I. FLASHBACK TIME – 2005 – PART VI – RUNAWAY PRODUCTION STUDY
\nII. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’
\nscoring musician
\n…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
\n…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
======================================<\/p>\n
I. FLASHBACK TIME – 2005 – PART VI – RUNAWAY PRODUCTION STUDY
\n[E: And this was 11 years ago,.. there are myriad more options now.]<\/p>\n
U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY
\nREPORT<\/p>\n
The Directors Guild of America (DGA) and Screen Actors Guild (SAG)
\nretained Monitor Company, a leading management consulting firm, to
\nconduct an investigation into the phenomenon of \u201crunaway\u201d film and
\ntelevision production from the U.S. The Guilds (on an anecdotal basis)
\nhad been noting an accelerating runaway phenomenon, and the need
\nto create an objective quantitative analysis led to the study being
\ncommissioned. Partial funding for the study was provided by a grant
\nfrom SAG-Producers Industry Advancement & Cooperative Fund. The
\nstudy has two objectives – quantify the extent to which runaway
\nproduction has been occurring since 1990, and identify the major
\ncauses.<\/p>\n
U.S. runaway productions are those which are developed and are
\nintended for initial release\/exhibition or television broadcast in the
\nU.S., but are actually filmed in another country. There are two major
\ntypes of runaway productions \u2013 \u201ccreative\u201d runaways, which depart
\nbecause the story takes place in a setting that cannot be duplicated or
\nfor other creative considerations, and \u201ceconomic\u201d runaways, which
\ndepart to achieve lower production costs. The study\u2019s focus was on
\nthese \u201ceconomic\u201d runaways. Note that the study\u2019s scope included
\ntheatrical films, films for television, television mini-series, and thirty
\nand sixty minute television series. Other types of productions such as
\ncommercials, and news and sports programming were not included.<\/p>\n
What Is The U.S. Runaway Production Problem?<\/p>\n
The study results show that economic runaway film and television
\nproductions are a persistent, growing, and very significant issue for
\nthe U.S. In 1998, of the 1,075 U.S.-developed film and television
\nproductions in the study\u2019s scope identified by Monitor Company, 285
\n(27% of total) were economic runaways, a 185% increase from 100
\n(14% of total) in 1990. When these productions moved abroad, a $10.3
\nbillion economic loss (lost direct production spending plus the
\n\u201cmultiplied\u201d effects of lost spending and tax revenues) resulted for the
\nU.S. in 1998 alone. This amount is five times the $2.0 billion runaway
\nloss in 1990.<\/p>\n
Of these 285 economic runaways in 1998, 100 were theatrical
\nproductions, and 185 were television (films for TV, TV series, and miniseries)
\nproductions. The most prevalent type of economic runaway
\ntelevision productions were movies for TV. A total of 308 movies for
\nTV were produced in 1998; 139 (or 45%) of these ran away for
\neconomic reasons in 1998, up from only 30 productions in 1990. Out of
\na total of 534 theatrical productions in 1998, 100 (19%) were economic
\nrunaways, up from 44 in 1990. In terms of economic impact on the
\nU.S., economic runaway TV films have the largest ($2.7 billion) impact,
\nfollowed by feature films with budgets larger than $25 million ($2.4
\nbillion impact), and with budgets smaller than $25 million ($2.3 billion
\nimpact). It is noteworthy that feature films have such a significant
\neconomic impact.<\/p>\n
Conventional wisdom held that economic runaways are a television
\nmovie phenomenon and that larger productions would tend to remain
\nin the U.S. since the infrastructure required to produce them wasn\u2019t
\navailable abroad. This data may indicate the leading edge of a trend
\nwith larger-budget productions running away.<\/p>\n
To Where Do These Productions Run Away?<\/p>\n
Canada captures the vast majority of economic runaways, with 81% of
\nthe total. Australia and the U.K. capture another 10%. In 1998, 232
\nproductions ran away to Canada, up from 63 in 1990. TV movies have
\nhad the highest propensity to runaway to Canada, with 91% of the 139
\nTV movie economic runaways landing there. The 127 U.S. economic
\nrunaway TV movies filmed in Canada in 1998 is more than five times
\nthe 23 in 1990. The study found that countries other than Canada,
\nAustralia, and the U.K. have a small share of U.S. runaways, although
\nrecent high-profile runaway productions in Mexico such as \u201cTitanic\u201d
\nhighlight the need to monitor developments in selected other
\ncountries on an ongoing basis.<\/p>\n
These productions are leaving at a time when U.S. domestic
\nproduction has been growing, so the runaway phenomenon has gone
\nrelatively unnoticed. Although the number of U.S.-developed feature
\nproductions grew 8.2% annually since 1990, the number of U.S.-
\ndeveloped features that ran away to Canada grew 17.4% annually.
