History
When I first started in the business in Los Angeles in 1994, people were grumbling about “runaway production”. Back then this mostly meant feature films primarily shooting in Canada while doubling Toronto, Montreal or Vancouver for US cities or towns.
The films I worked on were low budget, what used to be called “direct-to-video”, and did shoot and do their post locally, although every now and then skirted the very edge of the Zone (30 miles for the corner of Beverly and Third). But there were other big budget films around that time that were local. Forrest Gump shot all over the USA and at Paramount Studios. For one of my movies, I was able to rent the same pale blue vintage tea set from Paramount Props (now closed) that Jenny (Robin Wright) uses when she is ill in bed.
Image of Forrest Gump from Fancaps.net/movies/MovieImages
One of my favorite films from 1994 is Speed that shot around Los Angeles. One place they shot was Playa del Rey, where I used to live just a few years later. You really do glimpse a lot of Los Angeles as the bus travels all over.
Image from Speed – https://fancaps.net/movies/Image.php?imageid=5792831
Maverick shot at the Warner Bros lot, Yosemite and Lone Pine, CA as well as locations including National Parks in Arizona and Oregon. My six degrees of connection with this film is that my father-in-law, James Coburn, was in it. Other big 1994 films that stayed local include Naked Gun 33 ⅓, Pulp Fiction, Beverly Hills Cop III, The Mask, and Corrina, Corrina (set in 1959,)
My point is that while people were concerned about runaway production in 1994, there was still significant work being created locally.
But time passes.
Unfortunately the trend has culminated in the situation today, where we have more content needs than ever with streaming services and niche channels for every interest and audience, but significantly fewer hours being created in Southern California or in the USA as a whole. As of April 2025, we know that around 80% of the IATSE roster is not working. I’m increasingly talking to people who want to switch careers and need different resumes, even if temporarily.
The good news is that the CA Legislature is creating bills in both houses to invigorate the local industry with more competitive tax incentives, and there are lobbying efforts to increase this funding. What the effect will be of the Executive Order about international productions remains to be seen.
Meanwhile, what do we do to find work?
Here are some strategies:
- Work regionally. I know – this is a different idea for me to propose. Most US filmmaking that is done still occurs in or is generated by entities in Los Angeles, New York, and Atlanta. However, there is still some work in other places than the main production centers. This includes work for cable-first networks with regional HQs, local news and event work, and in-house-generated industrials for corporations or public entities..
Case Study: One of my husband’s former students has built a nice career as a sound mixer working in television, news and local media in Utah. It’s not working on big budget tentpole feature films, but he’s grown his reputation and become a local go-to artisan, and makes a good income – in a place with lower cost-of-living.
- Join a professional networking association and participate in the events and programs. Network, network, network. Connections are still the best way to find the work and projects that need people.
- Generate your own indie projects. There are many small, genre or niche focused, film festivals to show your films, both shorts and features. Crowdfunding is growing as a means of funding work. There are grants, investors, philanthropy. A currently budding trend is indie projects and Proofs of Concept made for and released on YouTube, that may be then discovered by the networks and studios.
- Keep working on your skills – practice and study. Perhaps take classes or professional development studies that move you into a related field. Look at the newest tech.
If you are a screenwriter, consider developing your stories as novels, or perhaps graphic novels – which then become IP. According to Statista, about the US book market – “Print book sales figures have improved and unit sales now consistently surpass 700 million per year. Print also remains the most popular book format among U.S. consumers, with 65 percent of adults having read a print book in the last twelve months.” It may not be any easier to find a publisher than a film producer – but even self-published works are IP.
- Work in jobs in adjacent sectors or adjacent jobs. Live event producers are rebounding and hiring, if on a freelance gig basis. Keep watch on studio, network and production company careers pages. Submit a general resume to their system if they allow it. You may need to work in administrative or support roles for the time being, if you have the relevant skills. Look for in-house media jobs in other business sectors. I had a client that worked creating media for a museum.
- Teach film. There are jobs opening up in colleges all over the country. Few of them are in Southern California, but they do seem to be in other cities.
- Leave the industry and take another creative path to personal fulfilment. It’s a choice that is open to you.
None of this is easy.
I am currently closed to new clients, while I work on developing other offerings and write. I’m working on a middle grade novel. But I do offer resume feedback to newsletter subscribers. Subscribe, then shoot me an email.
