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.

Secrets of a Successfully Insured Production, Sam Levy, Rio Grande Insurance

We'd like to present part 2 in a series on production insurance from Sam Levy, Film Insurance Division Manager of Rio Grande Insurance - one of New Mexico's leading film insurance providers. Whether you're making your first film or your 50th, there's much to be aware of when it comes to insuring your production. For more information, contact Sam at (505) 984-8216.

Secrets of a Successfully Insured Production

If the dirty little secrets of production insurance are worrying you, stop worrying – and start asking questions. That’s the only real secret to a successfully insured production. You can explore all the options in the world with your insurance agent, but unless you ask the right questions to begin with, the disconnect between what you think you're getting and what you're really getting can become costly.

Let’s start by taking a look at the most common types of coverages for film and video production insurance, and outlining some of the important exclusions. To ask informed questions you’ll need to know the basic coverage definitions, especially those that relate to general liability (often misunderstood), property, inland marine, work comp and specialty coverages.

It’s this simple: if you understand the needs behind the different types of coverage, you’ll be able to ask the questions that help correctly insure your production.

Where Do I Get a Policy that Covers Everything?

Sorry. There’s not an insurance policy on earth that covers every eventuality. Expect your insurance to cover the major causes of loss that are typical and can be predicted; that's why the insurance company works so hard to make a complicated legal document explaining what is - and is not - covered. But every claim is unique. And the world is a crazy place where extenuating circumstances can make clarity of coverage seem frustratingly impossible. Accept the fact that there is always the possibility of a one-time event that won’t be covered no matter what insurance policy you buy. In the eventuality of a major claim involving a lawsuit, it can come down to who has the better lawyer and can sway the judge or jury. That’s just the way it is.

Now for the good news. You can prepare to cover your production as securely as possible by working with an agent who can explain your coverage options. Don’t leave it to the agent to do the understanding or make the decisions. You must do that. An agent probably can’t predict whether you’ll be covered if the noise of your production traumatizes llamas on a neighboring ranch, but he or she can tell you what is covered, and for how much. The more homework you’ve done, evaluating your needs and possible eventualities, the better information you’ll get – and the less risk you’ll be exposed to.

How Do I Know What to Cover and What Not to Cover?

The state of New Mexico and most municipalities require a $1 million general liability minimum limit in order to obtain film permits.

Larger productions (budgets over $200,000) often buy package policies that include a number of what are called “producer’s risk” coverages. One of these production package policies may have general liability limits of more than $1 million per occurrence, with a $1 million total maximum payout per policy period. A producer’s risk package often includes coverage for the total budget, if necessary, to re-shoot an entire production. Smaller productions tend to pick and choose the actual coverages (called lines of business) they are most likely to need. Your lines of business will be added to your core general liability policy.

Large productions tend to factor their liability and producer’s risk insurance premiums at around $15,000 per $1 million of budget, not including workman's comp.

Nationwide (U.S. and Canada) general liability coverage for short-term, one-time productions with budgets under $1 million starts at a minimum premium of $500 that covers up to 10 contiguous days of principal photography, and goes up from there.

General Liability is a Must

Liability coverage comes in two parts: injury to people and damage to property. So general liability covers the risk, due to the negligence of you or your crew, of bodily injury to others or property damage during what insurers call operations in progress. “Others” does not include people working with or for you, so don’t think that your general liability policy will cover you when a light stand collapses during principal photography and breaks a grip’s finger. On-the-job injuries for those who work for you are covered under workman’s compensation. General liability is for third parties. That can include bystanders or volunteers, neither of whom are covered under workman’s comp.

The term general liability includes four other types of liability coverage:

• Personal and Advertising Injury - slander and libel, invasion of privacy, malicious prosecution and copyright infringement;
• Products and Completed Operations - goods or products manufactured, sold, handled, distributed or disposed of as well as operations that are completed and therefore no longer in progress;
• Medical Expense - minor medical costs if someone is injured in an accident on your set;
• Fire Legal - damage by fire to premises that you rent.

Consider Your Liability - Exclusions and Buy Backs

You should be aware of the common exclusions to core general liability policies, which can include: Intentional Injury; Contractual Liability; Work-related Injury; Copyright; Liquor; Aircraft; Auto; Watercraft; Transportation.

Many of these exclusions are available for what we call buy back, meaning that, although they are excluded from your core policy, you can pay to add them back. Be aware that the name of the coverage may not mean what you think. So don’t assume. Always ask your agent, no matter how obvious it seems. For example, liquor liability is excluded only if your production is required to have a liquor license. “Host liquor liability,” for non-regular, incidental occurrences relating to alcohol, is included on a general liability policy and would likely provide coverage for an accident that happens, say, at a wrap party.

Which exclusions should you consider buying back? That depends on your project, but most film and video productions look at these: Auto; Equipment; Stunts; Pyrotechnics; Driving (precision, public or private roads, off road, race tracks or courses); Animals; Fights; Guns, blanks, or squibs; Jumps and falls; Water; Boats, aircraft, railroads or motorized craft of any kind; Cast (accident, sickness, essential element, bereavement and extra expense).

