DOCSLIB.ORG

Film Sector Fact Sheet (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Sector Fact Sheet (PDF) Coquitlam Film Sector ith its diverse and friendly neighbourhoods, natural splendor and close I have been working with the City proximity to downtown Vancouver, Coquitlam is “picture perfect” for W of Coquitlam for over 14 years and filmmakers. Easy accessibility, unique locations and plentiful parking make it a have always found the Film Office welcoming place for filming productions. As one of the largest cities in Metro to be friendly and professional. Vancouver, Coquitlam is always a top choice for popular TV series, features and They go above and beyond to help student-led productions. On average, 120 film and television productions are production in any way they can. shot each year in Coquitlam and nearly 1,700 people employed in the industry Tammie Barker, live within the city. Assistant Location Manager Film Office The Film Office has been Coquitlam provides a friendly, one-stop service to the film sector. In addition outstanding in balancing to processing all necessary applications and permits, the Film Liaison is a productions creative-goals with valuable and knowledgeable resource to find that perfect location for your wider community-interests. This focus has made Coquitlam a production. The City of Coquitlam sustains its competitive advantage in the favoured destination for film- film sector by aiding the growth and development of local production facilities makers. and other film-related businesses. Ken Brooker, Feature Film Productions Unique filming Locations Location Manager > Bad Times at the El Royale The spectacular natural beauty of > Deadpool 2 Coquitlam lends itself to unique and > Diary of a Wimpy Kid diverse filming locations: > War for the Planet of the Apes > City Centre > City of Coquitlam Facilities TV Series > Eagle Mountain Park > Batwoman > Fraser River Industrial Area > The Flash > Hoy Creek Tunnel > The Good Doctor > Maillardville Heritage Buildings > Legends of Tomorrow > (Riverview Lands) > Man in the High Castle > SIM North Bend Studio > Riverdale > Town Centre Park > Supergirl > Upper Coquitlam River Park City of Coquitlam Film Office 3000 Guildford Way, Coquitlam, BC, V3B 7N2 | 604-927-3548 | [email protected] | coquitlam.ca/film MAR 2021 Coquitlam Film Sector Cont’d. The British Columbia Advantage Coquitlam … one place with so many “Hollywood North,” British Columbia’s lower mainland is the third largest motion looks to choose from! production picture hub in North America accounting for over 40% of Canada’s Rico Mielnicki, Locations productions. With over 100 world-class stages, BC is capable of servicing up to Department, Homefront 50 productions simultaneously. This demonstrates BC’s resiliency and reflects Productions its reputation as an enticing, cost-effective and dependable production centre for creative content. The sector includes a wide range of direct and indirect What I like is the ease of the employment opportunities in pre- and post-production, costume design, set application process and the “bang for your buck. Vancouver gets design, construction, catering, transportation and special effects. overused a lot. British Columbia is proud of its international reputation and proven track record Russell Hamilton, Location Manager, of more than 40 years’ experience in serving both domestic and international Supernatural Films productions including feature films, TV pilots and series, TV movies and mini- series. BC is known for its outstanding infrastructure, spectacular and diverse The Film Office is prompt, and the process is simpler than some other locations that can replicate virtually any urban or rural setting in the world, jurisdictions. experienced and stable labour force, and competitive tax incentives that provide Rob Amar – Assistant Location exceptional value for the producer’s dollar. Manager, Zombie I Films Its mild climate makes BC suitable for year-round filming; and its strategic location on Canada’s west coast places it in the same time zone as studios in Coquitlam offers diverse, film- friendly sites often at more California making it easy to develop efficient relationships during business hours. affordable rates, within a reasonable range of the city. Incentives Kendrie Upton, DGC/BC Directors’ Guild Production companies benefit from tax credit programs for film, television and digital animation or visual effects. BC Digital Animation Or Visual British Columbia Production Effects (Dave) – provides a 16% tax Services Tax Credit – provides a 28% credit on labour costs to production refundable corporate tax credit on companies employing BC talent for eligible labour costs to production post-production and sound. Creative companies who produce film or video BC also provides a wide range of productions in BC. services to assist film production in Film Incentive BC Tax Credit – a BC including maintaining its World labour-based tax credit of 35% to Based on data from Creative of Looks digital library, preparing Canadian controlled production BC’s Impact Report for the customized web location packages, companies. fiscal year 2018-2019, BC scouting, surveys, community supported over 450-plus support and referral to pre- and post- Canadian Film Or Video Production BC-based producers and production resources. creativebc.com Tax Credit – provided by the businesses, generating over Government of Canada to production $3.2 billion in production companies with a permanent expenditures to the establishment in Canada. provincial economy and creating over 71,140 direct For links and other related resources, visit coquitlam.ca/film and indirect jobs. City of Coquitlam Film Office 3000 Guildford Way, Coquitlam, BC, V3B 7N2 | 604-927-3548 | [email protected] | coquitlam.ca/film MAR 2021.
