An influential lobbying group focused on film and television production in California is calling on Los Angeles not to renew its contract with FilmLA until “real reform” is implemented.
On Wednesday the group CA United — led by SirReel Studios CEO West Bailey and Mavenverse founder Pamala Buzick Kim — issued a statement ahead of a hearing on Friday where the Board of Public Works will consider an extension of the local film office’s contract.
“There is a wide consensus among producers — both locally and nationally — that LA’s permitting process is cumbersome, costly, and complex,” Bailey said in a statement. “The City Council and Mayor’s Office are already advancing meaningful reforms. At this critical moment, we believe FilmLA is uniquely positioned to join all of us in confronting the very issues that make filming in Los Angeles difficult. We would welcome their advocacy to reform the process and help bring production back to the city.”
While Bailey’s statement was made on the record, The Hollywood Reporter has heard similar concerns from other workers that are hoping L.A. can streamline its permitting process to keep production close to the industry’s historic base.
In an interview on Wednesday, FilmLA president Paul Audley argued that the group’s frustrations were misdirected, as his nonprofit is not part of the local government and does not set municipal policies but rather is tasked with helping filmmakers to navigate them. “We should be working together to make change instead of dividing those who are the natural partners to make change,” he said.
Tensions have bubbled up around L.A.’s film permitting process, which is widely considered expensive and onerous, as film and television jobs have fled California for more cost-effective jurisdictions.
In recent months L.A. City Councilmember Adrin Nazarian has been working with stakeholders to reform the film permitting process. In May L.A. Mayor Karen Bass additionally signed an executive order calling on city departments to brainstorm ways to cut down on red tape for film and television shoots.
As part of Nazarian’s inquiry, FilmLA has submitted 17 recommendations for reforms, said Audley. The organization additionally produces an annual report for the city that suggests other modifications. ”We’re a contractor, and our job is to help the industry navigate the things the city says need to happen, and to make change. And we’re doing that every day,” he argued.
But still, rank-and-file industry workers have recently called out FilmLA for allegedly not doing enough to solve L.A.’s dearth of production. Adding fuel to the fire was a recent Milken Institute report that focused on L.A. permit fees and FilmLA’s nonprofit structure. Film offices in competing locations like New York, London and Atlanta operate as part of the government, and therefore their costs are in part subsidized, the report argued.
In its statement, CA United proposed three conditions for the renewal of the nonprofit’s contract. CA United called for the city to extend the FilmLA contract for only six months, as it says the county has, to allow for “oversight, transparency and course correction.” It suggested implementing permitting tiers that would offer separate timelines for different kinds of productions and connecting contract renewal of FilmLA with “real outcomes,” like the number of permitted shoot days and jobs kept in the state.
According to Audley, FilmLA’s contract with the city does not broach the permitting roadblocks that are angering L.A. production advocates, but instead touches on performance issues relating to permit turnaround time, community notice and complaint resolution.
That hasn’t stopped advocates from singling out the office’s contract in their lobbying efforts. “We hope the City will apply pressure to every employee, department, and contractor that touches this critical industry,” Bailey stated, “because restoring these disappearing jobs will require every part of the system to adapt — and fast.”
