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Description
The Committee on Global Opportunities & Creative/Innovative Economy of the Council of the City of Philadelphia held a Public Hearing on Friday, May 12, 2017, at 1:00 PM to hear testimony on the following item:
No. 170258
Resolution authorizing Council's Committee on Global Opportunities and the Creative/Innovative Economy to hold public hearings on the state of the Philadelphia Film Industry.
Committee on Global Opportunities and the Creative and Innovative Economy
Chair: Councilman David Oh (At Large)
Vice Chair: Councilman Al Taubenberger (At Large)
A
Good
afternoon
my
name
is
David
Oh
and
I'm,
chairman
of
City
Council's
Committee
on
global
opportunities
and
the
creative
innovative
economy.
Today,
we're
holding
public
hearings
on
the
state
of
filmmaking
in
the
city
of
Philadelphia
Clark.
Would
you
please
read
the
title
of
the
resolution
resolution.
D
Just
very
briefly,
mr.
chairman,
thank
you
very
much
for
your
leadership
on
the
on
a
resolution
on
the
issue
and
also
I'm
very
honored
to
with
co-sponsor
this
with,
you
I
think
it's
an
important
topic,
something
that
really
relates
to
the
city
in
many
ways.
As
far
as
advertising,
obviously
storytelling
and
then
in
the
history
of
the
city,
is
all
wrapped
up
in
the
film
industry.
I
look
forward
to
hearing
the
expert
witnesses,
Thank.
A
You
charlie,
thank
you
very
much
councilman.
Let
me
state
that
it
is
critical
for
the
citizens
of
Philadelphia
to
support
the
film
industry
and
filmmaking.
It
is
critical
for
city
government
to
understand
that.
Not
only
does
this
have
to
do
with
art
and
creativity,
it
has
to
do
with
jobs,
and
the
robust
competitiveness
of
our
city
filmmaking
also
offers
so
many
jobs
and
opportunities
that
citizens,
don't
think
of
from
those
folks
who
drive
the
film
trucks
making
up
to
150,000
a
year.
A
All
the
support,
the
folks
who
are
involved
in
making
those
sets
the
great
wages
they
have
and
how
it
highlights
our
city,
our
region,
our
state
and
for
government.
It's
important
that
we
show
through
the
actions
that
we
take
and
how
we
support
the
industry
that
we
get
it,
that
we
understand
and
so
well
I
mean
so
much
of
this
is
actually
handled
by
the
state,
not
by
the
city.
A
A
Let
me
know
for
the
record
that
state
representative
cost
represents
I
believe
some
some
district
out
around
Pittsburgh.
Yes,
sir,
so
it's
a
huge
thank
you
for
being
here
to
testify
here
in
Philadelphia,
and
we
understand
that
as
soon
as
you
can,
you
need
to
leave,
get
go
back
to
Pittsburgh.
So
thank
you
very
much
for
being
here
and
with
that.
Would
you
please
state
your
name
for
the
record
and
then
provide
us
with
your
testimony?
Yes,.
E
Sir,
thank
you.
I'm
state
representative,
Paul
Costa
I
represent
the
34th
legislative
district,
which
is
parts
of
the
city
of
Pittsburgh
and
its
eastern
suburbs.
Excuse
me
before
I
begin
I
want
to
thank
you,
chairman,
oh
very
much,
for
inviting
me
to
talk
about
the
film
tax
credit.
It's
something
that
I've
been
an
advocate
for
forever
as
long
as
I've
been
in
the
legislature,
because
I've
seen
the
direct
impact
that
it's
had,
not
only
in
my
district
but
throughout
the
state
and
creating
jobs.
E
Just
a
little
bit
of
background
on
how
the
film
tax
credit
works
is
if
a
movie
industry
wants
to
come
while
use.
Pittsburgh
is
an
example
once
to
come
to
Pittsburgh
and
makes
a
movie:
are
they
putting
a
request
if
60%
of
the
work
is
going
to
be
done
in
Pennsylvania
by
60%
of
the
employees
are
from
Pennsylvania?
If
that's
the
case,
then
they
apply
for
these
tax
credits,
so
they
go
along.
E
They
make
the
movie
and
at
the
end
of
the
movie
and
after
everything
is
done,
there's
an
audit
that
is
done
to
make
sure
that
the
production
did
what
exactly
what
they
said.
They
were
going
to
do
a
minimum
of
60
percent
of
work
in
Pennsylvania
by
Pennsylvanians.
If
that's
the
case,
then
the
tax
codes
are
released,
so
that's
basically
how
it
works,
but
what
my
bill
does?
Is
it
uncaps
that
credit
amount
today,
I
believe
our
tax
credit
is
at
60
million
dollars?
E
We
are
turning
away
lots
of
business,
at
least
I
know
in
southwestern,
Pennsylvania
and
I'm
sure
here
in
the
Philadelphia
region.
We
are
turning
away
projects
because
we
don't
have
enough
tax
credit
and,
as
you
said,
it's
very
competitive
out
there
there's
other
states
that
offer
these
tax
credits,
and
you
may
ask
why
and
you
kind
of
hit
on
it
early
when
you
talked
about
the
the
impact
that
these
movies
have
I
mean
everybody
thinks
so
the
actors
and
the
producers
and
people
like
that.
E
But,
as
you
stated,
there's
electricians,
there's
carpenters,
there's
painters,
there's
hairdressers,
here's
makeup,
there's
caterers,
there's
hotels,
there's
rental
cars,
there's
provide.
You
know
several
opportunities
that
are
associated
with
the
film
office
and
I
always
tell
people.
I
have
a
friend
who's,
a
dog
walker
and
she
wanted
her.
E
Clients
are
people
that
are
makeup
artists
and
the
Pittsburgh
region
for
film
when
the
makeup
artists
are
work
and
the
dog
walker
is
working,
so
the
ripple
goes
all
the
way
down
to
someone
who,
what
walks
a
dog
and
again
you
don't
realize
the
positive
impacts
it
has.
My
district
that
I
represent
some
areas
are
pretty
distressed
and
we've
been
fortunate
that
we've
had
a
couple
of
movies
that
have
been
made
in
our
district
and
the
nice
thing
about
this.
E
That
people
don't
realize
is
that
a
lot
of
times
they
go
through
clothes
or
furniture,
or
things
like
that.
We're
fortunate
in
our
area.
We
have
a
place,
it's
called
the
free
store
and
anytime
that
the
movies
in
our
region
make
movies
and
when
they're
done,
they
donate
to
clothes
and
the
furniture
and
anything
else
that
they
have
to
the
free
store.
So
there's
a
people
in
a
community
could
come
and
brief
the
benefit
of
that.
E
In
addition
to
that,
there
was
a
movie
that
was
made
in
one
of
our
local
police
stations
as
a
thank
you.
They
bought
the
police
station
a
brand
new
radio
system
which
is
not
very
chief
and
that
they
really
needed.
So
there's
a
lot
of
other
things
that
these
film
industry
does
that
people
don't
see
the
donations
that
they
make
to
our
communities
I,
and
this
story
goes
back
a
long
time
ago
and
we
try
to
tell
the
impact
it
has
and
other
members
districts
in
the
region.
E
The
impact
there
was
a
movie
that
was
made
in
Pittsburgh
with
Russell
Crowe,
the
next
three
days,
so
Russell
Crowe
had
three
private
parties
at
a
restaurant.
The
owner
of
the
restaurant
told
us
that
he
made
more
money
in
those
three
nights
than
he
makes
in
six
months.
So
that's
the
revenue
that
is
coming
in
and,
as
I
said,
the
hotel
rooms,
the
Reta
cars
and
I
used
the
example
of
our
in
our
region.
E
When
the
movie
was
being
made,
they
had
our
station
at
our
fire
departments,
Hall
rec
hall,
so
they've
rented,
our
fire
departments,
rec
hall,
for
you
know
a
couple
months,
which
is
good
money
to
them:
they've
rented,
the
police
officers
again,
which
was
good
money
to
them
whenever
they
need
something
they
don't
think
about.
That's
cheapest
place,
they
go
the
closest
place.
They
can
get
something
so
they're
always
staying
close
to
the
region.
So
those
are
one
of
the
many
reasons
why
I've
introduced
this
legislation.
E
If
we
are
to
on
cap
it
when
I'm
captain
really
means
about
150
million
dollars,
because
once
you
get
to
that
point,
there's
only
so
many
jobs
that
can
be
run
and
done
at
a
time.
So
if
we
raise
it
up
to
150
million
dollars,
we
wouldn't
be
turning
away
anybody
and
we
would
constant
have
employment
for
not
only
our
crafts
but
everyone
else's
again.
All
the
way
down
to
the
dog
walkers,
so
I
would
be
more
than
happy
to
address
any
questions.
Thank.
A
You
very
much,
and
at
this
time
let
me
recognize
that
we've
been
joined
by
Councilman,
Derrick,
green
and
Councilman
mark
squealing,
because
you
are
the
drafter
of
this
legislation.
What
I'm
going
to
do
is
we're
going
to
direct
anyone
who
has
questions
to
you
at
this
time
and
then
we'll
continue
with
our
second
panel
panelists,
who
I
understand,
is
quite
knowledgeable
of
the
technical
aspects
of
the
tax
credit.
So
let
me
just
start
with
a
few
questions
of
my
own.
E
A
E
Difficult
we've
had
an
uphill
battle,
explaining
the
people
how
the
tax
credit
works.
They
think
that
the
money
has
gone
to
the
producers
or
the
movie
stars
and
whatnot,
and
several
times
I've
had
to
explain
to
my
colleagues
that
it
did.
That
movie
doesn't
matter
where
the
movies
being
made.
The
producers
and
the
stars
are
getting
paid.
It's
when
it's
made
in
our
region
that
our
carpenters
are
getting
our
electrician,
our
painters
again,
our
dog
walkers,
all
of
them
included
they
all
get
paid
to.
E
So
it's
hard
to
explain
that
to
some
of
our
members,
but
the
good
side
of
it
is.
We
do
have
people
that
are
in
the
industry
that
have
been
email
and
I
know
they
email
me
I,
assume
their
email
and
their
other
representatives
explaining
the
beneficial
impact
of
the
tax
credit.
But
it's
an
uphill
battle.
As
you
know,
our
state
is
roughly
a
two
billion
dollar
structural
deficit
and
when
we
try
to
tell
people
that
we're
increasing
a
tax
credit,
they
get
squirmish.
E
A
So
you
know
I
hear
from
industry
folks
that
this
television
series
or
series
are
wonderful,
because
people
keep
working,
they
keep
working
and
then
folks
in
Philadelphia,
also
wonder
about
you
know.
Is
there
anything
for
independent
film
makers?
I
generally
believe
that
if
we
don't
have
major
motion
pictures
going
on
here,
you
know
there
just
isn't
a
lot
of
excitement
and
opportunities
for
Philadelphia,
but
we
really
want
to
look
at
independent
filmmakers.
I
know
there
have
been
tax
credit
or
incentives
or
on-the-job
training
or
training.
Folks,
somebody
somebody
has
raised
issues
about
diversity,
tax
credits.
A
E
That
right
now
going
as
far
as
the
independence
because
of
the
tax
credits,
only
it's
60
million,
it
gets
eaten
up
pretty
fast
and
usually
by
the
big
movie
productions,
because
they're
planning
so
far
out
that
they're
able
to
do
this.
Unfortunately,
if
an
independent
by
time
they
want
to
get
into
the
mix,
the
tax
credits
could
be
gone.
So
again.
If
we
increase
it,
then
that
would
create
more
opportunities
for
the
independents
and
for
the
other
programs
that
you're
talking
about
all.
F
Thank
You
mr.
chair,
thank
you
for
your
work
on
this
issue.
I
know
some
years
ago,
when
I
worked
for
councilman
Taska,
we
were
looked
and
explored
and
ax
had
hearings
on
the
concept
of
a
local
tax
credit,
but
in
talking
with
the
administration
at
a
time
the
finances
of
doing
that
was
challenging,
probably
very
similar
to
what
you're
having
at
the
state
level
where
I
know
from
mob
servation
over
the
years.
F
Even
going
back
to
the
Rendell
administration
as
government,
it's
been
moving
by
some
to
reduce
the
tax
credit
where
other
states
and
other
jurisdictions
have
been
growing
their
tax
credits
and
in
seeing
the
benefit
that
it
has
to
the
industry.
What
steps
can
we
as
a
city
which
is
benefited
from
growing
film
industry,
how
to
promote
the
tax
credit,
even
though
it's
something
at
the
state
level?
