Georgia is home to the third largest film industry and has most recently been named number one for feature films, even surpassing Hollywood in feature filmmaking — the long-standing leader in the industry. This is exciting news for Georgia and as a result of this boom, Georgia’s film industry is growing much faster than many expected. It is growing so fast that jobs outpace the local qualified people who can fill them. In order to fill this gap, Georgia Film Academy (GFA) was created to train locals in film so that Georgia can utilize its own homegrown talent to fill some of these positions.
As Georgia’s film industry continues to grow, Georgia Film Academy will inevitably grow with it. To find out more about how you can train to become part of Georgia’s growing film industry, visit www.georgiafilmacademy.org to learn more about the program.
Joi leaves behind a great legacy. This Brooklyn, New York native was coined as “the first licensed African American Female Road Racer.” Reel Focus salutes this pioneer and leave you with her very special words about never giving up:
“There is always something to learn when on track and pushing limits…Everything takes time. Face your fears, you never know what you can be missing out on.”
Atlanta Underground Film Festival (AUFF) touts itself as more than just a traditional film festival. It was founded in 2004 to provide indie filmmakers an outlet to express their creative talent at the grassroots level. AUFF features artists who think outside of the box to create films that thrive outside of mainstream competitions. This film festival provides a platform for the astounding work of local indie filmmakers to be heard. Filmmakers are “from every corner of the earth, with a good mix of local, national, and international films,” says a spokesperson for the festival.
The festival will take place Friday through Sunday and will include over six dozen films. Highly anticipated films include:
What is it like to be a black woman in America? How do black women feel about how people perceive their hair; about raising children; about marriage and relationships; and about black men?
“I am not my hair,” are the words spoken so fiercely by the neo-soul singer, India Arie in defense of black women being more than just a hairdo. Likewise the three co-hosts of this show – Monica Kaufman, Denene Millner, and Christine White – are much more complex than their hair, skin, clothes, and finely manicured nails. They represent a diverse mix of African American women from various generations, professions, and perspectives. These three women have teamed up to give a voice to issues affecting not just the African American community but more specifically African American women in GPB’s new show “A Seat at the Table” premiering Sunday, June 18, at 6:30 p.m.
Last Tuesday afternoon, GPB invited a small group of media professionals out to get a sneak peak of the show. The meeting started with a luncheon that allowed attendees to network with each other and to get to know the show producers better.
Bert Huffman, VP for External Affairs and Chief Development Officer, along with the producers of the show – Keocia Howard and Tiffany Brown Rideaux – entertained questions from the audience about how they chose the co-hosts and how they chose the topics for the show. They also hinted at some ways to grow and expand the show series beyond public television and into a commercial platform, while maintaining GPB’s commitment to educate, entertain, and inform audiences.
The ladies of ASATT took a break from filming an episode on the topic of “do black men support black women like black women support them” to share with the audience more about the show. Although these three women are from three different age groups and professional backgrounds, their synergy was as genuine off-screen as it is on-screen. Audience members asked a variety of questions and the hosts took turns responding to them. One point that each host emphasized is that this show would allow people to see them express their real feelings about real things that affect them individually as black women in America. This show “gives voice to what hasn’t been spoken of in public,” says Christine. Thanks to GPB’s unconventional platform, no topic that these ladies tackle will be too taboo or controversial, and they will reflect an African American woman’s perspective – a perspective that often overlooked or undermined in mainstream media platforms.
After the question and answer period, the ladies returned to what they do best: entertaining. The audience was invited to the studio to see firsthand what it is like to watch a live taping.
A seat at the table premieres June Sunday, June 18, at 6:30 p.m on GPB. To view episodes on the web, visit gpb.org/asatt.
Monica Kaufman Pearson is the first minority woman to anchor the daily evening news in Atlanta, Georgia and currently hosts a three-hour weekly music and talk show on Sunday on KISS 104.1 FM and also does Closeups Interviews for WSBTV.com
Denene Millner is a New York Times best-selling author who has penned 27 books which include Act Like a Lady, Think Like a Man co-written with Steve Harvey and Around the Way Girl memoir with Taraji P. Henson; and she is a former columnist for Parenting magazine.