Another consideration is location. Production operations in the U.S. and Canada are all automatically covered. But other countries will require a specific endorsement, or may not be available for coverage inclusion because of travel, security or international “unstable government” concerns. The underwriters who work with your agent will let you know what additional information they need in order to price coverages. When you talk to your agent, be prepared with a preliminary list of exclusions that might apply to your production.

Be Sure You Have Complete Automobile Coverage

One piece of liability insurance you should pay special attention to is your automobile coverage. While your general liability policy covers “others,” which means anybody or anything that may get hit in the course of production, it won’t cover the vehicle your person is driving or the driver. Unless you have found a way produce a film without anyone driving anywhere for any reason, you’ll want to be sure you have both “hired auto” and “non-owned auto” coverage. Hired auto covers any vehicles you rent, regardless of who drives them (as long as the drivers work for your production). Non-owned auto covers vehicles that are owned by your employees or people working for you. Hired and non-owned auto liability is one of the most important coverages for any film or video production, because it covers just about everybody, everywhere, driving anything!

Errors and Omissions Covers Intellectual Property Issues

E&O, also known as professional liability, covers contract disputes, especially those over royalties, rights (music & script), copyright and permissions. E&O provides legal defense and damages coverage against those who may come after you for a share of your revenue, claiming that you stole some portion of their work. E&O policies, unlike other policies, are often written for a three-year period, and if they are renewed, provide coverage back to the date the first policy was written. This is called a claims made coverage form. Be sure you put this on your list of questions for your agent.

Inland Marine: Very Important, and Not About Boats

In the early days of insurance, property on a barge was called “inland marine” to distinguish it from property on an ocean-going vessel. As the transportation industry grew to include railroads and all other types of land transport, the term inland marine evolved to mean any moving or movable property that is not at a specified or permanent location.

An inland marine policy in the film industry includes seven types of property coverage:

• Miscellaneous (rented) Equipment – equipment that you pay a fee to borrow;
• Props, Sets and Wardrobe;
• Negative/Film and Faulty Stock (includes hard drives and camera equipment functionality);
• Third Party Property Damage (a.k.a. Care, Custody and Control) – equipment or items that you borrow and are responsible for, but do not pay to rent and do not own;
• Extra Expense – loss-related costs you would not have incurred had the loss not happened, such as additional night stays in a hotel;
• Vehicle Physical Damage – vehicles that you rent or that are driven or owned by employees/workers;
• Animal Talent and Animal Extra Expense.

By far, the most common additional coverages (besides general liability) that we write for small productions are auto liability, miscellaneous rented equipment and vehicle physical damage. For the same minimum premium coverages as the above noted small/short-term production 10 day policy, auto liability can be added for an additional $322; and $100,000 (replacement cost) of miscellaneous rented equipment can be added for about another $300.

Know Your Workman's Compensation

Workman’s compensation coverage (work comp) is a must for your production. But it’s often misunderstood. Any employer with more than two employees is required to have work comp in New Mexico. Work comp policies are rated based on total dollar amount of payroll, and include all non-covered contractors as well as employees. Your work comp premium is currently one of the best insurance deals for the money in New Mexico, running about $1.89 per $100 of payroll (plus fees & charges), or around 2% of your payroll.

Production companies tend to get confused about two aspects of work comp:

• Contractors and Volunteers
• Single entity contractors who do not have their own insurance are required to be covered by you. You’ll want any sole proprietor (single entity 1099 contractor) who declines coverage to fill out a form that you’ll keep on file. However, on a film production set, workers compensation is a very valuable coverage to have. If I were making a film, I would want to pay to make sure that everybody was covered. I would not want to be in the middle of the desert, have somebody break a leg, and not know that it takes just one phone call for an air ambulance to get my person immediately to safety and medical care, at no charge to me.
• Volunteers are always excluded from coverage on a work comp policy.
• Employers Liability
• If a covered worker does not get coverage for their medical expenses, they have the right to sue you. A work comp policy covers your liability as an employer in this case.

Work comp has a minimum limit of $100,000 per employee in the state of New Mexico. That limit is per year, and a multi-year work comp policy can pay out up to the maximum year after year. All work comp policies are auditable, which means that after a year is up, or after the policy is cancelled, your bookkeeper is required to swear to an affidavit certifying what your actual total payroll was. If the actual payroll was higher than estimated, you may be invoiced. If the actual payroll is lower than anticipated, you may receive a refund. If you do not respond to the audit, you will be assessed very steep fines and you will not be able to purchase insurance from a standard insurance company again; you will be forced to go to the assigned risk pool which carries even more fees and fines. You don’t want to go there.

Work comp coverage requires that an employer be registered, or intend to register, with the state unemployment office or department of labor. A federal tax ID number is required to procure a work comp policy; you will also be asked for a state unemployment insurance ID number. On larger productions, often a payroll service or PEO will handle reporting of your work comp insurance for a fee. However, you can purchase work comp insurance from any business insurance agent, and may often get a lower rate than a payroll service because independent agents work with many companies.

