Film Tax Credits Promote Culture, Commerce

Why do you think the "Star Wars" movies were filmed in England? If your guess is that Chewbacca is partial to London fog, think again. It's because the United Kingdom offers tax credits that make it very attractive for filmmakers big and small to move at least part of their productions there.

A panel discussion on the tax incentives that European countries offer to filmmakers was one of the many informative presentations that took place during the 70th Annual Cannes Film Festival. I attended the festival May 20-24 in the French Riviera to promote the documentary I directed, "Lady Wrestler: The Amazing, Untold Story of African-American Women in the Ring."

The panel discussion opened with a "sizzle reel," a video with clips from movies that have utilized England's tax credits, including "Star Wars: The Force Awakens," "Fantastic Beasts and Where to Find Them" and "The Hunger Games" series.

England offers up to a 25 percent tax credit for movies that are either filmed in England or use postproduction facilities there. One of the cool things about England's tax credit system is that movies don't have to meet a certain budget amount to qualify, said Adrian Wootton, chief executive of the British Film Commission. For example, a micro-budget movie made for under $100,000 can benefit just as much as a $200 million blockbuster like "Star Wars."

"It's not about the amount" that a movie is made for, but a certain percentage of the budget that filmmakers spend in the United Kingdom, Wootton said.

In order to attract film productions and the economic boost associated with them, countries such as Hungary allow filmmakers to do "co-productions" with other nations. A movie could film partly in England and use that country's 25 percent tax credit and film partly in Hungary, earning up to another 6 percent in tax credits, for a total of a 31 percent tax credit.

What this means is that, suppose a movie's budget is $100,000. The filmmaker would receive a refund of $31,000 by using government tax credits, so that the movie was actually made for $69,000.

Co-productions encourage commerce and cooperation between countries and promote culture around the world, said Balazs Zachar, head of business affairs for Hungary's Pioneer Pictures.

"It's a very positive trend," he said. "We hope it will be here to stay for awhile."

Belgium also offers a competitive tax credit and allows filmmakers to strike co-production deals with other countries, said Tristan Goligher, producer of the independent film "Lean on Pete."

"You don't have to spend all of the money in Belgium," he said. "You can have a Belgian crew come to the U.K."

Tax credits often result in a win-win for filmmakers and for host countries, said Matthew Metcalfe, New Zealand-based producer of the new action thriller "6 Days." Filmmakers receive funding to launch their productions, while the host countries benefit from the films' cast and crew patronizing hotels, restaurants, taxicab companies and other local businesses.

"What [the United Kingdom's tax credit system] does is it encourages you to bring yourself and the production to the U.K.," Metcalfe said. "It encourages people to engage with the wider English community."

For more information about the United Kingdom's tax credit system, visit Britishfilmcommission.org.uk.

The Cannes Film Festival Was A Series Of Adventures

Attending the 70th Annual Cannes Film Festival over the past week was a real treat, both as a filmmaker and as a lifelong film fan. I made numerous contacts to discuss possible distribution for the documentary I directed, "Lady Wrestler: The Amazing, Untold Story of African-American Women in the Ring."

Some of the best experiences at Cannes, which is held in the beautiful French Riviera each May, were those I stumbled onto:

A panel discussion about the need for more diversity both in front of and behind the camera in the film industry.

An information session on how to take advantage of tax incentives that countries such as France and England offer to support the international filmmaking community.

A presentation by a top Los Angeles financier, breaking down exactly how independent movies are funded in order to attract big-name actors and multi-million-dollar distribution deals.

The premiere of "Happy End," starring Isabelle Huppert, French acting legend and former Cannes Film Festival jury president.

A screening of "The Meyerowitz Stories," starring Dustin Hoffman, Emma Thompson, Ben Stiller and Adam Sandler.

There were so many informative programs and movie screenings, it was impossible to do and see it all. In addition to taking in as much as I could at the Cannes Film Festival, I tried to get out and see a bit more of Europe while I was there.

One morning, I left Antibes, the area near Cannes where my hotel was located, and took the train to Monaco. It was important for me to see Monaco, since it's one of the settings in my novel, "The Chloe Chronicles" (I'm going to release an updated version of the book later this year; details soon to come).

