raton, Clovis, and Carlsbad. Film Office director Nick Maniatis will discuss the state of the New Mexico film industry – including an update about legislation, the outlook going forward, and the opportunities available to New Mexicans.


The meetings are intended to provide an open forum for each community to share information about their educational programs, film related businesses and issues of concern. Prior to each Town Hall meeting, participants will have an opportunity to have their headshot (photograph) taken by a representative of the film office which will be given to Extra Casting Directors in New Mexico. 

Those who already have a headshot are encouraged to bring them to the Town Hall meeting and fill out the Extras Casting Information Registration form (headshots do not have to be taken by a professional). This opportunity is for informational purposes only and is not in response to a particular production. The Town Halls are free and open to all, including students, local filmmakers, businesses and the general public. The NM Film Office is collaborating with local film liaisons, schools and chambers of commerce in conducting these events. 

The schedule is as follows: When: Thursday, April 18, 2013 Time: 6:00 PM Location: Harwood Museum of Art 238 Ledoux St., Taos, NM 87571 Phone: 575-758-9826 Contact: Asia Golden, Coordinator of Public Programs asiagolden@gmail.com 

Agenda: 6:00 pm - Headshots for casting directors 7:00 pm - Welcome and Introductions David Hinske 7:15 pm - State of the NM Film Industry, Director Nick Maniatis 7:30 pm - Q and A session There is no RSVP necessary to attend any of the Town Hall meetings and surrounding communities are encouraged to participate in the discussion. 

The expected timeframe for the town hall is approximately two (2) hours with Q&A. For more information on the 2013 Film Industry Town Hall meetings contact Dirk Norris at 505-476-5671 or dirk@nmfilm.com. # # #

Cast & Crew Entertainment Services - The Interview!

Payroll Companies play a large and increasingly critical part of the production industry, and are often the “unseen heroes” that really help a film tick.  In this interview with our New Mexico clients – Cast & Crew Entertainment Services – Senior VP of Client Services, Shardell Cavaliere, explains about the role of the Payroll Company in the modern production landscape.

What are the core services Cast & Crew provides to the film industry?

As a leading Entertainment Industry services company, Cast & Crew offers a turnkey solution for the Industry’s payroll and production needs.  Our suite of services includes specialized payroll and residuals processing, Cast & Crew’s own proprietary software products: PSL production accounting software, (the most stable in the industry), onBudget, (Cast & Crew’s premier production budgeting software) and onSet, (Cast & Crew’s Purchasing and Procurement Company.)

  

Most people would be surprised at how large and diverse a role payroll companies play in the production of feature films. In addition to payroll, what services and/or logistics does Cast & Crew provide to the industry?

Cast & Crew has a suite of proprietary technology solutions for production from budgeting via our onBudget software to our production accounting software, PSL.  For our clients, Cast & Crew facilitates all areas of Worker’s Compensation, provides access to our extremely knowledgeable Labor Relations group and provides state-by-state production incentive advice.  Additionally, through our onSet service, productions are able to procure goods and services through Cast & Crew to take advantage of various state incentives.

As production continues to decentralize from LA to “incentive” states, what challenges or opportunities does that present for a company like Cast & Crew, and how do you stay on top of it all? Is that the benefit of having offices nationwide?

At Cast & Crew, we look at every change in the industry as an opportunity to increase both our knowledge base and our role in the ever changing industry.  We work directly with film commissions in all US and Canadian jurisdictions and participate in numerous panels and discussions all year long.  Through these relationships, Cast & Crew is kept abreast of proposed changes and is able to work proactively with our clients to ensure that they get the most out of the individual incentives. 

While traveling to take advantage of incentives is beneficial to the productions, are there areas where it makes things more difficult or less cost effective? How does working with a company like Cast & Crew minimize those challenges and help maximize incentives?

Cast & Crew’s relationships with various state agencies only benefit our clients.  The ever changing world of incentives poses a challenge to all productions but, by utilizing our services, they do not need to be worried that they are missing out.  We all know that it is not practical for a production to purchase and own all of the equipment that is necessary.  From the expense of traveling that equipment across the country to the expense of storing it until it is liquidated at the end of production, the viability of owning just does not make sense.  This is where Cast & Crew onSet provides an amazing service.  Productions are able to procure their equipment from onSet and take advantage of the state incentives.  No need to store or transport equipment and they get credit for incentive purposes.  This is a double win for productions! 

Productions are increasingly mobile, going from New Mexico to New Orleans or beyond. Do you follow along and provide services throughout, regardless of the location? What about overseas locations? What's one of the most exotic places your staff has traveled to?

When a production starts with Cast & Crew, they may begin working in the US and soon find themselves across the country or the ocean.  Cast & Crew currently has offices across the United States and Canada and we are pleased to be opening our first overseas office in London this spring.  Cast & Crew will be with them every step of the way. We have had productions in various parts of the world, including remote parts of Africa.  We are able to process US nationals working anywhere in the world and, with the opening of our London office, will be able to process payroll across Europe as well.