These and other work comp issues are explained in more detail on the FAQ page at www.RioGrandeIns.com

Put These Specialty Coverages on Your Radar

You should at least be aware of these coverages and endorsements:

• Owned Equipment Floater – covers equipment that the production company owns, regardless of where it is;
• Additional Insureds – covers your rental houses, location owners, police departments and municipalities;
• Waiver of Subrogation – the insurance company agrees not to sue someone with whom you have a contractual relationship, even if a loss was their fault;
• Animal Mortality – covers death and possible loss of future earnings;
• Excess Liability – often called an umbrella, this extends your liability coverage by up to an extra $10 million or more;
• Valuable Papers, Accounts Receivable, Money and Securities;
• Civil Authority;
• Rental Reimbursement;
• Office Contents;
• Rented Furs, Jewelry, Art and Antiques.

Where's the Pay Off?

An insurance agent’s job is to understand your business, assess where the likely possibilities for loss could be, and offer you options for the protection of your production. But for the sake of your bottom line, it’s your job to analyze likely loss scenarios yourself, and yes, really read your policy and ask questions if you are concerned or do not understand. If you don’t get a satisfactory answer from your insurance agent, then ask to speak to the insurance company or request an answer from an underwriter or claims specialist. Keep in mind that an insurance agent does not offer legal advice, but is trying to be your financial strategy partner. Just as you would carefully plan every other aspect of your production in the interest of saving time and money, your insurance should be planned in detail with your agent as your partner in a successful wrap.

When in doubt, ask! No question is stupid when it comes to protecting yourself!

Coming up next time: Not everyone is working on one production at a time… what are your options for ongoing projects, multiple projects and film industry support businesses and services that don’t even make movies?

Send questions or comments to sam@riograndeins.com.

Sam Levy is the Film Insurance division manager at Rio Grande Insurance, www.RioGrandeIns.com. Providing superior service from Green light 'til Wrap, for all your production insurance needs, including: Single and Annual Production policies, Liability, Producer’s Risk, Rented equipment, Errors & Omissions, Work Comp, Directors & Officers, Hired and non-owned auto; Blanket additional insureds. All premiums count for 25% NM rebate.
14 local offices in NM, CA, AZ & UT.

1231 South St. Francis Dr Ste A

Santa Fe, NM 87505

Toll-Free: 888-447-8216

E-mail: sam@riograndeins.com

Web: www.riograndeins.com

Phone: 505-984-8216

Fax: 505-984-8238

Ryan Bingham to Perform "The Weary Kind" at the Roundhouse on Thursday

Country singer and Hobbs native Ryan Bingham will be honored 12:15 p.m. Thursday at the Capitol Rotunda — which is 15 minutes after the session ends. Bingham and T Bone Burnett, co-wrote "The Weary Kind," a song featured in the film Crazy Heart. The song won the 2010 Golden Globe Award for Best Original Song and an Academy Award nomination in the same category. Bingham will be joined Thursday by songwriter David Manzanares and other local musicians who appeared in Crazy Heart.

ACT NOW TO SUPPORT THE NEW MEXICO FILM INCENTIVES

The New Mexico film incentives are not out of the woods, and you need to act now.

A Special Session of the Legislature is scheduled to start on Monday. There are at least two Legislators who are actively urging cuts to the incentives - and many others we'd like to reach out to as well.

Some of their key arguments: "Well, we've got a $100 million budget gap, and the incentives paid out $100 million last year, so let's cut the film program and that will even things out." It's just not that simple. $100 million out is a result of over $400 million in direct production spending in New Mexico.

All agree that these are lean times, and we need to work together to support the economy of the State. We in the film industry, and thousands more outside of it, know that film is an incredibly dynamic, profitable, and fiscally sound element of the New Mexico economy.

All of us need to quantify, in personal and economic terms, how film benefits our lives, and communicate that message - right now. It's our job to help clear the air, provide some facts, and demonstrate with total clarity that film works for New Mexico.

The form letter below is just a suggestion for those short on time. We urge you to pen your own. Use facts, use numbers, and show that it is the voters of this state - in and out of the film world - who want to keep the film incentives intact. Feel free to CC us on your email, as many of you often do. We also encourage you to contact their offices directly via phone.

We are a well organized, active and informed constituency. It's time to put that to work. By educating our elected officials and fellow residents, we help to secure our livelihood and continue to grow a key part of New Mexico's economy. And that's a win-win situation by any measure.

Act now.

Best wishes,

Daniel Taras
Founder
daniel@crewnewmexico.com
crewnewmexico.com
(505) 930-0443


Dear

I am a New Mexico resident employed in the film industry, and I ask for your support in opposing any attempts to cap or cut the incentive program. Film is an integral and important part of the New Mexico economy, and my livelihood.

While I understand there are difficult budget decisions to be made this session, the film program has proven time and again to be a successful economic engine in New Mexico. Tinkering with the incentive program would be a major blow to an industry that employs thousands, myself included.

I would like to ask that you please evaluate the significant impact your position would have on one of New Mexico's most productive and economically viable industries, and help maintain what makes up a core element of my life.

Respectfully,

Click here for a link to find your own legislators.

