TURN ON THE MIC. ALRIGHT GOOD
AFTERNOON. WELCOME TO OUR SUB
FOR BUDGET SUBCOMMITTEE ON STATE
ADMINISTRATION TODAY WE ARE IN
ROOM FOR 47. WE ARE TAKING
TESTIMONY IN PERSON AND
VIRTUALLY OVER THE PHONE. WE ARE
ACCEPTING, UH, I'M SORRY. WE'RE
TAKING TESTIMONY IN PERSON AND
VIRTUALLY WE ARE ACCEPTING
PUBLIC COMMENT AT THE END OF
THIS HEARING, BOTH IN THE
HEARING ROOM AND ON THE PHONE,
THE PHONE NUMBER TO CONNECT US
ON THE COMMITTEE WEBSITE AND
SHOULD BE ALSO ON THE SCREEN. IF
YOU WERE WATCHING OVER THE
INTERNET, THE PHONE NUMBER IS
TOLL FREE 877. 692895. TO DIAL
INTO SUB FOR THE PUBLIC ACCESS
CODE IS 1315447. THERE WAS A
LITTLE BIT OF CONFUSION EARLIER
WITHIN SUB TO DIAL INTO SUB TO
THE ACCESS CODE IS 1315444. BUT
FOR THIS SPECIFIC COMMITTEE IF
YOU'RE WATCHING OVER THE
INTERNET AND WAITING TO GET INTO
THE PHONE LINE. THE PUBLIC
ACCESS CODE IS 131544. IF YOU
ENCOUNTER ANY PROBLEMS, PLEASE
CONTACT THE ASSEMBLY BUDGET
COMMITTEE AT 916. 3192099 AND A
STAFF MEMBER WILL ASSIST YOU. WE
ENCOURAGE THE PUBLIC TO PROVIDE
WRITTEN TESTIMONY BEFORE THE
HEARING. PLEASE SEND YOUR
WRITTEN TESTIMONY TO BUDGETS OF
FOUR AT SM DOT CA.GOV TODAY'S
HEARING FOCUSES ON THE
GOVERNOR'S PROPOSAL FOR THE
CALIFORNIA FILM TAX CREDIT,
WHICH WOULD EXTEND THE PROGRAM
FOR AN ADDITIONAL FIVE YEARS
FROM 2025 TO 2030. THE PROPOSAL
INCLUDES TWO NEW ELEMENTS,
REFUND ABILITY AND DIVERSITY.
THE SUBCOMMITTEE WILL WEIGH THE
COSTS AND BENEFITS OF MAKING THE
CREDIT REFUNDABLE TO CAPTURE A
BROADER RANGE OF PRODUCTIONS.
THE SUBCOMMITTEE ALSO WILL FOCUS
ON DIVERSITY TO ENSURE THAT
PUBLIC DOLLARS ARE REFLECTIVE OF
THE PEOPLE OF CALIFORNIA AND OUR
VALUES TWO YEARS AGO. WELL
CREATING THE SOUNDSTAGE TAX
CREDIT. WE INTRODUCED THE
DIVERSITY WORK PLAN TO FOCUS ON
DIVERSITY FOR ABOVE AND BELOW
THE LINE. BELOW THE LINE BEING
CAMERA OPERATORS PRODUCTION
ASSISTANCE BOOM OPERATORS SET
AND COSTUME DESIGNERS ABOVE THE
LINE BEING WRITERS, PRODUCERS,
DIRECTORS AND TALENT TODAY WE
FOCUS. WE CONTINUE TO PUSH FOR
DIVERSITY CHANGES TO
CALIFORNIA'S MOST FAMOUS AND
INFLUENTIAL INDUSTRY THROUGH THE
TAX CODE WITH POLICIES THAT AIM
TO ADVANCE RACIAL EQUITY AND
REPRESENTATION THAT IS
REFLECTIVE. OF THE PEOPLE OF THE
STATE OF CALIFORNIA DURING THE
2023 ACADEMY AWARDS, MICHELLE
YEOH BECAME THE SECOND WOMAN OF
COLOR AND 98 YEARS TO WIN BEST
ACTRESS AT THE OSCARS FOR HER
ROLE IN EVERYTHING EVERYWHERE,
ALL AT ONCE, WHICH SOUNDS A LOT
LIKE BUDGET COMMITTEE. THE FIRST
WAS HALLE BERRY FOR MONSTER'S
BALL IN 2002. THAT MEANS THAT
FOR 96 YEARS ACADEMY AWARD FOR
BEST ACTRESS WAS ONLY AWARDED TO
WHITE WOMEN. DIVERSITY. EVERYONE
ACKNOWLEDGES IS IMPORTANT, BUT
THERE ARE STILL SO MANY
CHALLENGES AND MAKING REAL
CHANGES. HOLA. MAKES A SPECIAL
BOX. OF BROWN COLORS. TO
ACKNOWLEDGE THAT THERE ARE
RACISTS AND OTHER COLORS. ACROSS
THE WORLD. IF YOU PAY MORE. YOU
CAN COLOR IN YOUR OWN SKIN
COLOR. BUT THESE COLORS ARE NOT
INCLUDED. AND THE REGULAR EVERY
DAY. CRAYOLA BOX. HOW DO WE
CHANGE THAT? AND HOW DO WE
CHANGE THAT IN THE FILM
INDUSTRY? SO THAT WE ARE ALL
INCLUDED. IN ONE BOX. WE
SHOULDN'T HAVE TO PAY. TO BE
INCLUDED. WE SHOULD ALL BE IN
THE SAME BOX. BEFORE WE BEGIN.
JUST A LITTLE HOUSEKEEPING. WE
WILL BEGIN OUR SECOND PANEL AT 2
30. PM HOWEVER, IF WE ARE NOT
FINISHED WITH THE FIRST PANEL WE
WILL ASK OUR PANELISTS TO STAY
FOR ADDITIONAL QUESTIONS AFTER
THE SECOND PANEL CONCLUDES, SO
LET'S BEGIN WITH OUR FIRST
PANELIST COMING UP. AND I DO
SINCE THIS IS AN INFORMATIONAL
HEARING. I WOULD LIKE TO, UH,
YOU KNOW, MEMBERS WILL BE COMING
IN AND OUT OF COMMITTEE. WE
WANTED IT TO BE OPEN TO ALL
MEMBERS WITHIN THE ASSEMBLY SO
THAT THEY CAN HEAR AND BE
INVITED AND MAKE REMARKS RELATED
TO THIS VERY IMPORTANT TOPIC.
ASSEMBLYMEMBER'S MURATSUCHI
THANK YOU. AND SHIP OR INVITED
ME TO JOIN US VERY IMPORTANT
HEARING. YOU KNOW? AS YOU KNOW,
MADAM CHAIR LAWCENTER COUNTY
DELEGATION ORIGINAL. VIDEOS. LOS
ANGELES. PRETTY PRIVATE THAT
WE'RE VERY PROUD. INDUSTRY OUT
OF, UH OF THE JOBS. I HAD YOUR
BUTTON. WOULD YOU MIND STARTING
OVER? VERY GOOD. STARTING WITH
THANK YOU VERY MUCH, MADAM
SHERIFF FOR INVITING ME TO JOIN
THIS VERY IMPORTANT
INFORMATIONAL HEARING. UM WE ARE
BOTH PARTICIPATED RECENTLY ON A
LOS ANGELES COUNTY DELEGATION
TOUR OF OUR MOVIE STUDIOS IN THE
LOS ANGELES AREA. WE'RE VERY
PROUD OF HAVING THE STUDIOS UH
AND CALIFORNIA. WE'RE VERY PROUD
OF, YOU KNOW, CALIFORNIANS,
MAKING, UM, UH, A MOVIES AND SO
WE KNOW THAT THE CALIFORNIA FILM
TASK CREDIT IS VERY IMPORTANT
MEASURE TO SUPPORT THIS ICONIC
CALIFORNIA INDUSTRY AT THE SAME
TIME, I THINK YOU AND I, MADAM
CHAIR, UH, SHARE THE OBSERVATION
THAT WE DIDN'T SEE A LOT OF
DIVERSITY EITHER ABOVE THE LINE
OR BELOW THE LINE AS PART OF THE
MOVIE TOUR, AND, UM YOU KNOW,
NOTWITHSTANDING, MICHELLE YEOH'S
, UH, RECENT UM, OSCAR FOR BEST
ACTRESS, UM. YOU KNOW. ASIAN
AMERICANS. ASIAN AMERICANS
PACIFIC ISLANDERS, ALONG WITH
LATINOS AND AFRICAN AMERICANS
AND OTHERS, UH, CONTINUE TO PUSH
TO MAKE SURE THAT OUR ICONIC
CALIFORNIA FILM INDUSTRY
REFLECTS THE DIVERSITY OF THE
STATE OF CALIFORNIA. AND SO I'M
VERY HAPPY TO BE HERE. AND I
LOOK FORWARD TO HEARING THE
TESTIMONY. THANK YOU. REMEMBER
MAJORITY LEADER. THANK YOU,
MADAM CHAIR. I DID. I JOINED
WITH MY COLLEAGUE. ALTHOUGH I'M
NOT FROM LOS ANGELES. I DIDN'T
TAKE THE TOUR. BUT I'VE DONE IT
BEFORE AND I'M SURE I'LL BE
INVITED TO DO ONE OF THOSE
TOURS, BUT I DO APPRECIATE
ESPECIALLY LABOR. THAT WAS THAT
HAS REACHED OUT TO REMIND US OF
THE WORK THAT THEY ARE DOING AND
THE ADVANCES THEY'RE MAKING ON
DIVERSITY, AND I SINCERELY
APPRECIATE THAT. THANK YOU.
THANK YOU BOTH. LET'S BEGIN.
THANK YOU, MADAM. CHAIR BRIAN
EULER FROM THE LAO, JUST
STARTING WITH A LITTLE BIT OF
BACKGROUND ON THE FILM TAX
CREDIT, THE STATE FIRST
ESTABLISHED THE FILM TAX CREDIT
IN 2009, AND IT WAS REALLY IN
RESPONSE TO CONCERN THAT
COMPETITION FROM OTHER STATES
WAS PULLING THE STATE'S FILM
INDUSTRY TO OTHER PARTS OF THE
COUNTRY. THE STATES NOW GONE
THROUGH THREE ITERATIONS OF THE
PROGRAM, THE SECOND PROGRAM AND
FROM 2015 TO 2020. WE'RE IN THE
CURRENT THE THREE POINT OH
VERSION OF THE PROGRAM, WHICH
GOES FROM 2020 TO 2025. AND NOW
THE GOVERNOR'S BUDGET HAS
PROPOSED 1/4 ITERATION OF THE
PROGRAM, WHICH WOULD EXTEND IT
THROUGH 2030 AND AS THE CHAIR
MENTIONED AT THIS ADDED ELEMENT
OF REFUND ABILITY OF THE CREDIT,
SO JUST A LITTLE BIT ON WHAT
THAT MEANS. UH CURRENTLY THE
CREDIT IS NON REFUNDABLE, WHICH
MEANS THAT A TAXPAYER CANNOT
CLAIM ANY AMOUNT OF THE CREDIT
THAT IS ABOVE AND BEYOND THE
AMOUNT OF TAXES THAT THEY OWE TO
THE STATE. IF YOU MAKE THE
CREDIT REFUNDABLE THAT TAXPAYER
CAN CLAIM MORE IN CREDIT THAN
THEY OWN TAXES, MEANING THEY CAN
RECEIVE A REFUND PAYMENT FROM
THE STATE. UH, SO TO HELP THE
SUBCOMMITTEE, UM AND ITS
CONSIDERATION OF THIS PROPOSAL
TO EXTEND THE CREDIT FROM THE
GOVERNOR, UH, MY PRESENTATION IS
GOING TO INCLUDE TWO PIECES. THE
FIRST IS OUR REVIEW OF THE
EVIDENCE ON THE ECONOMIC EFFECTS
OF THE FILM TAX CREDIT. AND THE
SECOND PIECE WILL OFFER SOME
COMMENTS ON CONSIDERING REFUND
ABILITY OF THE CREDIT. SO FIRST
THINKING ABOUT THE ECONOMIC
EFFECTS OF THE CREDIT AND
STARTING FROM A HIGH LEVEL WE
SEE THAT BOTH EMPLOYMENT AND
PRODUCTION ACTIVITY IN THE STATE
HAS BEEN REALLY AT A RELATIVELY
STEADY LEVEL FOR MOST OF THE
PAST DECADE, SETTING ASIDE
OBVIOUS DRAMATIC DIP IN THE IN
20 TONY DUE TO THE PANDEMIC
WE'VE HAD, YOU KNOW, RELATIVELY
STUDYING EMPLOYMENT AND
PRODUCTION ACTIVITY. CALIFORNIA
HAS CONTINUED TO MAKE UP ABOUT
HALF OF TOTAL INDUSTRY
EMPLOYMENT IN THE IN THE ENTIRE
COUNTRY IN OUR INDUSTRY IS FAR
AND AWAY THE LARGEST OF ANY
SINGLE STATE. AND YOU KNOW, WE
BASED ON OUR REVIEW OF THE
EVIDENCE. WE DO THINK THAT THE
STATE'S FILM TAX CREDIT IS ONE
AMONG SEVERAL ELEMENTS THAT DOES
CONTRIBUTE TO THE STEADINESS OF
THE STATE'S FILM INDUSTRY IN
RECENT YEARS. UM BASED ON
LOOKING AT KIND OF ACADEMIC
RESEARCH ON THIS QUESTION, WE
THINK THAT THE STATE'S FILM TAX
CREDIT LIKELY RESULTS IN OUR
FILM INDUSTRY BEING A FEW
PERCENTAGE POINTS LARGER THAN IT
OTHERWISE WOULD BE. AH A FEW
KIND OF SUPPLEMENTAL POINTS ON
THAT ONE IS THAT, UM THE FILM
THE STATE'S FILM INDUSTRY, BEING
LARGER IN AND OF ITSELF DOES NOT
NECESSARILY MEAN THAT THE
STATE'S ECONOMY OR THE STATE'S
TOTAL EMPLOYMENT OVERALL IS
LARGER THAN IT OTHERWISE WOULD
BE, UH, AND THE REASON FOR THAT
IS THAT THE REVENUE THAT IS LOST
TO THE FILM TAX CREDIT WOULD
HAVE BEEN AVAILABLE FOR OTHER
STATE PROGRAMS AND SERVICES AND
OUR REVIEW OF EVIDENCE ON THE
ECONOMIC BENEFITS OF SOME OF
THOSE ALTERNATIVES SUGGESTS THAT
WE COULD YOU KNOW THAT THERE
COULD HAVE BEEN SIMILAR OR
PERHAPS MORE ECONOMIC BENEFITS
AND OTHER PARTS OF THE STATE'S
ECONOMY. WHICH MEANS THAT WE
CAN'T YOU KNOW, RELIABLY SAY
THAT THE STATE'S OVERALL ECONOMY
IS NECESSARILY LARGER BECAUSE OF
THE FILM TAX CREDIT. ANOTHER
SUPPLEMENTAL KIND OF SECOND.
SUPPLEMENTAL POINT IS THAT UH,
YOU KNOW, A FEW PERCENTAGE
POINTS LARGER IS CERTAINLY, UH,
A MEANINGFUL ECONOMIC IMPACT
FROM THE PROGRAM. BUT THE FLIP
SIDE OF THAT IS THAT A LARGE
MAJORITY OF THE ECONOMIC
ACTIVITY IN THIS SECTOR AH, UM,
DOESN'T NECESSARILY DEPEND ON
THE FILM TAX CREDIT. UH AND WHAT
THIS KIND OF SUGGESTS IS THAT
THE FILM TAX CREDIT IS NOT, UH I
SHOULD SAY THE CONTINUED
EXISTENCE OF THE STATE'S CURRENT
FILM INDUSTRY IS NOT NECESSARILY
DEPENDENT ON THE STATE HAVING A
FILM TAX CREDIT. UH IT'S KIND OF
IT IS ADDING ON THE MARGIN TO
THE SIDES OF THE INDUSTRY, BUT
IT'S NOT NECESSARILY MAKE OR
BREAK FOR THE CONTINUED
EXISTENCE OF THE INDUSTRY. AH AH
AH, AND THIS IS IMPORTANT
CONTEXT WE THINK FOR CONSIDERING
SOME OF THE POLICY QUESTIONS IT
WILL BE BEFORE THE SUBCOMMITTEE
QUESTIONS ABOUT REFUND ABILITY
ABOUT DIVERSITY OBJECTIVES.
THESE ARE IMPORTANT QUESTIONS.
UH BUT AGAIN, THEY'RE NOT LIKELY
TO BE THINGS THAT WILL BE MAKE
OR BREAK FOR THE CONTINUED
EXISTENCE OF THIS INDUSTRY. UH
THEY'RE THEY'RE LIKELY THEY'RE
NOT LIKELY TO WHICH, WHICHEVER
WAY THE LEGISLATURE DECIDES LEAD
TO SOME A MAJOR CHANGE IN THE
SIZE OF THE ECONOMIC ACTIVITY OF
THIS INDUSTRY MOVING FORWARD.
HMM. AND GIVEN THAT WE WOULD
SUGGEST TAKING, YOU KNOW, TAKING
A STEP BACK, NOT NECESSARILY
FOCUSING TOO MUCH ON THE KIND OF
ECONOMIC COMPETITIVENESS ASPECT
OF THOSE QUESTIONS AND MORE ON
MORE HOLISTIC QUESTION OF WHAT
IS GOOD PUBLIC POLICY WITH
RESPECT TO REFUND ABILITY OR
DIVERSITY OBJECTIVES WITH THIS
PROGRAM. UM SO THEN TURNING TO
THE QUESTION OF REFUND ABILITY.
UM WE THINK THAT THERE'S BOTH
PROS AND CONS TO MAKING THE
CREDIT REFUNDABLE, UH, ON ON THE
PRO SIDE. UH WE THINK MAKING IT
REFUNDABLE COULD LEAD TO KIND OF
GREATER FAIRNESS AMONG THE
TAXPAYERS THAT ARE ELIGIBLE FOR
THIS FILM TAKES CREDIT RIGHT
NOW, WITH THE CREDIT BEING NON
REFUNDABLE. UH THERE IS
DIFFERENTIAL TREATMENT AND
TAXPAYERS THAT ALLOWS CERTAIN
TAXPAYERS TO CLAIM MORE OF THE
CREDIT AND MORE QUICKLY BASED ON
THINGS THAT DON'T HAVE ANYTHING
TO DO WITH THEIR MOTION PICTURE
, YOU KNOW, PRODUCTION ACTIVITY
IN THE STATES SUCH AS WHETHER OR
NOT THEY HAPPEN TO HAVE SALES
TAX LIABILITY IN THE STATE OR IF
THEY CONDUCT RESEARCH ACTIVITIES
IN THE STATE THINGS AGAIN THAT
AREN'T RELATED TO AH, THEIR
PRODUCTION OF MOTION PICTURES.
AH AND SO, ADDING THIS REFUND
ABILITY ELEMENT COULD BRING SOME
SOME SOME EQUITY IN THAT, IN
THAT RESPECT, THE SECOND
POTENTIAL BENEFIT IS THAT THERE
IS SOME EVIDENCE THAT REFUNDABLE
CREDITS ARE MORE ATTRACTIVE TO
LARGER PRODUCTION COMPANIES THAT
COULD BRING, UM LARGER BUDGET
PRODUCTIONS TO THE STATE.
THINKING ABOUT THE CONCEPT
REFUND ABILITY, MAKING THE
CREDIT REFUNDABLE WITH BOTH
ACCELERATE AND INCREASE STATE
COSTS RELATED TO THE TAX CREDIT.
AND IT WOULD ALSO MAKE THE TAX
CREDIT. UH MORE COMPLICATED AND
EXPENSIVE FOR FCB TO ADMINISTER.
AH OVERALL, WE THINK THAT WE
THINK THAT REFUND ABILITY IS
SOMETHING THAT'S WORTH
CONSIDERING FOR THE LEGISLATURE
. UM BUT WITH SOME CONDITIONS,
PRIMARILY THAT WE THINK THAT IF
THE LEGISLATURE WERE TO, UH
ADOPT REFUND ABILITY, BUT WITH
SOME PARTICULAR CHANGES TO THE
GOVERNOR'S PROPOSAL, YOU COULD
GAIN A LOT OF THOSE BENEFITS
THAT I MENTIONED WHILE
MINIMIZING SOME OF THE INCREASED
THEY COST, SO IN PARTICULAR, WE
WOULD SUGGEST IF YOU WERE TO GO
DOWN THE PATH OF REFUND ABILITY
THAT YOU COULD DEFINE A KIND OF
A CLAIMING SCHEDULE FOR THE
CREDIT, WE WOULD SUGGEST, UH,
SOMEWHAT REDUCING THE ANNUAL
ALLOCATION TO KEEP THE CHANGE
COST NEUTRAL FOR THE STATE, AND
WE WOULD SUGGEST FINALLY
REDUCING SOME OF THE OTHER
FLEXIBILITIES THAT ARE CURRENTLY
ALLOWED IN CLAIMING THE CREDIT.
I'D BE HAPPY TO GO INTO MORE
DETAIL ON ANY OF THOSE IF YOU'D
LIKE. AH BUT WITH THAT, I'LL
TURN IT OVER TO THE TO THE NEXT
PANELIST. THANK YOU, MADAM CHAIR
AND MEMBERS OF THE COMMITTEE FOR
THE OPPORTUNITY TO PRESENT HERE
TODAY. THE FILM INDUSTRY IS A
VAST COMMUNITY IN ITSELF. A
LIVING NETWORK OF RELATIONSHIPS
AMONG MILLIONS OF CALIFORNIANS.
THE MOVIES LINKED PEOPLE THROUGH
GUILDS AND UNIONS, TRADE
ORGANIZATIONS, ASSOCIATIONS AND
GOVERNMENT AGENCIES, PRODUCTION
COMPANIES, NONPROFIT
ORGANIZATIONS AND BUSINESSES OF
ALL SIZES. AND THERE'S THE
LARGER MEANING OF IT ALL THE
MOVIES AS AN IMAGE, A SPIRIT, A
REPUTATION AND THE RECOGNITION
OF FILM AND TELEVISION'S ABILITY
TO INSPIRE, EDUCATE, ENTERTAIN
AUDIENCES ALL OVER THE GLOBE.
HERE IN CALIFORNIA. WE KNOW THAT
PEOPLE AROUND THE NATION AND THE
WORLD THINK OF OUR STATE AS THE
HOME OF ENTERTAINMENT WITH ALL
THAT IMPLIES, IT IS AN IMPORTANT
PART OF OUR LEGACY AND THE
ENTERTAINMENT INDUSTRY HAS
GENERATED SIGNIFICANT ECONOMIC
ACTIVITY, JOBS, SUSTAINABILITY
AND JOB CREATION. BUT EVERYONE
HERE TODAY HAS HAD TO FACE IN
ONE WAY OR ANOTHER, THE HARSH
REALITY AND NEGATIVE IMPACTS OF
RUNAWAY PRODUCTION. AND IT
DIDN'T HAVE TO HAPPEN AND IT
DOESN'T HAVE TO CONTINUE. STATES
AND NATIONS ARE WORKING HARD TO
DO EVERYTHING THEY CAN TO LURE
ENTERTAINMENT PRODUCTION OUT OF
CALIFORNIA BY INCREASING AND
EXPANDING THEIR TAX CREDIT
PROGRAMS. ACCESS TO TAX CREDITS
TO OFFSET THE COST OF PRODUCTION
IS A PRIMARY CONSIDERATION FOR
WHERE PROJECTS WILL SHOOT, AND
THEY DO LEAVE TAKING
CALIFORNIANS JOBS AND ECONOMIC
OPPORTUNITIES AWAY FROM
CALIFORNIA WHERE THEY BELONG.
THE CFC TRACKS PRODUCED PROJECTS
THAT APPLIED FOR TAX CREDITS BUT
WERE ULTIMATELY DENIED DUE TO
LACK OF AVAILABLE FUNDS. DATA
SHOWS THAT THE STATE LOST 77% OF
PRODUCTION SPENDING IN THOSE
PROJECTS THAT APPLIED FOR THAT
APPLIED FOR BUT DID NOT RECEIVE
A CALIFORNIA TAX CREDIT. 173
PRODUCTIONS THAT WERE ELIGIBLE,
BUT DID NOT RECEIVE TAX CREDITS
BETWEEN JUNE 2015 AND JUNE 2020
LEFT CALIFORNIA THE STATE LOST
8.6 BILLION AND ECONOMIC GROWTH.
THIS LOST ECONOMIC GROWTH DOES
NOT INCLUDE ALL OF THE PROJECTS
THAT DID NOT APPLY FOR THE TAX
CREDIT PROGRAM BUT ALSO SHOT
ELSEWHERE. FOR EXAMPLE, IN 2021
2022 16 OUT OF 28 PROJECTS THAT
DID NOT RECEIVE TRUCKS TAX
CREDITS LEFT TO BE PRODUCED OUT
OF STATE AND ACCOUNTED FOR 951
MILLION IN PRODUCTION SPENDING
OUTSIDE OF CALIFORNIA, A LOSS TO
THE STATES BELOW THE LINE
PRODUCTION WORKERS AND THE
BUSINESSES THAT RELY ON THE FILM
AND TELEVISION PRODUCTION
INDUSTRY. PRODUCTIONS THAT
APPLIED BUT DID NOT RECEIVE TAX
CREDITS BETWEEN 2020 AND 2022
LEFT CALIFORNIA TO GENERATE
EXPENDITURES IN THE FOLLOWING
JURISDICTIONS. IN NEW YORK
ALONE. 254 MILLION. AND
EXPENDITURES IN GEORGIA. NEW
MEXICO, LOUISIANA, MASSACHUSETTS
, CANADA, ENGLAND, ITALY,
IRELAND, MEXICO. THE FLIGHT OF
PRODUCTIONS TO OTHER STATES AND
NATIONS IN RESPONSE TO COMPETING
INCENTIVES GIVES CREDIBILITY TO
THE ASSERTION THAT THE COST
REDUCTIONS MADE POSSIBLE BY OUR
TAX CREDIT PROGRAM ARE DIRECTLY
RESPONSIBLE FOR KEEPING MANY
PRODUCTIONS HERE IN THE STATE.
TO DATE, 624 APPROVED PROJECTS
IN THE CALIFORNIA FILM AND TAX
CREDIT PROGRAM WITH AN
INVESTMENT OF 2.7 BILLION IN TAX
CREDITS ARE ON TRACK TO GENERATE
MORE THAN $21. BILLION IN
CALIFORNIA EXPENDITURES SINCE
THE PROGRAM STARTED IN 2009.
THESE PROJECTS HIRED. POLICE
PROJECTS HIRED OR WILL HIRE MORE
THAN 69,000 CAST 100 AND 3000
AND CREW AND OVER 1.5 MILLION
BACKGROUND PLAYERS. A RECENT
STUDY FROM MARCH 2022 BY THE LOS
ANGELES ECONOMIC DEVELOPMENT
CORPORATION. LOCKHEED EC
REPORTED THAT EACH DOLLAR
ALLOCATED BY CALIFORNIA'S TAX
CREDIT PROGRAM GENERATED AT
LEAST $24.40 AND OUTPUT. WHAT
DELINEATES CALIFORNIA'S FILM TAX
CREDIT FROM INCENTIVE PROGRAMS
AND OTHER STATES AND NATIONS. IS
OUR ITS TRANSPARENCY RELATED TO
SHARING DATA ABOUT PROJECTS,
ALLOCATIONS AND RESULTING
ECONOMIC IMPACT. CALIFORNIA'S
TAX CREDIT PROGRAM IS UNIQUELY
FOCUSED ON INCENTIVIZING, THE
TYPES OF PROJECTS MOST
SUSCEPTIBLE TO RUNAWAY
PRODUCTION OR PRODUCTIONS THAT
COULD POTENTIALLY BE LURED AWAY
FROM THE GOLDEN STATE.
CALIFORNIA'S PROGRAM IS MORE
RESTRICTIVE THAN MOST DUE TO ITS
QUALIFIED EXPENDITURES
PROVISIONS. WHICH MAKES TAX
CREDITS APPLICABLE ONLY TO BELOW
THE LINE WAGES AND PAYMENTS TO
INSTINCT VENDORS, NOT ABOVE THE
LINE COSTS, AND THIS MAKES IT A
BETTER VALUE FOR TAXPAYERS. THE
TAX CREDIT PROGRAM PROVIDES
STATEWIDE BENEFITS BOTH IN TERMS
OF TAX REVENUES AND PRODUCTION,
JOBS AND SPENDINGS. IT
FACILITATES PRODUCTION ACROSS
THE STRAIT, INCLUDING A GROWING
VOLUME OF FILMING OUTSIDE OF THE
TRADITIONAL LOS ANGELES 30 MILE
ZONE. TO DATE MORE THAN 60
FEATURE FILMS AND TELEVISION
SERIES SPENT CLOSE TO 208
MILLION OUTSIDE THE CITY OF LOS
ANGELES. 30, MILES OAN. THIS
SPENDING BENEFITED MANY SMALL
BUSINESSES, INCLUDING GROCERS,
HARDWARE STORES. GAS STATIONS,
HOTELS, OTHER RETAIL BUSINESSES
AS WELL AS LOCAL HIRES FOR
SERVICES SUCH AS CATERING AND
SET CONSTRUCTION AND MANY OTHER
ANCILLARY BUSINESS BUSINESSES.
IN ADDITION, SUCH SPENDING
IMPACTED LOCAL GOVERNMENTS
DIRECTLY VIA PAYMENTS MADE TO
LOCAL POLICE AND FIRE
DEPARTMENTS AS WELL AS REVENUE
FROM LOCAL PERMIT. FEES. THE NEW
SOUND STAGE PROGRAM IS
CALIFORNIA'S LATEST TOOL TO
IMPROVE ITS COMPETITIVENESS AMID
GLOBAL COMPETITION TO HOST FILM
AND TV PRODUCTION AND IT JOINS
ARE VERY SUCCESSFUL PRODUCTION
TAX CREDIT PROGRAM TO
DEMONSTRATE OUR STATE'S
COMMITMENT TO REMAINING THE
WORLD'S ENTERTAINMENT CAPITAL.
CALIFORNIA'S FILM AND TV TAX
CREDIT PROGRAM PROMOTES
WORKFORCE TRAINING AND
DIVERSITY, INCLUSION. THE CAREER
READINESS REQUIREMENTS MANDATES
THAT ALL TAX CREDIT PROJECTS
PARTICIPATE IN LEARNING AND
TRAINING PROGRAMS. CFC DEPUTY
DIRECTOR NANCY RAY STONE, WHO IS
HERE WITH US TODAY, WILL SHARE
MORE ON THESE PROGRAMS IN HER
REMARKS. THE PROGRAM ALSO
REQUIRES PARTICIPATING PROJECTS
TO HAVE A WRITTEN POLICY FOR
ADDRESSING UNLAWFUL HARASSMENT
AND SUBMIT VOLUNTARY REPORTED
ABOVE THE ABOVE AND BELOW THE
LINE CAST AND CREW EMPLOYMENT
DIVERSITY DATA. EACH PRODUCTION
MUST ALSO PROVIDE THE STATE WITH
A COPY OF ITS INITIATIVES AND
PROGRAMS TO INCREASE THE
REPRESENTATION OF WOMEN AND
MINORITIES. THE NEWLY PROPOSED
PROGRAM FOUR POINT OH INCLUDES A
DIVERSITY WORK PLAN COMPONENT TO
PROMOTE SHARED GOALS OF
PROVIDING EQUAL OPPORTUNITY IN
THE MOTION PICTURE AND
TELEVISION PRODUCTION INDUSTRY.
THE ADMINISTRATION STRUCTURED
THIS PROPOSAL TO PROVIDE AN
INCENTIVE OF 4% OF TOTAL DOLLAR
AMOUNTS FOR PROJECT APPLICANTS
TO SUBMIT AND MAKE A GOOD FAITH
EFFORT TO ACHIEVE A PROJECT.
SPECIFIC A PROJECT SPECIFIC
DIVERSITY WORK PLAN. THIS
PROVIDES AN OPT INTO THE
DIVERSITY PROVISIONS WITHOUT
REDUCING THE TOTAL AMOUNT OF
FUNDING AVAILABLE FOR OTHER
APPLICANTS. UM ADDITIONALLY, THE
NEW SOUNDSTAGE FILMING TAX
CREDIT PROGRAM TAKES AN
INNOVATIVE APPROACH TO ACHIEVING
TWO KEY GOALS. THE DEVELOPING
DEVELOPING MORE INFRASTRUCTURE
AND PROMOTING WORKFORCE
DIVERSITY. IT DEMONSTRATES
CALIFORNIA'S LEADERSHIP AND
SERVES AS A MODEL FOR OTHER
STATES. THIS IS A TIME OF
INCREASING COMPETITION AS OTHER
JURISDICTIONS INCREASE AND
EXPAND THEIR TAX CREDIT PROGRAMS
. FOR INSTANCE, NEW YORK NEW
MEXICO, ARIZONA AND OTHERS. WE
RECOGNIZE WE ARE STILL EARLY IN
THE BUDGET PROCESSING. THE
ADMINISTRATION HOPES TO CONTINUE
CONVERSATIONS AND COLLABORATION
WITH THIS LEGISLATURE ON THIS
TOPIC TO INCREASE DIVERSITY IN
EMPLOYMENT AND OPPORTUNITY TO
ENTER THE FILM AND TELEVISION
INDUSTRY WHILE BALANCING
COMPETITION WITH OTHER STATES
AND FUNDING AVAILABILITY. IT IS
IMPORTANT WE FIND THE RIGHT
STRUCTURE TO ACHIEVE THESE
DESIRED RESULTS. THANK YOU VERY
MUCH FOR YOUR TIME TODAY. IF YOU
WOULDN'T MIND TAKING A MOMENT TO
INTRODUCE YOURSELF, JUST FOR, UM
FOLKS THAT ARE WATCHING ONLINE.
YES OF COURSE I'M CALLING BELL,
DIRECTOR OF THE CALIFORNIA FILM
COMMISSION. THANK YOU. HELLO I'M
NANCY RICE STONE, DEPUTY
DIRECTOR OF THE CALIFORNIA FILM
AND TELEVISION TAX CREDIT
PROGRAM. THANK YOU, MADAM CHAIR
CARILLO AND MEMBERS OF THE
COMMITTEE FOR INVITING ME TO
SPEAK TODAY. I WOULD LIKE TO
EXPLAIN HOW THE FILM TAX
INCENTIVE PROGRAM HAS
PROGRESSIVELY HELPED INDIVIDUALS
FROM UNDERSERVED COMMUNITIES
GAIN EXPOSURE TO CAREERS IN THE
INDUSTRY. RECEIVED TRAINING AND
SUPPORT TO WORK IN THE INDUSTRY
AND WILL CONTINUE TO HELP
PRODUCTIONS PUT THE ISSUE OF
DIVERSITY IN THE FOREFRONT WHEN
PLANNING THEIR PRODUCTIONS. WITH
EACH ITERATION. THE FILM TAX
INCENTIVE PROGRAMS HAVE
INCREASED THEIR FOCUS ON
WORKFORCE DEVELOPMENT AND
EXPANDED OPPORTUNITIES TO CREATE
A MORE DIVERSE INDUSTRY. PROGRAM
TWO POINT OH ADDED THE CAREER
READINESS REQUIREMENTS, WHICH
FOCUSED ON CAREER EXPOSURE. AND
MANDATED THAT ALL TAX CREDIT
PROJECTS PARTICIPATE IN LEARNING
AND TRAINING PROGRAMS FOR
COMMUNITY COLLEGE HIGH SCHOOL
AND CAREER BASED LEARNING
PROGRAMS. AND OFFERED SUCH
THINGS AS PAID INTERNSHIPS,
EXTERNAL SHIPS FOR FACULTY
MEMBERS, WORKSHOPS, PANELS AND
PROFESSIONAL SKILLS TOURS. THE
CFC WORKS WITH OVER 100 SCHOOLS
ACROSS THE ENTIRE STATE AND OVER
50 WORK BASED LEARNING PROGRAMS
TO FACILITATE THESE EXPERIENCES
. IT'S CLEAR FROM THE
TESTIMONIALS THAT MANY STUDENTS
PROVIDE THAT THEY HAD NO
UNDERSTANDING OF THE MYRIAD OF
CAREERS ONE CAN HAVE IN THE
MOTION PICTURE INDUSTRY. AND
THAT THIS PROGRAM HAS OPENED UP
THEIR MINDS TO THE
POSSIBILITIES. EXPOSURE IS THE
FIRST STEP IN THE JOURNEY TO
FINDING ONE'S CAREER. PROGRAM
3.0, IN ADDITION TO CAREER
READINESS, ADDS A TRAINING
COMPONENT, ALONG WITH OTHER
REQUIREMENTS. EACH APPROVED
PROJECT MUST CONTRIBUTE A
PERCENTAGE OF THEIR TAX
INCENTIVE AMOUNT TO THE CAREER
PATHWAYS PROGRAM. THIS TRAINING
COMPONENT PROVIDES HANDS ON
TRAINING AND CAREER GUIDANCE.
FOR INDIVIDUALS FROM UNDERSERVED
COMMUNITIES. MULTIPLE TRAINING
PARTNERS ALSO SUPPLY MENTORS
FOCUS ON PRODUCTION, ETIQUETTE,
FINANCIAL WELLNESS CONFLICT
RESOLUTION RESOLUTION, AMONG
OTHER TOPICS, AS WELL AS JOB
PLACEMENT ASSISTANCE. EVEN WITH
TWO YEARS OF PANDEMIC SHUTDOWN,
THE CAREER PATHWAYS GRADUATED
224 STUDENTS WITH THAT NUMBER
EXPECTED TO DOUBLE IN YEAR
THREE. 72% OF GRADUATES SELF
IDENTIFY WITH HISTORICALLY
UNDERREPRESENTED COMMUNITIES AND
ALREADY 29% ARE MEMBERS OF A
UNION WITH ACCESS TO GOOD PAYING
JOBS AND BENEFITS. THE PILOT
CAREER PATHWAYS PROGRAM NOW HAS
GRADUATES. IN ADDITION TO L, A
SIX OTHER COUNTIES, WHICH
INCLUDE ORANGE, KERN, SAN
BERNARDINO, SAN DIEGO, ALAMEDA
AND ELDORADO, AND WE'RE LOOKING
FOR WAYS TO EXPAND THAT LIST.
THE PROGRAM ALSO REQUIRES THAT
EACH PRODUCTION PROVIDE A COPY
OF ITS INITIATIVES AND PROGRAMS
TO INCREASE THE REPRESENTATION
OF WOMEN AND MINORITIES. AND
THESE PROGRAMS ARE ALL POSTED ON
THE CFC WEBSITE. ALL
PARTICIPATING PROJECTS HAVE TO
SUBMIT A WRITTEN POLICY FOR
ADDRESSING UNLAWFUL HARASSMENT.
AND ALL PROJECTS MUST SUBMIT
VOLUNTARILY REPORTED ABOVE AND
BELOW THE LINE CAST AND CREW
EMPLOYMENT DIVERSITY DATA. AND
THAT IS ALSO GOING TO BE
PUBLISHED ON OUR WEBSITE PER
PROJECT. PROGRAM FOUR POINT OH,
WOULD CONTINUE THE EVOLUTION
TOWARD A MORE INCLUSIVE
WORKFORCE BY IN ADDITION TO ALL
THE THREE POINT OH INITIATIVES
REQUIRING EACH PRODUCTION TO
HAVE AN INTENSIVE FOCUS ON
DIVERSITY WHEN RECRUITING AND
HIRING AS COLLEEN POINTED OUT
THE NEWLY PROPOSED FOUR POINT OH
DIVERSITY REQUIREMENT INVITES
PRODUCTIONS TO RECEIVE A TAX
CREDIT AWARD TO SUBMIT A
DIVERSITY WORK PLAN AND AS AN
INCENTIVE TO OPT INTO THE
DIVERSITY PROVISION, THE
ADMINISTRATION PROPOSES THAT 4%
OF THE TOTAL DOLLAR AWARD FOR
EACH PROJECT. BE PLACED IN
RESERVE UNTIL THE PRODUCTION IS
COMPLETE, AND ITS DIVERSITY OF
EFFORTS HAVE BEEN REVIEWED. WE
ENVISION THAT ALL TAXPAYERS THAT
QUALIFY FOR THE CREDIT WILL
SUBMIT A DIVERSITY PLAN, AND IF
THEY MAKE A GOOD FAITH EFFORT,
THEY WILL RECEIVE 100% OF THEIR
AWARD. WE'RE HAPPY TO CONTINUE
DISCUSSING THIS STRUCTURE TO
FIND THE RIGHT ANSWER TO THIS.
THIS SITUATION, INCLUDING NON
MONETARY INCENTIVES. PLEASE NOTE
THAT OTHER STATES SUCH AS NEW
YORK AND ILLINOIS ALSO REQUIRE
DIVERSITY WORK PLANS WITHOUT
OFFERING ANY ADDITIONAL
INCENTIVES TO DO SO. AND MANY
STATES SUCH AS TEXAS HAVE NO
DIVERSITY WORK PLAN WHATSOEVER
IN CONCLUSION, THE TAX CREDIT
PROGRAM HAS PROGRESSIVELY
SUPPORTED EXPOSURE AND TRAINING
FOR INDIVIDUALS FROM UNDERSERVED
COMMUNITIES AND PRODUCTION
COMPANY FOCUS ON DIVERSIFIED
RECRUITMENT AND EMPLOYMENT.