Load more

Recommended publications
  • A Film Documentary About Carry on Sergeant Trenton's Heyday As
    Volume 23 Number 1 www.hastingshistory.ca Issue 321 January 2018 A Film Documentary About Carry On Sergeant Trenton’s Heyday as Hollywood North By Bill Kennedy This year celebrates the 100th anniversary of Hollywood North, a colloquialism for Trenton from the days when it was the movie-making capital of Canada. At the Historical Society’s November public event, the history of that glamorous period was brought back to life in a book and film presentation by Doug Knutson of Wind- swept Productions and author Peggy Dy- mond Leavey. Doug Knutson and Peggy Dymond Leavey show off the poster of When she set out to research her book The Hollywood North. Photo by Bill Kennedy Movie Years, Leavey decided that she would write it from the perspective of how the town’s movie-making industry affected local father, a World War I veteran himself and a noted citizens. Back then, American movie stars walking British cartoonist who had gained fame with his Trenton streets and attending local hockey games drawings of “Old Bill,” a curmudgeonly soldier of was not an extraordinary sight. Roles as extras were the trenches who helped boost the morale of British frequently available. During the making of the clas- and allied troops. The assistant director was pioneer- sic World War I silent film Carry On Sergeant, one ing Canadian filmmaker Gordon Sparling. In Knut- of the extras Leavey interviewed recalled seeing son’s documentary film about Carry On Sergeant, some of his own friends walking across the Trenton Sparling, who was in his nineties at the time, remi- bridge wearing German army uniforms.
    [Show full text]
  • Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets.
    [Show full text]
  • Canadian Films: What Are We to Make of Them?
    Canadian Films: What Are We to Make of Them? By Gerald Pratley Spring 1998 Issue of KINEMA This technically fine picture was shot in British Columbia, but care seems to have been taken toeradicate any sign of Canadian identity in the story’s setting, which is simply generic North American. Film critic Derek Elley in his review of Mina Shum’s Drive, She Said in Variety, Dec. 22, 1997. NO MATTER to what segment of society individuals may belong within the public at large most of those interested in the arts are contemplating what to make of Canadian cinema. Among indigent artists, out- of-work actors, struggling writers, publishers and bookshop proprietors, theatregoers and movie enthusiasts, the question being asked is, what do we expect from Canadian movies? The puzzle begins when audiences, after being subjected to a barrage of media publicity and a frenzy of flag waving, which would have us believe that Canadian movies and tv programmes are among the best in the world, discover they are mostly embarrassingly bad. Except that is, films made in Québec. Yet even here the decline into worthlessness over the past twoyears has become apparent. It is noticeable that, when the media in the provinces other than Québec talk about Canadian films, they are seldom thinking of those in French. This means that we are forced, whentalking about Canadian cinema, into a form of separation because Québec film making is so different from ”ours”, making it impossible to generalize over Canadian cinema as a whole. If we are to believe everything the media tells us then David Cronenberg, whose work is morbid, Atom Egoyan, whose dabblings leave much to be desired, Guy Maddin, who is lost in his own dreams, and Patricia Rozema, who seldom seems to know what she is doing, are among the world’s leading filmmakers.
