Tim Heidecker Isn't Really 'Brokenhearted'

The Frame


From them on broadcast center at KPCC. This is the frame. I'm John horn on today show, the former head of the California film commission on how she fought to keep moviemaking in the Golden State, then comedian and musician, Tim Heidegger has a new album of heartbreak songs. It was inspired by his online. Trolls smoothing can be pretty creative. And one of the things they did was manufacturer up these divorce papers that, that spreading this rumor that my wife left me because I'm such a, you know, weak-minded lip tart, and why are so many movies and TV shows being turned into live stage shows. Are you ready for the empire strips back all that coming up on the frame? Welcome to the frame. I'm John horn. The California film commission is the government office that supports filming in the state and that includes everything from blockbuster movies to commercials. Earlier this month, we found out. It's getting a new executive director, the position is appointed by the governor and Gavin Newsom has decided he wants to pick someone new, the outgoing director Amy lunch had the job for fifteen years during her tenure. She started the state's tax credit program to keep film and TV production from leaving California. I asked Amy about her background as a movie producer before she was hired to head the film commission. There never been anyone in this position as executive director of the California film commission who had a production background and they really did want that. So coming in, I certainly had to learn, Sacramento state government legislation tax codes, but at least the production side, and you're stand what their needs are. And most importantly, the time constraints and, and I think that the. Industry that I'd be talking to understood that I understood what what they're going through. So the film office in any state is looking at a couple of different things. And one is what you're describing. That is here's how we can help you get permits. But you're doing that against a backdrop where other people other countries other states are offering incentives, and it could be British Columbia could be London, it could be New York could be Georgia. So how do those two things compete because one thing is just like making production easier and the second one is competing with other areas of the country and around the world that are giving filmmakers money to leave the state, right? Well, so first of all, you could give all the tax credits and rebates you want, but is equally important to have a as we say film friendly environment, so that people can get their locations. They can turn around their permits quickly. They can close streets when they need to we can shut down a freeway if they need to do a big scene. So that is. Again, as equally important. But I will say when I started in two thousand four incentives were sort of just beginning to grow. We didn't get ours till two thousand nine and we were for five years, the underdog, every producer said we wanna film, in California, but we gotta go, where we can stretch our dollars. So when you are having conversations with people in government about why it's important to keep production in the state as opposed to leaving to go somewhere else. What are the kinds of changes in attitude, that you have to get people to embrace because you're up against a couple of different things. One is it's Hollywood. Why wouldn't people wanna shoot here? And the other one is what is the return on investment? So how do you get people to start taking a new way about why? It's actually economically important to keep people working in the state of California are achilles. Heel was it's, it's Hollywood, California isn't everybody here, anyway. What's the problem? I think one of the reasons why it took us until two thousand nine we had to hit rock bottom, and we were tracking. How many productions were leaving the state to be able to demonstrate now they're not staying, and if we want to retain our signature industry, we have to step up and do something. And one of the kickers was do you remember ugly Betty, which picked up and moved to New York that had shot here for three seasons. I think they were here for two or three for for them to shoot a New York that in Hollywood and picked up and move. Moved to New York and that actually really helped demonstrate what we're talking about. Because an a production that might be spending sixty eighty ninety million dollars in one season is a lot of money to lose rethink about Hollywood, and southern California's being kind of the hub of production in the state, and while that is true. There's production all over the state of California. I'm thinking about lady bird, which was shot in and around Sacramento, not far from where you are working, how important is film production across the state in terms of local economies, and local film, offices that are trying to attract production. It's a great question, because it was such an important part of the effort, that this is not just an LA issue. There's legislators from all over the state. What do they care in Fresno or Humboldt county about Hollywood? And it was critical that they understood that productions do travel around the state, and when they do they spend a lot of money locally in a local community and hotels and restaurants and purchases, and whatever they're doing even if they're not hiring crew there and we did have production shoot. Up in humble, and we had production shoot in Fresno in San Francisco and San Diego. So that was a big part of the push. How does the state benefit beyond the obvious in terms of economic contribution is there some intangible benefit that the state has beyond, you know, the tax numbers? I certainly think there are an, it's all those support businesses that people don't talk about a lot and it's not just like the prop house or a wardrobe rental place. It could be something like a florist who does flower arrangements for a wedding scene. A production can use. We've counted this about a thousand different vendors on one production. So those are all reaping the benefit of that, whatever fifty sixty seventy million dollars spending the other thing that's happening as we speak is there's a big debate about Georgia and about what's happening in that state over. It's very restrictive abortion laws when you think about the political power that Hollywood has, and the way that plays into politics. It's a very complicated issue. Hugh. But you have some thoughts about whether or not the industry, should use its the cloud of its money to talk about policies in states, where productions might be going so speaking in my now unofficial capacity. I'm watching Georgia very, very carefully. I don't know that it's appropriate for people from out of state to be dictating policy for another place, where they don't actually live. However, I do think that, you know, you can put your money where your mouth is or not put your money where you don't agree with particular policies. So we'll have to see how that plays out. You were the longest serving film Commissioner in state history. Your successor has yet to be appointed. What advice would you give him or her that maybe you didn't get when you started that you think is critical to understanding how to do this job? I don't know if this person's going to come in having a production background, but I would say, you know, listening to your constituents if you will, and me. Meeting with as many people as you possibly can to get a sense of where the problems are where, where you need to solve problems. That's essentially what we do all day long. Amy great to see you. Congratulations on your amazing term. Thank you so much. Coming up on the frame actor. And comedian Tim Hydrocare has a new album, and it's an inside joke response to his Trump trolls.

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