SEND TO:

Steve Fischmann
NM Senator District 37
PO Box 2580
Mesilla Park, NM 88047
Capitol Phone: (505) 986-4377
Office Phone: (575) 635-9582
Email: steve@stevefischmann.com

and

Rep. Joseph Cervantes
2610 South Espina
Las Cruces, NM 88001
Capitol Phone: (505) 986-4249
Office Phone: (575) 526-5600
Email: cervanteslaw@zianet.com

And both in one swoop - just cut and paste: steve@stevefischmann.com, cervanteslaw@zianet.com

ACT IMMEDIATELY TO SUPPORT THE INCENTIVES

Please note that this bill has not been heard (and likely will not be as we are going into a Special Legislative Session). Thanks to all of you who wrote, called, faxed. . . it made a huge difference. However, you are still encouraged to contact your own Legislator to let them know how you feel about the incentives. Below are just members of one committee - use this link to find your legislator. . .

Sen. Jennings’ Senate Bill 248 (proposing a cap on the film incentives) is scheduled to be heard in the Senate Corps Committee at the Capitol THIS AFTERNOON. Meeting times are fluid, and all we know is that it’s set to come up for a hearing anytime from 1:30p onward.

If you have any questions, please call the IATSE legislative office at
505-983-2163.


Senator Phil Griego (D)
senatorgriego@yahoo.com
Capitol Phone: (505) 986-4861
Office Phone: (505) 983-6383
Fax (505) 986-4610

Senator Lynda Lovejoy (D)
lynda.lovejoy@nmlegis.gov
Capitol Phone: (505) 986-4310
Office Phone: (505) 352-0967
Fax (505) 986-4610

Senator Kent Cravens (R)
klcravens@alphagraphics.com
Capitol Phone: (505) 986-4391
Office Phone: (505) 888-2679
Fax: (505) 986-4610

Senator Dianna Duran (R)
dianna.duran@nmlegis.gov
Capitol Phone: (505) 986-4701
Office Phone: (575) 585-9896
Fax (505) 986-4610

Senator Timothy Keller (D)
tk@timkellerfornewmexico.com
Capitol Phone: (505) 986-4260
Office Phone: (505) 332-9441
Fax (505) 986-4610

Senator George Munoz (D)
munozgeo@gmail.com
Capitol Phone: (505) 986-4387
Office Phone: (505) 722-6570
Fax (505) 986-4610

Senator John Sapien (D)
john.sapien@nmlegis.gov
Capitol Phone: (505) 986-4371
Fax (505) 986-4610

Senator Wiliam Sharer (R)
bill@williamsharer.com
Capitol Phone: (505) 986-4381
Office Phone: (505) 325-5055
Fax (505) 986-4610

Senator David Ulibarri (D)
david.ulibarri@nmlegis.gov
Capitol Phone: (505) 986-4265
Fax (505) 986-4610

Senator Mark Boitano (R)
boitanom@aol.com
Capitol Phone: (505) 986-4366
Office Phone: (505) 798-1092
Fax (505) 986-4610

And here's all their emails in one swoop if you intend or wish to do one mail - just copy paste!

senatorgriego@yahoo.com, lynda.lovejoy@nmlegis.gov, klcravens@alphagraphics.com,dianna.duran@nmlegis.gov, tk@timkellerfornewmexico.com, munozgeo@gmail.com, john.sapien@nmlegis.gov, bill@williamsharer.com, david.ulibarri@nmlegis.gov,boitanom@aol.com

Pilots Overwhelmingly AFTRA Again

From the Digital Media Law Blog.

About 60 pilots for scripted network primetime programs will be shot under AFTRA contracts this year, while few – or perhaps none – will be produced under SAG jurisdiction, according to sources close to the two unions, who spoke on condition of anonymity. This continues a trend that began last year, when roughly 90% of pilots (and 83% of pilot pickups) went AFTRA.

Those numbers, in turn, were a stunning reversal from previous years, which had had SAG garnering about 90% of pilots and 86% of pickups in 2008. But to see such figures two years in a row raises a fundamental question: Is SAG fading out of the TV business?

Maybe so. The ill-will generated by SAG hardliners evidently lives on in the producing community, notwithstanding the regime change 12 months ago that brought cooler heads to the elected and top appointed leadership of the guild. The stalemate and strike rumblings that ensued after the June 30, 2008 expiration of SAG’s contract led many television producers to choose AFTRA jurisdiction wherever possible. SAG finally ratified a new agreement almost a year after the previous contract’s expiration, but the damage to the guild was done.

To read the full article, click here.

Film and Media Day at the Roundhouse Today

Come to Santa Fe on Friday, February 5th, as IATSE Local 480 hosts NM
Film & Media Day 2010 at the State Capitol. Watch Local 480 crew members
produce “The Trial of Billy the Kid”; see award-winning NM short films from
2009; bring your kids and friends who are interested in the film industry to
learn a little about camera operation, hair and make-up design, production,
directing, and much more!

WHEN: Friday, Feburary 5th | 10:00am-4:00pm
WHAT: NM Film & Media Day 2010
WHERE: Giant Tent – the corner of Paseo De Peralta & Old Santa Fe Trail
(Across from the State Capitol)
WHO: Open to all!

