August 14, 2025 • 36 mins
Join host Gina Marie Rodriguez as she speaks with Mr. Jon Crowley, the recently appointed Executive Director of the New Jersey Motion Picture & Television Commission, under the purview of the New Jersey Economic Development Authority.
Prior to joining the NJEDA, Crowley worked within the television industry for over two decades, producing and directing several well-known television series, including "Impractical Jokers," "House Hunters International," "Big Brother," "Trading Spouses," and many more. He also happens to be a two-time Emmy Award winner and CableACE Writing Nominee.
He now serves as the senior leader of all of New Jersey’s film initiatives, leading both the NJEDA’s film sector development work, as well as the management of the NJMPTVC.
If you’re a filmmaker or considering joining the industry, this is one episode you won’t want to miss. And if you simply love movies and the behind-the-scenes that make them possible, this one’s for you, too.
Stay tuned to meet Jon Crowley and learn just how impressive Jersey is when it comes to making movie magic.
Thanks for listening!
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The Jersey Arts Podcast is one medium of Feature Stories on Discover Jersey Arts (jerseyarts.com), where articles and videos also cover New Jersey’s vibrant arts and entertainment scene.
Discover Jersey Arts is presented by ArtPride New Jersey. The program was co-founded by, and is currently supported by funds from, the New Jersey State Council on the Arts. Additional support for JerseyArts.com content is provided by the National Endowment for the Arts.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Gina Marie Rodriguez (00:03):
This is Gina Marie Rodriguez, and you're
listening to the Jersey ArtsPodcast.
For those of you who've been onthis ride with me for a while
now, you may have noticed one ofmy secret tells the more
grammatical errors I make andwords I stumble through, the
more giddy I am to be talking tomy guest.
You'll note that during theepisode, as a creative myself
(00:24):
and an independent filmmaker, Ihave once again found myself
fangirling over an interviewee.
This time it was Mr Jon Crowley, the recently appointed
executive director of the NewJersey Motion Picture and
Television Commission, under thepurview of the New Jersey
Economic Development Authority.
What a mouthful.
Prior to joining the NJEDA,crowley worked within the
(00:48):
television industry for over twodecades, producing and
directing several well-knowntelevision series, including
Impractical Jokers, houseHunters, international Big
Brother Trading Spouses and manymore.
He also just so happens to be atwo-time Emmy Award winner and
a Cable Ace Writing nominee.
(01:08):
He now serves as the seniorleader of all of New Jersey's
film initiatives, leading boththe NJEDA's film sector
development work as well as themanagement of the NJMPTVC.
So many acronyms, so little time.
If you're a filmmaker or justconsidering joining the industry
, this is one episode you won'twant to miss, and if you simply
(01:31):
love movies and the behind thescenes that make them possible,
this one's for you too.
So stay tuned to meet JonCrowley and learn just how
impressive Jersey is when itcomes to making movie magic.
So how are you today?
Let's start with that.
How are you doing?
Jon Crowley (01:47):
I am good, I am good, thank you.
Thank you, gina, for having meon your show.
I appreciate it, thank you.
Gina Marie Rodriguez (01:55):
Of course, I'm excited to talk to you.
First, I just I want to learn alittle bit more about you,
because you've been in thisindustry for what?
Over 20 years, let's say.
Jon Crowley (02:05):
Oh gosh, even longer, like 30 years.
Yeah, I started life as aneditor my very first show.
I got hired as a PA productionassistant on the Academy Awards,
made friends with the editorsbecause I had an editor's reel
and I thought that wouldprobably, that would likely, be
my entree into the business.
My first job, real paying job,would be as a cutter, as they
(02:28):
say in editor.
And sure enough, one of theeditors came to me about two
weeks into my job and he's like,kid, I'm going home, I'm not
feeling well, he's like.
But I got to cut a piece and itwas for what they call a nom
package, a nomination packagefor Randy Newman, for I Love to
See you Smile was the song thatwas nominated for an Academy
(02:49):
Award.
He said you cut it and he goes,I'll come and look at it in the
morning and if it's any goodI'll show the boss and if he
likes it I'll tell him you didit.
