MASSACHUSETTS FILM OFFICE ANNOUNCES JASON REITMAN FILM PARAMOUNT PICTURES’ “LABOR DAY” TO BE SHOT IN MASSACHUSETTS

FOR IMMEDIATE RELEASE

BOSTON. MA.- May 8, 2012 - The Patrick-Murray Administration’s Massachusetts Film Office (MFO) today announced the Indian Paintbrush Production film “Labor Day,” starring Kate Winslet and Josh Brolin, will begin filming in Massachusetts this June.

The movie, written and directed by Jason Reitman (“Young Adult,” “Up in the Air”) is based on Joyce Maynard’s novel by the same name. Indian Paintbrush Productions will finance the film and produce with Mr. Mudd and Right of Way Films. Paramount Pictures will distribute.

“We are pleased to hear another feature film will be filming in Massachusetts as we continue to expand our movie-making business here,” said Greg Bialecki, the Secretary of the Office of Housing and Economic Development. “This is great news for local cast and crew who make Massachusetts their home and have more opportunities for continuous and sustainable work.”

As part of an effort to grow the Massachusetts film industry, create more jobs and increase revenue for local businesses and services, Patrick-Murray Administration economic development and film office officials led two sales missions to Los Angeles in 2011 in an effort to bring more film and television work to the Commonwealth. Together, these meetings conveyed that the Commonwealth is an ideal place for Hollywood to invest and that the state is primed for major film and television activity.

“We are excited that the Commonwealth has been chosen for yet another great project,” said Lisa Strout, director of the Massachusetts Film Office. “The combination of our strong incentive program, our experienced crew and talent, and our rich and textured landscapes help draw meaningful projects such as this to Massachusetts.”

MOTT and the MFO remain committed to ensuring Massachusetts is a choice destination for film, television, and commercial investment and maximizing the return on investment of the film tax credit program.

P3 Update Magazine recently ranked Massachusetts in the Top 10 locations worldwide and last year Boston was named the top city for film production in the United States, both highly coveted distinctions. In 2011, the feature films shot in the Commonwealth generating an aggregated spending by these productions of $222 million, according to Department of Revenue estimates. On the NBC/Universal film, “R.I.P.D.,” over 900 local crew members were hired, as well as over 1,000 background actors.

About the MFO
The Massachusetts Film Office is the official state agency charged with assisting movie-making in Massachusetts and marketing the state to national and international audiences. It is located at 10 Park Plaza, Boston - within the Mass. Office of Travel + Tourism. Lisa Strout, Director. Phone # 617-973-8400 | Website: www.mafilm.org

About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

Contact:
Lisa Simmons, Director of Communications
Lisa.simmons@state.ma.us – 617-973-8508

For Paramount Pictures:
Michael Agulnek, SVP, National Publicity
Michael_Agulnek@Paramount.com - 323-956-5704

Independent Film Week (September 16-20, 2012) is the oldest and largest forum in the U.S. for the discovery of new projects in development and new voices on the independent film scene. The Project Forum is a meetings-driven forum connecting filmmakers with producers, funders, distributors,

Emerging Narrative connects writers and writer/directors with producers and agents who can develop, produce, represent and finance their scripts. Previous participants include Dee Rees’ Pariah, Erin Greenwell’s My Best Day, Susan Youssef’s Habibi, Matt Porterfield’s Putty Hill, and Courtney Hunt’s Frozen River. For more info and to apply, click here. Deadline: May 4th

No Borders International Co-Production Market connects established narrative producers with financiers, distributors, sales agents and international partners. Previous participants include Benh Zeitlin’s Beasts of the Southern Wild, Ry Russo-Young’s Nobody Walks, Ryan O’Nan’s The Brooklyn Brothers Beat the Best, Liza Johnson’s Return, Todd Rohal’s Nature Calls, and Rashaad Ernesto Green’s Gun Hill Road. For more info and to apply, click here. Deadline for US Producers: May 4th

Spotlight on Documentariesconnects filmmakers in production or post-production with financing partners, broadcasters, distributors, and film festival programmers. Previous participants include Lauren Greenfield’s The Queen of Versailles; Marshall Curry and Sam Cullman’s If a Tree Falls: A Story of the Earth Liberation Front; Marie Loiser’s The Ballad of Genesis and Lady Jaye; Michael Collins’ Give Up Tomorrow; Laura Poitras’ The Oath, and Jennnifer Arnold’s A Small Act. For more info and to apply, click here. Final Deadline: May 25th

SAG, AFTRA Members Approve Merger to Form SAG-AFTRA

LOS ANGELES (March 30, 2012) — The American Federation of Television and Radio Artists and Screen Actors Guild are pleased to announce that members of both organizations have overwhelmingly voted to approve a merger, creating a new entity, SAG-AFTRA. SAG members voted 82 percent in favor of the merger. AFTRA members favored the merger with 86 percent, exceeding the 60 percent threshold needed for both unions’ membership for passage.

The merger is effective immediately, and brings under a single union banner more than 150,000 actors, announcers, broadcasters journalists, dancers, DJs, news writers, news editors, program hosts, puppeteers, recording artists, singers, stunt performers, voiceover artists and other media professionals. Their work can be seen and heard in theaters, on television and radio, sound recordings, the Internet, games, mobile devices and home video.

“With this historic vote, members of both unions have affirmed one of the most basic principles of unionism: Together we are stronger,” said SAG-AFTRA National Co-President Ken Howard. “This merger, the result of months – really years – of planning, brings together the best elements of both unions and positions us well to thrive in the changing 21st-century media landscape.”

“The merger of these two unions is a huge victory for our members, and it is a monumental achievement for the labor movement,” said SAG-AFTRA National Co-President Roberta Reardon. “As this vote today proves, great and transformative things are possible when working Americans stand together and shape their collective destiny through their union. I applaud every member who voted, and invite all members, locally and nationally, to join with us in building a successor union worthy of AFTRA and SAG.”

In July 2010, Reardon and Howard, as presidents of AFTRA and SAG respectively, created the Presidents’ Forum for One Union to facilitate focused and informed discussions between leaders of the two unions and their members to establish a common vision for a single, new national union.

The forum included a nationwide Listening Tour, in which Howard and Reardon traveled to cities across the country to connect with members and solicit their feedback for a possible merger. They received an overwhelmingly positive response.

In June 2011, elected member leaders from both unions formed the Group for One Union — known as G1 — which subsequently created workgroups to focus on key areas such as governance, collective bargaining and operations for the proposed new union. In late January, the National Boards of AFTRA and SAG overwhelmingly voted to send the merger package to members for ratification.

The following are results for both unions:
• SAG:
105,368 number of ballots mailed.
81.9 percent yes votes
53 percent returned

• AFTRA:
65,744 number of ballots mailed.
86.18 percent of yes votes
51.7 percent returned

Follow SAG-AFTRA on Twitter (twitter.com/sagaftra) and Facebook (facebook.com/sagaftra)

About SAG-AFTRA
SAG-AFTRA represents more than 150,000 represents actors, announcers, broadcasters journalists, dancers, DJs, news writers, news editors, program hosts, puppeteers, recording artists, singers, stunt performers, voiceover artists and other media professionals. SAG-AFTRA members are the faces and voices that entertain and inform America and the world. With national offices in Los Angeles and New York, and local offices nationwide, SAG-AFTRA members work together to secure the strongest protections for media artists into the 21st century and beyond. Visit SAG-AFTRA online at SAGAFTRA.org.

Showtime’s Tony Cox Screenplay Competition recognizes an emerging screenplay as the best from the pool of submissions each year. The competition gives writers the opportunity to have their scripts read by a prestigious jury, receive top industry recognition, participate in a Festival focused specifically on screenwriting, including a Mentor’s Brunch with the Festival’s Screenwriters Tributee, and win—in addition to a $5,000 cash prize—an incredible, all-inclusive month’s stay on stunning Nantucket at the Screenwriter’s Colony.

TENTH ANNUAL SCREENWRITING COMPETITION

Women in Film & Video/New England (WIFV/NE) announces a March 1st call for entries for its Tenth Annual Screenwriting Competition, sponsored by Su-City Pictures, InkTip, and Final Draft. The WIFV/NE Screenwriting Competition aims to promote the work of women screenwriters and support the creation of worthy film roles for women.

Entries must be authored or co-authored by a woman and/or feature a woman or women in prominent roles. The Grand Prize Winner will receive a detailed script analysis and consultation from award-winning screenwriter, Susan Kouguell, founder of Su-City Pictures. All three finalists will receive a screenwriting software package from Final Draft, and a 6-month online script placement service by Inktip.com

Former WIFV/NE President Cheryl Eagan-Donovan will serve as this year’s competition judge. Cheryl was the WIFV/NE Screenwriting Competition Chair for several years, and currently teaches screenwriting at Boston’s University’s Center for Digital Imaging Arts. She has written, directed and produced two feature-length documentaries, has written several narrative scripts, including adaptations, and has published articles about screenwriting and film in magazines and journals. Her debut film, All Kindsa Girls, screened at film festivals and art house theaters in London, Toronto and throughout the U.S., is featured in Paul Sherman’s book Big Screen Boston, and was short-listed for the PBS series POV. She recently received a grant from the Shakespeare Fellowship Foundation to support the production of her new film, Nothing is Truer than Truth, based on the book Shakespeare By Another Name. Cheryl serves on the Board of Directors of Next Door Theater in Winchester, MA and has an MFA in Creative Writing from Lesley University.

