An Open Letter from FilmNorth Executive Director Andrew Peterson
FilmNorth is paying close attention to the current debate about Minnesota’s film production incentive program and is eager to work with Explore Minnesota Film in partnership with diverse artists and stakeholders to find a solution that serves the program’s goals and respects and values Minnesota artists and their contributions to our creative economy.
Like many of you, FilmNorth staff and members of our Board of Directors attended the recent Explore Minnesota Film Town Hall on January 8th. We were surprised and disappointed by how our independent film community and independent film in general were mischaracterized and disparaged. Above all, we are confused and disappointed that Minnesota’s incentive program no longer supports low-budget and independent films, especially by talented Minnesota artists, when these films and artists have been supported for decades, since the inception of the very first rebate program called “Snowbate.”
To everyone upset and hurt by the recent Town Hall, please know that FilmNorth hears you, supports you, and is passionately advocating for you and working on your behalf—as we have always done.
As we continue this work, I wish to share some thoughts and facts with you.
“Independent film” is a film of any budget level created outside the legacy studio system. This includes every nominee for the Film Independent Spirit Awards, which qualifies films with budgets up to $28 million for award consideration. There is a reason FilmNorth is passionately advocating for low-budget and independent films in particular (especially those made by Minnesota artists): these are the only films and filmmakers suddenly disenfranchised from Minnesota’s film production incentive program, after decades of inclusion.
Independent film is diverse, inclusive, and innovative—both in front of the camera and behind. Independent film is a driver of innovation in the $192 billion US film industry, promoting voices vital to the health of our democracy and organizing for fair and equitable industry practices. When Frances McDormand accepted her Oscar for Nomadland and championed inclusion riders from the stage, she was not taking a studio idea and sharing it with a global audience, she was sharing an independent film practice and challenging studios to be better. It was a proud moment for independent film.
FilmNorth is part of a national network of filmmaker support organizations including Film Independent in Los Angeles, The Gotham Film & Media Arts Institute in New York, and a host of similar organizations in cities like Chicago, New Orleans, Seattle, and more. These organizations comprise the Independent Film & Media Arts Field Building Initiative, launched by the NEA and the Sundance Institute, which advocates for the entire film industry. We meet regularly to coordinate efforts to lift up, amplify, and advocate for diverse and independent voices in cinema.
I would encourage you to read this report on the importance of independent film, created by the NEA with input from many film organizations, including FilmNorth.
Many of today’s most successful directors and creators for film and television started out making a low-budget independent feature film. Filmmakers like Spike Lee, Ava DuVernay, Barry Jenkins, Darren Aronofsky, Lena Dunham, Sterlin Harjo, Sean Baker, Gus Van Sant, Cheryl Dunye, Todd Haynes and many more began their careers with modestly budgeted first films (under $500K). It is no coincidence that most of these makers are women, people of color, or come from historically underrepresented communities. While all are now a part of the larger studio system, they had to break through barriers and gatekeepers by proving their undeniable talent through a low-budget, first feature.
Films like The Blair Witch Project ($60K budget), She’s Gotta Have It ($175K budget), the late great David Lynch’s Eraserhead ($100K budget), the Oscar-winning film Once ($150K budget), and many others have profoundly influenced and changed American culture and studio filmmaking, while launching successful filmmaking careers. It is undeniable that independent film plays an essential and vital role in the film industry.
Low-budget and independent films provide entry-level jobs and training, give crew who have struggled to advance within their departments the opportunity to move up or even Key those departments, build actor and crew resumes, contribute to the local economy, and tell stories that reflect the diverse communities that call Minnesota home.
We at FilmNorth are well-versed in film production tax incentives and encourage you to explore them. Every state with a successful incentive program and vibrant film ecosystem embraces low-budget and independent film. Of the 40 states and US territories with film production incentives only one state has a higher minimum spend requirement than Minnesota (North Carolina) and I would argue that the states that share Minnesota’s $1M minimum spend requirement are not film economies we wish to emulate (Nebraska, South Carolina, and Oregon).
All other states have minimum spends between $0 and $500K—and this list includes many strong union states.
New Mexico’s minimum spend is $0;
New Jersey only requires that 60% of a project’s budget be spent in the state;
Massachusetts is $50K;
Illinois’ minimum spend is $100K; and
New York State is $250K
FilmNorth supports union and non-union projects and has long advocated for Minnesota to look to successful programs in states with strong film communities when revising its incentive program, knowing that these programs support low-budget and independent films.
Louisiana’s incentive stands out. In a state with a $1 billion film industry, they could focus solely on “big” film productions, but they actually go to great lengths to support and advance Louisiana artists, knowing it’s not only the right thing to do, but good business. While their minimum spend is already a low $300K, they not only drop this to $50K if the screenplay is by a Louisiana resident, but they also increase the incentive for those projects from 25% to 35%. This smartly creates and holds space for low-budget and independent films by Louisiana artists while it incentivizes studios to hire Louisiana screenwriters to tell Louisiana stories on big budget films. With over 30 talented WGA writers and a host of amazing emerging screenwriters living in Minnesota, we think it would be wonderful to see something similar here.
Minnesota’s diverse and talented film artists are not asking for anything special—quite the opposite. They are simply asking for the respect and support they deserve and have, until recently, received here. We join the call to reinstate their participation in Minnesota’s production incentive program.
FilmNorth is committed to being part of the solution—working to drive positive change, build stronger connections within our community, dispel misconceptions about low-budget and independent films, and celebrate the extraordinary talent of Minnesota’s film artists.
Restoring Minnesota’s film production incentive program to support low-budget and independent film is essential for our long-term success and to ensure a thriving and inclusive future for Minnesota’s film industry. It would align us again with other successful state programs, and help rebuild, diversify, and expand our film production workforce. Minnesota media artists deserve recognition and respect for their work and impact in the film industry and Minnesota’s creative economy.
Andrew Peterson
Executive Director, FilmNorth