F
Is
there
an
opportunity
where
the
city
can
partner
with
the
state
to
better
promote
this
in
the
industry,
expense
from
a
tax
credit
perspective
and
I'm
curious,
what's
happening
to
other
jurisdictions,
and
in
Georgia
has
a
very
booming
film
tax
credit
I,
see
them
made
in
Georgia
all
the
time
for
a
lot
of
different
productions,
and
what
can
we
on
the
local
level
do
to
support
efforts
to
at
least
maintain
it
that
enhanced
tax
credits
at
the
state
level?
Well,.
E
I
would
suggest
that
not
only
talking
to
your
legislators,
but
your
Senators
and
the
governor
staff
and
explain
to
them
the
impact
it
has
had
on
your
area
as
I
was
explaining
earlier.
I
know
the
direct
impact
it
has
in
my
district
and
the
more
and
more
we
can
get
that
information
out
there
to
other
members
and
to
UNK
and
the
governor
staff
to
show
that
this
is
actually
an
investment
that
is
made
in
our
communities
and
then
they
will
get
a
tax
credit
at
the
end.
F
E
The
one
thing
that
I
know
that
our
state
is
a
model
of
is
the
fact
that
we
do
an
audit
after
the
production
is
done.
A
lot
of
states
give
them
the
credit
up
front.
We
don't
do
that
again.
We
show
you
work,
you
do
the
work
that
you
said
you
were
going
to
do
and
then
only
then
do
we
give
you
the
tax
credit.
That's
one
of
the
major
differences
that
we
do
in
Pennsylvania
and
I
will
tell
you
this
I
know
when
other
states
that
have
canceled
there
are
tax
credits.
F
E
We're
actually
doing
a
good
job
because
we're
turning
away
at
least
I
know
in
southwestern
Pennsylvania
we're
turning
away
projects
because
we
don't
have
enough
credits
again.
My
solution
is
I,
hope,
I'm
right,
we
increase
the
amount
of
credits,
we
increase
the
amount
of
jobs
to
keep
coming
into
our
region,
and
hopefully
we
don't
have
to
turn
away
jobs
and.
F
Then,
finally,
it
something
because
there's
been
a
move
in
film
and
movie
and
television,
where
it's
much
more
content
on
through
different
type
of
providers
like
Netflix
and
others.
Is
there
a
strategic
advantage
of
focusing
more
on
television,
as
opposed
to
just
film,
because
of
some
of
the
changes
are
happening
in
industry
with
some
of
the
new
content
providers?
Looking
for
more
regional
content,
its
needs
to
be
a
diversity
of
opportunities
with
some
of
the
newer
providers
and
newer
mechanisms
getting
content
out
to
people
right.
E
With
these
TV
shows
and
the
Netflix
or
whatever
the
nice
thing
about,
if
you
catch
on
to
a
good
one,
then
it's
continuous
and
your
work
in
year-round
movies
sometimes
lasts
a
year
year
and
a
half,
sometimes
six
months
and
hopefully
you're
available
for
the
next
one
that
comes
along,
but
the
TV
productions.
As
long
as
they're
committed
there's
a
little
more.
How
do
you
want
to
say
predictability
of
how
you're
going
to
be
working.
A
Councilman
and
and
just
to
note
that
we
do
have
an
expert
on
tax
credit
who
has
yet
to
testify.
But
I
wanted
to
give
my
colleagues
the
opportunity
to
talk
to
a
fellow
legislator
before
he
has
to
leave.
He
has
very
graciously
come
in
and
he's
got
a
return
home
to
Pittsburgh.
So
I
want
to
certainly
let
our
legislators
speak
to
representative
Koster,
councilman,
squill
Thank.
H
G
Lab
we
appreciate
it.
I
I
agree
with
you
wholeheartedly
on
the
increases
of
the
tax
credits.
The
one
concern
that
I
heard,
though,
is,
is
it
that
the
tax
credits
have
to
be
renewed
each
year,
so
sometimes
that
may
be
a
process
and
when
somebody's
deciding
whether
to
come
here,
don't
know
if
it's
going
to
get
past
the
following
year.
So
is
there
something
in
this
bill
that
would
take
that
away
or
not
yeah.
E
That's
a
very
good
point
right
now
we're
at
sixty
million
dollars
and
that's
this
fiscal
year
we're
hoping
and
assuming
that
it's
going
to
be
in
the
next
fiscal
year.
But
we
don't
know
that
yet
we
all
know
that
until
the
budget
passes
right
by
having
a
bill
that
says
that
it's
uncapped
in
reality,
as
I
said
earlier,
it's
one
hundred
and
fifty
million
dollars.
E
G
E
E
Touch
on
about
that,
so
if
a
movie
comes
in
and
says
they're
going
to
do,
X
and
after
they
do
the
audit
and
they
didn't
do
X
and
they
don't
get
the
money.
So
unfortunately
that
money
was
tied
up
we're
over
25
million
dollars
of
credits
that
were
promised
out
that
we're
never
received.
We've
also
been
trying
to
last
several
sessions
to
throw
that
money
back
into
the
pot,
even
if
I
only
this
to
one
time
so
that
let's
say
that
next
year,
instead
of
it
being
60,
it
could
be
85
million.
G
We
understand
you
know:
Tophet
is
in
Harrisburg
now
with
the
deficit
and
the
budget
that
goes
on,
and
you
guys
have
your
hands
full
for
that.
We
appreciate
you
and
at
least
leading
the
charge
on
this
effort,
because
we
do
believe
I
mean,
and
it's
great
that
you
know
Pittsburgh
is
getting
a
lot
of
the
benefits
of
it,
but
I
think
if
it's
wide
enough,
all
the
areas
in
the
Commonwealth
could
benefit
from
this
and
generate
income
for
the
common
law.
The.
E
G
A
D
E
D
E
D
That's
a
Louisiana
State,
yes,
law!
Okay,
with
these
with
these
tax
credit,
and
you
believe,
they're
doing
that,
you
know
it's
really
interesting.
Someone
actually
just
told
me
something
similar
than
in
New
Orleans
right
now.
In
fact,
there's
two
young
folks
from
Philadelphia
working
down
there
and
they're
doing
quite
well
and
New
Orleans
seems
to
be
the
hub.
Now
of
you
know,
growing
these
and
and
what
you
have
a
sense
of
how
big
their
tax
credit
is.
I.
E
Do
not,
but
I
will
tell
you
this
if
you
talk
to
the
producers
or
any
of
the
people
in
the
movie
industry,
when
you
ask
them,
you
know,
I
always
think
why
do
you
pick
Pittsburgh
and
the
first
thing
they
say
is
a
tax
credit?
Well,
once
you,
if
you
don't,
have
a
tax
credit
they
you're
eliminated
and
then
you
go
to
their
so.
E
That's
the
other
side
of
it.
If
you
get
the
tax
credits
they're,
looking
at
your
region
because,
again
looking
at
Pittsburgh,
you
can
be
New
York,
it
could
be
Philly,
you
can
be
Chicago
or
you
can
be
Iowa
right
and
a
half
an
hour,
so
the
Pittsburgh
region,
plus
we
have
a
pretty
good
workforce
that
we've
developed
over
the
years.
Some
of
our
community
colleges
in
Point,
Park
University
both
have
programs
to
work
with
production,
assistants
and
movies,
and
educating
these
children
on
how
to
get
into
this
industry
represent
of
a
constant.
E
A
E
A
A
I
Hello
there
we
go
okay,
yes,
my
name
is
Mike
McCann
I
am
NOT
Mike
McCann
the
real
estate
man.
That's
a
fact.
A
long
time
ago,
PID
seekers
out
state
a
minute.
We
do
a
lot
of
tax
credits
here
in
the
city.
With
your
technology
companies,
someone
at
PID
C
said,
look
I,
told
everybody.
This
is
Mike
McCann,
the
tax
credit
man,
not
Mike,
McCann,
a
real
estate.
I
Man
out
there
you
go,
but
my
name
is
Mike
McCann
I
own
a
couple
companies
MVM
associates
and
film
incentives
group
were
based
out
of
Fort
Washington
Pennsylvania,
so
we're
local.
We
have
been
involved
our
20th
year
in
business,
and
we've
been
involved
with
these
type
of
transferable
tax
credits
since
2003
when
we
first
started
trading
or
helping
sell.
I
That's
what
means
research
in
development
tax
credits,
which,
at
that
time,
governor
Rendell,
had
started
that
program
to
allow
technology
companies
to
sell
tax
credits
that
they
couldn't
utilize
on
their
own
to
companies
that
could
use
them,
so
they
could
generate.
Revenue
in
the
company
would
buy
would
buy
for
a
little
bit
of
a
discount.
I
They
added
the
film
tax
credits
and
some
others
in
2007
and
I
started
filming
Santa's
group,
the
second
company
to
sell
these
tax
credits
across
the
country,
so
we
sell,
sell
or
have
sold
tax
credits
in
Pennsylvania
in
Louisiana
in
Georgia
and
Massachusetts
in
Florida
and
Alaska.
So
if
you
can
sell
them
in
the
film
business,
we
do
that.
I
So
we
were
very
active
in
Pennsylvania,
obviously,
because
we're
here
to
give
some
idea
at
Britain
my
testimony
I
looked
at
the
last
annual
report,
which
is
for
fiscal
year,
1415
I
think,
and
there
was
88
million
dollars
that
were
transferred
to
think
60
some-odd
transfers.
We
did
40%
of
those
so
and
probably
only
year-to-year
basis.
We
might
do
half
of
them.
You
know
we're
more,
so
you
know
I
won't
go
into
all
the
details.
We've
worked
for
Disney,
we
work
for
Paramount
I
work
for
Sony
worked
for
Lionsgate.
I
You
know
local
things
here,
so
we
know
a
lot
about
these
tax
credits,
because
it's
what
we
do
so
what
I
had
looked
at
was
in
looking
at
your
resolution
and
kind
of
tailored
what
I
was
going
to
say
to
how
you
could
draw
more
large
film
productions
in
large
TV
series
here
to
Philadelphia
versus
other
states
and
perhaps
either
other
sides
of
the
state.
You
know
representative,
constitute
it
right
on
the
head.
The
amount
of
tax
credits
that
are
available
each
year
is
simply
not
enough.
I
I
mean
in
addition
to
the
fact
that
the
budget
each
year
is
60
million
dollars.
The
legislation
also
allows
the
state
to
dip
into
future
years,
so
this
particularly
year
I
believe
there's
only
about
40
million
dollars
that
was
available
to
start
with
and
given
the
legislation
it
could
be
as
low
as
as
20
some
million.
So
there
is
unquestionably
a
need
to
increase
that
cap.
I'd
recommended
in
my
written
testimony
to
a
minimum
of
100
million
dollars,
I
believe
that
would
at
least
allow
another.
I
You
know
two
to
four
large
projects
to
come
to
Philadelphia
versus
things
that
might
go
to
Pittsburgh
and
uncapping.
It,
as
representative
Costas
said,
is
really
the
what's
really
needed.
I
think
the
fear
when,
when
you
hear
untapped,
as
you
would
with
anything,
is
okay,
are
we
going
to
have
a
runaway
we're
going
to
trillion
dollars
of
these,
and
is
it
going
to
bankrupt
the
state
and
reality
when
you
look
at
what
has
happened
in
some
of
the
other
states
that
do
have
on
capped
credits?
I
That
is
not
what
has
happened,
which
is
where
representative
Costa
gets,
is
150
million
dollars?
If
you
look
at
Massachusetts
is
a
very
similar
six
in
northeastern
location,
it's
unlimited.
It's
a
25
percent
credit.
We're
at
25
percent
of
credit,
there's
a
little
a
little
bit
different,
but
you
can
kind
of
look
at
them
as
apples,
apples
and
based
on
their
reports.
Over
about
a
ten-year
period,
the
average
amount
of
credits
that
was
utilized
in
that
state
was
60
to
70
million
dollars.
I
So
having
an
uncapped
credit
in
and
of
itself
does
not
mean
you're
going
to
end
up
with
you
know:
a
billion
dollar
worth
of
tax
credits,
some
of
the
states
don't
produce
as
much
information,
as
perhaps
you'd
like
to
say,
but
Georgia
and
Louisiana,
which
are
the
largest
little
Georgia.
Certainly
now,
janna
they've
changed
their
film
tax
credit
again
you're
talking
about
a
couple
hundred
million
dollars
worth
of
credits
in
any
one
given
year,
so
the
first
recommendation
would
be
obviously
to
to
increase
the
credit
whatever
you
could
and
on.
I
I
They
don't
have
profits
and
suspend
up
state
taxes
you
the
credit
against.
So
therefore
they
are
allowed
to
sell
the
tax
credit,
which
is
essentially
what
we
do,
and
companies
who
buy
these.
We
sold
public
information,
but
Apple
Computer
buys
a
lot
of
them.
Selective
insurance
buys
a
lot
of
Walmart
buys
a
lot
of
so
big
companies
with
big
tax
bills
purchase
these
credits.
The
real
great
thing
about
this
program
is:
they
have
to
invest
that.