CURRENTLY PROGRAM THREE POINT
OH, PRODUCTIONS PROVIDE
INFORMATION ON EXISTING
INITIATIVES, FOCUS AREAS AND
ORGANIZATIONAL AFFILIATIONS.
MANY OF THE PARENT COMPANY
INITIATIVES ARE CONTINUOUSLY
OPERATIONAL AND EXTEND BEYOND
THE INDIVIDUAL PRODUCTIONS,
MEANING THAT THE BENEFITS OF
THESE PROGRAMS ARE NOT LIMITED
FOR USE FOR THE PRODUCTIONS IN
THE TAX CREDIT PROGRAMS ALONE,
BUT THEY OPERATE ON A MUCH
BROADER SCALE. ON A FINAL NOTE.
I WANT TO POINT OUT THAT ONE OF
OUR INDEPENDENT PRODUCTIONS
EVERYTHING EVERYWHERE, ALL AT
ONCE, WHICH WON SEVEN OSCARS AND
HELP SET THE BAR FOR OSCAR
WINNING DIVERSITY IN ITS BEST
SUPPORTING ACTOR AND BEST
ACTRESS WINS FOR ASIAN ACTORS
AND A STORY ABOUT CHINESE
IMMIGRANTS. IS IN OUR PROGRAM.
WHERE BETTER TO FILM THIS STORY,
BUT IN CALIFORNIA AND WITH THE
HELP OF THIS PROGRAM IT HAPPENED
HERE. THANK YOU VERY MUCH. THANK
YOU. DEPARTMENT FINANCE. UM
JACOB, CURRENT DEPARTMENT OF
FINANCE. UM WE HAVE NO
ADDITIONAL COMMENTS AT THIS
TIME, BUT I'M HAPPY TO TAKE ANY
QUESTIONS THE COMMITTEE MAY HAVE
THANK YOU. AND THANK YOU TO THE
PANELISTS. WE DEFINITELY HAVE
SOME SOME FOLLOW UP QUESTIONS. I
DO WANT TO ACKNOWLEDGE THE
MEMBERS THAT ARE COMING INTO THE
INFORMATIONAL HEARING. I KNOW
FOLKS ARE GONNA BE COMING IN AND
OUT IF THERE ARE OPENING
COMMENTS OR REMARKS THAT YOU
WOULD LIKE TO MAKE IN CASE YOU
MAY NEED TO LEAVE BEFORE WE GO
INTO OUR 2 30, PLEASE LET ME
KNOW. KILLER. GOOD MORNING. UM.
MY FAMILY IS WORKED IN THE
MOTION PICTURE AND TV INDUSTRY,
UM AND RETIRED FROM THERE. UM
THIS, UM, INDUSTRY BRINGS GREAT
BENEFITS FOR OUR COMMUNITY. UM
IT'S A TREMENDOUS IT BRINGS
TREMENDOUS ECONOMIC IMPACT FOR
CALIFORNIA. I JUST WANT TO MAKE
YOUR DIVERSITY PLANS. I LIKE
HEARING WHAT I'M HEARING.
BECAUSE WE WANT TO JUST ENSURE
THAT THE WORKFORCE LOOKS LIKE
CALIFORNIA THAT IS SUPER
IMPORTANT TO US, AND SO I
UNDERSTAND THAT THE FILM AND TV
INDUSTRY BRINGS LOTS OF JOBS,
BUT WE WANT THOSE JOBS TO LOOK
LIKE CALIFORNIA AND THEN I HAVE
WHAT? WE'RE NOT READY FOR
QUESTIONS YET, RIGHT? WE WILL BE
IN A MOMENT. I JUST WANT TO BE
DIFFERENTIAL TO MISS FRIEDMAN
AND OUR CHAIR TING IF THEY HAVE
ANY COMMENTS AT THE MOMENT, IF
NOT OKAY, PLEASE GO AHEAD, MS
FRIEDMAN JUST BECAUSE I AM GOING
TO HAVE TO LIVE A LITTLE BIT
EARLY. I WANT TO THANK EVERYONE
FOR PARTICIPATING TODAY. I SPENT
25 YEARS IN THE FILM INDUSTRY.
IT'S WHAT BROUGHT ME TO LOS
ANGELES IN 1992 AFTER WORKING IN
NEW YORK, WITH FILM FOR SEVERAL
YEARS. MOST OF MY NEIGHBORS WORK
IN THE FILM INDUSTRY. MY HUSBAND
WAS A FILM EDITOR WHEN I MET
HIM, UM AND I WAS IN THE
INDUSTRY AT A TIME WHEN WE WERE
NOT PRODUCING THE KIND OF
CONTENT WE ARE NOW WHEN WE WERE
PRODUCING PRIMARILY REALITY
TELEVISION. IT WAS REALLY LEAN
TIMES FROM MY FRIENDS AND
NEIGHBORS. A LOT OF PEOPLE LEFT
THE INDUSTRY MYSELF INCLUDED.
AND SO I REALLY APPRECIATE WHAT
THE FILM TAX CREDIT HAS DONE TO
HELP TAKE ADVANTAGE OF THE OF
THE PEAK CONTENT WERE
EXPERIENCING NOW BUT TO MAKE
SURE THAT A LOT OF IT ENDS UP
STAYING IN LOS ANGELES. I WAS
ALSO IN THE INDUSTRY WHEN WE
FIRST SAW FILM TAX CREDIT. BEING
YOU USED IN CANADA TO LEARN
PRODUCTIONS NORTH OF THE BORDER
. AND I REMEMBER THE TOLL THAT
THAT TOOK. I WAS AT A COMPANY
THAT THAT DID PROBABLY. I DON'T
KNOW. WE PROBABLY DID EIGHT
FILMS A YEAR IN CANADA BECAUSE
OF THAT, AND SO WE HAD SOME
ABOVE THE LINE PEOPLE THAT WE
BROUGHT UP WHO WERE AMERICAN,
BUT ALMOST THE ENTIRE CREW WHERE
CANADIAN AND THAT WAS REALLY, TO
THE DETRIMENT OF MY COMMUNITY.
SO MAKING SURE THAT WE RENEW
THIS CREDIT IS VERY IMPORTANT.
THE BENEFITS GO BEYOND THE
IMMEDIATE FILM INDUSTRY BENEFIT.
THEY CROSS OVER TO THE MONEY
THAT GOES INTO SUPPORT OUR
SCHOOLS TO THE WELLNESS OF
PEOPLE WHO ARE ABLE TO NOT LEAVE
THEIR FAMILY FOR EIGHT, YOU KNOW
, 10 MONTHS OUT OF THE YEAR TO
PEOPLE THAT DON'T HAVE TO CHOOSE
BETWEEN STAYING WITH A YOUNG
CHILD OR BEING ABLE TO DO THEIR
JOB. IT GOES TO ALL OF THE
RESTAURANTS IN THE COMMUNITY.
ALL OF THE ANCILLARY, UM, USES.
WE'RE SEEING A LOT OF PRODUCTION
RIGHT NOW AROUND MY COMMUNITY
AROUND MY NEIGHBORHOOD, AND I
LOVE SEEING ALL OF IT. SO I'M
REALLY GLAD I WOULD LIKE TO SAY
THAT. YOU KNOW WHEN I WAS IN THE
INDUSTRY, AND I WAS AN
EXECUTIVE, UM WOMEN,
PARTICULARLY BUT CERTAINLY
MINORITIES. YOU KNOW, THERE WAS
A HUGE BARRIER TO ENTRY AND
DEFINITELY A GLASS CEILING. UM,
THAT YOU REALLY WAS VERY
DIFFICULT TO RISE ABOVE. UH AND
SO I DO THINK THAT THE DIVERSITY
UM PARTS THAT ARE THAT ARE BEING
WORKED INTO THIS AND STRAIGHTEN
. THINGS ARE INCREDIBLY
IMPORTANT. THEY ARE IMPORTANT TO
MAKE SURE THAT PEOPLE WHO ARE
FROM CALIFORNIA ARE DIVERSE
COMMUNITY IS ABLE TO ACCESS
THESE WONDERFUL OPPORTUNITIES
AND NOT JUST PEOPLE COMING FROM
OTHER PARTS OF THE COUNTRY. AND
THAT THE BENEFITS EXTEND TO
EVERYBODY. SO I DO THINK WE NEED
TO BE VERY COGNIZANT OF THE
FAILINGS OF PAST THE INSULAR
NATURE OF THE INDUSTRY THAT'S
KEPT PEOPLE OUT. UM, THE
TREMENDOUS GLASS CEILINGS THAT
HAVE EXISTED. UM EVERYONE ALWAYS
HAS TO BE REMINDED THAT YES,
PEOPLE WANT TO SEE MOVIES THAT
SHOW DIVERSE EXPERIENCES AND
FEATURE DIVERSE VOICES. WE SEEM
LIKE WE HAVE TO REMIND PEOPLE OF
THAT OVER AND OVER. BUT
CERTAINLY THE VIEWERS AND THE
TICKET BUYERS ARE REMINDING
PEOPLE OF THAT, AND IT WAS NICE
TO SEE THE MEMBERSHIP OF THE
ACADEMY REWARD THAT WITH THE
OSCARS SO AGAIN, THANK YOU,
MADAM CHAIR FOR HOSTING THIS,
AND I LOOK FORWARD TO HEARING
THE PANELISTS. THANK YOU. THERE
ARE NO ADDITIONAL COMMENTS WILL
GO INTO Q AND A MISS MCKENNA.
YOU HAD A QUESTION? YES THANK
YOU, MADAM CHAIR. I WOULD LIKE
TO HEAR. UM YOU GUYS DIVIDE
DEFINE WHAT IS GOOD FAITH. WHAT
DOES THAT MEAN? A GOOD FAITH
EFFORT. WELL, WE WILL LOOK AT
WHAT THE INITIAL GOALS WERE FOR
EACH PRODUCTION. EACH PRODUCTION
SETS THEIR OWN GOALS, ACCORDING
TO WHAT KIND OF PROGRAMMING
THERE THEY ARE CREATING AND WHAT
KIND OF OPPORTUNITIES THEY HAVE
, FOR INSTANCE, IN THE STORYLINE
AS WELL AS IN HIRING THEIR CAST
AND CREW IN TERMS OF THE
DIVERSITY, THE AMOUNT OF WOMEN
AND HOW DIVERSE UM THEIR GOALS
WILL BE. WE'LL LOOK AT ALL THEIR
GOALS AND WE ACTUALLY IN OUR
REGULATIONS MAKE IT VERY CLEAR.
WHAT KINDS OF GOALS THAT WE ARE
LOOKING FOR IN THESE PLANS SO
THAT EVERYONE KNOWS WHAT'S
EXPECTED OF THEM, AND WE LOOK AT
WHAT THEIR GOALS ARE AND, UM
THINGS LIKE GOALS TO ENSURE
QUALIFIED WAGE PARITY AMONG ALL
RACES, ETHNICITIES AND GENDERS.
CONSIDERING FACTORS SUCH AS
LEVEL OF EXPERIENCE AND
COMPETENCY GOALS TO ACHIEVE
BROADER AWARENESS OF AVAILABLE
POSITIONS. GOALS TO INTERVIEW A
BROADER POOL OF JOB CANDIDATES
OR MORE CANDIDATES WHO HAVE NOT
PREVIOUSLY WORKED ON A MOTION
PICTURE FOR THE APPLICANT. GOALS
TO ENHANCE INDUSTRY ACCESS AND
CAREER DEVELOPMENT. THINGS LIKE
THAT, LIKE VERY SPECIFIC. WHAT
ARE YOUR GOALS? SO THEY TELL US
WHAT THEIR GOALS ARE, AND THEN
WHEN THEY SUBMIT THEIR FINAL
PLANS, WE LOOK AT WHAT THEY DID
TO ACHIEVE THEIR GOALS. UM DID
THEY USE A CRUDE DATABASE THAT
HAS A LOT OF DIVERSE CREW
MEMBERS? DID THEY LOOK AT CAST
MEMBERS OF DIFFERENT ETHNICITIES
WHEN CASTING FOR PARTICULAR
ROLES WE LOOK AT YOU KNOW WHAT
THEIR ORIGINAL GOALS WERE AND
HOW WHAT KIND OF EFFORTS THEY
MADE TO ACHIEVE THOSE GOALS, AND
THAT'S THAT'S HOW WE DETERMINE
WHETHER THEY DID MAKE A GOOD
FAITH EFFORT TO ACHIEVE THEM.
THANK YOU. MURATSUCHI. THANK
YOU. I CAN FOLLOW UP ON THAT.
YOU KNOW AGAIN, YOU KNOW WHEN,
WHEN MS MAKIN ER AND MISS
CARILLO. AND. I UM AND I TOOK A
THE TOUR OF THE LAST CENSUS
COUNTY. DELEGATION TO MOVIE
STUDIOS. WE HAD A GREAT TIME AND
SO I DON'T WANT TO CALL OUT THE
TWO MOVIE STUDIOS. UM BUT, YOU
KNOW, NOTWITHSTANDING THE GOOD
FAITH EFFORTS. WE DIDN'T SEE A
LOT OF DIVERSITY THERE. AND, UM
YOU KNOW, I. I REMEMBER HAVING A
CHANCE TO TALK WITH SOME OF THE
BELOW THE LINE STAFF. UH AND, UM
. YOU KNOW, IT'S NOT ONLY THE
BELOW THE LINE STAFF, BUT THERE
WERE LIKE YOU KNOW? PEOPLE THERE
WHO TALKED, IT SEEMED LIKE A
COMMON THREAD WAS PEOPLE WHO
STARTED STARTED TALKED ABOUT HOW
THEY STARTED IN THE MAILROOM.
YOU KNOW, OR THEY STARTED AS
INTERNS, AND THEY WORKED THEIR
WAY OFF IN THE FILM INDUSTRY.
AND YOU KNOW, I DON'T HAVE THE
FAMILIARITY WITH THE INDUSTRY AS
AS AS MY COLLEAGUE FROM GLENDALE
. UM BUT I GOT THE FEELING THAT
IT WAS A VERY INSULAR COMMUNITY
WHERE YOU KNOW YOU EVEN EVEN AT
THE VERY ENTRY LEVEL MAILROOM
CLERK OR INTERN THAT THAT WAS A
WAY TO BREAK INTO THE INDUSTRY
AND, YOU KNOW, PURSUE A CAREER
IN, YOU KNOW, AND THE DREAM
MAKING INDUSTRY IN HOLLYWOOD. UM
SO YOU KNOW, I WOULD LIKE TO
SEE, UH THIS COMMITTEE AND, UH,
OUR LEGISLATURE TO EXPLORE. YOU
KNOW MORE SPECIFICS INTO INTO
HOW UH, YOU KNOW, THESE GOOD
FAITH EFFORTS ARE ARE ACTUALLY
TRANSLATING INTO WHAT MISS MAKIN
ER INDICATED, MAKING SURE THAT
THE WORKFORCE REFLECTS THE
DIVERSITY OF THE STATE OF
CALIFORNIA. UM THANK YOU. THANK
YOU SELL MEMBER MAJORITY LEADER.
THANK YOU, MADAM CHAIR. THE ONE
THING THAT ALWAYS COMES TO MIND
WHEN WE'RE TALKING ABOUT
DIVERSITY. IS INTENTIONALITY IF
YOU INTEND TO MAKE IT A DIVERSE
WORKFORCE, YOU WILL TAKE STEPS
THAT ARE NECESSARY TO MAKE IT
DIVERSE. UM IF YOU WANTED TO
JUST HAPPENED BECAUSE THE PEOPLE
ARE GOING TO APPLY. YOU'RE NOT
BEING INTENTIONAL ABOUT IT, AND
IT'S NOT GOING TO HAPPEN. IT
HASN'T HAPPENED FOR HOW MANY
YEARS? UM SO I THINK THAT THE
BEING INTENTIONAL ABOUT, UH,
ABOUT THE DIVERSITY AND I
APPRECIATE THE QUESTION ABOUT
WHAT IS GOOD FAITH. IT IF I SAY
I'M GOING TO ACCOMPLISH 12 AND
THREE AND I'M THE ONE THAT SAID
WHAT I'M GOING TO ACCOMPLISH
WELL, THEN, WHEN YOU ASKED ME IN
A YEAR, I ACCOMPLISHED
EVERYTHING BECAUSE I SAID, I SET
THE BAR. AS OPPOSED TO IT BEING
SET BY THE LEGISLATURE. TIED TO
THE VERY TAX CREDIT. SO, UM THE
DIVERSITY ISSUE. IS EXTREMELY
IMPORTANT OPPORTUNITIES, UM,
MUST BE PROVIDED TO SO MANY
OTHERS. THAT LOOKS LIKE THE REST
OF CALIFORNIA AND I JUST LOOK
HERE ON THE COMMITTEE MEMBERS
THAT ARE SITTING IN SUB FOUR.
THIS IS THIS IS CALIFORNIA.
THANK YOU. MR CHAIR. THANK YOU,
MADAM CHAIR. UH JUST A QUESTION
. I KNOW THAT WHEN WE PASSED THE
FILM TAX CREDIT THREE POINT OH,
IT'S MENTIONED IN THE STAFF
ANALYSIS IN 2018. WE HAD PUT
SOME, UH, DIVERSITY GOALS IN
THERE. CAN YOU GIVE US A SENSE
OF WHAT, UM, DIVERSITY METRICS
WERE ACHIEVED. SINCE THEN, FROM
2018 TILL NOW. YOU'RE TALKING
ABOUT THREE POINT. OH WELL. SO
FAR, WE'VE ONLY HAD 15 PROJECTS
THAT HAVE GONE THROUGH THE WHOLE
PROGRAM. SO WE ARE. WE'RE
LOOKING AT THOSE METRICS RIGHT
NOW, AND WE WILL BE PUBLISHING
THEM ON OUR WEBSITE. WHEN WILL
THAT BE PUBLISHED? PROBABLY IN
THE NEXT COUPLE OF WEEKS. YEAH
WE WERE JUST GOING THROUGH THE
FINAL AUDITS RIGHT NOW AND
GATHERING UP THE STATISTICS. IS
THERE A REASON THAT WE NEED TO
RUSH UM THIS RENEWAL OR
EXTENSION NOW VERSUS AFTER WE
GET SOME MORE INFORMATION ON
THAT ON THE DIVERSITY. WELL, THE
REASON FOR THIS IS PROVIDES
CERTAINTY TO THE INDUSTRY THAT
THIS FILM AND TV TAX CREDIT
PROGRAM WILL BE EXTENDED. UM YOU
KNOW, FOR AN ADDITIONAL FIVE
YEARS, AND THAT DOES COUNT FOR A
LOT FOR DECISION MAKERS. WHETHER
OR NOT PROJECTS CAN RECEIVE A
TAX CREDIT IS ONE OF THE PRIMARY
CONSIDERATIONS OF WHERE THEY
WILL SHOOT. IT'S JUST A FACT.
AND SO THIS PROVIDES DECISION
MAKERS THE ABILITY TO PLAN MORE
LONG TERM AND WITH THAT COULD
COME INFRASTRUCTURE INVESTMENTS
AND OTHER UM OTHER TYPES OF
INVESTMENTS HERE IN IN
CALIFORNIA. THANK YOU. I REALLY
APPRECIATE THAT POINT ABOUT
CERTAINTY AND CAN UNDERSTAND
THAT. AND I THINK YOU HEARD FROM
THE ENTIRE PANEL A CERTAIN
DESIRE FOR CERTAINTY THAT YOU
ARE GOING TO BE EMPLOYING A
DIVERSE WORKFORCE THAT NOT ONLY
BEHIND THE CAMERA, BUT IN FRONT
OF THE CAMERA, WHICH
TRADITIONALLY WE HAVEN'T SEEN,
UH AND YET WHEN WE ARE ASKING
FOR THAT. I DON'T THINK WE'RE
GETTING THE SAME KIND OF
CERTAINTY THAT YOU'RE ASKING
FOR. YEAH, WELL, IT'S GOING TO
BE VERY WE? WE APPRECIATE THE
SPIRIT OF THIS DIVERSIFYING THE
ENTERTAINMENT WORKFORCE PIPELINE
, AND THIS INDUSTRY IS EXTREMELY
IMPORTANT. CREATIVITY FLOURISHES
WHEN PEOPLE ARE FREE AND PEOPLE
ARE INCLUDED, AND THAT IS THE
SPIRIT OF THE STATE OF
CALIFORNIA. SO WE WANT TO MAKE
SURE THAT WE GET THERE, TOO, AND
HOW WE CRAFT THIS WILL BE VERY
IMPORTANT SO THAT WE CAN ACHIEVE
THESE DESIRED RESULTS WHILE ALSO
BEING COMPLIANT WITH A LOT OF
STATE AND FEDERAL LAWS THAT
EXIST. I GUESS WHAT I'M AGAIN.
WHAT'S BEEN CERTAIN IS THIS
LEGISLATURES ENACTED 333
DIFFERENT TIMES. THREE DIFFERENT
LEVELS OF TAX CREDITS. THAT'S
FACTUAL. THE OTHER FACT IS YOU
REPRESENT INDUSTRY THAT HASN'T
HISTORICALLY BEEN DIVERSE. THAT
HASN'T HISTORICALLY REPRESENTED
THE DIVERSITY. OF CALIFORNIA.
THAT'S A FACT Tð. THOSE ARE THE
FACTS. RIGHT AND SO WE, YOU KNOW
, UNDERSTAND YOUR DESIRE FOR
CERTAINTY, BUT WE CAN'T GO BACK
TO OUR CONSTITUENTS AND TELL
THEM WHY WE PUT MONEY. IN YOUR
POCKETS. WHEN THE MONEY COULD
HAVE GONE TO. YOU KNOW, I WAS
JUST UP HERE EARLIER. WE WERE
TALKING ABOUT CHILDCARE. WE'RE
TALKING ABOUT PRESCHOOL AND
PEOPLE NOT BE ABLE TO GET
CHILDCARE. SO WE HAVE TO TELL
THE CHILD CARE PEOPLE. HEY SORRY
WE COULDN'T COULDN'T GIVE YOU
MONEY FOR CHILD CARE BECAUSE WE
GIVE MONEY TO THE MOVIE STUDIOS.
AND WE GIVE MONEY TO MOVIES TO
US BECAUSE OF X Y AND Z SO
THAT'S THE CHALLENGE. AND I
THINK YOU'RE HEARING ALL OF US.
TALK ABOUT A PARTICULAR ISSUE.
AND I CAN'T UNDERSTAND WHY THE
FIRST THREE DOWN PAYMENTS DIDN'T
COVER ANY IMPROVEMENT IN
DIVERSITY, I GUESS IS IT BECAUSE
WE'RE NOT A DIVERSE STATE? OR L.
A IS NOT A DIVERSE CITY. I MEAN,
I'M TRYING TO UNDERSTAND WHAT'S
THE WHAT ARE THE CHALLENGES
WE'RE FACING? WELL, IN THREE
POINT. OH, WE THERE WERE THERE
WERE ADJUSTMENTS AND. MADE AND
PARTICULARLY IN ADDING THIS
TRAINING COMPONENT AND PROVIDING
DIVERSITY REPORTS SO AND THEN
FOUR POINT OH, MOVING FORWARD.
THERE IS EVEN A MORE ROBUST
DISCUSSION ABOUT HOW AGAIN TO
GET TO THESE DESIRED RESULTS.
THERE'S TO YOUR POINT.
ABSOLUTELY I THINK EVERYBODY IS
IN AGREEMENT THAT THERE'S MORE
THAT CAN BE DONE. AND YOU DO SEE
THAT, UM, YOU KNOW MANY OF ALL
OF THE MAJOR STUDIOS AND THEIR D
E. I PROGRAMS AND INITIATIVES
THAT ARE TAKING PLANE PLACE AND
EVEN SMALL, INDEPENDENT AND YOU
AND YOU ALSO HAVE PRIVATE
INVESTMENT FIRMS. THAT ARE
BUILDING STONE STAGES HERE IN
THE STATE OF CALIFORNIA THAT
ALSO HAVE A D E I INITIATIVES SO
COLLECTIVELY, ALL OF US TOGETHER
WE ALL WANT TO GET TO THE SAME
PLACE. WE JUST NEED TO FIGURE
OUT HOW TO GET THERE AND AS AS
SOON AS POSSIBLE BECAUSE AGAIN,
UM THAT'S WHERE WE WOULD ALL
LIKE TO ULTIMATELY BE. BUT BUT
BEGAN THAT THE EXTENSION WAS
PASSED IN 2018 AT THE SAME TIME
THAT A TAX CREDIT WAS ALREADY IN
ACTION. AND FIVE YEARS LATER,
RIGHT? WE'RE FIVE YEARS LATER.
NOW WE CAN'T GET ANY DATA. ON
PEOPLE TRAINED ON EMPLOYEES ON.
SO WHEN WE LAUNCHED THREE POINT
OH, SO WE'RE WAITING, SO YOU
HAVE TO GO. THE PROJECTS GO
THROUGH AN AUDIT PROCESS, AND
ONCE THEY'RE THROUGH THE AUDIT
PROCESS, THEN WE'LL BE IT WILL
BE ABLE TO TAKE THAT AGGREGATE
DATA. AND THEN WE'LL BE ABLE TO
SHARE THAT DATA AND WE'RE VERY
MUCH LOOKING FORWARD TO BEING
ABLE TO DO THAT. BUT BUT BUT
AGAIN, 33.0 WAS ON TOP OF TWO
POINT OH, AND ONE POINT OUT SO
THEY THIS IS THE THIS IS THE, UM
STUDIOS COULD HAVE BEEN ALREADY
DOING DIVERSITY WORK, BUT YOU
HAVE NO DATA YOU CAN SHARE WITH
US ABOUT THE PROGRESS AT ALL. WE
DID SHARE DATA IN OUR PROGRESS
REPORT AS FAR AS DIVERSITY GOES
FOR PROGRAM TWO POINT OH, THAT
IS ON OUR WEBSITE. COULD YOU
TELL THE COMMITTEE PLEASE DON'T
I DON'T KNOW WHAT THAT DATA IS.
I DON'T HAVE IT WITH ME, BUT IT
IS AVAILABLE ON OUR WEBSITE AND
SOMEONE CAN SOMEONE ON YOUR
TEAM. GET THAT INFORMATION TO
YOU RIGHT NOW BECAUSE RIGHT NOW
YOU'RE JADA IS LIKE 10 YEARS
OLD. WHY IS IT 10 YEARS OLD?
IT'S NOT UP TO DATE. BECAUSE
IT'S FROM PROJECT FROM PROGRAM
TWO POINT. OH, I MEAN, WHAT WE
NEED TO DO IS LOOK AT THE DATA
WANT DATA FROM THREE POINT? OH,
WHEN WE ACTUALLY YOU KNOW,
STARTED WHEN THE WHOLE VÆ I YOU
KNOW, HAS BEEN GETTING GATHERING
FORCES AND REALLY BEING PUT IN
PROGRESS. SO RECOGNITION AGAIN.
I'M JUST ONE MEMBER, RIGHT? MY
RECOMMENDATION WOULD BE UNTIL WE
CAN GET FACTS AND FIGURES BACK
FROM THE INDUSTRY. WE DON'T WE
SHOULDN'T BE ACTING ON. THIS
SEEMS PREMATURE. BECAUSE WE HAVE
PEOPLE THAT NEED JOBS. WE HAVE
PEOPLE THAT I WANT TO BE PART OF
THE INDUSTRY. AND YOU'RE ASKING
US FOR CERTAINTY WHEN YOU'RE
GIVING US NONE. SO I MEAN, IF
YOU WERE IN MY POSITION, YOU
KNOW, IT'S UH YOU KNOW SOMEONE
COMES TO YOU. THEY WANT TO SHOOT
A TV SHOW. YOU'RE LIKE, OKAY?
YOU KNOW, WE'LL DO IT, BUT WE'RE
NOT SURE IF WE CAN PUT THE MONEY
UP. HOW DOES THAT DISCUSSION GO?
WE'LL BE HAPPY TO GIVE YOU ARE
TWO POINT. OH WE'LL TAKE IT FROM
THE PROGRESS REPORT AND AS I
SAID, ARE 3.0 DATA WILL BE. I'LL
SEND YOU THAT AS SOON AS IT'S
GATHERED, JUST VERY
EXTRAORDINARILY DISAPPOINTING
THAT YOU'RE COMING. TO THE STATE
LEGISLATURE, KNOWING THAT THIS
IS ONE OF THE TOPICS THAT A
NUMBER OF LEGISLATORS CARE ABOUT
WITHOUT EVEN BEING ABLE TO
FACTUALLY. ADDRESS I'M NOT
TALKING ABOUT GOALS. I'M NOT
TALKING ABOUT HOPES AND DREAMS
AND DESIRES I'M TALKING ABOUT.
PEOPLE. HOW MANY PEOPLE HAVE
BEEN EMPLOYED? HOW MANY JOBS
HAVE BEEN CREATED? WHAT'S THE
DIVERSITY YOU WORKFORCE? THESE
ARE FACTS. YOU KNOW, WE'RE WE'RE
THE YOU'RE ASKING US. FOR FACTS
AND FIGURES. THAT'S WHAT THE
PROPOSAL IS. YOU'RE ASKING US
FOR MONEY. TO HELP YOU EMPLOY
PEOPLE. AND YET YOU STAND IN
FRONT OF YOU SIT IN FRONT OF
HERE WITHOUT BEING ABLE TO SAY
ANYTHING ABOUT THE PROGRESS ON
THE DIVERSITY OF YOUR WORKFORCE
OR YOUR PROJECTS. SO PERHAPS WE
SHOULD BE RECESSING AND COMING
BACK WHEN YOU'RE MORE PREPARED.
WHY DO HAVE SOME DEMOGRAPHICS
FROM OUR CAREER PATHWAYS PROGRAM
? IF YOU'RE INTERESTED IN CAN
YOU TELL US WHAT THAT IS?
PLEASE? SURE. AH 124
PARTICIPANTS. CAN YOU TELL US
WHAT THE CAREER PATHWAYS PROGRAM
IS? THE CREW PATHWAYS PROGRAM IS
A PROGRAM WHERE OUR PRODUCTIONS
CONTRIBUTE 1240.25% OF THEIR TAX
CREDIT AMOUNT TO A TRAINING
PROGRAM FOR PEOPLE FROM
UNDERSERVED COMMUNITIES. WE HAVE
MANY TRAINING PROVIDERS THAT
WORK WITH THESE INDIVIDUALS. UM
31. WE'VE HAD 224 PARTICIPANTS
SO FAR. 31% OF THEM 224. AND I
COULD SEND YOU THIS SO YOU DON'T
HAVE TO TAKE THE TIME TO TAKE
NOTES. IT'S GREAT 31% OF IN
FEMALE 48% HAVE BEEN MALE. 29%
ARE AFRICAN AMERICAN AND 26. ARE
LATIN, X OR HISPANIC, AND THESE
ARE ALL SELF REPORTED. UM 37%
ARE BETWEEN 25 34. I'M JUST KIND
OF GIVING YOU THE MAIN
STATISTICS. 35% EARN LESS THAN
$10,000 WHEN THEY ENTERED THE
PROGRAM. AND 34% OF THEM HAD
SOME COLLEGE BUT HAD NOT
GRADUATED. CAN YOU GIVE US A
SENSE? YOU MENTIONED 25% OF THE
TAX CREDIT WENT INTO THIS
PROGRAM. 0.25% 25% CAN YOU GIVE
US WHAT ABRUPT DOLLAR AMOUNT WAS
? THAT DEPENDS. THOUSANDS CREDIT
IS SO IT BE 250.25% AGGREGATE
THIS INFORMATION OR A $2.5
MILLION TAX CREDIT YOU'D BE
PAYING ABOUT $6200. YOU GOT 200
TIMES. I'M JUST TRYING TO
UNDERSTAND HOW MUCH MONEY WENT
INTO THE 221 PARTICIPANTS. AH I
DON'T HAVE THE EXACT AMOUNT OF
MONEY LIKE 15,000. WAS IT A
MILLION. JACOB COHEN DEPARTMENT
OF FINANCE, SO IT'S 330 MILLION
IN ALLOCATIONS PER YEAR. SO UM,
YOU KNOW OF THAT AGGREGATE 0.25%
WOULD BE GOING INTO THE CAREER
PATHWAYS PROGRAMS, SO THAT'S
ABOUT A MILLION DOLLARS A YEAR.
UM, KIND OF. MILLION DOLLARS A
YEAR. UM AND THIS WAS 221
PARTICIPANTS. TOTAL OR 24 TOTAL,
AND THEN FOR HOW MANY YEARS WAS
THAT? FOR THE PAST THREE YEARS,
THREE YEARS, SO THAT'S ABOUT $3
MILLION. WHICH WELL, YOU HAVE TO
UNDERSTAND THAT DURING THE
PANDEMIC, THIS PROGRAM WAS
SEVERELY IMPACTED. FAIR ENOUGH,
SURE, AND IT WAS ONLY IN
EXISTENCE FOR THREE YEARS. SO
MAYBE IT WAS A MILLION DOLLARS.
OKAY? SO THESE THINGS WERE
STARTING TO UNDERSTAND WHAT SOME
DOLLARS AND CENTS, BUT I THINK
WHAT WE WOULD LIKE TO DO IS GET
A BETTER INDICATION AS TO IF
THIS IS THE ONLY THING THAT'S
BEING DONE OR THIS IS JUST ONE
OF MANY THINGS THAT'S BEING
DONE. I THINK WHAT WE NEED IS
MORE INFORMATION. OTHERWISE I
DON'T THINK I HAVE THE ABILITY
TO REALLY ACT ON THIS. WELL IN
ADDITION TO THE CAREER PATHWAYS
PROGRAM, AS I SAID, WE'VE HAD
HUNDREDS OF PEOPLE GO THROUGH
THE CAREER READINESS PROGRAM. UM
THEY'VE BEEN WORKED AS PAID
INTERNS AND A LOT OF THEM HAVE
GOTTEN THE CONNECTIONS AND THE
WORKFORCE TRAINING TO GET JOBS
IN THE INDUSTRY. SO IT'S BEEN A
LOT OF PEOPLE HAVE BEEN AND I
AGAIN I CAN GIVE YOU THE NUMBERS
OF PEOPLE THAT ARE PARTICIPATING
IN THE CAREER READINESS SINCE
IT'S BEGINNING AND PROGRAM TO
POINT OUT. I THINK THAT'D BE
VERY THAT WOULD BE HELPFUL. I
THINK THAT THIS IS SOMETHING
THAT OTHERWISE IT'S VERY
DIFFICULT TO EVALUATE THE
EFFICACY OF THE GLOBAL AND THEN
WITH. FOUR POINT OH, WHAT ARE WE
TALKING ABOUT? IN TERMS OF JOB
CREATION. IN TERMS OF FOUR POINT
OUT HOW MANY JOBS WOULD BE
CREATED? WELL I WENT THROUGH SO
IT WITH THE BASELINE AGAIN IS
330. OF COURSE MILLION AND SO WE
CAN GO BACK THROUGH SOME OF THE
STATISTICS THAT I GAVE EARLIER
IN MY REPORT JUST TO GIVE YOU AN
IDEA. THANK YOU WOULD LIKE FOR
ME TO DO THAT? THAT WOULD BE
WONDERFUL. THANK YOU. GIVE ME
TWO MINUTES HERE. SEE WE SHARED
. OKAY ALL RIGHT. UM SO, UM, SO
IN TERMS OF PROGRAMS, ONE POINT
OH, TWO POINT AND THREE POINT TO
DATE. 8.2 BILLION IN QUALIFIED
WAGES WENT TO 220,000
CALIFORNIANS WORKING AS CAST AND
CREW MEMBERS HIRED AND THERE
WERE CLOTHES. 2,000,400. 1000
BACKGROUND PLAYERS HIRED UM, AND
THESE FIGURES THAT YES, THESE
ARE THESE. THESE ARE THESE ARE
STAND INS. YES, AND THESE ARE
OUR MANDATES. BUT I ALSO WOULD
LIKE TO ALSO POINT OUT THAT
THESE FIGURES DON'T INCLUDE THE
SALARIES OF THOSE IN ABOVE THE
LINE JOBS, UM PERFORMERS,
DIRECTORS, PRODUCERS, WRITERS,
COMPOSERS, MUSIC SUPERVISORS,
ALL OF WHOM WORKED ON THESE
PRODUCTIONS. HERE IN CALIFORNIA
BECAUSE OF THE TAX CREDIT AND
SPENT THEIR INCOME HERE PAID
TAXES AND SUPPORTED THE STATE'S
ECONOMY. WHICH IS GREAT FOR
THOSE 220,000 JOBS. DAVIS SENSE
OF ANY OTHER, UM, DEMOGRAPHIC
BREAKDOWN OF THEM. WE DON'T HAVE
DATA FROM ONE POINT. OH, AND, UM
TWO POINT AND WE AGAIN WE ARE
WORKING ON THE DATA FOR THREE
POINT OH, GOT A BIT YOU BEHAVE
THAT WE WILL NUMBER OF PEOPLE
YOU JUST DON'T KNOW. YOU CAN'T
GIVE US A SENSE OF WHO THEY ARE.
AND WE WILL BE ABLE TO BECAUSE
NOW THAT 3.0 IS LAUNCHED, AND
HE'S GONE THROUGH THE AUDIT
PROCESS THE PROJECTS THEN WE
WILL HAVE THAT WE WILL HAVE THAT
DATA. WE WILL. WE WILL HAVE THAT
DATA. AND AGAIN, UM YOU KNOW,
FOUR POINT OH, IS THERE AS
THEY'RE WORKING OUT A DIVERSITY
PROVISIONS AND CRAFTING A
DIVERSITY PROVISIONS. UM THAT
IS, BUT I GUESS IT'S ALMOST LIKE
I DON'T KNOW WHAT THE DIVERSITY
PROVISION NEEDS TO BE PART OF A
TAX CREDIT. IT YOU KNOW, WE'VE
ALREADY DONE OUR PART. AND AGAIN
, IT DOESN'T FEEL LIKE THE
INDUSTRY HAS DONE THEIR PARTNERS
. SO I'M JUST, YOU KNOW, AND IF
I'M WRONG, I'D LIKE TO. I WOULD
HOPE I'M WRONG. I'D LIKE TO BE
WRONG, YOU KNOW, BUT YOU ALL
COME IN HERE TODAY WITHOUT ANY
INFORMATION MAKES ME VERY
DISAPPOINTED. I WOULD INVITE YOU
TO GO TO OUR WEBSITE AND LOOK AT
THE ALL THE WEBSITE. I CAN SEND
YOU. I'M SORRY. THAT'S ACTUALLY
VERY INSULTING YOUR HERE IN
FRONT OF A LEGISLATIVE
COMMITTEE. OKAY SO THEN WHY
DON'T YOU GO TO OUR WEBSITE? IF
YOU WOULD LIKE A TAX CREDIT YEAH
, I'M HAPPY TO SEND YOU ALL THE
DIVERSITY INITIATIVES THAT WE
HAVE ON OUR WEBSITE THAT ALL OF
OUR PRODUCTION CARE ABOUT THE
INITIATIVES. I CARE ABOUT FACTS
AND FIGURES. I DON'T CARE ABOUT
NICE WORDS WRITTEN BY YOUR
COMMUNICATIONS PEOPLE. I WANT TO
KNOW PEOPLE. I MEAN, THAT'S WHY
IT'S EVEN DISAPPOINTED TO NOTE
THAT YOU, HAVE YOU, YOU YOU
COUNTED THESE 220,000 PEOPLE,
BUT YOU DID NOT GO TO THE NEXT
LEVEL TO BREAK DOWN
DEMOGRAPHICALLY WHO THEY WERE.
IT'S HAVING ACCESS TO THAT TO
THAT DATA AS WELL. UM AND YOU
HAVE THAT YOU HAVE THE NUMBERS
220,000 PEOPLE, BUT THAT WOULD
ASSUME THAT EVERYBODY HAS SELF
REPORTING, UM AND WE DON'T HAVE.
WE DON'T HAVE THAT DATA. BUT
AGAIN. WE'RE ALSO TALKING ABOUT
THE PROJECTS THAT ARE IN OUR
FILM AND TELEVISION TAX CREDIT
PROGRAM. THERE IS OTHER
PRODUCTION TAKING PLACE HERE IN
IN THE STATE OF CALIFORNIA. WE
DO NOT HAVE UM WE DON'T HAVE
MUCH DATA ON THAT VERY EXCITED
WHEN I ASK YOU ABOUT HOW MANY
JOBS CRITICS START TRAVELING
THAT OFF VERY QUICKLY, RIGHT?
BUT YOU COULDN'T TELL ME WHO WHO
THEY ARE. CHRIST OH, SORRY. GO
AHEAD WAS JUST GOING TO SAY, UM
I WAS I WAS JUST GOING TO SAY
WHICH IS WHICH IS WHY WE ARE
HAVING THESE VERY ROBUST
DISCUSSIONS ABOUT HOW THIS WAS
DISCUSSED. THE MORE
DIVERSIFICATION AND I'M SORRY.