Does Cast & Crew help productions navigate all the State incentives to help them decide where to shoot? Or do your services begin once the locations are set and the project is green-lit?

Cast & Crew is available to work with any of our clients to get the most out of the state incentives.  We are not in the business of keeping our clients out in the cold and that philosophy extends to production incentives.  A client simply needs to call and let us know where they are going and we are ready to assist them with the most up-to-date information available.  We provide monthly email updates and twice yearly we publish a physical version of our TIP Guide which details the incentives on a state-by-state basis.  These tools and the personal relationships that we have with state agencies enable us to provide up to the minute information to our production partners allowing them to maximize their return.  

New Mexico remains one of the top production locations in the US. What is it about New Mexico that continues to keep it so successful in light of aggressive competition from other States?

New Mexico has state-of-the-art stage facilities, a good crew base and no per project cap except for the $20M aggregate cap on performing artists’ salaries.  In addition, the incentive is fully refundable, a short commute from Los Angeles for weekend trips home, and good weather,

all of which provide a very competitive landscape.

What are some of the more notable New Mexico productions Cast & Crew has worked on? 

Cast & Crew has been privileged to work with many productions in New Mexico such as The Lone Ranger, Game Change, Longmire and The Lying Game, to name just a few.

Tell us about your New Mexico crew. What makes them the best in the industry?

Our New Mexico office is led by a seasoned team of industry professions.  The majority of the team has also worked on the production side which adds to the client experience.

  

Cast & Crew uses "the most stable and sophisticated production accounting software available on the market." Explain a bit about the system, what it enables Cast & Crew to do, and how it gives you an edge over other Payroll companies.

PSL was designed to track production incentives efficiently and effectively. In addition, the user friendly interface makes it the go-to software for the biggest films ever produced, most recently THE LONE RANGER filmed in New Mexico. The flexibility of PSL allows for customized reports to be created effortlessly, allowing productions to maximize their return and speed up the incentive process.   Combine that with the 24/7 customer support, PSL has become the choice of production accountants everywhere.

To learn more, contact Cast & Crew!

Cast & Crew Entertainment Services 
5700 Harper Drive, NE, Suite 310, Albuquerque, NM 87109
Tel: (505) 247-0868

Open Arms: Three Basic Tips to Welcome Production Crews

Breckenridge is one of Colorado’s most production friendly locations, and here’s some tips from Rachel Zerowin of GoBreck on how to welcome and work with incoming film and photo shoots. See why they’ve been so successful in bringing film to Colorado.

by Rachel Zerowin, GoBreck.

We all know that film, video and photos tell stories. When a crew wants to help tell your community’s story, it can be valuable to welcome them with open arms. Of course, permitting processes vary, but no matter the community’s structure or size, considering a few basics can help open the door to productions.

Recognize (and reward) public relations value

Some productions seek nondescript backgrounds that can’t be placed in a specific town. When productions want to identify and show off your signature shots – the locations you use to sell your community – the result is often public relations (PR) value. Say thanks by waiving permitting fees.

Travel programs can show major and obvious PR value but with the wealth of resources in the state, Colorado communities can (and should) think beyond that. A field test of cycling gear can show off mountain bike trails or a commuter cycling network; and a reality TV show on home purchasing may reveal perks of visiting the community. Whatever the focus of the program, be open to how it can share your community’s story, and be willing to give accordingly.

Be a resource

From permitting and parking to knowing the best overlook and which coffee shops open before 6:00 a.m., it’s the little details that can be difficult to wrangle. Even if you don’t have all the answers to every question – and you won’t – assign someone to wrangle. That person should work closely with those who issue permits, and have a connection with, or be willing to contact, local businesses. Additionally, this person can serve as the on-site contact for any on-the-spot questions or requests.

In Breckenridge, crews typically work through town permitting, ski area permitting and permission for private property. Many handle these steps on their own, but some seek our assistance here at the GoBreck office. Beyond sending crews to the appropriate permitting offices, we make ourselves available to be involved as much or as little as requested.

This varies from providing an on-site host, to setting up activities for cast members (often at no charge based on PR value), connecting producers with private property owners, or simply suggesting shoot/b-roll locations.

Be flexible

As crews communicate needs through the permitting process, be flexible and communicate any changes in normal procedures. For example, police/parking would probably be made aware if you issued a longer-term parking permit, but you may also want to notify impacted businesses or the public works department. Consider internal fact sheets so that crews with special permissions aren’t bothered. For those that want a crowd, use your in-town resource to inform businesses, rally crowds and contact media as appropriate.

In addition to fulfilling basic operational requests, be willing to make (or consider) changes for outdoor lighting, schedule demands, street closures, and close-in permitting requests. (Remember the first tip?) We’ve secured lifts, moved event locations/times and worked with activity outfitters to offer special trips. Yes, there will be limitations. But be flexible and be prepared with second and third choices

—-

Rachel Zerowin is the public relations manager for GoBreck, the destination marketing organization for the Town of Breckenridge. GoBreck works closely with the town and the ski resort to assist productions interested in shooting in Breckenridge. The community has hosted everything from movies and catalogue shoots to ski films and reality television programs. For more information on film and video permitting in Breckenridge, visit the Town of Breckenridge website or the Shoot Colorado location guide to Breckenridge. To get a taste of the town’s character, check out the BreckConnection blog.