I
Not
only
do
they
have
to
invest
that
money
first,
but
by
the
time
to
do
the
film
go
through
the
process.
Do
the
audit
file
their
tax
return,
sell
the
credits?
It
could
be
two
two
and
a
half
years
you're
getting
people
to
spend
40
million
they're,
not
even
getting
the
ten
million
dollar
benefit
for
two
and
a
half
years.
There
couldn't
be
a
better
economic
development
program
than
getting
people
with
the
money
up
front.
I
Now
the
one
thing
I
thought
on
a
local
level
that
you
could
do
I
took
a
look
at
your
PID
C
bridge
loan
that
you
that
you
have
for
PID
C.
So
if
you're
not
familiar
with
that,
PID
C
offers
companies
that
are
filming
that
have
a
tax
credit
awarded
and
are
filming
in
Philadelphia
to
loan
them
the
money.
On
that
tax
credit.
You
know
certain
stipulations,
but
a
very
fair
rate
versus
the
things
you'd
have
to
get
out
on
the
street,
which
are
very
high
rates
for
and
are
mostly
for
independence
that
utilize
it.
I
So
the
program
is
actually
very
unique.
There
are
very
few
municipalities
and
no
states
who
offer
financing
with
their
tax
credit
New
Mexico
used
to
do
it.
They
don't
do
it
anymore.
So,
as
I
stated
before,
if
you
know
it's
going
to
take
you
a
year
to
have
two
years
two
and
a
half
years
to
actually
get
to
the
money,
that
is
the
end
result
of
your
tax
credit
you'd
like
to
get
that
money,
a
heck
of
a
lot
sooner.
The
big
budget
productions
near
your
Studios.
I
I
What's
happened
is,
as
the
time
goes
along
and
some
of
the
CFOs
that
these
big
studios
have
reported
these
numbers
into
a
quarterly
number
they're
supposed
to
meet
for
an
annual
fiscal
year
that
they're
supposed
to
have
it
in
and
they're,
not
quite
sure
when
that
money
is
going
to
come,
I
think
it
would
be
very
valuable
for
the
city
and
P
IDC
to
be
talking
to
them
to
say,
hey.
We
would
help
you
with
that.
We
would
finance
this
tax
credit
through
our
program.
So,
lastly,
I'll
just
leave
you
with
the
programs.
I
Cap
is
four
point:
five
million
dollars.
You
know
that's
not
enough.
In
the
case
of
some
of
these
tax
credits
that
are
eight
ten
twelve
fifteen
million
dollars
with
these
big
budget
pictures
and
television
series
I
mean
the
you
know,
the
Netflix
credit
is
I,
think
23
million
dollars
over
a
couple
years.
I
So
again,
it
might
be
something
where
the
filled
up
film
office
in
the
city
and
PA
DC
talk
to
the
students
and
say
how
can
we
better
craft
this
program
that
it
would
be
really
important
to
you
guys
and
work
for
you
that
it
would
be
the
difference
between
filming
elsewhere
and
coming
here,
because
the
other
cities
don't
have
this
finance
program.
So
that's
kind
of
what
I
meant
have
a
long
test
money
right
now.
I
won't
read
it,
but
that's
kind
of
one
way
to
come
here
to
talk
about
today.
No.
A
Thank
you
very
much
and
just
for
clarity
sake.
What
you've
said
is
that
the
tax
credit
in
Pennsylvania
is
sixty
million
dollars,
but
they
can
kind
of
borrow
from
future
tax
credits,
so
we
may
have
a
lot
less
available
and
then
I
understand.
What
said
is
that
the
per
project
cat
there
is
a
per
project
cap
and
it's
4.5
million?
So
if
that's.
I
So
the
state
again,
the
state
tax
credit-
is
the
lure
to
get
the
production's
to
film
here
so
representative
Kostas
bill
which
would
on
cap.
It
is
unquestionably
the
answer
really
to
everything
that
was
uncapped.
You
would
have
all
the
work
you
could
handle
and
more
so
that's
the
first
part
of
it,
and
the
second
thing
is
the
city's
program,
which
is
the
loan
to
companies
who
get
those
tax
credits
so
allow
them
to
get
access
to
their
capital
sooner
I
think
again
is
a
great
tool.
I
G
I
Several
studies
that
have
been
done
most
recent
one
that
I
think
that
would
be
applicable.
The
Pittsburgh
film
office
did
a
study
that
gave
the
numbers
in
the
Univ
about
2009-2010.
The
state
legislative
and
budget
budget
committee
did
a
study
on
the
program
and
all
of
them
show
the
benefits
of
the
program.
With
you
know.
Different
multipliers
for
every
dollar
invested,
X
plus
comes
back
so
so.
G
It
is
beneficial
even
to
the
state,
because
I
mean
you
always
hear
when
people
have
opposition
to
something
is
that
we
can't
afford
it,
but
maybe
it
is
that
we
can't
afford
not
to
do
it,
because
if
it's
bringing
a
dollar
plus
back
for
every
dollar
spent,
it's
a
net
profit
to
the
state
correct.
So
we
would
just
need
to
make
sure
we
have
that
information
to
be
able
to
push
through,
and
even
if
we,
as
a
city,
looked
at
incrementing
or
implementing
some
type
of
tax
credits
and
maybe,
as
a
Bob
bonus.
G
I
I
You
know
the
highs,
there's
not
much
more
than
30%
think
there
might
be
one
or
two
others
so
I
mean
you
know
if
you
have
a
25%
credit
and
then
the
city
put
something
in
that
raised
that
bump
up
more
towards
30
or
a
little
bit
more.
You
know
net
and
of
course
you
know
it's
going
to
make
a
big
difference.
So
if
there's
something
the
city
could
put
in
to
that,
would
you
know
be
a
state
tax,
credit
plus
a
city
tax
credit
that
would
add
up
to
a
certain
amount?
D
I
Million
here's
the
current
project
yeah
the
current
PID,
see
sheet
that's
on
their
repair
site
right
now,
so
it
says
it's
four
point:
five
million
dollars
is
the
maximum
loan
amount.
Now
that's
actually
not
bad
for
a
lot
of
smaller
to
medium
sized
independence
and
that's
fine
and
I
believe
that
it
has
been
used
and
it
should
be
marketed
more
if
it's
not
being
marketed
or
not,
but
a
big
budget.
I
You
know
when
you
look
at
what
the
size
I've
even
alcohol,
the
medium
budget,
big
films
that
are
coming
here,
they're,
getting
credits
for
seven
million,
eight
million
nine
million
so
and
those
are
perhaps
say
like
Lionsgate.
You
know
what
I'll
call
mini
major
right
they're,
not
so
neither
not
paramount
so
they're,
not
getting
the
twenty
three
million
that
that
Netflix
is
doing,
but
they
have
a
smaller
picture.
Those
pictures
are
great,
they're,
large
pictures.
I
I
But,
as
I
said,
what
I
have
families
of
interest
to
them
is
when
they're
later
on,
they
need
that
money,
because
there's
a
certain
quarter,
they
were
supposed
to
have
a
pie,
and
maybe
the
production
over
ran-
or
maybe
the
audits
not
done,
or
maybe
the
state's
taking
a
lot
of
to
transfer
that
credit
I
would
think
it'd
be
very
they'd,
be
very
interested.
Hey.
You
know
what
I
have
this
in
my
back
pocket
Ghana
southern.
D
Well,
a
question:
the
the
actual
tax
credit
in
the
end
is
based
on
an
audit
that
you
are
within
the
parameters
and
that
is
done.
I
would
assume
post-production,
yes,
correct,
certainly,
okay,
what
happens?
We
loaned
them
the
money
and
then
all
of
a
sudden
we
find
out
they
didn't
hire
sixty
percent
from
Philadelphia
or
wherever
they're
supposed
to
do
this
short
and
they
did
not
qualify
for
the
for
the
tax
credit
sure
what
happens
well,.
I
In
the
with
the
program
in
and
of
itself,
you
know
I'm
there
secured
with
the
first
position
against
the
tax
credit.
They
perhaps
don't
loan
a
hundred
percent
of
the
tax
credit
amount.
So
if
it
comes
under
and
there's
a
lessening
of
the
credit,
they
could
still
recover
that
and
I'm
sure
they
have
other.
You
know
collateral,
you
know
requirements
and
again
with
the
big
studios
and
you're
going
to
have
them.
You
know
insure
this
or
guarantee
the
payment
on
that.
So
the.
D
I
Be
honest
with
you,
that's
not
really
my
area
of
expertise.
I
would
ask
some
of
the
other
folks
are
going
to
testify.
You
know
they
do
look
at
that.
Are
they
going
to
be
able
to
meet
that
hurdle
habit?
It
has
been
an
issue.
I
believe
that
issue
has
been
addressed
in
that
the
state
is
allowed
to
provide
some
waivers
if
they
see
that
the
economic
impact
that's
projected
from
the
project,
you
know
kind
of
offset.
Some
of
that.
So
yes
thank.
A
Well,
there's
a
lot
of
names
for
that
little
table.
So
let
me
do
this.
While
we
start
with
the
first
three
Geoffrey
wrought
with
Steve,
lijinsky
and
Neil
Samuels,
and
and
then
we'll
do
the
next
two
all
right.
Thank
you
very
much,
and
and
so
let
me
ask
Geoffrey
wrought
with
to
begin-
please
state
your
name
and
identify
yourself
in
provide
us
with
your
testimony.
Thank
you
very
much
great.
J
You
have
my
notes
that
I've,
given
you
so
I,
come
really
more
as
a
resource
for
you
to
ask
questions,
but
the
extent
that
you
would
want
my
two
cents
on
how
to
improve
the
area.
I
would
look
at
less
provincially
than
the
boundary
line
were
Philadelphia
begins
and
ends.
I
was
born
in
Philadelphia
once
the
Philip
II
public
schools
went
to
Penn
and
locate
locate
in
Tulare,
County
I
think,
to
the
extent
that
the
state
tax
credit
program
is
perceived
in
the
other.
J
Sixty
five
counties,
Rivera
has
been
a
thing
only
Allegheny
County
and
Philadelphia
County.
It
makes
it
for
a
tougher,
sell.
I
think
that
the
film
tax
credit
is
been
proven
to
be
very
effective
and
very
effective
in
comparison
to
other
film
tax
credit
programs.
Other
tax
credit
programs,
if
you
were
the
same
set
of
of
metrics
I,
think
for
the
most
part
there
are
those
who
are
advocates
for
the
program
and
others
who
are
against
it
expense
you're.
More
of
a
lazy,
fair
approach.
J
The
government
should
take
winners
or
losers
in
the
private
sector,
but
if
you
have
a
25
percent
credit
60-million,
you
know
there's
240
million
dollars
in
local
spend
and
even
those
who
are
against
film
tax
credits.
I
think
acknowledge
that
the
velocity
of
money,
the
multiplier,
is
at
least
2
to
1.
So
you're
talking
about
nearly
a
half
a
billion
dollars
worth
of
spending
in
Pennsylvania,
460
million
dollars
of
credit
and
I
can't
imagine
any
other
industry
for
hula-hoops
too
high-tech
they
can
produce
that
kind
of
result.
J
Where
do
we
stack
up
in
the
competition
for
films?
Well,
I.
Think
as
a
representative,
Kahn,
certificated
and
Mike
McCann
is
as
good
as
it
comes
with
regard
to
the
tax
rate
Ashford's
for
the
Mother's
Milk
of
filming
right
now,
it's
worse
than
the
opioid
crisis.
Cyrus
was
for
Hollywood.
They
will
not
come
if
it
didn't
exist.
J
Originally
going
back.
As
you
may
know,
Philadelphia
was
the
Hollywood
in
this
country
until
middle
teens.
Now
that
the
Lubin
studios-
and
we
migrated
out
after
Teddy
Roosevelt
stress-busters,
broke
up
what
was
sort
of
oligarchy
with
Lubin
and
Edison,
who
let
all
the
patents
for
photography
and
moving
images.
It
migrated
it
to
Hollywood
30
years
ago,
Canada
began
to
offer
credits
and
he
used
to
call
the
runaway
production,
so
they
left
LA
to
go
to
Canada.
J
None
of
the
producers
really
wanted
to
go
there,
but
it
was
money
they
couldn't
ignore,
because
it's
very
difficult
to
raise
money
for
films,
States
began
to
side
with
Canada
can
do
it.
We
can
do
it
and
sort
of
like
a
mini
Buy
America
by
Louisiana
act
and
right
now
the
principle
states
are
Louisiana,
Georgia
and
Massachusetts
besides
Pennsylvania.
Our
problem
is
that
our
sixty
million
is
woefully
inadequate
and,
as
I
think,
some
of
your
very
good
questions
you've
asked
go
to.
It
goes
to
both
the
absolute
amount.
