The Cannes Experience: California’s Bold Return to the Film Festival Scene
As you make your way along the iconic Croisette, the vibrant atmosphere of the Cannes Film Festival comes alive. Flanked by a series of distinct tents showcasing flags from various countries, the scene is set against the backdrop of luxurious yachts bobbing in the Bay of Cannes. These pavilions serve as an important meeting ground where producers, financiers, and executives converge in search of potential filming locations and necessary financial incentives for their upcoming projects.
Showcasing the American Pavilion
At the culmination of this tent-lined path is the American Pavilion, a historical hub for the largest entertainment exporter in the world. It has traditionally provided a platform for U.S. states to promote their tax advantages and production resources, facilitating key interactions with global counterparts.
California’s Renewed Focus on Cannes
While New York has previously dedicated efforts to capture attention at Cannes, California’s strategic presence is a relatively new initiative aimed at reclaiming its status in the film industry. For years, Los Angeles has been synonymous with entertainment, yet, in response to production shifting to rival states and countries, California has stepped up to advocate for its film industry.
“Post the fires and the strikes, L.A. wants to get the message out that we are open for business,” asserts Julie Sisk, founder and president of the American Pavilion. This initiative, aptly named California Day, took place on May 15 and was a collaborative effort involving the California Film Commission and Visit California.
A Day of Engagement and Collaboration
Attendees were treated to local California wines paired with sushi, and sponsors like See’s Candies added to the festive atmosphere. Iconic elements of Hollywood, such as a bus photo booth and a recreated Walk of Fame, set the stage for rich discussions both on and off the platform. Passionate panels addressed the challenges and benefits of filming in California, highlighting a critical observation: Production was once ingrained in Los Angeles culture, leading to a sense of complacency that may have contributed to its decline.
The Perception of Filming Costs
Despite the allure of Hollywood, the prevailing sentiment is that filming in L.A. is prohibitively expensive. Following California Governor Gavin Newsom‘s announcement to increase the film and television tax incentive cap from $330 million to $750 million annually, skepticism still loomed over whether these funds would be sufficient. Some indie directors expressed concern that a few big studio films would rapidly consume the entire incentive budget.
However, the data tells a different story: this year alone, the state has approved incentives for 51 films, predominantly independent projects, alongside several studio features. Colleen Bell, California Film Commissioner, emphasizes, “This budget increase will mean we can bring in many more projects and not have to turn away qualified productions due to lack of funding.”
Innovative Filming Strategies
During the California Day panels, Michal Zebede, a writer and producer, acknowledged the high costs associated with Los Angeles yet shared insights into creative alternatives. For her 2020 series Party of Five, filming occurred in more affordable locations like Palm Springs and Santa Clarita, utilizing local incentives. “You end up offsetting some costs,” Zebede noted, pointing to the logistical constraints and financial implications of shooting in various locations.
The Need for Structural Support
Producer Jonathan King, with credits including the Academy Award-winning films Spotlight and Green Book, lamented the challenges faced in filming extensively in L.A. since his work on Dreamgirls two decades prior. He sees promise in proposed federal incentives that complement existing state offerings, alongside beneficial co-production agreements with international partners.
Echoing this sentiment, King advocates for a shift in perception regarding film production. “We’ve let the narrative suggest Hollywood is part of the media elite,” he stated, emphasizing the need to view filmmaking as an essential manufacturing process.
Support and Incentives Across the States
Ray Maiello, producer of My Dead Friend Zoe, called for stronger support for film as a cultural expression, comparing U.S. practices unfavorably with European countries that prioritize film production. Meanwhile, renowned producer Jon Kilik pointed out the success of New York and New Jersey in providing significant incentives, citing New Jersey’s $900 million Netflix complex as a prime example.
Looking Ahead: California’s Revival in the Film Industry
In her role at the American Pavilion, Julie Sisk continues to foster relationships across state lines, acting as a bridge for different U.S. states in the film community. Conclusively, film commissioner Bell encapsulates the prevailing mood, stating, “There was a lot of enthusiasm and engagement at California Day at the American Pavilion. The California Dream felt alive in Cannes—a desire among many filmmakers to shoot their first or subsequent projects in our state.”