Is it worth movie to L.A.?

D

Denialorcoped

Well-known member
I am an indie filmmaker in Chicago with one 30 min. short under my belt. My day job is a web designer and I pursue filmmaking at night, and I'm 29. I have a unique opportunity in March to move when my lease is up; Been thinking about moving to L.A. Are there any real advantages for me there as opposed to Chicago?
 
I have a great web design job already; but my true passion is filmmaking, I just can't support myself yet doing that. Was wondering if there were advantages, as a filmmaker, to move.
 
I just came across a really interesting blog entry about this from a filmmaker. Do you guys agree?


Moving to Los Angeles just might be the worst decision a filmmaker can make. Whereas the city is arguably the best place to break into the studio system, LA is quite adverse to independents like me.

Life is tough in LA. Its high cost of living demands a well-paying job, while filmmaking requires flexibility, but the two rarely go together. Finding and keeping the “perfect” job becomes a job in itself. Even if you’re well-off, the congestion and state of atrophy in LA is sure to zap your creative energy. Everything takes longer; a couple errands can easily consume your entire day. And because everyone is in each other’s way, anger and resentment runs rampant in lines, stores, and, yes, especially traffic. Keeping the optimism and energy needed to make a film becomes an emotional challenge few conquer. In LA, the struggle to survive while creating quickly turns into the struggle to create while surviving.


To make matters worse, aspiring filmmakers are nothing special in LA. In fact, we’re a nuisance. Did you know it’s a misdemeanor to film in LA without a pricey permit? Yup - you can end up in jail with shoplifters and prostitutes. Whereas the city bends over backwards for big budget movies, it seeks to foil and defeat micro-budget projects. People like me, trying to make a movie for virtually nothing are viewed as pariahs, beggars and wannabes. Sure, there may be that rare person who supports our “passion,” but most are tired and resentful of the inconvenience. Even mom-and-pop storeowners have become savvy, demanding hundreds, if not thousands of dollars for the use of their little store.
Filmmakers might argue that LA is abundant in resources. That may be true, but resources cost money. What good is knowing a production sound mixer if you can’t afford her reduced rate of $250/day? And what good are all the actors if the talented ones don’t audition for your no-name, low-paying project?

Sometimes I suspect moving to LA is one big diversion. It seems productive and necessary for one’s filmmaking career; however, it just might be another distraction from the blank screen, a costly game of solitaire. It’s easy to be fooled; the move feels productive: packing and driving; buying furniture and decorating; applying for jobs and interviewing. But in the end, you’re right back where you started from, a blank screen, except now you’ve added a whole slew of burdens and concerns distracting you even more.

Without the support of my wife and family, there is no way I would now be completing my first feature film here in LA. I am incredibly blessed and I know it. On the other hand, LA is my hometown. I was born and raised here, thus, it supports me in ways it does not support my immigrant peers. I’ve got all kinds of family and neighbors willing to help me out. This is why I believe most aspiring filmmakers would be more productive back home where they presumably can focus less on survival and more on making films.
Independent film productions in LA often entail law-breaking, angry neighbors, and police shutdowns, whereas I continually here stories about community support for productions elsewhere, such as free catering, police cooperation, even auto dealers lending cars out for free. This is precisely why I am eager to shoot my next film in my wife’s tiny hometown in Indiana.



Making a film is incredibly difficult, so why compound it by moving to an inhospitable city with laws and a culture aimed at thwarting you? If only the thousands who migrate here every year would stay home and make the most with what they have! Ironically, top film festivals like Sundance actually prefer provincial films set in unknown towns and communities. Festival programmers want to be taken someplace new rather than see another crummy LA apartment.

So, perhaps, while driving out to Los Angeles, many aspiring filmmakers are leaving behind their greatest asset: their hometown.
-Christopher J. Boghosian
 
In response to the above: It (Los Angeles) doesn't really bend over backwards for big productions. It more or less holds out it's sweaty greedy little hand. That's why many big films are tempted to leave LA. What holds them here is the locality of the studio system and people can go home at night to their families.

Regarding to live here or not. The opportunities are hard but plentiful. There are 1,000 roads to success, and who knows about anything... but I made the move because you meet people in high concentrated areas of filmmaking... and knowing people is more important than talent. Not that you don't need talent, but you surely know what I mean.

No matter how good you are, you need people to hire you, to know you, to want to work with you... you gotta know peeps. Everyone's big break was because of another person they knew. Simple as that.


With that said, I need a RedOne camera for my next job... let me just open this window and throw a rock.
 
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Also, what that author fails to mention is the following"

1) Oversaturation of film equipment. You can rent a RedOne camera here for something stupid like 400.day because there are probably upwards of 2,000 in SoCal. You can find everything for cheaper than if you were shooting in Oregon. LA prices don't get any cheaper, especially if you work in this town as indie level and you know who the right people are. Everytime I shoot out of town, my jaw always drops when I get my G&E quote. Smaller markets need to charge more to make their money back since they dont have the volume.