THIS WAS THIS WAS DISCUSSED FIVE
YEARS AGO. THIS WAS DISCUSSED
FIVE YEARS AGO AND THE FACT THAT
YOU'RE COMING TODAY. MHM. FIVE
YEARS LATER. NO INFORMATION. NO
DATA ASKING ME TO GO TO YOUR
WEBSITE. OKAY SO YOU KNOW WHAT?
MAYBE WHEN? BY THE TIME YOU COME
IN MAY OR JUNE? I'M SORRY. I
DON'T HAVE TIME TO PUT YOUR
INFORMATION THE BUDGET. I'M TOO
BUSY LOOKING ON YOUR WEBSITE FOR
THE INFORMATION THAT YOU DIDN'T
GIVE ME SO I'LL BE ON YOUR
WEBSITE WILL BE HAPPY TO SEND
YOU THE DATA TO BE IN COMMITTEE
WORKING ON YOUR ITEM. UH, CLASS,
BUT REFUND ABILITY. WHAT'S THE
POINT OF REFUND ABILITY? CAN I
COME FROM? NOT TRYING TO
UNDERSTAND. LIKE WHAT IS THAT
GOING TO GET US MORE JOBS IS
THAT YEAH. SO JACOB CORN
DEPARTMENT OF FINANCE, SO WE'RE
FUND ABILITY IS REALLY CENTERED
AROUND INCREASING THE
COMPETITION OF THIS TAX CREDIT
SO THAT MORE BUSINESS TYPES ARE
ABLE TO USE IT RIGHT NOW. UM YOU
MAY HAVE A BUSINESS THAT DOESN'T
HAVE ANY TAX LIABILITY IN ONE
YEAR, BUT THEY STILL MAKE THE
EXPENDITURES IN THE STATE TO BE
WORTHY OF THE CREDIT. THEY'RE
JUST NOT ABLE TO USE IT BECAUSE
THEY DON'T HAVE THAT TAX
LIABILITY. UM AND, UH, WE'VE
ALSO GOT ITS WE FROM OUR
ANALYSIS. IT LOOKS LIKE UM AS
MANY OF AS TWO THIRDS OF OTHER
STATES OFFER MORE GENEROUS TAX
CREDITS IN TERMS OF THEIR THEIR
ACCESSIBLE BY A COMPANY THAT HAS
NO TAX LIABILITIES TO WHETHER
THAT'S THEIR TRANSFERRABLE.
WHICH ARE AS GENERALLY AREN'T
UNLESS YOU'RE AN INDEPENDENT
FILM. UM OR THEY'RE REFUNDABLE
OR THEIR GRANTS. THERE ARE A LOT
OF GRANTS AS MANY AS 15 STATES
OFFER GRANTS AND REBATES. SO
THIS IS JUST KIND OF LEVELING
THE PLAYING FIELD AND SORT OF
ALLOWING MORE CALIFORNIA
BUSINESSES THAT WE INTEND TO BE
ABLE TO USE THESE CREDITS TO
ACTUALLY USE THEM. HOW MANY MORE
JOBS WOULD BE CREATED BECAUSE OF
REFUND ABILITY THAN ARE CREATED
NOW. WELL I MEAN, THE IDEA WOULD
BE THAT BY OFFERING REFUND
ABILITY. UM. THESE BUSINESSES
WOULD BE MORE INCENTIVIZED TO
APPLY FOR THE PROGRAM AND EXPAND
IN CALIFORNIA. AT THE CURRENT
MOMENT, YOU CAN IMAGINE A
PRODUCTION UM THAT WANTS THIS
CREDIT WANTS TO BE ABLE TO USE
IT, BUT DOESN'T ENVISION THAT
THEY'RE GOING TO HAVE TAX
LIABILITY IN THE NEXT, HOWEVER
MANY YEARS EVEN THOUGH THEY
WOULD MAKE THE EXPENDITURES ON
THE PRODUCTION THAT THEY ARE, UM
, YOU KNOW, PLANNING AND BECAUSE
THEY SEE WELL, UH, I COULD GO TO
CALIFORNIA, BUT I DON'T
ANTICIPATE THAT I'LL BE ABLE TO
USE THIS CREDIT OR I COULD GO TO
NEW YORK, AND THEY HAVE A
REFUNDABLE CREDIT WHILE GO
PRODUCED IN NEW YORK, SO THE
IDEA WOULD BE THAT WE WOULD
RETAIN MORE OF THESE PROJECTS IN
CALIFORNIA BECAUSE THEY WOULD
HAVE YOU KNOW, IT'S MORE
ASSURANCE THAT THEY'D BE ABLE TO
USE THE CREDIT. AND I GUESS THAT
DID YOU HAVE ANY ECONOMIC
ANALYSIS, SAYING HOW MANY JOBS
MIGHT BE RETAINED OR HOW MANY
SHOOTS OR FILMS OR TV SHOWS? WE
DO NOT HAVE YOU NO SPECIFIC
FIGURES REGARDING HOW MANY JOBS
MIGHT BE MAINTAINED. I COULD
POSSIBLY GET SOMETHING TO YOU ON
THAT IT WOULD BE A PERCENTAGE.
SO WE HAVE A PERCENTAGE OF FILMS
THAT WE BELIEVE DESPITE MEETING
THE EXPENDITURE REQUIREMENTS ARE
UNABLE TO USE THE CREDITS. THIS
IS BASED ON PAST PROGRAM DATA,
WHERE WE SAW A CERTAIN NUMBER OF
CREDITS THAT ENDED UP BEING
CERTIFIED, BUT WE'RE NOT
EVENTUALLY USED ACTUALLY,
BECAUSE WE THINK THE COMPANY HAD
NO TAX LIABILITY. UM AND SO WE
COULD POTENTIALLY YOU KNOW, TRY
TO ESTIMATE UH, WHAT PERCENTAGE
OF JOBS WOULD BE CREATED? BUT WE
DON'T HAVE A NUMBER RIGHT NOW. I
THINK I THINK I'M SORRY. GO
AHEAD. NO CHURCH, CHURCH NG. WE
DO HAVE THE CONGRESSMAN ON ON
THE LINE FOR SECOND PANEL, SO
IT'S TOTALLY FINE. I JUST DON'T
WANT TO LOSE THE TIME CRUNCH IF
YOU COULD GIVE US SOME SOME DATA
OR SOME UNDERSTANDING AS TO WHAT
WHAT'S GOING TO HAPPEN AROUND
THAT REFUND ABILITY ISSUE JUST
BECAUSE WE HAVEN'T DONE IN THE
PAST ONE JUST TRYING TO
UNDERSTAND WHAT WE'RE GETTING
FOR THAT INCREASED BENEFIT.
OKAY? AND WE CLEARLY HAVE A LOT
MORE QUESTIONS AND COMMENTS SO
WE'RE GOING TO GO TO THE
CONGRESSMAN FOR COMMENT, BUT
PLEASE STAY FOR ADDITIONAL
QUESTIONS AND ONE ADDITIONAL
COMMENT FROM ITS FRIEDMAN BEFORE
SHE LEAVES. YEAH, I'M SORRY, AND
I DO HAVE TO GO. SO IT'S MORE OF
A COMMENT OVERALL, I DO VERY
MUCH APPRECIATE. UM THE CHAIRS
CHAIR TINGS LINE OF QUESTIONING.
AND I DO HOPE THAT SOME OF THE
FOLLOWING PANELS WILL BE ABLE TO
MAYBE GIVE MORE INFORMATION. I
WOULD SUSPECT THAT THERE'S A
DEEPER UNDERSTANDING OF SOME OF
THE CHANGES BASED FROM THE
PEOPLE WHO ARE WORKING, YOU
KNOW, DAY TO DAY ON THESE
CRUISE. I JUST WANT TO SAY THAT
WHEN I WAS IN THE INDUSTRY WAS
WASN'T THAT LONG AGO. I GUESS IT
WAS THE NINETIES AND THE TWO
THOUSANDS, IT WAS CLEAR THAT THE
INDUSTRY HAD A DIVERSITY
PROBLEM, AND THIS IS ALWAYS BEEN
AN INDUSTRY THAT'S VERY, VERY
HARD TO BREAK INTO. NEPOTISM IS
RAMPANT IN THE INDUSTRY, BOTH ON
THE MORE PRIME BELOW THE LINE
JOBS, BUT CERTAINLY ABOVE THE
LINE AND CERTAINLY REFLECTED IN
THE EXECUTIVE SUITES, UM, IN IN
THE INDUSTRY. AND I WILL SAY
THAT YOU KNOW, IT'S ANECDOTAL.
IT'S NOT SOMETHING THAT I'VE
STUDIED OR HAVE DATA ON, BUT I
SEE A PRETTY PROFOUND CHANGE AS
WELL. JUST YOU KNOW, ANECDOTALLY
WITH PEOPLE THAT I KNOW WHO ARE
NOW WORKING IN THE INDUSTRY WITH
WHAT WE'VE SEEN REFLECTED WITH
SOME OF THE ABOVE THE LINE
MEMBERS ALSO, AND I CAN TELL
YOU, YOU KNOW, I'VE GOT A
NEIGHBOR WHO IS A VERY
PROMINENT, UH TV DIRECTOR WHO
LET PRETTY MUCH LEFT THE
INDUSTRY BECAUSE HE SAID THAT HE
CAN NO LONGER BE HIRED BECAUSE
HE'S A WHITE MAN. AND HE WAS
QUITE WHICH I KNOW IS NOT TRUE.
UM BUT IT IS GOOD TO SEE THAT
YOU KNOW, PEOPLE ARE RECOGNIZING
THAT THERE'S MORE OF A DESIRE
FROM THE INDUSTRY ITSELF TO FIND
PEOPLE OF COLOR AND FIND WOMEN
TO BE IN THESE ROLES, BUT
CERTAINLY NOT ENOUGH, AND I DO
HOPE THAT OTHER PANELISTS CAN
COME UP AND GIVE MORE.
INFORMATION I WILL SAY THAT
HAVING A PAID INTERNSHIP
PROGRAM, AS THEY ARE DRAWING
FROM OUR COMMUNITIES IS
SOMETHING THAT DID NOT EXIST AT
ALL. WHEN I WAS IN THE BUSINESS,
AND HAVING THAT PIPELINE IS
REALLY A HUGE CHANGE FROM THE
WAY IT USED TO WORK, WHICH WAS
HAVING TO KNOW PEOPLE YOU KNOW,
AND OR, YOU KNOW, FIGURE OUT HOW
TO GET YOUR YOUR FOOT IN THE
DOOR WAS NOT EASY. I DO WANT TO
SAY THAT ALL OF THAT ASIDE. THIS
TAX CREDIT. ITS IMPACT CANNOT BE
OVERSTATED TO CALIFORNIA AND
CERTAINLY TO MY AREA IN LOS
ANGELES AND THE ABILITY TO HAVE
THE PRODUCTION AND THE GROWTH
THAT WE'RE SEEING, WITH STUDIOS
EXPANDING THEIR OPERATIONS AND
THE ECONOMIC DEVELOPMENT THAT
THAT'S OFFERING IN OUR
COMMUNITIES AND THE GROWTH AT A
TIME WHEN PEOPLE ARE LOOKING FOR
UPWARDLY MOBILE JOBS WHEN
THEY'RE LOOKING FOR UM, CREATIVE
JOBS THAT GIVE PEOPLE A CREATIVE
OUTLET, WHICH IS WHAT A LOT OF
PEOPLE COME TO CALIFORNIA FOR
WHEN WE HAVE WAGE STAGNATION IN
MANY OF OUR AREAS, THIS IS ONE
AREA WHERE IF YOU CAN GET IN,
THERE'S ACTUALLY THE CHANCE TO
BE AT TO BE FULFILLED
ARTISTICALLY TO HAVE UPWARD
MOBILITY TO REALLY HAVE A CHANCE
AT AN INCREDIBLE OPPORTUNITY,
AND THIS TAX CREDIT IS VERY,
VERY IMPORTANT TO ROOT THAT ALL
OF THOSE OPPORTUNITIES IN
CALIFORNIA SO I VERY MUCH WOULD
LIKE TO SEE IT, YOU KNOW, GET
THROUGH THE LEGISLATURE AND GET
EXTENDED. IT'S VERY IMPORTANT
AND I THINK THAT ALL THESE
CONVERSATIONS WITHIN IT, IT'S A
GREAT OPPORTUNITY TO HAVE THOSE
CONVERSATIONS AND TO MAKE THE
PROGRAM EVEN MORE POWERFUL IN
TERMS OF REFLECTING OUR
DIVERSITY. UM AND I LOOK FORWARD
TO SEEING THIS MOVE THROUGH THE
LEGISLATURE. THANK YOU. SORRY WE
DO HAVE TO GO TO THE SECOND
PANEL. THANK YOU, MR FRIEDMAN.
UM THERE'S A LOT SAID HERE.
WE'RE GOING TO GO TO OUR SECOND
PANEL. I CERTAINLY HAVE SOME
FOLLOW UP QUESTIONS. I KNOW THAT
OUR CHAIR DOES. WE WANT TO
WELCOME MS ASSEMBLYMEMBER'S
WICKS, THE SWEAT TO THE
COMMITTEE, AND I KNOW MISS
MCKENNA ALSO HAS ADDITIONAL
QUESTIONS AS WELL. UM THERE'S I
THINK THERE'S A LOT MORE THAT
CAN BE SHARED. I DID ACTUALLY GO
TO THE WEBSITE. THE 2022 REPORT
TO THE LEGISLATURE ON DIVERSITY
JUST TO SHARE SOME INFORMATION
WITH MY PANEL IS THE MEMBERS ON
THE DIETS NOW AND ALSO
ASSEMBLYMEMBER'S EARLY WELCOME.
AH! APPEARS TO BE A REALLY GREAT
REPORT. BUT NOT ON THE
CALIFORNIA FILM TAX CREDIT
PROGRAM. IT IS DIVERSITY REPORTS
OUTSIDE ON EVERY OTHER
PRODUCTION. OTHER REPORTS
ACCUMULATED INFORMATION. THAT IS
IMPORTANT TO KNOW ABOUT THE
INDUSTRY. BUT IT'S NOT RELATED
TO THIS PROGRAM. AND SO, AS I
HAVE ASKED IN THE PAST
INFORMATION DATA STATISTICS LIKE
THAT'S WHAT WE NEED. UM IF THE
INFORMATION THAT YOU HAVE SAID
FROM CREWS THAT ARE HIRED ARE
DONE ON A VOLUNTEER BASIS, RIGHT
? THAT MEANS THAT YOU ONLY HAVE
A PERCENTAGE. OF FOLKS THAT ARE
WILLINGLY GIVING YOU THE
INFORMATION ON THE DATA ON THIS
PROGRAM AND THE CALIFORNIA FILM
TAX CREDIT PROGRAM. MY QUESTION
TO US AND YOU'LL HAVE MORE THAN
ABOUT AN HOUR TO FIGURE THIS
OUT. IF YOU CAN GET THE
INFORMATION WHAT IS THE
PERCENTAGE OF THE VOLUNTEER DATA
THAT YOU HAVE RECEIVED FROM
CRUISE ON THIS PROGRAM THAT WILL
BE ABLE TO HELP US FIGURE OUT
AND UNDERSTAND WHAT YOUR
DIVERSITY CURRENTLY LOOKS LIKE.
IF THE INFORMATION IS ONLY ON A
VOLUNTEER BASIS, BASED ON AN
APPLICATION PACKET THAT I GET AS
A CREW MEMBER. RIGHT. SO I'M
GONNA PUT MY INFORMATION THERE
AND THAT INFORMATION IS
VOLUNTARILY GIVEN TO THE FILM
COMMISSION. OUT OF THE STACKS OF
INFORMATION THAT YOU HAVE. WHAT
IS THE PERCENTAGE THAT YOU GET
BACK? BECAUSE WE WANT TO HAVE A
CLEAR UNDERSTANDING AS TO WHAT
THAT LOOKS LIKE, AND WE WANT TO
BE SUPPORTIVE AND HELPFUL TO
ENSURE THAT OUR GOALS WITHIN THE
LEGISLATURE ARE MET, BUT THAT WE
HAVE A PARTNER AND THE FILM
COMMISSION. THAT DOES MORE THAN
TELL US GO TO OUR WEBSITE. SO
I'M GONNA LET YOU SIT ON THAT
FOR A MOMENT. WE'RE GONNA GO TO
OUR SECOND PANEL FOR NOW AND
THEN WE'LL GO BACK TO QUESTIONS
RIGHT NOW. WE'RE GOING TO HEAR
FROM OUR DIVERSITY PANEL
CONGRESSMAN HOKKIEN CASTRO, WHO
HAS BEEN LEADING THIS
CONVERSATION ACROSS THE COUNTRY
, MUCH LIKE THE L A. OH THE
GOVERNMENT ACCOUNTABILITY OFFICE
, THE G A O HE COMMISSIONED, UM
THE WORKFORCE DIVERSITY.
HISPANIC WORKERS ARE UNDER
REPRESENTED IN THE MEDIA AND
MORE DATA ARE NEEDED FOR FEDERAL
ENFORCEMENT EFFORTS, AND WE'LL
HEAR FROM HIM AND OTHER
PANELISTS WORKING ON THIS ISSUE
FOR THE STATE OF CALIFORNIA AND
ACROSS THE COUNTRY. LET'S BEGIN.
CONGRESSMAN CASTRO ARE YOU ON?
THANK YOU. YES I HOPE YOU CAN
HEAR ME. THANK YOU. SUBCOMMITTEE
CHAIR CARILLO, BUDGET CHAIRMAN
KING AND ALSO MEMBERS OF THE
SUBCOMMITTEE. IT'S GREAT TO BE
WITH YOU. THANK YOU FOR HOSTING
A TEXAN. IF JUST FOR A FEW
MINUTES, UH, THE CALIFORNIA
LEGISLATURE. AH! HOLLYWOOD IS
STILL THE MAIN IMAGE DEFINING
AND NARRATIVE CREATING
INSTITUTION IN THE UNITED STATES
OF AMERICA AND THEREFORE
ARGUABLY THE WORLD. AND I WANT
TO SPEAK FIRST TO A LITTLE BIT
ABOUT WHY THAT MATTERS AND THE
EFFORTS THAT I AND OTHERS IN THE
FEDERAL CONGRESS HAVE UNDERTAKEN
IN THE LAST FEW YEARS TO TRY TO
HELP MOVE THE INDUSTRY ALONG IN
TERMS OF REFLECTING THE FULL
FACE OF AMERICA AND BEING TRULY
INCLUSIVE. UH AND THEN, UH,
PERHAPS MAKE SOME SUGGESTIONS
ABOUT THE ROAD AHEAD. FIRST I
STARTED A LOT OF THIS WORK. IN
2019. WHEN I WAS CHAIR OF THE
CONGRESSIONAL HISPANIC CAUCUS.
AND A MADMAN DROVE 10 HOURS FROM
DALLAS DILL FOSTER. AND KILLED
MORE THAN 20 PEOPLE BECAUSE HE
LABELED THEM AS QUOTE HISPANIC
INVADERS TO TEXAS. CAN I ASK
MYSELF AT THE TIME HOW SOMEBODY
ENDS UP IN THEIR OWN MINDS WITH
THAT MISGUIDED BELIEF THAT VERY
UGLY BELIEF. AND IT OCCURRED TO
ME THEN THINKING ABOUT ALL OF
THE DIFFERENT FACTORS THAT IT
WASN'T A SINGLE THING OR SINGLE
INSTITUTION THAT WAS TO BLAME,
BUT I THINK, UM SEVERAL THINGS.
INCLUDING MASS MEDIA. AND SO.
THE FACT IS THAT OVER THE YEARS,
HOLLYWOOD HAS BEEN A VERY
EXCLUSIVE INDUSTRY, AN INDUSTRY
THAT HAS NOT BEEN INCLUSIVE AT
ALL NOT BEING INCLUSIVE OF
LATINOS, HISTORICALLY OF AFRICAN
AMERICANS OF ASIAN AMERICANS AND
OF WOMEN. TO GIVE YOU AN EXAMPLE
IN THE LAST POINT, UM ON THAT IN
2018 2018 WAS SUPPOSED TO BE A
BANNER YEAR FOR WOMEN IN
DIRECTING, FOR EXAMPLE. WOMEN
DIRECTED 10% OF THE MAJOR STUDIO
PROJECTS IN THAT BANNER HERE.
AND THAT WAS JUST FIVE YEARS
AGO. WELL, I DO AGREE THAT
THINGS ARE MOVING ALONG THAT
THINGS ARE SLOWLY IMPROVING, BUT
THE INDUSTRY STILL HAS A LONG
WAY TO GO. AND SO I COMMISSIONED
, UM OVER THE LAST FEW YEARS OF
JAIL REPORT THAT SHOWED OF THE
MAJOR AMERICAN INDUSTRIES, THE
MEDIA INDUSTRY, INCLUDING THE
ENTERTAINMENT INDUSTRY, FOR
LATINOS, IS THE ONE WHERE THEY
ARE THE MOST UNDERREPRESENTED.
AND WHERE THE LATINO WORKFORCE
IS CONCENTRATED IN THE SERVICE
SECTOR OF THE ENTERTAINMENT AND
MEDIA INDUSTRY. UM AND SO. PART
OF THE REASON THAT MATTERS FOR A
STATE LIKE CALIFORNIA OR STATE
LIKE TEXAS ARE STATES.
DEMOGRAPHICALLY AS YOU ALL KNOW
, ARE FAIRLY SIMILAR. THEY'RE
40% LATINO. UM CALIFORNIA HAS A
MUCH LARGER ASIAN AMERICAN
POPULATION AT ABOUT 16, OR 17%
OF THE STATE OF TEXAS ACTUALLY
HAS A LARGER PERCENTAGE AFRICAN
AMERICAN POPULATION AT ABOUT 12
OR 13. PERCENT OF THE STATE, BUT
TWO STATES THAT ARE VERY
DIVERSE. THE REASON IT MATTERS
IS BECAUSE IF YOU HAVE AN
INDUSTRY ANY INDUSTRY, BUT WE'RE
TALKING ABOUT THE ENTERTAINMENT
INDUSTRY, WHERE GROUPS HAVE
HISTORICALLY AND CONTINUE TO BE
EXCLUDED. WHAT DO YOU
EFFECTIVELY MEANS IS THAT
CERTAIN TAXPAYERS ARE
SUBSIDIZING THEIR OWN EXCLUSION
. WHEN THAT INDUSTRY IS GIVEN
TAX BREAKS AND ABATEMENT. SO FOR
A LEGISLATOR OR SOMEBODY MAKING
A POLICY DECISION ON A BILL WHAT
IT MEANS WHEN THAT WHEN A TAX
CREDIT BILL OR TAX ABATEMENT
BILL IS PRESENTED BEFORE HE
LEGISLATOR WHO IS GOING TO VOTE
YES OR NO ON IT. YOU ARE. IF
YOU'RE REPRESENTING A LATINO
DISTRICT IN LOS ANGELES OR SAN
DIEGO OR SOMEWHERE ELSE. UH AND
LATINOS ARE ONLY GETTING FIVE OR
6% OF THE WORK AND YOUR DISTRICT
IS 60% LATINO. YOU'RE
ESSENTIALLY ASKING YOUR
TAXPAYERS TO SUBSIDIZE THEIR OWN
EXCLUSION. THEY'RE NOT
BENEFITING VERY MUCH FROM THE
INDUSTRY. NOW YOU CAN TALK ABOUT
SECONDARY EFFECTS AND TERTIARY
EFFECTS. BUT I WOULD I WOULD BET
THAT IF THEY'RE NOT GETTING
ONSCREEN WORK OR THEY'RE NOT
GETTING WORK AS GRIPS, PROBABLY
ALSO NOT GETTING THE BIG
CATERING CONTRACT EITHER. AND SO
THERE IS A REAL RECKONING THAT I
BELIEVE THE CALIFORNIA
LEGISLATURE HAS TO FACE WITH THE
INDUSTRY NOW. THE INDUSTRY NO
DOUBT HAS BEEN ECONOMICALLY
BENEFICIAL TO CALIFORNIA AND
CONTINUES TO BE WIDELY
BENEFICIAL TO CALIFORNIA. MY
ARGUMENT IS NOT THAT IT'S NOT.
MY ARGUMENT IS THAT IT'S VERY
CONCENTRATED IN TERMS OF WHO'S
BENEFITING. AND FOR MANY
LEGISLATORS, THAT SHOULD BE
INCREDIBLY CONCERNING UH UM. AND
SO I ALSO WANT TO POINT OUT THAT
IT'S NOT JUST A STUDIO ISSUE.
THIS ISN'T JUST AN ISSUE OF THE
MØT. THIS ISN'T JUST AN ISSUE OF
THE MOTION PICTURE ASSOCIATION
OR THE STUDIOS. IT'S ALSO A
LABOR ISSUE. IT'S ALSO GUILD
ISSUE. IT'S A TALENT AGENCY
ISSUE. UM LET ME GIVE YOU AN
EXAMPLE IN 2019. I LED A
DELEGATION OF ABOUT SEVEN
MEMBERS OF CONGRESSIONAL
HISPANIC CAUCUS TO LOS ANGELES
TO VISIT WITH WITH STUDIO HEADS
WITH TALENT. WITH THE D G. A SAG
, UM AND OTHERS. AND WHEN WE MET
WITH TAG AFTER AT THE TIME I
ASKED HIM A VERY SIMPLE
QUESTION. KIND OF LIKE CHAIRMAN
TEAM. YOU WERE ASKING TODAY OF
THE PREVIOUS PANEL. I ASKED FOR
BASIC NUMBERS. BECAUSE MY BELIEF
AFTER ALL THIS WORK, AND EVEN
BEFORE I'M IN MY 21ST YEAR OF
PUBLIC SERVICE, I SPENT 10 YEARS
IN THE TEXAS LEGISLATURE. I AM
NOW IN MY 11TH YEAR IN CONGRESS.
IS THAT FOR AN ORGANIZATION? THE
BASELINE TEST FOR WHETHER AN
ORGANIZATION IS GOING TO BE
COLLABORATIVE AND COOPERATIVE
AND WANTS TO SOLVE THE PROBLEM
IS WHETHER THAT ORGANIZATION IS
TRANSPARENT. WHETHER THEY ARE
WILLING TO BE TRANSPARENT. AND
SO IF AN ORGANIZATION IS NOT
WILLING TO BE TRANSPARENT, THEN
TO ME, THEY'RE NOT GOING TO GO
SOLVE THE SECOND PART OF THE
PROBLEM OR THE REAL MEAT OF THE
OF THE ISSUE. UH AND SO
UNFORTUNATELY, SAG HAS DONE THAT
SINCE THEN, BUT IN 2019 WE ASKED
SAG. YOU KNOW? HEY, GUYS, UM YOU
KNOW WHAT ARE YOUR NUMBERS IN
TERMS OF MEMBERSHIP OF LATINOS,
LATINAS, AFRICAN AMERICANS,
ASIAN AMERICANS SO FORTH AND
THEY SAID, WE DON'T WE DON'T
KEEP DEMOGRAPHIC NUMBERS, UM,
FOR OUR MEMBERSHIP. AH AND THEY
HAVE SINCE RECTIFIED THAT I
BELIEVE IN CHANGE THAT, BUT TO
ME THAT WAS ASTOUNDING. IN A
STATE LIKE CALIFORNIA AS DIVERSE
AS IT IS, UH, AND YOU KNOW A
LITTLE BIT OF COMMENTARY HERE,
BUT AS PROGRESSIVE AS HOLLYWOOD
IS MADE OUT TO BE, UH, THAT THAT
THESE ORGANIZATIONS WOULD NOT
EVEN KEEP BASIC INFORMATION.
LOOK AT SOME LEVEL AND AT SOME
POINT YOU GOTTA SAY THAT THIS IS
KIND OF A PURPOSEFUL OBSCURITY.
UH, THAT FOLKS ARE ENGAGED IN SO
TRANSPARENCY IS IMPORTANT, BUT
ALSO HOLDING ACCOUNTABLE, NOT
JUST THE STUDIOS, BUT THE LABOR
UNIONS. LET ME SPEAK TO THAT
LITTLE BIT. I'VE BEEN A STRONG
SUPPORTER OF LABOR THROUGHOUT MY
TIME IN PUBLIC SERVICE, BOTH IN
THE TEXAS LEGISLATURE OFTEN
GOING AGAINST THE GRAIN AND WHAT
WAS A VERY CONSERVATIVE TEXAS
LEGISLATURE BUT ALSO IN THE
FEDERAL CONGRESS. UM BUT THE
NUMBERS THAT I'VE SEEN OUT OF
THE ENTERTAINMENT UNIONS IN
CALIFORNIA AH LEAVE A LOT TO BE
DESIRED. THE MEMBERSHIP OF THE
UNIONS IN THE NUMBERS THAT I'VE
SEEN DO NOT REPRESENT. THE
DEMOGRAPHICS OF THE STATE OF
CALIFORNIA. AND LET ME TELL YOU
WHY THAT MATTERS FOR YOU ALL FOR
A SECOND. WHY? THAT'S IMPORTANT.
UM, BECAUSE TAKING THE LATINO
COMMUNITY AS AN EXAMPLE. YOU'RE
KIND OF LOCKED OUT OF BOTH SIDES
. YOU'RE LOCKED OUT OF THE
STUDIO SIDE THE CORPORATE SIDE
BECAUSE YOU'RE ONLY GETTING LIKE
BETWEEN FOUR AND 8% OF THE WORK.
AH, BUT YOU'RE ALSO LOCKED OUT
OF THE YOU'RE LOCKED OUT OF THE
OTHER SIDE, WHICH IS UH, THIS
BEHIND THE CAMERA SIDE. AND PART
OF THE REASON THAT'S SO
PERNICIOUS BECAUSE THERE WAS A
GENERATION OF CALIFORNIANS OF MY
FAMILY IS FROM TEXAS, BUT THE
SAME THING HAPPENED IN TEXAS.
WHERE ARE FOLKS? OUR COMMUNITIES
WERE TOLD THEY WERE TRACKED AWAY
FROM GOING TO COLLEGE. THIS
HAPPENED WITH AFRICAN AMERICANS
AS WELL. THEY WERE TOLD THAT
THEY WEREN'T COLLEGE MATERIAL
THAT THEY SHOULD GO WORK WITH
THEIR HANDS. SO WE HAVE A LOT OF
PEOPLE IN OUR COMMUNITY THAT
WORK WITH THEIR HANDS. THEY WORK
AS CARPENTERS. YOU KNOW, THEY'RE
THEY'RE DOING JOBS THAT INVOLVE
MANUAL LABOR. THAT IS WHAT A LOT
OF THE ENTERTAINMENT UNION JOBS
CONSIST OF. AND YET THEY ARE
ESSENTIALLY, I DON'T WANT TO SAY
THEY'RE LOCKED OUT BECAUSE
THEY'RE NOT LOCKED OUT
COMPLETELY. BUT THEY'RE NOT
REPRESENTED AT THE NUMBERS THAT
YOU WOULD EXPECT. FOR A
POPULATION THAT HAS BEEN QUOTE
UNQUOTE WORKING WITH THEIR HANDS
INTENSIVELY FOR GENERATIONS NOW,
SO YOU'RE LOCKED OUT OF BOTH THE
EXECUTIVE AND STUDIO SIDE AND
YOUR MINIMIZED ON THE OTHER SIDE
, SO THERE'S A LOT OF WORK TO DO
ON THE STUDIO SIDE ON THE LABOR
SIDE AND THEN ALSO ON THE TALENT
AGENCY SIDE AND I KNOW I'M
RUNNING SHORT ON TIME, SO I'LL
JUST CLOSE WITH JUST ONE MORE
THING. BUT ON THE TALENT AGENCY
SIDE THOSE NUMBERS ARE PERHAPS
THE WORST. AH YOU'RE YOU'RE DOWN
TO JUST ABOUT REALLY. I MEAN,
YOU HAVE W ME AND SEE A, UM YOU
KNOW, WHICH ARE THE TWO HUGE
ONES, BUT YOU HAVE THREE OR FOUR
THAT ARE SIZABLE AND THE NUMBER
OF FOLKS FROM UNDERREPRESENTED
COMMUNITIES WHO ARE TALENT
AGENTS THERE. UH, IS ABYSMAL.
AND LET ME SUM IT UP FOR YOU
THIS WAY, BECAUSE I KNOW THE OIL
AND A OIL AND GAS INDUSTRY IN
TEXAS. IT IS OFTEN A PUNCHING
BAG REALLY ACROSS THE NATION. UM
THE OIL AND GAS INDUSTRY IN
TEXAS IS MORE DIVERSE THAN
HOLLYWOOD. THE OIL AND GAS
INDUSTRY IN TEXAS IS MORE
DIVERSE THAN HOLLYWOOD. AND SO
THERE'S A LOT OF WORK TO DO. UH
AND FORTUNATELY, YOU ALL ARE IN
A LEGISLATURE THAT CAN WORK WITH
THE INDUSTRY TO MAKE THESE
CHANGES AND MAKE THESE
IMPROVEMENTS HAPPEN. YOU'RE NOT
. YOU KNOW, YOU'RE NOT IN A
PLACE THAT'S UM, YOU KNOW, SO
SUPER CONSERVATIVE THAT THAT
THEY'RE YOU KNOW, THEY THINK
DIVERSITY. INCLUSION IS DEMONIC
AND SO FORTH, RIGHT? SO YOU'LL
HAVE AN OPPORTUNITY ACTUALLY DO
SOMETHING ABOUT THESE THINGS.
UM, AND I SURE HOPE THAT I SURE
HOPE THAT YOU ALL WILL TAKE IT.
THANK YOU. THANK YOU,
CONGRESSMAN. IT'S SO GREAT TO
SEE YOU VIRTUALLY THANK YOU FOR
TAKING THE TIME. YOU WOULDN'T
WANT TO MESS WITH YOU IN TEXAS.
I CAN TELL YOU THAT, UM, CAN YOU
BASED ON ALL THE CONVERSATIONS
THAT YOU'VE HAD WITH ON THE
FEDERAL LEVEL AND YOUR VISITS TO
CALIFORNIA? THE DISCUSSION THAT
YOU'RE HEARING TODAY? AH DO YOU
HAVE RECOMMENDATIONS? UH, THAT
WE CAN TAKE ON WHEN WE'RE
LOOKING AT THIS PARTICULAR
CREDIT, KNOWING ALSO THAT
CALIFORNIA IS IN COMPETITION
WITH OTHER STATES. YOUR STATE
YOUR STATE INCLUDED HOW WE CAN
ACTUALLY MAXIMIZE THE
OPPORTUNITIES THAT WE HAVE TO
ADDRESS BOTH THE STUDIO SIDE THE
LABOR SIDE, THE AGENCY SIDE. AND
HOW WE COULD MOVE AN AGENDA
FORWARD THAT REALLY IS MORE
INCLUSIVE, NOT ONLY OF THE
PEOPLE OF THE STATE OF
CALIFORNIA, BUT REALLY THE
COUNTRY AND HOW THOSE NARRATIVES
AND STORIES ARE TOLD. PURE AND I
WANT TO REITERATE THAT I THINK
THE INDUSTRY IS GOOD FOR
CALIFORNIA. IT'S AN ECONOMIC
GENERATOR FOR CALIFORNIA. I
THINK THE DEBATE IS NOT AROUND
WHETHER IT IS ECONOMICALLY
BENEFICIAL FOR THE STATE. IT
CERTAINLY IS. THE DEBATE IS
AROUND THE INCLUSION OF MANY
GROUPS OF PEOPLE WITHIN THAT
PROSPERITY, AND THAT'S THE WORK
THAT REMAINS TO BE DONE. AND SO
THE FIRST THING IS, I WOULD HOPE
THAT AS I MENTIONED THAT THAT
THE ISSUE WILL BE APPROACHED, AS
IN ADDITION TO A STUDIO ISSUE
THAT IT WOULD BE APPROACHED AS A
TALENT AGENCY ISSUE, AND ALSO AS
A LABOR AND GUILT ISSUE, I THINK
YOU KNOW, HOLLYWOOD IS A REALLY
A GROUP OF DIFFERENT
INTERLOCKING ENTITIES AND TO
ACHIEVE DIVERSITY. YOU REALLY
HAVE TO BE ABLE TO CRACK THROUGH
AND CHANGE EACH OF THOSE
DIFFERENT ENTITIES OR HELP
IMPROVE EACH OF THOSE DIFFERENT
ENTITIES. OTHERWISE WHAT HAPPENS
IS THAT, UM THEY EACH ONE WILL
THROW UP ITS HANDS AND SAY, FOR
EXAMPLE, THE STUDIOS WILL SAY,
WELL, THE TALENT AGENCIES DON'T
SEND ME ANYBODY TO AUDITION
THAT'S LATINO OR ASIAN AMERICAN.
OR AFRICAN ABOUT WHATEVER YOU
KNOW, AND SO YOU GOTTA WORK ON
EACH ONE, SO SOMETHING THAT
WORKS ON ALL OF THOSE, AND ALSO
THAT THAT YOU ALL WOULD HELP
BUILD COALITIONS WITH FEDERAL
PARTNERS WITH LOCAL PARTNERS TO
TACKLE THIS ISSUE. YOU'RE RIGHT
THAT THERE IS A COMPETITION
AMONG STATES. THERE ARE A
HANDFUL OF STATES RIGHT NOW THAT
OFFER REALLY GENEROUS
INCENTIVES. TEXAS IS NOT ONE OF
THEM. ALTHOUGH THERE IS A BILL
THAT'S GOING THROUGH THE TEXAS
LEGISLATURE BEING CONSIDERED
RIGHT NOW, UM AND IT SHOULD NOT
BE A RACE TO THE BOTTOM. AS
STATES. WE SHOULD BE ABLE TO GET
COMMITMENTS FROM THE INDUSTRY ON
THESE ISSUES WITHOUT JUST HAVING
TO, YOU KNOW, OUTBID EACH OTHER
AND GIVE AWAY THE STORE THE SHOP
WITHOUT GETTING ANYTHING IN
RETURN FOR A LOT OF THE
COMMUNITIES THAT MANY OF US
REPRESENT. AH AGAIN. IF YOU'RE
REPRESENTING A COMMUNITY, FOR
EXAMPLE, THAT'S YOU KNOW, MY
DISTRICT IN SAN ANTONIO IS NOW I
THINK, LIKE 68% LATINO AFTER
REDISTRICTING. UM AT SOME POINT
, IT DOESN'T MAKE SENSE IF THAT
COMMUNITY IS BEING EXCLUDED TO
VOTE FOR A TAX CREDIT. BUT IT
JUST DOES THIS FOR I MEAN,
BUSINESS IS TALKING ABOUT GOING
BY THE NUMBERS. WELL, OKAY,
LET'S JUST GO BY THE NUMBERS.
RIGHT. I MEAN, YOU KNOW? SO I
HOPE THAT YOU ALL WOULD WORK ON
THAT. AND THEN ALSO, FINALLY
THAT ON THESE ISSUES THAT
CALIFORNIA WOULD CONTINUE TO BE
A LEADER, UM, IN THE INDUSTRY
AND IN HELPING GUIDE THE
INDUSTRY TOWARDS MORE INCLUSION
AGAIN. THERE ARE A LOT OF STATES
THAT ARE SIMPLY NOT GOING TO DO
THAT. THAT ARE NOT GOING TO TRY
TO BE HELPFUL. YOU ALL HAVE AN
OPPORTUNITY, I THINK TO LEAD AND
TO REALLY HELP CHANGE THINGS FOR
THE BETTER. THANK YOU SO MUCH.
CONGRESSMAN, WE APPRECIATE YOU
TAKING THE TIME. THERE ARE ONE
QUESTION MR. QUESTION FOR FROM
OUR CHAIRMAN, CONGRESSMAN REALLY
APPRECIATE YOUR COMMENTS, AND I
THINK YOU'RE ABSOLUTELY RIGHT.
UM THAT'S ABOUT INCLUSION, AND
IT'S ABOUT WHO WHO'S BENEFITING
? THERE'S NO QUESTION WE'RE AS
CALIFORNIANS WERE ALL HUGE FANS
OF THE INDUSTRY. IT'S BEEN A
BEEN A GREAT ECONOMIC ENGINE FOR
US. UM WHAT? WHAT ADVICE WOULD
YOU HAVE? WHAT HAVE YOU SEEN?
MAYBE THAT OTHER OTHER STATES OR
OTHER PLACES HAVE BEEN
SUCCESSFUL AND REALLY PUSHING
GREATER INCLUSION WHERE A NUMBER
OF STATES HAVE TAX CREDITS.
OBVIOUSLY WE'RE YOU KNOW, WE'RE
DEBATING WHETHER WE'RE GOING TO
CONTINUE HOURS BUT UH, LIKE YOU
SAID, THERE'S NOT A LOT OF
TRANSPARENCY. NOT A LOT OF
INFORMATION WOULD LOVE YOUR
ADVICE OR YOUR THOUGHTS ON WHAT
WHAT WE CAN CONTINUE TO ADVOCATE
FOR. I THINK CHAIRMAN, TO BE
HONEST WITH YOU, CHAIRMAN. YOU
ALL ARE AT THE FOREFRONT OF THE
CHANGE. YOU KNOW, THERE ARE
STATES THAT GIVE THE TAX CREDITS
AWAY. NO QUESTIONS ASKED.