Christine White is a speaker, author, investor and business advisor who currently serves as the Managing Attorney at White Legal Strategy Group, LLC and is the co-founder and President of Influencer Coalition.
Nowadays, it seems that everyone wants to get into screenwriting. However, most find that screenwriting isn’t like any other form of writing. Looking at a sample screenplay can be quite intimidating considering screenplays don’t look like stage play scripts nor do they read like a novel. Screenwriting is a very concise form of writing that is very visual in nature and is written in such a way actors can act out the script, not simply read it. It’s also is a marketable form of writing in which most screenwriters understand that they are not writing for mere aesthetic pleasure but for the expressed purpose of making themselves or their superiors money.
Most people who want to get into screenwriting don’t always have the privilege of moving to Hollywood or even attending college all over again to acquire the skill to do so. In most cases, those that want to learn the art and craft of screenwriting often turn no further than the local bookstore to find a book that can give them insight on the subject. However, one of the biggest complaints that most readers have is that these screenwriters who write these books are not accomplished or known in Hollywood themselves. So, it begs the question – just how reliable is the information?
Unlike most of these published authors on the market, Michael Lucker is no stranger to Hollywood. He’s worked on numerous projects including Vampire in Brooklyn, Home On the Range, Good Intentions, Mulan II and Spirit: Stallion of the Cimarron. Therefore, he can back up his advice by many years of experience and success.
Michael Lucker is no stranger to Reel Focus, either. A few years ago, he provided us with insight into screenwriting and offered a little advice specific to Georgians wanting to break into the market. This month he is back to share with readers information about his new book – Crash! Boom! Bang! How to Write Action Movies – releasing in June and will briefly discuss how he is helping to build Atlanta’s screenwriting community, one class at a time.
Welcome back, Mike! It’s always a pleasure to showcase you and your work on Reel Focus. Screenwriting is becoming a very popular form of writing because it’s the style of writing associated with Hollywood. For most, screenwriting equals big bucks, but before the big bucks start rolling in, screenwriters must have the right type of skill to entice producers to produce a film. Mike before we delve into how awesome your new book is, share with our readers one of the biggest myths that aspiring screenwriters believe.
That’s easy. They feel it’s too hard… to write a script, to break into the business, to get a movie made. Look at how many channels are on your TV, I say. Cable, Netflix, Hulu, Amazon! How many movies are playing in theaters around the world? Someone has to write them. Why can’t that be you? Those writers had to learn to write movies and series. Why can’t you do it?
Now onto the meaty stuff. Tell us more about your book and what makes it much more different than most screenwriting books currently on the market.
“Crash! Boom! Bang!” is the sum of my experience working in Hollywood as a screenwriter and in Atlanta as a screenwriting professor. It’s full of all the nuts and bolts one needs to know to not only write great action movies, but all kinds of movies. What sets it apart, I think, are the stories. I open up about the wins and losses I’ve had in the screenwriting business in order to help others. While it’s forced me a bit out of my comfort zone, I’ve found that the real and often funny tales from the trenches are what make writing for film and TV feel accessible. My students leave my classes with not only the know-how to write great screenplays, but the belief they can succeed doing it. Hopefully the book will do the same for people all over the world.
You have had a substantial amount of success and consistency and have made it past the “one script wonder” stage of screenwriting. How well do you think you will perform as a book writer?
The jury is still out on that. And I’m sure I have a lot to learn in the book business. But I was fortunate to land my book deal with the largest publisher of independent film and screenwriting books in the world, Michael Wiese Productions (www.mwp.com). And they know what they’re doing. They have a whole team of talented editors, designers and distributors that believed in what I was doing and gave wing to my words. However, I do know that the lessons in the book are proven, not only from what I’ve learned from working with Steven Spielberg, Wes Craven, Eddie Murphy and others, but from what I’ve seen work in classrooms with students young and old.
Mike, it’s great to see that you have not only been successful in your own right, but you also are very much involved in teaching aspiring writers within the local Georgia film community. Tell us more about your contributions to Georgia’s film community and how budding and experienced writers can get assistance from you in the screenwriting process.