J
It
goes
to
the
duration
of
it
it's
only
for
one
year
and
that
causes
a
lot
of
problems.
A
few
years
ago
there
was
a
men
to
create
the
ability
to
tap
into
it
to
have
30%
of
it
or
18
million.
To
be
available
out
of
the
second
subsequent
year
and
then
20%
of
following
or
so
you
could
go
three
years
ahead
and
that
was
viewed
as
being
very
helpful
directly
on
TV
shows
in
theory.
J
J
We
have
when
we
opened
up
with
Sony
and
Will
Smith
in
a
hundred
and
twenty
million
dollar
movie
and
as
they
were,
including
we
had
Marvel
and
Disney
fly-in,
and
they
want
to
do
Captain
America,
which
was
an
even
bigger
movie.
They
applied
the
stage
for
film
tax
credits
18km
right,
but
if
I'm
office,
not
by
much
on
August
5th
of
2012
its
fifth
week
into
that
fiscal
year
and
there
weren't
enough
film
conference
and
we've
lost
them
to
actually
several
states,
which
was
always
so
around.
J
So
we
have
a
great
opportunity
to
Philadelphia
does
as
a
world-class
City
I
said
not
just
because
I,
really
it's
the
only
world,
her
city,
it's
a
vibrant
city.
It's
rich!
In
cultural
sports
and
other
amenities
that,
quite
frankly,
these
visiting
Russian
companies
pretty
much
enjoy,
rather
than
being
in
the
small
town
in
North,
Carolina
or
small
town
elsewhere.
If
we
won't
pick
on
anybody,
so
it
has
a
rich
array
of
things.
J
Captain
America,
for
example,
would
have
shot
81
of
their
86
principle
days
of
photography,
that's
a
lot
for
a
movie
in
Pennsylvania
and
our
soundstages
or
location
here.
The
Philadelphia
can
double
as
Washington
in
New
York.
So
again
as
I
say,
try
not
to
draw
a
boundary
line
so
much
and
see
this
as
a
resource.
That's
regional
we've
generated,
probably
over
our
our
movies
over
250
million
of
spend
here.
A
Well,
thank
you
very
much.
What
I'm
going
to
do
is
I'm
just
going
to
go
through
the
panel
straight
through
that
there
are
five
witnesses,
but
just
physically
we
have
three
people
at
the
table:
I'm
going
to
do
the
the
three
and
then
I'll
have
the
two
and
then
you'll
have
to
share
microphones
for
for
the
questions
I
apologize
about
that.
So
the
next
witness
please
identify
yourself
in
may,
or
testimony
Neil.
B
There's
a
PowerPoint
over
here
I
believe
you
have
handout
as
well
I'm
going
to
just
go
through
it
quickly
on
behalf
of
sag-aftra
3,000
actors,
television
and
radio
broadcasters,
your
neighbors
and
friends
who
perform
in
front
of
the
camera
and
behind
the
microphone
and
who
are
active
members
of
the
Philadelphia
local.
Please
accept
our
sincere
thanks
for
the
opportunity
to
address
this
hearing
today.
B
We,
the
resolution
authorizing
today's
hearing,
contains
two
prominent
statements
that
we
enthusiastically
endorsed
attracting
film
production
to
Philadelphia
and
encouraging
independent
filmmaking
directly
benefits
the
city
and
film
production
is
important
to
Philadelphia's
national
reputation
and
the
local
economy.
We
could
not
agree
more
wholeheartedly
and
with
the
resolutions
conclusion
that
the
more
movies
and
television
shows
choose
to
shoot
in
Philadelphia,
the
more
of
a
hub
of
the
creative
economy
the
city
becomes.
The
question
is:
how
do
we
collectively
help
make
that
happen
in
exploring
this
issue?
B
For
the
past
year,
sag
after
Philadelphia
performed
a
SWOT
analysis
to
identify
our
internal
and
external
strengths
and
opportunities,
as
well
as
the
internal
and
external
threats
and
weaknesses
that
surround
this
challenge.
First,
we
need
to
understand
some
of
the
forces
at
work
that
are
larger
than
our
local
community.
It's
critical
to
recognize
that
film
production
is
an
industry
that
is
impacted,
like
any
other
by
the
actions
of
many
forces,
including
the
support
from
government
at
all
levels
through
its
ability
to
legislate.
B
It
happens
at
the
state
level
at
the
regional
level,
at
the
county
level
and
at
the
city
level,
and
it's
not
just
in
California,
but
as
the
map
shown
earlier
attests
in
the
majority
of
our
nation's
states,
and
then
we
also
have
to
learn
how
to
compete
successfully
against
foreign
locations.
These
are
all
ads
that
appear
in
The,
Hollywood
Reporter,
and
they
represent
a
fraction
of
the
marketing
materials
I've
collected.
B
Even
Fiji
gets
it
forty-seven
percent.
We
and
others
try
to
attract
production
because
the
industry
compares
favorably
to
other
sectors
in
terms
of
generating
jobs,
as
well
as
associated
ancillary
economic
activity.
Within
the
film
industry
itself,
we
have
data
showing
the
significant
losses
California
experienced,
as
other
states
made
a
concerted
effort
to
attract
business
within
our
region.
We
have
significant
data
from
years
of
production
coming
here
and
filing
required
reports
detailing
their
expenditures
in
our
local
economy.
The
recent
production
of
Creed.
B
Well,
it
was
there
a
lot
of
it.
Thank
you
for
that
couldn't
been
possible
without
that
studio
that
production,
Creed
included
thousands
of
local
hires
immediately
injected
millions
of
dollars
into
the
local
economy.
It
is
just
one
example
of
the
power
of
all
our
assets
working
together
to
make
another
important
chapter
in
the
rocky
franchise
welcome
in
our
hometown.
Within
Pennsylvania,
we
have
an
excellent
reference
resource
for
understanding,
our
sister
city
and
sometime
rival,
Pittsburgh,
and
their
efforts
to
attract
and
retain
this
kind
of
industry.
B
The
Milken
Institute
report
commissioned
for
Pittsburgh,
presents
a
compelling
case
for
the
long-term
economic
value
of
the
creative
economy
in
an
urban
setting.
It
is
a
superb
blueprint
for
supporting
film
and
television
production
as
part
of
a
creative
economy,
with
detailed
recommendations
that
are
not
dissimilar
to
what
we
might
consider
doing.
I
have
a
copy
here
and
councilman
Squealer
I
know
you
were
asking
for
that
earlier,
I'll
be
happy
to
lend
it
to
you.
B
B
Film
and
television
production
requires
infrastructure
and
human
capital
and
optimally
commingling
and
leveraging
assets,
bringing
universities
and
their
students
into
the
industry
retaining
our
local
graduates,
clustering
support
services
and
blending
media
with
technology
campuses
to
build
flourishing
communities
rather
than
isolated
corporate
islands.
Something
else
happens
when
we
make
movies
that
doesn't
happen
with
very
many
industries.
We
transcend
the
medium
and
create
culture
and
commerce.
It
would
be
easy
here
to
show
you
Rocky
Balboa,
on
the
steps
of
the
Art
Museum,
but
I'd,
rather
that
we
talk
about
this.
B
Every
airport
in
America
sells
baseball
and
football
jerseys
for
the
local
team,
and
we
do
too,
but
every
time
I
fly
in
and
out
of
Philadelphia
I
see
this
for
years.
All
those
green
eyeshade
bean
counters
that
the
US
Department
of
Commerce
would
have
their
work
cut
out
from
they
could
ever
come
close
to
calculating
the
value
of
the
rocky
franchise
to
Philadelphia.
This
dedicated
shelf
space
that
our
Airport
is
just
the
tip
of
the
iceberg
and
understanding
the
incalculable
value
of
something
is
powerful.
B
The
choices
we
make
to
help
attract
movies
like
silver
linings,
playbook
or
creed,
or
Trading,
Places
or
Philadelphia,
say
a
lot
about
us
as
a
city
and
become
part
of
our
story
too.
For
everyone
who
sees
them
around
the
world
I
spent
20
years
in
marketing
and
I
promise
you
Philadelphia
cannot
afford
the
advertising
budget.
Those
billions
of
impressions
would
have
cost
us,
and
here
again
our
Airport
proudly
displays
the
posters
from
iconic
films
set
in
Philadelphia
greeting
travelers
as
they
arrived
like
old,
familiar
friends.
B
So
how
can
we
collectively
cultivate
culture
and
industry
by
each
doing
our
part?
Can
partnership?
You
might
start
by
creating
a
task
force
to
determine
and
recommend
the
most
cost.
Effective
methods
of
attracting
and
retaining
film
television
and
production
to
Philadelphia.
Here
are
some
of
the
things
the
task
force
might
consider.
Lobbying
in
support
of
uncapping
the
state,
film
tax,
credit,
I
guess
we're
a
broken
record.
B
A
cost-free
resolution
in
support
of
the
commonwealth's
film
tax
credit
program,
local
grants
additional
permit,
easing
shortening
the
stay
requirement
for
hotel
tax
forgiveness
in
the
city,
additional
local
bumps
and
incentives
for
approved
state
projects
that
locate
in
Philadelphia,
like
San,
Francisco's,
vendor
discount
program,
incentivize,
specific
interest
groups,
African
American
film,
women's
film
LGBT,
Film,
Q
Fest-
is
already
here.
Let's
expand
our
support
efforts
build
our
reputation
as
an
hospitable
place
for
filmmakers
to
work,
starting
with
active
outreach
host
a
film
and
Philly
event
for
producers,
dust
off
the
doormat.
B
Let
the
industry
know
they
are
valued
by
US
market
to
the
industry
directly
and
consistently
build
a
brand
and
sell
it.
We
have
the
track
record
and
the
assets
and
the
flexibility
to
effectively
attract
the
kind
of
business
we
want.
As
long
as
we're
focused
and
attentive
and
work
are
part
of
the
equation,
will
decisions
go
against
us,
some
of
the
time,
of
course,
and
sometimes
because
of
elements
beyond
our
control,
like
the
value
of
the
Canadian
dollar
versus
the
US
dollar?
B
But
we
cannot
win
if
we
do
not
make
our
best
effort
and
you
might
ask
what
the
sag-aftra
is
best
effort
look
like
what
are
we
doing
to
help
attract
business
here
we
are
reworking
our
national
contracts
to
meet
local
economic
realities.
We've
already
done
it
with
our
commercial
and
industrial
contracts
and
we're
demonstrating
flexibility
in
our
contracts.
When
we
negotiate
with
interested
producers
who
express
a
desire
to
bring
productions
to
our
city,
we
host
open
houses
for
independent
filmmakers.
B
We
created
simplified
student
and
new
media
contracts
to
encourage
the
next
generation
of
filmmakers
and
hold
open
houses
for
them
as
well.
We
engage
in
outreach
and
presentations
to
film
students
at
the
university
level.
We
created
diverse
deferred
salary
structures
for
student
films,
we
financially
support
festivals
locally
through
the
SAG
Foundation
and
finally,
we
support
educational
efforts
like
the
women
in
broadcasting
symposium
recently
at
Temple
University,
encouraging
understanding
of
our
industry
so
that
we
can
retain
qualified
individuals
to
build
our
local
creative
community.
B
A
Right,
thank
you
very
much.
Would
you
please
pass
the
microphone
and
I
wonder?
Have
we
worked
out
the
problem
with
one
of
these
microphones
yet
they're
working
okay?
Then
we
don't
have
to
fasten
microphones
I,
suppose
it
doesn't
sound
like
it's
working.
Does
it
all
right?
Please
state
your
name.
Your.
C
Title
my
name
is
Jim
well
and
I
am
currently
to
trust
the
in
business
agent
of
Teamsters
Local
817
out
of
New
York.
Our
union
represents
the
drivers
and
loaders
in
the
Philadelphia
area
for
feature
film
TV
film,
TV
series
commercials
for
the
entertainment
industry.
We
have
had
the
jurisdiction
in
Philadelphia
since
2010
and
have
always
had
a
great
relationship
with
our
other
teams
to
local
107
that
had
prior
jurisdiction.
C
Understanding
that
work
has
declined.
I
must
say
in
2012
was
one
of
the
busiest
years
this
city
has
had
with
TV
series
I
feel
the
job's
done
here
have
positive
feedback,
and
it
is
important
that
I
give
you
my
input
on
some
of
the
issues
that
are
positive
and
negative.
From
a
transportation
perspective,
there
are
competent,
qualified
professional
drivers.
My
observant,
my
observation
on
other
crews
are
the
same
office.
Staff
and
location
departments
are
excellent.
State
space
city
support
are
also
excellent.
In
my
opinion,
the
main
feedback
of
Philadelphia
is
the
state
in
sent.
C
--Iv
is
to
limited
restrictions,
uncertainty.