Although Monaco is the domain of the House of Grimaldi, the royal family that once included screen legend Grace Kelly when she married Prince Rainier III in 1956, I found the area to be very affordable. I browsed a mall that wasn't much different from those that can be found in any town in the U.S.A. It was also cool seeing crews setting up for the Monaco Grand Prix, the Formula One race held there each year.

On another day, I took an overnight train from Antibes to Paris. Getting to Paris was important, not only because the City of Light is also a key setting in "The Chloe Chronicles," but because it was the first international city I visited. I first went to Paris in September 1998 when I was an English major at Ohio State University.

I also got to see Madrid through a "happy accident" that happened on the flight home. My flight originated in Nice, the airport closest to Cannes, and I had a layover Madrid. I debated with myself about whether to spend god-knows-how-much money to try to book a later flight to New York so I could go out and explore Madrid.

The dilemma was solved when my flight from Madrid to New York was delayed, giving me a couple of hours to take a bus from the Madrid-Barajas Airport into the city and spend some time in a quaint little Spanish neighborhood.

My main takeaway from this entire experience is that the world is a neighborhood. For the most part, everyone I encountered went out of their way to be friendly and helpful. And no matter the language you speak, a smile and a positive attitude go a long way.

The Red Carpet At Cannes Is Surreal In Many Ways

My experience at the 70th Annual Cannes Film Festival has been exciting and productive so far. I'm here promoting my documentary, "Lady Wrestler: The Amazing, Untold Story of African-American Women in the Ring."

I've had two "red carpet" experiences since my arrival in the scenic French Riviera on Saturday, May 20. Being on the red carpet at Cannes is truly amazing, since this is one of the most world-famous gathering places for people who love the movies. In fact, the festival reserves special spots along the red carpet for fans who proudly wear the label "Cannes Cinephiles."

I'm certainly a cinephile myself, so it was with great enthusiasm that I stood among the cinephiles along the red carpet on Sunday, May 21, watching the stars arrive for their big premieres here at the festival.

A billboard-size screen installed beside the red carpet gave the crowds an excellent view as Nicole Kidman and Elle Fanning emerged from the Grand Lumiere Theatre following the screening of their new movie "How to Talk to Girls at Parties." This was movie-star glamour at its height, with Kidman and Fanning decked out in designer frocks as they posed and preened for the paparazzi.

I also saw Andie MacDowell, whom I loved in the Gen X classic, "St. Elmo's Fire."

After the "How to Talk to Girls" entourage left the red carpet, a caravan of limousines delivered the next group: the stars of the new Netflix feature "The Meyerowitz Stories (New and Selected)." It was very interesting watching Oscar winners Dustin Hoffman and Emma Thompson interacting with comedy superstars Ben Stiller and Adam Sandler. These unlikely costars play a dysfunctional family in "The Meyerowitz Stories," which can best be described as a "dram-edy" - a combination of drama and comedy.

Hoffman, Thompson, Stiller and Sandler were joined on the red carpet by filmmaker Noah Baumbach, who wrote and directed "The Meyerowitz Stories." Baumbach reminds me of Andy Garcia, and I wouldn't be surprised if he's sometimes mistaken for the famous Cuban-American actor.

I really enjoyed "The Meyerowitz Stories," which is set to debut on Netflix this year. Since the movie is so star-packed, it seems to cry out to be shown in theaters rather than streaming online. In fact, a debate has raged at Cannes over whether movies that don't receive theatrical distribution should be allowed to be in competition at the festival. At least one jury judge, renowned Spanish filmmaker Pedro Almodovar, said he's a firm believer that only theatrical movies should screen at Cannes. As services like Netflix and Amazon Prime continue to grow in popularity, the debate will rage on.

On Monday night (May 22) I was privileged to attend the premiere of "Happy End" at the Grand Lumiere Theatre. As I stood next to the red carpet waiting to get in, I noticed director Brett Ratner of "X-Men: The Last Stand" and "Rush Hour" fame in line near me. I didn't meet Ratner, but I did shake hands with acclaimed African-American actor Julius Tennon, husband of Oscar winner Viola Davis. I let Tennon know that I really enjoyed "Lila & Eve," the independent film Tennon and Davis made with Jennifer Lopez.

I must say that in addition to spotting stars, one of the most surreal aspects of the red carpet experience at Cannes was the music that booms from oversize speakers as the celebrities make their grand entrances. I'm not sure who the DJ is, but the playlist is eclectic to say the least, including everything from Kool & the Gang's disco classic "Celebration" to a version of Christopher Cross' light-rock classic "Ride Like the Wind" with French lyrics.