I love teaching. The last few years I have been lecturing in the creative writing program at Emory University which has been a wonderful experience. I now also teach in the Communications, Media & Journalism department at the University of North Georgia and lecture in the new MFA program in creative writing at Reinhardt University. The talent coming up is extraordinary and it’s gratifying for me to equip the next generation of screenwriters with the tools they need to tell their stories in the industry exploding in our backyard. For those who are not in college, I offer weekend workshops on screenwriting at my Screenwriter School (www.screenwriterschool.com), where in one fast and furious weekend, I walk participants through everything they need to know to turn a great idea into a sold screenplay. The last several years I have also had the pleasure of serving as the chief advisor to the Atlanta Film Festival’s annual screenwriting competition. Now more than ever really, there are a multitude of ways screenwriters can study the craft in Georgia.
Is there anything we can expect from you in the theaters anytime soon?
Well, the past year I have been knee-deep in adaptations. I was hired to script an incredible autobiography called PRIVILEGES OF WAR, about an American green beret who led the largest rescue in the history of the special forces, which is set to go into production in Vietnam this Fall. Currently, I’m finishing adapting the harrowing true story, QUICKSAND, about a beautiful young schoolteacher who marries the man of her dreams, only to find he isn’t anything he claimed to be. And later this month, I’m flying to Uganda to meet with the President who led the rebellion to overthrow the evil dictator Idi Amein and lead his country to freedom in SOWING THE MUSTARD SEED. With any luck, one or more of these will be coming soon to a theater near you.
Crash! Boom! Bang! How to Write Action Movies
Available now on Kindle; Paperback available here.
Of course, the story line is probably a major factor driving you to want to see a movie. Special effects can also play a role. Even a top-billing actor or actress lineup can influence your decision. But did you ever consider how powerful the voice of a voice actor can be in enticing you to see a film? Have you ever noticed this subtle but suggestive voice in movie advertisement?
One such voice is that of voice actor Al Chalk. Although you can’t see him, his voice is famous for getting you off of the couch and into the movie theater to see some of America’s top-rated films. Next time you are watching a movie advertisement on television or at the theater, try to envision how enjoyable the film trailer would be without the voice of a voice artist like Al Chalk. I can almost bet that the movie would lose its appeal. That is why such voice actors are integral in the movie marketing experience.
This week, Reel Focus gives you a glimpse into the world of voice acting with Al Chalk.
Thank you, Al, for joining us. Although your work is mostly heard not seen, it is certainly important in the world of film. You are part of the reason most of us find a movie intriguing enough to go and watch it. Let’s start from the beginning. Not just from the outset of your career; let’s go back to your childhood. As a youth, did you ever think that you would grow up to be an influential voice in Hollywood?
Hi Melisha, thanks for having me on your blog. I was raised and brought up in St. Albans, Queens, New York. And I remember my mom and dad bought their first house on 188 St. and 104th Ave., right in the heart of St. Albans. I must have been about 8 or 9 years-old. My dad loved to frequent pawn shops to get the good deals on various things. He happened to pick up a two-track reel to reel tape recording machine. Unbeknownst to me, my dad brought it home, thinking he was going to use it to have fun entertaining the family, he kind of thought of himself as an amateur singer and songwriter in his own right, even though he worked for the city as a New York bus driver. He showed it to me, and I think that kind of turned on the switch for me, once I started monkeying around with it, you know. It was pretty easy to operate. It was our high-tech, back in the day.
My father kept the recorder in the basement, and one Saturday afternoon, I went down stairs, picked it up and started recording little voices of characters. At that point, I was the only child. I had a sister, and she happened to pass away from Lupus about a year or two before. So, I was a bit lonely. It kind of helped me pass the time and heal the wound of my sister’s passing as well. As well as, jump starting me into the wonderful world of broadcasting.
I had always loved the disc-jockeys of that time. Murray the K was one of them, in New York City at WNEW. He had a rock-n-roll show. Some other jocks I admired were Jocko and Cousin Brucie at WMCA. I mean, these are legendary radio personalities. Symphony Sid probably made the biggest impact on me because he had this huge voice that just kind of rattled the woofers on my parents high-fi set, back in the day. I was really “smitten,” (that’s the only word I can use). I mean I literally had my first “Bromance” with this radio personality because he was big and bold and solid. I believed [from the sound of his voice] that this guy had to have smoked at least two or three packs of cigarettes per day. He did [smoke that much] which I later found out later on in life once I had the to meet him and thank him for being my first mentor.
