There are a slew of programs in the U.S. that offer production incentives in the form of tax credits, rebates and grants. Texas’ recently increased statewide film grant, along with its extensive infrastructure and programs, is designed to ensure Hollywood-in-Texas is a success for all involved.
The state’s latest legislative session approved a $200 million grant through the governor’s economic development fund to cover productions from September 2023 through August 2025.This robust improvement is a huge step in supporting in-state production.
Paul Jensen, executive director of the Texas Media Production Alliance, which advocates for production within the state, notes that the prior grant amount of $45 million wasn’t nearly enough to last the entirety of a two-year session. When it ran out, the state was essentially without a program. He’s optimistic that this significant increase will not only last the duration for which it’s intended, but will also show Hollywood that Texas means (film) business.
The state’s grant is facilitated by the Texas Moving Image Industry Incentive Program. Eligible productions can anticipate returns of up to 22.5% for qualified projects. There’s an additional one-time 2.5% available for productions that work in underserved and disadvantaged areas, hire crew from those areas or utilize in-state post-production services. Of note: productions do have to declare their intentions of incorporating any of these categories during the initial application process.
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Additionally, the state offers up-front sales tax exemptions, refunds on state occupancy tax for bookings more than 30 consecutive days and refunds on fuel tax for off-road usage.
“We all want this business to be here,” says Jensen, adding that the state legislature perceives the opportunities for Texans to tell Texas stories and doesn’t want to lose them to other states.
With that, it’s impossible to overlook the connection to Taylor Sheridan and his intention to deliver projects to Texas. Bringing the Sheridan machine to the state means there’s a lot to do to ensure there’s enough crew.
Jessica Hill, VP of marketing and film commissioner for Visit Fort Worth and the Fort Worth Film Commission, says they have made a concerted effort to be sure that with the increased production there will be trained crew available.
The commission banded with 101 Studios, the company behind “Yellowstone,” “Mayor of Kingstown” and others, to learn which crew crafts were the least-represented in the area. Then, they partnered with nearby Tarrant County College to address the urgency in training the necessary personnel.
TCC rolled out what Hill calls a “micro-credentialing program” to fast-track production needs with three certificate programs currently on the roster: a gaffer/grip certificate, a hair and makeup certificate and a light commercial construction certificate. The three programs take anywhere from 165-213 hours to complete, depending on which is chosen, and some of the work can be completed online for additional flexibility.
Some of the written curriculum was even completed by 101 Studios. Twenty local experts worked on the instructional videos, sharing their real-life experiences with students as part of the coursework.
Hill says the plan is to continue working with local productions to identify areas of need and further grow the certifications programs.
The film commission hasn’t stopped there with getting locals into the workforce. They host quarterly mixers in conjunction with other community organizations, sometimes with guest speaker panels designed to both educate and network. Hill says people have secured jobs thanks to these industry get-togethers as well.
“There’s just a lot of excitement around the industry proliferating,” says Hill.
Big states come with big opportunities, and the benefits of the Texas production economy weren’t lost on director Nate Strayer. The Michigan native, who had been living and working in Los Angeles, regrouped during COVID. After researching multiple cities, he fell in love with Austin, and, with investor backing, opened Stray Vista Studios just outside of the city. The studio is home to the largest LED volume, with full LED ceiling, in the entire state. It’s comparable to what productions have available in Los Angeles. The studio even has the ability to resize and transport the volume as needed by productions, so they can fulfill a multitude of needs.
With just about a year and a half of operation under its belt, Stray Vista Studios remains booked with commercials, films and even an upcoming television show out of Los Angeles, which Strayer cannot name due to an NDA. There’s an additional operating soundstage available on site as well.
“We are industry leaders in this way of filmmaking and making sure it looks good,” notes Strayer, adding, “We think Texas is the place to be.”
Brian Gannon, director of the Austin Film Commission, says there’s a lot to be gained from shooting in a place that loves film as much as the people of Austin do. There are more than 30 film festivals, from the better-known South by Southwest to not as big, but no less important festivals that focus on Latin or Southeast Asian filmmakers, for example.
“There’s so many great niches,” Gannon says.
Sheridan’s shows aren’t the only game in town. Texas productions have included everything from “Apollo 10 1/2” to “Alita: Battle Angel,” from “Fear the Walking Dead” to “Walker” and “80 for Brady.”
Gannon points out that Texas can be Anywhere, USA, what with its rivers, lakes, Americana farmland and small towns that can exist within any era. It becomes easy for productions to come in and set up shop.
Supporting productions at any stage and within any place within the state is vital to the production industry’s success there.
There are also vendors galore. “We don’t have to ship in any kind of equipment,” Gannon explains. “We’ve got grip, electric, camera, even down to Film Fleet, who supplies all the kinds of trucks and trailers you would need. They’re one of the largest suppliers in the Southwest and based right here in Austin.”
And, of course, running all of that equipment is the crew.
Jensen notes: “We have a really strong crew base that wants to work hard and get the job done. And, while we’re enjoying the success of an enhanced incentive program that’s fully funded, we’re starting to see some real changes in infrastructure to accommodate big productions” outside of the major cities.
Also beneficial to productions — and crew— is how the state itself operates. “We don’t pay a state income tax,” says Jensen, “and that attracts a lot of people who are interested in building a family and having a career.”
He also notes that the state has fewer regulations and more enticements to do business than many other places.