\nSimilarly, the number of U.S.-developed television programs produced<\/p>\n
in the U.S. grew 2.6% annually since 1990, but the number of U.S.-
\ndeveloped television productions that ran away to Canada grew 18.2%
\nannually during that time.<\/p>\n
What Is The Impact of U.S. Economic Runaway Production?<\/p>\n
The labor impact of these economic runaways is profound. In 1998
\nmore than 20,000 full time equivalent jobs were lost; 11,000 were
\npositions usually filled by SAG members (such as supporting actors,
\nstunt and background performers) and 600 usually by DGA members
\n(directors, assistant directors, unit production managers, associate
\ndirectors and stage managers). The balance were jobs in other
\nproduction skills or trades, such as camera, sound, production design,
\nwardrobe, makeup, set construction and drivers.<\/p>\n
When the effects of these employment and spending losses are
\ntotaled, the impact on the U.S. of film and television economic
\nrunaways in 1998 was $10.3 billion: $2.8 billion in lost direct
\nproduction spending, plus $5.6 billion in multiplier effects and $1.9
\nbillion in lost tax revenues. The economic impact extends beyond the
\nentertainment industry, affecting local merchants and hotels. In 1998,
\neconomic runaways represented almost 15% of the $74.3 billion total
\nimpact of U.S.-developed film and television productions in the scope
\nof the study.<\/p>\n
There have been notable regional impacts as well. Production
\nexpenditures in core production centers such as LA and New York City
\nhave been growing, but at slower rates than those of Canadian
\nproduction centers. Other U.S. production centers have experienced
\ndeclines in production expenditures since 1995 – North Carolina (-
\n36%), Illinois (-20%), Washington state (-37%) and Texas (-31%).
\nForecasts of future U.S. runaway production show that under all basic
\nscenarios examined, without actions to stem economic runaways,
\neconomic runaway production remains significant, potentially
\nincreasing in impact to $13-$15 billion annually by 2001. A scenario
\nwith slower U.S. growth and a stronger Canadian dollar keeps the U.S.
\nimpact at approximately $10 billion annually. Many foreign production
\ninfrastructure investments have been made by U.S. studios; these
\ninvestments will serve to continue attracting additional productions
\nabroad. Furthermore, the increased globalization of the entertainment<\/p>\n
industry and incidence of international co-production arrangements
\nwill also likely stimulate U.S. runaway production.<\/p>\n
What Are the Causes?<\/p>\n
Why have productions been leaving at an accelerated rate since 1990?<\/p>\n
The location decision for a production balances factors such as
\nexpected revenues with the cost of production (labor, services, etc.)
\nas well as with the quality of talent, directors, and production crews.
\nHistorically, countries such as Canada and Australia had limited
\nproduction capabilities, making them fundamentally unattractive
\ndespite potential savings. Recently, however, the quality of Canadian
\nand Australian crews has improved to a point where most productions
\ncan be filmed in these countries without a major difference in
\nquality\/productivity.<\/p>\n
As foreign crews and infrastructure have improved through experience
\nand direct investment, their ability to handle larger, more complex
\nproductions increases. For example, British Columbia and Ontario
\ncombined have well over 1 million square feet of sound stage space,
\nas much as the space in New York and North Carolina combined.
\nCanadian film commissions have also been very aggressive in
\npromoting their locations to the U.S. entertainment industry.<\/p>\n
In addition, the value of Canadian, Australian and U.K. currencies all
\nhave declined by 15% to 23% since 1990 relative to the U.S. dollar,
\nreducing production costs abroad. Factor costs (wages\/rates) in these
\ncountries, which were generally lower than those in the U.S. in the
\nearly 1990\u2019s, have also increased at a slower pace than in the U.S. As
\na result, producers realize at least a 15% reduction in production costs
\nfrom lower labor costs and costs of goods and services when filming in
\nCanada.<\/p>\n
Very visibly (for example, by having Revenue Canada (the Canadian
\nIRS) representatives at the recent Locations \u201999 trade show in Los
\nAngeles), foreign federal and regional governments have also been
\noffering rich tax incentives\/rebates on production activity in their
\njurisdictions. Canada offers federal and provincial tax credits of 22%
\nto 46% of labor expense (yielding up to a 10% reduction in overall
\nproduction expense), and Australia offers more than a 10% labor tax
\ncredit in some cases. Note that these are not credits for national or
\ncultural content productions; they are available to any qualifying
\nproduction employing foreign nationals. In addition, Canada, Australia
\nand the U.K. offer up to a 100% tax credit for qualifying \u201cnational\u201d\/
\n\u201ccultural\u201d productions, and many other countries offer generous tax
\ncredits to producers.<\/p>\n
The combined result of the exchange rates, lower costs and
\ngovernment incentives allows the producer of a typical TV movie
\n(production budget of $3 million) to reduce production costs by 25% or
\nmore by choosing to film in Canada. Similar percentage savings are
\navailable to the producer of a $20 million feature who chooses to film
\nin Canada.<\/p>\n
It is important to note that Canada has followed an integrated
\napproach to launching its film\/television production-oriented initiatives
\nduring the past several years. This approach begins with a relatively
\nundeveloped production industry, and launches a series of (usually tax
\ncredit-centered) initiatives to attract production activity\/investment,
\nbut often creates qualifying requirements for those incentives that
\nstimulate hiring of local personnel. As a result, local production
\ncrews, actors, production managers and assistant directors gain
\nvaluable experience\/training and are therefore more capable and
\nattractive to other producers. At the same time, investments in
\nphysical infrastructure are sought so that more and more productions
\ncan be accommodated. As these production capabilities expand,
\nother tax incentives such as those for local labor expenditures are
\noffered to further stimulate demand for local production resources.