I really didn’t look at disc jokeying as being an introduction into voiceover or being an announcer. I knew I didn’t want to be a disc-jockey especially when I found out early on, they didn’t make a lot of money, but had they did have a huge amount of visibility and notoriety especially back in the 60’s.
Every day when I came home from school, I’d take this machine and record, the little character voices in my head. I wasn’t going for the Daffy Duck, Mickey Mouse, or some of the more popular voices. I wanted to develop my own little cast of characters, and I was pretty good at doing that. And in that regard, that kind of got me started. I’d run home from school, didn’t do my homework, drop my bags at the door and run straight downstairs to the basement. Along with the characters voices, I learned how to make sound effects, it became addictive, and that was the beginning.
For those of us who can’t recall where we may have heard you before, name a few favorite films for which you have narrated.
That’s kind of my spin on creativity versus artistry in the studio. I call it, “The Golden Days,” when Don and I and Hal Douglas and those guys were working quite a bit as professionals. I’d get the chance, Don, not so much and Hal, definitely not so much, but, they would allow me to do characters for some of the promos. I did a very cartoonish character for “Space Jam”, the movie, which starred and featured the great Michael Jordan and that was a lot of fun. But generally, these days,voice acting is reserved more for the gamers or the game ads, as well as animation. I did a lot of that stuff back in the 80’s. I did the original “Spiderman” series that was animated and I did “Ghostbusters” animated series right after the movie came out. I also did the “Cosby Kids” and did some stuff for “Fat Albert” — some of the other adjunct voices — not necessarily the main character.
Do you see yourself teaching this art to future generations? Also, for members of Women in Film and Television Atlanta who want to become voice actors, what advice can you provide?
Yes, I am already involved quite a bit with a lot of today’s’ youth and kids who aspire to take the baton. Not that I’m going anywhere, I’m not retiring anytime soon; I’m still actively working quite a bit. But I love kids and kids’ kind of love me because, they know that secretly I’m one of them.
I’d love to mentor students young and old alike, whether male or female or of a different nationality. I’m involved in a few programs within the Los Angeles Unified School Districts, that allow me to go into some of the Public Schools, Kindergarten, Middle Schools and High Schools. I talk to the kids, and sometimes I read to them. I’ve been a part of the Reading is Fundamental program for a long time and a couple of other programs through the Screen Actors Guild-American Federation of Television and Radio Artist, (SAG-AFTRA) that, allow professional actors like myself to go into the schools and hospitals and other places.
I’ve done this so much over the years that I have been given the moniker “Uncle Al the Kiddies Pal”, which I love and has always stayed with me. It started way back in the Bronx when I was doing something for a friend of mine who is a school teacher, and she invited me to come to the school to talk and entertain the kids one afternoon. It was show and tell. I would have the kids sit around me, on the floor in the assembly and I would just take them away for about an hour. Then they would all have to go back to their class and be board to hell (lol). But, it was a whole lot of fun.
I was teaching privately for a while but, I don’t anymore because I don’t have the time. I also have a solo career as a musician, songwriter, and producer. I’m an Afro-Cuban percussionist who recently released my first album, “United States of Us.” I’m currently working on my second album of world fusion music.
Between that and the voiceover work, I’m also a writer of literature, which takes me away from the teaching aspects, the songwriting, and literary writing. But anytime I may have the opportunity, even on just a temporary basis to teach and mentor I’ll take it. As a matter of fact, I was recently talking with a young man about 14 or 15 years-old, who wanted to know how to get started in the voiceover industry.
I told him one of the most important things among others, of course, is having your own home studio. It doesn’t have to be an expensive venture. The average person, especially if they are not working or have a lot of money to get a startup studio, can spend a modest budget from anywhere from $200.00 to $500.00. Get yourself a decent microphone, get some kind of DAW, that’s a (Digital Audio Workstation), that you can work in, whether that’s Ableton, Pro Tools, or Logic Pro, because that’s going to literally be your virtual studio on wheels that you can take anywhere, on your device, whether it be a laptop, tablet or even your phone. I have done session via my telephone through source direct — oh yeah!
