At Sony Production studios in Culver City, an area of Los Angeles steeped in the movie business, a steady stream of cars and lorries comes and goes through the security gate.
It occupies the MGM lot which dates back to 1924. Gone With the Wind, The Wizard of Oz and Citizen Kane were shot here and, more recently, Interstellar and The Dark Knight Rises. But this is no longer the beating heart of movie making.
In Tinsel Town the bright lights of the film industry have been fading for some time. Production in Hollywood has fallen by 40% in the last decade, sometimes moving to other states like New Mexico, New York and Georgia, but more often outside the US entirely.
A recent survey of film and TV executives indicates that Britain, Australia and Canada are now favoured locations over California when it comes to making movies.
San Andreas, a blockbuster film about a California earthquake, was shot in Australia. In America, a film about an Irish family settling in New York, was shot in Canada.
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The exodus of the film industry from Hollywood is mostly owing to economic reasons, with other countries boasting lower labour costs and more expansive tax incentives. But as productions have moved overseas, studios across Los Angeles are frequently empty and those who work behind the scenes are often out of work.
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President Trump has approached this problem with a familiar reaction – sweeping tariffs, a 100% tariff on all foreign made films coming into the USA.
‘It’s a different kind of situation than producing cars overseas’
Justine Bateman is a filmmaker and sister of actor Jason Bateman. She is glad Trump is looking for solutions but does not understand how the tariffs will work. “I will say, I’m very glad to hear that President Trump is interested in helping the film business. But part of the problem is we just don’t have very much detail, do we?,” she says.
“He’s made this big announcement, but we don’t have the detail to really mull over. He doesn’t even say whether it’s going to be films that are shown in the cinema or streaming movies, for example.
“Tariffs can be a profitable situation for when we’re just talking about hard goods, but something like a film and, particularly if you’ve got an American film that takes place in the south of France, you want to be in a particular location.
“So it’s a different kind of situation than producing cars overseas and bringing them back here.”
At the Hand Prop Room in Los Angeles, they supply props for TV and film. The warehouse is brimful of virtually any prop you could imagine, from portraits of former presidents, to replica handguns to African artefacts and 18th century teapots. The walls are decorated with posters from some of the productions they’ve supplied, including Babylon, Oppenheimer and Ghostbusters.
‘It needs to be thought through’
In the past five years, the prop shop has been impacted by the COVID pandemic, by both the writers’ and actors’ strikes and the globalisation of the film industry. Business is at an all time low.
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“It’s not helping when so many productions are not just leaving the state, but also leaving the country,” says Reynaldo Castillo, the general manager of the Hand Prop Room. “It’s Hollywood, we have the infrastructure that nobody else has and I think maybe to a certain point we took it for granted.
“I think we can all agree that we want more filming to stay in the country to help promote jobs. But you also don’t want to do something to hurt it.
“How does it work? Are there exceptions for X, Y, and Z? What about independent movies that have small budgets that are shot somewhere else that would destroy their ability to make something? It needs to be thought through and make sure it’s implemented the right way.”
