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“It’s important to understand that technology always augments humans, and the story of Hollywood has been marred by moments like this before,” Cristóbal Valenzuela, CEO of AI video company Runway, said at the Yahoo Finance Invest conference on Tuesday.

Runway, which develops generative AI tools focused on film and image, is valued at a reported $1.5 billion. It has the backing of big-name investors, including Alphabet’s Google, Nvidia and Salesforce Ventures.

In June, the company raised $141 million in a Series C round. Its technology is built for creatives, including advertisers, photographers, and – of course – filmmakers.

History suggests that advancements in technology won’t ultimately put humans in Tinseltown out of work, said Valenzuela. He points to the evolution of movie music as a key example. In the silent film era, orchestras played in movie theaters. When movies with sound emerged, famously called “talkies,” those orchestras went out of fashion — but an entire industry surrounding movie music and soundtracks began to build.

“It’s not about replacing the industry, but about augmenting processes and changing them,” said Valenzuela. “So, I think the key factor now, and how I spend most of my time these days specifically in Hollywood, is helping transition into that.”

Much of the fear — and excitement — surrounding AI links back to how fast the technology is advancing, as popularity of ChatGPT has spurred a boom in generative AI in the past year. The rapid rate of development has been especially true in AI-generated video. If you were to compare it to the early days of photography, Runway’s AI models “were in the 1900s just two years ago, and now we’re entering the 1980s of the camera revolution,” said Valenzuela.

Unease surrounding AI goes beyond Hollywood. As the US heads into an election year, AI-powered video is widely considered to be a growing and alarming misinformation risk.

Valenzeula said that the technology to do this, CGI, has been in place for years. His view is that AI leaders should ensure the output of their AI models is used appropriately, while bad actors or videos should be restricted. However, fears about fake videos should not result in constraints on technological advancements, he added.

Ultimately, the concerns and possibilities around AI video — and AI overall — seem to be in flux because we’re fundamentally still in very early days. That especially applies to Runway’s AI models and the company overall, said Valenzuela.

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Good news for the Illinois production community – from 2021 to 2022, the state saw increases in U.S. Scripted Television series distributed, U.S. Scripted Streaming Television series distributed, and remained even in U.S. Scripted Cable Television series distributed.

FilmLA Research unveiled a groundbreaking report that analyzes U.S.-produced, first-run, English-language scripted projects distributed in the years 2021 and 2022. This report represents an evolution in FilmLA’s tracking methodology and aims to shed light on the locations used for the creation of U.S. scripted content, providing valuable insights into the ever-evolving industry.

“The change our industry has undergone over the past few years is profound,” noted FilmLA President Paul Audley. “Here, in a moment where many predict a reduction in industry output, this study establishes a baseline for us to understand the challenges ahead.”

In previous years, FilmLA issued separate reports on the film and television sectors. This new Scripted Content Study combines an analysis of various categories, including television series (streaming, cable, and broadcast), original made-for-cable movies, first-run feature films in theatrical release, and original feature films made for streaming services. The report covers around 1,000 projects that meet these criteria and are distributed each calendar year.

The report’s findings indicate that Greater Los Angeles remained the top filming location for U.S. scripted content, based on the sheer number of hosted productions. However, it also highlights that the region’s total production capture showed minimal growth (<1 percent) between 2021 and 2022. This is in contrast to the observed four (4) percent growth in total industry output and significant growth in competing jurisdictions.

UK and Georgia posted year-over-year increases ranging from 50 to 200+ percent, with the exception of theatrical release movies, achieving high rates of production capture across multiple production categories.

Illinois Scripted Television Distribution

In 2022, Illinois saw 14 series produced. This was up from 10 series in 2021, representing an increase of 40%. In the overall production chart below, Illinois is ranked number 7.

Illinois Sees Second-Largest Increase in Streaming Production

Illinois streaming saw a whopping 250% increase when it came to streaming series from 2021 to 2022. The state was up from two series to seven. Overall, the state ranked eighth.

Cable Production Remains Even

From 2021 to 2022 there was no change in the amount of U.S. Scripted Cable Production. Two were produced in 2021 and two in 2022. Overall, Illinois ranked eighth, sandwiched between Italy and Massachusetts.

Illinois Broadcast TV Production Down

From 2021 to 2022, the state saw a drop of 17% in U.S. Scripted Broadcast Production as the amount of series dropped from six to five. But Illinois was not alone as Los Angeles saw a .05% drop and even popular British Columbia fell by 14%.