I have a more sophisticated system at my home, with a fire wire box you can record stuff via Mp3, Waive files, AIFF, and those files could be mailed to various clients. An agent is also an important factor. Also, create a demo reel or have someone put one together for you, so you can take it to the agent and get work.
For future generations, I would love to see a lot more kids aspire to get into acting, get into the arts period, not only in this country, but the world. Whether it be music or dance or crafting something with your hands, sculpting something, painting — there are so many aspects of the arts. We are going to have blocks of great young artist that come up in the next 10, 20, 30, 40 a hundred years from now and now is the time for them to get started. I like them when they are young, and I think it’s a good time, you know, because everything is magical and special.
For women in film in Atlanta, specifically, being a black man and African American actor, I would love to see a whole lot more of us, in the game and that would include women as well. And, people of other nationalities and ethnicities because, it’s not just the boomy voices that work in this business. There are all kinds of jobs and all kinds of specificities connected to the wonderful world of voiceover.
There is so much to do. You can do character voices as I mentioned before — or be a newscaster, radio personality, do improv shows, blog shows, podcast, on-air promos, trailer work, teasers, sizzle reels or commercial work. I do a lot of commercials for a huge number of clients, J.C. Penny, and probably every major auto manufacture in the world. I have done national or international spots for GM, Honda, Mercedes, Jaguar, Rolls Royce, and Cadillac. You name the vehicle, I’ve done it.
There are a lot more women coming to the forefront in the voiceover business. However, there are still not as many in trailer work and on-air promos but more probably do on-air promos than trailer work. It’s as if Hollywood is still fearful of using women in these roles but I think if they want a specialist, someone that can tap the heartstrings and titillate, especially someone who can resonate with men and women, then I think it’s a good thing for Hollywood to start to use more women.
I remember many years ago when they were talking about using a woman for “The Bridges of Madison County” — the Clint Eastwood and Meryl Streep film — but they chose not to. The producers said, “nah, nah, nah, nah, it’s not going to go over well. The audience is just use to the big voices and the romantic voices and the basso profondo voices.” This is true for some films, but I think there could have been a separate campaign just for the ladies out there. And like I said, as a man, I appreciate it. I’m not one of those naysayers when it comes to the ladies; I’d especially love to hear more ladies of color out there, especially African Americans. Sometimes in Hollywood we (African Americans) are thought of as second class performers when it comes to voiceover. The stereotype is that we can’t do or match the quality of reads of mainstream society. But I’ve never understood this because we all speak the King’s or the Queen’s English.
Melisha, it’s been wonderful being part of this blog and Women In Film and Television Atlanta and Reel Focus and I thank you from the bottom of my heart for the opportunity to speak to your readers this afternoon.
You have a good life, groove responsibly and again the name of my album is “United States of Us”, in case you’re interested and I have a website. It’s not strictly voiceover, but it gives you a cross section of what I’m doing musically, and there is a page dedicated to my voiceover and on-air career and history, and there is some archival stuff in there, as well as some new stuff. Go and check it out at www.chalktalkmusic.com. If any of your audience would like to reach out to me, they can reach me via email email@example.com, and I’ll be more than glad to return a response. Thanks for the opportunity, thank you for the good energy and the synergy and bless you and have a great life, all of you.
OK, OK. Maybe I did go overboard with the title. I’m sure that taxesare not your favorite topic and just the thought of doing taxes causes you a bit of uneasiness. I admit that it certainly scares me a bit. Luckily, we have local professionals in Atlanta who are trained in the art of easing our fears and have the skill to perform a job that gives most of us the heebie-jeebies.
Representatives from Whaley, Hammonds, Tomasello, P.C. – Greg Hammonds, Kristy Clabaugh, and John Thomas – recently hosted an information session with Women in Film and Television Atlanta (WIFTA) on the topic of taxes. Scary, right? Well, believe it or not, they made taxes seem like one of the most intriguing topics imaginable. This is because they paired it with a much more exciting topic – our Georgia film incentive program.
A small crowd gathered for refreshments and free tax information at the Georgia Public Broadcasting building in downtown Atlanta on Tuesday, January 24 at 7:00. Despite Atlanta’s usual traffic, many showed up, eager to learn about Georgia incentives and how their creative work in production can save some money this tax year. The room was jam-packed with people taking notes and asking questions relevant to their tax situation.