Photos from the production of “After the Catch” – a followup to “The Deadliest Catch,” shot this summer in Breckenridge.

Credit Daniel Dunn
After the Catch, the Deadliest Catch recap show that relives the last crab fishing season, was shot in Breckenridge in summer 2012. In addition to fulfilling basic operational needs, the town and the ski area hosted a sampling of town’s signature activities and events, including the annual Outhouse Races.

Credit Ian Leirfallom. Captains from the Deadliest Catch participate in Breckenridge activities as part of shooting for After the Catch.

Credit Daniel Dunn
When After the Catch shot in Breckenridge in summer 2012, GoBreck assisted with rallying crowds for the Main Street shoot.

New Mexico Invests $200,000 For Filmmakers Programs

Governor Bill Richardson today announced his continued support for film in New Mexico by awarding an additional $200,000 to the New Mexico Filmmakers Program.

The money will be used for filmmaker training and outreach programs including the New Mexico Filmmakers Showcase, the annual New Mexico Filmmakers Conference, the New Mexico Filmmakers Resource Center and various outreach events including the upcoming Native/Hispanic Film Tour.

“The variety of programs we offer local filmmakers is unparalleled in the rest of the country,” said Governor Bill Richardson. “The accolades our filmmakers are garnering speak to our talent level and the success of our programs. This is a clear indication that this industry has taken hold here, which means more jobs and more opportunities for our people and businesses.”

Under Governor Richardson’s leadership, the New Visions/New Mexico program has awarded a total of $640,000 in production funding to forty local filmmakers from around the state. Several filmmakers have used these awards to additionally leverage thousands of dollars in outside funding, and have had their films honored in top caliber film festivals around the world including the Sundance Film Festival, the Tribeca Film Festival, and the Rome International Film Festival.

To read the full article, click here!

Albuquerque Studios

Albuquerque Studios is going to the "auction block." Having defaulted on a $21.4 million loan, their creditor, Chicago Investment Trust, is calling in the chips, and The Studios (including their debt) is scheduled to auction on May 14th, in Albuquerque.

So, if this does happen, what does it mean for the New Mexico film industry?

It depends, but I think it will work out just fine.

Firstly, there was film in New Mexico before Albuquerque Studios, and there would be film after Albuquerque Studios, whether it was shuttered totally (unlikely) or if it was taken over by another studio entity. The notion that this spells the "demise" of anything (other than the careers of some studio executives and, perhaps, the name "Albuquerque Studios") is unfounded.

Secondly, Albuquerque Studios was built during an intense spike in production business in New Mexico, when our state was well out in the forefront of the "film incentive" game. At that time it made a lot of sense to build the world's largest studio for $100 million dollars. But that was before the economic downturn. And before dozens of other states launched their own film incentive programs. That being said, its possible that the current state of Albuquerque Studios as as much a result of management as economy. It's hard to tell.

Either way, under any circumstances, it's never easy to recoup $100 million sheckles.

Much of filming in New Mexico is location based, and not every picture or TV show is going to be mega-budget. Garson Studios in Santa Fe has been around since 1989, and have hosted major productions including No Country for Old Men, Legion, Brothers, Appaloosa and more. While they don't garner much press, they've been here for a long time, and will likely continue to be so. That all being said, there's much clout and function added to a film industry when we have the scope and scale of a facility such as ABQ Studios. So, to lessen its impact would be an oversimplification. And it would, in fact, be more difficult to draw in major, studio-based productions without it.

Yet a lot of film in New Mexico is also sustained by low to mid-budget pictures. While we do see mega-budget shoots that could require a mega-studio, it's the exception more than the rule. So, again, there's no shortage of productions not in need of a major studio, and I don't forsee much of a difference in the number of productions that will be landing in the State. However, without big-spending films, you could see overall expenditures drop. But everything is just conjecture at this point.

Many also felt that the studios were priced high. One of the benefits of filming in New Mexico is the lower cost of doing business, and, of course, our 25% cash rebate for productions. Charging high rates, however, can offset much of that benefit. Twenty-five percent back means little if you're already overpaying. My hope would be that new management would handle the equation differently, and to work with the incentives to make New Mexico an even more affordable destination. So, again, depending on how the cards play out, this could turn out to be a positive development.

Also, the former chief of ABQ Studios, Nick Smerigan, is accused in a lawsuit filed by Pacifica Ventures to have funneled film business to new studios in Mississippi, in which he has an interest (ie, his company Nick Smerigan is the founder of RoadTown Enterprises, the Los Angeles-based firm that is managing the studio.) These are lean times, and every production counts. I have no idea, but let's just say that for conversation sake it is true (its a much more interesting story this way, anway). I'd have to assume any future management would be under much more stringent oversight, and we'd be unlikely to have that happen again. So, perhaps, another plus. I also think there's quite a few parties interested in picking up a film studio for cents on the dollar, and I'd expect they're not a bunch of hacks.