Susan Kouguell, award-winning screenwriter and filmmaker, is the author of Savvy Characters Sell Screenplays!, a comprehensive guide to crafting winning characters with film analyses and screenwriting exercises, and The Savvy Screenwriter: How to Sell Your Screenplay (and Yourself) Without Selling Out! Recent publications include her monthly screenwriting column in NewEnglandFilm.com, a chapter in Now Write! Screenwriting: Exercises by Today’s Best Screenwriters, Teachers and Consultants and MovieMaker Magazine’s Complete Guide to Making Movies 2010. Kouguell teaches screenwriting and film at Tufts University, and presents international seminars. As chairperson of Su-City Pictures East, LLC, a motion picture consulting company founded in 1990, Kouguell works with over 1,000 writers, filmmakers, executives and studios worldwide. Recipient of many grants and fellowships, including the MacDowell Colony, Jerome Foundation, New York Foundation for the Arts, and the Edward Albee Foundation, Kouguell’s short films are in the Museum of Modern Art’s permanent collection and archives, and were included in the Whitney Museum’s Biennial. Kouguell worked with director Louis Malle on his film And the Pursuit of Happiness, was a story analyst and story editor for many studios, wrote voice-over narrations for Miramax and over a dozen feature assignments for independent companies.

In 2009, the winning WIFV/NE screenplay was optioned shortly after being listed on InkTip. Headquartered in Los Angeles, InkTip is a screenplay facilitation company servicing the entertainment industry by providing screenplays and writers to producers and literary representatives in its network. InkTip confirms more than 150 script options and sales per year.

Final Draft is the number-one selling word processor specifically designed for writing movie scripts, television episodes and stage plays. It combines powerful word processing with professional script formatting in one self-contained, easy-to-use package.

DEADLINES AND FEES

Standard Fee: $35, WAB: $30, WIFVNE Mem: $20

Standard Fee: $45, WAB: $40, WIFVNE Mem: $30

Standard Fee: $55, WAB: $50, WIFVNE Mem: $40

Standard Fee: $65, WAB: $60, WIFVNE Mem: $50

GENERAL RULES
Length between 80-120 pages
Scripts must be authored or co-authored by a woman AND/OR must feature a woman (or women) in a prominent role.

Script submissions accepted starting March 1, 2012

Scripts must be submitted online via Withoutabox.com: https://www.withoutabox.com/login/4762
Do NOT include author’s name in submitted script.
Do NOT include author’s name in the pdf script file name.
Screenplay titles ONLY.
Screenplay title MUST be included in submitted pdf script.
Sorry, no scripts can be returned.

Winners will be announced in July, 2012

Founded in 1981, WIFV/NE promotes the participation, education, and representation of women in the film, video, and media industry in New England. The non-profit organization is a member of the umbrella group Women in Film & Television International, a global network with over 35 chapters and more than 10,000 members. Membership is open to women and men who work in film, video, and related industries or those who aspire to work in these fields, as well as patrons of media arts. Benefits include free listing in our online film directory, discounted admission to WIFV/NE events, and discounts on equipment rental, classes, services and products offered by our sponsors.

Programs includes screening series featuring local filmmakers, WIFV/NE also offers workshops on topics including tax preparation and legal issues, and an online monthly newsletter, The Wire, discounts at Rule Boston Camera, Blink Music, and many others.

Program funding is made possible by grants from the Massachusetts Cultural Council, and our sponsors. For more information, send an email to info@womeninfilmvideo.org or go to www.womeninfilmvideo.org. More information about our sponsors is available at: www.su-city-pictures.com, www.inktip.com, and www.finaldraft.com.

MASSACHUSETTS FILM OFFICE ANNOUNCES ABC ENTERTAINMENT PILOT, ‘GILDED LILLYS,’ TO BE SHOT ENTIRELY IN MASSACHUSETTS

FOR IMMEDIATE RELEASE:

BOSTON. MA. February 8, 2012 - The Patrick-Murray Administration’s Massachusetts Film Office (MFO) today announced that ABC Entertainment’s pilot “Gilded Lillys” will be filmed in Massachusetts in March 2012, bringing another Hollywood production to the Bay State.

The production, which will be shot entirely in Boston, is the first television pilot in Massachusetts since 2010.

“This is a great opportunity to showcase Massachusetts’ historical richness and the incredibly talented workforce that exists in the Commonwealth,” said Greg Bialecki, the Secretary of Housing and Economic Development. “Our competitive tax credit program continues to bring top industry producers and filmmakers to the Bay State, creating significant job opportunities.”

“Gilded Lillys” is a romantic period drama set in 1895. It revolves around the opening of the first luxury hotel in New York City and all the drama that comes with family dynamics and class warfare of that time period.

As part of an effort to grow the Massachusetts film industry, create more jobs and increase revenue for local businesses and services, Patrick-Murray Administration economic development and film office officials led two sales missions to Los Angeles in 2011 in an effort to bring more film and television work to the Commonwealth. Together, these meetings conveyed that the Commonwealth is an ideal place for Hollywood to invest and the state is primed for major film and television activity.

“This is a very exciting project for the Commonwealth. Massachusetts is the perfect place to set a story from the Gilded Age, an impressive and well-preserved period in the Commonwealth’s history,” said Lisa Strout, Director of the Massachusetts Film Office. “While this is only a pilot, we will have our fingers crossed that the show gets picked up and chooses Massachusetts for the series.”

Since January 2011, when the Administration and Legislature moved the Film Office under the Massachusetts Office of Travel and Tourism (MOTT), nine feature films have come to the Commonwealth. “Gilded Lillys” is the first project to land in Massachusetts in 2012 with many other projects currently considering Massachusetts for spring and summer starts.

P3 Update Magazine recently ranked Massachusetts in the Top 10 locations worldwide and last year Boston was named the Top City for film production in the United States, both highly coveted distinctions. In 2011, the feature films shot in the Commonwealth generating an aggregated spend by these productions of $222 million, according to Department of Revenue estimates. On the NBC/Universal film, “R.I.P.D.” alone, over 900 local crew members were hired, as well as over 1,000 background actors.

MOTT and the MFO remain committed to ensuring Massachusetts is a choice destination for film, television, and commercial investment and maximizing the return on investment of the film tax credit program.

About the MFO
The Massachusetts Film Office is the official state agency charged with assisting movie making in Massachusetts. It is located at 10 Park Plaza, Boston—within the Mass. Office of Travel + Tourism. Lisa Strout, Director. Phone # 617-973-8400 Website: www.mafilm.org

About MOTT
The Massachusetts Office of Travel & Tourism (MOTT) is the state agency dedicated to promoting Massachusetts as a leisure-travel destination. An integral part of the state’s economy, tourism generates more than $915 million in state and local taxes and $14.4 billion in travel related expenditures and supports 121,500 in-state jobs. www.massvacation.com

For further information please contact:
Lisa Simmons, Director of Communications
Massachusetts Office of Travel and Tourism, Sports & Film
617-973-8508
lisa.simmons@state.ma.us

The Massachusetts Film Office is thrilled to announce the launch of a new software system for promoting you and/or your business or service to the film industry-at-large.

This will coincide with the launch of the NEW MFO LOGO & WEBSITE and will be followed by our Searchable Location Photo Library, expected to be “live” in SPRING 2012.

Reel Scout software offers new features:

PRODUCTION GUIDE
• You input your listings
• You will have your own pass code
• And you can update /change your listings whenever you want

INSTANT PRINT CAPABILITY
• Reel Scout provides the ability to print the entire directory with the touch of a button.
• The New Guide will be sent to ALL STUDIOS, PRODUCTION COMPANIES, and COMMERCIAL CLIENTS upon launch.

Here’s how to get listed:

PLEASE NOTE: CREW must have at least ONE previous professional credit to be listed; VENDORS, credits are optional.

The system is “live” and ready to take your listings!

DEADLINE FEBRUARY 28th

For questions call: (617) 973-8400 or Email

Director and co-writer John Stimpson, center, during filming. At right is Andrea Ajemian, a co-producer. (SUBMITTED BY BRIAN CROWLEY)

An independent movie shot entirely in Worcester that deals with the timely and troubling topic of teenage bullying will have its premiere on the Lifetime Network at 8 p.m. Saturday.

“Sexting in Suburbia” stars Liz Vassey (a regular on “CSI”) as a mother, Rachel, whose life is shattered when her teenage daughter, Dina (played by Jenn Proske), commits suicide after being bullied at school and on the Internet. Dina’s secret that she tried to hide from her mother was that a candid picture she sent of herself to her boyfriend inadvertently went viral on the Web.

The film (which will be repeated at midnight Saturday and 10 p.m. Sunday) was shot in Worcester last spring. Of the 16 speaking roles, 11 cast members were from the Worcester or Boston area while five came out from Los Angeles (also including Judith Hoag, Kelli Goss and Emmy Award-winner Ryan Kelley).