Audit manager, John Thomas, took center stage most of the night sharing his expertise. One of the most significant points that he made was that not every film made in Georgia is going to be big budget like “Fast and the Furious;” however, there are still those who can benefit from the Georgia film incentive. He also mentioned that Georgia’s film incentive is one of the best film incentives in the nation right now because it has no caps. This is a great opportunity for many film professionals because the film incentive is very relaxed about what can be included as a deduction for both above the line and below the line production expenses.
Kristy added to the discussion by informing the audience about the types of deductions that can be included and also provided audience members with a handout of these deductions. [If you weren’t able to get a copy of the production deductions, click here to contact Kristy for a copy].
The night continued with a question and answer session in which the audience was able to ask a variety of questions related to acquiring a movie certification letter, hiring 1099s for productions and ways to reach the $500,000 limit to qualify for the incentive.
The meeting ended with breakout sessions in which audience members who wanted more focused assistance could meet with one of the CPAs to attain a little more advice and possibly arrange to work with their accounting firm.
If you missed out on this year’s tax meeting and still want to get assistance, it’s not too late. Whaley Hammonds Tomasello, P.C CPA firm will be glad to assist you with your Georgia tax needs. Click the logo below to obtain more information on how to get tax help for your production, large or small.
Reading these words should send chills through all of Georgia’s film professionals considering how far the film industry has come since 2008. His prediction rings true because as a result of this bill, Georgia has surpassed all of its competition outside of New York and California.
Georgia is on top now but many skeptics are waiting for the moment when this trend will pass, leaving the dreams of local film professionals dashed and the economy of Georgia broken. Some skeptics believe that just like North Carolina, film production in the South will not last. They believe that all of the film production taking place here will eventually come to a halt and the only thing that will remain will be the popular film tour companies.
Of course, not everyone is as pessimistic. There certainly is an aura of pride and hope uniting many film professionals in the state of Georgia. There is also a deep passion for making the film industry more than just a short-term anomaly. Continued success will take more than just the passion of local film talent and wishful thinking, however.
HB 1100 was a step in the right direction several years ago but just a little more effort is necessary to stabilize this industry enough to compete effectively with the bigwigs of the industry and even woo them to support the efforts taking place here.
Everyone within the industry who is keeping a very close eye on the developments here, know that California and Georgia have more in common than just the wildfires that were blazing here a few months ago. Film is becoming a large chunk of Georgia’s economy as it has been in California for many decades. Los Angeles Mayor Eric Garcetti is definitely watching Georgia’s progress and wants California to recover its losses due to runaway production; but, in a recent interview with NPR he insists that “It’s not necessarily us declaring war on Georgia, but it’s us fighting back.”
Georgia presently holds a strong place in the overall entertainment industry. Not to mention, it has recently held down the number one spot in America for business development for several years now. Most astonishing of all is the recent ranking as one of National Geographic Traveler magazine’s 21 “Best of the World” destinations for 2017. Evidently, Georgia has a lot of hype supporting it being a great place to be but just what could strengthen its position in the film industry?
This week on Reel Focus, Ric Reitz will answer questions on how Georgia can continue its successful run and how the current incentives can be strengthened to give Georgia the competitive edge it needs to stay on top.
Ric it is a great honor to have you on our blog and I want to thank you for not only your wonderful achievements in Hollywood but also for your magnificent work in helping to grow the film industry here in Georgia. I want to begin by asking why do you think Georgia toppled all of its competition and became the number one state for film production outside of California and New York?
Thank you, it is my pleasure to respond.
Georgia’s recent success with entertainment production was the result of a “perfect storm.” When the cost basis of the industry shifted and opportunity space opened, we were able to move quickly and professionally with a focused grassroots effort, which was already organized. Whereas other U.S. states outside of California and New York have their pluses and minuses when it comes to fostering growth and employment within the entertainment industry vis-à-vis tax incentives, Georgia had and has many extra advantages. Georgia had a pre-existing production base. Few remember that prior to tax incentives Georgia had a great deal of production, right up to the Olympics; from Film/TV projects to commercials to corporate films, and therefore, post-incentives, we did not have to start from scratch on a cast, crew or infrastructure basis. We have a temperate climate with four distinct weather seasons and diverse topography, which is ideal for broad storytelling and doubling locations. We have the world’s busiest airport, which allows direct and inexpensive access to the world, which can’t be underestimated. When it came to politically expediency, much of our production was and is generated around the state capitol of Atlanta, so it was easier to tell our story.