Lack of Major Film Production

The not-so-great news for Illinois Production is the lack of major studio film production in the state. While there are a number of independent films being produced, Illinois is missing out on significant dollars when it comes to major films and effects-driven TV.

A review of the top 10 filming jurisdictions during the study period shows that Los Angeles and New York were the number one and two production centers for theatrical features. However, the number, of features filmed in these two centers declined by -18 and -29 percent, respectively. By comparison, the number rose by 21 percent in the UK and by 17 percent in California outside the Greater Los Angeles region.

When it came to movies made for streaming, Illinois did show up on the chart, but also experienced a 63% drop in production. Streaming film production saw eight films produced in 2021 vs. three in 2022.

At the time of this report’s release, the film and television industry is in a state of substantial change. The era of “Peak TV” is winding down, and challenging labor negotiations and concurrent industry strikes have deeply impacted the 2023 production pipeline.

The impact of overlapping strikes by members of the Writers Guild of America (WGA) and Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) is significant. Currently, pending resolution of these labor agreements, all episodic television and studio feature films are shut down in Los Angeles, with the exception of some independent feature films and television series that are being made outside the studio system.

The full impact of the strikes will not be known until next year. Moving forward, we will have to ascertain the competitive position of the film and television industry in Illinois vis-à-vis its competitors.

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Stages

 

 

Cinespace

For stage facilities in Illinois, there has only been one major player in the area and that’s Cinespace. Located minutes from downtown Chicago, Cinespace features 36 stages with production office and support spaces across two huge campuses.

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The Fields

Opening in February, 2024 The Fields Studios looks like a beautiful space that includes nine purpose-built soundstages on two lots totaling 132,000 square feet of stage space. They will have over 350,000 square feet of creative and production offices, plus mill and support space, on over 20 acres in Chicago’s Northwest Side. The studio campus will have approximately 150,000 square feet of support and mill space for surface-level base camp areas for production vehicles and support space for production departments, dressing rooms and surrounding land for future back lot construction.

 

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Illinois Tax Incentive

Incentive	30%-45% Transferable Tax Credit
Labor
Resident ATL	30%
Resident BTL	30%
Non-Resident ATL	30% (limited to certain positions)
Non-Resident BTL	30% (limited to certain positions)
Labor Uplifts	15% on salaries of individuals who live in economically disadvantaged areas whose unemployment rate is at least 150% of the State’s annual average.
Qualified Spend
Spend	30%
	Qualified expenditures include tangible, personal property and services purchased from Illinois vendors, and compensation paid to Illinois resident employees.Click here for a list of qualified expenditures.
Minimum/Caps
Minimum Spend	$100K ($50K for 30 minutes or less)
Project Cap	None
Compensation Cap	$500K
Annual Cap	None
Application
	Production must complete and submit the Illinois Film Tax Credit Application at least 5 days before principal photography begins in Illinois. Commercial Advertising Applications must be submitted at least 24 hours prior to start of filming in Illinois.
Additional Requirements
Screen Credit	Yes
CPA Audit	Yes
Loan-Out Registration	No
Income Tax Withholding	Individual: Not RequiredLoan-out: Not Required
Sunset Date	December 31, 2032
Carry Forward	5 Years
Additional Information	Reality TV is approved on a case-by-case basis.Application must include the diversity plan – specific goals for hiring minorities and women

 

TV shows filming in Illinois

 

• • The Bear

• • The Chi

• • Chicago Fire

• • Chicago Med

• • Chicago PD

• • Dark Matter

• • Deli Boys

• • The Killer

• • Justified: City Primeval

• • Power Book IV: Force

• • Saturdays

• • Southside

• • Somebody Somewhere
•  

Movies filming in Illinois

 

• • 99 Problems

• • Heist 88

• • Ironheart

• • Perpetrator

• • Running

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Philippines currently offers a 20% incentive through its Film Location Incentive Program (FLIP), which is now being augmented with the 5% cultural bonus capped at $540,000 (PHP30M). Eligible formats for FLIP include features, animated and documentary films, TV and streaming series and virtual reality content.

FCDP has also combined its International Co-production Fund (ICOF) and Asean Co-production Fund (ACOF) into a single ICOF fund that has three separate funding caps for different formats. 