Also, if your camera breaks down in LA, you can get another by lunch (if traffic isn't that bad). If you are shooting in Delaware, you better send that PA as fast as he can drive to NYC for a new Alexa body. Same goes with crew, and other equipment.

2) Over-saturation of actors. Sure you won't get Brad Pitt, but I can't think of anywhere else in the world, maybe with NYC as the exception, where so many talented and undiscovered actors are just clawing to get a chance to be in your movie. If you cast correctly, you can get 100's of wonderful actors who will work hard and dream of being in your film. There is also a huge B-list of actors in SoCal who will be in your film for reasonable amounts of money. Their face or name can get you distribution alone. No joke. Try that with a 1st time, no-name from Wisconsin.

3) Over-saturation of crew. Film students dumped in daily by the truck-full. If you need cheap labor with relatively decent experience, there's probably not a better place either. It's easier to hire a film student fresh of the boat for $75.day than teaching your girlfriends brother how to clap a slate. Hell, I worked for $50/day or $75/day for a year or two when I first moved out here. I've met a ton of people and now work with many of them to this day, but make much much more. That's how it works.


The ONLY thing that isn't good about LA, is the strict permitting. I've shot all over the world and in most places, 99% of the police rolling by, will stop and ask if you want a cop in your movie. lol. But in LA, they will shut you down. The only downside.
 
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Denialorcoped said:
I just came across a really interesting blog entry about this from a filmmaker. Do you guys agree?


Moving to Los Angeles just might be the worst decision a filmmaker can make. Whereas the city is arguably the best place to break into the studio system, LA is quite adverse to independents like me.

Life is tough in LA. Its high cost of living demands a well-paying job, while filmmaking requires flexibility, but the two rarely go together. Finding and keeping the “perfect” job becomes a job in itself. Even if you’re well-off, the congestion and state of atrophy in LA is sure to zap your creative energy. Everything takes longer; a couple errands can easily consume your entire day. And because everyone is in each other’s way, anger and resentment runs rampant in lines, stores, and, yes, especially traffic. Keeping the optimism and energy needed to make a film becomes an emotional challenge few conquer. In LA, the struggle to survive while creating quickly turns into the struggle to create while surviving.


To make matters worse, aspiring filmmakers are nothing special in LA. In fact, we’re a nuisance. Did you know it’s a misdemeanor to film in LA without a pricey permit? Yup - you can end up in jail with shoplifters and prostitutes. Whereas the city bends over backwards for big budget movies, it seeks to foil and defeat micro-budget projects. People like me, trying to make a movie for virtually nothing are viewed as pariahs, beggars and wannabes. Sure, there may be that rare person who supports our “passion,” but most are tired and resentful of the inconvenience. Even mom-and-pop storeowners have become savvy, demanding hundreds, if not thousands of dollars for the use of their little store.
Filmmakers might argue that LA is abundant in resources. That may be true, but resources cost money. What good is knowing a production sound mixer if you can’t afford her reduced rate of $250/day? And what good are all the actors if the talented ones don’t audition for your no-name, low-paying project?

Sometimes I suspect moving to LA is one big diversion. It seems productive and necessary for one’s filmmaking career; however, it just might be another distraction from the blank screen, a costly game of solitaire. It’s easy to be fooled; the move feels productive: packing and driving; buying furniture and decorating; applying for jobs and interviewing. But in the end, you’re right back where you started from, a blank screen, except now you’ve added a whole slew of burdens and concerns distracting you even more.

Without the support of my wife and family, there is no way I would now be completing my first feature film here in LA. I am incredibly blessed and I know it. On the other hand, LA is my hometown. I was born and raised here, thus, it supports me in ways it does not support my immigrant peers. I’ve got all kinds of family and neighbors willing to help me out. This is why I believe most aspiring filmmakers would be more productive back home where they presumably can focus less on survival and more on making films.
Independent film productions in LA often entail law-breaking, angry neighbors, and police shutdowns, whereas I continually here stories about community support for productions elsewhere, such as free catering, police cooperation, even auto dealers lending cars out for free. This is precisely why I am eager to shoot my next film in my wife’s tiny hometown in Indiana.



Making a film is incredibly difficult, so why compound it by moving to an inhospitable city with laws and a culture aimed at thwarting you? If only the thousands who migrate here every year would stay home and make the most with what they have! Ironically, top film festivals like Sundance actually prefer provincial films set in unknown towns and communities. Festival programmers want to be taken someplace new rather than see another crummy LA apartment.

So, perhaps, while driving out to Los Angeles, many aspiring filmmakers are leaving behind their greatest asset: their hometown.
-Christopher J. Boghosian
Click to expand...

What a brilliant post!

I'll go one further:

To increase production value on my own projects, I moved AWAY from a bigger city and settled in an area surrounded by smaller towns.