Also, Santa Fe Studios is still firmly in the pipeline. While not nearly as large as ABQ, it would provide New Mexico with an incredible studio space that I feel is in alignment with more sustainable planning; smaller in scope with graduated improvements and expansions. The current situation in ABQ could also help foster a more streamlined process to getting SF Studios up and running - another plus.
It's always easy to hit the panic button, especially in such a tepid market and uneasy times. The real challenge comes in trying to find the good in any situation, because that's part of what helps open the way for new ideas and positive developments. Film professionals are by nature a resilient and inventive lot, and are able to weather a lot of ups and downs. After all, if you can't handle chaos, you shouldn't be involved in film.

Thus far, I'm not seeing anything that's making me reach for the life preserver, and I'd be one of the first to know if the ship is going down. Far from it. In fact, I'm interested to see how things unfold from here and believe that there are some great possibilities in store.

We're fine. Everything changes. There's usually some bumps and bruises along the way, often, in retrospect, just to keep us on the edges of our seats. And those of us in film should be used to that. After all, if we're the one's who create dramas, we should also be the best at navigating them.

Feel free to email us your thoughts and opinions on this issue. Email to info@crewnewmexico.com

Let incentives take state film industry to maturity

- Editorial submission by Lance Hool, CEO Santa Fe Studios and Hal Katersky, chairman and CEO of Albuquerque Studios.

The near-term success of our film industry in New Mexico depends on film incentives; in the long term it will depend on developing the local infrastructure, talent and crews.

We are on a solid ground, but we must keep growing. New Mexico is the most desired place to make movies, outside of Hollywood and New York. The crew base is growing and infrastructure is being established, but there is still a long road ahead. According to the Motion Picture Association of America, only 2 percent of the films shot in North America in 2009 were shot in New Mexico. We need to grow that number.

We've seen the growth of the film industries in Australia and Canada, and the demise of the Mexican and South African film industries. Each of these industries was launched with the help of incentives from governments.

The Australian and Canadian film industries are both thriving. They began to flourish in the 1970s with the help of tax incentives. Today they have reached a mature stage, and their indigenous industries are self-sustaining. This is proven by the fact that, although their currencies have surged against the U.S. dollar, both industries continue to thrive. Films can now be produced with 100 percent local talent. If Hollywood wants an Australian- or Canadian-made film, they need not import Hollywood crews and talent. Each of these two industries has excellent local talent and crews to, not only shoot the movie, but handle all post-production as well.

The South African film industry grew quickly with favorable tax incentives in the 1980s. Unfortunately, the South African government pulled the incentives too early and abruptly. Unlike Canada and Australia, the industry had not matured. There was no infrastructure, and the industry literally evaporated. The country is grappling with how to grow back their industry and has enlisted the help of New Mexicans, among others, to emulate our successful program of incentives.

To read the full article, click here!

National Geographic All Roads Program at the WSIFF!

THE WHITE SANDS INTERNATIONAL FILM FESTIVAL AND
NATIONAL GEOGRAPHIC TEAM UP TO SCREEN 3 DOCUMENTARY PROGRAMS DURING
THE 6TH ANNUAL FESTIVAL APRIL 15-16TH, 2010

The All Roads Film Project is a National Geographic program dedicated
to providing a platform for indigenous and underrepresented minority-
culture storytellers around the world to showcase their works to
promote knowledge, dialogue, and understanding with a broader, global
audience.

Tickets for the WSIFF can be purchased in advance online at www.wsiff.com
or during the festival at the WSIFF Box Office located in the Allen
Theatres Cineport 10 Lobby beginning Thursday, April 15th at 5:00pm.

PROGRAM 1
Karai Norte (Man of The North) • Director: Marcelo Martinessi
Based on a classic short story of Paraguayan literature, this powerful
short film focuses on two strangers in a chance, tense encounter from
an event they were both determined to forget. Paraguay | 2009 | 21
minutes | Guaraní (English subtitles)

Lesh Sabreen • Director: Muayad Alayan
Set in a Palestinian neighborhood in Jerusalem, this short film
follows two young lovers who navigate their socially conservative and
Israeli-controlled community, dreaming of being together. Palestine |
2008 | 20 minutes | Arabic, Hebrew (English subtitles)

4 Kilometers • Director: Miri Shapiro
This film follows Hulud, a 15-year-old girl who goes on a journey that
enables her to embrace her Bedouin tradition and let go of her desire
for modernity. Israel/UK | 2008 | 22 minutes | Arabic (English
subtitles)


UNCONQUERED: Allan Houser and the Legacy of One Apache Family
Director: Bryan Beasley
This is the story of one of the 20th Century’s most important artists.
It traces the Houser family from the 1860s through today, exploring
the oral traditions of the Apache people and the works of several
generations of artists. Houser’s lasting legacy is carried on by his
artist sons.
USA / 2009 / 32 minutes

PROGRAM 2

Let’s Not Forget • Director: Violet Harvey
Violet Harvey asks America to recognize Hweeldi, a dark and traumatic
event that the Diné had to endure for freedom. USA | 2008 | 3 min |
Navajo (English Subtitles)