“The film is getting a lot of attention,” said director and co-writer John Stimpson of Princeton. “One — the topic is so relevant and in the news today. And I’m so proud of the cast because the performances are extraordinary.”

The production also shows that Worcester is a location-rich and supportive environment for filmmaking, Stimpson said.

Co-producer Andrea Ajemian said that shooting locations included Worcester State University, Worcester Academy, Burncoat Senior High School, Ralph’s Diner, The Beechwood Hotel, The Printers Building, and several private homes. The film also showcases the music of Bolton native Pete McNamara and his band, The Pete and Mike Band.

“I’m very excited,” said Sarah Cote, who has a role in the film. Cote grew up in Sutton, graduated from the University of Massachusetts at Amherst last year, and now lives in Boston, auditioning for acting roles. “Sexting in Suburbia” is her first professional speaking part and her television debut.

“I think it’s awesome,” she said of the Worcester ties that bind the film. “By using local talent to put together a film shows that there’s a town filled with talent right here.”

“It just proves you don’t have to go out (to Hollywood) to make it as an actor,” said Kayla Harrity, who grew up in Auburn and like Cote is making her TV debut Saturday. “I was able to work with actors who are from Hollywood.”

Harrity graduated from Emerson College and also like Cote is living in Boston and auditioning. “When I go and have that (‘Sexting in Suburbia’) on my résumé, I feel I have one kick up.”

“There’s something so magical about finding people locally that have these dreams,” said Ajemian, who cast the local actors for the film in her office and studio at The Printers Building on Portland Street. “And launch careers,” said Stimpson, who also has an office and studio in the building.

The film was produced by the Massachusetts production company Moody Independent with whom Stimpson is a co-producer. Stimpson’s other credits include directing “The Legend of Lucy Keyes” and he has acted in theatrical productions in the area. Ajemian has her production company, Artigo/ Ajemian Films. Its credits include “BoyBand” (2010).

Stimpson and Ajemian were familiar with each other’s work. “We always wanted to collaborate,” Ajemian said.

With Stimpson as director and Ajemian a co-producer they have also made the movie “Christmas Kiss” (mostly shot in Richmond, Va.), and have just completed the filming for a drama called “Lockdown” that was also mostly shot in Worcester. With their respective offices and studios in The Printers Building, films are being pre-produced, produced and edited in post production right in downtown Worcester.

“We’re contributing to the local economy,” said Ajemian. She noted that actors coming in from Hollywood rent hotel rooms and many crew people rent apartments for the shooting. Stimpson said the producers have been able to get financing (although “Sexting in Suburbia” is “low budget” by Hollywood standards), and filmmaking here is helped by Massachusetts production tax credit.

For Ajemian and Stimpson, 2011 was a year of full-time filmmaking. “With independent films you never know. We’re not going to take it for granted,” Ajemian said.

Marvista Entertainment, an acquisitions and distribution entertainment company, became the broker for “Sexting in Suburbia” and worked out the U.S. deal with Lifetime Network. Besides this weekend’s broadcasts, “Sexting in Suburbia” will be shown at other times on the network in the months ahead. There are separate distribution deals in place in Europe and Australia.

When the film was shot last year its initial title was “Broken Silence.” The name was later changed to “Shattered Silence” and then became “Sexting in Suburbia” after being acquired by Lifetime Network.

The film is rated PG-13 because of a disturbing image, but could be watched by most families with teenagers who might find lots to talk about.
Massachusetts Gov. Deval Patrick has declared Jan. 25 “No Name Calling Day” and students are being encouraged to wear black as a sign of their commitment to “Black Out Bullying.”

In “Sexting in Suburbia” the taunting and name calling for Dina starts almost immediately after the photograph she had sent goes awry. A popular student, she finds herself isolated, alone and in irreversible despair. The story unfolds via flashbacks and her mother’s efforts to find out what happened and who intercepted the photograph and sent it worldwide. Both Vassey and Proske (best known so far for “Vampires Suck”) give strong performances as the plot takes some unexpected twists.

While a serious drama, people viewing the movie here will likely have some fun identifying local scenery.

Some of the cast and crew will have a screening party Saturday. One problem — the New England Patriots versus Denver Broncos game will be going on at the same time.

Harrity said her father will see the film, but plans to watch the Patriots game.

“I said come on,” Harrity said. “He’ll have to DVR.”

NEA Chairman Landesman announces Challenge America Fast-Track grants

Martha’s Vineyard Film Society one of only 162 grantees nationwide

VINEYARD HAVEN, MA- Saturday, December 10, 2011-As National Endowment for the Arts Chairman Rocco Landesman has noted, “Art works everywhere,” which is why the NEA’s Challenge America Fast-Track (CAFT) program supports projects from primarily small and mid-sized arts organizations that extend the reach of the arts to underserved audiences-those whose opportunities to experience the arts are limited by geography, ethnicity, economics, or disability. The Martha’s Vineyard Film Society (MVFS) was selected to receive $10,000 for one of the 162 grants to organizations in 46 states, plus the District of Columbia and the U.S. Virgin Islands.

“Taken together, these Challenge America Fast-Track grants provide an extraordinary sampling of the work that arts organizations do to reach underserved communities,” said Chairman Landesman. “With these grants, we are helping to ensure that art works for all Americans.”

The MVFS’s Martha’s Vineyard International Film Festival is four days filled with the best feature and short films from over 20 countries of the world, plus evening events, provocative forums, and live world music. The recurring theme of the annual Martha’s Vineyard International Film Festival is “Other Places”; the festival’s purpose is to encourage attendees to think broadly (about how huge the world of film is) and deeply (about the universal concerns and desires that unite all people). About 90% of all film selections are non-US productions, helping to fulfill the festival mission of promoting cross-cultural understanding through film.

“Being recognized by the National Endowment for the Arts for our film festival is a high honor,” said Executive Director Richard Paradise. “We’ve strived to achieve a balance of artistic merit, cultural exchange, and cultural tourism for our community in presenting this annual festival each September for our island residents and visitors.”

The program is called Fast-Track because of its expedited review time line. The Martha’s Vineyard Film Society was notified approximately six months after applying. Also, with 375 eligible applications submitted from across the country, there was significant competition for funding for these grants. The Martha’s Vineyard Film Society’s grant award is evidence of the artistic excellence and artistic merit of its Martha’s Vineyard International Film Festival.

BACKGROUND INFORMATION
The Martha’s Vineyard Film Society was established in February 2002 and is a member-funded 501 (c)(3) non-profit arts organization dedicated to screening the best in independent films, movie classics, documentaries, and world cinema for diverse audiences of all ages throughout the calendar year. In 2011, the society has presented over 80 films, to over 12,500 patrons at various screening venues around the island. __

In 2006, the Film Society established the Martha’s Vineyard International Film Festival, a 4 days/nights festival of world film and events. More than 2500 people attended last year’s festival, bringing together film lovers, artists, writers, and those who make movies. This has become an anticipated Island event each September.

The National Endowment for the Arts
The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. To join the discussion on how art works, visit the NEA at www.arts.gov.

The list of this year’s top worldwide locations demonstrates just how big of a comeback the United States has made. Classic favorites like California and New York are once again attracting production, while newer contenders like Georgia and North Carolina are making an on-screen name for themselves. Louisiana continues to be a favorite among filmmakers, while Canada, with its diverse looks and competitive incentive packages, is still holding strong. Indeed, while the list ventures even further to explore Europe and the Pacific, P3 Update anticipates that in 2012 production will continue to stay close to home, where infrastructure is strong and incentives remain enticing.

CALIFORNIA
After nearly a decade of exploring the country and beyond, many producers now point out that production is increasingly staying put to cut costs and take advantage of California’s robust incentive package. It’s no wonder that the Golden State has recently made a triumphant return to P3’s list of top locations. With over 500 stages and 60 regional film offices, the state has something for everyone.

Let’s start with the state’s relatively new Film & TV Tax Credit Program, which provides a nonrefundable tax credit of anywhere from 20 to 25 percent for eligible production, the latter for qualifying local spend for eligible relocating TV series and independent films — a clear sign that the state is indeed fighting back. There are budget caps of $75 million and $10 million, respectively, on feature films and independent films. Some 150 projects have qualified since the program was implemented in 2009.

According to Amy Lemisch, executive director of the California Film Commission, the program is expected to bring $2.8 billion in direct spending to the state, including $1 billion in wages paid to below-the-line crewmembers. “The number of applications for the most recent $100 million round of credits more than doubled over 2010,” reports Lemisch. Filmmakers, moreover, have faith in the program, as Governor Jerry Brown recently signed legislation extending it through the 2014/15 fiscal year. Of course, with a popular state like California, there are already many pictures lining up — so any applicant will see a fierce competition for credits. This year’s waiting list already holds over one hundred hopeful projects.

In 2011, the Film Commission reports that the state hosted well over 200 feature films, including Gangster Squad (starring Ryan Gosling, Emma Stone and Sean Penn), J. Edgar (starring Leonardo DiCaprio) and Jack and Jill (starring Adam Sandler), while hit TV series like “Dexter,” “CSI: Miami,” “Sons of Anarchy” and “House” continue to call the state home. This year, estimated spending for all types of production sits somewhere around $30 billion.