\nOminously, this approach to capture productions is readily replicable
\nby other countries; in fact, Australia is moving along a very similar
\npath to that pursued by Canada.<\/p>\n
NEXT TIME – PART VII – CONCLUSION<\/p>\n
\n================================<\/p>\n
II. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now playing every third Friday
\nat Culver City Elks 7:30pm-10;30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.
\nEvery 2nd and 4th Tuesday of the month at Viva Cantina
\n7:30-10:00.
\n900 Riverside Drive, Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.
\nCome hear your favorite charts played the way they
\nshould be. <\/p>\n
We are in the back room called the Trailside Room. <\/p>\n
Come on down. Guaranteed to swing.<\/p>\n
————————————-<\/p>\n
NEW RUSS GARCIA BOOK<\/p>\n
Russell Garcia:\u00a0\u00a0 Russell wrote his auto-biography
\n“I Have Hundreds Of Stories, Some Of Them True” \u00a0
\nbefore he passed away at age 95 in New Zealand,
\non 20 Nov 2011. \u00a0The book is out now.<\/p>\n
Russell was a world renowned composer-arranger-conductor
\nwho wrote music for over 100 films.\u00a0 He is known for his
\ninnovative music score for the film \u201cTime Machine\u201d.\u00a0 Garcia
\nis also known in both the TV and recording fields and has
\ncomposed music for countless TV shows such as, Rawhide,
\nTwilight Zone, Laredo, The Virginian.\u00a0 He has recorded many
\nCDs\u00a0 in his own right, as well as with stars such as, Louis
\nArmstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
\nOscar Peterson, Julie London, to name a few.\u00a0\u00a0<\/p>\n
Garcia has also written 2 best-selling text books The Professional
\nArranger-Composer \u201c Book I and Book II, which have been translated
\ninto 6 languages.\u00a0 He is known also for his symphonic and classical
\nworks which have been performed by the New Zealand Symphony,
\nMunich Symphony, the Vienna Symphony, plus countless Radio
\nSymphony Orchestras throughout Europe.\u00a0 He was often a guest
\nlecturer at many universities around the world on Symphonic
\nComposition Techniques.\u00a0 Russell and his wife Gina made New
\nZealand their home in 1971 while continuing to work in the Music
\nand Film Industry.\u00a0 He was awarded the Queens Service Medal
\nfor his service to music in 2009.
\n(www.buildabetterworldproductions.com)<\/p>\n
——————————————–<\/p>\n
5\/22\/16<\/p>\n
The SCL LA SongArts Presents:
\nSONGWRITER SING OUT! #3 With Music Supervisors<\/p>\n
AMANDA KRIEG THOMAS
\n(Neophonic Music & Media)<\/p>\n
ABBY NORTH
\n(North Music Group)
\n\u00a0
\nSunday, May 22, 2016: 2pm – 6pm\u2028Studio City\u2028Location TBA<\/p>\n
Announcing our third Los Angeles SCL Songwriter Sing Out,
\nopen to Los Angeles SCL Songwriters (members only) to
\nsubmit one song!<\/p>\n
If you submitted for Sing Outs #1 and #2 and your song was
\nnot selected, you are invited to either resubmit the song you
\nsent, or submit a new one. The Sing Out Selection Committee
\nwill choose the songs.<\/p>\n
Winners will be announced on May 12. Venue information will
\nbe provided at that time. If your song is not chosen, you will
\nstill be able to attend.<\/p>\n
Twelve (12) songs will be selected for presentation.\u00a0 All who
\nsubmit but who are not chosen for this presentation will still
\nbe invited to attend.\u00a0<\/p>\n
Apply by submitting:
\n\t\u2022\tYour full name
\n\t\u2022\tEmail address and phone number
\n\t\u2022\tName of song
\n\t\u2022\tStyle of song: pop, rock, rap, country, theater, film\/TV, other
\n\t\u2022\tAn mp3 of the song
\n\t\u2022\tIndicate if you\u2019d like to perform live, play your mp3, or sing with mp3\u00a0<\/p>\n
Our music supervisors have indicated they are seeking songs in
\nany genre. Production-wise, they would want the music to be
\nwell-produced, radio quality rather than rough demos.<\/p>\n
Send to: submissions@TheSCL.com\u2028\u00a0
\nSubmissions close end-of-day Wednesday, May 4, 2016.\u00a0
\n———————<\/p>\n
5\/24\/16<\/p>\n
THIS TUESDAY, May 24\u00a0
\nThe BBB\u00a0\u00a0returns to the west side!!