There
are
difficulties
in
deadlines
to
be
met,
the
fund
running
out
eligibility
requirements.
These
difficulties
differ
from
other
state
incentives.
Also,
in
my
opinion,
the
proximity
to
New
York
and
the
process
for
the
tax
money
hurts
the
Philadelphia
area.
Philadelphia,
in
my
opinion,
lacks
infrastructure.
C
There
are
plenty
of
crew
people,
but
as
far
as
equipment
are
they
there
is
not
enough
equipment
that
is
readily
available.
Most
of
the
equipment
has
to
be
shipped
in
or
brought
in,
which
causes
an
expense.
I
also
noticed
that
there
is
a
difference
between
New
York
based
production
companies
that
come
down
here
and
see
Philadelphia
as
New
York
on
location
and
do
not
utilize
the
the
local
resources
and
support
that's
available.
Here
they
go
back
to
New
York,
where
it's
the
path
of
least
resistance.
C
The
other
thing
is
that
when
you
bring
equipment
in
to
the
city,
you
got
a
dis
all
like
little
loopholes.
People
form
what's
called
pass-through
companies
which
get
sloppy
and
accounting,
and
it
also
it
also
in
in
a
crazy
way,
opens
the
door
to
corruption.
In
my
opinion,
just
my
opinion.
I
also
noticed
that
california-based
companies
are
more
our
base
or
more
conditioned
to
effectively
use
the
local
area
first
and
then
expand
outward.
C
I
would
also
say
that
the
proximity
to
New
York
is
a
big
benefit
for
Philly,
also,
especially
for
talent
and
above
the
line
crews,
because
what
people
that
live
there
it's
an
easy
commute
to
come
and
work
in
Philadelphia
and
I've
also
been
our
being
around
the
Philadelphia
film
you
for
so
many
years.
I've
also
been
privy
to
the
interstate
battle
of
Pittsburgh
versus
Philadelphia
and
I'm,
not
talking
about
the
hockey
the
Penguins
versus
the
flies
we're
talking
about
business.
There
is
a
difference
in
the
two
cities
they're
about
seven
hours
away.
C
C
The
conclusion
I
have
is
that
Hollywood
follows
the
money.
I
feel
if
you
restructure
the
tax
incentive
production,
we'll
come
back
to
this
great
city.
In
my
opinion,
if
you
added
in
New
York,
there
is
a
there's,
a
30
percent
tax
incentive,
but
basically
the
complaint
in
New
York,
it
seems
very
similar,
is
that
everybody
wants
to
shoot
in
New,
York
City.
So
what
the
governor
Governor
Cuomo
did
was
he
add
an
additional
10%
which
brings
up
to
40%
if
you
film,
outside
the
commuting
cities.
C
In
my
opinion,
if
Philadelphia
the
city
of
Philadelphia
could
give
a
5%
increase
as
simple
as
5%,
you
will
level
the
playing
field
with
competing
with
New
York,
City's
30%,
and
also
you'll
offset
the
course
of
the
cheaper
cost
of
doing
business
in
the
western
part
of
the
state.
So
it
would
actually
kind
of
be
an
incentive
to
come
here
and,
of
course,
as
everybody
said,
uncap
the
cap,
you
know
what
I
mean
it's
just
just
crazy.
C
The
other
thing
is,
we
I
have
to
mention
that
my
boss,
Tom
O'donnell,
is
the
director
of
the
motion,
picture
and
TV
trade
division
for
the
International
Brotherhood
of
Teamsters,
and
he
initiated
a
program
that
basically
has
an
area
standards,
so
so
teams
the
locals
throughout
the
country
can
undercut
each
other
there's
a
bare
minimum,
so
that
does
help
we've
also
he's
also
for
independent
films.
He's
he's
done
great
things
you
just
come.
He
will
work
with
any
budget
to
make
it
work.
C
Tax
programs
are
based
on
tax
payers
that
should
benefit
the
tax
people
as
a
taxpayer,
myself,
there's
nothing
worse
than
seeing
a
construction
program
or
our
site
being
built
and
also
sees
Tennessee
license
plate.
How
is
that
helping
my
local
community
and
thank
you
for
the
invitation
and
be
happy
to
answer
any
questions?
Thank.
C
H
Good
afternoon,
1
I
am
a
grip.
A
grip
is
a
crewmember
who
deals
with
the
non
electrical
manipulation
of
light,
so
an
electrician
will
set
a
light
up
and
we
will
shape
it
and
form
it
to
make
it
look
better
grips,
which
is
one
of
the
many
positions
involved
in
getting
to
lights.
Camera
action
I'm
here
today,
because
I
was
asked
to
present
the
collective
voices
of
over
40
technicians
who
want
to
increase
opportunities
for
those
in
the
film
industry
in
the
Greater
Philadelphia
area.
H
H
After
many
conversations,
there
seems
to
be
a
consensus
of
what
we
want
for
Philly
film.
We
want
to
increase
work
opportunities
for
those
in
the
film
industry
to
help
the
city
evolve
into
an
attractive
location
for
film
production,
support,
a
sustainable
lifestyle
of
film
workers
to
ensure
equitable
and
safe
working
environments
and
to
be
well
represented
by
achieving
these
goals.
Not
only
the
individual
film
workers,
but
the
economy
can
thrive.
The
current
climate
of
today's
film
industry
has
its
positives
and
negatives.
H
On
the
positive
side,
you
know
what
they
say:
location,
location,
location
and
everyone
said
prior
we,
you
know
we
can
double
as
New
York
Washington
heck.
We
can
even
double
as
Pittsburgh
it
relights
Philly
could
be
cost-effective.
There
is
a
wide
range
if
it's
the
film
and,
as
I
said,
we
can
double
as
New
York
I
have
that
written
one
written
down.
We
have
many
skilled
crew
workers
who
have
proved
their
resilience,
determination
and
ingenuity
over
time.
H
We
also
have
many
feeder
schools
for
film,
including
Temple
University
at
Drexel
University
and
the
University
of
the
Arts.
So
why
isn't
the
film
initially
booming
here
at
this
time?
The
Philadelphia
film
industry
does
not
have
a
good
reputation
for
some.
The
industry
appears
to
be
disjointed,
out-of-touch
and
notorious
for
poor
collaboration.
H
H
Additionally,
the
cities
need
access
to
better
tax
incentives,
as
everyone
has
already
rated
over
and
over
again.
Overall.
The
sad
reality
is
that
a
lack
that
again,
a
general
lack
work,
is
causing
skilled
film
workers
to
leave
our
grid
sit
in
an
effort
to
better
understand
the
sentiment.
A
survey
of
40
film
workers
offered
some
further
insight
and
appear
in
most
people
work
and
become
skilled
in
Philadelphia
for
five
to
seven
years.
H
That
move
on
other
places
such
as
New
York,
Atlanta
LA,
even
Pittsburgh
80%
of
those
surveyed
that
they
had
considered
leaving
Philadelphia
and
95%,
are
not
content
with
the
current
quality
and
quantity
of
work
opportunities
in
the
area.
One
server
respondent
noted
there
has
been
a
rise
of
horrendous
working
conditions
on
low-budget
unregulated
productions,
which
is
thought
to
be
producers
taking
advantage
of
young
passionate
craftsmen.
H
Given
this
information,
we
have.
We
have
to
find
a
solution
to
this
problem
and,
while
searching
for
such
a
solution,
I've
come
to
learn
more
about
quality
and
process
improvement
systems.
I
believe
that
the
time
has
come
for
the
city
of
Philadelphia
to
invested
three
sources
to
improve
the
film
industry.
If
we
wait
much
longer,
there
may
be
an
ongoing
vicious
cycle
of
poor
reputation,
fewer
filling
opportunities,
more
skilled
workers,
leaving
a
smaller
crew
brains,
fewer
jobs
and
so
on.
H
We
must
depend
on
our
city
and
industry
leaders
to
act,
bring
accountability,
opportunity
and
change.
I
appreciate
this
hearing
today
and
I
see
it
as
a
start
of
the
process
to
five
problems
and
assess
stakeholders
such
as
myself.
I
recognize
this
to
be
the
first
step
of
which
I
hope
will
be
subsequent
phases
of
measure
and
analyze,
which
will
ultimately
improve
our
industry
for
the
future.
H
In
closing,
I
hope
that,
through
this
presentation,
you've
acquired
a
better
insight
regarding
the
goals
of
Philadelphia
film
worker
that
somewhat
harsh
realities
that
we
face
as
well
as
qualitative
and
quantitative
data
that
support
our
assertion
for
quality
and
process
improvement
for
the
film
industry
truly
is
getting
such
a
positive
reputation
for
its
conventions
in
events
such
as
the
DNC
and
NFL
Draft
that
we
should
encourage
this
groups
that
influence
our
film
industry
and
see
how
our
future
philly
film
fortunes
can
flourish.
Try
saying
that
three
times
faster
than
that
anyway.
That's
that's
it
thank.
A
You
very
much
before
we
open
for
questions.
Let
me
just
state
that
I
did
receive
a
written
testimony
from
John
Ford,
president
of
local
52
motion
picture
studio,
mechanics
international
alliance
of
theatrical
stage,
employees,
afl-cio
and
I
just
like
to
read
his
testimony
for
the
record.
Dear
committee
members,
my
name
is
John
Ford
I've
been
a
member
of
local
52
for
39
years
in
1978,
from
1978
to
1998.
I
worked
in
the
property
department.
A
I've
been
an
officer
of
the
Union,
since
1999
I've
been
asked
to
provide
testimony
as
to
what
might
be
done
to
increase,
theatrical
feature
and
television
production
in
Philadelphia.
I
was
fortunate
enough
to
work
on
the
production
of
a
movie
in
Philadelphia
and
have
I'm
sorry
strike.
That
I
was
fortunate
enough
to
work
on
the
production
of
the
movie
Philadelphia
and
have
visited
many
times
since
then.
In
my
capacity
as
president
of
local
52,
it
is
a
fantastic
city.
A
Far
to
the
implementation
of
the
New
York
state
tax
credits
in
2004,
we
were
in
the
same
boat
as
Philadelphia.
We
lost
many
productions
to
Louisiana
and
Canada.
We
still
lose
them
to
Georgia,
Canada
and
now
Hollywood,
due
to
their
recently
enacted
tax
credit
program.
Louisiana
recently
cut
their
credit,
so
that
so
they
have
lost
a
lot
of
work
to
Georgia
as
well.
Accordingly,
we
put
together
a
coalition
of
unions,
facility
owners
and
production
companies
to
lobby
for
a
credit
of
our
own
over
the
years.
A
A
We
just
had
our
credit,
which
is
four
hundred
twenty
million
dollars
a
year,
extended
out
to
2020
to
continuing
the
five-year
guarantee
of
stood
Studios
require
much
has
been
mentioned
in
your
local
press
about
Pittsburgh
winning
out
over
Philadelphia,
due
to
cost
differences
in
the
union
contracts.
Those
cost
differentials
are
minimal,
given
the
multi-million
dollar
budget
of
a
typical
show.
If
that
were
indeed
the
case,
I
would
point
out
that
the
cost
of
doing
business
in
New
York
far
exceed
those
of
Philadelphia
and
Pittsburgh.
A
Yet
2016
was
a
busiest
year
we
have
ever
had
in
our
93
year
existence
we
averaged
32
television
shows
per
day
most
employing
150
to
250
people
per
show.
The
volume
is
solely
due
to
a
tax
credit
program.
Producers
can
rely
on
a
tax
credit
program
need
not
be
overly
large
or
generous,
just
reliable.
In
conclusion,
I
wish
you
the
best
for
a
successful,
informative
hearing
and
please
feel
free
to
contact
me
personally.
If
you
have
any
further
questions.
John
Ford
president
local
52,
so
I've
read
that
into
the
record.
F
You
mr.
chair,
this
listen
to
some
of
the
testimony
from
the
panel
and
it
made
me
think
of
that.
This
benefits
not
just
food.
Is
that
obvious?
Mr.
Robert
was
saying
with
also
the
region
and
considering
that
represent
Acosta's
from
Chris
Berg
area.
There's
been
any
thought
of
both
regional
groups
coming
together
to
lobby
in
our
General
Assembly
to
benefit.
B
There
is
a
organization
called
popiah,
which
represents
the
film
community
across
the
Commonwealth,
has
a
lobbyist
in
fact
and
coordinates
all
those
individuals.
Having
said
that,
I
think
your
idea
is
an
excellent
one
and
we
would
be
more
than
happy
to
work
with
our
brothers
and
sisters
in
Allegheny,
County
and
beyond,
to
coordinate.
We
recently
had
our
annual
meeting
and
the
prime
directive
that
went
out
to
our
members
is.
F
Then
the
other
thing
this
is
a
thing
I've
been
talking
about,
and
it's
a
more
local
to
Philadelphia
that
there
hasn't
really
been
a
strong
push
from
marketing
perspective.