And he said and if he doesn'tlike it I'll say I was feeling
sick and went home and I didn'tdo a very good job.
So I edited Gina from sixo'clock at night when I was off
(03:14):
work technically, and I cut allthe way until six o'clock in the
morning, ran home, took ashower, didn't get any sleep,
came back to work the next dayat eight o'clock in the morning
and uh, of course I was on pinsand needles because the editor
was in the meeting with theexecutive producer and he came
back out and he goes.
Well, the boss liked it, hegoes, that's the good news, he
goes.
I got a couple notes for you andthen from that day on I was
(03:37):
hired as an editor on theAcademy Awards and that begat
like I think six or seven yearsof editing of editing before I
say more into writing anddirecting, and then became a
showrunner, created anddeveloped and basically bought a
series called ImpracticalJokers and I was the executive
(04:11):
producer on the pilot and thencontinued on producing it for
its first season.
And then, when COVID hit, Idecided to hang my own shingle,
started my own company and withmy business partner we developed
, created, sold, optioned 11different series and the last
one we did was a show calledBreaking the Ice which was about
(04:35):
an all-female, all-diverse,competitive ice skating team and
we sold that to AMC and it's onAll Black still streaming.
So that's the production side.
And then I'm in my third termas a councilman and a police
commissioner here in New Jersey,so I sort of straddle both
worlds of government andproduction.
(04:55):
And that's how I wound up atthe film commission, where our
job is letting everybody knowhow great New Jersey is, so we
get more production here.
Gina Marie Rodriguez (05:04):
Wow, that is a heck of an origin story and
you did such a great job ofjust like surmising everything.
That was amazing, well done.
Jon Crowley (05:11):
Short and to the point That'll fit in the summary
there for your listeners onyour podcast.
When you say what's thisepisode about, you know what.
That's from years of learninghow to pitch a show right.
Gina Marie Rodriguez (05:23):
Exactly, and so now.
Jon Crowley (05:25):
I've gone from Gina .
I've gone from pitching TVshows and trying to sell them to
now I'm pitching an entirestate.
It's the faces have changed onthe poster and now it's our
workforce.
It's our experienced workforce,it's our huge variety of
locations that we have in thestate in a geographically
compact space, of locations thatwe have in the state in a
(05:46):
geographically compact space,and our great film commission
that's as hands-on as you wantus to be in terms of your
filmmaker.
And you need a location packer.
You need to help us, help youwith interfacing with like
Department of Transportation orDepartment of Labor right, we do
all that stuff.
And then it's ourinfrastructure.
We've got this fantasticinfrastructure of motion picture
cameras or lighting gear orsound gear or sound stages.
(06:10):
You really don't need to goacross the river for anything
like you might have.
Just a few years ago, we hadthis big thing called the NJ
Film Expo May 1st at theMeadowlands Arena, and the
tagline on it was like whateveryour production needs, new
Jersey's got you covered.
So we literally have everythingyou need.
So you start in our taxincentives.
(06:32):
We've got some of the best taxincentives anywhere and that's
the big door opener to getpeople interested in finding out
about New Jersey.
So they get here becausethey're like the tax incentives
are great.
So the governor and thelegislators both sides of the
aisle, by the way, both sides ofthe aisle in Trenton major
support for it.
So people come here, they'reinterested in that, and then
(06:54):
they find out all these otherthings that we offer in New
Jersey that most other statescan't even come near.
And then what I always say islike why would you say no to New
Jersey?
Like why, why would you say nowhen we've got everything
covered here?
So I've just gone from pitchingTV shows down pitching this
great state that's been my homefor 18 years and more and more
(07:16):
people are discovering andthat's why we're getting busier
and busier.
Gina Marie Rodriguez (07:19):
I think that's amazing.
It sounds like you were theright hire, because to have that
skill set is pivotal.
Jon Crowley (07:25):
So you're in it.
It's easy, Gina, it's easy.
The state sells itself.
Oh yeah, oh yeah.
Well, the state does sellitself, I will say that so if
anybody in Trenton is listening,it's really hard and I'm doing
my best.