Aak’ume Tsatseem’a - Past & Present • Directors: Vina Leno, Jennifer
Vallo, & Theresa Pasqual
A stunning photo slideshow that explores the changing role of Acoma
women in their community. USA | 2008 | 3 min | Keres (Acoma) & English
(English Subtitles)

Older Than America Director: Georgina Lightning
A woman’s haunting visions reveal a Catholic priest’s sinister plot to
silence her mother from speaking the truth about the atrocities that
occurred at a Native American boarding school. A contemporary drama of
suspense, Older Than America delves into the lasting impact of the
cultural genocide that occurred at Indian boarding schools across the
U.S. and Canada. USA | 2007 | 102 minutes | English

PROGRAM 3

Koyemostawi • Director: Valerie M. Thomas
The visualization of a song that a mudhead “Koyemsi” Katsina would
sing during night dances in the Kiva. USA | 2008 | 3 min | Hopi

El Regalo de la Pachamama • Director: Toshifumi Matsushita
At Bolivia’s Salar de Uyuni (Salt Lake), where many families work with
salt, a 13-year-old boy named Kunturi lives a traditional Quechua life
with his family. His life begins to change when his grandmother dies,
a friend moves away and his father takes him on his first trip with
the llama caravan. For three months he travels the Ruta de la Sal,
exchanging blocks of salt his father and other villagers have chipped
from the lake, for other products of the Andes, the altiplano and the
valleys. He learns from these and other experiences and encounters
along the way, including meeting Ulala, the most beautiful girl he
could ever imagine. They feel the stirrings of first love as they
share the same dream: to run together across the immense white sea
that is the Salar de Uyuni, until they reach the end of the horizon.
Bolivia | 2008 | 102 minutes | Quechua (English subtitles)

Interview with Albuquerque Film Liaison Ann Lerner

If you've ever filmed in Albuquerque, you likely know Ann Lerner, Film Liaison. She's at the heart of the film boom in ABQ, and a great industry resource and local icon. Ann took some time out to shed a little light on her job, the impact of film on the culture and economy of ABQ, and some favorite anecdotes from her time on the job. . .

CREW: Albuquerque was just ranked the #1 film location in the country by Movie Maker, and we're often in the top 3 in surveys by Variety Magazine. That's pretty impressive, considering there's many places that are trying to attract film. To what do you attribute this success?

AL: I think it's a combination of things. First, of course, are the generous state film incentives offered to filmmakers, and a rebate program that is easy to use. Secondly, we have an infrastructure that is ahead of the rest of the United States. Look at ABQ Studios, www.abqstudios.com, the largest studios in North America, located right here in ABQ! We have grip and light companies, catering companies, camera houses, Filmmaker Production Services, a 25,000 sq ft. prop/costume/drapery shop, Star Waggons, just to name a few....the list is amazing. And I apologize ahead of time to those companies that I didn't single out. Other factors that work in ABQ's advantage are the 310 days of sunshine, the close proximity to Los Angeles, the plethora of locations the city can double for (recently, in "Crazy Heart", ABQ doubles for Phoenix and Tucson!); and, probably most importantly --- an amazing Film Friendly Attitude towards filming in the city.

CREW: The NM film industry is highly dependent upon financial incentives granted to productions by the State, and upon the support of the residents and legislators of New Mexico. What message would you like to convey to everyone about the incentives, and how they ultimately impact the economy? Do you have any favorite stories or data about how film has impacted Albuquerque?

AL: Forty-two states now offer filmmakers some kind of film incentives to come film in their states. Twelve states offer incentives that are higher than the 25% that New Mexico offers. Why? Because films bring in new dollars to our economy, they employ local crew and talent, they pay them high wages, and its an industry that is creative and non-polluting. The direct spend to the city of ABQ over the past six years is 450 million dollars. Direct spend! No multiplier! It thrills me to see local filmmakers buying houses and new cars, and spending the money that they are making locally.

CREW: Tell us a little bit about your job. What exactly does the Albuquerque Film Liaison do on a given day?

AL: I have a very difficult job - I sit around and read scripts, and send out digital pics to potential production companies to entice them to come take a look. When these companies do come into ABQ, I drive them around and show off our city. Once here, I help them with any number of things to make their life easier while they are filming in the city. I also give speeches to various groups, to talk about why the film industry is exploding in New Mexico. Community Outreach is very important in maintaining a film friendly city. And I act as a conduit - connecting people who may want to have their house used as a location, for example; or a citizen who might want to be an extra on a film. Things like that -- it's really very varied. And I am never bored.

CREW: It's not always easy to convey to the industry all the services and talent available to them when they're considering shooting in New Mexico. What little secret about shooting in ABQ do you wish everyone knew about?

AL: Our one-stop film permitting process, led by Carrie Wells, Assistant Film Liaison, is absolutely the best in the nation. It makes shooting here much much easier.

CREW: How did you arrive at the job of Film Liaison? Who do you work for? What were you doing before?