To
demonstrate
why
businesses
should
do
business
in
the
city
of
Philadelphia
I
know.
Just
yesterday
there
was
a
meeting
of
the
various
marketing
entities
from
hospitality
side
like
visit,
Philadelphia
select,
Greater
Philadelphia,
the
Chamber
of
Commerce
Commerce
Department.
F
Publications
would
be
very
smart
and
that's
something,
hopefully,
that
a
group
that
made
yesterday
will
think
about
as
they're
trying
to
pull
together
resources
and
I
duplicate
resources
of
mark
from
a
business
perspective,
and
we
focus
on
different
business
sectors
like
the
film
industry.
So
that's
something
I'll
take
back
to
how
that's
in
the
Commerce
Department.
G
You
mr.
chairman
I
know
when
we
talked
about
the
I
guess
the
Philadelphia's
lack
of
infrastructure
for
filming
and
pittsburgh
has
that
ability
do
we
need
to
add
companies
here
to
provide
that
or
because
we
don't
have
the
work
here,
that
there's
no
companies
willing
to
come
to
Philadelphia
to
provide
it.
C
In
my
opinion,
obviously,
the
lack
of
work
does
contribute
to
nobody
wanted
wanting
to
set
up
shop
here,
but
there's
also.
There
are
companies
that
that
want
to
set
up
brick
Murray,
your
location
is
actually
you
could
store.
You
could
have
a
business
located
in
the
Philadelphia
area
that
could
service
New,
York,
New
Jersey,
as
well
as
Pittsburgh.
For
some
reason,
I,
don't
know
why
nothing
has
been
established,
but
even
even
as
far
as
lighting
and
grip
houses
I
mean
it's
very
there's.
C
J
Rowley
I
think
you
said
you
spent
at
least
six
months
that
our
sounds
days
with
the
Harvey
Weinstein
production
and
I.
Think
the
council
I
was
there
with
the
to
meet
Kevin,
Hart,
Nicole,
Kidman
and
Bryan
Cranston
I
would
probably
respectfully
disagree.
I
think
that
the
the
issues
that
have
been
raised
by
the
other
speakers
are
legitimate,
but
they
consent
from
the
lack
of
work.
J
There's
not
a
lot
of
large
competitors
to
them.
That
set
up
because
their
business
is.
Is
that
they're
the
best
in
the
country
that
their
equipment
moves?
That's
not
a
problem.
It
just
comes
in
so
negotiated
rate.
You
know,
I've
did
a
lot
of
real
estate.
Development
in
town
and
real
estate
developers
decided
the
three
three
three
things
that
make
real
estate,
successful
location,
location,
location
and
film
production.
J
There's
three
things:
tax
credits,
tax
credits,
especially
if
I
haven't
been
clear,
I
think
the
problem
is
that
that
most
tax,
Ranson
or
while
I
think
you
mentioned.
There
are
some
incentives
in
certain
cities
by
and
large
there
if
they
come
in
from
the
state
and
and
and
and
the
requirement
is
that
the
money
be
spent
in
state.
So
you
have
to
be
careful,
the
extension
where
provincially
looking
at
Philadelphia
and
adding
to
that
because
it
requires
the
money
to
be
spent
in
the
city
limits
as
opposed
to
Bucks
County.
Then
that
would
be.
J
That
would
be
a
problem
because
then
it
would
be
an
issue.
How
many
locals
will
qualify
for
that.
I
think
that
you're
going
to
find
is
I
said
my
first
book,
the
larger
your
regional
appeal,
the
more
clout
you
have
in
Harrisburg
and,
quite
frankly,
I
think
it
was
a
excellent
comment
from
the
councilmen
about
Allegheny
County,
a
Phillipa
County,
using
its
combined
muffle
as
the
two
leading
cities
in
the
state
to
try
to
get
the
attention.
But
the
attention
actually
starts
with
the
governor.
J
The
governor
really
should
be
relatively
sympathetic
to
the
interests
of
Philadelphia
and
Pittsburgh,
and
he
started
the
budget
process
and
didn't
change
the
film
tax
credit
by
even
one
dollar.
So
as
a
result,
it's
an
uphill
battle
to
go
to
the
legislature
that
is
looking
at
shortages
and
trying
to
give
them
to
increase
it.
You
wouldn't
think
if
he
started
a
higher
number
and
would
bring
it
down.
So
it's
a
heavy
lift
in
the
world
of
tea
parties
where.
A
B
Regard
to
the
question
about
infrastructure:
you
know
it
is
a
chicken
in
a,
but
we
are
in
so
much
better
shape
because
of
the
stage
that
we
have
here
now.
That
is
a
huge
investment.
It
opens
up
all
kinds
of
possibilities
and
you've
seen
I,
don't
want
to
paint
the
bleak
picture
that
I've
heard
a
little
bit.
You
know,
let's
also
remember
that,
while
the
Greater
Philadelphia
Film
Office,
has
been
in
operation
for
billion
dollars
in
economic
activity
has
been
generated
in
this
region.
B
So
that
is
a
record
of
success
that
what
we're
talking
about
here
is
how
do
we
build
on
that
success?
How
do
we
do
more
and
typically
you
know
these
kinds
of
initiatives
require
multiple
tracks.
There
are
small
things
that
we
can
do.
They
can
make
a
big
difference.
There
are
things
that
we
can
do
long-term,
that
help
Philadelphia
is
hip
now,
with
young
people.
We
are
retaining
more
of
our
graduates
than
we
used
to
that's
right.
F
B
I
will
just
say:
I
do
know
of
young
people
in
their
20s
who
have
applied
for
film
tax
credits
and
gotten
them
on
$30,000
productions.
You
know
so
all
of
this
is
helping
long-term
and
we
have,
to
you
know
not
put
all
our
eggs
in
one
basket.
I
totally
agree.
The
tax
credit
program
is
central
to
all
of
this,
but
it's
not
the
only
thing.
Let's
make
sure
we're
doing
all
the
other
things
too,
that
help
attract
is,
do
some
retain
and.
G
I
agree:
that's
why
I
asked
that
question
because
then
you
know
I
think
as
a
city
we're
excited
about
this
and
and
listen.
You
can't
pay
enough
for
advertisement
when
you
see
pictures
of
Philadelphia
or
pictures
of
Pittsburgh
or
Delaware
County
Montgomery
County,
whatever
it
may
be.
It's
a
big
plus-
and
you
know
that's
sort
of
priceless,
but
to
know
that
we
have
building
an
infrastructure
and
we
need
to
get
more
people
working
in
the
city
of
Philadelphia,
whether
they're
from
the
region
I.
Think
Philadelphia.
G
When
we
say
Philadelphia
we
mean
Philadelphia
region
because
being
on
a
DVR
PC
board,
you
sort
of
look
at
it
in
terms
of
a
region,
it
benefits
everybody
and
whether
the
the
stage
is
out
in
Montgomery,
County
or
Bucks
County
or
wherever.
It's
still
a
benefit
to
us
in
the
region.
Here
and
I
think
a
Philadelphia
tax
credits
would
have
to
have
some
so-called
local
tie
into
it,
because
workers
have
to
be
from
the
region.
G
I
think
that
would
be
very
important
and
I'm
sure.
As
the
Teamsters
we
want
to
have
local
members
in
the
Teamsters
working
in
those
things
so
I
mean
they
would
either
if
they
don't
have
as
many
here,
we
could
grow
that
number
of
adding
more
local
guys
into
this
business.
So
thank
you
for
willing
to
work
with
us
on
that
and
knowing
that
the
local
business
is
really
what's
going
to
drive
that,
because
if
you
do
have
work
here,
people
will
live
here.
People
will
spend
their
money
here
and
people
will
do
movies
here.
G
B
A
You
councilman
I
will
say
that
this
morning,
I
had
a
better
hour
and
so
meeting
with
the
Speaker
of
the
House
Michael
Torres
I.
So
you
know
folks
roll
in
we
have
conversations
about
all
kinds
of
things
and
obviously
being
from
the
Pittsburgh
area.
He
understands
the
value
of
film
tax
credits.
I
can't
speak
on
his
behalf.
All
I
can
say
is
I'm
a
big
fan
of
it,
and
we
do
understand
that
you
know
there
are
many
perspectives
when
we
look
at
items
and
issues
and
even
varying
perspectives
about
how
to
improve
filmmaking
in
Philadelphia.
A
A
You
know
for
a
while
the
idea
of
the
tax
credit
until
it's
a
little
challenging
locally,
but
it
just
seems
to
be
that
we
would
have
to
come
up
with
a
grant
program
and
I
will
say
that
we
certainly
are
looking
at
what's
good
for
Pennsylvania.
What's
good,
for
our
region
is
good
for
us
and
ultimately,
if
we're
more
competitive
as
a
country
versus
are
challenging
countries,
but
ultimately
yeah.
We
do
want
to
you
know.
When
people
come
to
Philadelphia,
it
does
spill
out.
A
A
K
My
name
is
Jeff
brush
the
chairperson
of
the
department
of
film
and
media
arts
in
the
school
of
theater,
film
and
media
arts
in
the
center
for
performing
in
cinematic
arts
at
Temple,
University
I'm,
going
to
try
to
speak
for
all.
My
colleagues
and
all
the
film
schools
in
Philadelphia
area
and
I
just
want
to
mention
this
sort
of
major
programs
in
the
city:
Drexel
University
arts
with
FAL
Bryn,
Mawr,
Haverford,
swathmore,
Penn,
Saint
Joe's
in
Philadelphia
Villanova,
as
well
as
programs
just
outside
the
city
in
Rowan
and
Princeton.
K
K
We
believe,
if
you
look
at
all
the
students
in
Philadelphia
area,
we're
talking
about
two
or
three
thousand
students
in
Philadelphia
anytime
Philadelphia
is
one
of
the
top
four
cities
for
enrolling
film
students.
The
other
four
are
LA
Chicago
and
New
York
temple
is
its
graduate
program
is
known
internationally
as
one
of
the
top-ranked
programs
in
documentary
and
experimental
and
independent
narrative
film
production,
our
one
department
produces
several
hundred
films
a
year
which
are
shown
in
venues
all
over
the
world.
K
K
Most
of
the
students
who
work
in
the
area
are
concerned
about
film
production.
For
several
reasons,
one
of
them
is
the
ability
to
get
internships
in
productions
and
all
of
the
film
schools
work
very
closely
with
Greater
Philadelphia
film
office
to
get
those
internships.
Our
students
have
worked
in
every
major
production
that
has
come
through
the
city
and
have
benefited
greatly
from
them,
and
many
of
them
have
turned
into
jobs.
K
This
is
true
of
other
the
other
programs
in
the
city.
Another
reason
why
we
benefit
from
a
robust,
Philadelphia
film
industry
is
that
the
film
office
frequently
is
able
to
invite
the
professionals
that
come
into
town
to
come
visit
with
our
students.
They've
done
this
over
the
years,
and
this
is
enormous
benefit
to
our
students.
K
Finally,
we
found
more
than
a
hundred
students
a
year
to
Los
Angeles,
where
we
have
a
branch
campus
where
we
offer
internships
and
studies
fall
spring
and
summer.
The
students
go
to
Los
Angeles
to
work
in
the
film
industry,
many
stay
and
continue
to
work
in
LA.
However,
just
as
many
want
to
come
back
to
Philadelphia
and
would
prefer
to
work
in
the
Philadelphia
film
industry,
they
have,
in
the
past,
been
able
to
pursue
film
careers
in
the
city.
K
It's
become
increasingly
difficult
to
do
so
and
with
the
decline
of
the
film
production
in
Philadelphia,
many
have
chosen
to
stay
either
in
Los
Angeles
or
New
York
and
pursuit
of
production
opportunities.
These
are
very
talented
students
and
it
would
prove
all
of
us
to
find
ways
to
keep
them
coming
back
to
their
hometown,
where
they
would
prefer
to
be.
Thank.
A
L
Basically
I
just
want
to
say
that
you
know
they
had
an
independent
filmmaker
here
in
Philadelphia
is
a
bit
tough
I'm,
simply
because
we're
looked
at
as
man
expendable
and
allow
the
resources
are
not
generated
in
our
direction,
because
we
are
not
viewed
as
the
people
as
bringing
in
the
big
books
to
the
city.
With
that
being
said,
there's
a
lot
of
talented
people
here
in
Philadelphia
a
lot
of
students
here.
That
would
love,
as
previously
mentioned,
to
stay
here,
but
we
end
up
going
to
Georgia.
L
We
end
up
going
to
the
California
Amanda
born
to
New
York,
simply
because
there's
more
opportunities
there
for
independent
filmmakers,
like
myself
to
get
noticed
and
to
get
funding.