No, no, no, no, no.
The state is the state it is.
It really is.
It's an easy sell when youthink about all the things that
(07:46):
I just talked about.
Again, I ask the question whywould anybody say no?
Gina Marie Rodriguez (07:51):
Oh, I'm with you, but I'm biased because
I'm from New Jersey, born andraised been here my whole life.
So I'm with you.
Jon Crowley (07:57):
I think it's an easy sell, but I Are you North
Jersey, Central Jersey or SouthJersey person?
Gina Marie Rodriguez (08:03):
I am Central Jersey and I've been
saying it since before theyestablished the official Central
Jersey.
Jon Crowley (08:09):
Well, we know.
I mean, when I moved here Ilearned very quickly don't you
dare say, that there's noCentral Jersey and that's where
(08:47):
Netflix is coming.
You know a lot of jobs for crewthat live in Monmouth County to
be so close, and I remember,honestly, when I moved here gosh
, all my contacts are on theWest Coast and I've seen over 18
years more TV, more film cominghere, and certainly in the last
few years with what thegovernor and what our
legislators have done in Trenton, with the incentives like more
and more and more and more, andthen that's a big part of the
job of the commission is we justgo bang on doors and to the
(09:07):
networks and studios and saythis is everything that's going
on, Because you can't everassume that people know Right.
A lot of people think Jerseylooks like the opening credits
to the Sopranos.
Yeah, and we know as residents.
Oh, no, no, no, no, no Way morethan that.
So if you want a littleMayberry, rfd-looking small town
(09:28):
, got it, but guess what, Only30 minutes away there's probably
a big city.
You want mountains with snow oryou want a beach, the ocean,
got that too, and that can be.
That's only 90 minutes away.
Some days, with traffic, ninetyminutes it'll take you just to
go.
You know, crosstown and alittle Island across the river,
(09:49):
right, so you can get all sortsof different looks.
Queen Anne, victorian homes,one block away from a
mid-century ranch, right, sothat's, that's a big draw when
you've got a script with a lotof different needs for looks,
different looks.
Everything's here.
All these looks exist, and soit's just really spreading the
word about that stuff.
(10:10):
Happy Gilmore, biggest spend inthe state, and they shot for
over 60 days and they spent areyou ready?
$152 million throughout NewJersey.
Crazy had 6,000 crew hires,spent $18 million alone on
(10:32):
location fees.
So those golf courses right,and it was.
I'm trying to think how muchmoney do they spend on extras?
It was a huge.
Here it is, I can tell you.
It was a huge.
Here it is, I can tell you.
So.
1,600 jobs on Hapig Gilmore.
Their average daily spend wasover $2.3 million per day and
their budget for extras was $6million and their location fees
(10:56):
were $18 million.
So when you see a house or astore or those golf courses,
they were all making a lot ofmoney.
And they spent $1.2 million onhotels for their crew as they're
moving all around the state.
So that's why we do it.
Gina Marie Rodriguez (11:13):
Yeah, those numbers are really
impressive.
I think you nailed why it'simportant to the state's economy
.
Just with all of those numbersright there, how helpful one
film could be.
And now imagine when we havemultiple films filming in the
state.
That's so impressive.
Jon Crowley (11:29):
One last piece of Jersey pride is that you know
our goal on the Film Commissionis to make us the third largest
production hub in the UnitedStates, behind LA and New York.
La and New York and I can tellyou we went from $592 million in
(11:50):
that qualified spend in 2023 tolast year, 2024, $810 million.
So that's a 37% increase.
And you can look around therest of the country LA was down,
new York was flat, georgia wasdown, texas was down, louisiana
was down, toronto was down.
Of the top 10, you know majorproduction hubs, we were the
(12:11):
only one, I think, that was upand that's not by mistake,
because the word is getting outthat we have all these great
assets that you know filmmakerswant to come and take advantage
of and put to use.
Gina Marie Rodriguez (12:22):
Absolutely .
That's amazing.
Did you say what our rankingwas?
Do you know what our rankingwas behind?