Thanks to its strong incentive package and world-renowned production infrastructure, California is succeeding in luring back production. Lemisch points out that the ABC primetime drama “Body of Proof” just recently relocated production to Los Angeles from Providence, R.I. “The move occurred after the series qualified for California’s tax incentive,” she explains.

CONNECTICUT
Connecticut’s incentive package comprises a Digital Media & Motion Picture Tax Credit, Infrastructure Tax Credit and Digital Animation Production Company Tax Credit. Most notably, the Digital Media & Motion Picture Tax Credit can reach up to 30 percent and is tiered based on local spend, starting from 10 percent for expenditures between $100,000 and $500,000. For expenditures between $500,000 and $1 million, the credit is bumped up to 15 percent, and expenditures above $1 million are eligible for the 30-percent credit.

“Over the past several years, Connecticut has not only relocated the Academy Award-winning Blue Sky Studios, but also three of NBC Universal’s highly successful daytime talk shows including “Jerry Springer,” “Maury Povich” and “Steve Wilkos” with a fourth show to be announced in the coming weeks,” says Director of the Connecticut Office of Film, Television & Digital George Norfleet. “Connecticut also supports the continued growth and expansion of two of the state’s anchor media companies: World Wrestling Entertainment Corp. and ESPN: The Worldwide Leader in Sports and has recently heralded the significant addition of NBC Sports to the state’s notable sports entertainment company pedigree.” She adds that amongst other sports-related productions, the network plans to bring the National Hockey League in-studio broadcast and Olympic headquarters to Stamford, further solidifying Connecticut’s position as a leading destination for sports programming and providing one of the industry’s highest profile stories of the year.

The small state has of late become a hotspot for larger productions. Throughout last summer and fall, the major motion picture Great Hope Springs (starring Tommy Lee Jones, Meryl Streep and Steve Carell) shot throughout Connecticut, including in Darien, Norwalk, Milford, Guilford, Stonington and Windsor Locks. With a story set in Maine, the film underscores Connecticut’s ability to double as Anytown, New England. This year, the state also hosted The Wedding (starring Robert De Niro and Robin Williams) which wrapped over the summer. Scripted TV series are also laying down roots in the state, including Showtime’s critically acclaimed “The Big C” and the TBS hit “Are We There Yet?”

In 2010, in-state production spend reached $190 million, and this number is projected to have jumped to $200 million in 2011. “We expect to see the sustained growth of our television industry with continued production on favorites … and new productions including the several television pilots that are currently readying for production in the state,” says Norfleet. The state houses great spectacular facilities — like Sonalysts Studios, NBCUniversal’s Stamford Media Center and Connecticut Film Center (in Stamford, Stamford West and Norwalk) — and is known for having an impressive production infrastructure and growing crew base due, in part, to Connecticut’s highly regarded Film Industry Training Program. Connecticut will no doubt also continue to make significant inroads in the digital media and interactive gaming sectors while maintaining its position as a leading destination for sports programming.

GEORGIA
If there’s any doubt that the state of Georgia houses a robust production infrastructure, one need only to look at the grand opening of Panavision Atlanta this past spring. In 2011, several feature and TV projects, like Joyful Noise, The Odd Life of Timothy Green and “Drop Dead Diva” have taken advantage of all the 10,000-square-foot facility has to offer. It’s a full-service, camera-rental office with a wide array of digital and film cameras, including 35mm, 16mm, HD 35 and 2/3 inch. “Atlanta provides a wide variety of looks, from rural to urban,” reports Margit Elo, president of U.S. operations at Panavision. “It has a talented and well-established crew base, growing production infrastructure … easy access by air from all directions, and a strong technology infrastructure.” Of course, the opening of Panavision comes in addition to Georgia’s existing notable studio spaces, like Raleigh Studios Atlanta and EUE/Screen Gems.

The Georgia Film Music & Digital Entertainment Office offers a transferable flat-tax credit of 20 percent on qualified in-state base investment for qualifying productions with a minimum spend of $500,000. An additional 10 percent is available if a production features a promotional logo, bringing the total transferable-tax credit to 30 percent. A sales-and-use tax exemption is offered as well. Elo points out that the program is most attractive because of its “significant funding and a long-term commitment.” With such a solid incentive package and a crew base around six-to-seven deep, more companies like Panavision will undoubtedly be looking to invest in Georgia, leaving little doubt that the state will continue to attract productions well into the future.

LOUISIANA
Once again, Louisiana stands as a strong contender in just about every category across production, including its high-caliber crew base and ease of shooting. As the first state to adopt tax incentives, Louisiana continues to offer a reliable incentive package with a 30-percent transferable credit on total in-state expenditures (with a minimum-spending requirement of $300,000) and an additional 5-percent labor-tax credit on the payroll of employed residents.

In 2011, the big news out of the state was the launch of the Louisiana Filmmakers Grant Fund, which is designed to cultivate and support native talent by supporting filmmakers whose projects don’t meet the Motion Picture Tax Credit’s budget minimum. Louisiana Entertainment Executive Director Chris Stelly reports that the fund’s inaugural application round commenced this summer, attracting an astounding 55 applicants. “[The fund] is vital to support the state’s entertainment industry by cultivating native talent to become tomorrow’s content creators and the state’s long-term goals in its master plan for economic development for the State of Louisiana,” explains Stelly.

Not that the state needs much more in the way of production. 2010 marked Louisiana Entertainment’s highest year on record for production applications, with more than 140 projects applying. These applications totaled about $1.4 billion in total spend and $898 million in Louisiana spend. And as of October of this year, the state had received 114 film applications with a total anticipated spend of $1.1 billion — but over $848 million in Louisiana spend — for 2011. Stelly reports that these numbers put the state on track to meet and/or exceed its numbers from 2010.

The Paramount feature film G.I. Joe 2: Retaliation (starring Channing Tatum, Bruce Willis and Dwayne Johnson) shot in New Orleans and West Feliciana throughout the fall, and according to Jefferson Parish President’s Office Chief Administrative Assistant Operations Jennifer M. Van Vrancken, all of its digital work is being performed in Jefferson Parish at Cineworks. HBO’s “Treme” returned to the city to shoot its third season. The feature Broken City (starring Mark Wahlberg and Russell Crowe) will also shoot in New Orleans until January, while Snitch (starring Dwayne Johnson and Susan Sarandon) shoots in Shreveport. The A&E TV series “Breakout Kings” will shoot well into February in Baton Rouge, and while Warner Bros.’ Harry Potter and the Deathly Hallows: Part 2 didn’t film in-state, a portion of its post visual-effects work was performed in Lafayette. The estimated in-state expenditures on the film’s incentive application lay around $800,000.

The film office out of the St. Tammany Parish Tourist Commission, headed by Loren Legendre, works closely with the state and New Orleans film offices, but they have also been staying busy with their own projects. “The past year has seen a lot of film activity on our side of the lake,” says St. Tammany Parish Tourist Commission VP, Communications, Marketing and PR Renee Kientz. “Baytown Disco with Eva Longoria and Billy Bob Thornton shot in various Northshore locations. Forrest Whitaker’s Vipaka filmed in Covington and other parish locations, as did Lay the Favorite with Bruce Willis and The Paperboy with Jennifer Lopez, Nicole Kidman and Zac Efron.”

MASSACHUSETTS

Massachusetts continues to sit high on the list of worldwide locations, thanks in large part to a 25-percent payroll credit, a 25-percent production-expense credit and a 100-percent sales-tax exemption for productions with at least half of shooting done or half of the budget spent in-state. Massachusetts is unique in that it allows filmmakers to receive their unused credits as a direct rebate (90 percent of face value) or sell them at market rate. This flexibility allows producers to choose the most favorable option at the moment. The current sunset date is January 2023, so filmmakers can remain confident that great Massachusetts opportunities are here to stay.

This past fall, production began on the action/adventure film R.I.P.D. (starring Ryan Reynolds and Jeff Bridges), the largest movie to shoot in the Commonwealth to date, according to Lisa Strout, director of the Massachusetts Film Office. 2011 also saw productions for Here Comes the Boom (starring Kevin James), Ted (starring Mark Wahlberg and Mila Kunis, and directed by “Family Guy” Creator Seth MacFarlane) and I Hate You, Dad (starring Adam Sandler). Strout reports that this year has been far stronger than 2010, and notes, “Having a solid and strong incentive program that is easy to use is definitely key to Massachusetts’ success.”

NEW YORK
New York’s Film Production Tax Credit program allocates $420 million per year up until 2014. The state offers a fully refundable 30-percent tax credit on qualified costs made in New York State, and productions can take advantage of the Post Production Credit, a fully refundable 10-percent tax credit on qualified post costs.