INCLUDING QUESTIONS ON
DIVERSITY. AND SO I WOULD ARGUE
THAT IF THERE'S GOING TO BE
CHANGED, IT HAS TO COME FROM YOU
ALL. IT'S GOTTA COME FROM
CALIFORNIA AND YOU KNOW, MAYBE A
FEW OTHER PLACES. I SPOKE TO
GOVERNOR MICHELLE LU N GRISHAM,
WHOM I SERVED BOTH IN CONGRESS,
BECAUSE, AS YOU KNOW, NEW MEXICO
ALL ALSO OFFERS SOME GENEROUS
TAX CREDITS. UM BUT, YEAH, I
MEAN, THERE'S JUST JUST A FEW
STATES WHERE I THINK THIS CHANGE
SHOULD COME. UH YOU KNOW, YOU
CAN'T HAVE AN INDUSTRY. HMM YOU
CAN'T HAVE AN INDUSTRY THAT'S
BASED IN CALIFORNIA, BUT IT'S
HIRING LIKE IT'S BASED IN IDAHO.
RIGHT I MEAN, IT JUST IT DOESN'T
MAKE SENSE. UM AND ALSO, BY THE
WAY, CALIFORNIA I MENTIONED THAT
HOLLYWOOD IS THE MAIN IMAGE
DEFINING A NARRATIVE CREATING
INSTITUTION. CALIFORNIA IS ALSO
BLESSED TO HAVE WHAT I WOULD
CONSIDER THE NUMBER TWO INDUSTRY
THAT'S IMAGE DEFINING THE
NARRATIVE CREATING, WHICH IS
SOCIAL MEDIA AND THE TECH
INDUSTRY, WHICH IS CATCHING UP
VERY QUICKLY. I THINK SO YOU ALL
ARE IN A VERY UNIQUE POSITION TO
BE ABLE TO HELP NOT JUST
CALIFORNIANS, BUT THE NATION.
APPRECIATE THAT. THANKS FOR YOUR
COMMENTS. AND THANKS SO MUCH FOR
BEING HERE TODAY REALLY
APPRECIATE IT. THANK YOU,
CONGRESSMAN. WE ARE GOING TO GO
TO OUR SECOND PANELIST, DR. ANA
CHRISTINA RAMON, DIRECTOR OF THE
ENTERTAINMENT AND MEDIA RESEARCH
INITIATIVE AT THE U. C L. A
INSTITUTE OF RESEARCH ON LABOR
EMPLOYMENT AND IS ONE OF THE KEY
AUTHORS OF THE U. C L. A
HOLLYWOOD DIVERSITY REPORT.
THANK YOU. THANK YOU, CHAIRMAN,
CHAIRWOMAN CARILLO CHAIRMAN TING
AND TO THE SUBCOMMITTEE FOR
INVITING ME TODAY THE WORK I
WILL BE DISCUSSING AS PART OF A
MAJOR PROJECT ON THE
ENTERTAINMENT INDUSTRY CONDUCTED
AT U C L A WITH MY CO
RESEARCHER, DR DARNELL HUNT,
PROFESSOR OF SOCIOLOGY AND
AFRICAN AMERICAN STUDIES AND THE
MOST RECENTLY THE EXECUTIVE VICE
CHANCELLOR AND PROVOST. THAT U.
C L A OUR RESEARCH EXAMINES
DIVERSE REPRESENTATION IN TV AND
FILM AND ITS RELATIONSHIP TO THE
BOTTOM LINE. YOU MAY ASK, WHY IS
THIS RESEARCH IMPORTANT? AND MY
PANELISTS? UM HAVE THE PANELISTS
HAVE SPOKEN EARLIER? HAVE TALKED
ABOUT THIS A LITTLE BIT, BUT
IT'S IMPORTANT TO UNDER
UNDERSCORE THAT THE IMAGES WE
SEE ON SCREEN PERMEATE
THROUGHOUT OUR SOCIETY. FILMS
AND TV ARE NOT JUST
ENTERTAINMENT MEDIA ACTS AS A
DOMINANT SOCIALIZATION. AGENT
VISUAL MEDIA TEACHES US HOW THE
WORLD WORKS AND OUR PLACE IN IT.
CULTURE MEDIA CONSUMPTION HAS
BECOME AN ESSENTIAL PART OF OUR
DAILY LIVES. SOME MIGHT SAY THEY
KNOW THE DIFFERENCE BETWEEN
REALITY AND ENTERTAINMENT.
HOWEVER THIS TYPE OF
SOCIALIZATION OFTEN HAPPENS IN
SUBTLE AND COVERT WAYS. WHAT YOU
SEE OFTEN BECOMES A PART OF YOUR
MEMORY, AND THAT'S A PART OF
YOUR LIFE EXPERIENCE. PART OF
THE ISSUE IS THAT REPETITION
WITHOUT SUPPORTING EVIDENCE
OFTEN LEADS TO ACCEPTANCE. SO
EVEN IF YOU DO NOT EXPERIENCE
SOMETHING FIRSTHAND, OR HAVE
EVIDENCE TO SUPPORT A CLAIM, IF
YOU SEE AND HEAR ABOUT IT OVER
AND OVER AGAIN, YOU WILL BEGIN
TO BELIEVE IT IS TRUE. IN RECENT
YEARS, THIS PHENOMENON HAS BEEN
WELL DOCUMENTED THROUGH THE
DISTANT INFORMATION CAMPAIGNS ON
SOCIAL MEDIA AND BROADCAST. THAT
HAVE DOMINATED POLITICS AND
PUBLIC POLICY. GERBNER AND GROSS
IS CULTIVATION THEORY ARGUES
THAT INCREASED MEDIA CONSUMPTION
MAY LEAD TO DISTORTED IDEAS
ABOUT REALITY AND PERPETUATE
STEREOTYPES SO YOU CAN SEE HOW
RACIAL AND ETHNIC MINORITIES CAN
BE VULNERABLE TO THIS
DISTORTION. REPEATED NEGATIVE
AND DEMEANING STEREOTYPES CAN
BECOME THE DOMINANT NARRATIVE
THAT DEFINE A GROUP OF PEOPLE.
HOW ABOUT WHEN A GROUP IS RARELY
REPRESENTED AT ALL? GERBNER
GROSS STATE THAT IF
REPRESENTATION IN THE FICTIONAL
WORLD SIGNIFIED SOCIAL EXISTENCE
, THEN ABSENCE MEANS SYMBOLIC
ANNIHILATION. THE ERASER OF A
GROUP OR THE LIMITED VISIBILITY,
ALSO TO NOTE THE IMPORTANCE THAT
THE GROUP CARRIES IN SOCIETY, SO
EVEN IF NOT COMPLETELY
ANNIHILATED, THE GROUP CLEARLY
IS SHOWN TO LEX STATUS AND POWER
WHEN THEY ARE REPRESENTED IN A
LIMITED MANNER OR RELEGATED TO
THE PERIPHERY IN MEDIA. THE SAME
PEOPLE OF COLOR OVER AND OVER
AGAIN THROUGH ONE DIMENSIONAL
PORTRAYALS THAT ARE
STEREOTYPICAL ABOUT THEIR
RESPECTIVE GROUP LEADS PEOPLE TO
BELIEVE THAT THIS REPRESENTATION
FRONT REFLECTS ALL PEOPLE FROM
THAT GROUP. FOR EXAMPLE, IF
MEDIA IMAGES PRIMARILY SHOW
LATIN X PEOPLE AS NEWLY ARRIVED
IMMIGRANTS WHO DO NOT SPEAK
ENGLISH. THE DOMINANT NARRATIVE
IS THAT ALMOST ALL OF LATIN X
PEOPLE ARE FOREIGN BORN WHEN IN
FACT, 68% OF THE U. S LANDMARKS
POPULATION WAS BORN IN THIS
COUNTRY AND 72% OF ALL LAND NEXT
, PEOPLE LIVING IN THE US SPEAK
ENGLISH PROFICIENTLY. THE
NARRATIVE MATTERS. NOW LET'S
LOOK AT THE NL RESEARCH THAT WE
DO ON FILM AND TV AS MENTIONED
EARLIER ARE U C L A HOLLYWOOD
DIVERSITY REPORT EXAMINES RACE,
ETHNIC AND GENDER REPRESENTATION
IN FRONT OF AND BEHIND THE
CAMERA AND HOW IT RELATES TO THE
BOTTOM LINE REPORT COVERS TRENDS
FROM 2011 TO THE PRESENT. WE
WILL BE RELEASING OUR NEXT FILM
REPORT. UM COVERING THE YEAR OF
2022 NEXT WEEK ON MARCH 30TH BUT
TODAY I WILL BE DISCUSSING OUR
MOST RECENT DATA THAT HAS BEEN
PUBLISHED THAT DEALS WITH THE
2021 FILM YEAR. BUT YEAH, I CAN
ALSO GIVE YOU A LITTLE BIT OF A
PREVIEW DURING THE Q AND A THE
PANDEMIC SHIFTED MUCH OF THE WAY
THAT FILMS WERE RELEASED AFTER
MARCH 2020. SO IN OUR LAST TWO
REPORTS, WE EXAMINE BOTH THE TOP
THEATRICAL RELEASES AT THE
GLOBAL BOX OFFICE AND ALL THE
STREAMING RELEASES ON THE MAJOR
PLATFORMS IN THE REPORT WE
RELEASED LAST YEAR WE EXAMINED
252 ENGLISH LANGUAGE FILMS FROM
THE YEAR 2021. A LITTLE UNDER
HALF OF THESE FILMS WERE
RELEASED EXCLUSIVELY ON
STREAMING THE TRENDS WE FOUND
CONTINUED WHAT WE CALL A TALE OF
TWO HOLLYWOOD'S THE PUSH FOR
DIVERSITY IN THE PAST SEVERAL
YEARS HAS INCREASED THE OVERALL
NUMBER OF PEOPLE OF COLOR IN
TOTAL FILM ROLES, BUT THAT HAS
NOT TRANSLATED TO INCREASE
REPRESENTATION BEHIND THE
CAMERA. IN 2021, PEOPLE OF COLOR
COLLECTIVELY CONTINUE TO CLAIM
AN INCREASINGLY LARGER SHARE OF
ALL TOP FILM ROLES AT 43% MOSTLY
DUE DUE TO THE INCREASE IN THE
SHARE OF BLACK ACTORS, WHILE
OTHER GROUPS HAVE REMAINED
RELATIVELY FLAT OVER THE YEARS,
DESPITE SOME MINIMAL GAINS,
PEOPLE OF COLOR REMAINED
UNDERREPRESENTED, ESPECIALLY
BEHIND THE CAMERA. THEY MADE UP
ONLY 30% OF FILM DIRECTORS AND
ONLY 32% OF FILM WRITERS. WOMEN
MADE UP ABOUT 22% 22% OF FILM
DIRECTORS AND ABOUT 34% OF FILM
WRITERS. BUT AS A PREVIEW OUR
REPORT NEXT WEEK WILL PUBLISH
RESULTS WHERE WE EXAMINED
THEATRICAL AND STREAMING
RELEASES SEPARATELY AND MUCH OF
THE GAINS WE SAW IN THE DATA
THAT I JUST GAVE YOU WERE LIKELY
DUE TO STREAMING CONTENT. IN THE
END, WHO CONTROLS THE NARRATIVE
AND WRITES, THE STORIES HAS THE
POWER TO SHAPE THE CULTURE. ONE
OF OUR MOST CONSISTENT FINDINGS
SINCE WE STARTED EXAMINING FILMS
IN 2011 IS THAT DIVERSITY CELLS?
FILMS WITH CATS THAT HAVE AT
LEAST A FEW PEOPLE OF COLOR IN
THE TOP EIGHT MAIN CAST ROLES
TEND TO PERFORM BETTER AT THE
GLOBAL BOX OFFICE. IN CONTRAST,
THE LEAST DIVERSE FILMS WITH
ONLY ONE PERSON OF COLOR OR WITH
ALL WHITE CAST HAVE THE LOWEST
GLOBAL BOX OFFICE. PEOPLE OF
COLOR CONTINUE TO BOOST
THEATRICAL INDUSTRY THAT IS
STRUGGLING, PARTICULARLY DURING
THE PANDEMIC IN 2021, PEOPLE OF
COLOR WERE RESPONSIBLE FOR THE
MAJORITY OF OPENING WEEKEND
DOMESTIC TICKET SALES FOR SIX OF
THE TOP 10 FILMS AT THE BOX
OFFICE. AND OF THESE 10
THEATRICALLY RELEASED FILMS HAD
CASTS THAT WERE GREATER THAN 30
FOR 30% MINORITY. TO GIVE YOU A
RECENT EXAMPLE. SCREAM STICKS,
LATINO LED FILM WITH A DIVERSE
CAST THAT OPENED AT NUMBER ONE A
COUPLE OF WEEKS AGO. HAD 62% OF
ITS TICKET BUYERS BE PEOPLE OF
COLOR. FURTHER HOUSEHOLDS OF
COLOR MADE UP OF JUST
PROPORTIONATE SHARE OF THOSE
VIEWING EACH OF THE TOP 10 FILMS
THAT WERE RELEASED ON STREAMING
PLATFORMS IN 2021. SO OVERALL,
THE TAKEAWAY OF OUR STUDY IS
THAT INCREASINGLY DIVERSE
AUDIENCES PREFER DIVERSE
CONTENT. UNDERSTANDING THE
AUDIENCE THAT IS CRITICAL TO
YOUR BUSINESS WOULD MAKE SENSE
FOR THOSE MAKING GREENLINING
DECISIONS. IN HOLLYWOOD. HOWEVER
HOLLYWOOD IS FURTHER BEHIND MOST
OTHER GLOBAL INDUSTRIES IN TERMS
OF ITS DIVERSITY AMONG ITS MOST
POWERFUL DECISION MAKERS.
DECISIONS ABOUT WHAT TYPES OF
FILMS FILMS TO MAKE. THE SIZE OF
THE BUDGET TO ASSIGN TO THEM HOW
THEY WILL BE MARKETED AND WHO
WILL BE AT THE DIRECTORIAL HELM
ARE ALL MADE BY MEN AND WOMEN
WHO OCCUPY HOLLYWOOD'S EXECUTIVE
SUITES IN 2020 WE EXAMINED WHO
OCCUPIED THE EXECUTIVE RANKS AND
FOUND THAT THESE DECISIONS
CONTINUE TO BE PREDOMINANTLY
MADE BY WHITE MEN AT THE 11,
MAJOR AND MID MAJOR STUDIOS IN
THE FIVE YEARS PREVIOUS TO THAT
, WHEN WE LAST EXAMINED THE
EXECUTIVE SUITES THE ONLY
NOTICEABLE IMPROVEMENTS THAT WE
FOUND IN 2020 WERE THAT THE UNIT
HAD LEVEL WAS SLIGHTLY MORE
DIVERSE, BUT STILL
OVERWHELMINGLY WHITE BEING
BENEFICIARIES HAVE BEEN WHITE
WOMEN AT THAT LEVEL. SLOW
INCORRECT, INCREMENTAL PROGRESS
IS NOT ACCEPTABLE IN A STATE IN
A COUNTRY THAT IS INCREASINGLY
DIVERSE. HOLLYWOOD HAS TO BE
HELD ACCOUNTABLE. IT HAS NO MORE
EXCUSES LEFT BECAUSE DIVERSITY
IS GOOD FOR BUSINESS. IT NEEDS
TO INVEST IN ITS CONSUMERS THAT
CONTINUED SUPPORT THEM AT THE
BOX OFFICE ON STREAMING
PLATFORMS. AND WHEN THEY PAY
THEIR STATE TAXES STUDIOS THAT
RECEIVED TAX CREDITS FOR FILMING
IN CALIFORNIA SHOULD HAVE TO
SHOW THEIR PRODUCTIONS ARE
EMPLOYING PEOPLE OF COLOR AND
WOMEN AT ALL LEVELS FROM BELOW
THE LINE ALL THE WAY TO THE
EXECUTIVE RANKS. THEY SHOULD
MAKE A COMMITMENT TO MEET
DIVERSITY GOALS AND ON THERE AND
ESPECIALLY ALSO MEET SOME
DIVERSITY GOALS ON THEIR BOARDS.
WITHIN A CERTAIN NUMBER OF YEARS
TO REFLECT THE STATE'S
POPULATION. HOLLYWOOD MAY SAY
THAT THEY HAVE A POOL PROBLEM
WHERE THEY CAN'T FIND ENOUGH
PEOPLE OF COLOR THAT ARE
QUALIFIED FOR ROLES THROUGHOUT
THEIR BUSINESS, BUT IT'S MORE OF
AN OPPORTUNITY PROBLEM BECAUSE
LIMITED OPPORTUNITIES ONLY ALLOW
A SELECT VIEW TO MAKE IT.
STUDIOS NEED TO CREATE
OPPORTUNITIES FOR PEOPLE TO
APPLY FOR THESE POSITIONS THEY
NEED TO INVEST IN WAYS THAT WILL
ENSURE PEOPLE OF COLOR. AND
WOMEN FEEL WELCOME AND THAT THEY
ARE PROMOTED. ONCE THEY WORK
THERE, THE STATE CAN HELP BY
SUPPORTING EDUCATION PROGRAMS
AND WORK PROGRAMS. BUT THERE'S
ONE PROGRAM IN PARTICULAR THAN
FAMILIAR WITH THAT. I KNOW AS
VERY SUCCESSFUL. IT'S CALLED THE
YOUTH CINEMA PROJECT THAT'S RUN
BY LATINO FILM INSTITUTE. THESE
TYPES OF PROGRAMS PAY THE WAY
FOR HOLLYWOOD'S MULTICULTURAL
FUTURE. FUTURE INVESTMENTS ARE
KEY TO SUSTAINED PROGRESS AND
CHANGE IN THE ENTERTAINMENT
INDUSTRY. THANK YOU. THANK YOU,
DR RAMON. WE ARE GOING TO HOLD
OFF ON COMMENTS AND QUESTIONS
UNTIL WE HEAR FROM OUR LAST
PANELIST HERE ON THIS DIVERSITY
PANEL, MR KYLE BOWSER, WHO IS A
SENIOR VICE PRESIDENT OF THE ACP
HOLLYWOOD BUREAU AND FORMER
CREATIVE EXECUTIVE. MR BOWSER.
THANK YOU. ASSEMBLYMEMBER'S
CARILLO. AND THE CHAIRMAN TEAM
FOR THIS OPPORTUNITY FOR THE TO
SHARE THOUGHTS ON THIS VERY,
VERY IMPORTANT ISSUE. AFTER
LISTENING TO CONGRESSMAN CASTRO
AND THE PREVIOUS SPEAKER AS
WELL. UH UM, I I'M A LITTLE BIT
AFRAID OF BEING REDUNDANT. UM
I'VE HEARD THEM SOME THINGS
TODAY THAT ARE VERY REMINISCENT
OF THE THINGS THAT WE TALK
ABOUT. ALL THE TIME. UM IS, UM
IMPORTANT, I THINK THAT AS AS DR
RAMON STATED, I THINK IT'S
IMPORTANT FOR US TO EXAMINE WHY
THIS ISSUE OF DIVERSITY? UM IS
NECESSARY TO DIG INTO. I WOULD
LIKE TO BORROW THE TERM FROM THE
INDUSTRY AND ZOOM OUT IF WE
COULD UM AND LOOK AT, UM, THE
INCEPTION OF THIS INDUSTRY. WE
NEED TO UNDERSTAND THAT THIS
INDUSTRY DOES NOT REFLECT UM, AS
MUCH AS IT IS AN EXTENSION. OF
THE SOCIAL EXPERIMENT THAT IS
AMERICA AND WHAT I MEAN BY THAT.
IS THIS ANY SOCIETY? UM, HAS A
DOMINANT GROUP. THAT SETS OF
STANDARD PLANTS A FLAG AND CAUSE
THE SPACE THAT THEY OCCUPY
NORMALITY. AND ALL OTHER GROUPS
ARE OTHER EYES. UM AND MADE TO
NAVIGATE THEIR WAY TOWARD AS
CLOSE AS THEY CAN, TO SOME
PROXIMITY TO THAT SPACE CALLED
NORMALITY. UM HOLLYWOOD PLAYS A
VERY CRUCIAL ROLE IN IN THAT
SCHEME. HOLLYWOOD PERPETUATES
IMAGERY. AS YOU SAID EARLIER
THAT IT GOES GLOBAL. UM AND IT
NOT ONLY ESTABLISHES IN THE
MINDS OF ONLOOKERS, ANY
PARTICULAR GROUP HOW HOW BAD
GROUP MIGHT BE INTERPRETED BUT
IT ALSO CAUSES INTERNAL
EXAMINATION OF SELF IDENTITY.
AND SO WITHOUT DIVERSITY, WHAT
YOU END UP WITH OFTEN IS
DISTORTION. YOU END UP WITH UM,
AN APPROXIMATION OF BEST GUEST
AT HOW A GROUP OF PEOPLE, UM,
ARE CULTIVATED. UM WE HAVE THIS
PHENOMENON THAT'S GLOBAL, AND
IT'S UBIQUITOUS, AND IT'S CALLED
MAINSTREAM CULTURE. AND I THINK
IT'S IMPORTANT TO TRY TO EXAMINE
WHAT IS WHAT? WHAT ARE THE
INGREDIENTS THAT GO INTO THE POT
KNOWN AS MAINSTREAM CULTURE, AND
I THINK WHAT YOU'LL FIND THERE
IS THE CONTRIBUTION OF ALL THESE
OTHER IZED GROUPS. OVER TIME
HAVE BUILT UP THIS. THIS THIS
HUGE ASSET. THAT IS
COMMERCIALIZED AND MONETIZED
AROUND THE WORLD. UM AND SO AT
SOME POINT, I THINK THIS
CONVERSATION REALLY EVOLVES
BEYOND THE QUESTION OF DIVERSITY
AND GETS INTO ANOTHER PART OF
THE POPULAR ACRONYM D. E. I. AND
THAT REALLY GOES TO THIS
QUESTION OF EQUITY. IF I WANTED
TO SELL MY HOME, ONE OF THE
THINGS THAT I WOULD FIRST LOOK
AT IS OKAY. WELL, HOW MUCH
EQUITY HOW MUCH STEAK
STAKEHOLDER INTEREST HAVE I
INCLUDE IN THAT ASSET OVER TIME
, AND I THINK THE QUESTION HERE
THAT WE SHOULD BE LOOKING AT IS
WHAT STAKEHOLDER INTEREST TO THE
OTHER EYES. COMMUNITIES OF
AMERICA HOLD IN MAINSTREAM
CULTURE. WHAT IS MAINSTREAM
CULTURE BUT FOR THE
CONTRIBUTIONS OF THESE
COMMUNITIES. AND HOW DO WE
IDENTIFY AND RECOGNIZE AND
ACKNOWLEDGE AND PERHAPS EVEN
COMPENSATE. FOR THAT
CONTRIBUTION. AND SO, AS I SAID
EARLIER. I DON'T REALLY DON'T
WANT TO BE REDUNDANT. I THINK
WHAT WAS SAID BY CONGRESSMAN
CASTRO AND DR RAMON WAS SPOT ON.
I WOULD LIKE TO TELL THIS
ANECDOTAL STORY, HOWEVER.
FREDERICK DOUGLASS MADE IT VERY
DELIBERATE AND INTENTIONAL
DECISION. TO BECOME THE MOST
PHOTOGRAPHED PERSON. UH, DURING
THE 19TH CENTURY. HE DID THAT
BECAUSE AT THAT TIME MEDIA, OF
COURSE, WAS REFLECTED IN PRINT.
AND THE DEPICTION OF AFRICAN
AMERICANS IMPRINT WAS MADE TO BE
GROTESQUE. IT WAS MADE TO BE
INHUMAN. AND SO HE PURPOSEFULLY
SAT FOR, UM. OR PORTRAITS THAT
WOULD DEMONSTRATE HIS INTEGRITY.
AND BY EXTENSION, THE INTEGRITY
OF HIS PEOPLE. UM. THAT'S A
VERY, VERY, UM. BRILLIANT THING
FOR HIM TO UNDERSTAND AT THAT
TIME, GIVEN THE STATUS OF WHAT
WHAT MEDIA MEANT FAST FORWARD. 2
1915 WHEN D. W. GRIFFITH
RELEASED WHAT IS ESSENTIALLY THE
VERY FIRST EPIC FEATURE FILM OF
OUR INDUSTRY, BIRTH OF A NATION.
THE TECHNICAL EXPERTISE IN THE
MAKING OF THAT FILM IS A MARVEL
IS LITERALLY IS A TOUR DE FORCE
IN TERMS OF ITS CINEMATIC
ACCOMPLISHMENT. THE
STORYTELLING, HOWEVER, SUCKS. IT
IS THE STORY OF THE
RECONSTRUCTION ERA IN THE SOUTH.
AND THE FREEDOM OF PREVIOUSLY
ENSLAVED PEOPLE. AND HOW THEIR
ASSIMILATION INTO SOCIETY
CREATED ALL KINDS OF HAVOC. FOR
THE DOMINANT CULTURE. UM AND THE
N DOUBLE A. C P MADE IT VERY
VALIANT EFFORT, IN FACT, TO HAVE
THAT FAN THAT THAT FILM BANNED
FROM CINEMAS, BUT WE WERE
UNSUCCESSFUL IN THAT PARTICULAR
CAMPAIGN. IN FACT, THAT THEN
PRESIDENT WOODROW WILSON MADE
THE BRILLIANT CHOICE TO MAKE IT
THE FIRST FILM EVER SCREENED
INSIDE THE WHITE HOUSE. BUT WHAT
WE DID SEE IMMEDIATELY FOLLOWING
THE RELEASE WAS A PRECIPITOUS
CLIMB AND THE MEMBERSHIP OF THE
KU KLUX KLAN. AND SURPRISINGLY,
NOT JUST IN SOUTHERN STATES, BUT
ALL THROUGHOUT THE MIDWEST. WE
ALSO SAW A DIRECT SPIKE IN THE
NUMBER OF LYNCHINGS. BECAUSE THE
IMAGERY EMBEDDED IN THAT FILM
WAS MORE THAN JUST A DOG
WHISTLE. IT WAS A CALL TO ARMS.
IT WAS ALSO AN EXTENSION OF THE
PREVALENT THINKING OF THE
DOMINANT CULTURE AT THAT TIME,
AND THAT'S WHAT HOLLYWOOD'S ROLE
HAS BEEN TO PROPOSE TO GANDA
EYES. A PARTICULAR POINT OF VIEW
THAT IS PREVAILING. SO THIS
CONVERSATION ABOUT DIVERSITY
REALLY IS A QUESTION OF WHOSE
POINT OF VIEW SHOULD PREVAIL. IS
THERE ROOM ENOUGH IN THIS
INDUSTRY? FOR AN AMALGAMATION OF
POINTS OF VIEW. AND AS I SAID
EARLIER, GIVEN, AS AS YOU HEARD
THE STATISTICS FROM DR RAMON
GIVEN THAT LEVEL OF CONSUMPTION.
AH OF COMMUNITIES OF COLOR OF
HOLLYWOOD CONTENT. YOU WOULD
THINK AT THIS POINT THAT WE
SHOULD BE HAVING MORE
INTELLIGENT CONVERSATION ABOUT
OUR EQUITABLE INTEREST IN THE
OUTCOMES THAT THE INDUSTRY
GENERATES. THAT WAS. REALLY
IMPORTANT TO HEAR. I DID NOT
KNOW THE FACT THAT PRESIDENT
WILSON HAD SCREENED A BIRTH OF A
NATION AT THE WHITE HOUSE, AND
THAT WAS THE FIRST FILM THAT WAS
THAT WAS SCREENED THERE. I THINK
IT'S VERY TELLING OF THE
HISTORICAL IMPACT THAT FILMS
HAVE AND OUR SOCIETAL, UM,
UNDERSTANDING OF WHAT WE SEE HOW
WE INTERPRET COMMUNITY HOW WE
INTERPRET PEOPLE AND WHAT'S
ACCEPTED AND WHAT'S NOT. I THINK
THAT'S INCREDIBLY INCREDIBLY
TALENTED. UH JUST INCREDIBLY
IMPORTANT TO KNOW. I DID NOT
KNOW THAT. SO THANK YOU. THANK
YOU FOR SHARING THAT BASED ON
THE CONVERSATION THAT YOU HAVE
HEARD TODAY. UM ANY ADVICE THAT
YOU MIGHT BE ABLE TO GIVE THE
MEMBERS OF THIS COMMITTEE AND
THE WORK THAT WE'RE TRYING TO DO
THROUGH THE CALIFORNIA FILM TAX
CREDIT PROGRAM? AND HOW WE IN
CALIFORNIA CAN CHANGE THE
NARRATIVE ON HOW WE CREATE
EQUITY ACROSS THE BOARD. I THINK
THE CONVERSATION BETWEEN
DIVERSITY TO YOUR POINT AND
EQUITABLE MEASURES OF SUCCESS
ARE IMPORTANT AND WOULD LOVE TO
HEAR, UM MAYBE SOME SOME
GUIDANCE THAT YOU MAY HAVE BASED
ON THE CONVERSATIONS THAT YOU'VE
BEEN HAVING AS WELL. WELL, THANK
YOU FOR THAT QUESTION. I YOU
KNOW, I THINK SOMEHOW WE NEED TO
GET BACK TO WHAT IS UNIVERSALLY,
UH, TENDS TO BE MORE OF A
MATHEMATICAL APPROACH TOWARD THE
QUESTION OF EQUITY. UM, THE N
DOUBLE A. C P IS ONE MEMBER OF A
LARGE COALITION. OF ADVOCACY
GROUPS. WE CALL OURSELVES THE
REIMAGINED COALITION. THERE ARE
MULTIPLE AFRICAN AMERICAN FACING
ORGANIZATIONS INVOLVED, AS WELL
AS LATIN X. HISPANIC
ORGANIZATIONS, AS WELL AS ASIAN
AMERICANS, AS WELL AS NATIVE
AMERICANS, AS WELL AS THE LGBTQ
COMMUNITY, AS WELL AS THE
DISABLED COMMUNITY. UM AND I'M
THE ISLAMIC COMMUNITIES INVOLVED
. WE ARE VERY, VERY, UM, DIVERSE
COALITION OF GROUPS ALL FACING
THE HOLLYWOOD COMMUNITY. IN
CONVERSATIONS ABOUT THESE
ISSUES. AND WE RECENTLY ISSUED A
QUESTIONNAIRE TO MORE THAN 60, D
I EXECUTIVES ACROSS THE INDUSTRY
WE ASKED HIM TO DO SOMETHING
VERY, VERY SIMPLE. PLEASE DEFINE
FOR US DIVERSITY. DEFINE EQUITY.
DEFINE INCLUSION AND DEFINE
ACCESSIBILITY. MOST OF THE
RESPONSES WE RECEIVED. WE'RE UH
, CONCERNED ABOUT WHY WE'RE
ASKING THE QUESTIONS. WHAT OUR
INTENTIONS WERE WITH THE
ANSWERS. NOW, MIND YOU, THE
FOLKS THAT WE SENT THIS
QUESTIONNAIRE TO, UM MOST OF
THEM HAD D E I IN THEIR JOB
TITLES. BUT FOR SOME REASON, WE
WERE RELUCTANT TO ANSWER THE
QUESTION OF HOW DO YOU DEFINE
THOSE FOUR WORDS? BUT THOSE THAT
WE DID RECEIVE RESPONSES FROM
AND WE'RE ABOUT TO PUBLISH THIS
IN THE VERY NEAR FUTURE, BY THE
WAY. UM WHEN HE CAME TO THE
QUESTION OF EQUITY. INSTEAD OF
THE UNIVERSAL DEFINITION THAT WE
ALL KNOW FROM, YOU KNOW, BEING
HOMEOWNERS OR CAR OWNERS OR
WHATEVER IT IS THAT WHATEVER
HARD ASSETS WE MAY HAVE INVESTED
IN INSTEAD OF THOSE KINDS OF
DEFINITIONS, THEY USE WARM AND
CUDDLY WORDS LIKE UM
IMPARTIALITY, FAIR TREATMENT AND
EQUAL ACCESS TO OPPORTUNITIES.
THOSE ARE WONDERFUL VIRTUES, BUT
I DON'T KNOW HOW TO CATCH THAT
BANK. AND SO I THINK WE NEED TO
BE A LITTLE BIT MORE HONEST.
ABOUT WHAT ARE EQUITABLE
INTERESTS ARE AND HOW WE ARE
GOING TO DEFINE THEM. HOW ARE WE
GOING TO CALCULATE THEM? AND
THEN HOW WE'RE GOING TO
RECOGNIZE THEM IN THE WAY IN
WHICH WE OPERATE OUR BUSINESS,
AND THIS IS TRUE WHETHER WE'RE
TALKING ABOUT HOLLYWOOD OR
PLUMBING OR CAR RACING, OR
WHATEVER THE INDUSTRY MIGHT BE
THE CONTRIBUTIONS THAT HAVE BEEN
MADE TO WHAT IS NOW REFERRED TO
AS MAINSTREAM CULTURE. NEED TO
BE ACKNOWLEDGED. THANK YOU. FOR
THAT ARE THEIR COMMENTS OR
QUESTIONS FROM MEMBERS OF THE
COMMITTEE. GOOD. MR CHENG WAS
GONNA GO BACK TO DR RAMON. DR.
RAMON, IF YOU COULD, UM YOU
MENTIONED THAT THERE HASN'T BEEN
MUCH PROGRESS MADE. YOU CAN YOU
CAN YOU GIVE US A SENSE OF WHAT
YOU THINK OF WHAT WAS THE WHAT
ARE THE BARRIERS TO GREATER
PROGRESS? AND OBVIOUSLY YOU
HEARD FROM OUR COMMITTEE. IF YOU
CAN LISTEN TO THE UM, TESTIMONY
FROM THE LEGISLATURES. BUT THE
LEGISLATORS ARE FRUSTRATED,
ESPECIALLY GIVEN THAT WE'RE IN
OUR DEBATING OUR FOURTH
ITERATION ITERATION OF A TAX
CREDITS. I THINK CALIFORNIA HAS
DONE ITS PART BY COMING THROUGH
WITH ITS TAX CREDIT, AND THE
INDUSTRY SEEMS TO NOT HAVE DONE
THEIR PART BY UM, HAVING GREATER
INCLUSION, SO JUST WANTED TO GET
YOUR THOUGHTS ON. WHERE YOU SEE
THE BARRIERS OR THE CHALLENGES.
YEAH, THAT'S A THAT'S A GREAT
QUESTION. I THINK THAT, UH WHAT
WHAT I WAS MENTIONING EARLIER IN
TERMS OF THE STATS ABOUT IN IN
FRONT OF THE CAMERA. UM, I THINK
IT'S A REALLY INTERESTING TO SEE
THAT HOLLYWOOD DOES JUST ENOUGH
RIGHT TO SHOW THAT THEY'RE
THEY'RE MAKING AN EFFORT RIGHT,
BUT IT'S SUCH A MINIMAL EFFORT
IN A LOT OF WAYS. AND SO THAT'S
NOT TO SAY THAT. YOU KNOW.
STUDIOS HAVEN'T UM, PRODUCED AH
, YOU KNOW, FILMS THAT HAVE
PEOPLE OF COLOR AS THE LEAD OR
IN THE IN IN THE DIRECTOR'S
CHAIR, OR WHO ARE THE MAIN
SCREENWRITER, BUT BASICALLY WHAT
YOU'VE SEEN, THEN THROUGH THE
YEARS, IT'S THEM JUST DOING
MINIMAL EFFORT BECAUSE IT AT
LEAST MAKES THEM APPEAR THAT
THEY'RE THAT THEY'RE TRYING TO.
DIVERSIFY BUT THEY'RE NOT GIVING
UP ANY POWER IN THAT WAY, RIGHT
? AND SO I THINK IT'S AN ISSUE
OF THEM NOT HAVING TO BE FORCED
TO MAKE ANY CHANGE. UM FOR
YEARS, THEY WERE FOR DECADES.
ACTUALLY THEY WERE PROTECTED, UM
BY LOBBYISTS IN TERMS OF BEING
HELD ACCOUNTABLE BY THE FEDERAL
GOVERNMENT. RIGHT IN TERMS OF
THEIR, UM, UH, IT'S LIKE
EQUALITY AND IN TERMS OF WHO YOU
KNOW, WAS HIRED THROUGHOUT THE
STUDIOS AND SO BECAUSE THEY
WOULD BE ABLE TO BE ABLE TO HIDE
BEHIND THIS IDEA THAT YOU CAN'T
REGULATE ART. UM THEN THEY WERE
ABLE TO GET AWAY WITH THIS
CULTURE. WHERE UM, THEY HAD NOT
BEEN QUESTIONED UP UNTIL JUST
PROBABLY THE YOU KNOW, PAST
DECADE, UM, WHERE PEOPLE STARTED
TO MAKE, YOU KNOW, UM, DEMANDS
THAT THEY DO DIVERSIFY MORE. UH
AND SO, SO I THINK THAT'S THE
ISSUE IS THAT FOR YEARS, THEY
JUST HAD THIS EXCUSE, AND SO
THEY CREATED A CULTURE. WHERE
THE INDUSTRY IT JUST FEELS THAT
THAT IT'S THIS IS THE STATUS QUO
. THIS IS THE NORM TO HAVE WHITE
MEN BE IN CHARGE FROM THE
HIGHEST, YOU KNOW, UH, POSITIONS
OF POWER AND THAT THEY WILL BE
THE DECISION MAKERS, THE ONES
THAT GREEN LIGHT. AND SO, SO
THAT'S DIFFICULT TO THAN FOR
THEM. I THINK TO CREATE THAT
CHANGE UNLESS IT IS DEMANDED OF
THEM. AND SO AT THIS POINT,
THAT'S WHERE I DO THINK THAT YOU
KNOW, THE GOVERNMENT DOES PLAY A
ROLE IN IN REQUIRING THEM TO
SHOW THAT THAT THEY ARE MAKING
CONCERTED EFFORTS BECAUSE RIGHT
NOW IT'S JUST KIND OF A
SUPERFICIAL, UM, CHANGE RIGHT
THAT WE SEE. AND THERE'S NOT
ENOUGH. PEOPLE OF COLOR THAT ARE
THE LEADS. I MENTIONED TOTAL
FILM ROLES, BUT, UM, LEADS ARE
YOU KNOW STILL NOT AT A
PROPORTIONAL. THEY'RE NOT
PROPORTIONATELY REPRESENTED, UM
, IN THESE TOP THEATRICAL
RELEASES, THE PAST TWO REPORTS.
WE'VE ALSO TALKED ABOUT BUDGETS
. AND THIS NEXT REPORT. I THINK
THAT WILL BE REALLY EYE OPENING
BECAUSE THAT'S WHERE YOU KIND OF
SEE THE UNDERPINNINGS OF A OTHER
OTHER. I THINK IN SOME WAYS YOU
CAN CALL IT A FORM OF
DISCRIMINATION THAT IS AGAINST
ALL WOMEN. UM AND AGAINST PEOPLE
OF COLOR THAT THEY GET THE
LOWEST. THEY TEND TO HAVE THE
LOWEST BUDGETS, SO WHEN THEY
FINALLY GET THE OPPORTUNITY TO
MAKE A FILM THEY ARE THEN
SADDLED WITH THESE LOW BUDGETS,
AND THEN THEY HAVE TO COMPETE
AGAINST OTHER FILMS BY WHITE
MALE DIRECTORS THAT HAVE YOU
KNOW, TREMENDOUS BUDGETS, RIGHT?
AND SO THEN, THAT'S KIND OF
THAT'S NOT THAT'S AN UNEQUAL
PLAYING FIELD TO GET A VIEWER.
YOU KNOW, VIEWERS TO GET EXCITED
ABOUT YOUR FILM, RIGHT IF YOU IF
YOU START OFF WITH SUCH A LITTLE
BUDGET, AND SO, DR RAMON, YOU'RE
JUST WHERE I YOU KNOW, I THINK
IT'S BEEN DIFFICULT. YES, A
DOCTOR. REMEMBER? WHAT I HEARD
YOU SAY IS UNLESS WE FORCE THEM
OR DEMAND THEM TO DO IT. YOU
DON'T THINK ANYTHING WILL
CHANGE. YEAH, I THINK BECAUSE
FROM WHAT I SEE IS THAT IT'S
BEEN JUST SUCH A SLOW,
INCREMENTAL PROGRESS RIGHT SO
THAT WE SEE THAT THERE'S LIKE,
YOU KNOW, THESE, UM PERCENTAGES
THAT INCREASE, BUT IT'S NEVER
THE YOU KNOW, AT THE RATE THAT
IT SHOULD BE. WE'VE BEEN
STUDYING THIS SINCE 2011. AND
THEN YOU THINK? OH WOW, THERE'S
LIKE, YOU KNOW THIS TRAJECTORY
THAT'S GOING THAT REALLY
INCREASING AND THE DATA THAT I
MENTIONED THERE, YOU KNOW, IT
DID LOOK LIKE THAT THERE WAS
SUBSTANTIAL PROGRESS BEING MADE.
BUT IN THE REPORT THAT COME OUT
THAT WILL COME OUT WITH NEXT
WEEK. WE CAN SEE NOW IT'S LIKE A
TWO TIER SYSTEM THAT'S BEING
CREATED IN THEATRICAL RELEASES
VERSUS STREAMING RELEASES. AND
SO WHAT IS THAT? YOU KNOW HOW
HOW IS THAT GOING TO PLAY OUT
AND WHAT WILL BE INTERESTING TO
SEE IS THE CURRENT YEAR. WHAT
HAPPENS WHEN THE INDUSTRY WILL
BE CLOSER TO 100% THE WAY IT WAS
BEFORE THE PANDEMIC? SO I
DEFINITELY THINK THAT IN ORDER
TO SEE A SIGNIFICANT JUMP IS
THAT THEY WILL HAVE TO BE
REQUIRED IN SOME WAY. THANK YOU
, MR BOWSER. YOU STILL THERE?