AL: I have worked for the City of Albuquerque as the Film Liaison for the past six years. My office is in the Office of Economic Development, and my boss is John Garcia, who is the Director of Econ Development for the city. (Did you know that John was the Secretary of Economic Development for the state when the very first film incentives were passed??! ) Previously, I was a Commercials Film Producer, and owned my own company here producing TV commercials. I've shot TV commercials all over the states, ranging in budget size from a million dollars (Toyota) to free (United Way).

CREW: The longer we have a film industry in Albuquerque and New Mexico, the more film becomes ingrained into our culture and economy. What developments have you seen during your time as liaison that you're most proud of, and what do you see coming down the pike? Where do we go from here?

AL: We formed a loosely run club a little over a year ago called "Indie Q". Membership is for local independent filmmakers who have either NO budget or LOW budget to make their projects. This group is now 250 people strong and we meet every other month to network and show off works in progress. There are some wonderful, creative shorts, features, blogs, etc being made by our local talent with very little money, but with a lot of creative spirit. Promoting our local filmmakers and watching their success is my ultimate goal.

CREW: What's your favorite story from your time as a film liaison?

The time I told Paul Haggis, who was in town scouting for In the Valley of Elah, "Nah...it doesn't really snow here in ABQ....just light flurries, and then in a few hours its gone." That was the winter it snowed 18 inches in the middle of his shoot, and those 18 inches stayed on the ground for ten days. Ooops. I've learned to not predict the weather.

Bill to Kill the New Mexico Film Incentives is DOA

Here's the latest news on the New Mexico Film Incentives - from the New Mexico Independent!

Before discussion of a bill in committee, it’s normal for the chair to ask the audience who is there in support and who isn’t. After Chairman Garcia asked that question on Tuesday, Rep. Dennis Kintigh, R-Roswell, knew he was alone.

After a lot of testimony, a change to a bigger room and some emotional words, the House Labor and Human Resource Committee tabled the bill by a vote of 5 to 2. The bill aimed to end the tens of millions of dollars worth of tax incentives New Mexico gives to film companies to make movies here. Last year, Rep. Kintigh says the state gave out $82 million dollars in those incentives for a creation of about 2,000 direct jobs.

“We have a moral and ethical obligation to be good stewards of the states money,” Kintigh said in his opening statement.”I’m convinced we are not being good stewards if we continue this program.”

The committee had to switch rooms in the Roundhouse to accommodate the large crowd that turned out over the issue. And that large crowd was 100 percent against the bill.

“This bill is out there, it’s headline-grabbing, but its not sensible,” one commenter told the committee.

Comment after comment poured in to the committee, asking them to kill the bill. One came from a representative of the Enterprise car rental company, who pointed to the 50-60 cars rented for one month per production. Another told of a residential construction career revived by building movie sets. Over all about 20 people from the crowd spoke to the committee.

To read the full article, click here.

Sad News in the World of New Mexico Film

New Mexico casting director Gwyn Savage of Film Savage passed away on Thursday January 22 after a brief bout with cancer. We send our condolences and best wishes to her family, friends, and to the many people whom she touched in her years in the industry.

Director Matt Reeves Talks About "Let Me In" - Filmed in New Mexico

MTV2 Interview:

Matt Reeves knows he has a target on his back. The director admits as much roughly two minutes into a conversation about his upcoming film, "Let Me In." That's what happens when your movie: A) takes on the pop-cultural theme-du-jour of vampires, and B) remakes a beloved flick that pretty much everyone agrees is as perfect as genre filmmaking gets.

After helming the inventive disaster adventure "Cloverfield," Reeves built up the Hollywood cred to buy himself some breathing room for his tale of childhood alienation, improbable yet vital friendship and, yup, the bloodsucking undead. Based on a 2008 Swedish film, Reeves' adaptation (due in October) shifts the story to the bleak winter landscape of New Mexico but maintains the original's horror-genre elements. We're so pumped about the film's potential that we've tagged Reeves as one of our 10 to Watch in 2010 — the folks in the movie industry we expect big things from in the next 12 months.

During some downtime on set, Reeves gave MTV News a call to talk about reworking a cult classic, contending with other vampire franchises and what's coming down the line this year and beyond for the director.

MTV: Is "Let Me In" a remake or a reimagining? What are you keeping from the original and what are you changing?

Matt Reeves: It's very much an Americanization of the tale that John Ajvide Lindqvist tells. The film touched me. And I read the book, which he also wrote, and it moved me too. It reminded me so much of my own childhood in certain ways. It's so much about that period of preadolescence, that feeling of being a child and of being bullied, the difficulties of growing up. It's such a beautiful coming-of-age story, in addition to being such a terrific genre story. One of the things I really wanted to do was find my own way into the story while still being very, very reverent to the beautiful film and to the wonderful story that they created. And so the story in many ways follows the same trajectory. I really wanted to put you, even more so, into the point of view of the boy and understand his childhood as vividly as it comes across in the book.

To read the full article, click here!

MovieMaker Magazine Names ABQ as #1 Place to Film!

