By Vicki Mayer
Early within the twenty-first century, Louisiana, one of many poorest states within the usa, redirected thousands in tax funds from the general public coffers with a purpose to develop into the pinnacle position website globally for the construction of Hollywood motion pictures and tv sequence. Why might lawmakers aid this sort of coverage? Why may voters settle for the policy’s uncomfortable results on their economic climate and culture? Almost Hollywood, approximately New Orleans addresses those questions via a learn of the neighborhood and daily reports of the movie economic climate in New Orleans, Louisiana—a urban that has two times pursued the target of changing into a film construction capital. From the silent period to today’s Hollywood South, Vicki Mayer explains that the air of secrecy of a movie economic system is inseparable from a triumphing experience of domestic, while it adjustments that position irrevocably.
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Extra info for Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy
Nor will they get it unless they sell me. Louisiana LLCs do not owe either state or federal taxes as corporations would. Even the producers will likely go home owing nothing to the state, as they are residents elsewhere. Instead they have to find a local buyer with personal or corporate tax liability. The matchmaking is overseen by a broker, who bundles me with other transferable tax incentives and sells me to the highest bidder. In the best-case scenario, my stated value is relatively unchanged.
You see, I may be leveraged for venture investment coming from Manhattan or Silicon Valley, but my value can only be claimed by a Louisiana citizen or corporation. The studio wants me, but not enough to move. Nor are they going to risk their future if my project is a flop. They are so fickle. So the studio leaves me in the hands of the producer, who forms a limited liability company (LLC) to meet me on location. The LLC is really agile, living fast and dying after the film is done and sold back to the studio.
A quick rewrite of the script and off I go. First to the production balance sheet: there I’m on a fast track for state verification and approval. Along with the millions of fellow Louisiana tax credits, I may be California dreaming, but I stay in state, where I have the most value. You see, I may be leveraged for venture investment coming from Manhattan or Silicon Valley, but my value can only be claimed by a Louisiana citizen or corporation. The studio wants me, but not enough to move. Nor are they going to risk their future if my project is a flop.