    [Show full text]
  • The Animation Industry: Technological Changes, Production Challenges, and Global Shifts
    THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed.
    [Show full text]
  • Fame in Hollywood North
    Fame in Hollywood North A Theoretical Guide to Celebrity Cultures in Canada Samita Nandy, PhD The views and opinions expressed herein are those of the authors and do not necessarily reflect the positions of the publisher. © 2015 Samita Nandy, Ph.D. All rights reserved Front and back cover photographs and design: © 2015 WaterHill Publishing, Toronto ISBN: 978-0-9939938-3-1 Contents Acknowledgments ........................................................................................ v List of Acronyms ........................................................................................ vii List of Figures ............................................................................................ viii 1 Introduction ............................................................................................... 1 Defining Fame and Celebrities ................................................................. 3 Social Function of Celebrities in a Nation ............................................... 6 Structure of the Book ............................................................................. 10 2 Celebrity Cultures in Canada ................................................................... 16 National Identity in Canadian Media ..................................................... 17 Study and Meaning of Fame in Canada ................................................. 21 3 Technological Nationalism - The North in Canadian Popular Culture .. 31 Technological Nationalism ...................................................................
    [Show full text]
  • What's News Got to Do With
    % WHAT’S NEWS GOT TO DO WITH IT?: ^ ^7 EXAMINING THE CONTRIBUTION OF TORONTO’S PRESS IN MAINTAINING AN ENVIRONMENTALLY-DETRIMENTAL SOCIAL PARADIGM, 2003-2006 by Lisa Botticella B.ES., York University, Toronto, ON., 1999 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Applied Science in the Program of Environmental Applied Science and Management Toronto, Ontario, Canada, 2006 © Lisa Botticella 2006 PROPERTY OF R’ÆRSOW UNIVERSITY UBflARy’ UMI Number: EC53478 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC53478 Copyright2009 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration I hereby declare that I am the sole author of this thesis. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research.
    [Show full text]
  • The Canadianization of the American Media Landscape Eric Weeks
    Document generated on 09/26/2021 3:27 a.m. International Journal of Canadian Studies Revue internationale d’études canadiennes Where is There? The Canadianization of the American Media Landscape Eric Weeks Culture — Natures in Canada Article abstract Culture — natures au Canada An increasing number of American film and television productions are filmed Number 39-40, 2009 inCanada. This paper argues that while the Canadianization of the American medialandscape may make financial sense, the trend actually causes harm to URI: https://id.erudit.org/iderudit/040824ar the culturallandscape of both countries. This study examines reasons DOI: https://doi.org/10.7202/040824ar contributing to thetendency to move production to Canada and how recent events have impactedHollywood's northern migration. Further, "authentic" representations of place onthe big and small screens are explored, as are the See table of contents effects that economic runawayproductions—those films and television programs that relocate production due tolower costs found elsewhere—have on a national cultural identity and audiencereception, American and Canadian Publisher(s) alike. Conseil international d'études canadiennes ISSN 1180-3991 (print) 1923-5291 (digital) Explore this journal Cite this article Weeks, E. (2009). Where is There? The Canadianization of the American Media Landscape. International Journal of Canadian Studies / Revue internationale d’études canadiennes, (39-40), 83–107. https://doi.org/10.7202/040824ar Tous droits réservés © Conseil international d'études canadiennes, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • The B.C. Film Industry and Industrial Real Estate Shining a Spotlight: How the B.C
    The B.C. Film Industry and Industrial Real Estate Shining a spotlight: how the B.C. film industry is impacting the industrial real estate market in Metro Vancouver Northshore Studios, North Vancouver Accelerating success. The B.C. Film Industry and Industrial Real Estate Introduction The film and television industry is not often considered a typical industrial real estate user; however, it is an industry that now occupies a significant amount of such space in Metro Vancouver. This Spark Report will provide an overview of the British Columbia film and television industry, and outline this industry’s impact on the industrial real estate market in Metro Vancouver. Firstly, we will examine the ideal building specifications for film and television productions, followed by a discussion on the impact of the industry on the Metro Vancouver market. Secondly, we’ll provide a summary of the two primary types of users of industrial real estate from the film and television industry. Thirdlly, the industry’s production figures ($) over the past ten years are detailed. Lastly, factors impacting the film and television industry’s demand for industrial real estate in B.C. will be summarized, with three main factors outlined: (1) tax incentives, (2) the Canadian (CAD) to US Dollar (USD) exchange rate and (3) the “Netflix Effect”. This paper will conclude that the high degree of flexibility with respect to production location in combination with the typical short- term lease requirement (six months or less), may cause the overall demand for industrial space in the Metro Vancouver area from this segment to change quickly.