SAME SAME QUESTION. WELL WHAT?
WHAT DO YOU THINK NEEDS TO BE
DONE TO BREAK DOWN? SOME OF THE
BARRIERS THAT YOU TALKED ABOUT.
UM THANKS FOR THE QUESTION. I
REALLY THINK THAT IT'S IMPORTANT
THAT THOSE OF US WHO ARE
SINCERELY INTERESTED IN
EXAMINING THIS QUESTION ARE
WILLING TO GO TO THE CORE OF IT.
UM ULTIMATELY, ALTHOUGH WE'RE
HAVING A CONVERSATION ABOUT A
TAX, UH, TAX INCENTIVE, THIS IS
REALLY A PUBLIC HEALTH ISSUE.
WHEN YOU UNDERSTAND THE POWER OF
THE MEDIA. AND HOW MEDIA SHAPES
HEARTS AND MINDS. AND IT'S
SPREAD GLOBALLY. AND IT SHAPES
OR REINFORCES, OR FIRMS. FOR
SOME I IDENTITY. THEN YOU LOOK
AT BEHAVIORS. IN OUR SOCIETY. WE
THEN UNDERSTAND THE RELATIONSHIP
BETWEEN MEDIA AND PUBLIC HEALTH.
AND SO I KNOW EVERYONE IS NOT
TAXED WITH THAT. RESPONSIBILITY
OR THAT ROLE AND THAT MAY NOT BE
ALL OF OUR LANES TO TRAVEL. BUT
AT THE END OF THE DAY, THAT'S
REALLY WHAT WE'RE TALKING ABOUT.
WE'RE TALKING ABOUT. WE'RE
TALKING ABOUT A POWER. THAT IS
SO AWESOME THAT IT CAN LITERALLY
SHIFT THE WORLD ON ITS ACCESS BY
THE USE OF MAJORITY AND
MESSAGING. THAT'S PUBLIC HEALTH.
THANK YOU VERY MUCH. APPRECIATE
IT. JUNE. ASSEMBLYMEMBER'S
MAKING IT. DID YOU HAVE A
COMMENT QUESTION. YEAH, I'M JUST
I WOULD JUST LIKE TO MAKE A
FINAL COMMENT. MADAM CHAIR. I
HAVE TO LEAVE. YES, PLEASE.
THANK YOU GUYS FOR COMING AND
SPEAKING WITH US. THANK YOU FOR
YOUR LEADERSHIP. UM, MADAM CHAIR
IN IN, MR CHAIRMAN. I ALSO THANK
YOU FOR YOUR LEADERSHIP HERE
TODAY. UM MY FAMILY WORKED FOR
THE TV. MY MOM WORKED IN TV. MY
DAD WORKED IN FILM INDUSTRY IN
THE SEVENTIES. EIGHTIES AND
NINETIES, AND I GUESS THEY WERE
TIRED IN THE EARLY TWO THOUSANDS
. THERE WERE VERY FEW PEOPLE
THAT LOOK LIKE US THERE. UM AND
SO FROM THE SEVENTIES TO 2023, I
WOULD HAVE THOUGHT THINGS WOULD
HAVE CHANGED. BUT IT REALLY
DIDN'T. I WOULD TELL YOU THAT IN
THE NINETIES, THOUGH, THE
TELEVISION INDUSTRY REALLY
REALLY DID A JUMP ON HIRING
AFRICAN AMERICAN I'M HAVING
AFRICAN AMERICAN SHOWS AND WHEN
THEY DID THAT, THAT BROUGHT OUT
EVERYBODY'S CAMERA PEOPLE
HAIRSTYLIST MAKEUP, JUST A WHOLE
BUNCH OF FOLKS. AND SO THAT'S
THE KIND OF STUFF I'D LIKE TO
SEE DONE ACROSS ACROSS RACES SO
THAT WE CAN WE CAN TRULY
REPRESENT CALIFORNIA BECAUSE
WHEN WE AGAIN WHAT REALLY
BOTHERS ME IS WHEN WE TALK ABOUT
THESE JOBS. WE WENT ON A TOUR OF
THE STUDIOS AND THEY REALLY,
REALLY TALKED ABOUT JOBS THEY
HAMMERED ON JOBS THAT IMPROVE
THEIR FAMILY. THIS JOB DID
REALLY DO WELL FOR MY FAMILY.
THAT'S HOW MY BROTHER AND I WERE
ABLE TO GO TO COLLEGE AND DO THE
THINGS THAT WE DID, UM I WOULD
LIKE TO SEE MORE PEOPLE ON THOSE
STUDIOS. THE TOUR JUST BLEW ME
AWAY BECAUSE WE STARTED NOBODY
THAT LOOKS LIKE ME AT ONE OF THE
STUDIOS AND IT WAS JUST IT WAS
DISHEARTENING, AND SO AS THEY
TALKED ABOUT THE JOBS, IT REALLY
DID HURT MY HEART TO HEAR. UM
THESE FOLKS TALK ABOUT THE JOBS
THEY TALKED ABOUT FAMILY FAMILY
INDUSTRY AND THAT THEIR THEIR
FAMILY WAS BEING HIRED. AND SO
AS A LEGISLATOR THAT HAS AFRICAN
AMERICANS LATINO ÁP. AYE, INDIAN
FOLKS IN MY DISTRICT I WOULD DO
THEM A DISSERVICE TO APPROVE
THIS TAX CREDIT WITHOUT ASKING
ABOUT THEM RIGHT? AND SO AS THEY
TALKED ABOUT THOSE JOBS, I
THOUGHT TO MYSELF, WHY WOULD I
CARE IF IT'S JUST TO ONE GROUP
OF PEOPLE THAT I CARE ABOUT
CALIFORNIA. I WAS BORN AND
RAISED HERE AND WE DON'T WANT TO
SEE MOTION PICTURE GO TO OTHER
PLACES WANTED TO STAY HERE. BUT
I'M REALLY, REALLY ASKING YOU
GUYS TODAY TO DIG DEEP AND
REALLY WORK ON YOUR DIVERSITY
PLAN. THANK YOU. THANK YOU
ASSEMBLYMEMBER'S BEFORE WE GO
BACK TO PANEL ONE. I DO HAVE
JUST ONE QUESTION ONE ADDITIONAL
QUESTION TO DR RAMON AND THAT
TRISTA ONE SHE'S STILL ON. OKAY,
UM VERY. VERY INTERESTING REPORT
. UH AND I'M CURIOUS AS TO THE
METHODOLOGY USED TO GATHER THE
INFORMATION. I'M CURIOUS. HOW
DOES UM. HOW HOW DO YOU CREATE
THE U. C L A HOLLYWOOD DIVERSITY
REPORT. HOW DO YOU GET GET THE
DATA? TO CREATE THE REPORT.
WHILE WE ARE FACING CHALLENGES
WITHIN THE CALIFORNIA FILM
COMMISSION TO WITHOUT WHEN WE
DON'T HAVE DATA, SO WHAT? WHAT
MAKES YOUR REPORT DIFFERENT AND
WHAT RESOURCES DO YOU HAVE? THAT
WOULD POTENTIALLY BE UTILIZED,
UM AND REPLICATED. BY OUR
CALIFORNIA FILM COMMISSION, IN
PARTICULAR TO THE CALIFORNIA
FILM TAX CREDIT THAT WOULD ALLOW
FOR US TO BE ABLE TO ALSO HAVE
DATA. THAT'S GREAT QUESTION.
THANK YOU. UM, I WANT TO ALSO
EXPLAIN THAT WE ARE LOOKING AT
THE KEY POSITIONS THAT ARE IN
FRONT OF AND BEHIND THE CAMERA,
SO WE DON'T LOOK AT BELOW THE
LINE, WHICH ARE OBVIOUSLY STILL
VERY IMPORTANT. UM BUT THE
REASON THAT WE DON'T LOOK AT
BELOW THE LINE ON JOBS IS THAT
THAT BECAUSE THAT DATA IS NOT
PUBLICLY ACCESSIBLE AND THAT IT
IS HELD BY THE MOSTLY BY THE
UNIONS. AND SO YOU KNOW, IT
WOULD BE WONDERFUL TO ALSO
EXAMINE THAT DATA THAT WE DON'T
HAVE ACCESS TO IT. AND SO, UM,
THE DATE THE REASON WHY WE WERE
ABLE TO DO THIS STUDY IS THAT
THAT THERE ARE A FEW RESOURCES
THAT WE USE AND SO WE RELY, UM,
FIRST OF ALL ON CREDITS, AND SO
THEN THROUGH THE CREDITS, THEN
WE EXAMINE THOSE KEY POSITIONS.
SO WE LOOK AT THE MAIN
CASSEROLES OF THOSE ACTORS THAT
ARE THE TOP EIGHT. UM AH, THAT
ARE LISTED IN THE CREDITS RIGHT?
AND THEN WE LOOK AT OBVIOUSLY
THE LEAD FROM THERE AND THEN FOR
TELEVISION, WE LOOK AT THE SHOW
CREATOR. BECAUSE A SHOWRUNNER
WHICH MOST PEOPLE HEAR ABOUT, I
THINK IN THE MEDIA, THEY ARE NOT
ACCREDITED. THEY'RE JUST USUALLY
AN EXECUTIVE PRODUCER. THEY HAVE
ANOTHER TITLE THAT'S CREDITED.
SO THE ONLY WAY TO GET RELIABLE
DATA ON THAT, UM IS TO ASK THE
PRODUCTION ITSELF AND SO BECAUSE
WE'RE DEALING WITH JUST X LARGE
AMOUNT OF SHOWS THAT WE THAT WE
EXAMINE. WE CAN'T YOU CONTACT
EACH PRODUCTION AND SO WHAT WE
DO IS WE LOOK AT SHOW CREATORS
FOR TELEVISION, AND THEN WE LOOK
AT EPISODIC DIRECTORS AND
CREDITED WRITERS ALSO FOR
TELEVISION SERIES. FIRST FILM,
WE LOOK AT THE CREDITED
SCREENPLAY THE SCREENWRITER, UM
AND THEN WE ALSO LOOK AT THE
DIRECTORS AS WELL. AND SO THAT
DATA WE ARE ABLE TO GET THROUGH
GRACE NOTES STUDIO SYSTEM THAT
IS NOW OWNED BY NIELSEN, AND
THEN WE ALSO ARE ABLE TO CROSS
CHECK THAT AGAINST, UM IMDB DOT
COM. AND THEN THERE'S THIS OTHER
DATABASE THAT IS OWNED BY
VARIETY, UH, WHICH IS BY THE
OWNED BY THE PENSKE CORPORATION
, AND SO, UM, THERE, YOU KNOW,
THE WELL KNOWN TRADE MAGAZINE
VARIETY. IT USED TO BE CALLED
VARIETY INSIGHT. NOW IT'S CALLED
ILLUMINATE FILM AND TV. AND SO
WITH THOSE THREE MAIN SOURCES
THAN WE ARE ABLE TO FIND OUT THE
RACE, ETHNICITY AND GENDER OF
PEOPLE THAT ARE WORKING IN THOSE
KEY ROLES, AND SO IT'S IMPORTANT
AS SOCIAL SCIENTISTS THAT, UM
THAT WE USE MULTIPLE SOURCES,
AND WE DO NOT RELY ON ONE SOURCE
BECAUSE SINCE WE'VE BEEN DOING
THIS DATA, WE KNOW THAT
OFTENTIMES THERE'S ERRORS IN
THOSE EACH OF THOSE DATA SETS,
AND SO WE USE OUR OWN RESEARCH
AND WE USE THOSE THREE, UM
PRIMARY SOURCES IN ORDER TO
GATHER THAT INFORMATION AND NOT
UNTIL JUST A FEW MONTHS AGO, DID
, UM, TWO OF THOSE SOURCES START
GET PUBLICIZE YOUR PUBLISHING.
DISABILITY DATA. AND SO IN OUR
UPCOMING FILM REPORT, WE WILL
HAVE DISABILITY STATUS FOR THE
ACTORS BECAUSE THAT IS DATA THAT
IS NOW BEING COLLECTED, AND IT'S
ONLY IF THE ACTORS HAVE SELF
REPORTED, UH, YOU KNOW THAT THEY
HAVE A DISABILITY, AND SO THAT
WILL BE INCLUDED IN OUR UPCOMING
REPORT. UM WE WILL ALSO SEE IF
WE CAN INCLUDE LGBT Q STATUS,
WHICH IS ALSO SOMETHING THAT HAS
BEEN STARTING TO BE RECENTLY
COLLECTED SO AGAIN FOR SOME OF
THOSE IDENTITIES. THOSE HAVE TO
BE SELF REPORT, BUT, UM, THE
ORIGINAL INFORMATION THAT THAT
WE WERE ABLE TO GATHER SINCE THE
2011 FILM YEAR. AND 2011 12 TV
SEASON HAVE HAS BEEN RAISED
ETHNICITY AND GENDER BECAUSE OF
THOSE DATABASES. THEY HAVE BEEN
COLLECTING THAT DATA. FOR THAT
LONG AND THAT WAS MOSTLY USED,
THOUGH FOR THE INDUSTRY TO
REALLY I THINK FOR CASTING AND
NOT AND PROBABLY THE PAST FIVE
YEARS AND HAS INCREASED IN TERMS
OF THE COLLECTION AND, UM THE
AMOUNT OF DATA THAT THAT THEY
HAVE COLLECTED. SO THAT'S WHY
WE'VE WE'VE BEEN USING OUR OWN
INTERNET RESEARCH OUR OWN, YOU
KNOW, RESEARCH AND THEN USING
THOSE SOURCES FOR THE DATA THAT
WE'VE COLLECTED, UM, SINCE 1011
. THANK YOU FOR THAT, DR RAMON.
I THINK THAT JUST REALLY
ILLUSTRATES HOW DIFFICULT AND
CHALLENGING IT COULD BE TOGETHER
. INFORMATION ON EQUITY
DIVERSITY, INCLUSION FROM THE
INDUSTRY IN GENERAL, JUST LIKE
IT IS WITH WITH MANY OTHER
INDUSTRIES. I CAN I COULD
IMAGINE HAVING TO CROSS
REFERENCE INFORMATION HAVING TO
ACCOUNT FOR PERCENTAGES OF
ERRORS AND ULTIMATELY, UM,
PROVIDING A REPORT THAT IS AS
INCLUSIVE AND AS THOUGHTFUL AS
IT CAN POSSIBLY BE TAKES TIME,
AND IT TAKES EFFORT. THANK YOU
FOR THAT, AND I AND I LIKE WE'RE
GOING TO CONCLUDE WITH WITH
PANEL. UH, OUR PANEL ON
DIVERSITY. THANK YOU VERY MUCH,
DOCTOR RAMON. AND MR BOWSER FOR
YOUR TIME, AND I AND I SHARE
THAT COMMENT TO SAY LIKE THIS IS
CHALLENGING. IT IS DIFFICULT,
RIGHT? IT'S NOT SOMETHING THAT
CAN BE EASILY GATHERED, BUT IT
NEEDS TO BE THOUGHTFUL. AND IT
NEEDS TO, UM BE INTENTIONAL. AND
SO, TO THAT POINT, WE'RE GOING
TO COME BACK TO THE PANEL, ONE
RELATED TO THE CALIFORNIA FILM
TAX CREDIT. I WANT TO
CONGRATULATE THE COMMISSION, THE
CALIFORNIA FILM COMMISSION FOR
THE SELECTION OF EVERYTHING
EVERYWHERE ALL AT ONCE. I THINK
IT'S THAT'S SUCH A BEAUTIFUL
FILM AND CLEARLY A RECOGNITION.
OF WHAT IS POSSIBLE. RIGHT? AND
LIKE I SAID EARLIER, EVERYTHING
EVERYWHERE ALL AT ONCE FEELS A
LOT LIKE THE LEGISLATURE. UM AND
IT ISN'T AN INDEPENDENT
PRODUCTION AND SO I WANTED TO
KIND OF GET BACK TO THE
QUESTIONS ON ON REFUND ABILITY.
BUT ALSO I'M ALSO VERY CURIOUS
TO KNOW MORE ABOUT UM
TRANSFERABILITY. AND HOW THAT
WORKS WITHIN THE CALIFORNIA FILM
COMMISSION. AND IS THERE AN
OPPORTUNITY? HAS THERE BEEN ANY
THOUGHT? UM AROUND THE PROGRAM
PARTICIPATION TAX CREDITS. THAT
IS CURRENTLY ALLOWED FOR
INDEPENDENT STUDIOS. HOW DOES
THAT PLAY OUT WITH THE REFUND
ABILITY QUESTION. AND EVERYTHING
THAT WE DISCUSSED EARLIER TODAY.
I THINK THAT'S MORE DIRECTED TO
THE DEPARTMENT OF FINANCE. IF
YOU CAN HELP US UNDERSTAND THAT
PROCESS. YEAH, SURE. SO JUST, UM
THANK YOU FOR THE QUESTION. THIS
IS JACOB. KAREN AGAIN. UM DO YOU
WANT JUST A RUNDOWN OF
STRUCTURALLY HOW IT WORKS? YES
OKAY. SO FOR TRANSFERABILITY, UM
CURRENTLY. AH. INDEPENDENT FILMS
ARE ABLE TO SELL THEIR TAX
CREDITS IN INDEPENDENT FILM IS,
UH, CATEGORIZES ANY FILM, WHOSE
BUDGET IS BELOW $10 MILLION.
RIGHT NOW. TRANSFER ABILITY IS
NOT, UM, AN OPTION FOR ANY
PRODUCTIONS THAT AREN'T
CATEGORIZED AS INDEPENDENT FILMS
. SO IT'S ONLY THOSE SMALL
ORGANIZATIONS OR SMALL
PRODUCTIONS RATHER THAT ARE ABLE
TO TRANSFER THEIR CREDITS. UM
YOU'D MENTIONED REFUND ABILITY,
SO THIS IS JUST A PROPOSAL AT
THIS POINT, UM, BUT OUR REFUND
ABILITY PROPOSAL WOULD, UM, THIS
WOULD BE AVAILABLE TO ALL
PRODUCTIONS REGARDLESS OF
WHETHER THEY WERE INDEPENDENT
FILM OR NOT. AH THE CURRENT
PROPOSAL IS TO ESSENTIALLY ALLOW
THEM TO UM, RECEIVE A REFUND
WORTH. 1/5 OF THEIR TOTAL CREDIT
AWARD EACH YEAR, MINUS 10% SO
18% OF THEIR CREDIT AWARD EACH
YEAR FOR FIVE YEARS. UM AT WHICH
POINT THEIR CREDIT WOULD BE
EXHAUSTED. MM. AND THAT WOULD BE
AGAIN AVAILABLE FOR ALL FILMS.
REGARDLESS OF WHETHER OR NOT
THEY'RE INDEPENDENT FILMS. BUT
IF AN INDEPENDENT FILM WORD TO
SELL THEIR CREDIT, WHICH THERE'S
STILL ABLE TO DO, THAN THE
PURCHASER OF THAT CREDIT WOULD
NOT BE ABLE TO REFUND TO THE
CREDIT. AND ARE THERE COMPARABLE
COSTS LIKE WHAT ARE WE? WHAT ARE
WE TALKING ABOUT HERE? YEAH. SO
WE ESTIMATE THAT THE COST OF
REFUND ABILITY WILL BE ABOUT 200
MILLION. OVER THE COURSE OF THE
NEXT 15 YEARS BECAUSE OF THE
LONG TERM BECAUSE OF THE LONG
SCHEDULE. THAT THE PROGRAM
ALLOCATION AND THEN
CERTIFICATION AND THEN
SUBSEQUENT CLAIMING, UH TAKES
PLACE OVER. UM THE COSTS ARE
VERY DIFFUSE OVER A GREAT MANY
YEARS, 15 FOR REFUND ABILITY,
BUT ABOUT 200 MILLION WOULD BE
THE DIFFERENCE BETWEEN UM, WE'VE
WE'VE BASED THAT ESTIMATE OFF
THE FACT THAT IN THE PAST SOME
PEOPLE SOME PRODUCTIONS THAT
RECEIVED CREDITS WOULD NOT END
UP USING THEIR CREDITS WE THINK
LIKELY BECAUSE THEY HAD
INSUFFICIENT TAX LIABILITY TO
USE THOSE CREDITS, SO BASICALLY
OUR ESTIMATION OF REFUND ABILITY
COST IS, UM. IT'S THOSE CREDITS
THAT WOULD BE CERTIFIED OR WOULD
HAVE BEEN CERTIFIED. BUT WE
DON'T THINK THAT THE PRODUCTION
WOULD HAVE HAD THE TAX LIABILITY
TO ACTUALLY USE THAT CREDIT
BEFORE IT EXPIRED. SO 200
MILLION FOR THE NEXT 15 YEARS IN
COSTS. THAT'S ABOUT 13 YEAR.
RIGHT? I DID PULL OUT MY
CALCULATOR TO, UM WONDERING IF
THE LAO HAS DONE A SIMILAR COST
ANALYSIS. YEAH. I MEAN, I THINK
AH. WE THINK THAT THE
ADMINISTRATION'S ESTIMATE IS
REASONABLE IN THE 200 MILLION.
THERE'S A LOT OF MOVING PEOPLE I
SHOULDN'T SAY MOVING PIECES.
THERE'S A LOT OF ASSUMPTIONS
THAT HAVE TO BE MADE THAT WE
CAN'T REALLY BE VERY SURE ABOUT.
UM BUT WE THINK THAT THE $200
MILLION NUMBER IS REASONABLE. IT
SEEMS JUST, YOU KNOW, TRYING TO
UNDERSTAND THE COST OF BUSINESS
AND WANTING TO KEEP THIS
INDUSTRY HERE WANTING TO ENSURE
THAT THE PROGRAM IS SUCCESSFUL.
IS THAT A AN APPROPRIATE YOU
THINK USE OF FUNDS IN TERMS OF
JUST THE COST ALONE BEING ABOUT
13 YEAR WHEN WE'RE TRYING TO
INCREASE PRODUCTION AND WE'RE
TRYING TO INCREASE JOBS JUST
TRYING TO UNDERSTAND. AND THAT
CAN GO FOR BOTH THE DEPARTMENT
OF FINANCE AS WELL AS FOR THE L
A. OH, UM SO I WOULD REFER BACK
TO IT. MISS MISS BELL'S OPENING
REMARKS. UM WHICH THE CALIFORNIA
FILM COMMISSION HAS LOOKED AT
SOME OF THEIR PROGRAM DATA FROM
THE LAST, UH, ITERATIONS OF THE
PROGRAM 12 AND THREE UM AND
FOUND THAT THE STATE WITHOUT THE
CREDIT LOST 77% OF PRODUCTION
SPENDING BY PROJECTS THAT
APPLIED FOR THE CREDIT AND DID
NOT RECEIVE IT SO. I WE BELIEVE
THAT IT IS WORTH IT. BASED ON
THE GAINS TO THE STATE THAT COME
FROM THOSE PRODUCTIONS LOCATING
WITHIN THE STATE. AND I DON'T
KNOW IF THE CFC WANTS TO ADD.
YEAH. I MEAN, I THINK THE ONLY
THING THAT THAT I WOULD, UH,
THAT I WOULD ADD, AS YOU KNOW,
AS I MENTIONED IN MY OPENING
COMMENTS, THERE IS A LITTLE BIT
OF EVIDENCE FROM THE RESEARCH
THAT, UH AH, THE REFUNDABLE
CREDITS ARE PARTICULARLY
ATTRACTIVE TO THE LARGER
PRODUCTION COMPANIES. UM AND
THAT IS NATIONAL RESEARCH
UNCLEAR HOW MUCH THAT WOULD
NECESSARILY APPLY. IN THIS CASE,
UM BUT AH, IF THAT DID LEAD TO
LARGER BUDGET PRODUCTIONS, MORE
OF THEM LOCATING HERE THAT MIGHT
FURTHER THE GOALS OF KIND OF
EXPANDING THIS INDUSTRY IN
CALIFORNIA. UM THAT BEING SAID,
YOU KNOW, I THINK THAT AH, UM
YOU KNOW, TO YOUR $0.200 MILLION
COULD YOU GET A SIMILAR BENEFIT
BY SIMPLY ADDING AN ADDITIONAL
200 MILLION INTO THE EXISTING
NON REFUNDABLE CREDIT PROGRAM?
UM YOU KNOW, MAYBE I THINK
THAT'S THAT'S DEFINITELY A
POSSIBILITY AND COULD BE
CONSIDERED. IF THE ONLY
CONSIDERATION IS HOW MUCH ARE WE
KIND OF GROWING THE SIZE OF THIS
INDUSTRY. AH UM, BUT I THINK, UH
, YOU KNOW, THERE ARE ADDITIONAL
CONSIDERATIONS WITH WITH REFUND
ABILITY AND THE DEPARTMENT OF
FINANCE MENTIONED THAT THERE ARE
MAYBE A NUMBER OF PRODUCTION
COMPANIES THAT MAY YOU KNOW, NOT
EVEN BE INTERESTED IN THE CREDIT
BECAUSE THEY DON'T HAVE ENOUGH
TAX LIABILITY. AND SO, UM,
AGAIN, YOU KNOW, THERE IS A
CONSIDERATION OF JUST KIND OF
KIND OF FAIR TREATMENT OF THESE
THE DIFFERENT TAXPAYERS IN THIS
INDUSTRY, BUT ALSO POTENTIALLY
AH AH, YOU KNOW, CREATING
ADDITIONAL, UM, COMPETITION
AMONG THE PRODUCTION COMPANIES
WHO ARE APPLYING FOR THE CREDIT
THAT CAN THAT CAN, YOU KNOW,
POTENTIALLY BE A DOUBLE EDGED
SWORD. IT CREATES MORE PRESSURE
FOR MORE CREDITS. UH BUT IF YOU
HAVE MORE COMPETITION, YOU KNOW
, PUTTING ADDITIONAL GOALS IN IN
THE WAYS OF DIVERSITY AND OTHER
THINGS THAT MAY BE LESS OF AN
ISSUE. IF YOU HAVE MORE PEOPLE
COMPETING. SOME OF THEM DON'T
WANT TO DO THOSE THINGS. THEN
THEY GOES TO THE OTHER FOLKS WHO
ARE AH, YOU KNOW, WILLING TO PUT
FORTH THAT EFFORT. SO UM, A LOT
OF CONSIDERATIONS. THERE WERE
JUST YEAH. THANK YOU, MR LEE.
THANK YOU, MADAM CHAIR. I WANTED
TO MAKE SOME COMMENTS BECAUSE,
UNFORTUNATELY, I THOUGHT IT WAS
GOING TO SAY FOR ALL OF THE
PANELS, BUT UNFORTUNATELY, GO TO
ANOTHER OBLIGATION. BUT I WANT
TO JUST CLARIFY. I THINK I HEARD
THAT EVERYTHING EVERYWHERE WAS
THE RECIPIENT OF THE CALIFORNIA
TAX CREDIT WAS THAT CORRECT?
EVEN THOUGH IT WAS A SMALL
PRODUCTION OR INDEPENDENT
PRODUCTION, OKAY, THAT'S GOOD TO
HEAR. I MEAN, CERTAINLY. AS AN
ASIAN AMERICAN. IT MATTERS A LOT
AND SOCIAL LGBTQ, AMERICAN ASIAN
AMERICAN. IT MATTERS A LOT, AND
THOSE THINGS ARE IMPORTANT. BUT
I WANT TO CONQUER SOME MY
THOUGHTS WITH CHAIRMAN TING,
BOTH OF US, REPRESENTING
NORTHERN CALIFORNIA AND ALSO FOR
US REPRESENT THE TECH SECTOR.
YOU KNOW, WE HAVE A DIFFERENT
DIVERSITY PROBLEM ALTOGETHER. WE
HAVE DIFFERENT FLIGHT SITUATION
ALTOGETHER, WHERE THEY
THREATENED TO LEAVE A LOT OF
TIME. I'M NOT SAYING THAT YOU
DID. MOTION PICTURE INDUSTRY IS
NECESSARY, THREATENING THE SAME
THING. BUT YOU KNOW, WE DON'T
GIVE INDUSTRY MONEY IN THE SAME
WAY. WHEN WE ALSO ASKED FOR
SOCIALLY DESIRABLE OUTCOMES AS
WELL TO HAVING A MORE DIVERSE
WORKFORCE OR DIVERSE PEOPLE IN
FRONT OF THE CAMERA. IT'S REALLY
IMPORTANT AND ESPECIALLY
SPEAKING AS AN LGBT, CALIFORNIAN
AND ASIAN AMERICAN. WE WANT TO
SEE MORE PEOPLE WHO ARE WORKING
THESE TODAY JOBS AND ON THE
CAMERA AS WELL. AND SPEAKING OF
ASIAN AMERICAN. WE ALSO WANT TO
SEE MORE THAN THE SAME FIVE
PEOPLE ASIAN AMERICANS. WE SEE
EVERY TIME. ON CAMERA, SO IT'S
REALLY IMPORTANT TO MAKE SURE
WE'RE HAVING THOSE METRICS IN
FRONT OF US. SO I DO HOPE THAT
YOU'LL COME BACK TO US WITH
METRICS WITH NUMBERS AND SHOWING
US THAT IF INDEED YOUR PLANS ARE
WORKING OUT TO SHOW US THAT
THEY'RE WORKING OUT, AND IF
THEY'RE NOT, WE HAVE TO HAVE
FRANK CONVERSATION. WHY? IT'S
NOT WORKING OUT BECAUSE WE WANT
TO HAVE MORE PEOPLE. AH
INVOLVEMENT IN THIS INDUSTRY AND
ALSO IN AN ALTERNATIVE UNIVERSE.
YOU KNOW, I SHARED WITH SOME
FOLKS TODAY WHEN THEY'RE
LOBBYING ME ABOUT THIS IS THAT I
ALMOST WENT TO FILM SCHOOL. I
THOUGHT ALL ALONG WITH MANY OF
MY FRIENDS THOUGHT WE WERE GOING
TO BECOME PART OF THE
ENTERTAINMENT INDUSTRY. SO I
KNOW FIRSTHAND THAT THERE'S NO
SHORTAGE OF PEOPLE WHO ARE
VESTED IN THIS ART IN THIS CRAFT
THAT WANT TO BE INVOLVED IN,
ESPECIALLY FROM COMMUNITIES OF
COLOR OR QUEER COMMUNITIES. NONE
OF US. I DON'T THINK ANY OF US
HAVE MADE IT UNQUOTE YET IN THE
INDUSTRY, BUT THEY'RE TRYING
STILL, I STILL FRIENDS ARE
TRYING, BUT IT'S IMPORTANT THAT
WE GIVE THOSE PEOPLE
OPPORTUNITIES AND ESPECIALLY
WHEN PEOPLE OUTSIDE OF LOS
ANGELES IN THE HEART LIKE IN SAN
JOSE, WHERE THERE'S CREATIVES
OUT THERE, THEY DON'T THEY NEED
TO HAVE THOSE CHANCES AND
OPPORTUNITIES TO BE GIVEN. SO
AND I'VE NEVER MET ANY SINGLE
PERSON IN THE INDUSTRY, WHETHER
THEY ARE ABOVE OR BELOW LINE
THAT DOESN'T DO IT FOR THE ART
FOR THE LOVE OF THE ART. BUT
THEY DESERVED ALSO HAVE FAIR
COMPENSATION FOR SAFE WORKING
ENVIRONMENTS AND TO BE TREATED
FAIRLY, JUST LIKE OUR GLOBAL
PARTNERS WHEN THEY ARE WORKING
IN ART PROJECTS TO THERE, TOO,
SO IT'S VERY IMPORTANT THAT WE
SEE THAT DATA BECAUSE WHAT'S I
AM HEARING FROM HISTORY IS
THEY'RE ASKING FOR US FOR MONEY
WITH NEW REQUIREMENTS OF REFUND
ABILITY AND THIS KIND OF STUFF
THAT IS NEW TO US, BUT WE ALSO
WANT TO SEE ASSURANCES AND
STABILITY THAT WERE ALSO MEETING
THESE GOALS, DESIRABLE GOALS
THAT I THINK WE ALL SHARE. I
WANT TO MAKE SURE THAT
CALIFORNIANS OF ALL BACKGROUNDS
ARE SHARING IN THIS BOUNTY. SO I
THINK THE CHAIR FOR LETTING ME,
UM, MAKE THESE COMMENTS AND
THANK YOU SO MUCH. THANK YOU.
ASSEMBLYMEMBER'S, UM BEFORE WE
MOVE ON TO OUR FINAL PANEL. I
WANT TO THANK EVERYBODY THAT'S
IN THE COMMITTEE ROOM WHO IS
BEING PATIENT, AND I KNOW WE
STILL HAVE A COUPLE MORE THINGS
TO GO THROUGH. ONE FINAL
QUESTION. COMMENT FOR THE
CALIFORNIA FILM COMMISSION
EARLIER WE YOU SPOKE ABOUT HOW
IMPORTANT IT WAS FOR THE STUDIO
OR PRODUCTION COMPANY TO SUBMIT
THEIR WORK PLANS AND THAT EACH
INDIVIDUAL IT WAS UP TO THE
FOLKS THAT WERE PUTTING FORWARD
THE WORK PLAN TO COME UP WITH
WHAT WOULD BE THEIR
MEASUREMENTS, RIGHT? DID I
UNDERSTAND THAT CORRECTLY? YES
IN CALIFORNIA. WE ARE RESTRICTED
BY PROP TWO OH, NINE IN THE
SENSE THAT WE CAN'T ASK FOR
QUOTAS, SO THIS WAS SO IT IS UP
TO EACH, UH, PROJECT TO TELL US
WHAT THEIR GOALS ARE. BUT BASED
UPON OUR REGULATIONS, WHICH
ASKED VERY SPECIFIC QUESTIONS
TOWARD THOSE GOALS. SO THAT'S
PART OF MY QUESTION THAT I WAS
GOING TO BRING FORWARD TO YOU IS
HOW CAN WE CREATE UNIFORMITY
THROUGHOUT THE APPLICATION
PROCESS, SO GIVEN THAT, UM THERE
ARE SOME CONCERNS RELATED TO
PROP TWO OH NINE AND QUOTAS. WE
ALL UNDERSTAND THAT. BUT THERE
IS A VERY ACTIVE EFFORT WITHIN
THE LEGISLATURE TO BE CREATIVE
ABOUT HOW WE THINK ABOUT
POTENTIAL INCENTIVES OR
POTENTIAL OPPORTUNITIES FOR, UM
MORE DISENFRANCHISED COMMUNITIES
OR COMMUNITIES OF INTEREST TO BE
ABLE TO HAVE ACCESS. SO MY
QUESTION TO YOU IS WHAT DOES IT
LOOK LIKE? UM SO THAT ONE STUDIO
STUDIO ONE STUDIO TO STUDIO
THREE. FOLLOW A SIMILAR PROCESS
OF UNIFORMITY WHEN DOING THE
APPLICATION WHEN PROVIDING
INFORMATION THAT CAN BE
REPLICATED ACROSS THE BOARD. SO
THAT YOU'RE NOT GETTING
DIFFERENT THINGS FROM DIFFERENT
PEOPLE AND THEN TRYING TO MAKE
DECISIONS. WHAT, LIKE WHAT DOES
THAT LOOK LIKE? WHAT EACH EACH
OF THEIR WORK PLANS WOULD BE
DIFFERENT AND HOW THEY WILL GO
ABOUT ACHIEVING THOSE DESIRED
RESULTS WHO THEY'RE GOING TO BE
WORKING WITH. IN TERMS OF HIRING
, WHICH, YOU KNOW, TRAINING
PROGRAMS THEY'LL BE WORKING
WITH. THERE'S SO MANY DIFFERENT
ONES. SO EACH PROJECTS, UM WORK
PLAN WILL LOOK VERY DIFFERENT,
ALTHOUGH THE UNIFORMITY WILL
COME IN WITH THEM HAVING TO
ANSWER THE QUESTIONS THAT ARE
THAT ARE SET OUT THAT THEY NEED
TO ADHERE TO PUTTING THEIR WORK
PLAN TOGETHER. THE QUESTION.
ASKED BY MY COLLEAGUE EARLIER,
ASSEMBLYMEMBER'S MAKIN ER WAS
ABOUT A GOOD FAITH EFFORT.
RIGHT? THERE'S A DIFFERENCE
BETWEEN A GOOD FAITH EFFORT AND
THEN ACTUALLY HAVING THE
INFORMATION BOTH FOR WHEN YOU
START THE APPLICATION PROCESS,
AND THEN TOWARDS THE END OF THE
PRODUCTION, RIGHT, SO YOU MAY
LOSE SOME FOLKS IN BETWEEN. YOU
MAY NEED TO HIRE, YOU KNOW
DIFFERENT INDIVIDUALS. WHAT LIFE
HAPPENS, RIGHT? SO AT THE END OF
A PRODUCTION HOW CAN WE
GUARANTEE THAT WAS INITIALLY
APPROVED? CONTINUES TO BE THE
FINAL PRODUCT. AND SO I'VE BEEN
THINKING ABOUT HOW OTHER STATES
MAY MAYBE DOING THIS WORK. AND
WHAT CAN WE APPLY HERE TO ENSURE
THAT THIS PROGRAM IS SUCCESSFUL?
WELL I'M NOT AWARE OF ANY OTHER
STATE THAT REQUIRES, UM. A
WORKFORCE DIVERSITY PLAN,
PARTICULARLY IN THE BEGINNING
STAGES OF AN APPLICATION PROCESS
. SO THIS IS SOMETHING VERY
UNIQUE. I'M NOT SURE THAT THERE
IS ANYTHING COMPARABLE AT THIS
POINT. WELL, I THINK UM NEW YORK
AND ILLINOIS BOTH REQUIRE
DIVERSITY WORK PLANS, BUT THERE
IS NO INCENTIVE ATTACHED TO IT.
WHICH IS AN INTERESTING THING TO
THINK ABOUT. DO WE REALLY NEED A
MONETARY INCENTIVE FOR THIS FOR
THIS TO WORK? UM IT SEEMS TO BE
WORKING IN BOTH OF THOSE STATES
WHERE THEY ARE GETTING DIVERSITY
WORK PLANS. THEY'RE NOT GETTING
ADDITIONAL TAX CREDITS FOR IT.
AND, UM AS FAR AS I KNOW THEY'RE
COMPLYING AND, YOU KNOW, HAPPY
TO DIG DEEPER INTO THAT. I DON'T
KNOW MUCH ABOUT THEIR SPECIFIC
WORK PLANS BECAUSE I'M NOT PRIVY
TO THEM, BUT I KNOW THAT IS PART
OF WHAT THEY REQUIRE. UM AND
JUST, UM, SINCE I HAVE THE MIC,
UM I WASN'T CLEAR THAT YOU
WANTED TO GET INTO VERY SPECIFIC
DIVERSITY STATISTICS IN THIS
MEETING, BUT SINCE YOU DID
MENTION THAT YOU DID, I DO HAVE
THE STATISTICS FOR THE 15
PROJECTS IN THE THREE POINT OUT
THEIR DIVERSITY INFORMATION
WHICH I CAN PASS OUT. AND WE
WILL SEND THE DIVERSITY
STATISTICS FROM OUR PROGRESS
REPORT FROM TWO POINT OH TWO
EACH OF YOU AS WELL AS THE
DIVERSITY STATISTICS FOR OUR
CAREER READINESS INTERNS BECAUSE
THOSE WE DO COLLECT DIVERSITY
INFORMATION FROM PEOPLE WHO ARE
HIRED ON THOSE SHOWS, SO WE WILL
SEND THEM TO ALL THE COMMITTEE
MEMBERS. THANK YOU FOR THAT. I
THINK THAT'S VERY IMPORTANT TO A
LOT OF THE MEMBERS. I, AS YOU
HAVE HEARD TODAY, CURIOUS, UM,
THE ADDITIONAL DATA ON THE
REPORTS AND STATISTICS THAT YOU
HAVE CORRECT ME IF I'M WRONG,
BASED ON WHAT YOU SHARED EARLIER
IS ONLY ON VOLUNTEERED
INFORMATION, CORRECT. YES
ACCORDING TO YOUR WEEK, NOBODY
CAN BE FORCED TO GIVE THEIR
ETHNICITY BUT, UM, ON THE 15
PROJECTS THAT WE DID GET 43
POINT. OH, I BELIEVE 85% DID
SELF IDENTIFY THEIR ETHNICITY
AND GENDER, WHICH IS PRETTY
GOOD. THAT'S ACTUALLY THAT'S
GREAT. THAT'S A GREAT NUMBER. WE
WANT TO GET TO 100% CLEARLY. BUT
THAT IS A REALLY GOOD QUESTION,
BECAUSE WE JUST NEVER KNOW
RIGHT. THE DATA THAT YOU'RE
PROVIDING IS A 20% IS A 50%
KNOWING THAT IT'S AT 85%
VOLUNTEER INFORMATION GIVES US I
THINK A BETTER UNDERSTANDING AS
TO THE WORKFORCE AND WHAT THAT
COULD POTENTIALLY LOOK LIKE. ARE
THERE DOES THE FILM COMMISSION
CURRENTLY WORK WITH
ORGANIZATIONS, NONPROFIT
ORGANIZATIONS THAT DO THE WORK
AND CREATING A WORKFORCE AND
THIS IS A QUESTION THAT I MAY
WANT TO ASK LATER TO OUR
STAKEHOLDERS PANEL AS WELL IN
TERMS OF WHAT DO THE
APPRENTICESHIP PROGRAMS
CURRENTLY LOOK LIKE? WHAT IS THE
GROWTH OF APPRENTICESHIP
PROGRAMS CURRENTLY LOOK LIKE
WHAT ARE THE COMPONENTS OF YOUR
PARTNERS WITHIN THE COMMISSION
THAT YOU WORK WITH? GIVE ME A
BROAD UNDERSTANDING OF THAT. I'D
BE HAPPY TO SEND YOU OUR LATEST
REPORT FROM OUR CAREER PATHWAYS
PROGRAM, WHICH DESCRIBES OUR
TRAINING PROVIDERS AS WELL AS
SOME OF THE STATISTICS I
MENTIONED EARLIER. THANK YOU.