Before we were ushered into the theater, yet another premiere let out. I watched as Nicole Kidman (once again), Colin Farrell and other stars of "The Killing of Sacred Deer" descended the steps of the Palais des Festivals after their screening ended and posed for the paparazzi. Kidman was joined on the red carpet by husband Keith Urban.

Once seated in the balcony of the Grand Lumiere Theatre, I watched as French acting legend and former Cannes Film Festival jury president Isabelle Huppert and the cast of "Happy End" took their seats in the front row and watched the movie with the black-tie crowd (myself included). Sitting in a darkened theater with the actors whose work was onscreen was a dream come true for a cinephile like me.

Live From The Cannes Film Festival: Day 1

I'm writing this post from the 70th Annual Cannes Film Festival - my first trip not only to Cannes, but to any kind of film festival.  The internationally renowned event is held each May in the beautiful French Riviera.

I'm here to promote my documentary, "Lady Wrestler: The Amazing, Untold Story of African-American Women in the Ring." I'm an official participant of Le Marche du Film, a global cinema marketplace held in conjunction with Cannes that allows filmmakers like myself to connect with production companies and distributors.

Here's a look at my Cannes experience so far:

I arrived at Cannes in the early afternoon yesterday (Saturday, May 20). It took me awhile to figure out which entrance to go to at the sprawling Palais des Festivals to pick up my badge for Le Marche du Film.

After I finally found the correct entrance and picked up  my credential badge and goody bag full of screening guides and trade publications such as "Variety" and "The Hollywood Reporter," my next task was finding my hotel and checking in so that I could freshen up. I felt grimy from a full 24 hours of buses, planes and trains that I took from my hometown of Columbus, Ohio.

It also took me a long time to find my hotel. I got help from two very nice ladies at the convention and visitors bureau in Antibes, the area that's a short train ride from Cannes where I'm staying. The ladies gave me a map to help me find my hotel on foot and avoid the cost of a taxicab.

While looking for my hotel, I stumbled onto a political event for newly-elected French President Emmanuel Macron. An overflow crowd was gathered outside a storefront emblazoned with a billboard-size poster of Macron and two of his associates. I don't think the president was actually there, but was represented by his associates. I could vaguely hear the sound of some kind of stump speech filtering outside where I stood on the sidewalk trying to figure out where I was.

As I studied my map, two friendly strangers came up to me separately, told me that I looked lost and pointed me in the right direction to find my hotel - defying the stereotype of rude French people who turn up their noses at American tourists. After finally getting situated at my hotel, I took the train back to the Palais de Festival, only to find that I had arrived too late to get into any of that evening's screenings. Rather than disappointed, I was more than happy to go back to my hotel and crash after all the time on the road and in the air.

The highlight of the festival so far happened just this morning, when I had an informational meeting with a London-based production company. The personable, down-to-earth producer I met with gave me an overview of his company's services and I, in turn, told him about myself, the "Lady Wrestler" documentary and other projects in the works.

While I'd love to report that this meeting resulted in "overnight" success and generated that coveted multi-million-dollar sale that many people here at Cannes are hoping for, that's not the case. However, it was an excellent opportunity to network, build contacts and learn more about the international filmmaking business.

I'll continue to file reports as the festival continues through this coming week - if the wi-fi holds up, God willing.

Getting Ready For Cannes: Memories of Paris

Since my first time visiting Paris almost 20 years ago in September 1998, I've had recurring dreams of returning to Europe. My trip to the 70th Annual Cannes Film Festival this week to promote my documentary, "Lady Wrestler: The Amazing, Untold Story of African-American Women in the Ring," finally affords me that opportunity.

Here are some of my memories of France from my last trip when I was a college student majoring in English at The Ohio State University and the Clintons were in the White House:

An overall welcoming feeling. France has long been a haven for African-American artists such as Josephine Baker, James Baldwin and countless jazz musicians. Perhaps because of this tradition, I felt totally welcome when I set foot in Paris. I didn't encounter the stereotype of French people being rude and condescending to American tourists. In fact, I found that people bent over backwards to give me directions and answer my questions and would often apologize if their English wasn't perfect.