Basically
also
I
would
like
to
point
out
that
you
know
there's
films
like
twelve
Monkeys
district,
nine,
Boogie,
Nights
start
off
as
independent
films
that
went
onto
screen
at
so
accessible
and
were
picked
up
to
become
the
future
phones.
They
are
today.
You
know
so
independent
film
shouldn't
really
be
overlooked
because
we
do
tires.
L
We
submit
to
film
festivals
when
we
shoot
a
Philadelphia
we're
promoting
so
Adelphia
in
our
film
and
when
we
talk
about
our
films,
we
are
from
Philadelphia,
so
we
represent
Philadelphia
across
the
country
across
the
globe.
So
I
think
that,
should
you
know
service
some
notoriety
for
the
independent
filmmaker
and
an
independent
film
market.
L
Lastly,
I
would
like
to
say
out
wish
that
we
had
more
programs
that
helped
to
incubate
filmmakers
here
in
Philadelphia
I
know
the
colleges
offer
great
programs,
but
not
everyone
can
afford
college
tuition,
so
would
be
nice
if
we
had
an
alternative
to
that
to
help
foster.
You
know
our
independent,
so
market.
Thank
you.
Thank
you
very
much.
M
M
Working
in
all
areas
of
film
peewit
is
committed
to
creating
economic
and
social
stimulus
for
its
members
and
the
community
at
large
by
helping
emerging
artists
and
established
professionals,
members
reach
their
full
potential
and
by
attracting
new
jobs,
investment
and
production
to
the
creative
economy
in
the
Philadelphia
area,
our
community
of
women
media
makers
is
very
diverse
and
is
comprised
of
independent
filmmakers
in
both
scripted
and
documentary
professionals
and
develop
television.
Digital
arts,
film,
radio,
women
in
advertising,
along
with
technical,
freelancers
writers
and
visual
artists.
M
Our
community
embodies
both
of
women
new
to
the
industry
and
seasoned
professionals,
and
inclusivity
and
diversity
are
paramount
to
us,
especially
since
Philadelphia
has
such
a
rich
and
varied
population.
I
think
this
resolution
is
spot
on.
We
need
more
films
to
come
to
Philadelphia,
but
we
cannot
discuss
that
without
talking
about
the
lack
of
diversity
in
the
film
industry.
M
Research
shows
that
women
who
are
more
than
half
of
the
population
right
only
one-third
of
the
stories,
and
we
direct
only
17%
of
what
we
see
on
film
and
television
media
tells
us
our
roles
in
society
who
we
are
and
what
we
can
be.
The
women
engage
in
pious
community
are
concerned
that
most
of
our
entertainment
is
directed
by
white
men
and
most
the
stories
are
told
through
the
eyes
of
men.
In
the
past
few
years,
initiatives
outside
of
Philadelphia
commenced
in
an
attempt
to
decrease
the
gender
gap
for
women
in
the
film
industry.
M
In
fact,
the
ACLU
launched
an
investigation
into
discrimination
against
female
directors
in
Hollywood
Geena
Davis
initiated
the
gender
Institute
that
studies
women's
roles
in
media
Patricia
Arquette
pleaded
for
equal
pay
for
women
at
the
Oscars
and
Meryl
Streep's,
followed
up
by
funding
a
Writing
Lab
for
Hollywood's
untouchable
caste,
which
is
women.
Filmic
screenwriters
over
40
years
old
and
recently
filmmaker
Omaha,
launched
a
new
historic
initiative
to
hash
tags,
free
the
bid
for
female
commercial
directors
to
be
included
in
every
agency
bid.
M
So
in
2010,
the
Academy
Award
for
Best
Director
went
to
Kathryn
Bigelow
for
the
Hurt
Locker,
making
her
the
first
woman
to
ever
win
the
category
six
years
later.
She
is
still
the
only
one
who
has
won
and
no
other
woman
has
been
nominated,
since
the
first
step
in
changing
this
picture
is
to
recognize
that
there
is
a
problem.
That's
where
we
come
in
plist
brings
women
in
the
industry
together
to
learn
bond
and
succeed.
We
are
more
powerful
together
and
stronger
when
we
can
rally
together
locally
and
be
part
of
a
strong
global
community.
M
Recently
peewit
became
a
member
of
the
women
in
film
and
television
international
organization
which
addresses
arts,
business
and
cultural
media
around
the
world.
Women
are
underserved
community
in
the
media
industry,
especially
in
Philadelphia.
Only
6%
of
the
films
produced
here
in
the
Philadelphia
area
are
made
by
women.
Statistics
like
these
discourage
women
from
entering
the
entertainment
business
peewit,
along
with
our
male
allies
in
the
profession,
is
working
to
improve
parody
in
the
industry.
To
take
part
in
the
conversation
help
raise
the
profile
of
women
in
film
and
to
encourage
women
to
stay
in
the
industry.
M
More
importantly,
he
would
seek
to
improve
opportunities
in
film
for
women
in
Philadelphia
so
that
they
stay
here
and
create
film
here
to
note
what
these
guys
said.
That
peewit
is
currently
in
discussion
with
three
local
universities
to
help
launch
an
incubator
that
will
encourage
filmmakers
to
stay
in
Philadelphia
to
hone
their
craft.
We
hope
this
project
will
contribute
more
opportunity
for
women,
women
of
color
LGBTQ
people
and
make
so
Adelphia
a
place.
Filmmakers
grow
their
art
and
their
business.
M
It
matters
what
stories
are
told
and
it
matters
who
makes
them
pee,
whisk
whisk
forms
help
cultivate.
The
talent
of
female
media
makers
here
in
Philadelphia
and
PS
will
help
put
Philadelphia
on
the
map
as
a
place
where
women
in
film
and
all
areas
of
media
will
be
champion.
We
hope
we
can
work
together
to
advance
the
gender
equity
in
the
film
industry.
Thank
you
for
this
opportunity
for
letting
me
just
thank.
F
Is
there
the
ability
to
do
that
from
a
film
perspective,
considering
that
it's
clearly
interest
at
the
local
level,
we've
had
a
State
Tax
Credit
we've
had
a
film
office
here,
but,
and
also
you
have
universities
have
a
strong
track
record
of
in
media
and
film.
So
is
their
ability
to
kind
of
do
that
and
galvanize
to
kind
of
better
promote
film
and
television
here
in
the
region.
I
think.
K
F
Because
I
think
there
would
be,
even
even
if
it
was
a
a
regional
perspective
or
a
state
perspective
where
you
bring
in
to
know
both
Pittsburgh
and
all
right
and
just
kind
of
bringing
together.
Now
you
can
look
at
the
universities,
Berg,
Carnegie
Mellon
and
the
public
sector
they're
in
a
man,
Peduto
and
others,
and
then
looking
here
and
set
up
inside
they're
trying
to
bring
that
energy
together
to
try
to
really
promote,
and
maybe
film
is
what
film
televisions
one
way
of
doing
that.
F
K
I
think
that
would
be
a
terrific
idea.
The
University
of
Pittsburgh
is
one
of
the
world
leaders
in
film
studies.
The
academic
study
of
film
temples,
one
of
the
serval
years
of
reductions.
So
we
frequently
have
students
going
back
and
forth
I.
Think
building
that
connection
could
be
very
a
very
rich
experience.
All.
F
Right,
thank
you
and
then
to
miss
land
I'm,
a
Sawyer
I
guess.
One
of
the
thoughts
I
was
I
was
having
listened
to
both
of
your
testimonies
that
you
know
you
have
Sunday
and
CF
the
American
Black
Film
Festival,
so
you
have
other
type
of
festivals
that
focus
on
any
specific
niche
of
people
in
the
industry.
Are
there
any
type
of
festival
that
focus
primarily
just
on
women
in
film
and
it's
an
opportunity
to?
May
we
kind
of
look
at
it
as
a
possibility
locally?
We
do.
M
F
M
F
F
J
L
H
L
K
D
You,
mr.
chairman,
mr.
Landau
is
very
intrigued.
You're
saying
and
I
couldn't
agree,
more
I
mean
you're
on
target
and
mr.
Sawyer,
when
you
just
said
it's
only
my
opinion.
That's
why
you're
here
or
we
need
to
know
what
you're
thinking.
So
your
opinion
is
very
important.
Well,
what
I
was
going
to
miss
land
out
your
organization?
Is
that
really
just
Philadelphia
or
is
there
a
New
York
for
New
York
women
in
film?
We.
D
Okay,
I
understand
now
I,
see
more
your
your
national
focus
and
understand
it
a
little
bit
better,
but
unfortunately
we're
not
the
US
Senate
here
where
the
council,
the
city
of
Philadelphia,
on
a
local
perspective,
and
you
now
understand
film
as
much
as
well
much
more
to
me
and
and
and
very
deeply.
What
is
the
one
thing
we
could
do
that
we
are
empowered
by
this
council
to
do
to
help
the
film
industry
in
Philadelphia.
M
So
everyone's
talking
tax
credits,
I
do
think
that
one
thing
that
we
could
do
is
offer
a
diversity
tax
incentive
so
with
with
whatever
else
we
form
here.
I
think
that
a
tax
incentive
for
to
make
the
crews
more
diverse
I
mean
women,
are
behind
the
camera
and
in
front
of
the
camera
all
the
time.
So
I
think
that
that
could
be
very
helpful
and
we
would
love
to
join
your
task
force.
Okay,.
K
So
this
might
be
something
you
really
distinguished
the
city
as
a
place
where
people
can
go
specifically,
who
want
to
speak
to
what
I
think
is
the
mission
of
the
city,
diversity,
a
larger
progressive
view
of
the
world
and
I
think
that's
true
of
most
of
our
students,
who
I
think
if
the
city
had
a
kind
of
a
mission
to
dance
that
in
film
that
would
attract
students
from
around
the
world.
The
that's.
K
K
D
D
K
D
H
K
Of
the
things
that
I
think
we're
all
sort
of
interested
in
is
that
there's
both
bringing
in
the
Hollywood
film
industry,
which
everyone
I
think
sports,
but
there's
also
supporting
the
range
of
independent
production
that
happens
in
the
city.
That
is
an
expression
of
the
of
the
particular
nature
of
the
city
doctrine.
F
D
L
Would
say
if
we
had
a
place
a
designated
place
where
filmmakers
can
go
for
if
they
need
to
rehearse
if
they
need
to
some
things
like
a
studio
or
anywhere
that's
affordable
for
independent
filmmakers?
What
I've
noticed
in
Philadelphia
is
that
we
do
cater
more
to
the
bigger
budget
films,
especially
for
you
know,
locations
and
all
of
those
great
things
simply
because
it's
money
involved,
you
have
to
buy
permits,
and
you
know
you
have
to
have
insurance
and
things
of
that
sort.
What
happens
with
independent
filmmakers,
we're
limited
on
our
budget?
L
L
You
know,
and
the
some
office
is
great
at
what
they
do,
but
I
do
think
that
there's
a
market
where
that
feels
a
little
left
out
because
they're
not
at
that
level
of
a
Hollywood
film.
You
know.
So
we
have
to
hope
that
some
won't,
let
us
shoot
at
a
certain
location.
You
know
we
have
to
raise
the
money
for
our
prevention
and
things
of
that
sort.
So
I
do
know
like
Georgia.
I
L
Know
so
when,
if
myself
gets
picked
up
by
Phil
Jackson,
you
know
you
know
a
great
director
I
was
advocating
for
Philadelphia,
because
that's
where
I'm
from
and
those
are
the
stories
that
I
tell
so
I
want
to
bring
that
production
back
here.
So
I
think
Georgia
is
very
smart
and
doing
so
with
the
incubator
program
because
they
know
if
they
falter
the
talent.
When
the
talent
goes
out
there,
more
than
likely
will
have
to
come
back
home
to
where
they
started,
because
those
are
the
stories
in
our
town.
L
Their
program
will
help
you
with
learning
the
ins
of
out
of
producing
film
and
making
films,
but
I'm
not
sure
if
they
have
an
actual
studio
set
up
for
it.
But
I
do
know.
There's
a
couple
of
Studios
coming
over
there.
That's
building
up
over
there,
so
there's
more
job
opportunities,
more
educational
opportunities
there
as
well
in
Philadelphia,
not
so
much.
You
know
you
don't
hear
about
studios
building
up
here,
that
you
can
go
to
and
intern
and
learn
different
things
where.
J
L
L
So,
if
you
have
you
know
six
or
seven
people
trying
to
bring
out
equipment
to
shoot
something
you're
limited
because
they
may
not
have
the
cameras,
they
mean
I
have
lights,
so
you
have
to
wait
or
you
can.
You
know,
write
some
actual
store,
but
that
can
be
expensive.
You
know,
so
those
are
just
some
of
the
issues
that
we
face
and
many
of
us
we
learn
not
only
go
to
youtube
and
things
of
that
sort.