THANK YOU. I LOOK FORWARD TO
SEEING THAT, BUT I THINK IT'D BE
GREAT TO ALSO IF YOU CAN SHARE
RIGHT NOW. PUBLICLY WE USED IN
TERMS OF WHO ARE ARE TRAINING
PROVIDERS. WE WORK WITH MANIFEST
WORKS MANIFEST WORKS WORKS WITH
PEOPLE WHOSE LIVES HAVE BEEN
IMPACTED BY HOMELESSNESS AND
INCARCERATION. AND THEY HAVE A
TERRIFIC PROGRAM WITH A LOT OF
SOCIAL SUPPORTS. UM AND A LOT OF
THESE PEOPLE WHO REALLY WERE
PRETTY I MET WITH ONE PARTICULAR
WOMAN AT A GRADUATION RECENTLY
SHE WAS AFRICAN AMERICAN. SHE
HAD BEEN HOMELESS. SHE HAS A
CHILD. SHE REALLY WAS DESPERATE
. SHE GOT INTO THIS PROGRAM AND
MANIFEST WORKS THAT WE HELP
FINANCE. SHE WAS ABLE TO TRAIN
TO BECOME A PRODUCTION ASSISTANT
. AND FROM THERE, SHE GOT INTO
OUR PROGRAM THAT HAS TO DEAL
WITH APPRENTICESHIPS FOR THE
SOUND UNION. AND NOW SHE IS A
MEMBER OF THE SOUND UNION. IN
MAKING UNION WAGES, AND SHE NOW
HAS HEALTH CARE FOR HER AND HER
CHILD. SO THERE'S A LOT OF GREAT
STORIES LIKE THAT, UM, FROM
MANIFEST WORKS. WE ALSO WORK
WITH HOLLYWOOD CPR, WHICH IS
AFFILIATED WITH WEST L. A
COMMUNITY COLLEGE AND WE TRAIN
PEOPLE AND BELOW THE LINE CRAFT
POSITIONS. AND WE ALSO WORK WITH
THE HANDY FOUNDATION. UM, WHICH
. FOCUSES ON POST PRODUCTION
JOBS. UM AND IT IS RUN BY A
GENTLEMAN WHO WAS AFRO AMERICAN
, AND THEY TARGET PEOPLE FROM
UNDERREPRESENTED COMMUNITIES
LIKE ALL OF OUR ALL OF OUR
TRAINING PROVIDERS. UM, AND
AGAIN, WE CAN GIVE YOU, UM
WHATEVER DATA THAT WE HAVE, I DO
WANT TO SAY THAT THE FILM
COMMISSION DOES NOT HAVE A
STATISTICIAN AND OUR STAFF. WE
DON'T REALLY HAVE ANYONE WHO'S
TRAINED IN THAT. SO WE DO THE
BEST WE CAN WITH THE DATA THAT
WE CAN GET, AND ALSO JUST WANTED
TO ADD THAT WE ALSO AT THE FILM
COMMISSION JUST LAUNCHED A NEW
ACCOUNTING PROGRAM, RECOGNIZING
THERE IS A NEED FOR
ENTERTAINMENT PRODUCTION
ACCOUNTANTS WE HAVE LOST,
LAUNCHED OUR OWN PROGRAM AND
COURSE AND HAD A GRADUATION
RECENTLY OF 30 GRADUATES AND PUT
TOGETHER A JOB FAIR FOR THEM,
AND SOME HAVE HAD INTERVIEWS AND
HAVE LANDED JOBS THROUGH THIS
PROGRAM, AND WE HAVE ANOTHER
COURSE COMING UP IN MAY. THANK
YOU FOR THAT. I THINK THAT'S
ALSO VERY IMPORTANT TO
UNDERSTAND JUST THE VARIETY OF
DIFFERENT WORKFORCE THAT GOES
INTO IT JUST FOR THE HOLLYWOOD
CPR REPORT. I'M GLAD THAT IT'S
WORKING OUT IN WEST L. A. WE
WELCOME THEM IN EAST LOS
ANGELES, AND WE WELCOME THEM IN
SOUTH L A AS WELL. WE'LL JUST
START OFF WITH THOSE TWO
COMMUNITY COLLEGES AS ADDITIONAL
POTENTIAL OPPORTUNITIES, BUT AS
YOU SAW CLEARLY FROM THE MEMBERS
THAT WERE WITH US IN THE EARLIER
PANELS FROM DIFFERENT PARTS OF
CALIFORNIA AND SOUTHERN
CALIFORNIA, SPECIFICALLY THERE
IS A GREAT DESIRE AND GREAT NEED
. AND SO I THINK AS WE THINK
ABOUT HOW DO WE INCREASE
OPPORTUNITIES? YOUR PARTNERS
WITHIN THE FILM COMMISSION ARE
ALSO IMPORTANT BOTH ON THE LABOR
SIDE IN TERMS OF CRUZ. AH BUT
ALSO IN THE NONPROFIT TRAINING
SECTOR THAT ALLOWS AN
OPPORTUNITY FOR AN ENTRY. RIGHT
RIGHT SO UH, LOOKING AT THOSE
NUMBERS, I THINK WILL BE
IMPORTANT AS WE THINK ABOUT THE
LONGEVITY OF THIS PROGRAM AND
OPPORTUNITIES IN WHICH WE CAN UM
. CREATE A WAY A PATHWAY. THAT
IS, UM, THINKING ABOUT THE
DIVERSITY WORKFORCE. BUT ALSO IN
A WAY THAT ALLOWS FOR US TO DO
THAT, DESPITE THE CHALLENGES
WITHIN PROP. TWO OH NINE. SO IF
ITS PARTNERS RIGHT, MUCH LIKE
THE GEORGIA FILM ACADEMY, WHICH
HAS PARTNERS IN THE STATE OF
GEORGIA THAT ALLOW FOR AN
OPPORTUNITY AND ENTRYWAY, A
PATHWAY APPRENTICESHIP PROGRAMS
WHERE THEN PRODUCTION AND
STUDIOS CAN SELECT FROM DO WE
CURRENTLY HAVE THAT IN A WAY
THAT'S ROBUST, AND HOW CAN WE
GROW THAT? I THINK IT'S A
POTENTIAL OPPORTUNITY THAT WE
GET TO THINK ABOUT LONG TERM. I
WANT TO THANK YOU ALL KNOW YOU
FELT LIKE YOU WERE IN THE HOT
SEAT. SO THANK YOU FOR STAYING
WITH US AND FOR ANSWERING THE
MEMBER'S QUESTIONS AND PROVIDING
THAT DATA I'D LOVE TO HAVE MISS
STONE THAT DATA THAT YOU HAVE.
THANK YOU AND WE CAN BEGIN WITH
OUR FINAL. STAKEHOLDER THANK YOU
. OUR STAKEHOLDER PANEL AND
AGAIN THANK YOU TO THE
DEPARTMENT OF FINANCE AND THE
ELIO AS WELL. WE WILL BEGIN WITH
OUR STAKEHOLDER PANEL. IF YOU
CAN COME TO THE DESK, PLEASE.
AND ONE OF THE ONE OF THE
PANELISTS, MISS JEANETTE WILL
TURN OH AND MARSEILLE BROWN WITH
CATCH. LET'S STUDIOS WILL BE ON
WEB BACK, SO WE'LL HAVE THEM. GO
TOWARDS THE END TOWARDS THE END.
UM. AND WHILE IT MAY SEEM THAT
MEMBERS HAVE LEFT THE BUILDING
THEY HAVE NOT EVER I'VE GOTTEN
SEVERAL TEXTS OF FOLKS WATCHING.
THIS IS A MUST SEE TV FOR THE
LEGISLATURE. AND SO LET'S UH,
LET'S BEGIN THIS PANEL. THAT'S
WHEN YOU ALICE, MADAM CHAIR AND
STAFF. MY NAME IS KATHY MANUAL
AWESOME. SENIOR VICE PRESIDENT
FOR GOVERNMENT AFFAIRS FROM THE
MOTION PICTURE ASSOCIATION, AND
I TRULY APPRECIATE THE
OPPORTUNITY TO BE HERE TODAY AND
PROVIDE SOME TESTIMONY AND
SUPPORT OF THE GOVERNOR'S
PROPOSAL. I THINK YOU KNOW,
WE'VE HEARD QUITE A BIT ABOUT
DIVERSITY TODAY AND I JUST
WANTED TO PERSONALLY AFFIRM THAT
OUR STUDIOS ARE FULLY COMMITTED
TO THE MISSION OF DIVERSITY AND
INCLUSION AND I DON'T WANT TO
GET INTO DATA AS MUCH AS JUST
MAYBE. MAYBE TAKE A STEP BACK
AND TAKE US BACK TO THE ORIGINAL
OBJECTIVE OF THE FILM TAX CREDIT
CODE PROGRAM IN THE EVOLUTION
THAT HAS GONE THROUGH. IT WAS
ENACTED INITIALLY IN 2009 AND
SIGNIFICANTLY IMPROVED IN 2014
REALLY AS A WAY TO STOP THE
BLEEDING OF JOBS. UM AT THAT
POINT, THE LÀ EVEN REPORTED THAT
CALIFORNIA WAS LOSING
SIGNIFICANT JOBS TO OTHER
JURISDICTIONS. AND OUR ENTIRE
MARKET SHARE, FRANKLY, HAD
DROPPED TO ABOUT 50% AND THAT
WAS AGAIN 2014. I THINK OF YOU
REVISITED THAT NUMBERS AND YOU
TOOK INTO ACCOUNT THE AMOUNT OF
PRODUCTIONS THAT HAVE GONE
ABROAD. GIVEN THAT CANADA AND
THE UK ARE ACTUALLY THE MOST
COMPETITIVE JURISDICTIONS TO
CALIFORNIA. IT'S NOT SO MUCH
THAT THEIR STATES IT'S ALSO
FOREIGN COUNTRIES. I BET THAT
NUMBER AND THAT MARKET SHARE IN
THE TOTAL PRODUCTION PIE THAT
CALIFORNIA HAS HAS DECREASED
EVEN MORE. SO I THINK THE
QUESTION HERE IN THE POLICY
OBJECTIVES OF THE LEGISLATURE
WAS TO MAKE SURE THAT CALIFORNIA
WAS RETAINING AND CAPTURING BACK
A LOT OF THOSE JOB LOSSES. AND I
THINK THAT WE'VE DEMONSTRATED
THROUGH STUDY AFTER STUDY, THE L
E. D C JUST PUBLISHED A STUDY
LAST YEAR THAT IS REALLY
CEMENTED THE SUCCESS. WE HAVE
RECAPTURED A LOT OF JOBS. UM
THEY'VE RELOCATED. I THINK
THERE'S THE INDUSTRY STABILIZED
FOLLOWING THE ENACTMENT AND
CERTAINLY AFTER THE PROGRAM WAS
SIGNIFICANTLY IMPROVED IN 2014,
AND EVERY TIME IT'S COME UP FOR
AN EXTENSION, WE HAVE GATHERED
AS A STAKEHOLDER COMMUNITY TO
FIGURE OUT HOW DO WE KEEP
BUILDING AND HOW DO WE KEEP
IMPROVING TO MAKE SURE THAT THIS
INDUSTRY IS STRONG IN
CALIFORNIA? UM SO I THINK THAT
BRINGS US TO WHERE WE'RE HERE,
WHICH IS, YOU KNOW, HAVING A
REALLY ROBUST CONVERSATION ABOUT
DIVERSITY. I THINK THE FACT THAT
YOU JUST YOU KNOW WE HAD THIS
CONVERSATION IS IT IS IT IS A
MEASURE OF FACT, IT'S A SUCCESS
STORY AT THIS POINT, LIKE THE
FACT THAT WE ACTUALLY GET TO
ROLL UP OUR SLEEVES AND TALK
ABOUT HOW WE'RE GOING TO DO MORE
AND BE MORE AGGRESSIVE ON DNA
BELOW THE NIGHT IN THE BATTLE
LINE IS A SIGN THAT WE'RE I
THINK IT'S A RECOGNITION BY THE
STAKEHOLDERS THAT MORE HAS TO BE
DONE. UM AND THAT WE CAN DO IT
IN POLICY, AND WE COULD ALSO DO
IT ON THE PRIVATE SECTOR. AH OUR
STUDIOS HAVE BEEN DOING QUITE A
BIT OF WORK. AH AND I THINK
AGAIN COLLECTIVELY, WE'RE
WILLING TO BE A RESOURCE. UH AND
THE DIVERSITY OF WORK PLAN
COMPONENT OF FOUR POINT OH
PRESENTS AN OPPORTUNITY NOT ONLY
TO MAYBE BE BETTER IN TERMS OF
DATA COLLECTION OF REPORTING OF
MAKE SURE THAT WE'RE TELLING NOT
ONLY THE STORY, BUT, UM,
ACTUALLY, JUST, UM ESTABLISHED
MAYBE A BASELINE THAT CAN BE
MEASURED AFTER A YEAR BECAUSE I
THINK WHAT WE STARTED OFF A
LITTLE BIT IS JUST THE TROUBLE
EVEN OF HOW DO YOU COLLECT DATA?
HOW DO YOU NEVER KNOW WHERE TO
START AND HOW YOU'RE MEASURING
SUCCESS. SO I THINK AGAIN ON
BEHALF OF THE STUDIOS. I JUST
WANTED TO SAY THAT WE'RE FULLY
COMMITTED TO THAT MISSION. UM WE
WANT TO BE PART OF THESE
CONVERSATIONS, AND WE WOULD
OBVIOUSLY WORK WITH THE FILM
COMMISSION AND DEVELOPING
PROGRAM GUIDELINES AND
REGULATIONS TO MAKE SURE THAT
THOSE WORK PLANS ARE MEANINGFUL.
AND THEY'RE MOVING THE NEEDLE.
UM AND PERSONALLY, I MEAN, I WAS
BORN AND RAISED IN EAST L A, UM
MY ENTIRE FAMILY IS DISPERSED
THROUGHOUT L, A COUNTY'S AND
BERNARDINO COUNTY. I MEAN, THOSE
ARE MY FOLKS THAT I THINK WHEN
WE TALK ABOUT DIVERSITY AND
MAKING SURE THAT THIS INDUSTRY
WORKS FOR EVERYONE IT'S THE
PEOPLE THAT YOU KNOW I GREW UP
WITH, UM, SO IT'S PERSONALLY
IMPORTANT TO ME AND
PROFESSIONALLY. OBVIOUSLY I'M
INVESTIGATED AS WELL. SO I MEAN,
I'M HAPPY TO ANSWER ANY
QUESTIONS ON, UM THE PROGRAM
MECHANICS OR ANY OTHER DATA
POINTS. BUT REALLY, AT THIS
POINT, I JUST WANTED TO SAY
WE'RE AT AN INFLECTION POINT
WHERE WE CAN REALLY GATHER AS A
COMMUNITY OF STAKEHOLDERS. AND
ROLLER BURST LEAVES AND SEE HOW
WE'RE GOING TO MAKE A
DIFFERENCE. THANK YOU FOR THAT
MR MANDELA'S I'M GOING TO ASK
THE PANELISTS IF WE COULD
INTRODUCE YOURSELF, WHILE UM FOR
FOLKS THAT ARE WATCHING AS WELL.
LET'S CONTINUE. HELLO MY NAME IS
ALEX AGUILAR. I AM THE BUSINESS
MANAGER FOR LIKE, YOU KNOW,
LABORS LOCAL 7 24. OH, CONTINUE.
OKAY WELL, THANK YOU.
ASSEMBLYMEMBER'S CARILLO FOR THE
INVITATION TO SPEAK TO THE
COMMITTEE TODAY. THE CALIFORNIA
FILM AND TELEVISION TAX CREDIT
PROGRAM IS A LIFELINE FOR THE
WORKING WOMEN AND MEN OF THE
ENTERTAINMENT INDUSTRY. WE
GREATLY APPRECIATE GOVERNOR
NEWSOM FOR INCLUDING AN
EXTENSION OF THE PROGRAM. 2030
IN THE 2023 24 BUDGET. YOU'RE
LIKELY AWARE OF THE PROGRAMS,
FACTS AND FIGURES, WHICH ARE
IMPORTANT. BUT MY REMARKS WILL
SAY WHAT THE UNION MEMBERS OF
THIS INDUSTRY WANT YOU TO HEAR.
MY NAME AGAIN. HERE'S ALEX AGLER
. I AM THE BUSINESS MANAGER FOR
LIONEL LOCAL 7 24. ONE OTHER
THING THAT I LIKE TO SHARE IS
THAT I'M THE FIRST PERSON OF
COLOR TO BE ELECTED AS A
PRINCIPAL OFFICER FOR THE
LABORERS LOCAL IN THE
ENTERTAINMENT INDUSTRY. IN THE
90 YEAR HISTORY OF OUR LOCAL. WE
ARE THE VOICE FOR 1750 UTILITY
WORKERS IN THE MOTION PICTURE
INDUSTRY. BUILDING MAINTAINING
AND BREAKING DOWN OF SETS, WILL
NOT SEEN BY THE PUBLIC IS AN
INTEGRAL PART OF CREATING FILMS
AND TELEVISION SHOWS. TODAY I AM
ALSO REPRESENTING THE
ENTERTAINMENT UNION COALITION,
WHOSE MEMBERS ARE THE CALIFORNIA
ARTS COUNCIL. THE DIRECTORS
GUILD OF AMERICA SAG AFTER
TEAMSTERS LOCAL 3 99 AND MY
LOCAL TOGETHER WE REPRESENT OVER
155,000 WOMEN AND MEN WHO WORK
ON MOTION PICTURES AND
TELEVISION SHOWS. WHILE IT MAY
APPEAR GLAMOROUS FROM THE
OUTSIDE THE DAY TO DAY WORK IN
THIS INDUSTRY IS NOT IT IS VERY
HARD WORK. THAT IS NOT FOR
EVERYONE BECAUSE IT IS A
FREELANCE INDUSTRY. WHICH MEANS
THAT FOR MOST EVERY JOB COULD BE
THEIR LAST OR IS THERE LAST
LUCKILY, WE ARE ONE OF THE MOST
HEAVILY UNIONIZED INDUSTRY AND
INDUSTRIES IN THIS COUNTRY AND
THE UNIONS AND GUILDS ENSURE
THAT THEY HAVE GOOD PAIN, MIDDLE
CLASS JOBS WITH BENEFITS FOR
MEMBERS AND THEIR FAMILIES. ONE
OF THE EFFORTS TO UNION HAVE
TAKEN MOST SERIOUSLY IN RECENT
YEARS, IS MAKING OUR INDUSTRY
ACCESSIBLE TO A NEW, MORE
DIVERSE GENERATION OF WORKERS
SUCH AS MYSELF. THE CURRENT
INCENTIVE PROGRAM HAS A PROGRAM
CALLED CAREER PATHWAYS FOR
TRAINING CALIFORNIANS FROM
UNDESERVED COMMUNITIES FOR
CAREERS, NOT JUST TEMPORARY JOBS
IN THE SKILLED CRAFT OCCUPATIONS
, WHICH ALL THE UNIONS AND
GUILDS REPRESENT. EVEN WITH THE
PANDEMIC SHUTDOWNS, THE PROGRAM
STILL MANAGED TO HAVE 2200 AND
24 GRADUATES, AND THE NUMBER IS
EXPECTED TO DOUBLE THIS YEAR.
72% 72% OF THE GRADUATE SELF
IDENTIFY, WHICH HISTORICALLY
WITH HISTORICALLY
UNDERREPRESENTED COMMUNITIES.
AND ALREADY 29% OF THOSE
MEMBERS. UM ARE MEMBERS OF
UNIONS WITH THE SAME WAGES AND
BENEFITS AS THE CURRENT UNION
MEMBERS IN THOSE LOCALS? BUT ALL
OUR EFFORTS TO OPEN THE INDUSTRY
ARE PREDICATED ON THERE BEING
ACTUAL PRODUCTION JOBS HERE IN
CALIFORNIA. AND I WILL SAY THIS
WHILE THERE IT'S STILL WHILE
WE'VE MADE A LOT OF PROGRESS IN
DIVERSITY. I WILL SAY THAT THERE
IS DEFINITELY A LOT OF WORK TO
BE DONE STILL, AND WE ARE
WORKING TOWARDS THAT GOAL FOR
ALL OF US FOR ON BEHALF OF ALL
THE UNIONS AND EVEN THE STUDIOS.
THE WORLD THINKS OF CALIFORNIA
IS THE HOME OF THE MOTION
PICTURE INDUSTRY. BUT IN FACT WE
ARE A HIGHLY MOBILE INDUSTRY. WE
HAVE MUCH TO BE PROUD OF HERE IN
CALIFORNIA. THE TAX CREDIT
PROGRAM IS THE MOST TRANSPARENT
AND ACCOUNTABLE OF ANY STATE
INCENTIVE PROGRAM IN THE
COUNTRY. THE JOB CREATION AND
SPURS HAS ENABLED THE UNION LIKE
MINE TO GROW FROM 765 MEMBERS TO
WELL OVER 1700 MEMBERS. ALL THE
CALIFORNIA BASED LOCALS HAVE
ALSO ADDED HUNDREDS OF MEMBERS
THANKS TO THIS TAX INCENTIVE
PROGRAM. YOUR REVIEW OF THIS
PROGRAM. AND YOU'RE SUPPORTIVE.
IT CANNOT COME ANY MORE
IMPORTANT TIME. STATES AND
COUNTRIES CONTINUE TO LEARN
PRODUCTION AWAY FROM CALIFORNIA.
THIS YEAR, THE GOVERNOR OF NEW
YORK PROPOSED TO RAISE THE NEW
YORK STATE CREDIT FROM 420
MILLION 2 700 YEAR. NEW YORK IS
A STRONG IS STRONG COMPETITION
BECAUSE OF ITS HUB FOR TALENT
AND CREW. NEW MEXICO IS ALSO
DOUBLING ITS INCENTIVE. TEXAS IS
ALSO TALKING ABOUT PRODUCTION OF
ALSO TALKING ABOUT TAKING
PRODUCTION AWAY FROM CALIFORNIA.
AND JUST A FEW DAYS AGO, THE UK
GENEROUSLY INCREASED THE VALUE
OF ITS CREDIT. WE CAN'T ALLOW
OTHER JURISDICTIONS TO
CANNIBALIZE AND INDUSTRY THAT WE
BUILT. OUR MEMBERS NEED YOUR
HELP IN OUR FIGHT TO KEEP THE
WORK HERE. AND IF I MAY ADD A
COUPLE OF THINGS THAT I WON'T BE
READING. UM YOU KNOW, I JUST
WANNA I WANT A SECOND. UH UM. MR
DANIELS COMMENTS THAT YOU KNOW,
I'M AN IMMIGRANT. I WAS ACTUALLY
BORN IN MEXICO. AND YOU KNOW
WHEN MY FATHER CAME TO THIS
COUNTRY HE WAS FORTUNATE ENOUGH
TO BE ABLE TO JOIN THIS UNION,
THE UNION A I WOULDN'T BE
SITTING HERE SITTING HERE TODAY
IS YOU KNOW, I'M STILL LIKE,
WOW, I CAN'T BELIEVE I'M
TESTIFYING IN FRONT OF ALL YOU
GUYS, RIGHT? I TO COME FROM THAT
UNDERREPRESENTED IT, YOU KNOW.
AREAS AND NEIGHBORHOODS. AND SO
WOW. WOW. WE'VE MADE PROGRESS.
LIKE I SAID, I SEE IT THROUGHOUT
THE INDUSTRY. THE UNIONS, THE
GUILDS WERE ALL WORKING
DILIGENTLY TO TRY TO CHANGE. THE
WORKFORCE IN THE ENTERTAINMENT
INDUSTRY. AND LIKE I SAID, IF
YOU WALK THROUGH THE STAGES
TODAY, I'M NOT SURE WHICH SHOW
THEY VISITED. BUT I CAN TELL YOU
FROM ME WHO IS HIGHLY AND VERY
HEAVILY INVESTED IN THIS
DIVERSITY AS WELL. IT'S CHANGING
, AND WE'RE MAKING PROGRESS. WE
HAVE A LONG WAY TO GO. OH, BUT
IT'S CHANGING. AND I WILL STOP
THERE. THANK YOU. THANK YOU.
THANK YOU ASSEMBLYMEMBER'S KOREA
AND FOR OFFERING ME THE
OPPORTUNITY TO APPEAR BEFORE THE
COMMITTEE TODAY FOR OUR MEMBERS
, THE OTHER CRAFTS PEOPLE WE
WORK WITH DAILY ON SET AND ALL
OF THE RELATED BUSINESSES WHICH
SERVE OUR COMMUNITY, THE
CALIFORNIA FILM AND TELEVISION
TAX CREDIT PROGRAM IS A
LIFELINE. WE ARE GRATEFUL THAT
GOVERNOR NEWSOM INCLUDED IN
EXTENSION OF THIS PROGRAM IN HIS
PROPOSED BUDGET. MY NAME IS
BRIGADE A ROMANOV, THE EXECUTIVE
DIRECTOR OF THE COSTUME
DESIGNERS GUILD, A TSC LOCAL 892
I'M, A BOARD MEMBER OF THE
CALIFORNIA DTSC COUNCIL AND ITS
RECORDING SECRETARY. I'M ALSO
HERE TODAY ON BEHALF OF THE
54,000 MEMBERS OF THE C I. C.
LOCAL 8 92 REPRESENTS 1200
PROFESSIONAL COSTUME DESIGNER'S
ASSISTANT COSTUME DESIGNERS AND
ILLUSTRATORS WHO WORK IN FILM,
TELEVISION, COMMERCIAL AND OTHER
MEDIA. OUR MEMBERS PRACTICED THE
CRAFT OF TELLING A VISUAL STORY
THROUGH THE USE OF CLOTHES. I'M
SURE THAT WHEN MANY OF YOU THINK
OF A FANTASTIC AND BELOVED
CHARACTER YOU SAW ON SCREEN,
WHAT THEY'RE WEARING IS ALSO
ETCHED IN YOUR MEMORY. THE
COSTUME DESIGNERS GUILD PRIDES
ITSELF ON THE DIVERSITY OF OUR
MEMBERSHIP. WE ARE AMONG THE
MOST DIVERSE LOCAL AND THE NEXT
GENERATION COMING UP IS EVEN
MORE MULTICULTURAL. OUR MEMBER
RUTHIE CARTER'S FIRST BLACK
WOMAN TO WIN TWO ACADEMY AWARDS.
OUR MEMBERS ARE ALSO SO GRATEFUL
THAT BECAUSE OF THE INCENTIVE
PROGRAM, THEY'VE BEEN ABLE TO
LIVE AND WORK IN CALIFORNIA.
MANY OF OUR MEMBERS HAVE
CHILDREN AND HAVE TO GO OUT OF
STATE TO WORK ON A FILM OR
SERIES PRODUCTION. ITS PARENTS
IN A VERY DIFFICULT POSITION. IF
THERE IS NO WORK IN CALIFORNIA,
YOU EITHER LEAVE YOUR FAMILY,
WHICH I HAVE DONE MULTIPLE
TIMES. FOR EXTENDED PERIOD OF
TIME OR GIVE UP THE WORK YOU
LOVE HAVING THE OPTION TO WORK
AND BE WITH YOUR FAMILY IS AN
EXTREMELY IMPORTANT TO OUR
MEMBERS. PARENTS SHOULD NOT BE
FORCED TO LEAVE THEIR FAMILIES
IN ORDER TO PROVIDE FOR THEM.
THE CALIFORNIA FILM AND
TELEVISION TAX CREDIT PROGRAM IS
A PROVEN JOB CREATOR AND
ECONOMIC DRIVER FOR THE
CALIFORNIA ON ME. THE MEN, WOMEN
AND KIN, WHICH MAKE UP THE
ENTERTAINMENT INDUSTRY, UNIONS
AND GUILT WHOLEHEARTEDLY SUPPORT
. THE RENEWAL OF THE EXTENSION
IS PROPOSED AND GOVERNOR
NUISANCE BUDGET THE FOUR POINT
OH PROGRAM, IN ADDITION TO
PROVIDING THOUSANDS OF UNION
MEMBERS WORK WILL ELEVATE MANY
ISSUES CRITICAL TO US WHILE ALSO
ENSURING SOME THAT SOME
SIGNIFICANT EMPLOYERS IN OUR
INDUSTRY NOW HAVE ACCESS TO THE
PROGRAM. THERE IS SOMETHING IN
THIS BUDGET PROPOSAL THAT WORKS
FOR EVERYONE AND MOST
IMPORTANTLY, WORKS FOR THE
ECONOMY OF THE STATE OF
CALIFORNIA. THE VALUES OF THIS
PROGRAM SHOULD NEVER BE IN
DOUBT. PROOF OF THAT IS THE
DRUMBEAT OF THE ELECTED
OFFICIALS IN THE STATES. ALEX
MENTIONED WHO JUST SINCE THE
BEGINNING OF 2023 HAVE OPENLY
EXPRESSED THEIR DESIRE TO TAKE
PRODUCTION FROM CALIFORNIA AND
MAKE IT THEIRS. OUR MEMBERS ARE
SEEING THIS AND THEY ARE VERY
WORRIED. WE'RE STARTING TO SEE
THE IMPACT. PSC MEMBERS REPORTED
HOURS FOR THEIR PENSION AND
HEALTH CONTRIBUTIONS TO THE
MOTION PICTURE INDUSTRY, PENSION
AND HEALTH PLAN ARE DOWN 11% IN
20 23/20 22, WHILE NEW YORK IS
UP 9.38% DURING THE SAME PERIOD.
WE LOOK TO YOU TO ENSURE OUR
MEMBERS CAN WORK IN CALIFORNIA.
NOW IS THE TIME TO REINVEST IN
THE FILM TEXT CREDIT TO MAKE
CERTAIN THAT IN THE
ENTERTAINMENT INDUSTRY CONTINUES
TO FLOURISH IN THIS STATE. THANK
YOU VERY MUCH FOR YOUR TESTIMONY
. I DO WANT TO ASK, UM BOTH MR
AGLER. OH, I'M SORRY. YOUR THANK
YOU FOR THE REMINDER. YES, WE
ONE MORE. UM. ONE MORE PANELISTS
FOR THE STAKEHOLDER PANEL. LET'S
GO TO WEBEX. FOR CATCH. LET
STUDIOS HELLO. HELLO. WHY WE ARE
SO EXCITED TO BE HERE. THANK YOU
SO MUCH FOR HAVING US UM, I'M
MARCY BROWN. AND NEXT TO ME IS
NOT WALL TURNOUT. WE ARE
PRODUCERS WHO OWN AN INDEPENDENT
PRODUCTION COMPANY IN LOS
ANGELES, CATCH LIGHT STUDIOS AND
CREATORS OF THE D E I A FOR
ACCESSIBILITY DATABASE CALLED
CREW VÆ. AS PRODUCERS. WE WORK
WITH ALL THE MAJOR STUDIOS,
STREAMERS, FOREIGN SALES
COMPANIES, BANKS AND BOND
COMPANIES. FIRST WE WANT TO
EXPRESS OUR APPRECIATION FOR
KEEPING A TAX INCENTIVE IN
CALIFORNIA AND FOR CARVING OUT A
PIECE FOR THE INDEPENDENCE.
INDEPENDENTS ARE THE PATHWAYS
FOR OPPORTUNITIES FOR PEOPLE
ENTERING INTO THE INDUSTRY.
GETTING INTO THE UNION'S FINDING
NEW VOICES AND TRAINING THE NEXT
GENERATION. IF WE DON'T SUPPORT
THE INDEPENDENCE, PEOPLE WILL
LEAVE FOR GREENER PASTURES AND
CALIFORNIA WILL NOT HAVE THE
NEXT GENERATION LIVING IN THE
STATE, CREATING AND SUPPORTING
OUR ECONOMY AND UNIONS. A BONUS
PERCENTAGE FOR THE INDEPENDENCE
WOULD PROVE BALANCED HIRING AND
BEST EFFORT PRACTICES IN D E I A
WOULD ENCOURAGE PEOPLE TO OPT
INTO THOSE HIRING PRACTICES.
HOWEVER AN INDEPENDENT CAN'T BE
PENALIZED FOR MISSING THE MARK
IF THEY SHOW BEST EFFORTS
BECAUSE THEY RELY ON BANKING AND
BOND COMPANIES, WHICH WOULD NOT
CLOSE IF THERE WAS A CHANCE OF
4% BEING A SHORTFALL IN THE CASH
FLOW. WE HAVE SPENT OUR CAREERS
, HELPING TO TEACH AND ADVANCED
CAREERS ON THE PROJECTS WE WORK
ON AND THE COMPANIES WE RUN. WE
NEEDED TO CREATE A DATABASE THAT
WOULD HELP US FIND PEOPLE BY HOW
THEY SELF IDENTIFY IF THEY SPOKE
ANOTHER LANGUAGE WHERE THEY
LIVED IF THEY WERE UNION OR
NONUNION, WHAT THEIR EXPERIENCE
WAS ETCETERA AND TO SHOW OUR
ACCOUNTABILITY IN WHO WE ARE
INTERVIEWING AND WHO WE
ULTIMATELY HIRED. THAT'S WHY WE
CREATED CREW V. WE BUILT IT FROM
THE GROUND UP BY AN ALL FEMALE
AND DIVERSE TEAM. IN 2020. WE
WERE CHOSEN BY THE E I F THE
ENTERTAINMENT INDUSTRY
FOUNDATION TO BE THE DATABASE
FOR THE PATHWAY PROGRAMS IN OUR
STATE. THE I F RECEIVED A GRANT
FROM THE IRVINE FOUNDATION TO
HELP FIND AND RECRUIT PEOPLE FOR
THE STUDIOS FROM ALL WALKS OF
LIFE TO PURSUE CAREERS ON THE
CORPORATE SIDE AND ON THE SET.
OUR PLATFORM ALLOWS EVERYONE WHO
WANTS TO WORK IN THE END OF IN
THE ENTERTAINMENT INDUSTRY TO
JOIN FOR FREE AND SELF IDENTIFY
HOW THEY WANT TO BE SEEN.
THROUGH THE E I F. WE ARE
INVOLVED WITH NONPROFITS LIKE
HOLLYWOOD CPR EVOLVED MANIFEST
WORKS ONE IN FOUR AND THROUGH
OUR CONTACTS WERE WORKING WITH
LARGE AGENCIES LIKE ENDEAVOR,
FIFTH SEASON AND STUDIOS AND
INDEPENDENCE TO PROMOTE
PRODUCTIONS IN BEING ACCOUNTABLE
IN THEIR HIRING PRACTICES FROM
THE BEGINNING AND TO SHOW THE
ACTUAL ANALYTICS AT THE END OF
THE PRODUCTION. WE ARE THE ONLY
PLATFORM IN THE WORLD THAT CAN
SHOW HOW A PRODUCTION TEAM IN
REAL TIME ANALYTICS ARE HIRING
AND IF THEY WILL QUALIFY FOR THE
ACADEMY AWARDS. OSCAR REYES
RULES OR WOMEN IN FILM, REFRAME
AND WE CAN GIVE THE CALIFORNIA
FILM COMMISSION A PORTAL TO HAVE
THIS INFORMATION ON ANY
PRODUCTION THAT IS FILMED IN
CALIFORNIA AND SIGNS UP THROUGH
CREW VÆ. IMAGINE IF EVERY STUDIO
UNION AGENCY FILM COMMISSION AND
SCHOOL WERE ALL ROWING IN THE
SAME DIRECTION AND HAD ACCESS TO
THE SAME INFORMATION. WE ARE NOT
OWNED BY A LARGE COMPANY WHO
DOES NOT SHARE SHARE DATA. WE DO
NOT COLLECT SOCIAL SECURITY'S OR
BIRTHDATES LIKE PAYROLL
COMPANIES, WHICH MAKES IT SCARY
FOR PEOPLE TO PUT THEIR
INFORMATION IN ON HOW THEY
IDENTIFY AND WE DO NOT SHOW
CONTACT INFORMATION THAT CAN BE
SCRAPED FROM OUR DATABASE, THUS
PROTECTING THE INDIVIDUALS ON
IT. OUR PLATFORM IS GROWING AND
THE E I F IS HIRING MORE CRUDELY
CONCIERGE TO HELP IDENTIFY AND
FILL POSITIONS FOR CORPORATIONS
AND ON PROJECTS. WE CAN PROVIDE
A STAMP IN CONJUNCTION WITH THE
CFC FOR ANY PROJECT THAT HAS
COMPLETED ITS D I A MISSION. IT
WOULD BE A WAY TO INCENTIVIZE
PRODUCTIONS AND A BADGE OF
HONOR. END CREDIT
ACKNOWLEDGEMENT OF THE STUDIOS.
DE IA EFFORTS WOULD BE AN
INCENTIVE FOR PROJECTS AND
SHOULD BE CONSIDERED,
PARTICULARLY FOR INDEPENDENCE.
WE CAN ALSO TRACK CARBON
FOOTPRINTS ON SET AND PROVIDE
THE ANALYTICS FOR THAT WHICH
WOULD INCLUDE AN OWN
SUSTAINABILITY STAMP, AND WE'D
BE HAPPY TO SET UP A DEMO ON
CREW V FOR ANYONE INTERESTED.
THANK YOU. THANK YOU. THANK YOU
LADIES. MUCH APPRECIATED. THAT'S
INCREDIBLY INSIGHTFUL. THE
CARBON FOOTPRINT STAMP IS A
WHOLE OTHER PANEL AND
CONVERSATION WORTH HAVING. UM
AND REALLY ABOUT THE FUTURE AND
SUSTAINABILITY AND HOW WE HOW WE
DO THAT WORK WITHIN THE
ENTERTAINMENT INDUSTRY, AND I
KNOW THERE'S SOME FOLKS ALREADY
WORKING ON ALL OF THAT AS WELL.
SINCE WE HAVE YOU SINCE WE HAVE
YOU ON THROUGH THE WEBEX, UM,
MISERABLE TURNER AND MISS BROWN
, CAN YOU SHARE A BIT ABOUT THE
FEEDBACK THAT YOU'VE GOTTEN FROM
FOLKS THAT HAVE PARTICIPATED? IN
YOUR APP THAT PROVIDE THEIR, UM
THEIR INFORMATION ON THERE AND
HOW THEY IDENTIFY AND HOW. IS A
CHALLENGING IS IT NOT? WHAT DOES
THAT LOOK LIKE FOR YOU? AND HOW
DOES THAT WORK WITH THE STUDIOS
THAT YOU'RE CURRENTLY WORKING
WITH? SURE. WE ARE BECAUSE WE'RE
BUILT FROM THE GROUND UP AND WE
WORK WITH OUR PARTNERS WERE ABLE
TO CREATE VARIOUS DIFFERENT
CATEGORIES FOR PEOPLE. FOR
INSTANCE, IN THE ONE IN FOUR
GROUP THAT WE WORK WITH WHO WORK
ON PEOPLE THAT HAVE DISABILITIES
, WE'VE BEEN ABLE TO ADD
LANGUAGE IN THERE TO NOT ONLY DO
PHYSICAL DISABILITIES BUT ALSO
MENTAL DISABILITIES, AND THAT
HAS BEEN A GAME CHANGER FOR
PEOPLE TO BE ABLE TO IDENTIFY
HOW THEY WANT TO IDENTIFY IN
MULTIPLE DIFFERENT CATEGORIES.
SO THEY CAN WE WORK WITH LGBT
QUÊ. PLUS CATEGORIES, AND WE'VE
BEEN ABLE TO ADD OTHER
CATEGORIES INTO THERE AS THEY
COME UP AS AS PEOPLE WANT TO
IDENTIFY IN THEM, THE SAME WITH
ANY OF THE OTHER DIVERSITY
CATEGORIES AND ALSO LINCOLN. TWO
THINGS QUESTIONS IN THERE. HAVE
YOU EVER EXPERIENCED
HOMELESSNESS? DO YOU HAVE A CAR?