Great New Production Space in Santa Fe! Check it Out!

Amazing production office and support space right in Santa Fe, perfect for small to medium New Mexico films! Conference room, three private offices, open warehouse space with a fully protected and automatic dock high loading dock. Total space is 12,525 sq. ft. (smaller warehouse only space of 3,000 also available). Large fenced yard for storage or additional parking...40+ parking spaces....three roll up doors from yard. Also available for your next casting call, or if you need a temporary mill, storage, construction or set assembly space!

Plus, they're adding a new facade to the building as we speak!

Click here to learn more, or call Barbara McIntyre for a tour and more information (505) 820-1815. Tell her you head about it from crewnewmexico.com!

SUPPORT THE NEW MEXICO FILM INCENTIVES!

If you're involved in or support film in New Mexico, read on without delay. There's a Senate bill afoot that could seriously impair the NM film incentives, and you need to act now.

Senator John Arthur Smith (D) has sponsored SB235 that would place significant financial caps on our film incentives, seriously stunting, if not ending, the growth of film in our state. It could take New Mexico from one of the world's leading film destinations to a small fraction in the production equation.

And it would be effective July 1, 2010.

While the bill has many significant legislative hurdles to contend with to become a reality, it's a critical time to show how wide the support is for film in New Mexico, and do everything we can to insure our future.

So, what can you do?

Contact the members of the Senate Corporations and Transportation Committee, who will most likely be hearing the bill THIS FRIDAY, February 5th. While recognizing the difficult task they face in passing a balanced budget, ask for their support in defeating SB235.

Below are form letters you can use. If you deviate from these letters (feel free, but keep it succinct), be gracious and polite and explain how important film is to you, your business, family, or career.

We've only got a few days left to protect an industry that sustains so many New Mexicans, and we appreciate you taking action RIGHT NOW.

Spread the word, and thank you for all of your continued support.

Daniel Taras
Founder
crewnewmexico.com
daniel@crewnewmexico.com
(505) 930-0443

________________________________________________________________

Choose the letter that suits your place in the industry - or write your own! If you're emailing, be sure the Subject line states your opinion, ie: "Support the NM Film Industry," or "Vote No on SB235," etc.

For Business Owners/Film Vendors:

Dear

I am a New Mexico business owner who provides goods and services to the New Mexico film industry, and I ask for your support in defeating Senate Bill 235.

While I understand there are difficult budget decisions to be made, the film program has proven time and again to be a successful economic engine for New Mexico. Capping the incentive program would be a major blow to an industry that employs thousands, and my company would also suffer as a result.

If you have been a supporter of the industry in the past, I would like to thank you, and encourage your continued support. If you are in favor of 235, I would like to ask that you please evaluate the significant impact your position would have on one of New Mexico's most productive and economically viable industries, and vote against this bill.

I welcome and appreciate your support on this critical matter.

Respectfully,

or

For Film Crew/Actors, or Others Employed in Film:

Dear

I am a New Mexico resident employed in the film industry, and I ask for your support in defeating Senate Bill 235. Film is an integral and important part of the New Mexico economy, and my livelihood.

Senate Bill 235 would place an untimely burden on my career, and significantly harm a dynamic and economically productive industry. While I understand there are difficult budget decisions to be made this session, the film program has proven time and again to be a successful economic engine in New Mexico. Capping the incentive program would be a major blow to an industry that employs thousands, myself included.

If you have been a supporter of the industry in the past, I would like to thank you, and encourage your continued support. If you are in favor of 235, I would like to ask that you please evaluate the significant impact your position would have on one of New Mexico's most productive and economically viable industries, and please vote against this bill.

I welcome and appreciate your support on this critical matter.

Respectfully,

or

For Film Students:

Dear

I am a New Mexico film student, and I ask for your support in defeating Senate Bill 235. Film is an integral and important part of the New Mexico economy, and I am relying on it for my career.

Senate Bill 235 would shortcut all that I am studying for, and put a heavy burden on all those in New Mexico who benefit from this dynamic industry.

If you have been a supporter of film in the past, I would like to thank you, and encourage your continued support. If you are in favor of 235, I would like to ask that you please evaluate the significant impact your position would have on one of New Mexico's most productive and economically viable industries, and please vote against this bill.

I welcome and appreciate your support on this critical matter.

Respectfully,

****
Contact the members of the Corporations and Transportation Committee - they will be hearing the bill this week! Email, Fax, Call! Be Nice!