A sense of history. Growing up in the United States, especially the Midwest where many subdivisions are newly built, everything feels recent. But walking down the boulevards of Paris and taking in architecture and sculptures that have been there for hundreds of years, the sense of history sweeps over you.

Diversity. Cultural diversity may not be the first thing that springs to mind when you think of a Western European country like France. But like all great cities, Paris is truly an international metropolis. 

I encountered other people of color of African descent like myself. In the hostel where I stayed, one roommate was from Australia and another was from Russia. My two roommates were friendly and showed me how to use the Metro, Paris' subway system — even if they did assume that because I'm tall and black, I must be a basketball player!

By the way, my trip to Paris back in '98 was to research my debut novel, "The Chloe Chronicles". The book invites readers on the the globe-hopping adventures of an exotically beautiful, multiracial young woman named Chloe Bareaux. The story begins in the City of Light — Paris. 

I plan to release a new, updated version of "Chloe" later this year. Details soon to come. Stay tuned...

What I've Learned As An Author Over The Past Year

It was one year ago today that my good friend Raymond Lambert and I debuted the book we wrote together, "All Jokes Aside: Standup Comedy Is a Phunny Business," at a series of events in my hometown of Columbus, Ohio. Two of the major highlights were a launch event at the Funny Bone comedy club hosted by WBNS 10TV anchor Jerry Revish and a book signing and author talk at the Barnes and Noble bookstore in the Easton Town Center shopping mall. 

I have to give a big shout-out to Eric Troy, a mutual friend of Raymond and I who organized these events and generated a lot of great press and buzz for the book. I also have to acknowledge Agate Bolden Books Publisher Doug Seibold, who gave the go-ahead to the book proposal Raymond and I submitted and then patiently edited our manuscript. 

"All Jokes Aside" tells Raymond's fascinating, multifaceted life story:

How he was shaped by his working-class upbringing in Wilmington, Del., raised by teen parents, and became the first in his family to go to college. Raymond is a proud alum of Morehouse, the venerable Historically Black College that is the alma mater of many African-American icons, including Dr. Martin Luther King.

While writing the book, Raymond and I found we have some things in common: He was among a handful of Black kids at the Catholic school he attended growing up and so was I. Raymond went to Morehouse; I graduated from Eastmoor High – nicknamed "The 'Moor House."

Raymond's stint as a Wall Street investment banker in the go-go '80s. Raymond eventually left the hustle and bustle of Manhattan to move to Chicago to work for Chris Gardner, the internationally renowned businessman whose life was the subject of the blockbuster movie "The Pursuit of Happyness" starring Will Smith.

How Raymond and Morehouse buddy James Alexander joined forces to break away from their secure, well-paying jobs in the financial services industry in the '90s to found the legendary All Jokes Aside comedy club in Chicago. All Jokes Aside became a "star factory" that helped launch the careers of Dave Chappelle, Chris Rock, D.L. Hughley, Carlos Mencia and Oscar winner Mo'Nique, among many other Kings and Queens of Comedy. 

In the past year since we launched "All Jokes Aside," I've learned a lot. One of the biggest insights I've gained is that even though the All Jokes Aside comedy club closed its doors around 2000, its legacy lives on and continues to have a tremendous impact on pop culture. Even after spending two years writing and researching the "All Jokes Aside" book with Raymond, I'm still amazed to learn about the far-reaching influence the club had and continues to have. 

One day, my good friend and fellow author Andrew Miller emailed me a link to comedian Marc Maron's popular "WTF" podcast. During the podcast, comedian, actor and writer Deon Cole of "Blackish" and "The Tonight Show" fame talked about how All Jokes Aside helped him get his start.

And just a week ago, I was listening to one of my favorite radio shows, NPR's "Fresh Air," and comedian W. Kamau Bell mentioned working at All Jokes Aside early in his career. The funny thing is (pun intended), is that I almost turned the show off when Bell talked about interviewing white supremacists for his CNN show, "United Shades of America." I was offended by the concept of giving a platform to hate groups to spread their toxic message, but I figured I should hear Bell out.

Ultimately, I'm glad I tuned in long enough to hear Bell give "All Jokes Aside" a big shout-out. 

To hear the "Fresh Air" episode with Bell (he mentions All Jokes Aside about 22 minutes in), click here. 

And for more information about "All Jokes Aside" and to pick up your copy, click here.