Here’s another good article about the Texas film business that touches on the lack of a competitive film incentive program. Time to nudge your legislators. The wheelin’ and dealin’ has begun in Austin
December 04, 2008
By Mark Dundas Wood
Recently, Drew Barrymore directed and starred in a feature called Whip It!, set in Austin, Texas, and based on a novel by a former Austinite, Shauna Cross. The film was shot in…Ann Arbor, Mich.
Say what? Why would a town with a rich film culture and at least two major favorite-son film directors — Robert Rodriguez and Richard Linklater — miss out on hosting a project that’s such an obvious fit?
As usual, it’s a money thing. Michigan — along with such states as New Mexico, Massachusetts, and Louisiana — currently offers producers hefty incentive packages to shoot on its soil. As Gary Bond, director of the Austin Film Commission, points out, the 8.25 percent sales-tax exemption and other incentives that Texas offers to filmmakers don’t add up to the same breaks available elsewhere.
Nevertheless, last January, Austin was named the No. 1 American movie city by MovieMaker magazine, beating out such incentives-rich locales as Albuquerque, N.M., and Shreveport, La., not to mention Los Angeles and New York. Austin may not be getting the same kind of commercial projects as other states, but apparently it is doing some things very well.
A (Lone) Star Is Born
The first Hollywood-size project that lensed in Austin, says Bond, was 1977’s Outlaw Blues. In subsequent years, a handful of TV movies and occasional theatrical features (1982’s The Best Little Whorehouse in Texas, for instance) shot in the area, but no cinematic stampede to the city ensued. Things began to change in the mid-1980s when the first sequel to The Texas Chainsaw Massacre and the Jeff Bridges-Kim Basinger vehicle Nadine were shot back to back in Austin, with both films employing many of the same personnel. Gradually, says Bond, local crew — especially members of art departments — amassed impressive production credits and reputations.
At the same time, Austin was becoming a major music hub. The city’s famous South by Southwest (SXSW) festival actually began as a music event in 1987 but soon incorporated film and other media. “We were sort of a two-headed calf,” says Bond. “People wanted to come here and see what this buzz was all about.”
Filmmakers venturing to Austin found a city surrounded by a wide range of physical terrains: hills and lake chains to the west, rolling prairie to the east. “It’s always been an excellent place to do a road movie,” says Bond, noting that the bulk of the cattle-drive miniseries Lonesome Dove (1989) was shot within 30 miles of Austin, with the countryside standing in for Canadian and Mexican locales.
In the 1990s, the scene grew, especially with the emergence of Linklater and Rodriguez and the latter’s then wife, producer Elizabeth Avellan. Other Austin-based filmmakers include Tim McCanlies (Secondhand Lions) and Mike Judge (Office Space).
Rodriguez and Avellan developed Troublemaker Studios at the site of Austin’s former municipal airport. Meanwhile, Linklater had founded the Austin Film Society. What began as a film-appreciation organization eventually expanded, assuming management of Austin Studios: other refurbished, city-owned airport property that became “production central” for projects coming into town.
The Actor Factor
But what about human infrastructure? What does Austin provide to filmmakers in the way of an actor workforce?
Beth Sepko, who operates Beth Sepko Casting, as well as an affiliated company, Third Coast Extras, began her career as an agent in San Antonio, returning to her native Austin in 1994. Sepko has worked on several films with Rodriguez. She also casts Austin’s first major network series, NBC’s Friday Night Lights, for which she won a 2007 Emmy. “We have a really strong talent pool,” she says, “but it’s sort of shallow. If I have a film project that has, like, 90 roles on it, then I definitely have to pull from other markets.”
Read the FULL BACKSTAGE ARTICLE HERE.