New York City has had a very successful fiscal year. Its television season set a record with 23 primetime episodic series, including eight new shows like “Pan Am” and “Person of Interest,” and returning hits like “30 Rock,”” “Boardwalk Empire,” “Gossip Girl” and “Bored to Death.” According to Marybeth Ihle, press manager for the Mayor’s Office of Media and Entertainment, more than 20 pilots shot throughout the city this year. Films shot in New York in 2011 include Men in Black III (which shot throughout Brooklyn and at Kaufman Astoria Studios in Queens), Extremely Loud and Incredibly Close (starring Tom Hanks and Sandra Bullock) and The Dictator (starring Sasha Baron Cohen). Ihle reports that the local entertainment industry contributes $5 billion each year to the city’s economy. With the launch of the Mayor’s Office of Media and Entertainment’s online permit system, customers can now use the Internet to apply for permits, making it even easier for productions to see all the Big Apple has in store.

NORTH CAROLINA
North Carolina is seeing its busiest year ever, reports Aaron Syrett, director of the North Carolina Film Office. Indeed, the state’s enhanced incentive is doing what it was designed for: creating high-paying, quality jobs. “Fiscal year 2010 saw an in-state spend of $75 million — to date this figure has grown to approximately $220 million in 2011,” says Syrett. Part of this is driven by return TV productions that call the state home, like “One Tree Hill” (in its ninth season) and “Eastbound & Down,” while new productions, such as Showtime’s “Homeland” and the upcoming film The Hunger Games, are taking the hype surrounding the state seriously.

Syrett reports that all of this action in 2011 attests to the fact that production is moving back to North Carolina — and the whole state is reaping the benefits. “We are seeing activity all over the state,” says Syrett. “It is not localized to just one region.” North Carolina has the capacity and the infrastructure in terms of personnel, vendors and equipment to sustain this level of production well into the future. See Wilmington’s EUE/Screen Gems Studios facility, for instance, which holds over 30,000 square feet of office production space and houses the 37,500 square-foot Stage 10, the third-biggest stage in the United States. Apart from this terrific infrastructure and the sheer affordability of shooting in-state, North Carolina offers an attractive incentive package comprising a very competitive 25-percent, fully refundable credit — an extra perk for any production looking to shoot in a truly experienced and film-friendly state.

CANADA
With highly skilled crews and talent, solid infrastructure, and diverse urban and natural landscapes, Canada has just about everything going for it. Unfortunately, this year’s strong Canadian dollar has greatly threatened to eat into the country’s long-time competitive edge, making it slightly less attractive for production to travel up from the country’s southern neighbors.

Nevertheless, the country’s high-caliber incentive package — which combines with a variety of attractive provincial deals — has worked to keep Canada on P3’s list for 2011. “Production activity in British Columbia has remained steady in spite of the value of the Canadian dollar,” confirms Susan Croome of the British Columbia Film Commission. According to Croome, in 2011 a number of high-profile films chose British Columbia for production, including Paramount Pictures’ Mission: Impossible - Ghost Protocol, the new Superman flick Man of Steel, The Twilight Saga: Breaking Dawn, Underworld Awakening and The Grey (starring Liam Neeson). In recent years, the province has received recognition as hub of digital animation and visual effects production as well, with international companies like Pixar, Digital Domain and Sony Imageworks setting up shop.

Also on the to-watch list for 2012 is Alberta. “While Canada as a whole has been impacted to some degree by the exchange rate, the stability and predictability of the government funding offered in Alberta and across Canada is much more important to producers seeking a viable jurisdiction,” says Jeff Brinton of the Alberta Film Commission. Brinton also reports that the current fiscal year is expected to see an increase in production from fiscal 2010/11.

Canada’s refundable Production Services Tax Credit deserves credit for drawing so much production to the country. The credit is equal to 16 percent of the qualifying labor paid to Canadian residents with no caps. This comes in addition to a variety of labor-based and spend-based tax-incentive schemes offered on the provincial level. Alberta, for example, offers a grant of between 20 to 29 percent of all eligible expenses. British Columbia boasts a labor-based credit that includes four initiatives with a basic rate of 33 percent. This can be topped off by a regional bonus of 6 percent, a 6-percent distant-location credit and, finally, the province’s 17.5-percent Digital Animation or Visual Effects credit.

SaskFilm contributes a tax credit of up to 55 percent of eligible labor on each project made in Saskatchewan (a 45-percent base credit, plus a rural bonus and key-position bonus). The Newfoundland and Labrador Film Development Corporation (NLFDC) offers a fully refundable corporate income-tax credit limited to the lesser of 25 percent of the total eligible budget, or 40 percent of total eligible labor expenditures. The Quebec Film and Television Council (QFTC) offers a 44-percent cash rebate, while Manitoba Film & Music offers qualifying productions a 45-percent base credit, and a slew of other incentives, including a frequent-filming bonus, rural bonus and Producer bonus (when you co-produce with a Manitoba company) that can add up to a tax credit of 65 percent. “Our tax credit does not have a cap, so the money does not run out,” says Ginny Collins of the Manitoba Film & Music office. “We’re known for having one of the most accommodating and flexible film communities and have an extremely experienced crew base with over 20 years’ experience.”

NEW ZEALAND
Recently, Film New Zealand partnered with Park Road Post Production to secure ground representation to open a Los Angeles office in early 2012. The move reflects the growing importance of New Zealand in the world of production. For fiscal year 2010, inward investment was NZD$378 million with 80 percent of that coming from North America, reports Roxane Gajadhar, communications and marketing manager for Film New Zealand, adding that spending in 2011 is falling along similar lines. Big-budget features, like The Adventures of Tintin, Rise of the Planet of the Apes and two sequels to The Hobbit, are only some of the many U.S. productions that have headed to New Zealand for production and postproduction.

“Production has been consistent and steady with the occasional seasonal fluctuation,” reports Gajadhar. The country is certainly helping by making itself attractive to productions with its Large Budget Screen Production Grant, a 15-percent cash grant with no cap. There’s also the Post, Digital and Visual Effects Grant for productions, as well as the Screen Production Incentive Fund. Upcoming productions can choose any one of these three options.

While the country is well known for its rolling green hills and spectacular panoramic vistas, its groundbreaking visual-effects work has too often gone under-discussed. Facilities like the Wellington-based Weta Digital are changing how New Zealand is perceived in the digital realm. Offering digital production services for feature films and commercials, its Academy Award-winning work on Avatar and the stunning effects on the recent Rise of the Planet of the Apes offer only a glimpse of all the company can do. Other notable aspects of postproduction infrastructure throughout New Zealand include Park Road Post and recently built Rubber Monkey Studio.

UNITED KINGDOM
The U.K. Film Council reports that in 2010, investment in U.K. film production reached £1.155 billion ($1.82 billion) — a new record for the British film industry. A whopping £928.9 million ($1.46 billion) of this came from outside of the U.K. The productions of Pirates of the Caribbean: On Stranger Tides, War Horse, Horrid Henry: The Movie, Tinker Tailor Soldier Spy and many more major film projects can all attest to the country’s growing international appeal.

The U.K. is perhaps best known for its first-class facilities. Leavesden Studios — a 500,000-square-foot facility located just outside of London — recently hosted the latest installments of Harry Potter and Sherlock Holmes. Additionally, Universal Pictures’ Snow White and the Huntsman (starring Kristen Stewart, Chris Hemsworth and Charlize Theron) recently started shooting at Pinewood Studios, home to the world-famous 59,000-square-foot 007 Stage in addition to 34 other large stages.
According to Pinewood Studio Group Head of Group Marketing Charity Massey, it’s the mission of the Group to be a leading provider of studio and related services to the global film and television industry. Aimed at world class British and international productions, the impressive heritage of its UK-based Pinewood, Shepperton and Teddington Studios date back to the early 20th Century and are home to some of the most successful feature films and TV shows ever made.

The Pinewood brand is now being exported overseas to studios in Toronto, Canada; Berlin, Germany; Iskandar, Malaysia’ and the Dominican Republic. The facilities are comprised of top quality sound stages, a unique underwater filming stage, specialist production resources, state-of-the-art TV studios, and postproduction and digital content services. The studios also offer easy access to some of the world’s most experienced crews as well as the expertise of hundreds of complementary media companies based at its Pinewood and Shepperton Media Parks. Recent film and TV productions that have used the Studios’ facilities include Pirates of the Caribbean: On Stranger Tides; Captain America: The First Avenger; X-Men: First Class; Harry Potter and the Deathly Hallows: Part 2; Jane Eyre; Johnny English Reborn; “Dancing on Ice;” “The Magicians;” and “Got To Dance and Sing If You Can.”

For more information on how to enter, click the flyer.

Haverhill native Rob Zombie films witch-themed horror movie in Salem

The crew for a horror movie called ÒLords of Salem, written and directed by Rob Zombie, worked through the rain to shoot on the corner of Essex and Hamilton streets yesterday afternoon. (David Le/Staff photo)

Heavy metal musician-turned-filmmaker Rob Zombie finished filming in the city yesterday for his horror movie “The Lords of Salem.”

The movie, written and directed by Zombie, involves a 300-year-old coven of witches who return to Salem. “The Lords of Salem” will hit theaters in 2012.

“It’s a spooky movie … about alleged witches and their descendants today,” said Murray Miller, the film’s location manager. “We’ve got some beautiful shots of the central part of Salem. It’s a great looking town. Just visually, it’s a great town.”