Feature films will be awarded $54,000-$180,000 (PHP3M-PHP10M) under ICOF; documentary funding will be capped at $18,000-$90,000 (PHP1M-PHP5M) and TV/VOD series will be awarded $72,000-$180,000 (PHP4M-PHP10M) per season.

ICOF will also offer a series of bonuses – including an additional $18,000 (PHP1M) for selected ASEAN projects; a $35,000 (PHP2M) cultural bonus for feature films and series; and a $18,000 (PHP1M) cultural bonus for documentary. 

The changes were announced today at an event at Busan’s Asian Contents & Film Market (ACFM). FDCP’s Joierie Ann Pacumio, executive director of Film Philppines, also explained that the council will have two funding cycles per year, with the current one closing in October and an announcement expected in December. 

FDCP has brought a delegation of producers, filmmakers and distributors to Busan, where the festival is screening Brilliante Mendoza’s Moro in the Jiseok competition and Lav Diaz’ Essential Truths Of The Lake in the Icons section. 

Article originated in: Deadline

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Irish Film and TV productions are now able to claim the country’s 32% tax break on eligible expenditure up to €125m, raised from €70m.

Screen Ireland, the national agency for the Irish screen industry, welcomed the increase and set out plans to support new initiatives and facilitate production across the country.  The plans include the launch of a new Creative Clusters Programme for 2024 targeting emerging screen talent and communities across the country, with a pilot scheme proposed for County Cork.

“In a landscape where global film and TV production budgets have reached an all-time high, the increase in the eligible expenditure cap will allow Ireland to attract a wider range of high-quality, larger scale production,” said  Susan Bergin, Chair of the Board of Fís Éireann/Screen Ireland.

“It will also create opportunities in the growing area of VFX and post-production, whilst maintaining our well-regarded global reputation. This in turn will allow Ireland to build a depth of production crew, creating jobs and skills development opportunities throughout the creative screen industry, as well as driving increased cultural and economic opportunities for screen tourism.”

Screen Ireland has said 47% of the local Irish feature film and TV drama in its 2023 slate was produced or filmed on location in regional areas, including Donegal (Obituary Season 1), Limerick (Double Blind), Clare (Smother Season 3), Galway and Mayo (That They May Face the Rising Sun). Other productions shot in Ireland include Ridley Scott’s The Last Duel, Apple TV’s Bad Sisters, and Martin McDonagh’s The Banshees of Inisherin.

“Our ambition for the future growth of the industry is to ensure local and international film, television, animation, documentary, and VFX is produced in counties throughout Ireland, bringing the cultural and economic benefits of the industry to the entire country,” Désirée Finnegan, Chief Executive, Fís Éireann/Screen Ireland, added.

“The national development of the industry, beyond the existing production hubs, is a critical priority for Screen Ireland to ensure the sustainability of the industry into the future.”

Sound Stages In Ireland

Troy Studios

4 sound stages totaling 100,000 sq. ft. & an overall footprint of 350,000 sq. ft. under one roof with a 5 acre backlot.

Troy Studios is Ireland’s largest and newest production facility. Established in 2017, the facility is situated in the culturally-rich city of Limerick, within an hour’s drive to lush settings—the Atlantic coastline, mountains, forests, waterfalls, lakes and picturesque villages—while the city itself provides easy access to Georgian streets, medieval castles, modern architecture, sports stadiums and riverfront views over the longest river in Ireland.

Recent productions filmed at Troy Studios include Apple TV’s Foundation and Netflix’s Nightflyers.

Ashford Studios

4 Stages – More than 60,000 sq feet outside of Dublin

The Studios are set in Irelands beautiful ‘Garden of Ireland’, Wicklow County. Located just 40 minutes from Dublin.

Ardmore Studios

Ardmore Studios has 5 sound stages totaling more than 40,000 square feet with 2 large backlots.

Established in 1958, Ardmore Studios is Ireland’s most historic film and television studio—and one of its most prolific. It’s storied past includes its time as The National Film Studios of Ireland and later as MTM-Ardmore Studios, when purchased by a consortium led by legendary actress and producer Mary Tyler Moore. National and international productions have included such iconic films as Braveheart, My Left Foot, King Arthur and recent television hits, Camelot, The Tudors, Penny Dreadful and The Green Night.

