Top 10 Cities to Live and Make Movies in 2003

MovieMaker's Third Annual Ranking

by Lenny Smith | Published February 12, 2003

Vancouver’s English Bay epitomizes the natural beauty that brings moviemakers to this Pacific rim powerhouse.

1. Vancouver, BC: a moviemaker's dream

One reason for the recent tongue-in-cheek anti-Canadianism of Hollywood fare like The South Park Movie might well be sour grapes over Canada's continuing dominance as a center of moviemaking. The situation persists due to a variety of economic factors and the indisputable quality of life in Vancouver and Toronto, the two major moviemaking hubs to the north. Though every area has taken a hit lately from the industry's general stagnation (and Vancouver is no exception), there's still plenty to envy in Canada. Vancouver, in particular, remains a moviemaker's dream.

Pat Harrison, fresh from completing his latest feature, Sex, Drugs, Love, Marx, affirms this. "Vancouver is a totally great place to be an indie." Listening to Harrison, it's easy to believe. He and other Canadian moviemakers we spoke with radiated contentment and a laid-back attitude unmatched anywhere else.

Harrison pointed out several advantages available in this moviemaking powerhouse: there's a huge base of facilities, acting talent and crew and a steady stream of jobs, courtesy of heavily subsidized Canadian productions (and American films lured in by the killer exchange rate). The cost of living is relatively low and the climate is temperate, with very little snow in the city. But even the long rainy season offers advantages to the indie moviemaker, since production slows from roughly November through March, freeing up a large pool of equipment and crew at cut-rate prices. "You can really rake in the resources if you suck up to the right people," says Harrison.

This "big, flaky city" boasts a strong arts community, unbeatable natural beauty, hash bars, a nude beach, a mayor who consults for Da Vinci's Inquest (the CBC's answer to Quincy), a pro-arts government and a downtown with a "crazy edge." There are always plenty of movie stars and industry types hanging out, but you can still shoot guerrilla style. And while the American stranglehold on distribution hampers theatrical availability of Canadian product, theaters like Tinseltown, which emphasize Canadian films, and The Blinding Light microcinema, showcase indie and underground work. The Vancouver Underground Film Festival also offers locals a shot at the big screen.

“All these American productions shoot here, trying to make it look like New York or Chicago. Torontonians are laughing because we see the CN Tower,” says moviemaker Ruba Nadda, of the city’s skyline.

2) Toronto: diversity

Despite everything going on in Vancouver, the heart of Canada's film industry is still Toronto, where it was born. Like Vancouver, Toronto is a very livable city, with a plethora of divergent locations, great natural beauty, low cost of living, a ton of world-class gear and facilities and more than enough work to go around. The main reason we rank Toronto slightly behind Vancouver is simple: Toronto is a more competitive market.

Producer Tracey Boulton explains, "Vancouver and Toronto are both loaded with great talent and are very cosmopolitan cites to make movies in. My first feature was made in Vancouver and now, for my second feature, I will be shooting in Toronto. I find the competition for low-budget independent filmmaking not as fierce in Vancouver, since it is primarily a service industry. In Toronto, although you have an incredible network of support, the competition is much greater, so it's harder to see a film realized."

Boulton's director on her second feature, Coldwater, is Ruba Nadda. Nadda has lived "all over Canada," but she definitely prefers living and working here. "Toronto is the most multicultural city in Canada," she says. "It's beautiful, easy to shoot here and I love the locations and the people."

Sasha Ormond and Greg LeGros in Lisa Hayes’ Toronto-shot, Goldirocks.

With the same great financial benefits available in Vancouver, Toronto is an equally attractive destination for American moviemakers, who routinely find ways to make this cosmopolitan environment double as someplace else. Even the upcoming biopic Rudy, profiling NYC's former mayor, Rudy Giuliani, will be shot primarily in Toronto. Nadda laughs, noting "All these American productions shoot here, trying to make it look like New York or Chicago. Torontonians are laughing because we see the CN Tower."

Producer/director Lisa Hayes (Goldirocks) finds several advantages to Toronto, as well. She lives and works downtown, with three labs in walking distance from her TV day job, and bicycles to shoots, often arriving ahead of her cast and crew. As an indie, Hayes benefits from top-flight cast and crew who "make a living on the big jobs, but find creative projects more fun. They don't seem to care about the pay, as long as they have proper equipment and good assistants."