    [Show full text]
  • Hollywood and the MPAA's Influence on US Trade Relations
    Northwestern Journal of International Law & Business Volume 28 Issue 2 Winter Winter 2008 "The Littlet S ate Department": Hollywood and the MPAA's Influence on U.S. Trade Relations Kevin Lee Follow this and additional works at: http://scholarlycommons.law.northwestern.edu/njilb Part of the Entertainment and Sports Law Commons, Intellectual Property Commons, International Law Commons, and the International Trade Commons Recommended Citation Kevin Lee, "The Little tS ate Department": Hollywood and the MPAA's Influence on U.S. Trade Relations, 28 Nw. J. Int'l L. & Bus. 371 (2007-2008) This Comment is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of International Law & Business by an authorized administrator of Northwestern University School of Law Scholarly Commons. "The Little State Department": Hollywood and the MPAA's Influence on U.S. Trade Relations Kevin Lee* I. INTRODUCTION Over the past century, the U.S. film industry in Hollywood has dominated the global entertainment industry. American films appear today in more than 150 countries, and the Motion Picture Association of America ("MPAA"), the film industry's lobbying group, proudly proclaims that the "U.S. film industry provides the majority of home entertainment products seen in millions of homes throughout the world."1 Hollywood's worldwide box office revenue amounted to $25.82 billion in 2006.2 Approximately 85% of worldwide ticket sales are directed toward Hollywood movies,3 and international sales generate approximately half of the U.S. film industry's revenues.4 At one point the audiovisual industry was the United States' second largest export industry, following the aerospace industry.5 The trade flow in film is entirely one-sided; American films dominate foreign markets, but foreign films have failed to establish a significant presence in the U.S.