MovieMaker names ABQ tops for films

by Megan Kamerick, New Mexico Business Weekly

Albuquerque has moved up to the No. 1 spot on MovieMaker Magazine’s list of the best places to live and shoot films, topping Los Angeles, which took the No. 2 spot.

The publication is a quarterly chronicle of the independent motion picture business. The article praises the city’s vibrant nightlife, 300-plus days of sunshine and diverse terrain. It notes that the Duke City is “fast becoming a movie mecca” in its Winter 2010 issue, adding that the city lured 24 film and television productions in fiscal year 2009. They took advantage of the city’s ability to “double for nearly every type of backdrop, as well as its proximity to Los Angeles and experienced crew base of 3,000 and growing,” according to the article.

MovieMaker praises the infrastructure, such as Albuquerque Studios – the largest studio in North America it notes – and Filmmaker Production Services, a 25,000-square-foot prop, costume and wardrobe shop owned by NBC Universal that opened in Albuquerque in 2008.

Independent Producer Ryil Adamson, who made “I Was A Teenage Dragonslayer” here in 2009, with the help of a slew of film students from Central New Mexico Community College, praised the help he got from the city and the local Screen Actors Guild office, as well as the depth of talent.

To read the full article, click here!

A Tale of Two Studios

by Dan Mayfield, ABQ Journal

Mom always said life's not fair. The state is chipping in $10
million toward the construction of Santa Fe Studios, while Santa Fe
County stepped in with a $6 million loan for the studios and a $3
million loan for the eight-acre site.

In total, more than $19 million in public money is going toward the
$28 million project just south of Santa Fe.

In contrast, Albuquerque Studios spent $74 million (and $20 million
later) in private money to build stateof-the-art studios at Mesa del Sol
in Albuquerque four years ago.

"Everything is private. No state, federal or city investments," said
Nick Smerigan, chief operating officer of Albuquerque Studios.

Albuquerque Studios is part of the Pacifica Ventures family of
studios, which also has studios in Pennsylvania and Connecticut.

Santa Fe Studios is being built by the Hool family of movie
producers who have made films like "Flipper" and "Crocodile Dundee in
Los Angeles."

Questions about the fairness of the Santa Fe deal have popped up, in
part, because the Hools are longtime friends of the governor. The
Governor's Office and the Hools have said their relationship had nothing
to do with the deal.

Eric Witt, Gov. Bill Richardson's deputy chief of staff, insists
comparing the two studio projects isn't fair.

Witt said the state did a lot for the Albuquerque project located at
Mesa del Sol, including providing a road to Albuquerque Studios.

"That road was a big dang deal," he said, at a cost of $6.25million.
He also mentioned tax breaks and other improvements to Mesa del Sol that
benefited Albuquerque Studios. "I know it's not quite the same thing."

Smerigan has a different view.

"We paid for our own power, water lines. I didn't receive any
benefit with the possible exception of the road," he said. "I have not
gotten one break on anything. I thought that was going to be a benefit
that everyone would appreciate. Every piece of infrastructure on this
lot we paid for ourselves."

Jason Hool, president of Santa Fe Studios, points out that the
public money for his project comes with plenty of strings attached,
which guarantee the project benefits the state. So far, he said, the
Hool family has invested $1million and has raised more capital to finish
the construction.

So how did a California company end up with a project in which
taxpayer money covers more than two-thirds the cost?

Funds allocated

Long before Albuquerque Studios was planned and when the state was
flush with money in 2002, the state started looking at a need for
studios.

The film incentive program was picking up steam, Witt said, and the
Legislature appropriated $10 million for a studio in Santa Fe County,
which was the hub of the film business then.

"The allocation ... was the first one. At that time nobody was in a
position to actually build a soundstage facility," Witt said.

After the Legislature approved the $10 million grant for Santa Fe
County, the Governor's Office removed "Santa Fe" from the bill so the
money could be used statewide in case a project elsewhere was proposed,
Witt said. It never was.

The money was added to Richardson's Media Fund, which has money set
aside for film and media projects like training programs.

At the same time, Santa Fe was working on a media park in an unused
65-acre parcel of land just south of Santa Fe and about a half-mile from
the Bonanza Creek Movie Ranch, where "3:10 to Yuma" and "Young Guns"
were filmed, said Robert Griego, the Santa Fe County planning director.

"It began as an economic development project," he said. "We did an
economic development plan and in our plan we had targeted industries and
one of them was film and media."

Santa Fe County zoned the park a media district and set out to look
for an owner-operator for a studio, Griego said.

About three years ago, the Hools showed up.

"The county says, 'We're ready to move on this thing. Where's our
$10 million?'" Witt said.

By then, two proposals had already come and gone for soundstages.
The Hools had an ambitious project, a green studio designed by a
superstar architect, and came with a heavy-hitting board of directors
who represent Warner Bros., 20th Century Fox, Sony Pictures
Entertainment and Universal Pictures. It just happened, Witt said, that
Conrad Hool and Gov. Richardson were old friends.

The state at the time had the money in two piles, Witt said. The
state used $3.5million in Local Economic Development Act funds, which
are earmarked for projects that create jobs. The rest, $6.5million, came
from the media fund.