CAN YOU GET TO SET? UM ARE YOU,
YOU KNOW PART OF A FOOD
ASSISTANCE PROGRAM. ANY OF THOSE
TYPE OF QUESTIONS WE CAN ASK IN
OUR DATABASE. IT'S NOT FORWARD
FACING. IT'S SOMETHING THAT WE
HAVE IN THE BACK THAT WE CAN
PROVIDE THE ANALYTICS TO AT A
MUCH HIGHER LEVEL, AND I WOULD
SAY ON ANY PRODUCTION DEPENDING
ON HOW THE PRODUCTION UM REALLY
LEANS INTO TELLING THEIR CREW
WHY THEY ARE USING THIS. WE HAVE
UP TO 80% ADOPTION OF SELF
IDENTIFYING FULLY ON THE WAY
THAT THEY FILL OUT THEIR
ANALYTICS. WHAT'S YOUR
RELATIONSHIP LIKE WITH SOME OF
YOUR LABOR PARTNERS? IN TERMS OF
THE DATA AND THE DATA NEEDED OR
THE DATA THAT YOU'RE TRYING TO
CAPTURE. UM WE LOVE WORKING WITH
OUR UNIONS. THEY'VE BEEN
EXTREMELY SUPPORTIVE. UM WE
FOUND THAT THE UNIONS DON'T HAVE
ONE PARTICULAR DATABASE THAT
THEY WORK FROM. THEY ALL WORK
FROM THEIR OWN DATABASES. AND SO
WE'RE WORKING WITH THEM TO TRY
AND GET IT ACROSS THE BOARD
CONNECTED TOGETHER, AND WE'RE
ALSO WORKING WITH CONTRACT
SERVICES TO CONNECT TO THE BACK
END OF THEIR DATABASE, AND THEY
REALLY LEANED IN ON THIS SO THAT
AS A PRODUCER AS WE WEAR TWO
HATS SO AS A PRODUCER AS WELL.
LOOKING TO HIRE SOMEBODY IN THE
STATE OF CALIFORNIA. WE HAVE TO
MAKE SURE THAT THEY DONE ALL OF
THEIR SAFETY TRAINING. AND YOU
DON'T WANT TO GO TO MULTIPLE
DIFFERENT DATABASES. I DON'T
WANT TO GO TO ONE DATABASE THAT
I CAN LOOK SOMEBODY UP TO SEE IF
THEY'RE AVAILABLE, AND THEN
ANOTHER DATABASE TO SEE IF
THEY'VE GONE THROUGH A
PARTICULAR PROGRAM AND YOU KNOW
IF THEY HIT ALL THE DIVERSITY
REQUIREMENTS, AND THEN ANOTHER
DATABASE TO SEE THAT THEY'VE
DONE ALL OF THEIR SAFETY
PROGRAMS THIS WAY ON OUR
DATABASE, THOSE PROGRAMS ARE
CONNECTED TOGETHER AND YOU AS A
PRODUCER CAN LOOK UP AND SEE.
CAN I LOOK AT PEOPLE THAT HAVE
GONE THROUGH THE MANIFEST WORKS
PROGRAM OR THE HOLLYWOOD CPR
PROGRAM OR A UNION SPONSORED
PROGRAM. AND CAN I LOOK AND SEE
IF THEY'VE DONE THEIR SAFETY
PROGRAMS THROUGH CONTRACT
SERVICES? AND CAN I SHOW THAT
THIS IS WHO I AM HIRING FOR
THESE POSITIONS AND HAVE THE
ACCOUNTABILITY OF I HAVE LOOKED
AT X AMOUNT OF PEOPLE THAT HAVE
IDENTIFIED IN DIFFERENT
CATEGORIES. AND I FIRED THIS
PERSON SO I CAN SHOW YOU WHO
I'VE LOOKED AT THE INTERVIEW AND
WHO I ACTUALLY HIRED AND AS
PRODUCERS WE WANT TO HAVE
EVERYONE ON THE SAME PAGE AND
GET SOME SORT OF UNIFORMITY
ABOUT PEOPLE REPORTING THE
STATISTICS SO THAT WE CAN ALL
SPEAK ON THE CITY. WE CAN ALL BE
APPLES TO APPLES. AND ONE FINAL
QUESTION. I'M JUST DATA IF YOU
HAVE A QUICK OVERVIEW FROM THE
80% THAT YOU'VE BEEN ABLE TO GET
TO UM. SELF IDENTIFY. DO YOU
HAVE ANY? UM, JUST TOP OVERVIEW
. TOP GRASS OVERVIEW AS TO WHAT
THE PERCENTAGE LOOKS LIKE, HOW
MANY WOMEN MANY PEOPLE OF COLOR
WHAT ETHNICITY, ETCETERA. YES SO
THE MAJORITY OF PEOPLE THAT
IDENTIFY ON OUR DATABASE, UH,
SEEM TO BE UNDER THE AGE OF 35.
THEY TEND TO BE MORE ON THE
FEMALE SIDE OF THINGS AND THEY
TEND TO HAVE SOME DIVERSITY
TOWARDS THEM. UM THE LANDING
PAGE ON OUR SITE HAS ALL OF THE
ANALYTICS THAT YOU'LL SEE IN
THERE. IT IS A GLOBAL DATABASE
WE DO HAVE ABOUT 20,000 PEOPLE
IN THE STATE OF CALIFORNIA AND
WE CAN PULL ALL OF THOSE
ANALYTICS. IT'S UNION NONUNION,
ITS HEAT MAPS THAT SHOWS YOU
WHERE THEY ARE BASED FROM, UM
YOU KNOW, ALL ALL DIFFERENT
THINGS. THAT'S VERY INTERESTING
. THANK YOU FOR THAT. THANK YOU
FOR YOUR PRESENTATION. WHEN I
TURN TO YOU. THANK YOU. PLEASE
STAY ON IN CASE THERE ARE ANY
ADDITIONAL QUESTIONS BEFORE WE
WRAP UP. BUT IT TURNED TO THE
PANEL. I'M GONNA GO TO YOU, MS
BANUELOS. FIRST REFUND ABILITY
WAS A BIG PART OF THE
CONVERSATION TODAY. CAN YOU
SPEAK ON THAT ISSUE AND THE
IMPORTANCE TO THE MP? A. SURE
AND I MEAN, I MENTIONED EARLIER
THAT EVERY TIME WE'RE YOU KNOW,
LOOKING AT HOW TO IMPROVE THIS
PROGRAM, UM, WE'RE LOOKING AT,
YOU KNOW ALSO HOW TO MAKE SURE
THAT CALIFORNIA'S MAINTAINING A
COMPETITIVE EDGE. AND I THINK
YOU HEARD EARLIER FROM FINANCE
IN THEIR OWN RESEARCH. UM WHAT
WE ALREADY KNOW WHICH IS ALMOST
EVERY OTHER JURISDICTION
DOMESTIC AND GLOBAL OFFERS AN
OPTION TO EITHER TRANSFER OR
REFUND THE CREDIT. UM AND FOR
OUR MEMBER COMPANIES, IT IS, YOU
KNOW, FRANKLY, TOOL THAT'S
NECESSARY TO MAKE SURE THAT THE
PROGRAM IN CALIFORNIA REMAINS
ACCESSIBLE TO ALL OF OUR STUDIOS
. UH IT IS, UM, I THINK AWAY
ALSO TO ENSURE THAT YOU ARE
CAPTURING AND ATTRACTING THOSE
BIGGER BUDGET PRODUCTIONS THAT
WILL THEN COMMAND A LARGER TAX
INCENTIVE AWARD BECAUSE THEIR
BUDGETS ARE LARGER. UM WHICH IS
FRANKLY, THE PRODUCTIONS THAT
THE STATE'S LOSING ON THE MOST
SINCE IT'S A CAP PROGRAM? IT'S
NOT SINCE IT'S A CAP PROGRAM. UM
IT REALLY JUST INCREASES THE
APPLICANT POOL AND THE
COMPETITIVENESS SO THAT WHEN THE
APPLICANTS ARE RANKED ACCORDING
TO THE JOBS RATIO, THE FILM
COMMISSION WILL DO AS IT DOES
NOW AND SELECTS THE ONES THAT
ARE CREATING THE MOST JOBS. UM
SO RIGHT NOW, IF YOU'RE A LARGER
PRODUCTION, THE PROGRAM HAS NOT
BEEN AMENDED TO ALLOW FOR A
REFUNDABLE TAX CREDIT. YOU'RE
LIKELY GOING TO TAKE THAT
PRODUCTION TO ANOTHER
JURISDICTION THAT DOES HAVE THAT
OPTION AND THE STATE'S NOT EVEN
HAD A CHANCE TO ASSESS WHAT KIND
OF JOB CREATION WOULD BE
POSSIBLE IF IT STAYED HERE IN
CALIFORNIA. SO FROM OUR
PERSPECTIVE, IT'S JUST AGAIN
PUTTING CALIFORNIA ON PAR WITH
YOU KNOW, I THINK I WOULD SAY AT
LEAST 100 OTHER JURISDICTIONS,
UM, AND MAKING SURE THAT THERE'S
AT LEAST A CHANCE FOR THOSE
BIGGER TENT POLE PRODUCTIONS AND
I'M ALSO BIGGER, BUDGET SCRIPTED
TV SERIES TO MAKE SURE THEY KEEP
APPLYING. WHAT ARE THE
CHALLENGES AS TO WHY REFUND
ABILITY NOW VERSUS IN THE PAST?
WHAT'S CHANGED? I THINK IT'S
JUST A MATTER OF THE STUDIOS,
AND THE PRODUCTIONS THAT APPLY
ARE INCREASINGLY JUST FINDING
THAT THEY'RE EARNING MORE TAX
CREDITS THAN THEY HAVE TAX
LIABILITY. AND SO IT'S JUST A
MATTER OF BEING ABLE TO FULLY
UTILIZE AND GET BACK THE
INCENTIVE THAT YOU BUDGETED FOR
ON THE FRONT END. AND THAT
HASN'T ALWAYS BEEN THE CASE. BUT
THAT IS THE CASE NOW. AND WHEN
WE COMPARE THE CALIFORNIA FILM,
TAX, CREDIT PROGRAM, TELEVISION
AND FILM TAX CREDIT PROGRAM. IN
CALIFORNIA VERSUS OTHER STATES
HAS THAT HAPPENED MENTIONED
THROUGHOUT THE HEARING. NEW YORK
NEW MEXICO, GEORGIA. WHAT CAN WE
DO? WHAT CAN THE STATE OF
CALIFORNIA BE DOING DIFFERENT
NOT ONLY TO INCENTIVIZE
PRODUCTION HERE. BUT REALLY, TO
BE COMPETITIVE. WHEN OTHER
STATES MAY NOT BE REQUIRING WHAT
WE REQUIRE. REQUIRING WHAT WE
REQUIRE MEANING? I'M SORRY. LIKE
THERE'S CHALLENGES WITHIN THE
STATE OF CALIFORNIA, RIGHT THAT
OTHER STATES MAY NOT FACE, AND
SO HOW CAN WE GET THROUGH THOSE
HURDLES WHILE WE TRY TO STAY
COMPETITIVE? WELL, I THINK YOU
HAVE A PROPOSAL IN FRONT OF YOU
THAT IT WILL GET YOU THERE AND
MOVE THE NEEDLE AND AGAIN. IT'S
A I MEAN, I WOULD SELL OBVIOUSLY
GROW. THE PROGRAM WOULD BE ONE
BECAUSE THE $330 MILLION WAS
ALLOCATED BACK IN 2014. AND WHEN
YOU'RE LOOKING AT THE TOTAL SIZE
OF PRODUCTION INDUSTRY GLOBALLY
UM, GROWING THE PROGRAM.
OBVIOUSLY WE WOULD ADVOCATE FOR
THAT. THAT'S NOT WHAT THE WHAT'S
IN THE PROPOSAL, WHICH IS WHY WE
THINK THAT TWEAKS AND THE REFUND
ABILITY IS WHAT'S NECESSARY TO
MAKE SURE THAT YOU'RE CAPTURING
THOSE LARGER PRODUCTIONS. I
MEAN, IT WOULD. IT WOULD PUT US
ON PART. I THINK WE HEARD
EARLIER, NEW YORK IS INCREASING
THEIR TAX CREDIT. UM AGAIN.
FRANKLY, OTHER COUNTRIES ARE
JUST AS COMPETITIVE AS OTHER
STATES. THANK YOU FOR THAT. I
THINK, GIVEN THE CONVERSATION
EARLIER ON A ON A LACK OF. DATA
INFORMATION FROM THE
PRODUCTION'S ALREADY APPROVED
WITHIN THE PROGRAM. IT'S
CHALLENGING TO TELL THE
LEGISLATURE ASKED THE
LEGISLATURE TO POTENTIALLY
INCREASE THE PROGRAM. WHILE WE
DON'T HAVE DATA UNDERSTOOD,
THAT'S A THAT'S A CHALLENGE,
EVEN THOUGH MY OWN PERSONAL
BELIEF IS THAT IF WE CAN FIND A
PATHWAY, AND I BELIEVE THAT WE
CAN AND CREATING A WORKFORCE
THAT IS REFLECTIVE OF THE PEOPLE
OF CALIFORNIA. WELL, WE CREATE
OPPORTUNITIES FOR MORE
PRODUCTION. MORE JOBS. UM UH,
INCREASED OPPORTUNITIES ACROSS
THE STATE. IT SEEMS THAT
CALIFORNIA CAN AND SHOULD BE
MORE COMPETITIVE, RIGHT? WE WANT
THE INDUSTRY TO STAY HERE. WE
WANT THESE JOBS TO BE HERE. BUT
AT THE SAME TIME WE ALSO NEED TO
SHOW THE LEGISLATURE THE DATA
THAT CERTAIN THINGS ARE WORKING.
AND SO I THINK THAT'S A QUESTION
AND THE CHALLENGE THAT WE ALL
FACE. UM AND THAT EFFORT, SO
WITH WITH THAT VEIN, I ALSO DO
WANT TO ASK YOU A BIT ABOUT WHAT
THE MOTION PICTURE ASSOCIATION
IS DOING TO PROMOTE DIVERSITY.
WE'VE HEARD FROM AH! OBVIOUSLY
OUR OUR LABOR PARTNERS AND THE
VARIOUS DIFFERENT CHALLENGES
THAT HAVE BEEN, UM, TALKED ABOUT
THROUGHOUT THE HEARING. THE U. C
L. A HOLLYWOOD DIVERSITY REPORT.
BEING ONE OF THEM THE NATIONAL
CONVERSATION. AND SO WONDERING
IF YOU CAN SHARE SOME VIEWPOINTS
ON THAT IF I CAN ALSO JUST GO
BACK TO YOUR PRIOR QUESTION, AND
THEN I'LL COME BACK TO THE
SECOND ONE IS I ALSO JUST THEY
NEGLECTED TO KIND OF TALK ABOUT
THE SOUNDSTAGE PROGRAM, TOO,
BECAUSE THAT'S FRANKLY WERE THE
DIVERSITY WORK PLAN REQUIREMENT
ORIGINATED AND THAT WAS ENACTED
IN 2021. AND JUST GOING BACK TO
THE PILOT CAREERS TRAINING
PROGRAM THAT WE'VE HEARD
STATISTICS ON IN THAT REQUIRE
THAT ACTUAL THAT FUND WAS
STARTED IN 2020 RIGHT AT THE
CUSP OF, FRANKLY IN THE MIDDLE
OF THE PANDEMIC, SO I THINK WE
JUST WANT TO RECOGNIZE THAT
WE'VE HAD SOME CHALLENGES OF THE
INDUSTRY THAT YOU NO ONE HAD ANY
CONTROL OVER AND ACTUALLY LED TO
AN UNPRECEDENTED STOPPAGE OF
PRODUCTION. SO YOU KNOW, JUST
JUST TO KINDA AGAIN ESTABLISH A
TIMELINE OF WHY WE MAY ALSO NOT
HAVE THE BEST DATA. GIVEN THAT
THESE PROGRAMS ARE RELATIVELY
NEW, AND WE HAD A DISRUPTION. IN
THE MEANTIME, THAT HAS PREVENTED
PREVENTED WHAT WOULD OTHERWISE
HAVE BEEN MORE ROBUST
IMPLEMENTATION AND THE
SOUNDSTAGE PROGRAM WAS JUST
ENACTED IN 2021. UM BECAUSE I
WOULD SAY THAT I WOULD BE, UM,
MISSING A BIG COMPONENT OF, YOU
KNOW, INFRASTRUCTURE. THE
DEVELOPMENT OF INFRASTRUCTURE IS
SOMETHING ELSE THAT CALIFORNIA
NEEDS IN ORDER TO MAINTAIN A
COMPETITIVE EDGE, SO IT'S
OBVIOUSLY CREW YOU KNOW, IT'S
THE TAX RATES IS A IS A BIG, UH,
IT'S A BIG FACTOR IN WHERE YOU
LOCATE YOUR PRODUCTIONS AND ALSO
INFRASTRUCTURE AND HAVING
FACILITIES. UM SO GOING BACK TO
THE, UH, THESE STAGE PROGRAM
THAT ITERATION OF THE DIVERSITY
WORK PLANS CAME FROM THERE. IT'S
RELATIVELY NEW. IT'S IN ITS
INFANCY, AND WE HAVEN'T YET HAD
THE OPPORTUNITY TO FULLY LOOK AT
THE DIVERSITY WORK PLAN IN
ACTION, RIGHT. SO NOW THAT'S
KIND OF BRINGS US TO WHERE WE'RE
AT NOW. AND WHAT KIND OF
PARAMETERS DO WE PUT AROUND A
DIVERSITY WORK PLAN REQUIREMENT
AT FOUR POINT OH, SUCH THAT
WE'RE ALL ABLE TO MAYBE GET ON
THE SAME PAGE AND THE DATA
COLLECTION AND REPORTING, UM AND
REALLY BE ABLE TO TELL A BETTER
NARRATIVE ON THE N P A SIDE SAID
. ALL OF OUR MEMBER COMPANIES
HAVE DEDICATED DIVERSITY AND
INCLUSION DEPARTMENTS, UH AND
THEY'VE BEEN ROLLING OUT
TRAINING PROGRAMS ON THEIR
PRODUCTIONS FOR WE LOVE BUT BE
LOWER THE LINE JOBS. THEY OFFER
WRITERS CLINICS, THE OFFER
PROGRAMS FOR EMERGING DIRECTORS
, UM, ALSO FOR ACTORS, SO THEY
ALL ARE OPERATING. UM AND FOR
YOU KNOW, NOT ONLY, UM YOU KNOW,
AGAIN, FOCUSING ON. I WOULD SAY
, UM, IN FRONT OF THE CAMERA AND
BEHIND THE CAMERA, HOLISTIC WRAP
AROUND, I THINK LOOK AT
DIVERSITY INCLUSION, AND IT'S
ALSO A CORPORATE WIDE. SO THEY
ALL PUBLISH DNA REPORTS. THOSE
ARE AVAILABLE ONLINE MORE THAN
HAPPY TO COME BACK TO YOU WITH A
MORE COMPREHENSIVE PACKAGE OF
THEIR REPORTS BECAUSE THEY DO
PUBLISH ANNUAL REPORTS, UM NOT
JUST ON THE INDIVIDUAL PROGRAMS
THAT THEY'RE RUNNING ON THEIR
PRODUCTIONS, BUT WHAT THEY'RE
DOING ACROSS THE BOARD CORPORATE
LEE, UM AND THE NPH ITSELF. WE
HAVE OUR OWN DNA PARTNERSHIPS WE
PARTNER WITH OVER 50
ORGANIZATIONS NATIONWIDE. UM IN
ORDER TO MAKE SURE THAT WE'RE
SORT OF ACTING AS A CONNECTOR
AND SUPPORTING PROGRAMS THAT ARE
ATTEMPTING TO OPEN UP CAREER
PATHWAYS AND TRAINING
OPPORTUNITIES. I SHARED EARLIER
IN MY IN MY OPENING REMARKS THAT
, UM IT'S BEEN DISHEARTENING
RIGHT TO SEE THAT IN THE 98
YEARS, IT'S TAKEN 98 YEARS FOR
UM. TO HAVE AN A P I BEST BEST
SUPPORTING ACTRESS OR BEST. I'M
SORRY. BEST ACTRESS, UM AT THE
ACADEMY AND I'M SO EXCITED TO
KNOW THAT IT WAS A PRODUCTION
AND INDEPENDENT PRODUCTION DONE
THROUGH THE CALIFORNIA FILM. TAX
CREDIT. IT JUST SHOWS THE
IMMENSE OPPORTUNITY THAT EXISTS.
UM AND I'M REALLY HAPPY TO HEAR
ABOUT YOUR THE MPS COMMITMENT
TOWARDS THAT. I'M CURIOUS IN
YOUR CONVERSATIONS WITH STUDIOS
AND YOUR REPRESENTATION OF
STUDIOS AND THEIR PARTNERSHIP
WITH THE CALIFORNIA FILM
COMMISSION. WHAT DOES IT TRULY
LOOK LIKE TO CREATE? UM MORE
PROGRAMMING. MORE FILMS THAT ARE
MORE INCLUSIVE TOWARDS, UM
PEOPLE OF OUR STATE. YOU HEARD
THE COMMENTS EARLIER FROM
SEVERAL MEMBERS WHO ARE
OBVIOUSLY CONCERNED WITH
APPROVING TAX CREDITS. WHILE WE
ARE ALSO NOT SEEING OURSELVES
REFLECTED AND THERE'S YOU KNOW
SOME CONVERSATIONS AROUND THAT
WONDERING IF YOU CAN SHARE WITH
THE COMMITMENT IS WHAT DOES THAT
LOOK LIKE? I THINK IT'S A IT'S
BEEN VERY DELIBERATIVE, YOU
KNOW, AS AS A AS A AS INDIVIDUAL
COMPANIES. I MEAN, I WANT TO BE
MINDFUL OF YOU KNOW WHAT THE
PROP TWO ON IRON RESTRICTIONS
THAT WERE MENTIONED BEFORE SO
WITH RESPECT TO SPECIFIC
COMMITMENTS ASSIGNED TO PROJECTS
THAT ARE RECEIVING A TAX
INCENTIVES. THERE ARE SOME
LIMITATIONS LEGALLY RIGHT WITH
WHAT WE ACTUALLY CAN REQUIRE
THERE. UM I WILL SAY, THOUGH
AGAIN, THAT'S WHY THE STUDIOS
HAVE STAFFED UP AND CREATED
ENTIRE DEPARTMENTS THAT ARE VERY
TAKING A VERY DELIBERATIVE. LOOK
UM AT CONTENT FROM FROM THE VERY
BEGINNING. FRANKLY EVEN WE HAVE
PROGRAMS THAT ARE LOOKING AT
SCRIPT DEVELOPMENT. UM, AND THE
CONTENT OF THE SCRIPT ITSELF,
WHICH WILL THEN INFORM, YOU KNOW
WHAT IT LOOKS LIKE ON SCREEN. UM
SO I THINK IT IT'S A IT'S A
BEGINNING TO END DELIBERATIVE
PROCESS WHERE YOU HAVE TO MAKE
AN EFFORT TO ENGAGE. YOU HAVE TO
MAKE AN EFFORT TO MAKE SURE THAT
THE STORYTELLING AND THE PEOPLE
WHO ARE THEN CREATING THE END
PRODUCT ARE REFLECTIVE OF THE
NATION'S DIVERSITY. AND I CAN
TELL YOU THAT THAT IS HAPPENING
. DNA IS JUST ABSOLUTELY TOP OF
MIND. UM, TO THE POINT WHERE I
COULD TELL YOU, YOU KNOW, I'M
CAME FROM, YOU KNOW, LAW FIRM
BEFORE I STARTED WORKING IN AND
THE GOVERNMENT SIDE AND THEN NOW
FOR IN THE PRIVATE SECTOR AND WE
KNOW THE LAW FIRM. I WAS THE
ONLY WOMAN I WAS THE ONLY PERSON
IN THIS BOOK SPANISH IN MY LAUGH
IS IN DOWNTOWN L. A UM, AND THE
CONVERSATIONS THAT ARE NOW
HAPPENING AROUND DIVERSITY AND
INCLUSION, UM, IN MY CURRENT
CAPACITY AND MY INTERACTIONS
WITH THE STUDIOS. UM THE FACT
THAT WE'RE HAVING THE
CONVERSATION SO FREQUENTLY, THE
FACT THAT THERE'S A LOT OF
PASSION AND RECOGNITION THAT
IT'S A PROBLEM THAT WE NEED TO
MAKE PROGRESS ON. I MEAN, THAT
WAS NOT THERE WHEN I STARTED OUT
AS A YOUNG ATTORNEY, I MEAN, NOT
NOT NIGHT AND DAY. AND I COULD
TELL YOU EVEN IN THE LAST DECADE
I HAVE SEEN LIKE JUST AN IMMENSE
FOCUS LIKE LASER FOCUSED ON THIS
ISSUE, AND I CAN TELL YOU THAT
SINCERELY. I MEAN, THERE'S NOT,
I WOULD SAY A DAY THAT GOES BY
WHERE THERE ISN'T SOME
CONVERSATIONS HAPPENING AROUND
DIVERSITY AND INCLUSION, AND
THAT'S HOLISTICALLY TO IT
INCLUDES THE DISABILITY
COMMUNITY VETERANS, REENTRY
PEOPLE COMING OUT OF PRISON. UM
. ALL OF OUR MEMBER COMPANIES
HAVE SOME PROGRAMMING THAT ARE
TARGETING THESE KINDS OF
DIFFERENCE CONSTITUENCIES IN A
RECOGNITION THAT FRANKLY, AT THE
END OF THE DAY, THE CONTENT IS
BETTER, AND IT HAS BEEN SAID
BEFORE. IT'S GOOD BUSINESS TO
HAVE DIVERSITY FRONT AND IN
FRONT OF THE CAMERA BEHIND.
THANK YOU FOR THAT. I'M GONNA
TURN OVER TO MR A. GILLARD, MISS
ROMANOV. UM CAN YOU SHARE A BIT
ABOUT YOUR APPRENTICESHIP
PROGRAMS? WHAT DOES THAT LOOK
LIKE? FOR SOMEONE COMING IN? HOW
DOES SOMEONE GET IN? WHAT HAS
BEEN THE GROWTH AND PARTNERSHIP
WITHIN SPECIFICALLY AS WE TALK
ABOUT THE CALIFORNIA FILM AND TV
TAX CREDIT PROGRAM. I'M SORRY.
SO OUR LOCAL, UM I BECAME THE
SECRETARY OF TREASURY IN 2011.
AND AT THAT TIME WE WERE LOOKING
AT. RIGHT UNDER 700. I MEAN, 800
MEMBERS. ONCE WE THE TWO POINT
OH PROGRAM KICKED IN IN IN THE
YOU KNOW, IN THE LATER WAS IT
2014, I BELIEVE IS WHAT CATHY
SAID. UM, IS WHEN WE STARTED TO
SEE REAL GROWTH. UM WOULD THAT
MEANS SAID WHAT WE HAVE AS AN
APPRENTICESHIP PROGRAM. IT'S NOT
THE SAME AS THE LABORERS ON THE
OUTSIDE ON THE CONSTRUCTION IN
THE INDUSTRY, BUT WE DO HAVE A
PROGRAM THAT. WE'RE TRYING TO
GET OFF THE GROUND. UM. IN OTHER
WORDS, WE DON'T HAVE AN
ESTABLISHED A PREGNANCY
APPRENTICESHIP. IN THE INDUSTRY
. I THINK IT'S TOO BECAUSE OF
THE UNIQUE BUSINESS THAT THAT WE
THAT WE REPRESENT. BUT I'VE BEEN
WORKING WITH THE STUDIOS TO TRY
AND DEVELOP AN APPRENTICESHIP.
THAT WILL OPEN UP. MORE, YOU
KNOW PATHS. TO UNDER REPRESENTED
COMMUNITIES. NOW WHAT WE'VE DONE
WHAT I'VE STARTED WHAT I STARTED
TO DO, BECAUSE DIVERSITY IS A
PASSION OF MINE WHEN I BECAME A
LABOR IN 1995. THERE WASN'T MANY
FOLKS WHO LOOK LIKE ME ON THIS
STAGE. UH MY FATHER WAS A
LABORER. I'M A SECOND GENERATION
LABOR. SO WHEN I BECAME THE
PRINCIPAL OFFICER OF THE LOCAL I
MADE IT A POINT AND A GOAL OF
MINE TO DIVERSIFY THE UNION.
AND, UM. I TOOK THAT ON AS A
TASK ALONE. UM WE? I PARTNERED
UP WITH COMMUNITIES IN SCHOOLS.
HOMEBOY INDUSTRIES. TO TRY AND
REACH OUT TO FOLKS SO THAT WE
CAN GIVE THEM AN OPPORTUNITY TO
JOIN THE ENTERTAINMENT INDUSTRY.
AND IT'S WORKED OUT PRETTY WELL.
AH. YOU KNOW, JUST RECENTLY WE
HAD AND I CAN SHARE THIS. I
DON'T THINK MY COUSIN. MY
PROBLEM WILL BE MAD. BUT YOU
KNOW, HE DID SOME TIME. AND HE
GOT OUT AND HE CALLED ME ONE DAY
AND HE SAID, HEY, PRIMO. I NEED
A JOB. AND I ACTUALLY TOLD THEM
LISTEN WHEN AND THIS IS EXACTLY
WHAT I TOLD HIM. WHEN YOU CAN
SHOW ME THAT YOU CAN STAY OUT.
AND ACTUALLY SPEND TIME AS A
GOOD CITIZEN. THEN CALL ME A
YEAR WENT BY AND HE CALLED ME A
YEAR TO THE DATE OF THAT
CONVERSATION. AND HE SAID, I'M
STILL OUT. I HAVE THE SAME JOB.
CAN YOU HELP ME OUT? WE GOT HIM
IN THE INDUSTRY WHEN OUR BOOKS
OPENED UP. HE JUST RECENTLY
BOUGHT A HOUSE. I DON'T KNOW
WHERE ELSE YOU CAN DO SOMETHING
LIKE THAT. UM, HE WENT FROM YOU
KNOW, BEING IN AND OUT OF PRISON
HIS ENTIRE LIFE. TO BECOMING A
UNION MEMBER IN THE
ENTERTAINMENT INDUSTRY. AND NOW
HE'S A HOMEOWNER. SO THOSE ARE
THE TYPE OF THINGS I KNOW. I'M
KIND OF DEVIATING A LITTLE BIT
FROM YOUR ORIGINAL QUESTION. BUT
THOSE ARE THE TYPE OF THINGS
THAT WE'VE MANAGED TO DO WITHIN
OUR LOCAL TO MAKE SURE THAT WE
OPEN UP FOR EVERYONE TO BE ABLE
TO JOIN. AND LIKE I SAID, AS FAR
AS THE TRAINING WE HAVE
DIFFERENT OUR APPRENTICESHIP. WE
HAVE DIFFERENT CONTRACTS. UM AND
WE HAVE APPRENTICESHIP PROGRAMS
AND THERE ARE A COUPLE OF
AGREEMENTS. UNFORTUNATELY THOSE
AGREEMENTS ARE NOT TIED INTO THE
MOTION PICTURE INDUSTRY. ONE IS
FOR THE THEME PARK. WHICH IS
UNIVERSAL STUDIOS. ANOTHER ONE
IS FOR OUR BILLBOARD INSTALLERS,
OUTFRONT MEDIA. BUT WHEN IT
COMES TO THE ACTUAL MOTION
PICTURE INDUSTRY, WE DO NOT
CURRENTLY HAVE AN APPRENTICESHIP
PROGRAM THAT WE CAN SAY HEY,
HERE YOU GO. LET'S LET'S GO. SO
THAT'S SOMETHING WE'RE WORKING
ON. SO WE'RE AN OPEN UNION. WE
DON'T HAVE A ROSTER. THAT MEANS
ANYONE CAN JOIN US AT ANY TIME.
IF YOU HAVE ONE CREDIT, NONUNION
, ANY KIND OF CREDIT, UH, THAT
SHOWS YOUR COSTUME DESIGNER OR
AN ILLUSTRATOR. OR A ASSISTANT
CUSTOMERS ARE YOU CAN JOIN OUR
UNION. I THINK THAT'S WHY WE
PROBABLY HAVE A HI DIVERSITY IN
OUR UNION. UM ALSO WITH US. WHEN
YOU GET INTO OUR UNION IF YOU
DON'T HAVE CONNECTIONS, WE'RE
NOT HIRING HALL. WE CAN'T FIND
YOU JOBS. UM YOU HAVE TO HAVE
CONNECTIONS. SO ANY WE'VE PUT
FORTH PLANS FOR MENTORING OR,
UM, INTERNING OR ANY OF THAT.
THE PROBLEM IS, YOU HAVE TO GO
AND MAKE THOSE CONNECTIONS WHERE
PEOPLE CAN HIRE YOU AND THE
PEOPLE WHO CAN HIRE US OR OTHER
COSTUME DESIGNERS OR PRODUCERS
DIRECTORS, RIGHT? THAT'S WHO
HIRE MY MEMBERS. SO WHEN WE
TALKED TO THE STUDIOS THEY NEED
TO ALLOW, YOU KNOW. ARE. PROGRAM
TO ACTUALLY GO AND MEET THESE
OTHER PEOPLE AND STAY WITH THEM
ON A PROJECT FOR A MONTH OR TWO,
SO IT'S BEEN HARD TO TRY AND GET
THAT KIND OF PROGRAM. YOU KNOW
SOMEONE FOR US, IT WOULDN'T BE A
LOT OF TIMES. STUDENTS WANT TO
MARK THE BOX THAT THEY'VE HIRED
A DIVERSITY HIRE, BUT THAT'S NOT
WHAT WE WANT. WE WANT TO CAREER
. WE WANT SOMEONE WHO CAN DO IT
FOR THE REST OF THEIR LIFE. AND
THAT MEANS THEY HAVE TO MAKE
CONNECTIONS. AND THAT TAKES A
COUPLE OF YEARS MINIMUM A YEAR,
SO THAT YOU COULD HAVE YOU KNOW
A MONTH ON THIS PROJECT OR A
MONTH ON THAT PROJECT AND GET TO
KNOW THE PEOPLE WHO WILL HIRE
YOU. SO IT'S A LITTLE DIFFERENT
WITH US. IF YOU FEEL LIKE YOU
HAVE THIS CONNECTIONS, YOU CAN
JOIN US AT ANY TIME. IF I MAY
HAVE A COUPLE OF THINGS, SO WE
HAVE PARTNERED UP WITH A COUPLE
OF THE STUDIOS OF THE MEMBER
COMPANIES THAT KATHY REPRESENTS,
UH AND WE HAVE WHAT'S CALLED THE
SKILLS TRAINING PROGRAM. AND SO
THAT HAS ENABLED. ASKED TO BRING
IN FOLKS FROM, YOU KNOW
DIFFERENT BACKGROUNDS. I MEAN,
WE, YOU KNOW, SO THAT I WANTED
TO JUST POINT THAT OUT. THERE'S
A COUPLE OF THINGS THAT WE'RE
TRYING TO IMPROVE UPON. BUT WE
DO HAVE A COUPLE OF MEMBER
COMPANIES THAT THAT PARTICIPATE
IN THE SKILLS TRAINING PROGRAM
THAT THAT KIND OF WE BRING FOLKS
IN AT A LOWER RATE, AND THEN
THEY GRADUALLY WORKED THEIR WAY
UP TO WHAT WE CALL JOURNEYMEN
RATE SO THEY GO THROUGH, YOU
KNOW. IT'S A WAGE PROGRESSION AS
THE MORE HOURS THEY WORK. EVERY
90 DAYS. THEIR WAGES GO UP. AND
THAT'S PART OF THAT. THANK YOU
BOTH FOR SHARING THE OPERATIONS
PROCESS OF YOUR OF YOUR UNIONS.
I THINK THAT'S IMPORTANT AND
THERE'S SO MANY, AND I'M SO
GRATEFUL THAT I GOT AN
OPPORTUNITY TO MEET WITH SOME OF
YOU. THROUGH THE ENTERTAINMENT
UNION COALITION AND REALLY
UNDERSTAND THE PROCESS OF YOUR
WORK. THE PROCESS OF YOUR UNION.
AND I THINK, UM WHAT I'M WHAT
I'M KIND OF HEARING IS THAT
MAYBE WE'RE MAKING. WE'RE MAKING
CERTAIN WE HAVE CERTAIN
EXPECTATIONS, RIGHT? WE THE
MEMBERS OF THE LEGISLATURE HAVE
A CERTAIN EXPECTATION. OF HOW WE
COULD POTENTIALLY WOULD WANT TO
SEE. DIVERSITY AND EQUITY ISSUES
AND MEASUREMENTS OF SUCCESS
WITHIN THE CALIFORNIA FILM TAX
CREDIT CREDIT PROGRAM WORK. AND
WITH THAT WE'RE ALSO ASKING THE
STUDIOS TO BE ABLE TO CREATE A
PATHWAY FOR PRODUCTIONS. THAT
ARE REFLECTIVE OF THE PEOPLE OF
THE STATE, BOTH OF THE NARRATIVE
BEHIND AND BELOW THE LINE AND
EVERYTHING IN BETWEEN. BUT WHAT
I'M ALSO HEARING YOU SAY IS THAT
THERE ARE POTENTIAL CHALLENGES,
MAYBE WITHIN YOUR OWN LOCALS.
ABOUT. PATHWAY OPPORTUNITY
ENTRYWAY, MR ROMANOV. I HEARD
YOU SAY YOU HAVE TO KNOW SOMEONE
TO GET IN RIGHT? YOU HAVE TO
HAVE A CREDIT. NO, NO, YOU CAN
GET INTO OUR LOCAL SOMEONE COULD
HIRE YOU. AND YOU COULD GET IN.
SO WE'RE NONROSTER UNION WHEN I
SAY THAT TO HAVE A CAREER,
RIGHT, YOU YOU NEED TO HAVE
CONNECTIONS, AND THAT COULD BE I
MEAN, SO LOTS OF PEOPLE COMING.
THIS IS A GREG. LOTS OF PEOPLE
COME INTO OUR LOCAL WHO DON'T
RIGHT OUT OF SCHOOL, RIGHT? WE
DO A LOT OF OUTREACH TO, UM
THEATER SCHOOLS ARE THEATER
SCHOOL, BUT LIKE, YOU KNOW, UM
EAST L. A COLLEGE WE DO A LOT OF
, YOU KNOW, TO UNDERSERVED
COMMUNITIES AND THEY WILL COME
IN, BUT THEY AREN'T SUCCESSFUL
THEIR INTER UNION, BUT THEY
CAN'T FIND JOBS BECAUSE THEY
DON'T HAVE PEOPLE WHO CAN HIRE
THEM. NOW WE HAVE EVENTS. WE DO
THINGS WHERE WE CAN, YOU KNOW,
INTRODUCE THEM, BUT YOU HAVE TO
HAVE A MULTITUDE OF PEOPLE WHO
CAN HIRE YOU, RIGHT? KNOWING ONE
OR TWO PEOPLE THAT MAY NOT, YOU
KNOW, YOU MAY BE ON A JOB WITH
ONE PERSON WHO THEN DECIDES TO
TAKE TIME OFF, AND THE OTHER
PERSON YOU KNOW, HAS ALREADY
CREWED UP IN THERE. THEY'RE
HIRED OTHER PEOPLE. SO YOU HAVE
NO ONE ELSE IN YOUR, YOU KNOW
BOX TO MAYBE FIND THAT JOB, SO
IT'S MORE THAN JUST IT'S NOT
WHO, YOU KNOW, PER SE. IT'S HOW
MANY PEOPLE YOUR SOCIAL NETWORK
IS. AND SO ONE OF THE WAYS THAT
YOU DO THAT IN A PROGRAM RIGHT
SO YOU COULD HIRE SOMEONE AND
YOU COULD PUT THEM ON A JOB AND
THEY COULD DO VERY WELL ON THAT
JOB. BUT THEN THEY DON'T HAVE
THE NEXT JOB TO GO TO BECAUSE,
LIKE THEY KEEP SAYING, THIS JOB
COULD BE YOUR LAST JOB. IT'S
ONLY YOUR LAST JOB IF YOU HAVE
NO ONE ELSE TO HIRE YOU. SO
REALLY, THE IMPORTANT THING FOR
I DIVERSE, HIGHER ANY HIGHER IS
THEIR NETWORK. AND THAT'S WHAT
FOR MY LOCAL. THAT'S WHAT YOU
HAVE TO ESTABLISH IS A NETWORK
AND THAT REALLY COMES FROM THE
STUDIOS, ALLOWING US YOU KNOW,
WITH A PROGRAM TO PUT SOMEONE IN
WHO CAN SHADOW ALL THESE
DIFFERENT DESIGNERS, SO THEY
MAKE THOSE CONNECTIONS. DO YOU
WANT TO RESPOND TO THAT? I KNOW
I'M JUST SO I'M I'M I'M TRYING
TO ENVISION IT RIGHT? I'M TRYING
TO THINK OF LIKE, WHAT DOES IT
LOOK LIKE TO BE A 17 YEAR OLD?
UM STUDENTS AT GARFIELD HIGH
SCHOOL IN EAST LOS ANGELES. WHO
IS IN THE THEATER PROGRAM.
BECAUSE THEY LOVE IT. RIGHT? BUT
THAT'S NO CONNECTIONS. NO NO ONE
THAT IN THEIR REALM. IN THEIR
FAMILY AND THEIR NETWORK HAS
EVER WORKED. FOR A PRODUCTION
STUDIO THEATER MUCH LESS THAN
IN, UH, UNION DEDICATED TO THE
ENTERTAINMENT INDUSTRY. RIGHT SO
MAYBE THEY MAYBE THEY MEET YOU
OR SOMEONE ON YOUR TEAM, AND
THEY ARE TRYING TO FIGURE OUT IF
THIS IS EVEN A CAREER
OPPORTUNITY FOR THEM PATHWAY.