Senator Phil Griego (D)
senatorgriego@yahoo.com
Capitol Phone: (505) 986-4861
Office Phone: (505) 983-6383
Fax (505) 986-4610

Senator Lynda Lovejoy (D)
lynda.lovejoy@nmlegis.gov
Capitol Phone: (505) 986-4310
Office Phone: (505) 352-0967
Fax (505) 986-4610

Senator Kent Cravens (R)
klcravens@alphagraphics.com
Capitol Phone: (505) 986-4391
Office Phone: (505) 888-2679
Fax: (505) 986-4610

Senator Dianna Duran (R)
dianna.duran@nmlegis.gov
Capitol Phone: (505) 986-4701
Office Phone: (575) 585-9896
Fax (505) 986-4610

Senator Timothy Keller (D)
tk@timkellerfornewmexico.com
Capitol Phone: (505) 986-4260
Office Phone: (505) 332-9441
Fax (505) 986-4610

Senator George Munoz (D)
munozgeo@gmail.com
Capitol Phone: (505) 986-4387
Office Phone: (505) 722-6570
Fax (505) 986-4610

Senator John Sapien (D)
john.sapien@nmlegis.gov
Capitol Phone: (505) 986-4371
Fax (505) 986-4610

Senator Wiliam Sharer (R)
bill@williamsharer.com
Capitol Phone: (505) 986-4381
Office Phone: (505) 325-5055
Fax (505) 986-4610

Senator David Ulibarri (D)
david.ulibarri@nmlegis.gov
Capitol Phone: (505) 986-4265
Fax (505) 986-4610

Senator Mark Boitano (R)
boitanom@aol.com
Capitol Phone: (505) 986-4366
Office Phone: (505) 798-1092
Fax (505) 986-4610

And here's all their emails in one swoop if you intend or wish to do one mail - just copy paste!

senatorgriego@yahoo.com, linda.lovejoy@nmlegis.gov, klcravens@alphagraphics.com,dianna.duran@nmlegis.gov, tk@timkellerfornewmexico.com, munozgeo@gmail.com, john.sapien@nmlegis.gov, bill@williamsharer.com, david.ulibarri@nmlegis.gov,boitanom@aol.com

The Boulder International Film Festival! Check it Out!

Named one of the “25 Coolest Film Festivals” MovieMaker Magazine, the Boulder International Film Festival (BIFF) takes place annually in Boulder, Colo., in mid-February, bringing filmmakers and international fans together for a four-day celebration of the fine art of filmmaking. BIFF, scheduled for Feb. 11-14, 2010, has become a must-attend film festival with screenings, parties, a red carpet gala and special events, and this year will feature 47 films and 31 filmmakers from all over the world.

The Festival will kick off Thursday, Feb. 11 at 6:30 p.m. with an Opening Night Red-Carpet Gala and screening of New Film International’s “The Lightkeepers,” starring Richard Dreyfuss, Blythe Danner, Bruce Dern, Tom Wisdom and Mamie Gummer. Following the screening, award-winning Danner, writer and director Daniel Adams, and producer Straw Weisman will participate in a live question and answer session hosted by BIFF executive producer of special events Ron Bostwick.

The Opening Night Red-Carpet Gala also will include Denver-based Lannie Garrett’s spectacular musical performance of “Songs from the Movies” with her Errand Boys of Rhythm Quintet, as well as appetizers prepared by Savory Cuisines and luxury chocolates from Seth Ellis Chocolatier.

BIFF’s Closing Night Awards Ceremony, taking place Sunday, Feb. 14 at 7 p.m., will feature a tribute to Alec Baldwin, Oscar-nominated and Emmy award-winning television, stage and film actor. The evening’s tribute to Baldwin will include a film retrospective of his work followed by a question and answer session hosted by Bostwick. The event will also include delicious desserts from the Cheesecake Factory, and variety of coffees from Ozo. Tony Bennett’s pianist, Ralph Sharon, will provide the entertainment for the evening.

All festival tickets are currently on sale at www.biff1.com, www.bouldertheater.com or by calling 303-786-7030. Tickets are $10 for adults and $8 for students and seniors 65 and older. All-access festival VIP passes, including tickets and access to the Opening Night Gala and the Closing Night Awards Ceremony and Tribute, can be purchased for $345. Tickets for the Opening Night Gala are $50 and Closing Night Awards Ceremony tickets are $40.

For more information about the festival please go to www.biff1.com.

Call for Volunteers - White Sands International Film Festival!

WSIFF VOLUNTEER MEETING
SATURDAY FEBRUARY 13TH, 2010 @ 10:00 a.m.
Launch Pad Cafe, Upstairs at Allen Theatres, Cineport 10
700 S. Telshor Blvd. Las Cruces, NM 88011

Interested in working for a fun and exciting festival? The 6th annual White Sands International Film Festival is looking for volunteers! Join us Sat, Feb. 13th for the volunteer meeting. You can also visit www.wsiff.com for more information.

Volunteer benefits include:
Film passes
Meeting film industry professionals and fellow film enthusiasts
Volunteer Appreciation Party

We’re looking for Box Office Volunteers, Film Volunteers, Theatre Managers, and Tech and Administrative Support.
We ask all volunteers to commit to a minimum of three shifts over the course of the
festival (approximately 6 hours) and attend a brief volunteer orientation.

Kierstin Schupack
Festival Director-Los Angeles
The White Sands International Film Festival 2010

email: kierstin@wsiff.com, wsiff.com

SAG Moves towards Joint Bargaining with AFTRA

From the Digital Media Law Blog

The SAG National Board yesterday passed a resolution, by a surprising 82% to 18% vote, directing the guild’s president and National Executive Director to “seek engagement with AFTRA in a joint bargaining agreement for negotiation of the Television/Theatrical Contract,” as quoted in a SAG press release. This move is as I predicted in a blog post three weeks ago, based on conversations then with a confidential source.