The money was given to the county, which is passing it on to Santa
Fe Studios.

Tied to jobs

In addition, the county has agreed to make a lowinterest, 10-year
loan for $6million to the Hools. And it is allowing the studios to buy the land, valued at about
$3million, with five payments. But rather than a monthly payment on the land, the Santa Fe Studios will pay back the loan after it reaches certain milestones in job
creation.

For every 100,000 hours of work, the studio pays the county
$520,000. The land sale is expected to close soon, said Santa Fe County
Attorney Steve Ross, and the Hools will have six years to pay off the
loan.

"We were struggling to structure something that would work for them
but not expose the county," said Ross.

The $10 million state grant - which was approved last week - will be
used for construction. Then, Ross said, the county will offer the Hools
the $6million loan.

If the Hools don't build the studio, they owe the state $10 million.
If the studio can't pay the $6 million loan, the county can foreclose on
the project, said Santa Fe County Attorney Steve Ross.

"We have to build a studio. It's not money in our pockets. We have
to deliver jobs. It we fail, we have to pay the money back," Hool said,
including the state grant. If business booms, Hool said, the studios
will own the land quickly. If business is slow, it could

take the full six years.

Santa Fe County Commissioner Virginia Vigil said construction job
hours will count toward the total.

"The intent was to link those dollars (the loan) to the ability to
create jobs," Vigil said.

Most film crew and actors work more than 40-hour weeks, usually
about 60, which will accelerate the pace of the studios reaching each
100,000-hour milestone.

Two large films, with about 120 film-crew workers, truck drivers,
caterers and more would provide 100,000 hours of work, said Jon Hendry,
the head of the state's film crew union, the International Association
of Theatrical Stage Employees.

The vast majority of state film work is union work, whether that's
with IATSE, the Screen Actors Guild, the Directors Guild of America or
others. Unlike a regular 40-hour workweek, Hendry said film jobs are
based on a 70-hour workweek.

The county estimates that the studios will pay back the entire loan
within the first five years of operation, Vigil said.

"We like this business model," Hendry said. "We told the county we
want to keep their feet to the fire." More About the Jobs

Pay Scale

The jobs created by Santa Fe Studios are expected to pay more than the
average wage for Santa Fe County, which was $42,000 in 2008, according
to the Bureau of Labor Statistics. The average film crew member makes
$48,000 a year, working on three films. DGA and SAG members and others
on set can make considerably more, said Jon Hendry, the head of the
state's film crew union, the International Association of Theatrical
Stage Employees.

An entry-level IATSE member can make $23 an hour, Hendry said.

Unemployment Benefits

Like any company, film productions must pay into the state unemployment
insurance benefits package, said Jason Lewis, chief of staff for the
Workforce Solutions Department.

Since the average film worker works 45 weeks a year, he or she is
eligible for state unemployment benefits when not working that can last
26 weeks and up to 86 weeks with new federal programs, Lewis said. Film
workers, who work on and off, are treated much the same way seasonal
workers are, Lewis said, and are not an additional strain on the
unemployment insurance program.

Health Care

A union member must be covered by a health plan to be eligible to work
and the health-care plans vary from a simple, highdeductible
$100-permonth plan to an $800-per-month plan that covers an entire
family. So film workers are not a drain on the state Medicaid system,
says Hendry.

Film Vendor Update

In the last few weeks, we've added nearly 20 of New Mexico's leading film industry vendors to the New Mexico Film Directory on crewnewmexico.com, and welcomed several back for a second year on our site.

It's our pleasure to present to the industry the most-searchable, informative, and dynamic tool for finding information for your production.

You're also always welcome to contact us directly if you need assistance. (505) 930-0443, or info@crewnewmexico.com.

Here's some of the newest vendors on crewnewmexico.com!

• DeWitt Stern - Insurance and Risk Advisory services for many of Hollywood's largest productions and studios, now reaching out to New Mexico-based productions. http://www.crewnewmexico.com/dewittstern
• TC Movie Horses - Providers of horses to New Mexico films for nearly 30 years. Experienced wranglers, and also have a host of old-west props. Ask for Tim Carroll. http://www.crewnewmexico.com/tcmoviehorses
• RACO Leasing - Manufacturers and leasing agents for set service rigs, including P-Mo, wardrobe trailers. Based in NM but serve the industry nationwide.
• Delxue Catering - One of Hollywood's leading production catering companies! Credits include Titanic, Magnolia, The Resident, Men Who Stare at Goats, and hundreds of other productions, both in NM and nationwide! http://www.crewnewmexico.com/deluxecatering
• La Posada de Santa Fe Resort and Spa - A Rock Resort. A-List accommodations right in the heart of Santa Fe. http://www.crewnewmexico.com/laposadadesantafe
• Over the Rainbow Cleaning. With over 25 productions under their belt, they're New Mexico's leading set strike/janitorial companies, with a major focus on being green! http://www.crewnewmexico.com/overtherainbow
• and lots more!
• Be sure to tell them you heard about them on crewnewmexico.com