Product placement recruitment is easier, finding clients is easier and being the only 'professional' for 50 miles in any direction gives me a fantastic (temporary) monopoly.

Casting calls are awesome! Fresh talent at reasonable rates along with great attitudes....

Film Maker's heaven!

Ironically, I often get crew driving through from bigger Cities to jump in anyway...

Much better to be the biggest fish in the pond than the smallest Whale in the Sea!
Add extreme lower cost of living and increased quality of life to the pot and you have the best decision I have ever made!
 
Ryan Patrick O'Hara said:
Also, what that author fails to mention is the following"

1) Oversaturation of film equipment. You can rent a RedOne camera here for something stupid like 400.day because there are probably upwards of 2,000 in SoCal. You can find everything for cheaper than if you were shooting in Oregon. LA prices don't get any cheaper, especially if you work in this town as indie level and you know who the right people are. Everytime I shoot out of town, my jaw always drops when I get my G&E quote. Smaller markets need to charge more to make their money back since they dont have the volume.

Also, if your camera breaks down in LA, you can get another by lunch (if traffic isn't that bad). If you are shooting in Delaware, you better send that PA as fast as he can drive to NYC for a new Alexa body. Same goes with crew, and other equipment.

2) Over-saturation of actors. Sure you won't get Brad Pitt, but I can't think of anywhere else in the world, maybe with NYC as the exception, where so many talented and undiscovered actors are just clawing to get a chance to be in your movie. If you cast correctly, you can get 100's of wonderful actors who will work hard and dream of being in your film. There is also a huge B-list of actors in SoCal who will be in your film for reasonable amounts of money. Their face or name can get you distribution alone. No joke. Try that with a 1st time, no-name from Wisconsin.

3) Over-saturation of crew. Film students dumped in daily by the truck-full. If you need cheap labor with relatively decent experience, there's probably not a better place either. It's easier to hire a film student fresh of the boat for $75.day than teaching your girlfriends brother how to clap a slate. Hell, I worked for $50/day or $75/day for a year or two when I first moved out here. I've met a ton of people and now work with many of them to this day, but make much much more. That's how it works.


The ONLY thing that isn't good about LA, is the strict permitting. I've shot all over the world and in most places, 99% of the police rolling by, will stop and ask if you want a cop in your movie. lol. But in LA, they will shut you down. The only downside.
Click to expand...

Very good points.

With these points in mind, I must add to my previous post that we mostly own our own gear and it is my passion to mentor film crews etc. thus the smaller town strategy might be more suited to my modus operandi.

I shot my first feature in an environment like the one described by Ryan and it was exactly as he puts it, very convenient with film students at a dime a dozen and very quick access to gear and professional input.

Not very helpful for the OP, I know...
 
If you want to make your own projects rather than work for someone else you don't need to move. If your film is inspiring enough, and especially if you're paying your actors, any large metropolitan area will get you the people you need. LA may have more, but other areas have less serious productions; which means those people are going to really care about getting involved. As was said, you won't stand out unless you're really incredible, but in other places getting community support is a lot easy, and the area really might bend over backwards to help. It's not about where you live anymore but what you can do. So do something. Moving to LA doesn't make 'independent filmmaker' a reliable job.
 
Ryan Patrick O'Hara said:
The ONLY thing that isn't good about LA, is the strict permitting. I've shot all over the world and in most places, 99% of the police rolling by, will stop and ask if you want a cop in your movie. lol. But in LA, they will shut you down. The only downside.
Click to expand...

At my end of the filmmaking spectrum that is the killer. I don't have a business at the moment, and so I'd have to pay for insurance, just to get a permit that involves no real 'hazards'... and pay for a rider for some governmental agency...even if all the 'public use' is walking through a park.

If there was a 'no/low' budget permit, and say, the max number of people crew+talent of say 5 or less... and if some idiot could 'assess' that such a group standing/walking in a park posed no more significant liability than a family group (heck for some families... less of a liability...).

As it is, I'm thinking on how get some guerrilla shots of subway tunnels, up/down escalators, very Escheresque, in either LA or SF... probably SF... because maybe I can get the Daughter to lend me her apartment for the interior shots... and much of SF is just as sensitive to 'permits' as LA...
 
I live in LA and am a filmmaker. Lived here all my life.

You can make a great movie in Chicago. You have what you need there. Bottom line.


With that said, there are strengths to living in Chicago. Mainly giving us visual locations in your film that we have not seen or haven't seen enough of.
 
I'm in complete agreement with wilbur in his small community approach to indie filmmaking. I've had tremendous success with rallying some great people to grind along side me, since there has not been a great amount of high end filmmaking outside of a big zombie market where I live. Although nothing is wrong with that I seem to get a lot of people wanting to do different genre of films and they tend want to come on board since they are far, few and in between here.

I've thought about cali but not into the whole fast paced environment.
 
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