Thankfully, we have received great political support from both sides of the aisle right up to the Governor’s office since Day One. We are not geographically close to the other major centers of production, which means we have not suffered from what I call the “black hole effect” of having resources being drawn into the top pre-existing markets by proximity. The cost of living is favorable. Our incentive currently has no sunset clauses, no maximum budget thresholds or residency requirements. And, Southern Hospitality does go a long way. Simply, Georgia has created a great opportunity to save money for producers and provided a friendly place for production people to live and work. It can be argued that other markets offer higher incentives, but I believe Georgia’s overall value is the best.
Clearly, your prediction 9 years ago was prophetic. Do you still think that your prediction is relevant in Georgia’s current film market?
Absolutely. Soundstage, studio, vendor, talent and crew infrastructure has skyrocketed. You’ll find that most other states outside of California and New York have not dug their roots deep enough to sustain large-scale production long-term. Georgia has, and a lot of that is not even directly incentivized. A quick chat with the Georgia Film Office and you will discover that the number of permanent industry residents, fixed location vendors and suppliers has jumped over 500% in less than ten years. Criticism of all new and evolving markets has been largely based on not having a deep enough bench of experienced professionals for the volume of new production. That is changing rapidly in Georgia, but it still takes time. So, we encourage a measure of patience. Keep in mind, it was never our goal to topple LA or NYC, but to become partners in the industry and ground as much international production in the states as possible. We are not about heavy-handed competition with other U.S. markets. We’ve simply created great options and an open mind. And I believe this environment has benefited not only the studios and indie producers, but national talent and crew as well.
When film was booming throughout the entire South a few years ago, there were critics who wondered how long this fad would last, particularly in Louisiana, because critics see the film incentives as a means for outsiders to come in and take advantage of the incentive; however, this doesn’t benefit the economy over the long-term. In some ways, these critiques were right and we do see that some production throughout the South has fizzled. In order for Georgia’s production to avoid becoming a part of this fizzle, tell us what ways do you think that the current incentive can be improved to not only grow the industry but sustain it within Georgia.
Whenever and wherever new industries are developed you will find criticism. Outside competition needs to criticize and, internally, people in unrelated industries want the same type of attention for their own agendas, so beware of the source.
New industries take time to develop, and this is an important new industry. One only needs to read a Georgia study on key industries of the future to know that Media is one of those industries upon which economies of the future are built. Of course, we need outside resources to kick-start the next phase of our development, because the process of training people to the level of professional ability required to pull off great entertainment production is slow. Yes, we have imported people, at first on a temporary basis, but many have stayed, which was always one of our goals. Get ‘em in. Get ‘em to stay. Believe it or not, competition improves our indigenous talent, which eventually gets them more work.
As for the long-term, the migration of experienced talent and crew will continue. The Georgia University and Technical College System, and the Georgia Film Academy will churn out our own next generation professionals, and we want them to stay. We want to attract and retain great young minds that may eventually start their own businesses, or develop new technologies that will generate new economies. When a creative vacuum is filled, you never know what you’re going to get, but history has shown that jobs in the creative industries create their own special synergy. Action leads to more action. This is not wishful thinking. It is already happening. Further, large, in-state investments have already begun with associated businesses that are not directly incentivized. Hardscrabble communities are being reborn, and new brick-and-mortar developments are springing up, including a 350-home residential and mixed-use community near Pinewood Studios Georgia. All predicted. And all within the scope of our business plan.
Beyond the occasional incentive tweak to streamline the efficiency of the Georgia program, it is neither time to restrict the migration of outside talent, nor place quotas on production for the hire of inexperienced local talent. The organic growth of our local industry and free market competition will handle the rest. You will also find that LA and NYC are not restrictive in this sense, which is how their talent pools have grown so deep over time. There is a lesson to be learned there. I understand some locals feel they are being left out, but this is more about developing reliable and bankable skill sets than entitlement. One can’t say that the opportunities aren’t here, so we have to up our game.