\nat\u00a0Typhoon at the Santa Monica Airport
\nfrom \u00a08:00pm-9:30pm\u00a0(1 long set)
\nReservations\u00a0recommended by calling\u00a0310-390-6565<\/p>\n
$10 cover\u2026.all ages, great food, free parking, and a NEW ELEVATOR!
\n3221 Donald Douglas Loop
\nSanta Monica, CA 90405<\/p>\n
This will be our first show since\u00a0the live album, “Live n\u2019\u00a0Bernin\u2019\u201d,
\nwas recorded last month (to be released in a few months).
\nWe\u2019ll be\u00a0swingin’ &\u00a0rockin\u2019\u00a0the all new & original arrangements\u00a0by\u00a0Walter Murphy,\u00a0Steve Bramson, Nan Schwartz,
\nJim McMillen,\u00a0Tim Simonec, Bill Cunliffe, Scott Healy, Andrew
\nNeu, Brian Williams, and Jeff Bunnell\u00a0with 13 horns, upright
\nbass, guitar, and plenty of drums!!<\/p>\n
We only get to the west side every few months so don\u2019t miss this!<\/p>\n
———————<\/p>\n
6\/5\/16<\/p>\n
CALSTATELA\/OLYMPIA SYMPHONY<\/p>\n
Dear Friends & Colleagues:<\/p>\n
I am pleased to announce that the CalStateLA
\nSymphony Orchestra\/ Olympia Youth Orchestra will
\nbe giving its 2nd annual performance of\u00a0\u00a0
\nthis season on Sunday, June 5, 2016 at 3PM at the
\nhistoric San Gabriel Mission Playhouse,
\n320 S Mission Drive, San Gabriel, CA\u00a0\u00a0
\n91776.<\/p>\n
This concert is Admission FREE.<\/p>\n
This time, we will be featuring Taiwanese violinist
\nChien-Tang Wang, Gold Medal Prize Winner of the
\n2015 Osaka International Competition in Japan,
\nperforming the Sibelius Violin Concerto. Angela Che
\nand Jeongwon Claire An, the concertmaster and
\nco-concertmaster of the orchestra, will perform the
\nNavarra for 2 violins by Sarasate.
\nA brand new composition by Sharon Hurvitz will be
\nreceiving its world premiere performance, and the
\nTchaikovsky Swan Lake will close the program.<\/p>\n
Please invite your friends and family to come and
\njoin us to witness the talents of these fine young
\nmusicians.<\/p>\n
Looking forward to seeing everyone there.<\/p>\n
Sincerely,
\nFung Ho<\/p>\n
___________________________________________<\/p>\n
MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED<\/p>\n
The Pacific Northwest Film Scoring Program
\nAt The
\nSeattle Film Institute<\/p>\n
is still accepting applications to the One year<\/p>\n
Master of Music (MM) in Film Composition<\/p>\n
Recently rated as the #4 school for film scoring education
\nin the world by Music School Central and the #2 school
\nfor earning a Masters of Music degree in Film Composition<\/p>\n
Study with program creator and lead instructor<\/p>\n
Hummie Mann<\/p>\n
2 Time Emmy Award Winning film composer of
\n“Robin Hood: Men in Tights” and featured in
\nVariety Magazine’s article “Leaders in Learning”<\/p>\n
Click here to listen and watch student scores from previous years<\/p>\n
Applications are now being accepted for the 2016
\nschool year We offer rolling admissions – applying
\nearly is recommended Scholarship support is
\navailable to early applicants<\/p>\n
================================<\/p>\n
You can read all previous offerings at:http:\/\/www.responsible47.com<\/p>\n
UNTIL NEXT TIME,
\nTHE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n
\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
I. FLASHBACK TIME – 2005 – PART VI – RUNAWAY PRODUCTION STUDY II. EVENTS …Absolutely guaranteed anonymity – Former Musician’s Union officer …The one voice of reason in a sea of insanity – Nashville ‘first call’ scoring musician …Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician …Reporting issues the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-171","post","type-post","status-publish","format-standard","hentry","category-committee-newsletters"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/171","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=171"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/171\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=171"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}