L
But
those
places
don't
teach
you
everything
about
tree
in
the
film
and
some
people
learn
better
in
a
classroom
setting.
You
know
opposed
to
online,
so
you
know
we're
missing
out
on
developing
talent.
You
know
that
can
do
great
things
and
actually
bring
business
here
to
Philadelphia,
because
we're
not
fostering
that
talent.
We
think
of
you
know
independent
filmmakers,
it's
just
not
being
as
important,
because
we
don't
bring
as
much
money
in
to
the
city
as
a
bigger
budget.
J
L
Know
and
so
even
if
someone
doesn't
pick
up
my
film,
if
there's
people
in
the
audience,
Billy
is
a
great
place
that
you
see,
you
know
that
shots
aren't.
You
know
we're
a
very
diverse
here,
even
with
our
neighborhoods,
because
you
can
find
a
neighborhood
that
looks
like
you
know,
you're
out
in
the
country,
but
then
you
can
go
to
another.
Neighborhood
is
very
urban,
very
city
like
so
we
have
a
lot
to
offer.
It's
just
you
know
getting
the
support
to
bring
that
stuff
to
the
forefront,
I,
hope,
I,
interesting.
A
A
N
You
thank
you
for
your
consideration.
I,
unfortunately,
was
not
able
to
hear
the
testimony
of
of
any,
but
this
this
last
panel
I
do
want
to
respond,
however,
to
the
last
speaker
as
comments,
because
I'm
very
disappointed
to
hear
that
she
was
not
aware
of
programming
for
independent
filmmakers
and
services
for
independent
filmmakers.
N
The
Greater
Philadelphia
Film
Office
is
unique
among
film
commissions,
because
we
have
a
program
called
Greater,
Philadelphia
filmmakers,
which
has
been
in
existence
for
my
entire
tenure,
which
I
rather
doubt
state
how
long
that
is,
but
it
is,
it
is
25
years
and
and
in
Greater
Philadelphia
filmmakers
program.
That
is
a
pure
nonprofit
side
of
what
we
do.
We
serve
the
local
indigenous
film
community
or
at
least
try
to
with
everything
that
they
need
and
those
services
are
all
free.
N
A
$2,500
prize
for
the
best
set
in
Philadelphia
screen
screen
play
by
anybody
who
lives
in
the
five
counties
or
$10,000
prize
is
for
anyone
who
lives
anywhere
in
the
world
that
writes
the
best
set
in
Philadelphia
screenplay.
We
are,
we
have
a
student
prize
and
we
are.
We
are
just
added
this
year,
a
prize
for
the
best
screenplay
by
a
non-white,
diverse
screenwriter,
and
we
are
incredibly
excited
about
that,
and
that
is
a
$2,500
prize
for
that
Best
Screenplay.
N
We
are
the
as
far
as
I
know,
the
only
Film
Commission
in
the
world
that
has
a
full-time
multicultural
affairs
director.
That's
what
we
call
the
position
that
whose
mission
it
is
to
engage
the
multicultural
filmmaking
community
and
those
who
would
like
to
be
a
part
of
that
it'd
be
connectors
to
provide
programming.
Many
of
our
filmmakers
programs
are
just
for
diverse
filmmakers
women,
filmmakers
of
all
different
types
and
and
categories
on
LGBTQ
how
to
be
able
to
get
on
work
on
a
set.
So
we
are
quite
devoted
to
the
filmmaking
community.
N
We
do
not
own
a
studio
or
equipment,
but
certainly
when
it
comes
to
locations.
We
are
we
do
that
as
a
matter
of
course,
then
it's
all
free
and
all
you
have
to
do
I
invite
you
all
to
go
on
film
org,
which
is
our
website
just
to
get
a
sense
of
the
that
programming
that
we
do,
all
of
which
is
free
to
filmmakers
on,
and
we
will
help
them
find
those
locations.
N
You
know
and
we're
asked
you
know
we
will.
We
will
certainly
do
it.
We
don't
know
about
projects
that
we
don't
know
about.
We
certainly
shoot
a
lot
more
independent
films
than
we
do
major
productions.
We
work
with
Temple,
University
and
Drexel
University
and
all
the
universities
and
colleges
and
schools
in
the
area.
N
We
have
an
internship
program,
I
very
involved,
certainly
with
Temple
and
Drexel,
and
you,
arts
and
many
of
the
other
schools
and
as
those
our
interns
have
gone
on,
to
have
great
careers
in
the
film
industry
and
all
you
know,
love
Philadelphia
and
come
back
in
and
try
to
bring
films
here
in
I
know
that
you
spoke.
There
was
a
lot
of
conversation
about
the
Pennsylvania
film
tax
credit.
It
is
the
coin
of
the
realm.
Indeed,
in
the
film
industry
internationally
and
Pennsylvania
was
had
its
first
tax
credit
in
2004.
N
N
A
N
A
You
so
we
did
hear
from
Representative
Paul
Kosta
who's
introduced
the
bill
to
take
the
film
tax
credit
from
60
million
to
150
million,
and
he
has
explained
some
of
the
problems
along
with
Michael
McCain
president
founder
of
MVM
associates
treasurer
of
the
pennsylvania
film
industry
association
about
the
fact
that
you
know
there.
There
are
limitations
to
our
tax
credit
and
the
fact
that
the
tax
credit
can
be
borrowed
against
which
leaves
less
money
in
the
future.
A
B
N
A
What
is
the
state
of
filmmaking
in
Philadelphia
today
and,
in
summary,
it
seems
that
you
know
there
has
been
an
increase
and
then
a
decrease
and
right
now
we're
struggling
in
part
because
of
the
tax
credits,
but
other
witnesses
have
also
identified
some
other
other
things
of
the
city
could
do
from
a
bridge
loan
bridge
program
out
of
PID
C
against
tax
credits.
We.
A
It
you
know
from
four
point:
five
million
to
up
to
a
higher
level
those
type
of
things,
and
there
was
testimony
that
there
is
a
not
as
good
organization
and
infrastructure
in
Philadelphia,
as
in
maybe
Pittsburgh
and
there's
issues
about
the
ability
of
some
of
the
younger.
My
interpretation
younger
production,
folks,
and
not
enough
work
and
a
challenge
in
terms
of
their
their
Union,
the
organization,
the
leadership
and
we
seem
to
be
somewhat
of
a
disorganized,
not
uniform,
not
kind
of
like
on
the
same
page
type
of
city.
Are
we
getting
you
know?
A
Pittsburgh
is
saying
that,
basically,
they
they
have
a
lot
of
projects
coming
in
and
in
fact,
the
lack
of
tax
credits
they've
had
to
turn
a
lot
away,
turn
away
from
the
work.
That's
there
and-
and
it
sounds
to
me,
like
you're,
using
up
a
lot
of
those
tax
credits,
whereas
here
in
Philadelphia
I
know
we
just
had
the
untouchable
you
know
in
in
Sun
Center
studios.
So
how
are
we
doing?
What's
good?
What's
bad?
What
should
we
do
better?
Well.
N
I
would
make
a
couple
of
comments,
one
with
regards
to
the
labor
situation.
We
have
a
very
different
situation
than
they
have
in
Pittsburgh.
Pittsburgh
has
all
their
own
local
unions,
so
they
have
their
own
IOC
local
and
they
have
their
own
Teamster
local.
So
they
are
their
biggest
interests.
Those
locals
is
Pittsburgh,
that's
the
most
important
thing
to
them.
We
were,
we
never
had
our
own.
We
had
our
own
Teamster
local,
we
had
Teamster
local
107
and
then
they
lost
that
work.
N
A
few
years
back,
you
may
remember,
Teamster,
local,
107
and,
and
the
brotherhood
of
teamsters
came
in
and
gave
that
piece
of
business
to
the
New
York's
Teamsters
and
the
New
York
New
York
Iasi
came
down
back
in
the
mid
90s
and
took
over
Philadelphia.
In
fact,
they
took
over
Connecticut
and
then
New
Jersey
and
then
all
of
Pennsylvania,
with
the
exception
of
a
50-mile
radius
around
Pittsburgh.
So
that
leaves
us
in
a
position
where
we
have
major
union
leadership
whose
primary
consideration
is
not
Philadelphia.
N
N
But
the
reality
is,
if
you
are
a
businessman
which
a
filmmaker
or
businessperson
pardon
me
which
a
filmmaker
will
set
will
want
to
come
and
access
the
tax
credit,
because
when
it
is
available
it
is
a
great
program
they
will,
if
they
don't
have
to
be
in
Philadelphia
or
they
don't
have
to
be
some
in
some
particular
location.
They
will
compare
budgets,
they
will
do
budgets
for
multiple
places
and
multiple
states,
because
you
can
shoot
in
a
lot
of
places
and
ultimately,
Philadelphia
is,
is
going
to
be
more
expensive.
N
N
We
already
we
already
do
that,
we're
we're
philadelphians.
You
know
we
do
that
so
so
we
will
now
add.
However,
on
the
rule
at
we--it,
we
did
not
put
on
there
LG.
We
didn't
you
couldn't
checkoff
LGBTQ,
but
we
will
now.
We
will
add
anything
that
they
want
to
do,
that
that
identifies
diversity,
assuming
that
the
individual
wants
to
identify
label
themselves
in
that
way,
but
we
think
that,
for
as
an
example,
we
had
the
film
Creed
on
that
that
film
had
an
african-american
director.
N
It
was
very
important
to
him
to
shoot
in
the
city
of
Philadelphia,
which
is
a
very
diverse
city,
and
to
have
a
crew
that
looked
like
Philadelphia
and
had
a
more
diverse
crew
and
it
was
extraordinarily
successful
and
the
crew
was
a
great
crew.
We
got
to
see
a
lot
of
people
that
we
haven't
seen
who
were
local,
who
we
hadn't
seen
working
on
sets
before
and
if
we
can
incentivize
that
kind
of
diversity.
N
A
N
N
Would
also
if
I
could
add
on
you
know
we,
as
you
I,
know,
you've
heard
that
the
film
tax
credit
it
runs
out
very
quickly
and
in
fact
it
does
60
million
dollars
by
the
time
we
actually
get.
It
is
down
to
40
million
dollars
is
about
all
that
we
have
left
in
a
given
year
before
we're
not
we
don't
get
to
give
out
more
money
in
advance
unless
one
of
our
projects
we're
able
to
take
advantage
of
that.
N
There
are
a
lot
of
issues
with
the
with
the
regards
to
the
tax
credit,
and
we
are.
We
are
working
with
the
legislators
in
Harrisburg
on
that.
We
certainly
hope
that
our
elected
officials
in
Philadelphia
will
be
interested
in
picking
up
the
phone
and
calling
their
legislators.
You
know
in
Harrisburg
to
help
us,
but
we
have
a
number
of
productions
that
are
talking
about
coming
and
some
have
submitted
applications.
N
The
question
is:
will
the
state
film
office
in
Harrisburg
approved
those
applications
or
or
are
they
more
interested
in
in
approving
applications
in
Pittsburgh,
because,
frankly,
the
political
power
right
now
in
the
Commonwealth
of
Pennsylvania
is
not
in
southeastern
Pennsylvania,
so
so
any
help
that
we
could
get
from
City
Council
in
the
mayor's
office
would
would
be
very,
very
welcome.
I
had.
A
Mentioned
that
I
had
met
with
the
speaker
tours
I
this
morning.
In
fact,
just
got
a
text
from
him,
so
I
do
very
much
hope
to
speak
with
him
about
the
tax
credit.
I
will
say
publicly
that
we
tried
to
get
DCED
and
the
film
office
to
respond
to
us
over
many
weeks
and
I.
Think
we
got
basically
three
or
four
word
answers
from
them.
So
I
just
don't
know
that
we
got
much
rapport
with
them.
A
I,
don't
know
why
I
actually
called
secretary
davon
and
he
was
traveling
and
I
got
a
very
nice
person
and
basically
got
basically
the
same
thing.
I,
don't
know
it
doesn't
leave
me
with
the
kind
of
a
feeling
that
there's
much
interest
in
Philadelphia,
at
least
from
whoever's
in
charge
over
there
great
concern
to
me.
Fortunately,
we
have
elections
and
we
can
call
them
out,
as
I
am
doing
now
for
basically
not
giving
us
even
written
testimony
of
a
paragraph
or
two
now
I
even
got
written
tears.
A
A
N
A
Well,
that
concludes
our
hearing.
I.
Thank
you.
I
have
a
list
of
things,
I
think
we
can
do
and
begin
working.
Thank
you
so
very
much
and
especially
Shannon
for
all
your
work
and
coming
down
here.
I
understand
the
extraordinary
circumstances.
I
know
you
got
to
run
out,
but
thank
you
so
very
much
and
I
will
conclude
this
hearing
to
the
call
of
the
chair.