3) New York: indie capital of the U.S.

while los angeles is home to hollywood, the movie capital of the world, the Big Apple seems a far better environment for those going the independent route. Both cities are full-service film industry towns, but the NYC attitude beats the cutthroat competition of Hollywood any day of the week. The atmosphere is mutually supportive here, with a creative community that "is more likely to extend a helping hand than a knife in the back."

New York City’s famous skyline continues to be immortalized on film by the hundreds of independent moviemakers who shoot here each year.

Moviemaker Greg Pak explains, "New York is an amazing place to work; there's a critical mass of creative people around." Incredibly good actors and crew will work free, or on the cheap, for projects that excite them. When Pak made his SinCine Audience Award-winning infomercial spoof Asian Pride Porn, his crew consisted of fellow members of NY's Asian American Filmmakers Collaborative. The film's star, Tony Award-winning playwright David Henry Hwang, was a local acquaintance. "Everyone involved in the project understood independent filmmaking and was willing to work for little or nothing because they believed in it. And there was a strong community of filmmakers around to whom I could show cuts as
I edited the film."

How has 9/11 affected the city's film industry? According to Julianne Cho in the Mayor's Office of Film, Theater and Broadcasting, the answer is "not much at all." There, it's business as usual, and about three-fifths of that business each year involves independent film production.

From the standpoint of individual moviemakers, the answer is different. Moviemaker Mike Kang admitted, "My freelance gigs were already on the decline after the dot-com implosion. But 9/11 really put a cap in it." However, he says the dip in production has allowed him to tackle his personal projects, like the collaborative piece Board to Death.

Jake Kornbluth, a recent transplant from San Francisco, had the premiere of his first feature, Haiku Tunnel, cancelled on September 11th in the wake of the disaster. When the film officially opened on September 14th, his family in NYC "walked through a ghost town to the Angelika to see it."

Pete Solett's Raising Victor Vargas was shooting at the time. He says the event has humbled the city for now, and created an atmosphere of reflection. "When it was over, we were all pleased to come back to work. We felt we were doing something of value." Pak began shooting Robot Stories on September 10th. Shooting stopped the next morning as ash began to blow over the set. Despite "enormous stresses," the production finished on time and on budget. Pak notes that "the trauma clarified our reasons for working on the project." Ultimately, the experience "made me love the actors and the city even more than I had before."

4) Austin: tight-knit

while the austin, Texas film community is still waiting for its next big breakout talent to follow in the footsteps of Richard Linklater and Robert Rodriguez, they know it's only a matter of time. Austin boasts a young, vibrant and ever-growing scene that includes top-flight, big-budget film and indie work alike. The city itself is a great place to live, incredibly rich in music and the arts, and enviable in the richness and variety of its natural beauty.

DP Jim Eastburn on the Austin set of R.C. Ohlson’s 11th & Congress.

L. Jay Duplass, whose recent works include Vince Del Rio and The Astronaut, explains that the Balcones Fault, which runs right through the center of the city, divides the surrounding landscape into fertile, flat farmlands to the east, and rolling, rugged hills to the west. "There are so many different shooting environments here within 40 minutes of the city," he points out. And the weather is great—except in the grueling heat of August.

David Zellner (Plastic Utopia, Frontier) agrees. "Austin is a very easy place to live and do stuff with little or no funds." Zellner, who, like most locals, plans to stay and work here long-term, adds that Austin's film community is tight-knit, and more than willing to share ideas, expertise and gear.

Robert Chris Ohlson, who recently completed the short I Love You, is already gearing up for his next project,
The Meat Market. Says Ohlson, "Since the cost of living is lower than LA or NY, vendors will work with you on prices. If gear's not going out, you can get it at one-tenth of the cost."

Ohlson sees a swell in sub-$100,000 projects, noting that moviemakers are still finding ways to pay cast and crew, a practice that promotes the whole moviemaking community. Add to that a pool of freelance labor that can sustain four or five full productions at a time—and a communications program at the University of Texas that dumps hundreds of people into the moviemaking talent pool each semester—and you've got a steady supply of experienced hands for your next project.

