By Vicki Mayer
Early within the twenty-first century, Louisiana, one of many poorest states within the usa, redirected hundreds of thousands in tax cash from the general public coffers which will develop into the head situation website globally for the construction of Hollywood motion pictures and tv sequence. Why might lawmakers aid the sort of coverage? Why may voters settle for the policy’s uncomfortable results on their economic climate and culture? Almost Hollywood, approximately New Orleans addresses those questions via a learn of the neighborhood and daily stories of the movie economic system in New Orleans, Louisiana—a urban that has two times pursued the aim of turning into a film creation capital. From the silent period to today’s Hollywood South, Vicki Mayer explains that the air of mystery of a movie economic climate is inseparable from a triumphing experience of domestic, at the same time it alterations that position irrevocably.
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Extra info for Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy
S. territories: Georgia, New Mexico, Mississippi, Puerto Rico, and, of course, Louisiana. 48 The bidding war has meant that Louisiana had to dig deeper into the till to compete. 49 In the first eight years, Louisiana’s “temporary” incentive expanded until it eventually became a permanent feature of the tax code. Legislators then succumbed to pressures from the music industry to extend credits to sound production and live performances. The film program is now one spoke in a wheel of entertainment tax credits that covers everything from video games and Broadway musicals to phone apps and human resources videos.
30 Outside the United States, producers could build out the budget with foreign coproduction funds. Inside the country, hundreds of film commissions stood at the ready to offer producers free goods and services for projects that would shine a positive light on their regions. 31 Balancing scheduling efficiencies and the clustering of film professionals with the lowest-cost locations and labor, independent producers by the late-1990s were flocking to a new model for financing location shooting, one that yoked the prospects of the producers to those of regions that hosted Hollywood projects.
The film program is now one spoke in a wheel of entertainment tax credits that covers everything from video games and Broadway musicals to phone apps and human resources videos. On the local level, smaller cities and rural towns have posted giveaways for producers willing to ignore either New Orleans’s dominant size and resources or Shreveport’s proximity to Texas, where film crews have been based largely in the Austin–Houston–Dallas triangle. The size and scope of Hollywood giveaways made them vulnerable during the 2008 financial crash, when the national press raised concern about all state payouts for film production.
Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy by Vicki Mayer