To sum things up, Georgia is on track. Elements are in place to sustain the Georgia business model into the future. Still, but we can’t take anything for granted. That is the nature of all things. If anything, let’s find ways for this market to develop its own signature, its own stories, and its own technologies. If anything, that is where new strategies need to be targeted.
A new year is approaching and it is about that time again to start making new year’s resolutions. One important change that most people make in the new year is with their career. Have you ever felt like your career is going nowhere? Or maybe it feels like a merry-go-round – doing a lot of work and not really getting the results you want. Well, sometimes it may be this way because you have too much clutter in your environment. Yes, CLUTTER. Many of us do not realize how our home or work environment can sabotage even our best of efforts. This is why, I invited best-selling Feng Shui author, Karen Rauch Carter to share with us film professionals how we can use feng shui to get out of a career rut and start living our dreams.
Karen, thank you so much for joining us on Reel Focus. Today Feng Shui is thrown around in conversation but very few really know what this means. Can you start by telling us the true definition of what Feng Shui is?
Feng shui is a method of mindfully arranging your living and workplace environments so that they fully support you. It takes into consideration the energetic factors as well as the function and placement of everything in, on, and around you. Everyone knows that the outcome of placing a baby at the edge of a pool for a nap is not likely to have a great outcome, but where does obvious end and subtle begin? Feng shui deals with both the obvious as well as these subtle environmental arrangements in order to help and support your health, career, love life, family or basically ANY area of your life.
Can you explain to our readers how clutter can have an effect on just about every area of your life according to Feng Shui?
EVERYTHING has an effect on you — whether you know or feel it consciously or not — however, clutter is one of the most disrespecting and energy-sucking of the lot. “What’s going on in your environment is going on in your life” is the rule to follow here. When you allow clutter around you, you have allowed the opportunity for feelings of disorganization and “never-enough-time,” and mental results of confusion, forgetfulness, anxiety and constant mental chatter to creep into your life and work. Since this is a film industry conversation, I’d like to ask you to consider set design. How is the character and his backstory portrayed through the set? Is the gangster surrounded by colorful floral pieces of art with little toddlers in them? Is the crunchy hippie’s house designed minimally with all glass and chrome furniture and white walls? NO! Everything SAYS something and exudes an energy that either helps you proceed where you want to go boldly into your ultimate future or holds you back and tethers you to some time in the past – usually with guilt attached. “What if some thing breaks? I can use that for spare parts!”, “Hey! I paid a lot of money for that – of COURSE I’m’ keeping it!”, “It’s the only thing I have from Aunt Edna!”, “My kids made it so of course I’m keeping it!” With this kind of clutter, I guarantee you that guilt will always be somewhere in your life because it’s right there in your home and workplace.
Reel Focus readers are well established in film careers or rising industry talent. Some of us may be feeling like we are not getting anywhere with our film careers even though we are giving our all. Can you share with our readers how Feng Shui may help to improve areas such as career, networking, and wealth-building.
Not getting anywhere is a classic sign of clutter – whether its physical stuff on the floors and busting out of the closet, or mental beliefs, “you gotta pay your dues for years before you get any breaks in this town” or “Mom was right, this is a waste of time.” A good feng shui consultant can help identify where the clutter is and help you remove it. For those where “nothing is moving” I might recommend adding a moving object into a space (preferably the front right-hand part of your home or a room – long story as to why.) For those who are not making any money, I’d recommend placing a plant or a picture of trees, or even something purple in color in the back left-hand part of the house or room. For those not making connections, I’d recommend making sure that the walk from the street edge to your front door is obvious and easy to find with a fresh and “welcoming” welcome mat (or in your case maybe rolling out a red carpet!) and a well lit street address, etc. The answers are infinite and will surely be customized to the client’s specific needs if you find the right consultant. In a nutshell, listen to your biggest complaint and see if you can find a counter balance to it. If you are drained all the time, unclog the drains. If you aren’t as sharp as you used to be, sharpen your knives, etc. It’s all about getting the energies in your home to match where you want to go in life.
Finally, for those of us who want to take Feng Shui further than the simple steps that you provide here, provide us with resources that we can use and how you can provide more personalized assistance.