The Austin Film Society makes their converted plane hangar soundstage available to indie projects on a sliding scale and, notes Duplass, there are plenty of top-notch digital production facilities, as Austin got into digital technology very early in the game. The bottom line, he says, is "Austin's film community is committed in a patient and mature way," ensuring a healthy scene for years to come.

5) Philadelphia: efficient, not jaded

The city of brotherly love is a bastion of East Coast indie film, with one of the most vocal groups of moviemakers we've encountered. Everyone we spoke with (far too many to list, unfortunately) had nothing but praise for Philadelphia as a place to live, find jobs in the industry and, most importantly, realize their own projects.

Philadelphia lays claim to one of the country’s most enthusiastic indie communities.

Philly is a major urban center in its own right, rich in history and architecture, but close to a dazzling array of naturally beautiful settings. It offers almost all the benefits of NYC (which is a mere two hours away) without the hassle and expense of living there. The Greater Philadelphia Film Office is as efficient and responsive as it gets, and they maintain the most useful, information-packed, well-organized and user-friendly Website of its type that we've seen. The city also owns not one, but two soundstages, available to productions of all sizes, free of charge.

Several organizations and programs exist to get cameras into the hands of a broad variety of people. There are college and university programs, PIFVA (the Philadelphia Independent Film and Video Association), Scribe Video Center, which promotes moviemaking by people of color as well as low-income individuals and the elderly and The Big Picture Alliance, a group of moviemakers, teachers and business people who work with disadvantaged and minority inner-city teens to make broadcast-quality films.

It's not a jaded market, either. Producer Nick Stagliano found both the teamsters and even SAG understanding of his budget, for example. Sensitive locations have opened their doors to local moviemakers like Natalie Paige Bentley, whose Youth of a Nation is shooting at a juvenile detention home, a middle school and a high school. Director Kimi Takesue was given the pool of a luxury apartment complex for a whole week for her Serpent Summer. Director Rich Murray (Snipes) praised the city's "crumbling Victorian element" and "dark earth tones," while Donna Dudick (The Mommy Track) has organized The Algonquin Film Festival to celebrate works that encompass the surrounding rural areas. And, as moviemaking team Adrienne Kenton and Gage Johnston reminded us, in unison, "Philly is the city that loves you back!"

6) Chicago: film friendly, unspoiled

Chicago could be your kind of town: it offers big city advantages in terms of crew, gear and facilities, with a small-town, film-friendly mentality. Like Philadelphia, a large and very supportive community of indie moviemakers is in place and working steadily. Chicago has highly professional crews who are nonetheless "very understanding on the money issue," according to Alexandra Hodowany. Courtesy of its vibrant theater scene, there is a large pool of great actors whom she says are "very professional and not at all spoiled."

Permitting is streamlined and Kathy Byrne and the Chicago Film Office "work miracles." When Hodowany was stood up by a $3,000 fake rain service, she ended up spending $50 for some firemen and a hose and got, she says, much better rain. Likewise, when Noel Olken (Slave) needed to shoot at O'Hare right after 9/11, Kathy got his production right in ("they never even checked our gear!").

Chicago could be your kind of town: it offers big city advantages in terms of crew, gear and facilities, with a small-town, film-friendly mentality.

Chicago's "a great place for people who want to be heard," says director Melinda Roenisch. "There's a real interest in authorship." By contrast, getting a small project noticed in LA, she said, is like breaching the Great Wall of China. In this film-friendly town, she adds, "if what you need is cameras and the like, you get it—and with a lot more support than most other places."

One can get pro-caliber crews for smaller projects, too. Davidson Cole's director of photography, Pete Biagi (of Project Greenlight/Stolen Summer fame), is now working with Robert Altman, who is also employing Noel Olken in his "day job" capacity as location manager.

Ultra-low budget moviemaker Rich Calenza says, "Nothing gives you that urban look like Chicago or NY. You can't fake it." The only problem he sees is the often harsh winter weather, which can also cause continuity problems.

Director Chris McKay says, "Going to different events, you see there's a lot of good work going on here. We're not Austin yet, but we have tons of possibility."

7) Los Angeles: the industry's town

Dan Mirvish learned the ins and outs of an LA shoot on Open House.