Through the week, Zombie and his crew of more than 30 people filmed in several locations around the city, including Salem Willows and Engine House Pizza on Lafayette Street.

Yesterday, several trucks packed with film equipment lined Essex Street. Despite a gray afternoon and a cold rain, crew members set up tents and prepped for filming at a Federalist-style home.

A police detail ushered traffic by the scene at 355 Essex St., as drivers slowed down to take a look at the activity.

While in Salem, Zombie’s operation hired 10 crew members and used a few locals as extras, Miller said. From the Police Department to local vendors, working in Salem has been wonderful, he said.

“The city has been unbelievably supportive and extremely helpful,” Miller said. “This is a treat. People couldn’t have been more helpful. I have a big smile on my face, remembering Salem.”

“We’re very grateful to the city,” he said. “I want to come back.”

Zombie, a Haverhill native, formed the band White Zombie and later branched off into films, making two recent installments in the “Halloween” series.

Zombie began filming “The Lords of Salem” in Los Angeles last month, shooting interior scenes, Miller said. According to numerous websites, the cast includes Zombie’s wife, Sheri Moon Zombie, and Christopher Knight, known to millions as Peter Brady from the 1970s sitcom “The Brady Bunch.”

Zombie has been posting photos and messages about the film’s progress on his Facebook page, and hundreds of fans have left messages in response.

Not only will the film bring silver-screen exposure to the city, but the film crew has been eating and shopping in Salem while working here, said Kate Fox, the executive director of Destination Salem, the city’s tourism office.

“The economic impact is very positive,” she said. “We are trying to strengthen our relationship with the Massachusetts Film Office and be considered for more films.”

Staff writer Bethany Bray can be reached at bbray@salemnews.com and on Twitter @SalemNewsBB.

Douglas Trumbull To Receive
The VES 2012 Georges Méliès Award

Visionary filmmaker, innovator and entrepreneur, Douglas Trumbull, has been selected by the VES Board of Directors as the recipient of the 2012 Georges Méliès Award. The award will be presented at the 10th Annual VES Awards, which will be held at the Beverly Hilton Hotel in Beverly Hills on February 7, 2012.

The Georges Méliès Award honors individuals who have “pioneered a significant and lasting contribution to the art and/or science of the visual effects industry by a way of artistry, invention and groundbreaking work.” Douglas Trumbull is the embodiment of this award as someone whose early career included pioneering work in 1968 as one of four effects supervisors in 2001: A SPACE ODDYSEY. He subsequently influenced movie goers around the world with stunning visual effects in films such as THE ANDROMEDA STRAIN, CLOSE ENCOUNTERS OF THE THIRD KIND, STAR TREK: THE MOTION PICTURE, and BLADE RUNNER. In addition, Trumbull directed the feature films SILENT RUNNING and BRAINSTORM. He has directed numerous Expo and special venue films, videos and attractions, including BACK TO THE FUTURE – The Ride.

“Doug Trumbull is a leading light in the field of visual effects and technology,” said VES Chair Jeffrey A. Okun. “He is an innovator in all things entertainment and equally important is his genius for re-imagining the impossible into a compelling visual that not only has never been seen before but also goes to the heart of the storytelling. We are seriously honored to know and work with him,” added Okun.

“It is truly an honor to receive the Georges Méliès Award from the Visual Effects Society,” said Trumbull. “My philosophy is that everything in a movie is an illusion of some kind, and I am very excited that the industry today is now embracing 3D, higher frame rates, and other opportunities that can expand the movie-going experience, and deliver to audiences the kind of immersive and other-worldly images that we in the VES can provide. The role of the VES at this time could not be more important, and I am very grateful to receive this astonishing recognition” he added.

Trumbull has been the recipient of the American Society of Cinematographer’s Lifetime Achievement Award, and has recently been selected by his peers as a VES Fellow of the Visual Effects Society (only the third to receive this distinction).

Douglas Trumbull’s recent endeavor, Trumbull Ventures LLC, is a privately-owned film studio founded as a leading-edge film production company specializing in the development of advanced integrated systems for high-resolution digital production utilizing virtual sets and locations, high frame rates, 3D, and advanced previsualization. Trumbull is presently developing multiple feature film projects that he intends to write, produce, and direct, using his virtual set technology

Previous recipients of theGeorge Méliès Award were Robert Abel, John Lasseter, Phil Tippett and Ed Catmull.

PATRICK-MURRAY ADMINISTRATION ANNOUNCES PRODUCTION OF UNIVERSAL PICTURES’ R.I.P.D. TO BEGIN IN MASSACHUSETTS THIS SEPTEMBER

R.I.P.D., starring Ryan Reynolds and Jeff Bridges, to create local jobs and economic activity within the Commonwealth

BOSTON – Monday, August 22, 2011 - The Patrick-Murray Administration’s Massachusetts Film Office (MFO) today announced that R.I.P.D., a supernatural action-adventure from Universal Pictures, will begin principal photography in Massachusetts this September and that production will occur entirely in the Commonwealth. Through early 2012, the project will create jobs and significant economic activity while boosting the state’s growing film industry.

“This is a great opportunity to showcase the incredible talent and versatile locations the Commonwealth has to offer,” said Governor Deval Patrick. “Top producers and filmmakers, like Universal, are recognizing Massachusetts as a great place to grow the industry.”

“Creating jobs is a top priority for our administration, and this film comes at the right time,” said Lieutenant Governor Tim Murray. “The length and scope of this large production will leverage increased job opportunities for Massachusetts residents and also increased revenues for area businesses within the Commonwealth.”

As part of the effort to grow the Massachusetts film industry, create more jobs and increase revenue for local businesses and services, Housing and Economic Development Secretary Greg Bialecki traveled with union officials to Los Angeles in February to meet with studio and film executives, including those at NBCUniversal. Following Secretary Bialecki’s visit, NBCUniversal executives met with Lieutenant Governor Murray in Massachusetts. These meetings, along with the recent appointment of film industry veteran Lisa Strout as MFO director, helped to convey that the Commonwealth is an ideal place for Hollywood to invest and that the state is prepared for increased film and television activity.

Since January 2011, when the Administration and Legislature moved the film office under the Massachusetts Office of Travel and Tourism (MOTT), three major feature films have come to the Commonwealth. Many other projects are currently considering Massachusetts for future productions.

R.I.P.D., which will be released in theaters on June 28, 2013, stars Ryan Reynolds and Jeff Bridges as two undead police officers dispatched by the otherworldly Rest In Peace Department to protect the world from an increasingly destructive array of creatures who refuse to move peacefully to the other side. R.I.P.D. is directed by Robert Schwentke (Red) and produced by Neal H. Moritz (the Fast and Furious series, I Am Legend), Michael Fottrell (the Fast and Furious series, Live Free or Die Hard) and Mike Richardson (Hellboy, Hellboy II: The Golden Army).

“Universal’s R.I.P.D. will put hundreds of local craftspeople and technicians to work,” said Chris O’Donnell, Business Manager of I.A.T.S.E. Local 481. “While creating the sets, lighting, costumes and all that it will take to make this film, this talented workforce will earn very good wages and receive health and retirement benefits for themselves and their families.”

“We are grateful to Universal for partnering with the Commonwealth in this valuable opportunity,” said MFO Director Lisa Strout. “It is a chance to prove that we can handle any size, type and genre of film and that we have world-class crew, talent and business bases.”

MovieMaker magazine recently ranked Boston the No. 1 city in the country to film, a highly coveted distinction. Additionally, several Massachusetts-based films received Golden Globe and Academy Award honors this past awards season. From 2006, when the film tax law went into effect, to 2009 local production activity increased significantly, generating $161.2 million in new revenues, creating more than 1,800 new jobs and marketing the state to national and international audiences. MOTT and the MFO remain committed to ensuring Massachusetts is a choice destination for film, commercial and advertising investment and maximizing the return on investment of the film tax credit program.

About the MFO
The Massachusetts Film Office is the official state agency charged with assisting movie making in Massachusetts. It is located at 10 Park Plaza, Boston—within the Mass. Office of Travel + Tourism. Lisa Strout, Director. Phone # 617-973-8400 Website: www.mafilm.org

About MOTT
The Massachusetts Office of Travel & Tourism (MOTT) is the state agency dedicated to promoting Massachusetts as a leisure-travel destination. An integral part of the state’s economy, tourism generates more than $915 million in state and local taxes and $14.4 billion in travel related expenditures and supports 121,500 in-state jobs. www.massvacation.com

Filmmakers find appeal in Taunton and tax credits

Scenes from the Martin Scorsese film “Shutter Island” shot in Taunton.Taunton Gazette file photo by Mike Gay

TAUNTON — Don’t count Taunton’s Mayor Charles Crowley among those having second thoughts about the state’s film tax credit law.

“I saw the benefits,” Crowley said. “They absolutely help.”

Signed into law by Gov. Mitt Romney in 2005, and expanded upon two years later by his successor, Deval Patrick, the tax credits apply to filmmakers and companies either shooting at least half of their movie or spending at least half of their production budget within the Bay State.

It’s been a generous tax break, with a credit equal to 25 cents of every dollar spent while filming here, and a 100 percent sales-tax exemption on items purchased in-state related to production.

