By Millie Takaki
As initially reported in last week’s "Street Talk" (SHOOT, 9/6, p. 22), the California Senate Appropriations Committee has killed Assembly Bill 2747 (AB 2747), a measure that would have established a wage-based tax credit in the state, effective July 2004.
Several factors led to the bill’s defeat, most notably a projected $22 billion deficit in the current 2002-’03 fiscal year, and opposition from State Senate President Pro Tem John Burton (D-San Francisco). Even if AB 2747 had passed the Senate and was then signed into law by Gov. Gray Davis (D-CA)—who initially proposed the measure during a luncheon gathering of Hollywood labor leaders in January (SHOOT, 1/18, p. 1)—there would have been no guarantee that the tax credit would have taken effect in ’04. The legislation would still have been subject to state Congress scrutiny when the next fiscal year state budget is presented in ’03.
AB 2747 had gained some momentum this year, passing the State Assembly by a landslide vote (SHOOT, 7/7, p. 1). Nonetheless, as chronicled in SHOOT, the bill was still considered a long shot for enactment—particularly when it was reported to the state Senate Revenue and Taxation Committee that the projected net cost for the tax credit over its proposed six-year span would amount to some $520 million.
If it had been enacted, the tax credit would have applied to California-based productions—including commercials, TV movies and independent features—with worker wages between $200,000 and $10 million. The amount of the tax credit would be 15 percent of the first $25,000 in qualified wages per worker. In order to be eligible for the incentive, at least 50 percent of the production would have had to take place in California.
Several industry organizations have devoted time and money to AB 2747, including the Directors Guild of America and the Screen Actors Guild.
The California wage tax credit is similar to a federal proposal currently in the U.S. Senate and House of Representatives (SHOOT, 10/16/01, p. 1). That federal bill—which, in sharp contrast to the California legislation, doesn’t presently apply to commercials—is seeking attachment to a major piece of mainstream legislation (SHOOT, 6/28, p. 1). The federal measure, too, has the support of several industry organizations, including the DGA, SAG and Film US, a group of nearly 300 state and local film commissions.
Karen Constine, director of the California Film Commission, said she was "very disappointed to see this bill not gain passage. The proposed tax credit is about retaining jobs. It’s about putting food on the table for Californians who earn their livelihoods based on this business."
Full Lineup Set For AFI Fest; Official Selections Span 44 Countries, Include 9 Best International Feature Oscar Submissions
The American Film Institute (AFI) has unveiled the full lineup for this yearโs AFI Fest, taking place in Los Angeles from October 23-27. Rounding out the slate of already announced titles are such highlights as September 5 directed by Tim Fehlbaum, All We Imagine As Light directed by Payal Kapadia, The Luckiest Man in America directed by Samir Oliveros (AFI Class of 2019), Zurawski v. Texas from executive producers Hillary Clinton, Chelsea Clinton and Jennifer Lawrence and directors Maisie Crow and Abbie Perrault, and Oh, Canada directed by Paul Schrader (AFI Class of 1969). A total of 158 films are set to screen at the 38th edition of AFI Fest.
Of the official selections, 48% are directed by women and non-binary filmmakers and 26% are directed by BIPOC filmmakers.
Additional festival highlights include documentaries Architecton directed by Victor Kossakovsky; Cheech & Chongโs Last Movie directed by David Bushell; Devo directed by Chris Smith about the legendary new wave provocateurs; Gaucho Gaucho directed by Michael Dweck and Gregory Kershaw; Group Therapy directed by Neil Berkeley with Emmyยฎ winner Neil Patrick Harris and Tig Notaro; No Other Land directed by a Palestinian-Israeli team comprised of Basel Adra, Yuval Abraham, Rachel Szor and Hamdan Ballal; Pavements directed by Alex Ross Perry; and Separated directed by Errol Morris. Notable narrative titles include Black Dog (Gou Zen) directed by Guan Hu; Bonjour Tristesse directed by Durga Chew-Bose with Academy Awardยฎ nominee Chloรซ Sevigny; Caught By The Tides directed by Jia Zhangke; Hard Truths directed by Mike Leigh with... Read More