How, you may ask, did the moviemaking capital of the world sink to #7 on our list? Simple. For an independent moviemaker, there are far friendlier, easier places to make your movies. It's not that we don't recommend LA; the gear and
facilities are all here, along with an incredibly deep crew base. But it can take patience, ingenuity and a bit of industry game playing to take advantage of what this city can offer.

"If you can find the right job banks, you'll get good people calling you to get experience," says moviemaker and Slamdance Film Festival co-founder Dan Mirvish. But by the same token, you can lose talent to bigger projects.

Another difference between LA and smaller markets is the level of support you receive from official agencies. "The Omaha Film Commission virtually produced my first film," says Mirvish, "while here in LA, the Entertainment Industry Development Commission is under investigation by the DA's office for offering kickbacks to local politicians."

LA is also fee-heavy—but don't think you'll necessarily get by shooting guerrilla. "The cops," Mirvish assured me, "know what to look for." Better to pay for the permits—if you can figure out where to get them. "Municipalities and jurisdictions change at a moment's notice out here, so figuring out which agency to deal with can be tough." In San Marino, Mirvish was told his fee would be $800. On the day of the shoot, the cops came anyway, and suddenly the permit fee was $9,000—one-third of his entire budget. "They said it was a shutdown; it felt more like a shakedown," he laughs. Moviemaker Kirk Harris says guerrilla shooting is not impossible, just difficult. "But the more out of the way you are, the easier it seems to be."

In an attempt to simplify the process, and bring moviemakers back to the place where it all began, the California Film Commission has introduced two new incentive programs. The Film California First program will reimburse certain film costs incurred when filming on public land within the state. And the STAR partnership will allow crews the opportunity to film at unused state properties (such as health facilities or vacant office structures) at no charge—or a nominal fee.

On the plus side in LA, name talent can be used without travel expenses (those per diems can kill you). On the minus side, a 20-mile location change can take two or three hours at rush hour. Bottom line: LA could be the right place for you, but only if you're patient and resourceful—because sometimes you're going to have an uphill battle.

8) Las Vegas: untapped, no hassles

The playground of america is also a great place to make films. While many a big-budget production has exploited its famous resorts and casinos, there is plenty of independent activity here, too. Though the film community is less unified here than in some of the other cities on this list, there are plenty of factors in place that should, over time, help the base of local independents gel as a group.

Despite its opulence, Las Vegas is a great place for low-budget moviemaking.

Producer Barry Green points out, "The Nevada Commission on Economic Development has identified the film industry as their number one highest priority for diversifying our economy, and the film school at UNLV has seen its enrollment triple in the last few years." Producer Jeremy Settles notes, "Vegas is an awesome place to be; we're seeing more and more productions coming here to shoot, and more indie writers and producers moving here to live."

One Hollywood expatriate who saw the light years ago is low-budget legend Ted V. Mikels. Mikels, who recently completed Mark of the Astrozombies, told us, "I love shooting in Vegas: Permits are very easy to acquire and people everywhere are very receptive to shooting on their property. It's not a burden to film here like it is in LA, where it's exorbitant."

Settles agrees, calling the local economy "ideal for filmmaking. I try to use as much local talent as I can. Here in Vegas, we're building a small family. It's an untapped market, and since Nevada is a right-to-work state, I can use union and non-union people as the situation demands."

Las Vegas is great for no-budget and micro-budget pictures, says Green. "We have some extremely talented crew here, and they're very flexible and easy to work with." It's easy to find volunteer work, and many of the area's diverse locations can be had "for free, with no hassle." What Vegas still lacks for larger budgets, though, is a professional soundstage and local labs. "Dailies are not really practical; you have to settle for 'weeklies,'" says Green.

9) Portland, OR: thriving, beautiful, cheap

As seattle's scene exists somewhat in the shadow of Vancouver's, Portland, Oregon's film scene lies in Seattle's. But don't sell this Northwest city short! In fact, says Seattle transplant Tony Fuentes, maker of "short shorts" and sponsor of both the PISS Fest (Portland International Short Short Film Festival) and the POW! Fest (Portland Women's Film Festival), Portland offers "easier networking and a more supportive environment; you don't get lost in the shuffle so quickly."