Those negotiations, scheduled for October 1 – November 15 of this year, would take place “under the terms of Phase One, modeled on the agreement used successfully in the 2009 Commercials Contract negotiations,” per the resolution. Phase One is the 1981 agreement between the two unions under which they have jointly bargained with the studios for almost three decades, with the notable exception of 2007-2009.

The margin was unexpected, since the board is almost evenly divided between factions that support joint bargaining (Unite for Strength and an independent in Los Angeles, and most or all members of the New York and regional boards) and a group (Membership First) that has generally expressed bitter opposition to joint bargaining under Phase One, a framework that gives SAG and AFTRA equal weight on the negotiating committee. (Because of the lateness of the hour, it was not possible to explore this issue with sources, and a call to a SAG spokesperson was not immediately returned.)

The resolution also directs the President, Ken Howard, and National Executive Director, David White, to “bring a recommendation to the National Board at the earliest opportunity.” The urgency presumably stems in part from the fact that AFTRA’s next national board meeting is February 27 meeting, and more generally from the constraints created by the October 1 date and the various processes leading up to it, as I have previously discussed. The TV/theatrical contract doesn’t expire until June 30, 2011, but the agreement reached last year between the studios and SAG mandates early bargaining, specifically, from October 1 through November 15.

To read the full post, click here.

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.

Benefit for Haiti

RISE UP! NEW MEXICO STANDS WITH HAITI
a benefit concert event

Thursday January 28th 7:00 pm
Albuquerque Little Theatre
224 San Pasquale SW
Albuquerque, NM

$10.00
All net proceeds will go directly to Direct Relief International's efforts in Haiti
www.directrelief.org

a multi-genre evening of music featuring

R A H I M A L H A J
S O U L K I T C H E N
A S P E R K O U R T
P O E M A
M A R I A C H I M Y S T E R Y T O U R

Tickets available at ALT Box Office
by phone: 505-242-4750 ext. 2
online at: www.albuquerquelittletheatre.org
or at the door

If you can't make the concert, WATCH the FREE LIVE STREAM at http://MusicFromtheQ.com

Presented by Avokado Artists, Albuquerque Little Theater, ¡Globalquerque! and Music From The Q

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.

Film Incentive Update

As the New Mexico film industry - and most "outsourced" filming around the country - is strongly interdependent with film incentives, we'd like to pass on the latest incentive news from The Incentives Office.

FLORIDA ALERT

Legislation has been introduced in Florida that would convert their current refundable credit to a transferable tax credit, which can't be used until 2012. The credit will equal 20% of the qualified Florida spend, plus 5% for shooting during hurricane season, and 5% for family-friendly production. $75 million per year will be available. Cast and crew must be Florida residents to qualify, and all goods and services must be purchased from a Florida vendor.

IOWA R.I.P.

A panel of legislators appointed by the Governor has recommended total elimination of the film tax credit program.

NY STATE INCENTIVES

Governor Paterson has increased the proposed allocation from $350 million to $429 million per year starting in tax year 2010, with an increase in the percentage or number of shooting days that must be shot at a qualified facility, and the imposition of other restrictions to the program. The budget has not been passed, but will be voted on during the current legislative session. Their plan also allows the program be in effect until 2014. This allows for much better longer-term planning in terms of production, infrastructure, and to facilitate a deepening of the industry in the economy.

New Acting Class - Sol Acting Academy

NEW SESSION ADDED FOR ACTING 101 FOR FILM!

Acting 101 for Film ( Bonus- Includes a Class with ABQ Casting Agent Darlene Hansen)

Date: Tuesdays , January 26 – April 6 2010
(No class week of Spring Break, March 16)

Due to a sell out Wednesday class, we have added a Tuesday session. Same class, same material, and Darlene will also be our Guest Casting Agent!

This is the perfect class for someone who is ready to explore the exciting world of acting on camera. Get the vital info on all of the basics as you work on camera every class: auditioning, cold reading, commercials, movies, television shows, and what to expect when you’re on set. We will also discuss networking, resumes, head shots, finding an agent, and gaining access to auditions. Half way through the course, you will have the incredible opportunity to “audition” for our guest casting director Darlene Hansen with notes and a Q and A session afterwards. Class is limited to 10 students. Enroll now, this class filled quickly last semester! Newsflash, one of our students last semester got cast in a commercial just 5 weeks into the class! Be a part of Sol Acting Academy’s Extensive and Fun Film Acting Training!!!

About Darlene Hansen: Largest pool of extras in the state through her acting classes & movies cast. Casting includes ABRAHAM, BREACHED, BLUEBERRY MUFFINS, CRAZY LIKE THE TAZ, CRUEL WORLD, DOUBTING THOMAS, FORMOSA, SCARLET MOMENTUM. TAMING THE WILD WEST (History Channel). Darlene has lived/worked in the industry in front and behind camera in Los Angeles/New Mexico.