BUT IF THEY DON'T HAVE A
CONFIDENCE, THE SKILLS, THE
BACKGROUND, SOMEONE TO GUIDE
THEM. IT JUST SEEMS IT'S VERY
CHALLENGING RIGHT TO BRING
SOMEONE FROM A DISENFRANCHISED
COMMUNITY WHO IS NEW TO THIS
INDUSTRY. TO TRY TO BUILD THAT
PART THAT PATH THAT PATHWAY THAT
PIPELINE AND I WOULD SAY VERY
SIMILAR TO MR REGULAR TO YOUR
STORY ABOUT YOUR COUSIN, RIGHT?
YOUR COUSIN KNEW 
CALL YOU AND YOU GAVE HIM A
TIMELINE LIKE SHOW ME THAT
YOU'RE TRULY INTERESTED, AND
THEN WE CAN TRY TO SEE IF WE CAN
WORK SOMETHING OUT. I BRING THAT
UP ONLY BECAUSE I CAN SEE HOW
CHALLENGING IT IS TO ACTUALLY
BRING IN. UM A DIVERSE WORKFORCE
WITHIN YOUR WITHIN YOUR LOCALS
TO THEN BE AVAILABLE FOR HIRE.
TO THEN BE AVAILABLE TO BE
POTENTIALLY PUT ON A FILM TAX
CREDIT PROGRAM THROUGH THE
STATE. THAT COULD POTENTIALLY
EVENTUALLY DOWN THE PATH LINE.
FILL OUT THE FORM. THAT SAYS,
TELL US WHO YOU ARE. HOW DO YOU
SELF IDENTIFY? IT SEEMS LIKE THE
WAY TO GET HERE AND WHAT WE'RE
ASKING THE FILM COMMISSION TO DO
AND WHAT WE'RE ASKING THE M P A
TO DO WHEN WE'RE ASKING ALL OF
YOU TO DO IS CHALLENGING TO GET
HERE TO THIS SPOT. AND SO I'M
TRYING TO THINK OF WAYS THAT FOR
THE LONGEVITY OF THIS PROGRAM
RIGHT AND TO KNOW THAT I ALSO
HAVE A VERY LIMITED TIME WITHIN
THE LEGISLATURE, RIGHT? I'M ON
MY FIFTH YEAR. UM AND I HOPE TO
BE ABLE TO CREATE AND BE PART OF
BUILDING SOMETHING THAT IS
SUSTAINABLE IN THE LONG TERM,
RIGHT SO THAT I CAN POINT TO
SOMETHING LATER AND SAID.
TOGETHER WE CREATED SOMETHING
THAT HAS CHANGED THE FACE OF
CALIFORNIA AND HAS MOVED THE
NEEDLE FORWARD AS TO WHAT IS
POSSIBLE AND HEARING YOU ALL IS
LIKE THERE'S CHALLENGES, EVEN
WITHIN THE WORKFORCE. AND SO I'M
I'M I LEAVE YOU WITH THAT
THOUGHT IN TERMS OF WHAT CAN WE
BE DOING BETTER? AND
PARTNERSHIP. WHAT IS THAT LOOK
LIKE WITHIN THE CALIFORNIA FILM
AND TV TAX CREDIT PROGRAM. WHAT
DOES THAT LOOK LIKE IN
PARTNERSHIP WITH THE M P A. AND
THE STUDIOS THAT HAVE THE JOBS?
WHAT DOES IT LOOK LIKE TO CREATE
NARRATIVES AND STORIES THAT ARE
REFLECTIVE OF PEOPLE? AND TO THE
POINT OF, UM CONGRESS. MEMBER
CASTRO, WHO EARLIER IN THE
HEARING SET SAID, HOW DO WE
ENSURE THAT THROUGH TAX CREDIT
PROGRAMS? WE'RE NOT FUNDING OUR
OWN EXCLUSION. AND I THINK
THAT'S CRITICAL IN IN THE
CONVERSATION. ANY THOUGHTS ON
THAT BEFORE WE CLOSE OUT. UM, I
CAN OFFER SOME CLOSING THOUGHTS
AS A HIGH SCHOOL DRAMA STUDENT
LIKE DIDN'T GO TO GARFIELD. BUT
WENT TO A VERY SIMILAR HIGH
SCHOOL AND SIMILAR WORKING CLASS
NEIGHBORHOOD. UH I DIDN'T KNOW
THE ANSWER TO THE QUESTION YOU
JUST POSED, YOU KNOW, AS A 17
YEAR OLD GRADUATING NO ONE IN MY
FAMILY. I MEAN, I WILL SEE YOU
KNOW, NO ONE I KNEW WORKED IN
THE ENTERTAINMENT INDUSTRY, SO I
ENDED UP GOING TO LAST SCHOOL.
EVENTUALLY THIS MY CAREER IN
ACTING AND THEN RIGHT AFTER HIGH
SCHOOL. UM I THINK WE CAN START
. I WOULD JUST SAY PRACTICALLY
SPEAKING. I MEAN, IT'S ALMOST
LIKE YOU'RE ASKING. HOW DO YOU
EAT AN ELEPHANT? RIGHT? SO WE'RE
USED TO DOING ONE BITE AT A
TIME? AND IF WE'RE LOOKING AT
THINKING IT, THIS HAS BEEN
HELPFUL IN SORT OF FLUSHING OUT.
UM MAYBE WHAT WE HAVEN'T BEEN
DOING AGAIN THROUGH THESE
VARIOUS ITERATIONS OF THE
PROGRAM, I THINK FIRST AND
FOREMOST, IT HAS TO BE ENSURING
THAT THIS PROGRAM GETS EXTENDED.
UM, AND THAT THE INDUSTRY ISN'T
BLEEDING MORE JOBS AND LOSING
MORE AND MORE MARKET SHARE TO
OTHER JURISDICTIONS. IF THE JOBS
ARE HERE, THEN WE CAN HAVE A
SERIOUS CONVERSATION ABOUT THE
WHO'S FILLING THOSE JOBS. AND IF
WE'RE LOOKING AT MAYBE THE FILM
COMMISSION AND THE CHALLENGES
WITH DATA COLLECTION AND THAT,
YOU KNOW, WE HAVE TO RELY
LARGELY ON SELF REPORTING. UM
AND WE CAN AGAIN BE MORE
DELIBERATE. UM WHAT? WHAT THE
MISSION IS HERE, UM, FOR THE NOT
ONLY FOR THE PROGRAMS THAT ARE
IN THE TAX CREDITS, BUT
OBVIOUSLY YOU KNOW WHAT THE
STUDIOS ARE DOING WITH THESE
WRAPAROUND OUTREACH FOR ABOVE
AND BELOW THE LINE. AND I'M JUST
THINKING OF AGAIN. MAYBE THERE
IS A WAY TO EITHER GET US ALL ON
THE SAME PAGE IN TERMS OF THE
KINDS OF DATA WE'RE COLLECTING,
HOW WE'RE SHARING IT. HOW WE'RE
COMPILING IT INTO REPORTS THAT
ARE, YOU KNOW BASICALLY
ANSWERING THE QUESTIONS THAT ALL
THE MEMBERS HERE OPPOSING. UM
AND IF WE'RE DOING THAT,
PERSPECTIVELY, I THINK IT REALLY
IS. HOW DO WE SEIZE THE MOMENT?
AND YOU KNOW HOW A PROGRAM LIKE
HOLLYWOOD CPR AND EVEN MANIFEST
WORKS? I MEAN, THE HIGH SCHOOL
STUDENT YOU TALKED ABOUT? UM
THOSE ARE THE THAT'S THE
PROGRAMS THAT ARE SET UP TO
SERVICE. THOSE CONSTITUENCIES IS
YOU KNOW YOU WOULD LOOK AT GIVE
HIM THE SOFT SKILLS FIRST, YOU
GOTTA YOU KNOW ALSO, HOW DO YOU
INTERVIEW FOR A JOB? YOU KNOW,
THIS IS HOW YOU SHOW UP TO
ORGANIZE HOW YOU DRESS AND THEN
THERE'S THE HARD SKILLS
TRAININGS THAT YOU WOULD GET
THROUGH A PROGRAM LIKE THE
SKILLS TRAINING OR HOLLYWOOD CPR
. UM THERE'S CHALLENGES AND,
FRANKLY, EVEN KNOWING THOSE
PROGRAMS EXIST. AND SO MAYBE
THAT'S ANOTHER THING THAT WE CAN
LOOK AT HOW WE CAN BE
COLLECTIVELY BETTER AT THAT. AND
HOW WE CAN. YOU KNOW THE FILM
COMMISSION CAN TAKE, UM WE CAN
WORK WITH THE FILM COMMISSION TO
FLESH OUT COLLECTIVELY HOW WE'RE
ADVERTISING THOSE PROGRAMS WHO'S
LEARNING ABOUT AND THEN MAYBE,
YOU KNOW, HOW DO WE CREATE
SCALE? HOW DO WE CREATE SKILLS
SO THAT TO YOUR POINT EARLIER
THEY'RE OFFERED AT DIFFERENT
CAMPUSES OR DIFFERENT LOCATIONS
AND THEIR PROXIMITY TO THE KINDS
OF COMMUNITIES THAT HISTORICALLY
BEEN UNDERREPRESENTED. SO I
THINK IT'S FRANKLY AN EXCITING
CONVERSATION TO HAVE AND WE, YOU
KNOW, WE CAN ROLL UP OUR SLEEVES
AND I THINK WE CAN MOVE THE
NEEDLE. I FEEL LIKE AGAIN. THIS
HAS BEEN KICKING THE TIRES AND
SEEING WHERE SOME OF THE
DEFICIENCIES HAVE BEEN. BUT IT
DOESN'T MEAN THAT THOSE PROBLEMS
CAN BE REMEDIED. THANK YOU FOR
THAT. AH! SO I JUST WANT TO SAY
THIS IN OUR LAST BARGAINING WITH
THE MP TP WE BARGAINED D E I SO
THERE ARE PROGRAMS IN PLACE.
THAT'S NOT TRUE. THERE ARE
PROGRAMS THAT ARE GOING TO BE IN
PLACE AND WE'RE WORKING ON IT SO
THAT EVERY LOCAL HAS A PIPELINE
TO GET. UNDERSERVED MEMBERS ARE
UNDERSERVED COMMUNITIES, THE
ABILITY TO GET INTO IT AND ALSO
GET THE CONNECTIONS THAT THEY
NEED TO. THEY CAN HAVE A CAREER
. SO THAT WAS BARGAINED IN OUR
LAST IN 2021, SO THAT IS ONE OF
THE WAYS THAT WE ARE WORKING ON
IT. IT WAS PROBABLY TOOK US THE
LONGEST. TO BARGAIN. WE TOOK
THREE WEEKS FOR THAT WHICH WAS,
YOU KNOW, WE REALLY PUT A LOT OF
EFFORT AND A LOT OF THE LOCALS
BEHIND ME ARE ALREADY STARTING
ON THEIR PROGRAMS TO MAKE SURE
THAT WE HAVE SOMETHING IN PLACE
THAT THE UNDERSERVED COMMUNITIES
HAVE A WAY. ONE OF OUR CONCERNS
IS THAT WE REALLY WANT TO MAKE
NOT JUST BEING, YOU KNOW,
CHECKED BOX, BUT MAKE SURE THAT
THEY HAVE THE CONNECTION, SO
THEY HAVE A CAREER. UM SO I WANT
TO PAY YOU BACK OFF. WHAT? UM
BRIGITA JUST SAID. REGARDING
BARGAINING AND WHAT WE DID
BARGAIN AND WHAT WE AGREED TO
WITH THE MEMBER COMPANIES WITH A
AND P T P UM AND BACK TO YOU
WHAT YOU MENTIONED ABOUT BEING
CHALLENGING. SOME OF US HAVE
WHAT'S CALLED SENIORITY WITHIN,
YOU KNOW, OUR INTERNATIONAL. UM,
LOCAL UNION BYLAWS, RIGHT AND.
SO IT'S HARD FROM TIME TO TIME
BECAUSE WE HAVE TO PUT CERTAIN
YOU KNOW, WE HAVE TO PUT THE
FOLKS TO WORK THAT ARE ON THE
AUTO WORK ROSTERS, SO AND THAT
WAS SOMETHING THAT WE TALKED TO
THE STUDIOS ABOUT WHEN THEY
BROUGHT UP THE TALK ABOUT
DIVERSITY AND HIRING, YOU KNOW,
JUST FROM UNDERREPRESENTED
COMMUNITIES, PEOPLE OF COLOR AND
SO ON. AND SO ON. AND SO THAT'S
SOMETHING THAT WE ARE
CONTINUALLY TRYING TO WORK ON SO
THAT WE CAN OPEN UP A PATHWAY
FOR FOLKS. TO COME INTO THE
INDUSTRY. UM. ONE THING THAT I
THAT THE LABORERS DO A LOT IS WE
GO OUT. AND WE SPEAK AT SCHOOLS
. UM, YOU KNOW, I'VE BEING A.
THEN I SAY HI SCHOOL NORTH
HOLLYWOOD HIGH SCHOOL. TO TALK
ABOUT. THE OPPORTUNITY TO WORK
IN THE INDUSTRY. UM AND I KNOW
IT'S NOT THAT EASY TO GO OUT
THERE AND DO SOMETHING LIKE
THAT. BUT WHAT I MEAN BY THAT IS
THAT I THINK WE CAN DO MORE.
DEFINITELY DO MORE TO FIGURE OUT
HOW TO REACH THOSE FOLKS. AND
YOU KNOW, LIKE I SAID, WE THIS
IS SOMETHING THAT RECENTLY CAME
UP. DURING THE LAST BARGAINING
CYCLE, WHICH WAS DURING COVID OR
PRE COVID, AND THEN WE HAD COVID
AND THEN EVERYTHING KIND OF
FROZE. SO IT'S BEEN A CHALLENGE
TO REALLY KICK START EVERYTHING
YOU KNOW, UM I MEAN, IT'S JUST
TO GIVE YOU A PERSPECTIVE OF
WHAT WE WENT THROUGH AS FAR AS
THE UNIONS AND THE STUDIOS. WE
NORMALLY NEGOTIATE. YOU KNOW,
WAY IN ADVANCE. I MEAN, I JUST
GOT A COPY OF MY THE AGREEMENT
WE NEGOTIATED IN 28 2021. AND.
IT'S TAKEN THAT LONG, AND HE
TOOK US THAT LONG TO BARGAIN. SO
WE'RE REALLY TRYING TO PLAY
CATCH UP HERE. AND I KIND OF
WISH THAT THE MEMBERS WHO WERE
HERE EARLIER WOULD HAVE BEEN
ABLE TO HEAR SOME OF THIS
BECAUSE IT HAS BEEN A CHALLENGE
TO TRY TO GET THIS FAR. IT SEEMS
LIKE YOU KNOW, AND I'LL SAY
THIS. COLLECTIVELY, WE MAY NOT
BE DOING IT. BUT IT'S JUST WE
ARE SO FAR BEHIND ON, YOU KNOW,
DUE TO COVID AND THE PANDEMIC.
THAT WE'RE TRYING TO PLAY CATCH
UP, BUT IT IS SOMETHING THAT WE
ARE ALL TRYING TO REACH AND GET
. TO THANK YOU FOR THAT, UM, THE
BEAUTY OF MUST SEE TV,
TELEVISION AND BUDGET IS THAT
THEY'RE WATCHING. GOOD GO AHEAD
, SO SHOUT OUT TO THE MEMBERS OF
THIS COMMITTEE AND OTHER MEMBERS
WHO DON'T SIT ON BUDGETS OF FOUR
WHO ARE ALSO WATCHING BECAUSE
THIS IS A VERY IMPORTANT
CONVERSATION TO A LOT OF FOLKS
THAT WE INTENTIONALLY MADE. THIS
PARTICULAR HEARING AND
INFORMATIONAL HEARING SO THAT
OTHER MEMBERS THAT ARE NOT IN
BUDGETS OF FOUR COULD JOIN. AND
YOU HEARD FROM THEM EARLIER AS
THOSE THAT ARE WATCHING NOW. AND
SO WE'RE GONNA BE WRAPPING UP
AND GOING TO PUBLIC COMMENT, BUT
LET ME JUST SAY JUST AS A NOTE
OF PERSONAL PRIVILEGE TO THE
THREE OF YOU, UM YOU KNOW, THANK
YOU FOR THE WORK THAT YOU'RE
DOING TO REALLY PROMOTE AND
ENCOURAGE AND FIND OPPORTUNITIES
TO BE ABLE TO BRING UM. FOLKS
FROM ALL KINDS OF WALKS OF LIFE
INTO A INCREDIBLE AMAZING. WORLD
CLASS, UM, INDUSTRY. IN WHICH
OUR STORIES OR NARRATIVES CAN BE
SEEN CAN BE TOLD AND ULTIMATELY
INSPIRED, AND I THINK THAT'S
THAT'S WHAT WE'RE TRYING TO
ACCOMPLISH AND THEN PARTICULAR
WITHIN THIS PROGRAM. HOW DO WE
ENSURE THAT WE'RE USING PUBLIC
DOLLARS IN A RESPONSIBLE WAY?
GIVEN THE CHALLENGES THAT WE
HAVE BUT ALSO TRYING TO FIGURE
OUT A PATHWAY DIDN'T AND WHAT
I'M WALKING AWAY FROM HERE IS
THAT THERE IS AN INCREDIBLE
OPPORTUNITY TO DO MORE. AND TO
BE IN THE ROOM WHERE IT HAPPENS
TO TRY TO FIGURE OUT A WAY.
THROW SPAGHETTI ON THE WALL. SEE
WHAT STICKS AND REALLY TRY TO
FIGURE THAT OUT. I THINK IT'S
EXCITING AND I'M REALLY LOOKING
FORWARD TO A PARTNERSHIP. UM
BOTH WITHIN THE UNIONS, AS WELL
AS THE M P A AND SPECIFICALLY
WITH THE CALIFORNIA FILM
COMMISSION TO ENSURE THAT WHERE
WE'RE NOT TRYING TO SAY LIKE WE
CAN'T DO SOMETHING, BUT WE ARE
TRYING TO MAKE THE IMPOSSIBLE
POSSIBLE. WE'RE LOOKING FOR
PARTNERS THAT ARE SAYING, YOU
KNOW, HOW CAN WE GET THIS DONE?
HOW CAN WE OVERCOME? HOW CAN WE
FIGURE OUT THIS CHALLENGE AND
REALLY MOVE FORWARD FOR THE
PEOPLE OF CALIFORNIA? AND I
THINK THAT'S EXCITING. AND
CONGRATULATIONS TO YOU, MR
AGUILAR, ALSO ON BEING UM, IN
THE POSITION THAT YOU ARE GIVEN
YOU ARE THE FIRST PERSON OF
COLOR TO SERVE IN YOUR UNION AND
YOUR LEADERSHIP ROLE AND THE
MASSIVE GROWTH THAT YOU'VE SEEN
WITHIN YOUR LOCAL BECAUSE OF
THIS PROGRAM. I THINK THAT'S
THAT'S TELLING OF WHAT IS
POSSIBLE. UM AND SO I'M I'M YOU
KNOW, IT'S IT WAS. I THINK THIS
IS ONE OF THE BEST HEARINGS THAT
UH, I HAVE BEEN A PART OF AND
THAT I'VE WE WERE WALKING AWAY
WITH A LOT OF INFORMATION. AND
SEVERAL MEMBERS HAVE BEEN
TEXTING THAT THEY'RE WATCHING
AND HAVE IDEAS. AND SO WE'RE
WE'RE HOPEFUL TO BE ABLE TO
CREATE AND THINK OF A PROGRAM AS
WE FIGURE OUT, YOU KNOW, IN OUR
BUDGET PROCESS. WHAT CAN WE DO?
AS AS WE DELIBERATE, SO AGAIN,
THANK YOU TO ALL OF YOU. THANK
YOU TO OUR PANEL. ALL OF OUR
PANELISTS, UM PANEL PANEL ONE ON
THE GOVERNOR'S PROPOSAL IN THE
CALIFORNIA FILM TAX CREDIT, AS
WELL AS OUR DIVERSITY PANEL
LEARNED A LOT AND OBVIOUSLY TO
ALL OF YOU THE STAKEHOLDERS.
THANK YOU. WE'RE GOING TO GO NOW
TO OUR PUBLIC COMMENTS AND I
HAVE LOST MY PAPERS. TOO MANY
PAPERS. HERE WE GO. WE WILL BE
ACCEPTING PUBLIC COMMENT AT THE
END OF THIS HEARING WILL NOW
BOTH IN THE ROOM AND ON THE
PHONE. THE PHONE NUMBER TO
CONNECT IS ON OUR COMMITTEE
WEBSITE, BUT I'LL SHARE IT RIGHT
NOW. IT'S 87769289. THE PUBLIC
ACCESS CODE IS 1315447 IF YOU
WOULD LIKE TO SUBMIT PUBLIC
COMMENT. LET'S BEGIN WITH FOLKS
IN THE ROOM. AND YOU MAY YOU MAY
LEAVE THE TABLE. YES, THANK YOU.
FOR THOSE, UM, TESTIFYING. THE
PUBLIC COMMENT IS ONE MINUTE SO
BOTH IN THE ROOM AND ON THE
PHONE, PLEASE BEGIN AND
INTRODUCE YOURSELF. THANK YOU.
AMERICA MY NAME IS SCOTT
BERNARD. I AM THE BUSINESS
REPRESENTATIVE LOCAL 695. THAT
IS THE SOUND UNION THAT NANCY
HAD WRECKED, REFERENCED EARLIER.
AND, UM. THAT'S SUCCESS. STORY
IS ONE OF SEVERAL. WE HAVE A
VERY ROBUST TRAINING PROGRAM
WITHIN OUR LOCAL APPRENTICESHIP
PROGRAM. IT'S IN OUR CONTRACT
AND THE STUDIOS THAT WORK INTO
ALL MAJOR STUDIOS ON THAT WE
HAVE ABOUT 56 PEOPLE IN THE
PROGRAM. IT'S BEEN VERY
SUCCESSFUL. I'D LIKE I'LL BE
SURE I HAVE MY WE HAVE A FULL
TIME STAFF PERSON THAT WE PAY
FOR TO RUN THE PROGRAM. SO WE
WILL SHARE THAT WITH YOU AND
LOOKED AT YOUR PARTNER WITH YOU
AND GROW THAT PROGRAM WITH OTHER
PARTNERS IN THE INDUSTRY. ALSO
I'D LIKE TO MENTION THAT WERE 93
YEAR OLD UNION AND OUR CURRENT
PRESIDENT IS FEMALE. SHE'S ONE
OF THE LEADING BROADCAST
ENGINEERS IN THE BUSINESS AND
HALF OF OUR EXECUTIVE BOARD OR
FEMALE. SO OUR UNION IS IT'S
VERY PROGRESSIVE, AND WE AND OUR
MEMBERS ARE EXCITED AND THEY
HELP AND MENTOR THESE
UNDERREPRESENTED PEOPLE IN THAT
TRAINING PROGRAMS. SO THANK YOU
FOR YOUR TIME. THANK YOU. GOOD
AFTERNOON, MADAM CHAIR AND ALL
THE ABSENT MEMBERS TRACEY
STEPHENS, REPRESENTING NETFLIX,
AND WE'RE JUST HERE IN STRONG
SUPPORT OF THE TAX CREDIT. THANK
YOU. GOOD AFTERNOON CHAIR
CARRION. ERIN IMOLA,
REPRESENTING SONY PICTURES WERE
ALSO IN SUPPORT OF THE FILM TAX
CREDIT AND IN PARTICULAR, THE
ELEMENT OF REFUND ABILITY, WHICH
WE BELIEVE MAKES THE WHOLE
PROGRAM BETTER BY INCREASING
COMPETITION. THANK YOU. THANK
YOU. CHAIR CARILLO. THANKS FOR
TAKING THE TIME TODAY. MY NAME
IS ALEX THOMASON IN THE WESTERN
REGION DIRECTOR FOR IA TSC LOCAL
600 INTERNATIONAL
CINEMATOGRAPHER'S GUILD. I'M
SPEAKING HERE ON BEHALF OF OUR
10,000 MEMBERS WHO ARE BELOW THE
LINE CREW, THE DIRECTORS OF
PHOTOGRAPHY CAMERA OPERATORS,
TECHNICIANS ASSISTANCE.
UTILITIES STILL PHOTOGRAPHERS
AND UNION PUBLICISTS. OUR UNION
IS COMMITTED TO DIVERSITY,
EQUITY AND INCLUSION WITH THE
SUPPORT OF OUR NATIONAL
EXECUTIVE BOARD INCLUSION
COMMITTEE. WE'VE RECENTLY
ANNOUNCED THAT WE HAVE HIRED A
FULL TIME D I COORDINATOR WE
ALSO HAVE PRIORITIZED WORKING
WITH ORGANIZATIONS LIKE MANIFEST
WORKS, UM AND HOLLYWOOD CPR. IN
FACT, I PERSONALLY HAVE
VOLUNTEERED MY TIME WITH
MANIFEST WORK SUPPORTING THEIR
STUDENTS AND ALUMNI. WE ALSO ARE
WORKING TO REMOVE BARRIERS TO
EMPLOYMENT IN 2021. WE PROPOSED
INTO SUCCESSFULLY NEGOTIATED
LANGUAGE THAT ALLOWS WORK IN OUR
ENTRY LEVEL DIGITAL UTILITY JOB
CLASS TO GAIN A MEMBER OF
PLACEMENT ON THE INDUSTRY
EXPERIENCE ROSTER. THIS PROVIDES
A REAL UNION CAREER PATH. AND
THE CAMERA DEPARTMENT. REMEMBER
UNIONS DON'T MAKE THE HIRING
DECISIONS, BUT THE LABOR
MOVEMENT IS WORKING TO PREPARE
OUR COMMUNITIES TO DO THIS WORK.
I URGE YOU TO SUPPORT THIS
INCENTIVE TO SECURE OUR MEMBERS
LIVELIHOODS AND TO SECURE OUR
COMMUNITY'S FUTURE IN THIS
IMPORTANT INDUSTRY IN
CALIFORNIA. THANK YOU. THANK
YOU. GOOD AFTERNOON, MADAM CHAIR
. MY NAME IS, UH, INTO ALL THE
OTHER MEMBERS. WATCHING MY NAME
IS DIJON ELLIS JR. I'M THE
BUSINESS MANAGER AT IASI. LOCAL
LADY. WE REPRESENT GRIPS CRAFT
SERVICE, MEDICS. WE CURRENTLY
HAVE A MEMBERSHIP OF 3800. I
WANT TO ALSO MENTIONED THAT I'M
ON THE EXECUTIVE BOARD OF THE
INTERNATIONAL D E I COMMITTEE,
WHICH WAS RECONSTITUTED ABOUT A
YEAR AND A HALF AGO. THE LABOR
SIDE IS COMMITTED TO DOING THIS
WORK. WE ARE DOING THIS WORK.
UM, IT TAKES TIME. I MISSED THE
PERSON ON THE PANEL SAID. IT'S
LIKE THE ELEPHANT ONE BITE AT A
TIME, BUT WE'RE DOING IT. WE'RE
COMMITTED. BUT ALSO LIKE TO SAY
IF WE LOSE THESE CREDITS. IF THE
INDUSTRY STARTS LEAVING, THERE
WILL BE NO INDUSTRY TO HELP
DIVERSIFY. SO LET'S ALL REMEMBER
THAT, BUT WE'RE GOING TO DO THE
WORK AND READY TO PARTNER WITH
WHOEVER WANTS TO PARTNER. THANK
YOU. THANK YOU. GOOD EVENING
CHAIRWOMAN PAT JOYCE ON BEHALF
OF NBC. UNIVERSAL REALLY
APPRECIATE THE ROBUST
CONVERSATION TODAY. UM FIRST
OFF, ONE OF VOICE SUPPORT FOR
EXTENDING THE PRODUCTION TAX
CREDIT. RETAINING PRODUCTIONS
AND JOBS IN CALIFORNIA IS A HUGE
PRIORITY. UM ALSO WANT TO VOICE
SUPPORT FOR THE GOVERNOR'S
PROPOSAL THAT INCLUDES
MODIFICATIONS TO THE SOUNDSTAGE
PROGRAM MODIFICATIONS. WE THINK
WE'LL IMPROVE THE OVERALL SOUND
STAGE PROGRAM. AND I HEAR YOU
LOUD AND CLEAR ON THE DIVERSITY
COMPONENT. YEAH, I THINK I THINK
WE CAN FIND SOME PLACE TO LAND
AND LOOK FORWARD TO WORKING WITH
WITH THIS COMMITTEE AND STUDIOS
AND THE UNIONS AND EVERYONE TO
FIND A SOLUTION. THANK YOU.
THANK YOU. I DIDN'T REALIZE IT
WAS GOOD EVENING ALREADY, BUT
THANK YOU, MADAM CHAIR TRENT
SMITH, ON BEHALF OF THE WALT
DISNEY COMPANY WANTED TO
ASSOCIATE OURSELVES WITH THE
COMMENTS MADE BY MPAA IN SUPPORT
OF THE GOVERNOR'S PROPOSAL.
THANK YOU. THANK YOU. THANK YOU,
MADAM. CHAIR RUI LAREDO ON
BEHALF OF WARNER BROTHERS.
DISCOVERY JUST WANTED TO SHOW
OUR SUPPORT FOR THE PRODUCTION
TAX CREDIT WITH REFUND ABILITY.
THANK YOU. THANK YOU. THANK YOU,
MADAM CHAIR. MY NAME IS TOBY,
BASED ON THE BUSINESS AGENT OF
LOCAL 44. I REPRESENT NEARLY
7000 DIVERS, CRAFT MEMBERS AND A
GROWING DIVERSE MEMBERSHIP. ALSO
LIKE TO POINT OUT THAT HOLLYWOOD
CPR WAS FOUNDED BY A LOCAL 44
MEMBER IS FULLY SUPPORTED BY
LOCAL 44, CURRENTLY WITH THE
BUSINESS REP DEDICATED TO THAT
INSTITUTION. WE HAVE BEEN
WORKING ON DIVERSITY FOR A LONG
TIME. AND AS I MENTIONED
YESTERDAY, I AM SEEING THE
CHANGE. I HAVE SWORN IN OVER 600
MEMBERS. I'M SAYING IT'S
STARTING TO REFLECT. LOS ANGELES
AND I'M PROUD TO SAY THAT WE'RE
IN FULL SUPPORT OF THIS TEXT. I
HOPE TO SEEK YOUR SUPPORT AS
WELL. THANK YOU. THANK YOU. HI
CHAIRWOMAN. HOW ARE YOU? UM
DAFFY TEAMSTERS, LOCAL 3 99 AND
FULL SUPPORT OF THE TAX CREDITS
THE FILM TAX CREDITS AND I HAVE
TO SAY THAT ALONG WITH MY
COLLEAGUES HERE FROM ALL THE
UNIONS AND GUILDS, YOU KNOW WE
ARE WORKING, EVEN THOUGH THERE'S
BEEN A LOT OF CONVERSATION ABOUT
THAT WE AREN'T OR THAT THERE
ISN'T ENOUGH TO SHOW FOR IT.
WE'VE BEEN WORKING EXTREMELY
HARD TO GET THERE, AND I KNOW
THAT WE ALL CONTINUE TO WORK
VERY HARD. AND SO THESE JOBS AND
THESE IN CALIFORNIA EXTREMELY
IMPORTANT TO ALL OF US, AND SO I
WOULD ASK THAT TO BE REALLY
CONSIDERED AS WE MOVE FORWARD.
THANK YOU. GOOD AFTERNOON,
REBECCA RYAN DIRECTORS GUILD OF
AMERICA, AND WE STAND IN SUPPORT
OF THE EXTENSION OF THE TAX
CREDIT. WE HAVE A VERY ROBUST
DIVERSITY PROGRAM THAT INCLUDES
SHADOWING THAT INCLUDES
NEGOTIATED PROVISIONS AND
REGULAR MEETINGS WITH. THE
STUDIOS AND THE EMPLOYERS TO TRY
AND ACTUALLY QUANTIFY THE
PROGRESS THAT'S BEING MADE. SO
WE STAND FOR DIVERSE INDUSTRY.
WE ALSO STAND FOR A SAFE
INDUSTRY, AND WE HOPE THAT THOSE
THREE CALIFORNIA VALUES ARE
APPLIED AS WE MOVE FORWARD WITH
THIS, UM, EXTENSION OF THE TAX
INCENTIVE. THANK YOU. THANK YOU.
HELLO MY NAME IS CHUCK PARKER.
I'M THE NATIONAL EXECUTIVE
DIRECTOR OF THE ART DIRECTORS
GUILD LOCAL 800 IN LOS ANGELES.
I WANT YOU TO KNOW THAT SINCE
2016 OUR RATE OF DIVERSITY OF
ALL NEW MEMBERS IN OUR LOCAL IS
IN THE 40% RANGE. WE ARE
COMMITTED TO THAT AND WE HAVE
BEEN IMPLEMENTING THE AGREEMENT
THAT WE AGREED TO IN THE 2021
BASIC AGREEMENT, AND THEY'RE
BRIGHT AND OVER TWO DOZEN PEOPLE
AND THAT'S WITHOUT A FIRM. PLAN
YET. SO UM, I WANT TO REITERATE
WHAT MY BROTHER DIJON ELLIS SAID
. WE WILL NEED THE INCENTIVE TO
CONTINUE FOR US TO CONTINUE THIS
WORK THAT WE'RE COMMITTED TO. SO
THANK YOU VERY MUCH. THANK YOU.
IF THERE ARE NO OTHER COMMENTS
IN THE COMMITTEE ROOM, WE WILL
GO TO THE PUBLIC PHONE LINE. DO
WE HAVE ANY CALLS? OPERATOR?
THANK YOU FOR YOUR SUPPORTER
OPPOSITION. YOU MAY PRESS ONE
AND THEN ZERO. AGAIN THAT IS ONE
IN THE ZERO FOR SUPPORTER
OPPOSITION. WE DO HAVE 11
MOMENT.
ARE THEY ON MUTE? THEY'RE COMING
FROM MOMENT. WE'RE JUST GIVING
THEM A LINE NUMBER AND THAT'S
GOING TO BE LINE 1 15. YOUR LINE
IS OPEN. HI. THANK YOU. MY NAME
IS SAM WILKINSON AND WITH GRACE
AND IN CHILD POVERTY. CALIFORNIA
UM, I'D LIKE TO THANK YOU ALL
FOR HOLDING THIS HEARING AND
STRESS OUR APPRECIATION FOR THE
LEGACY AND IMPORTANCE OF THE
FILM INDUSTRY IN CALIFORNIA. WE
URGE THE LEGISLATURE TO RESERVE
NEW REFUNDABLE TAX CREDITS FOR
PROGRAMS THAT HAVE CONSISTENTLY
BEEN PROVEN TO REDUCE POVERTY
AND PROVIDE FINANCIAL SECURITY
TO OUR LOWEST INCOME
CALIFORNIANS. BUT WE CAN MAKE
THE MOST EFFECTIVE USE OF THE
STATE'S FUNDS. EVERY CALIFORNIA
SHOULD BE ABLE TO AFFORD FOOD,
HOUSING, HEALTH CARE AND THE
BASIC NECESSITIES OF LIFE UNTIL
THE STATE CAN MEET THE STANDARDS
, LEGISLATURES SHOULD DIRECT ITS
LIMITED FUNDS TO FAMILIES AND
INDIVIDUALS WHO NEED IT MOST.
OUR STATE'S BUDGET IS A
STATEMENT OF OUR VALUES AND LAYS
OUT OUR VISION FOR CALIFORNIA
TEACHER WE WOULD LOVE TO WORK
WITH YOU ALL TO REALIZE THE
FUTURE. WE'RE CALIFORNIANS ARE
FREE FROM POVERTY. THANK YOU.
THANK YOU ANY OTHER CALLERS? WE
DO HAVE ONE MORE. AND THAT COMES
FROM LINE 85. YOUR LINE IS OPEN.
HI GOOD AFTERNOON. MY NAME IS
JUSTIN ADAMS I'M SENIOR
ECONOMIST WITH THE LOS ANGELES
COUNTY ECONOMIC DEVELOPMENT
CORPORATION. UM L E. D C
STRONGLY SUPPORTS THE GOVERNOR'S
PROPOSAL TO EXTEND THE FILM AND
TELEVISION TAX CREDIT. AND AS
WELL AS THE PROVISIONS TO MAKE
THE CREDITS REFUNDABLE AND ADD
THE DIVERSITY REQUIREMENTS. UM
WE THINK THAT THE PROVISIONS ARE
REALLY ALIGNED WITH OUR MISSION
TO REINVENT OUR ECONOMY TO
COLLABORATIVELY ADVANCED GROWTH
AND PROSPERITY FOR ALL YOU KNOW,
WE'VE WE'VE BEEN CONCERNED ABOUT
RUNAWAY PRODUCTION. UM SINCE WE
RELEASED OUR FIRST REPORT ON THE
SUBJECT BACK IN 2005. AND WE
KNOW THAT FILM PRODUCTION IS
HIGHLY MOBILE AND INCREASINGLY
DRIVEN BY COST, SO WE APPRECIATE
THE PROGRAM'S ABILITY TO HELP
CALIFORNIA LEVEL THE PLAYING
FIELD WHEN IT COMES TO THE
EFFORTS OF OTHER STATES AND
NATIONS TO LOWER AWAY OUR
PRODUCTION. UM SO THANK YOU VERY
MUCH FOR THE HEARING AND THANK
YOU VERY MUCH FOR YOUR TIME.
THANK YOU ANY OTHER COLORS? I
HAVE NO FURTHER CAR COLORS AND
QUÊ. THANK YOU. OPERATOR. WE ARE
GONNA CLOSE UP THIS MEETING, BUT
I WOULD LIKE TO AGAIN JUST SAY
THANK YOU TO ALL THE
PARTICIPANTS. EVERYONE WHO
STAYED ALL THE MEMBERS WHO
ATTENDED AND ARE WATCHING. I
THINK WHEN WE THINK ABOUT
OPPORTUNITY EQUITY OPPORTUNITY
ACROSS THE STATE OF CALIFORNIA.
THE JOBS THAT ARE PROVIDED
THROUGH THIS INDUSTRY ARE
INCREDIBLE JOBS THAT ACTUALLY
LIFT PEOPLE OUT OF POVERTY, AND
SO AND IN SAYING THAT IN THAT
SENTIMENT AS WE THINK ABOUT OUR
BUDGET VALUES AND WHAT WE DO,
MOVING FORWARD WE DO STILL NEED
DATA. WE STILL NEED INFORMATION
. WE STILL NEED PARTNERSHIPS,
AND WE STILL NEED TO FIGURE OUT
A WAY IN WHICH THIS INCREDIBLE
INDUSTRY THAT PROVIDES
INCREDIBLE OPPORTUNITIES TO OUR
WORKFORCE IS REFLECTIVE OF THE
PEOPLE OF THIS STATE THAT WE ARE
PROVIDING EQUITY ACROSS THE
BOARD. AND THAT WE ARE CREATING
PROGRAMMING AND. ENTERTAINMENT
THAT IS REFLECTIVE OF THE
STORIES OF THE PEOPLE HERE, AND
I THINK WE ALL WANT TO SEE THAT
AND HOW WE GET THERE IS THE
QUESTION AT HAND. UM WE WANT TO
SEE THIS THIS PROGRAM BE
SUCCESSFUL AND GROW. WE WANT
THOUGHT PARTNERS WITH THE FILM
COMMISSION AS WELL AS THE M P A
AND R LABOR PARTNERS TO ENSURE
THAT THERE IS A PATHWAY FOR A
WORKFORCE. WE CAN'T SAY WE WANT
TO INCREASE AND HAVE MORE
OPPORTUNITY AND MORE PRODUCTION
AND YET NOT HAVE THE WORKFORCE
THAT IS REFLECTIVE OF THAT. SO
HOW WE GET THERE? I THINK IT IS
A QUESTION THAT IS ON OUR MIND.
AND I'M WALKING AWAY FROM THIS
INFORMATIONAL HEARING, ACTUALLY
FEELING INSPIRED OF WHAT IS
POSSIBLE. IN PARTNERSHIP WITH
ALL OF YOU IN AN EFFORT TO
CREATE EQUITY ACROSS THE BOARD
TO CREATE OPPORTUNITY, AND, MOST
IMPORTANTLY, ALLOW FOR THOSE
OPPORTUNITIES TO BE ABLE TO GO
INTO MARGINALIZED COMMUNITIES
THAT HAVE OFTEN NOT BEEN A PART
OF THIS INDUSTRY. AND HOW WE GET
THERE, I THINK IS EXCITING AND
SOMETHING THAT WE GET TO WORK ON
ON THE LONG TERM. SO AGAIN.
THANK YOU ALL FOR YOUR
PARTICIPATION. THANK YOU FOR
YOUR PATIENCE. AND THANK YOU TO
ALL THE MEMBERS THAT WERE PART
OF OUR INFORMATIONAL HEARING
TODAY. THIS HEARING IS
ADJOURNED. THANK YOU.