The media campus is situated 12 miles south of Dublin, on 18 acres, in seaside town of Bray, in the County of Wicklow—touted as “The Garden of Ireland” for its dramatic beauty—and offers seven international-standard sound stages, including Ireland’s only under-water filming facility, full production and post-production facilities on site, as well as two backlots.

Article originated in: Deadline

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Along with breaking the news about the full reset of their “Daredevil: Born Again” series this morning, the trade reports that the company is now moving to make TV shows in a more traditional way.

Until now the studio has adopted the same approach it had to films – namely heavily relying on post-production and reshoots to fix what it perceives as not working.

In addition, their TV series didn’t hire show-runners. Rather film executives ran the series, and reportedly blocked writers from creative oversight during post-production.

The shows also eschewed the traditional TV-making model – no pilots, rather series with $150 million+ budgets shot on the fly and often lacking a core vision which has led to creative differences and tension on set.

Brad Winderbaum, Marvel’s head of streaming, television and animation, says things are going to change:

“We’re trying to marry the Marvel culture with the traditional television culture. It comes down to, ‘How can we tell stories in television that honor what’s so great about the source material?’”

The outlet indicates part of the problem is Marvel bringing in outside executives on their staff in recent years after previously internally promoting creatives that had been “trained in the Marvel method”.

The change was said to be most severely felt on “Secret Invasion” which saw its head writer Kyle Bradstreet (“Mr. Robot”) fired after a year’s work on the scripts. “Broken City” writer Brian Tucker, and directors Thomas Bezucha and Ali Selim were then brought in.

Their sources indicate production was debilitated by factions creatively fighting during the show’s pre-production phase in London in Summer 2022, saying it included “weeks of people not getting along”.

Both “Moon Knight” and “She-Hulk: Attorney at Law” saw their creators quit and be sidelined respectively, though on the latter head writer Jessica Gao returned to oversee post-production.

Plans going forward now are for shows to have proper show-runners who will write pilots & show bibles. They also plan to bring full-time TV executives on board as opposed to bringing in people from their film executive ranks.

One thing we can expect is reportedly a shift away from the limited series-only formula and an increase in multi-season serialized TV – meaning “Loki” won’t be the only multi-season Marvel series.

The shows will also reportedly put more focus on character work and relationships rather than feeling like part of a larger puzzle that sets up the next film or crossover TV event.

Article originated in: THR

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Lawmakers are considering paring back the 20–30% tax credit, implemented in 2008, because they are worried the state is losing out on hundreds of billions of dollars in revenue. However, consultants and industry leaders warned them that, without the credit, the explosive growth in film and TV productions could easily be reversed.

A report commissioned by the state from London-based consultants Olsberg SPI found that film and TV grew from a $900 million to a $4.3 billion industry in Georgia between 2012–2022. It employs almost 60,000 Georgians at an average salary of $86,000 a year, well over the state average. In addition, investors spent $1.3 billion building studios. Consultants calculated that the return on investment, as far as economic development goes, is $6.30 for each dollar of tax credit.

“I can tell you very emphatically, those dollars would not have been invested… without the tax credit,” Frank Patterson, president of Trilith Studios in Fayetteville, told the Joint Tax Credit Review Panel during a hearing at Athens Tech Oct. 4. “It’s the confidence investors need that comes with the tax credit, and really the reputation Georgia has for being a very good business environment.”

Olsberg SPI’s numbers might even be low, Patterson said. Trilith isn’t just 32 studios—it’s an entire town with 1,100 residents and 65 businesses. 

A survey of producers found that 92% of producers would not have shot their production in Georgia without the tax credit. “This is really a very important finding,” Olsberg SPI economist Eleanor Jubb said. “We can be confident that most of the investment that happened in Georgia would not have happened without the tax credit.”

Some lawmakers questioned the study’s numbers and methodology, though. “No doubt it’s been a boon to Georgia getting jobs to come here. I just don’t know if I’m comfortable with a survey saying, ‘Would you come here or not?’” said Sen. Chuck Hofstetler (R-Rome), the panel’s co-chair. Others said the salary figures looked off, or that the study didn’t include return on investment in terms of tax revenue film and TV generate or a comparison to the ROI for other industries that receive tax incentives.

Tony West of the libertarian group Americans for Prosperity said legislators should trade tax incentives for across-the-board tax cuts. “Tax policies should not pick winners and losers,” he said.

A few conservative lawmakers have long questioned the film and TV tax credit on moral or cultural grounds, but this is the first time since its creation that the legislature is seriously considering scaling it back. During last spring’s session, Hustetler proposed a $900 million cap. 