    [Show full text]
  • Dimitrios Roussopoulos the RISE of CITIES
    ThE RISE of CITIES DImITRIoS RouSSopouloS ThE RISE of CITIES Montreal, Toronto, Vancouver and Other Cities Montreal • New York • London Copyright ©2017 BLACK ROSE BOOKS Ann Marie Utratel’s “Common Spaces for Exchange: Cities in Transition and Citizen Struggles” originally published at www.commonstransition.ordg under the Peer Production license. No part of this book may be reproduced or transmitted in any form, by any means electronic or mechanical including photocopying and recording, or by any information storage or retrieval system—without written permission from the publisher, or, in the case of photocopying or other reprographic copying, a license from the Canadian Copyright Licensing Agency, Access Copyright, with the exception of brief passages quoted by a reviewer in a newspaper or magazine. Black Rose Books No. SS383 Roussopoulos, Dimitrios I., 1936-, author The rise of cities : Montréal, Toronto, Vancouver and other cities / Dimitrios Roussopoulos. Includes bibliographical references. Issued in print and electronic formats. ISBN 978-1-55164-335-9 (hardcover) ISBN 978-1-55164-334-2 (softcover) ISBN: 978-1-55164-615-2 (eBook) 1. Cities and towns--Canada. 2. Municipal government--Canada. 3. Urban policy--Canada. 4. Sociology, Urban--Canada. I. Title. HT127.R68 2017 307.760971 C2016-904806-3 C.P. 35788 Succ. Léo Pariseau Montreal, QC H2X 0A4 CANADA www.blackrosebooks.com ORDERING INFORMATION: NORTH AMERICA & INTERNATIONAL UK & EUROPE University of Toronto Press Central Books 5201 Dufferin Street Freshwater Road Toronto, ON Dagenham RM8 1RX M3H 5T8 ENGLAND CANADA +BB (>)@> EC@C EE>> ?(E>>) CDC-FC@A (Toll Free) [email protected] [email protected] Black Rose Books is the publishing project of Cercle Noir et Rouge Table of Contents From the Rise of Cities to the Right to the City – By way of an introduction Dimitri Roussopoulos Montréal Shawn Katz and Dimitri Roussopoulos Toronto Bill Freeman Vancouver Patrick J.
    [Show full text]
  • Master Document Template
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UT Digital Repository Copyright by Russ Eugene Hatchell 2018 The Thesis Committee for Russ Eugene Hatchell certifies that this is the approved version of the following thesis Sci-Fi TV in the Great White North: The Development of Vancouver as a Science Fiction Media Capital APPROVED BY SUPERVISING COMMITTEE: Joseph D. Straubhaar, Supervisor Alisa Perren Sci-Fi TV in the Great White North: The Development of Vancouver as a Science Fiction Media Capital by Russ Eugene Hatchell Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2018 Acknowledgements I would like to thank my committee members, Joseph D. Straubhaar and Alisa Perren, for their unwavering support and exceptional guidance throughout this research project. Their assistance has been invaluable to me. I would also like to thank my cohort of classmates and fellow RTF graduate students for their mentorship and friendship over the past two years. iv Abstract Sci-Fi TV in the Great White North: The Development of Vancouver as a Science Fiction Media Capital Russ Eugene Hatchell, M.A. The University of Texas at Austin, 2018 Supervisor: Joseph D. Straubhaar Over the past three decades, Vancouver has emerged as a favorable destination for Hollywood television productions. Many academics have noted this trend as a result of industrial shifts within Hollywood, favorable economic conditions in Canadian locales, and a cultural proximity between the United States and Canada.
    [Show full text]
  • Economic Impacts
    Chief Administrator's Office City Hall, 11th Floor, East Tower Tel: 416-392-3551 Michael R. Garrett, Chief Administartive Officer 100 Queen Street West, Fax: 416-392-1827 Toronto, Ontario M5H 2N2 July 17, 2000 TO: The Mayor and Members of City Council I am pleased to forward to you the initial staff response to the report of the Toronto Waterfront Revitalization Task Force. The Task Force report outlines an exciting proposal to regenerate the Toronto Waterfront at a time when the opportunity, momentum and political will exist to make the idea a reality. This report contains the preliminary analysis and recommendations of Þve staff working groups and outlines an implementation strategy and next steps to move the proposal forward. I look forward to Council's response and direction. Respectfully submitted, Michael R. Garrett Chief Administrative OfÞcer Paula M. Dill, Commissioner Barry Gutteridge, Commissioner Urban Development Services Works & Emergency Services Joe Halstead, Commissioner Wanda Liczyk Economic Development, Chief Financial OfÞcer &Treasurer Culture & Tourism Joan Anderton, Commissioner Shirley Hoy, Commissioner Corporate Services Community & Neighbourhood Services Contents Contents Recommendations ........................................................................................6 Executive Summary .......................................................................................8 Introduction................................................................................................10 Planning Options.........................................................................................11
    [Show full text]