FILM COMMISSIONS (Working with film commissions and what they do)

FILM COMMISSIONS (Working with film commissions and what they do)

Bruce Bisbey

Film commissions are quasi-governmental, non-profit, public organizations that attract motion media production crews (including movies, television, and commercials) to shoot on location in their respective localities, and offer support so that productions can accomplish their work smoothly.

Today's film commissioners play many roles including producer, director, photographer, writer, and publicist. They are called upon to market their jurisdictions, prove the value of their industry through economic reporting, and manage financial incentive programs all while juggling the demands of production in an increasingly high-tech, fast-moving world.

Over 1000 such organizations are active in over 100 countries around the world, mostly in the United States, Europe and Asia. Many of them are organized by local government bodies together with not-for-profit organizations and the like, and serve as the administrative window concerned with attracting and supporting the productions that come to their locality, not only from other parts of their own countries, but from abroad, as well. The Association of Film Commissioners International or AFCI is based in Los Angeles. The mission of the AFCI is to be essential to the advancement and promotion of excellence in the global production of media on location, in an ethical and professional manner, and to this end the organization sets standards and provides professional education, training and business services in the field of Film Commissioning.

The European Film Commissions Network or EUFCN www.eufcn.net is based in Bruxelles. The Asian Film Commissions Network or AFCNet www.afcnet.org gathers now film commissions on the Asian continent.

A major industry event and trade show is the Locations Trade Show which is organized by the AFCI. In 2011 the Locations Show was produced in association with the Producers’ Guild of America’s Produced by Conference.

Film commissions believe that by attracting productions to their area they can provide direct economic benefit through rental of hotel rooms, locations, vehicles, etc., and indirect economic benefit via the increased exposure of appearing in films and television.

There is no typical home for a Film Commission; they are set up by cities, counties, states / provinces or federal governments, and are generally operated and funded by various agencies of government, such as the governor’s office, the mayor’s office, chambers of commerce, convention and visitors’ bureaus, tourism offices and business and economic development departments. Although I like the concept of a Film Commission as an Economic Development vehicle, my advice is to place it where there are allies and champions who are prepared to support and fund its work. There’s also no typical institutional structure; Film Commissions can be private-non-profits, Private Public Partnerships, government line departments or divisions of Economic Development Agencies of Cultural Offices.

WHAT FILM COMMISSION DO

The main similarity comes in what Film Commission do; without exception they are formally mandated to represent their jurisdictions on all film related matters, and thereby to act as liaison between local governments and communities with production entities by educating, setting standards of professionalism, and serving as a clearinghouse for production information. A clear Film Commission goals is to proportionally increase the economic impact of the industry throughout the region.

In order to deliver on their mandates, most Film Commissions undertake a standard set of functions including:

• To act as official adviser to government on the policy, legislation and regulations necessary for the promotion of the film, television and related multi-media industries.
• To act as official intermediary on behalf of government with the film sector, and vice versa.
• To market and promote their region as a cost-effective, quality location for local and international productions using a variety of tools
• To compile a database of locally-available crew, talent, services, facilities and equipment in the region, and promote their use to international and local filmmakers;
• To advise film makers on any other aspects of production including, but not limited to, municipal by-laws, traffic ordinances, environmental legislation and employment legislation and practices;
• To support learning and training opportunities to build skills in the sector;
• To conduct and coordinate research into all areas of film, television and multimedia productions locally and internationally, and to be informed on best practices within Film Sector development and management.
• To collate reports and statistics to complement the work and to draft reports where required; and
• (Where necessary) To raise money for the programs and projects of the organization.

The primary responsibility of any Film Commission is thus to attract film and video production to an area in order to accrue locally-realized benefits from hiring local crews and talent, renting local equipment, using hotel rooms, rental cars, catering services, or any number of goods and services supplied on location. In other words, Film Offices attract Film & TV productions to their locations, and then ensure that the location capitalizes on that production activity by coordinating and making available local labor and services.

In the past, the work of film commissions largely revolved around promoting locations. However, in response to the growth of on-location filming, the services provided by film commissions have expanded dramatically. For producers of film, episodic television and commercials, Film Commissions today provide a gamut of free services, from scouting locations within their area, to trouble-shooting with local officials, and helping cut through red tape. Some also provide economic incentives, such as tax credits, cash rebates or simple hotel discounts. Others offer a variety of essential free services like research for screenwriters or liaison work with local government agencies. More recently too, more progressive Film Commissions around the world have begun developing an even broader scope for their activities – not merely addressing Hollywood, but by becoming the hub and thrust of ALL film related activity within a jurisdiction. The role of this new generation of Offices often includes encouraging the development and distribution of local productions, increasing audiences for film product particularly via film festivals, encouraging the study of film and the acquisition of film related skills, supporting a climate of entrepreneurship.

Film Commissions are not “the industry”, nor are they usually an elected body that’s representative of the industry. However, there is nevertheless a clear requirement for Film Commissions to take on the role of industry “champion” within their jurisdictions, and to argue the industry’s positions and concerns to the powers-that-be. Similarly, the Commission frequently has to take care of the community and its rights, and has to argue the government’s case to filmmakers. Both requirements demand a comprehensive approach to communication, co-ordination and collaboration.

HISTORY

"The first Commission was formed in the United States during the late 1940s. This was in response to the need for film companies to have a local government liaison who could coordinate local services such as police, state troopers and highway patrols, road and highway departments, fire departments, park rangers and all of the other essential municipal and government services for shooting a production on location. As more production companies began to look beyond the limits of a regular production center for realistic and varied locations, more cities and states began to see the need for production coordination liaison."

ECONOMICS

Film commissions can benefit both the production company and the area they decide to shoot at. The production company can potentially save money by shooting out of state and hiring cheaper below-the-line labor, shooting on location as opposed to building a set in a studio, etc. The economy at the location they shoot at can benefit via profits from hotel rooms, food, gas stations, and any other amenities that the above-the-line labor will use throughout the duration of the filming.

However, shooting out of Hollywood does affect those who still work in Hollywood. Below-the-line workers based in Hollywood have a smaller job market because production continues to move out of state.

Sources: Google, Wikipedia, Pinterest, IBIS World, Canada Film Capital, Luther, William, Movie Production Incentives, Kristy Puchko, Cinema Blend, Hollywood Reporter, IMDB, Variety, No Film School, Emily Buder, AFCI, Martin Cuff