Photo Source: HBO
The Film Commission’s Executive Director, Amy Lemisch, started the program by discussing California’s targeted efforts to curb “runaway production,” or film and television production outside of the state. She reiterated the state’s potential for simulating many faraway places, and reviewed the technical process for applying for tax credits and receiving filmmakers’ incentives.
Lemisch specifically boasted the Commission’s $2.9 billion in-state spending this past fiscal year, as well as the 30,000 crew, 8,000 cast and 100,000 background jobs it created for Californians as a result.
“We pride ourselves in being able to contribute this way to California’s economy,” she said, “and know the full potential of the state to continue to create more jobs for producers, cast and crew.”
Following Lemisch’s overview of the Commission’s goals, achievements, and logistics, producer Matt Holzman moderated a panel on HBO’s new project “Hemingway & Gellhorn,” a film shot entirely in California, utilizing the nooks and crannies of San Francisco to dance from Cuba to Spain to Finland.
Executive producer Trish Hofmann noted that “chasing incentives allows a balance to be reached between creative goals and fiscal restraints.” The project received a $3 million tax credit from the state, which for a relatively low budget film—less than $20 million—was a huge chunk of change. Even with its fiscal shortcomings, the film’s script reads like an epic.
Starring Nicole Kidman and Clive Owen, “Hemingway & Gellhorn” depicts the famous author’s passionate—though largely tumultuous—relationship with World War II correspondent Martha Gellhorn. It was able to garner such name-talent despite its less-than blockbuster beginnings partly because it was shot in-state, the panelists said.
“It’s much easier to convince two movie stars to shoot in California versus in three to four separate locations all over the world, not to mention cheaper,” explained Hofmann. “A first-class ticket from Los Angeles to San Francisco is about $500, so that, combined with the convenience involved for them, made it a very appealing offer.”
Patrick Ranahan, the film’s location manager, scouted every obscure building and weathered patch of brick he could find in order to create the war-torn world depicted in “Hemingway & Gellhorn.” Much of the time, their location discoveries came on the heels of culinary adventures within San Francisco. “Everything was within five great restaurants,” he said jokingly, “Finland is down the block, remember? Right by that place where we had the great tapas.”
Visual effects supervisor Chris Morley was responsible for seamlessly incorporating archival footage into the team’s San Francisco shots. He said the team looked specifically for “pre-disastered” areas of the city that could be patched up if need be and then demolished again, all the while maintaining an accuracy necessary to match the historical footage he had to work with.
The panelists seemed exceedingly giddy about the film, which premieres on HBO May 28, and proudly presented their project as an example of the potential California filmmakers have to provide ample job opportunities for cast and crew by taking advantage of natural and industrial resources offered by the state.