According to the Massachusetts Film Office, the Bay State also is the only state that gives filmmakers the option either of taking their unused credits as a direct rebate at 90 percent of face value, or selling them at market rate.

But with the national economy having gone into a tailspin during the past few years — and with states scrambling to retain revenue to avoid decimating their budgets — criticism of the cinematic tax-credit program has emerged in some quarters.

In January, a Department of Revenue study indicated that most of the money (more than $82 million) reaped by filmmakers in 2009, in the form of tax credits, went to non-resident actors, many of whom earned more than $1 million apiece.

The pros and cons of the debate, meanwhile, have enough shades of grey to satisfy any fan of old Charlie Chaplin films.

In 2010, for example, an opinion piece in the Boston Globe decried film tax credits for rewarding “transient” workers, while denying money to the state for educational and infrastructure projects.

But an editorial the same year in that same paper noted how movies made in Boston and the state help to attract outside investment and tourism.

A mayor’s open invitation

Notwithstanding 1942’s Johnny Eager with Lana Turner, scenes of which were shot at the former Taunton dog track — when it comes to movies of note having been filmed on location in the Silver City, the gold standard remains director Martin Scorsese’s “Shutter Island.”

A significant portion of that psychological thriller was shot on the premises of the Whittenton Mills factory complex over a period of a month, during the winter of 2008; the movie was released in early 2010.

During the summer of 2008, scenes for what came to be known as “Surrogates” — a science fiction flick featuring Bruce Willis — were shot on the grounds of the former Paul A. Dever School.

But it was “Shutter Island” — originally titled “Ashecliffe,” and featuring Leonardo DiCaprio and Ben Kingsley — that generated the greater publicity buzz and revenue dollars to local businesses.

“They spent a lot of money here, I witnessed it,” Crowley said.

And he says it wasn’t just local pizza shops and restaurants reaping the residual benefits.
With sets that needed to be built and dozens of people being fed, Crowley said hardware stores (chains and independents alike) and grocery stores were among businesses that saw their sales increase before and during filming.

The mayor didn’t require any arm-twisting before “Shutter Island” to be convinced that a major motion picture would help put Taunton on the map, at least in the short-term.

Crowley said he personally compiled and forwarded to a Paramount Pictures advance team a promo kit of Taunton-centric photos and videos.

Unlike some other larger cities, Crowley said he waived any local permit fees that might dissuade that advance team from considering working here.

He credits Aggregate Industries for making available, at no charge, a portion of their quarry site on Fremont Street for the film crew’s equipment. Also cooperative, he said, was the leadership of Holy Rosary church on Bay Street who offered free parking for production trailers.

In February 2009, a Boston-based film-location scout toured three sites in the Taunton area for what was to have been a Steven Spielberg production of a movie about Abraham Lincoln.

“We bent over backwards to make sure they came here,” Crowley said, adding that any time a major motion picture is shot either in Taunton or a neighboring town, “the entire region benefits.”

Although he supports the state’s film tax credits, Crowley attributes the decision by Scorsese and the movie company to film part of “Shutter Island” in Taunton moreso to their having found an ideal locale, while also feeling welcomed.

“They planned to look at Taunton State Hospital, but when they saw (Whittenton Mills) they fell in love with it,” he said.

Local revenue boost

Diane Benjamin, co-owner of Benjamin’s restaurant on Bay Street, says it was a regular occurrence during filming for Martin Scorsese and his entourage to come in for lunch.

“He would call ahead to find out what the specials of the day were,” Benjamin said.
To make the famed director feel more comfortable, she said she got in the habit of reserving one of her dining rooms for Scorsese and his group of 10 or so co-workers whenever they visited.

“We got some lovely publicity,” she said, including coverage by a Boston TV crew.

“Anytime you shine a positive spotlight on the city it’s good, because it’s the community that benefits, not just us,” Benjamin added.

And while the more upscale Benjamin’s can claim director Scorsese as a former customer, it was a pizzeria called That’s Amore, strategically located at 336 Whittenton St., that captured the most constant flow of additional revenue.

“It was 24/7, I mean it,” said owner Louis Nunes.

Nunes, 50, estimates his sales jumped between 20 and 25 percent during the period of shooting down the block.

“People came down here from all over to check it out and see what’s going on,” he said.
David Murphy, owner of the 42-acre Whittenton Mills site at 437 Whittenton St., said tax credits make business sense.

Having a Hollywood movie made in Massachusetts, he said, “is fabulous, whatever area they’re in.”

In the case of “Shutter Island,” Murphy said he offered his site for a flat $50,000 and was presented a counter-offer of $20,000.

“I took it,” he said. “I had a lot of vacancies, so it didn’t matter to me what they used, and they used the whole place.”

One end of his complex was used to replicate the entrance of the Nazi’s Dachau concentration camp, the first of its kind in WWII-era Germany.

After three months of preparation, filming and re-shooting of scenes, Murphy said he settled for the difference between the original $20,000 and what turned out to be an enormous electric bill.
Overall, and in retrospect, he said, “it was great.”

Local legislators slightly leery

State Sen. Marc Pacheco, D-Taunton, said he voted in favor of the tax credits and “thus far” continues to be a supporter.

But he cautions that he’ll “pay attention to it,” because, like the state’s annual sales tax holiday in August, it’s the equivalent of “an expense.”

“It’s a cost to the budget; both are,” Pacheco said.

For the time being at least, Pacheco said film tax credits provide “a net positive benefit,” although, he added, “I’m always cautious about using our tax money to benefit one sector over the other.”

Taunton’s Republican state Rep. Shaunna O’Connell says if Massachusetts had a “friendly tax code” to begin with, there wouldn’t be any need for it offering “special breaks to certain industries.”

“Offering temporary jobs for additional revenue does not address the underlying issue (that) our tax policy and regulations really are not business friendly,” she said.

A natural fit

Lisa Strout, director of Massachusetts Film Office, said the tax credit program is working. More and more movie makers, she said, have been considering Massachusetts.

“They feel comfortable and secure, and that’s what every producer wants: certainty,” Strout said.

She claims that since 2005 when the credits became available, the membership of Local 481 of the International Alliance of Theatrical and Stage Employees has quadrupled.

A re-training program that’s been undertaken by the local, she said, guarantees “transferable skills” that can be applied in other areas as well.

Strout also notes that movie companies appreciate the state’s track record for developing technological skills and expertise.

“This is a very young program,” Strout said. “But this is an industry that’s growing globally, and I think it makes a lot of sense for the commonwealth — it’s a natural fit.”

Related Galleries- Silver City on the Silver Screen: Making movies in Taunton

Posing on the set of “Here Comes the Boom” are actor Henry Winkler, left, Quincy Mayor Thomas Koch, center, and actor Kevin James. Photo: The Patriot Ledger

QUINCY-That’s a wrap, and for the city it was a lucrative brush with Hollywood.

Columbia Pictures, which shot the feature film “Here Comes the Boom” in Quincy, paid the city $114,500 in rental fees for the buildings it used. The film, starring Kevin James, is expected to premiere next summer.

Of the $114,500 in fees, $80,000 for rental of Quincy High School went to the school department’s music program and $10,000 for rental of Veterans Stadium went to the athletic department. The rest of the money went into the school department’s rental budget or to stipends for students who made cameo appearances in the film.

“All in all, for the Quincy Public Schools I thought it was a very positive situation,” Superintendent Richard DeCristofaro said.

Initially, the city and Columbia Pictures Industries Inc. of California only agreed to rent the former Quincy High School on Coddington Street, which is vacant, for $80,000.

But as shooting progressed, the crew expressed interest in using other city property. The third floor of Coddington Hall, a former Quincy College building, was renovated into Kevin James’ apartment in the movie, DeCristofaro said.

Columbia paid $7,500 to use the third floor of Coddington and $15,000 to use the building’s parking lot, which was jammed with trailers and other support vehicles during the filming, which ran from February through June. The studio’s agreement with the city allows crews to return through August for any re-shooting.

DeCristofaro said the studio hired their own cleaning and security crew to maintain the property. “They really took care of the former Quincy High School,” he said.

The movie’s plot is about a teacher who becomes a professional fighter to raise money for the school’s music program. Quincy school band members were tapped for some scenes and were paid a total of $2,000.

“They felt that our students in the band deserved a stipend, so it was given to the band,” DeCristofaro said.

A casting call was also held, landing some locals spots as extras.

Mayor Thomas Koch, whose office negotiated the initial lease agreement, said Quincy was a perfect fit for the movie because it was set in a school and the city had vacant school space.

“This was tremendously positive,” he said. “Certainly it didn’t hurt us economically. It had to have been a boost to local business in some ways. The stadium (shoot) was one day and we got a $10,000 check for school athletics. I think that’s awesome.”

Koch said the logistics have been less favorable in other movie proposals the city has had, like one that called for busy Newport Avenue to be closed to traffic.

Despite the smooth experience, cameras aren’t likely to roll again in the old school buildings. The city plans to demolish the former Quincy High School, which was built in 1922, and move school department offices into Coddington Hall.

Jack Encarnacao may be reached at jencarnacao@ledger.com.