Ages 18 and up
Time: Tuesdays 7:00 pm-9:00 pm

Cost: $195.00 (plus applicable tax)

Where:
3212 Monte Vista Blvd NE
Albuquerque, NM 87106
At Healing Gate near UNM

RSVP and/or Information: Register at www.solacting.com. Call ( 505) 206 7707, or email info@solacting.com

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.

Friends of Film, Video and Arts announces its CALL for SUBMISSIONS.

(New Mexico) Friends of Film, Video and Arts, (FoFVA) a N.M. non-profit under Harwood Art Center, announces its call for submissions for short, LOL flicks varying in length from 1 to 15 minutes for its Third Annual Filmmaker Showcase aptly named LOL Friends of Film Funny Film Fest (Try saying that ten times while on Ambien!), which is being held on Friday, March 5.
Deadline to submit: Wednesday February 3, 2010 at 5pm. You can download the submission form PDF or RTF

FOFVA encourages everyone, of all ages, filmmakers and non -filmmakers alike, to submit a funny film. The categories are: 1-3 minutes, 4-7 minutes, and 7-15 minutes (including credits.) Send one you've already produced, or use a cell phone or borrow a camera. Surprise us with a good story that makes an audience laugh out loud.

FoFVA wants to hear audiences laugh. In a day and age where negativity can rule our newspapers and airwaves - and affect our attitudes - Friends of Film, Video and Arts has decided enough. THIS IS A LAUGHING MATTER! We conspire to bring laughing, that belly ache laugh when you are delightfully caught off guard and the whole audience guffaws together. Not tittering uncomfortably at someone else's expense, but happily, merrily together. Shoulder chips begone.

Your funny flick could screen at FoFVA's Filmmaker Showcase to be held on Friday, March 5, 2010 from 6pm to 9pm at the UNM Continuing Education Building, 1634 University Blvd., NE, in their beautiful 600-seat theater. Tell friends. Tickets $10-$15 at the door.

For more information, click here!

Pre-Production Traning Class with the Film Apprenticeship Programs, Inc.

The Film Apprenticeship Program is offering an exciting new Pre-Production training class in Santa Fe:

Pre-Production Management for All Digital Media Formats.

This 22 hour course is hosted by industry veteran John Muir III, M.Ed, of Muir Studios. Course will be hosted at the Spirit Compound, in Santa Fe. After successfully completing all four sessions and projects, each student should have acquired a basic understanding of script breakdown, budget development and the use of selected industry tools.

Dates: February 20, 21, 27, & 28
Saturdays: 9:00am - 4:00pm
Sundays: 9:00am - 2:00pm
Class fee: $450.00 (includes all four sessions).

Suggested Reading: Planning the Low-Budget Film by Robert Latham Brown.

Cash, check and PayPal are the forms of payment accepted.
Please email fapinm@gmail.com for further info, or directions to the class.

Friends of Film Talks Pre-Production

Friends of Film, Video and Arts Gathering

WHEN:Sunday, January 17, 2010
3pm: Meet and Greet

WHAT: Screenings/discussion, What is pre-production and why should I care? Tied into discussion/demonstration of Canon 7D camera. Update, Discuss and/or Review re: Pre-production is the first phase of a film/video project. As we begin Production Training, let's talk about this phase we are in, what's involved, and best/worst pre-production story in the room.

March 5: LOL FFFFFundraiser news bulletin -presented by Sheryl, Christina, John, Anne...
5:30pm Wrap up

WHERE: The Harwood Art Center
1114 Seventh Street NW, Albuquerque, NM (follow the signage).
Come to the Basement Theater, north side entrance from Mountain at Seventh St. Look for signs, or call for help. Christina 306-3949.

HOW MUCH: Free to members/non-members $5-$10 donation at the door

FOFVA CONTACT: info@filmvideoarts.org www.filmvideoarts.org

Taos Shortz Film Fest! February 5-7!

Mark you calanders, folks!!!

This years fest is February 5th, 6th and 7th, 2010 at the Kachina Lodge in Taos, N.M.

We will feature 50 + juried short films from around the world.

Films from India, Australia, Spain, Germany, Sweden, England and Canada will be highlighted, as well as films from around the US - many from right here in our home state, New Mexico!

Its time to create your festival schedule.... The Taos Shortz Film fest is just around the corner – and now, you can start the challenging process of figuring out which screenings can’t be missed!
With so many great films to choose from, we’ve made it easier for you to figure out where to start: Log onto www.taosshortz.com online program guide and you’ll find your own personal roadmap to the hidden gems of the festival.

Taos Shortz has partnered with B-Side so you can discover the films that interest you, add them to your personal calendar, and follow the festival buzz to find the highest rated or most anticipated films as well as parties, updates and events...

We look forward to bringing you an unparalleled lineup this year – as well as an unparalleled festival experience.

See you at the movies!

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
  

Video Business Magazine Closes

Video Business magazine, a definitive chronicler of the home video business for 29 years and a sister publication of Variety (parent co. is Reed Business), is closing its doors after 29 years, effective this week. Both the online and print operations will go dark.