Earlier this year, UGA economist Jeffrey Dorfman told the panel that tax credits make sense for growing industries, but film and TV is now a “mature industry,” so they make less sense and should be scaled back. However, Olsberg SPI managing director Leon Forde told the panel Wednesday that the industry is global, so productions can easily pick up and move to whichever place is offering incentives. “They [incentives] guide where these productions are sited around the world,” Forde said.

After the hearing at Athens Tech, panel members toured nearby Athena Studios, Athens’ first major studio that just opened earlier this year. 

Charles Davis, dean of UGA’s Grady College of Journalism and Mass Communications, did not explicitly endorse the tax credit, but spoke favorably about the college’s entertainment division and its partnership with Athena Studios and founder Joel Harber. “ Our goal is to [educate] Georgians for Georgia jobs, and it’s working,” Davis said. “… None of this would exist without the growth of the film industry in Georgia.”

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The expansion will increase the production capacity at the studios in the Leavesden area, on the outskirts of London, by more than 50%. The investment is expected to create 4,000 “direct and indirect” jobs across the United Kingdom, the company said Friday.

The site will become the main production hub for the DC Studios franchise once the expansion is completed in 2027, it said in a statement.

“Barbie” is Warner Bros.’ highest-grossing US release, a title previously held by the 2008 blockbuster “The Dark Knight.” The summer smash hit is also the biggest global release in the studio’s 100-year history, beating out 2011’s “Harry Potter and the Deathly Hallows: Part 2,” with a haul of more than $1.36 billion by early September. The box office comparisons don’t take inflation into account.

The “Harry Potter” series and the “House of the Dragon” television show were also shot at the Leavesden studios. “Harry Potter” fans can tour the studios, visiting sets used in the production.

News of the UK expansion comes as Warner Bros. Discovery (WBD) is grappling with prolonged strikes by actors and writers in the United States, which have stopped the production of most shows and movies and will cost the company up to $500 million this year, according to its estimates.

The walkouts have also paralyzed three other major Hollywood studios: Disney, Netflix and NBCUniversal. The striking writers and heads of the four studios concluded a “marathon session” of negotiations without reaching a deal Thursday evening, although more progress was made, a person familiar with the matter told CNN.

Last year, a record £6.27 billion ($7.67 billion) was spent in the United Kingdom on the production of movies and high-end television shows, the British Film Institute said in February.

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Sir Ridley Scott has revealed that Napoleon was shot in only 62 days when usually a film of this caliber would take double that.

When you have one of the best behind the camera, things tend to flow much better, and Ridley Scott is, without a doubt, one of the masters. Not only is he one of the best directors out there right now, but no one knows how to do cinematic battle scenes better than him, and that is from every angle. It’s not just that Scott knows how to make these scenes look good; he also knows how to plan meticulously as if he’s going to battle himself, leading to a smoother and faster production. One would think a film like Napoleon would have been a massive undertaking that would have taken over three months to shoot. Still, Scott revealed during the Deadline’s Contenders London event that usually, a film like this would have taken 110 days but they got it done in only 62.

“Normally, a film like this would be shot in around 110,” he revealed. “I discovered years ago that eight cameras are eight times faster. Every department has to be able to keep up with my speed. Actors don’t want to hear the story of life before each take. I discovered that early on. A well-known Welsh actor once told me, ‘I love what you do because you move so quickly.’ You’ve got to know the geometry of the scene. If you don’t, it’ll be 3 p.m. before your first shot gets rolling.”

That is insane considering the film’s scope that we have seen so far, but it also isn’t surprising. When you get a professional like Scott to make a film like Napoleon, you shouldn’t expect any drama behind the scenes. Still, to hear that Scott did in 62 days compared to what others would have needed 100+ days to do? Insanity, and you know this film will be directed flawlessly on top of it. Sometimes, people are so talented it’s annoying.

Filming In Malta

“The siege of Toulon was Napoleon’s first military victory where he really showed his potential as a future expert in the field,” says Aiden Elliott, Executive Producer on Napolean. “There was a very specific geography needed to achieve this and Ridley, being someone who likes to do things practically as much as possible as opposed to visual effects, remembered Valletta and the port there, which is a spectacular Napoleonic port.” 

