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Studios Off the Beaten Path
Move Over Los Angeles and New York... Here Come Canton and Utley

Robert Rodriguez and Richard Linklater show their support of Austin Studios.
They may be off the beaten path, or at least away from the bright lights of Los Angeles and New York, but they’ve been spot on in making cities like Austin, Texas and Albuquerque, New Mexico burgeoning production beds for both big-budget and indie moviemaking. Yes, there’s a bumper crop of movie studios outside the Hollywood mainstream—with more on the way—that are drawing crews inside and onto soundstages in more remote, more affordable locations.
The trend not only bodes well for local economic development, but also provides moviemakers with cost-effective alternatives for shooting that, in the end, can yield better product.
“There are probably four or five really good reasons why these studios are important to the industry, but the number one is cost,” says Dana Arnold, CEO of Pacifica Ventures, the powerhouse parent company behind Albuquerque Studios. “It’s very expensive, if not impossible, to meet budgets in New York, Los Angeles or London, where most of the assets are in terms of producing these days.“
Agnes Varnum, director of marketing and communications manager for the Austin Film Society, which operates Austin Studios, agrees: “People are eschewing the places that are more expensive for better deals and incentives. They need to make their films in the most economical way.”
Albuquerque Studios, which opened in 2007 and has such titles as Terminator Salvation, The Book of Eli and Let Me In to its credit, is now booked through the end of 2012. With its eight 18,000- and 24,000-square-foot stages, 13,000 acres of backlot and concierge services, the studio is “like a resort for filmmakers,” says Arnold. “We have 12,000 trained film professionals, from grips to set builders. Filmmakers need great locations where there are major incentives and crew capability in place, so they can come, make their movies and meet their budgets.”
Since its inception, the facility has almost tripled the state’s income from film production to more than $400 million and has been well received by Albuquerque residents. Soon to be joined by similar Pacifica complexes in Connecticut and Pennsylvania, the studio serves major productions exclusively.
Austin Studios, on the other hand, looks to attract both the Hollywood and local moviemaking communities. The newly renovated 20-acre property boasts the largest cyc wall in Texas, at 87 feet long (perfect for green screen), as well as five wireless stages and 10,000 square feet of office space; plans call for an additional 75,000 square feet next year.
“Our partnership and below-market lease with the city of Austin allow us to operate on a sliding scale, so we can work with low-budget productions,” notes Varnum. “We want to be a media facility for everyone, from indies to big-budget features.”
Austin Studios began welcoming moviemakers in 2000 and has helped in cultivating the city’s film business and culture. Such pictures as True Grit, Stop-Loss and Friday the 13th called the city home for a time. “We have this group of filmmakers who don’t want to have to go to Hollywood to shoot their movies,” Varnum adds. “Establishing Austin Studios was a way for them to stay here.”
Spiderwood Studios, just 25 minutes from Austin in Utley, Texas, is helping to keep moviemakers in the area as well. The full-service, fully equipped center with a groomed-for-production backlot is situated on 200 acres of diverse terrain along the Colorado River.
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COMMENTS | POST A COMMENT 
- Comment by Tommy G Warren on 9/03/11 at 4:51 pm
Spiderwood Studios has just completed productions of “Bad Kids Go To Hell” and it is now in “post”. Post production is complete on the 15 min. animation film, “Flight Of Magic” directed by Tommy G Warren and also produced at Spiderwood.
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This story was published in the Future of Moviemaking 2011 MovieMaker Magazine. The headline was:
Studios Off the Beaten Path / Move Over Los Angeles and New York... Here Come Canton and Utley
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