When Hollywood comes to the North Shore, dollars follow

Peabody:14 Collins Street in Peabody is where a movie is being filmed with Adam Sandler. Photo by Ken Yuszkus/Salem News

Peabody is getting a dose of Hollywood this summer, with two big-budget films — “I Hate You, Dad,” starring Adam Sandler, and “Here Comes the Boom,” starring Kevin James — already passing through, and dropping thousands of dollars along the way.

“Ted,” starring Mark Wahlberg, filmed recently in Swampscott.

And in just the last few years, “Grown Ups,” “Bride Wars,” “The Proposal,” “Ghosts of Girlfriends Past” and a handful of others have filmed on the North Shore.

How much do these movies boost the local economy in the form of money and jobs?

Nobody really knows, but there’s certainly an effort being made to figure it out. The seemingly overnight explosion of movie productions traveling north of Boston has left local economic and tourism organizations scrambling to find ways to quantify the economic impact. It’s still a work in progress.

“We haven’t figured out a good way to see how these productions impact us locally, but I definitely think it does,” said Amanda Fancy, communications coordinator at the North of Boston Convention and Visitors Bureau.

“Towns on the level of Salem, like New Bedford and Quincy, are so new to this, we haven’t really established the multipliers or a way to capture the economic impact of these movies,” said Kate Fox, executive director of Destination Salem.

“The economic impact would be the crew and cast and the direct spending they are doing at restaurants and other businesses. But we have no sense of how great that is.”

Even the Massachusetts Department of Revenue has no information specific to any region or county.

“And because of disclosure law, we can’t even identify how much a specific production (spends or) receives (in tax credit), said Robert Bliss, a spokesman for the department. “It’s all in the aggregate.”

From lumber to tourists

if it were possible to learn how much each movie spends, how much of that trickles into the local economy is hard to say.

“Say you’re trying to see exactly how much of the budget is used here. Well, are the trucks from here? How many of the people come from somewhere else? It’s really hard to break down and get to the data,” said Lisa Strout, the new director at the Massachusetts Film Office and a 20-plus year veteran of the movie industry.

“There’s hotel use, restaurants and various things a movie production buys (or patronizes), such as lumber, hardware, car washes, dry cleaners, and things you wouldn’t normally associate with film. I’ve seen numerous examples where they walk up to a local bagel shop and say, ‘We’re going to need 1,000 bagels every day for the next three weeks.’”

A movie production is a lot like a military operation, Strout said. It’s a bunch of people traveling together, hunkered down in trailers and tents, with a massive amount of equipment, supplies and food.

“The needs of those people cross all economic sectors,” she said. “It’s very, very significant when a large movie comes in. Then the tourist stuff comes in later.”

Salem, which hasn’t seen a big-budget movie since 2008’s “Bride Wars,” is eager to cash in.

To aid the effort, the city’s tourist office is developing a new film office and website with photos, contacts and information to help lure film producers to Salem. The website — the first of its kind on the North Shore — should go live “within the month,” Fox said.

While numbers are hard to come by, those who’ve been involved in recent film projects seem certain they’re an economic benefit.

When “Here Comes the Boom” shot a few scenes at Latitude Sports Club in Peabody over a few days last month, manager Christian Padilla couldn’t believe the size of the operation. There were well over 100 workers — from electricians to set builders, cameramen and cleanup crew — and several trailers full of equipment.

“A lot of them were local,” Padilla said. “The feeling I got talking to them was that it was a lot of union work; they get on this movie and then that project, and continue on like that.”

Club manager: ‘We’re happy’

Several of the same crew that came to Latitude are now working on “I Hate You, Dad,” which has been filming in Peabody now for a couple of weeks. This week, the crew showed up at the Cabaret Lounge, a Route 1 strip club. They are building the sets and will continue filming there past the July Fourth holiday — shutting down the club the entire time, club manager Peter Hickey said.

In addition to paying all of the club’s 30 or so employees their regular wages during the shutdown, the movie production is paying the club an undisclosed sum for its troubles.

It must make up for all the lost revenue, because Hickey said the sum “is fine for us, and we’re happy with it.”

Hickey, like Padilla, said a lot of the workers hired to build the set were from the area.

“All the people are local people, local Teamsters, and there’s an awful lot of them — maybe 30 or 40 working in here, so it’s real good for them,” Hickey said. “And I think it’s beneficial for the club. We get good publicity and public relations. And the staff get paid time off, and I know a lot of them wanted to be off for the Fourth of July.”

While numbers are not available locally, the state has gone through great pains to document — at least in aggregate —the benefits it sees from the movie industry.

According to the Massachusetts Film Office, more than $1 billion has been spent on movie production in the state from 2006 to 2009, the last year numbers are available. The state has paid movie studios about $150 million of that back in tax credits over that time, which is likely the main reason for the sudden film boom here.

The average annual cost to taxpayers for the credits over that time was about $27 million, but the average annual benefit to the economy is more than $267 million, according to the state.

Some 4,972 jobs have been created from 2006 to 2009 as a direct result of the film industry, the film office says. Those jobs, by the way, have a median salary of almost $68,000.

How Peabody’s recent fling with Hollywood impacts the local coffers, however, is less easy to quantify. But everyone seems to believe it certainly can’t hurt.

“It’s a benefit,” Mayor Michael Bonfanti said. “It definitely has a trickle-down effect on the whole economy.”

FILMED ON THE NORTH SHORE

2011
“I Hate You, Dad” (Peabody)
“Here Comes the Boom” (Peabody)
“Ted” (Swampscott)

2010
“What’s Your Number?” (Gloucester)

2009
“The Company Men” (Marblehead)
“Grown Ups” (Essex)
“Furry Vengeance” (Danvers, Ipswich, Topsfield)
“Knight & Day” (Danvers)

2008
“The Joneses” (Peabody, Newburyport)
“Bride Wars” (Salem)
“The Last Harbor” (Gloucester, Rockport)
“Ghosts of Girlfriends Past” (Ipswich)
“The Proposal” (Gloucester, Manchester, Rockport, Hamilton, Beverly)

2007
“The Women” (Gloucester, Georgetown)
“My Best Friend’s Girl” (Ipswich)
“The Box” (Ipswich)

WHAT’S YOUR NUMBER?, starring Anna Faris & Chris Evans–shot in Massachusetts in 2010–opens nationally on September 30, 2011.

FOR IMMEDIATE RELEASE

FILM, TELEVISION INDUSTRY VETERAN SELECTED TO LEAD MASSACHUSETTS FILM OFFICE
Lexington-native Lisa Strout chosen to grow the Commonwealth’s film and television industry

BOSTON – May 23, 2011 – The Massachusetts Office of Travel & Tourism (MOTT) today announced that Lisa Strout, a veteran in the film and television industry and the former director of the film division in New Mexico’s Economic Development Department, will lead the Massachusetts Film Office (MFO) beginning June 15th.

Strout, a native of Lexington, Massachusetts, began her nearly 30-year career in the Commonwealth, working on a number of local film and television projects. She served as location manager on high-profile productions in Massachusetts and Los Angeles before joining the New Mexico Film Office in 2001. During the last seven years as the division’s director, Strout has helped grow the New Mexico film industry’s economic impact to $3.6 billion and expanded the local workforce from 300 to nearly 3,000. She was also instrumental in attracting such top Hollywood movies as No Country for Old Men, 3:10 to Yuma and The Avengers to the state and, in total, managed 156 major film and television productions throughout her tenure.

“Lisa is a stand-out in the industry and is the right person to lead the Massachusetts Film Office into the future,” said Betsy Wall, Executive Director of MOTT. “She will bring nearly three decades of experience to her new role, and promises to build on our efforts to make Massachusetts the premier destination for film and television projects.”

“I am truly honored by this opportunity to work for the Patrick-Murray Administration and my home state of Massachusetts,” said Strout. “The Commonwealth’s leaders are committed to supporting an industry that creates high-wage jobs and supports local businesses, attracts private investment and grows our creative economy. Together, we will make the Massachusetts film industry tops in the nation.”

Since the start of the year, three major film productions have come to Massachusetts and several more are scouting locations here. Moviemaker Magazine recently ranked Boston the number one city in the country to film and several Massachusetts-based films received Golden Globe and Academy Award honors this past awards season. Local production activity has increased significantly since the 2006 film tax credit law went into effect, generating $161.2 million in new revenues, creating more than 1,800 new jobs and marketing the state to national and international audiences.

MOTT and the MFO remain committed to ensuring Massachusetts is a choice destination for film, commercial and advertising investment and maximizing the return on investment of the film tax credit program.

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About the MFO
The Massachusetts Film Office is the official state agency charged with assisting movie-making in Massachusetts. It is located at 10 Park Plaza, Boston - within the Mass. Office of Travel & Tourism. Betsy Wall, Executive Director. Phone # 617-973-8400.
Website: www.mafilm.org.

About MOTT
The Massachusetts Office of Travel & Tourism (MOTT) is the state agency dedicated to promoting Massachusetts as a leisure-travel destination. An integral part of the state’s economy, tourism generates more than $915 million in state and local taxes and $14.4 billion in travel related expenditures and supports 121,500 in-state jobs.
Website: www.massvacation.com