The fire that destroyed Los Angeles County earlier this year has called for more production to bring back to Southern California after a period of significant decline.
Much of this advocacy has been rolled out on social media and the media. In the Instagram industry, people like cinematographer and director Rachel Morrison (Mudbound) and star Vin Diesel (Fast & Furious) argue that an increase in local buds can help fire recovery efforts I’m doing it. Meanwhile, Keanu Reeves, Kevin Bacon and Noah Wyle will rule out California excludes production entertainment tax incentives programs in LA County, and entertainment tax incentives programs for studios and streamers to promise. We support the #Stayinla initiative that advocates. An increase of at least 10% in local production.
But what about behind the scenes efforts to bring more film and TV shoots back to Hollywood? As the international president of the renowned crew IATSE, Matthew Loeb has a unique lens on this situation. His union of more than 170,000 members supports the California governor’s proposal to raise the state’s film and television tax credit cap from $330 million to $750 million this year. He also revealed in an interview with the Hollywood Reporter, and is considering promoting federal production incentives to keep more filming in the US
On Saturday, Loeb attended the awards ceremony for one of the IATSE locals, Makeup Artists & Hair Stylist Guild, to encourage members to donate to the Union’s Foundation for Disaster Relief. Approximately 300 IATSE members lost their homes in LA Blazes, of which 16 were members of the guild of makeup artists and hair stylists. While there, he also discussed the state of the California governor’s proposal, the ideas behind potential federal efforts, and how the Trump administration will play it.
What was the immediate impact of the LA Fire on all IATSE members?
Approximately 300 homes of our members were lost. That’s a problem that continues for a while. The benefits of disasters will affect people financially and psychologically. It will be rough for some time to come, but our people are safe. It’s – knocking on a tree – the most important thing. And we will continue to support you as the needs caused by the disaster arise.
Beyond the direct impacts currently occurring, do you predict long-term outcomes due to effects like the likelihood of rent increases?
I think there is a need for some kind of surveillance and regulation. We cannot allow gouging to continue and we cannot create an environment where we can drive away the people who created their lives and the communities here, but there are challenges. (LA) was very expensive from the start, and now the picking is slimmer.
IATSE is the champion of California Governor’s proposals that are more than twice the film and television tax credits and #Stayinla initiative. How are the union defending these two efforts now?
Our political people are in Sacramento, and they work with lawmakers there. Perhaps three weeks ago, in Washington, DC, it’s not just the states competing with each other, but because it’s a global competition that’s causing a lot of work shortages.
Is IATSE planning to support federal tax incentives for production?
I don’t know what shape it has. It could be a tax, it could be a trade. There is a menu of different livers and what we need to see, but it has to be here to create and provide jobs to create and serve jobs. And it’s not just the numbers they can hold for other countries who want to compete to beat and compete in the race to the bottom.
How does trade interact with this? Are there customs duties on the table?
We need to talk to trade experts to see what is the best way. I don’t think that a punitive bend in tariffs will give you full support from the industry. So I think it’s important to find out what the options are. This means that things are likely to gain support and at the same time you can benefit. This would be the trick – the whole business here. (Hollywood) is an American unique industry, and oddly, it’s in the sweet spot of what you’re hearing from Washington on so many other things at the moment.
I’m curious to see how the Trump administration will affect potential attempts to provide federal tax incentives.
See, I don’t know. I don’t think anyone can tell you what he is trying to do, who will advise him, or who will hear about this. So I think we have to find an allies in the industry and find ways to access the same page, whether it be labor, management, vendors, hotels, all those suffering from loss of work here. And that’s not easy. Profits don’t always match, and if it’s just (about) dollars, it’s going to be tough. I don’t think anyone is going to do it out of charity or, frankly, patriotism. Everyone will love it – it’s our business, we’ll keep it here – but the dollar plays a big role.
Are you advocating certain changes to your existing program, such as costs on the line, non-scripted projects, or other changes, to return to the California Governor’s proposal?
I know there’s a debate about what’s going on. My understanding is that at least when it was proposed, it was intended to overlay a new number on the system that is currently present. But obviously, if applied to more people, it would save money and seduce production. I think we must operate in the arts possible. California has a lot of obligations and money is tough.
Would you advocate the proposed $750 million increase for California tax incentives?
Well, that means it’s even more hilarious. I don’t know if (legislators) will get there on the challenges they have, and it really benefits the state as they are pulling them from many different directions for a limited amount It must bring. These multipliers need to provide a thorough explanation of how auxiliary businesses can benefit (from production) and regain the economy. For me, recovery from a fire (in that respect) can spend a lot of money on charities and give people money to house themselves in the near future, but in the long run, is necessary and it must be the focus.
The #Stayinla initiative calls for studios and streamers to devote at least 10% of production to LA over the next three years. Does IATSE lobby and meet with the studio to support that effort?
Yeah, look, I wasn’t part of the decision (decision) to decide how that number was chosen and what a reasonable threshold was. I think we need to be debated and thoughtful. It’s great to know how much production it gets, there’s a guarantee and a baseline. However, all other factors are played before any of these decisions are made. I don’t think there’s any other way to force it to happen than say “Do that.” And like I said before, it’s not going to be charity. That must make business sense.
Is there anything else you would like to add?
I think work is very important. Membership support is extremely important. And I said it wouldn’t be about charity or patriotism, but it might be about pride. It can also bring some of that to the table, pride in the industry, pride in its cultural aspects, and hopefully, people who decide where the photos are set.
This interview has been compiled for length and clarity.