Moviemaker Jaime Bancroft, whose short film Lost screened at the 2002 Northwest Film and Video Festival, agrees, adding, "It is possible to live cheaply in Portland, so surviving on your art is possible. It's a unique lifestyle: potlucks and Pabst. It's not decadent, but you can be productive. What else are you going to do in a place that rains six months out of the year?"

The ability to “survive on your art” is a key to what makes the Portland, OR community so productive.

And rain it does, although, as Kenneth Luba of Golightly Films points out, "That's what makes it green." Luba chose Portland's rain and 80 degree summers over California. "Portland is a great place to live and work. The economy sucks, but we have a large film community born out of quite a few Movies of the Week made from the mid-'90s into 2000. We have great locations, some of the most diverse on the whole west coast," a range of looks he says brings companies from all over to film in Oregon.

Jeff Winograd, currently working on the documentary What's the Problem? told us, "Living in Portland is easy. It's one of the most beautiful cities I've seen, with a thriving downtown and one of the country's top 15 film-watching communities." So after you make your film, you'll actually have people (other than family) come out to see it.

"Both city and state are really supportive," Fuentes says, noting the city's recent resolution declaring the importance of the film and video industry. The resolution directs the parks department to waive up to $18,000 per year in permit and usage fees for the film industry and the city's office of transportation to develop film-friendly policies as well.
It also commits the city to working with the Oregon Media Production Association (OMPA) to establish one-stop permitting for the industry.

OMPA provides forums for discussion and networking and lobbies the government on film and video related issues. Their annual Oregon Media Production Directory, distributed through the Oregon State Film & Video Office, is a comprehensive list of producers, production companies, crew, talent and related vendors.

The Oregon Office of Film and Video "does a great job of advertising for local companies," Luba says, and the Northwest Film Center provides training and affordable equipment, as well as hosting events and administering cash awards for film and video work via the Oregon Arts Commission Fellowship. Meanwhile, the AIVF sponsors a very popular monthly Indie Salon at the Hollywood Theater for screenings and networking, offering moviemakers and their works further opportunities to find themselves an audience.

10) Richmond, VA: feel the momentum

As a city, Richmond, VA’s look varies from Colonial to modern, as evidenced by the variety of films shot here.

Halfway between washington, dc and Baltimore, MD, is Richmond, VA, the state's capital and a "big small town" which producer Kim Davenport calls a "terrifically fertile place for indie filmmakers." This historic city of 200,000 is "culturally diverse," says Davenport, yet "somewhat insulated between the mountains on one side and the ocean on the other," creating an atmosphere that has nurtured a fast-growing, mutually-supportive community of independent moviemakers whose work is attracting national attention. "You can feel the momentum here," states Davenport.

Megan Holly, Kim's director on The Snowflake Crusade, agrees. "One cool thing about being away from filmmaking hubs like NYC and LA is that filmmakers are under less pressure. It's kind of a blessing that it's not a super hip place; there's not that frenetic compulsion to outdo each other. The community here is not at all cutthroat."

Director David Williams told us, "Basically, people leave you alone to make your films, because they still figure you aren't making real films anyway." At the same time, though, there's plenty of local support: "The Virginia Film Festival has been very supportive of independent film, especially filmmakers in the state. Quirky things can happen. Roger Ebert saw my second film, Thirteen, there and gave it a great review, even though it had no distribution."

Martin Jones and his partner Tim Reid (Venus Flytrap from WKRP in Cincinnati fame) believe in the area; in 1997, Reid founded New Millennium Studios, 20 minutes outside of Richmond in the bedroom community of Petersburg. "Over 70 percent of the state's film crews live within 60 miles of our front gate," notes Jones.

Appointed "the only truly independent vertically integrated studio left in America," New Millennium develops their own scripts and finances, films and distributes their product all in-house. "Hell," says Jones, "the only thing we don't do is make film or process it!

We have a great lab in Richmond, Commonwealth, which has been around since the '60s. Our studio alone has processed more than a million feet of 35mm and Super 16mm film during the past five years! So we have dailies here, just like shooting in LA or New York. That has been a strategic benefit for us."

