FilmLA, partner film office for the City and County of Los Angeles and other local jurisdictions, has issued an update showing that regional filming activity has decreased significantly. Local on-location film production declined in the first quarter of 2023, mustering 7,476 Shoot Days (SD) to finish 24 percent behind Q1 2022 (with 9,832 SD) and 16.8 percent below the region’s five-year Q1 average. The post-COVID production surge seen at this time last year was nowhere to be found in early 2023, according to the latest report.
“Over three consecutive quarters, we’ve seen a significant slowdown across all of the most economically important categories of on-location production,” noted FilmLA president Paul Audley. “Particularly in the television world, decisions about future content direction are on hold, pending the outcome of corporate restructuring actions and industry labor negotiations.”
Television, which was a sustaining force during the region’s recovery from COVID-related impacts, posted the largest quarterly decline among the major production categories, falling 35.8 percent to a total of 2,868 SD. This figure was also 24.2
percent below the category’s five-year quarterly average.
Looking at the sub-genres of television production, TV dramas were down 40.4 percent compared to the previous year, declining from 1,279 to 762 SD. TV dramas that shot in the region last quarter included The Company You Keep (ABC), All American (The CW), Mayans MC (FX), The Sympathizer (HBO), Presumed Innocent (Apple TV+) and Interior Chinatown (Hulu). A total of 186 of the 762 TV Drama SD–24.4 percent–were from projects enrolled in the California Film & Television Tax Credit Program.
TV reality production, which also performed well during the recovery period, fell 37.8 percent in Q1 (1,617 SD vs. 2600 SD); however, production levels in this category hover 17.4 percent above the five-year average. TV pilots, produced far less often in an age of direct-to-series orders, generated just seven SD for the quarter–a 88.3 decline from the previous year, and 95.4 percent below the five-year average.
TV sitcoms posted the highest year-over-year increase of any television category last quarter, increasing to 324 SD from 259 SD. Despite this 25.1 percent increase, the category remained 22.1 percent below the five-year average. TV sitcoms that filmed
locally last quarter included American Auto (NBC), Young Sheldon (CBS), Curb Your Enthusiasm (HBO), It’s Always Sunny in Philadelphia (FX), Killing It (Peacock), and This Fool (Hulu). A total of 12 out of the 186 TV sitcom SD–3.7 percent–were recipients of the California Film & Television Tax Credit.
The feature film category remained flat for the quarter–595 SD in 2023 vs. 594 SD in 2022–but was down 13.1 percent from the five-year average. A total of 99 SD–16.6 percent of feature production–was tied to the state’s film incentive. Local productions included Unicorn (Apple Studios), Fast X (Universal Pictures), Black Girl, Erupted (BET Her), On Swift Horses (independent), Stealing Pulp Fiction (independent) and Wishing Well (independent).
Commercial production continued its decline last quarter with a 22.5 percent drop compared to last year (to 899 SD), and an even steeper 32.5 percent compared to its five-year average. Companies such as Ally Bank, Chevron and Walmart recently filmed spots locally, as did car companies such as BMW, Dodge, Ford, Genesis, Honda, Hyundai, Toyota and Volvo.
The Other category, which included still photography shoots, student films, music videos and all other miscellaneous production categories was down by 13.7 percent compared to last year with 3,114 SD and down 1.6 percent compared to its five-year average.
Review: Director Morgan Neville’s “Piece by Piece”
A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it's actually sort of on-brand.
"Piece by Piece" is a bright, clever song-filled biopic that pretends it's a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it's a bit of both.
Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in "Won't You Be My Neighbor?,""Roadrunner: A Film About Anthony Bourdain" and "Steve! (Martin): A Documentary in Two Pieces" — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.
The filmmakers try to explain their device — "What if nothing is real? What if life is like a Lego set?" Williams says at the beginning — but it's very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.
Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it's his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter.
There are highs and lows and then highs again. A verse Williams wrote for "Rump Shaker" by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner... Read More