It was a chaotic week in Hollywood.
Less than a week ago, President Trump called for a 100 % tariff for films that were made outside the United States, a step aimed at bringing production to the home that most people in industry believe devoted consequences for entertainment.
Then the deadline for commercial publishing in the industry then posted the great “Make Hollywood” proposal from actor John Voett, one of the Hollywood ambassadors in Trump, who recently presented him to the President.
All of this led to confusion and disagreement from those in the industry on how to achieve maximum benefit from the current lights on the decisive issue – maintaining production and jobs in the United States – but in a way that will already benefit entertainment.
“Any financial assistance we can provide to movie makers will keep filmmakers at home,” said George Huang, a screenwriting professor at the theater, cinema and television school. “Ideally, legislators will try to be creative and try to support what I think is one of the most desirable industries here in the United States.”
Friday, the animated image. The Commercial Group held a meeting with film studio heads to discuss how to respond to the Trump administration plan and how to defend the measures they believe will actually help increase local photography.
When the Hollywood unions and other organization developed data on federal issues, MPA was publicly silent publicly.
MPA representatives and studios refused to comment on Friday.
MPA-pressure organization in Washington, its headquarters for the main studios-historical task in making its members agree to anything, has only increased since the group expanded to include Netflix and Amazon broadcasting services, according to the people familiar with the organization. All companies have different priorities, and in some cases completely different business models.
Some studios executives hope to become the Voight menu of ideas to rebuild Hollywood is an approximate plan for a more realistic alternative to definitions.
Studios say that he is often very expensive to create films and TV programs in the United States, even with generous incentives offered by various countries. Films are a low margin company, and photography abroad can compensate for production costs by up to 30 %.
On Wednesday, executive directors of the studio from Sony, HBO and Amazon discussed the case at the Milken Global Conference Conference in Beverly Hills. They highlighted the boundaries of the incentives – even if the United States offered tax credits, sometimes projects should be photographed abroad because of the story.
“We go abroad because we have an offer in London,” said Diboras, a priest. “We want castles and palaces, and we do not have enough of them here.”
What is clear is that most Hollywood – as well as the current and former civilian leaders – do not prefer to use definitions to reproduce to the United States
“We will kill us,” former Los Angeles Mayor Antonio Velarigosa told the Times. “This will not help us. It will harm us.”
D-Los Angeles was also skeptical of the Trump tariff.
She said: “This is the worst absolute way to go to supporting an industry not only for the lack of Los Angeles and the country, but in the country.” “Photo entertainment is one of the best products we can produce.”
This is why Voight’s plan is viewed with interest.
The central axis is a “new federal American production incentive”, which will allow tax credit by 20 % – or an additional 10 % at the head of the state movie incentive.
Qualified projects must meet the minimum American “cultural test”, similar to what Britain requires for movie incentives. The incentive applies to traditional broadcasters and broadcasting services, including Netflix, Disney+, Hulu and digital platforms, including YouTube and Facebook.
The plan also calls for the renewal of Article 181 of the Federal Tax Law for another five years. It recommends raising the maximum production of films to $ 20 million (or 40 million dollars if the project is filmed in a rural area). The proposal has recognized film budgets since 2004.
The group also suggested expanding section 181 to cover cinema owners to make improvements to the facility and equipment updates to their films.
“Families that go to movies are one of the great American times that must be preserved,” the draft plan indicated.
The plan raised the specter of customs tariffs, saying that if it is possible to produce the US -based production, “but it moved to a foreign country to take advantage of a tax incentive,” the tariff will be placed on this production equal to 120 % of the value of the foreign incentive. “
“This is not intended as a penalty kick, but it is a necessary step” to promote the stadium “, with no eliminating a course that never ends from chasing the highest incentives,” according to the draft.
After publishing, the director of Voight, Stephen Paul, one of the authors, said that the document “was designed only for the purpose of discussion.”
A group of unions in Hollywood and industrial trade groups – including the ASSN animated image. The unions representing the script book, managers and actors, as well as the United Producers’ Alliance – recently supported the idea of local production incentive.
“Everything is everywhere,” said Jonathan Wang, a producer in the Oscar -winning film, “We are returning American jobs, but we do it in a way that will actually provide a lifeline in this system that will already be maintained,” said Jonathan Wang, an Oscar -winning movie. “So we ask to be in the room when these decisions are taken, and we can save our voice.”
For United producers, the federal tax motivation would make the United States more competitive with other countries, although the group does not support the proposed “cultural test” of the Voight’s plan, which worries them may become a form of censorship.
“It is important to work hard so that we do not put a site where we were finally seduced on the incentive island and then we face censorship,” said Cathy Shuelman, a producer in the best group of “carried” producers, which is part of the unified producers group. “It is really important that the two conversations go side by side, as we need this financial support for non -controlled art.”
The authors of the Times Windows Lee, Meg James, Ryan Fund and Mahata employees have contributed to this report.