When the production team began scouting locations for the film, they found that Malta was about to introduce an enhanced cash rebate, stipulating more attractive incentives that included a new hybrid above-the-line cap and opening up below-the-line expenditures to all international crews. 

“There was a beta version of it flying around, an unapproved white paper that was doing the works in the government and the idea was that we’d be the first film to actually take advantage of it, which we happily did,” says Elliott. “It just absolutely cemented our decision to go there because not only did we have this great location and backdrop, but we also had this incredibly, incredibly generous cash rebate.” 

He adds, “I would go almost as far to say it’s probably the most generous cash rebate in the world, and I don’t say that lightly.” 

What’s so attractive about this rebate, from an international perspective, is that it applies not only to local crew and local facilities, but it applies to all incoming crew and, even equipment coming in from the outside, “so long as it can’t be sourced locally in Malta,” says Elliott. 

“We took around 500 people to Malta and we were able to get the rebate on all of those people and that equipment,” he says.  

Napoleon (which is estimated to be a more than $100 million budget) shot 15 days of its 100-day shoot in Malta and was, says Elliott, an incredible experience. He was particularly impressed by the strength in its local construction departments. 

“We built the Toulon sets on the very same ground that Ridley had previously built the Colosseum for Gladiator and [Ridley said] there were a lot of the same faces in the construction this time around,” says Elliott.

“The quality and the finish of the sets were exemplary – as you know [production designer] Arthur Max is a very demanding designer with very high standards, and he was very happy with the finish.” 

Malta Film Studios

Meanwhile, Michael Malone, producer for Apple TV+’s sci-fi hit Foundation, used Malta’s extensive water tank facilities to create a water world in the Foundation universe. 

“The water tanks are exceptional,” says Malone, who is well-versed on water tank facilities after his work on Life of Pi. “We used all three for a science fiction scene where it’s like the drain of a big city.”

The three water tank facilities at Malta Film Studios include: the Shallow Tank, which is two meters deep and used for special effects sequences; the Insert Tank, a freshwater tank used for close-up underwater shots; and the Deep Tank, which is used for underwater set-builds. 

“The tanks in Malta are very versatile and you can put a ship either in the Big Tank or the Deep Tank,” says Malone. “They suited our production to a tee, and I just loved working there.” 

He adds, “I intend to come back to Malta for sure – you can get antiquities and modern Europe and Valletta offers so many different looks. I was really surprised at how accessible all the locations are and how great they look. The harbors are just amazing.” 

As ever with generous rebates being offered up, there has been some local pushback and Elliott notes that it’s inevitable that one would question the long-term affordability of this latest incentive. 

“Johann [Grech] and his team have obviously run these numbers and, like most of these rebates, they often do show to pay their own way as they have in the UK,” says Elliott. “I suppose there is always going to be a political component about how people feel about large amounts of money being spent on silly little movies but, so far, it’s proved very successful. Films are lining up to go there and, as long as that happens and it’s not just a flash in the pan, they’re going to build Malta into a very, very strong business.” 

He adds, “There’s a real genuine feeling that they want to try and make something lasting there and you don’t get that everywhere. So, it was quite refreshing, and I think that does make you want to go back if the movie is right for it.”

The Malta Cash Rebate

Productions which satisfy a cultural test can benefit from a rebate up to 40% of eligible expenditure. Qualifying productions are required to present a provisional application to the Malta Film Commission, including a detailed projection of the Malta budget for the production. The rebate is given once filming is complete and on receipt of the audit report and upon final review by the Commissioner, the cash rebate is forwarded to the qualifying production no later than five months from the date of receipt of the presented production expenditure in Malta. Feature film, Television film or Television Series or Mini-Series, Animation, Creative documentary, Transmedia and Cross-media productions are all eligible for the incentives, provided that they are all or partially produced in Malta. Qualifying expenditure incurred during production in Malta on EU services is eligible for a cash rebate, including the following items: EU below-the-line labour, accommodation, transportation equipment and hire, location fees, catering services, per diems, leasing of offices, computer equipment, props, property, animals, equipment, vehicles, and boats. Other qualifying expenditure includes wardrobe rentals, courtesy payments, telecommunications, craft service, laundry and cleaning services and professional services.

Learn more about the Malta Film Commission

The post Ridley Scott’s Upcoming “Napoleon”: A 62 Day Shoot Schedule, The Generous Malta Tax Incentive And Filming At Malta Studios appeared first on StageRunner.