If that wasn't enough, there's also the James River Film Festival and the Flicker Fest, a hugely popular bi-monthly series of short films sponsored by film teacher James Parrish. "James is a tremendous force and motivator for indie film here," claims Davenport, "encouraging underground and experimental work and generating awareness of the film scene in general."

As a city, Richmond's look varies from colonial (the oldest building, the Edgar Allan Poe Museum, was built in 1737) to modern. Meanwhile, the city's "Capital of the Confederacy" history, blue-blood aristocracy, "gritty underbelly" and strong arts community coexist in a mix Holly finds "exciting and real." MM

Indianapolis: heartland

Tucked away in the heartland of America, Indianapolis tends to be overlooked by folks on the coasts, which is odd; it's actually the twelfth largest city in America. As such, it's always had the right ingredients in terms of commercial production houses, viable locations and a healthy arts scene to foster a moviemaking community… it just took some time for that community to make its presence known.

That's exactly what's been happening in Indy over the last couple of years. If ever there were an opportunity to join a growing film community in its early stages, this is it.

That's what brought Javier Reyna from LA to Indy; it was, he says, "virgin territory. In LA, I'd get funding, I'd lose funding; I felt chewed up and spat out. It was hard to go through that and make a living odd-jobbing in film and pay a mortgage, too." Once here, he founded his production house, the Digital Film Project.

Paul Pogue, who covers the film beat for the newsweekly Nuvo, called Reyna's latest film, Legwork, "one of the most polished, professional things I've seen done in Indianapolis."

Of his own column, Pogue adds, "Before I got this assignment, our paper ran one or two film pieces a year." Now, his column appears twice a month, covering a variety of screenings, shoots, festivals and local film events.

Much of the excitement has built from the success of Shari Lynn Himes' award-winning short, A Song for Jade, and the first Indianapolis Underground Film Festival, organized by a loose-knit group of film school cohorts called The Film Commune. "That festival was a flashpoint," says Pogue, "as people realized how much work was being done."

With the local ABC affiliate, the Film Commune is now running a 13-episode TV show on the local scene; Indy's mayor has appeared on it twice already to boost arts awareness. Shari Lynn Himes runs The Screening Room, a showcase for independent work from the film festival circuit, while The Key Cinema invites local moviemakers to screen their works and take questions and answers every month. And moviemakers like Garrett Crowe, Williamson Howe, Richard Payne and Dan Hall are making feature films of high quality with commercial success. Local audiences are steadily growing and, as Hall notes, "Indy is incubating film into a viable source of income for people."

Seattle: on the verge

Though the indie scene in Seattle forever seems on the verge of breaking out, it has indeed recently seen an explosion of activity that reflects the sheer drive and motivation of the moviemakers living there. Where Seattle once saw a steady outflow of its moviemaking talent to places like Vancouver and LA, writer/producer/publicist Kathleen McInnis says, "there are more and more of us who are choosing to stay."

That kind of commitment speaks volumes. Seattle has rugged natural beauty, a strong pool of talent and facilities, a variety of festivals and helpful state and city film offices. Outside the city's core, the cost of living is also reasonable. On the downside, the Northwest economy has taken a major hit in recent years and it can be hard to raise cash.

That hasn't discouraged Seattle's film scene. In fact, when a cash-poor administration threatened to cut funding for the local film offices, "support exploded and took everyone by surprise," McInnis recounts. Adds Lisanne Dutton, director of IFP/Seattle, "the community response was so overwhelming that both film offices were not only not dropped, they had their budgets boosted."

It only makes sense. Though Seattle still loses work to nearby Vancouver, the city is landing an increasing number of projects that stay stateside. Recent examples include The Ring, Stephen King's Rose Red and its sequel, Ellen Rimbauer. Even more exciting, Dutton notes, is that "for the first time, local forces are realizing Seattle's real strength is its homegrown films."

This is truly a dynamic scene. Seattle's moviemakers are organizers, too: Documentarian John Jeffcoat, for example, has served as VP of Wiggly World, which provides not only a screening venue for local moviemakers, but seminars and sponsorship of local work. Jeffcoat also served on the board of the Humanities Media Center, an organization that promotes documentary film and has helped create a strong community of documentary moviemakers. If you're a D.I.Y. type, Seattle's visible, vocal film community could be just the place to do it. MM

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