June Commentary from George Spiro Dibie

I’m Mad as Hell, and I’m Fighting Back

Terminator 3: Rise of the Machines is featured on this month’s cover because Don Burgess, ASC has done another remarkably artful job. But that is just part of the story. Don also made a compelling case to produce T3 in Los Angeles, because the story demanded authentic locations, and the complexity of the script required depth in talented crews, equipment and stages. Arnold Schwarzenegger listened.

There are plenty of other stories with happy endings about films with Made-In-The-U.S.A labels. An article in the Producers Guild of America magazine credits Brian Reynolds with making the case for shooting the American Dreams TV series in the United States. Reynolds told the producers that the base of talented crews in Los Angeles is unmatched in other countries. He explained that was important if they wanted great production values delivered reliably on schedule.

No one had to convince Sandra Bullock to produce Two Weeks Notice in New York. She did it because it was the right thing to do. Writer-director Gary Ross knew it was important to film Seabiscuit at the locations where the racehorse made history. We will tell that story in next month’s issue in an interview with John Schwartzman, ASC. But, far too many genuine American stories are filmed offshore for all of the wrong reasons. How can anyone defend the decisions to produce Chicago or My Big Fat Greek Wedding anyplace, but in Chicago? What about Cold Mountain, which purports to chronicle an American Civil War story in North Carolina? How can any producer justify shooting that story in a foreign country? Have they no shame?

The most disgraceful decision to produce a film at a foreign location belongs to Carlton America and USA Network Inc., which produced Rudy: The Rudy Giuliani Story. They might as well change their corporate names to Carlton Un-American and the Anywhere But USA Network. The film focuses on the former New York City mayor in the wake of the 9/11 terrorist attack. How could they have betrayed the people of that great city by producing their film anyplace else? Where are the rage and protests from politicians? Why did Rudy Giuliani agree to participate in that travesty?

The art of filmmaking is a vital thread in the fabric of our national culture and economy. Isn’t it time for you to fight back when the politicians we elect turn their backs on us? Why are we tolerating politicians who slash funds for film commissions that help bring good and environmentally friendly jobs to their communities? Why aren’t they supporting filmmaking in their communities and our country? Why is Giuliani smiling?

Don’t complain to me about runaway production. I am telling the politicians that I am as mad as hell and I am not going to forget. You can do the same. Take action to support HR 715, a tax credit bill we helped write that is designed to make shooting in the US more attractive to producers of mid- and low-budget. Currently, the bill has 59 co-sponsors in the U.S. House of Representatives and we expect it to be introduced in the U.S. Senate soon.

Use our new Get Active cyber-lobbying system to send a free fax to your Congressperson asking him or her to support the bill. A simple click of the button below allows us to respond quickly to legislative developments:

Send a message to the politicians who think we don’t care enough to fight back. Don’t do it once. Keep up the pressure. Respond every time an issue comes up. Don’t act alone. Get your family, friends and colleagues involved.

We can make a difference if we join together and fight back.

As always, I look forward to your comments and suggestions. Please e-mail them to me.

George Spiro Dibie, ASC
National President