Jon Crowley (12:29):
Some of the figures are still coming out from other
states.
I think we're going to I don'tknow, it's maybe a tie for three
or four.
I don't think we're below four,but our goal is to become the
third largest production hub inthe United States and I think
we're within just a couple ofyears of achieving that goal.
Gina Marie Rodriguez (12:49):
Yeah, I hope so.
I mean, hey, I'm happy with topfive.
Like if you're saying we're inthe top five, I already feel
good about it.
Jon Crowley (12:55):
Well, let me see if I can do better for you, if we
can do better for you, if thestate can do better, I think we
can.
You know, the New Jersey FilmExpo that we had May 1st in
Meadowlands was a greatgathering.
It's the first time we've everdone it and the producing
partner on that was Sanj, whichis the Screen Alliance of New
Jersey.
(13:16):
Fantastic people, those areowners and operators within our
infrastructure stage owners,grip, electric caterers, truck
rentals, all that stuff, specialeffects, you name it and got
them all under one roof.
And it was really a way to beable to message out to the
studios and networks Again,repeating that message whatever
(13:36):
your production needs, Jersey'sgot you covered to showcase to
them.
You don't need to go anywhereelse, you don't need to bring
those things, we have them allhere for you.
And that it's really about teambuilding, because you need all
these different pieces, parts,to come together so we work
efficiently and it's not justenough to get a studio or
network to state.
(13:56):
Once we wanted to keep comingback again and again and again
because they had a greatexperience.
We also have a thing calledFilm Ready, which is a
certification program here inthe state where a town, a
municipality can come.
They do a workshop that we puton and they assign a film
liaison and they put together afilm permit or ordinance or a
(14:20):
code of conduct.
Um, and we're.
It's all about buildingconsistency through the state so
that if you are a studio ornetwork you don't think of New
Jersey as like, oh, there's 564different municipalities, which
means 564 different sets ofrules, that if they go to a film
ready town it's consistent.
(14:41):
You're the turnaround time onyour permits, the consistency
and what it costs for a permit,all that stuff.
And then as part of ourworkshop for our ambassadors, if
you will, on the municipal side, it's sort of that.
You remember the book what toExpect when Expecting, I say
(15:03):
this is film ready is like whatto expect when expecting a film
production or TV production inyour town.
You know we walk you throughthese are the things to think
about and to be, you know, cluedin on when the circus moves
into town for a week or a day ortwo or whatever.
You know, when production movesin, this is what to expect.
So it's again part of that teamis like all of our elected
(15:25):
officials and our municipalworkers.
They're ambassadors for theirtown, which then is their
ambassadors for the whole stateto showcase.
You know why Jersey is so easyto work in?
You know because we're herewith open arms.
We like it, it's fun, andthere's the tourism side too.
Right Is the tourism part of itis like we had an owner of a
(15:51):
salvage yard and I forget theseries Somebody, one of your
listeners will totallyunderstand this and they filmed
the series at his salvage yard.
Then the show started runningand then fans were like can I
come out and see your location?
And to the point where he got acall and he said we want to do
a weekend with cosplayers.
And he said I had 500 peoplerunning around.
(16:13):
They rented out my salvage yard.
He goes I made some good moneyrenting it out for all the
cosplayers, for this group.
And he said I started thinkingabout it and I'm like wait a
minute, where are all thesepeople staying and where are
they eating?
And he's like and I sort ofextrapolated out and realized,
wow, this is a lot of money inour little area, our town, here,
from these 500 people that arespending the weekend.
(16:34):
So you know, that's on thehorizon.
It's starting to happen already, but that's on the horizon too
is the is the film tourismaspect of all this that people
will see New Jersey on theirfavorite show or their favorite
movie and they're going to say,I want to go see it, you know,
and we'll get that business too.
So it's pretty incredible,right.
Gina Marie Rodriguez (16:54):
It really is, and you just you were
talking about fans and it makesme think like we're seeing this
increased celebrity presence aswell, now that we're kind of
like aiming to become HollywoodEast, right, adam Sandler was
just in Westfield and I thinkthat I most recently saw John
Cena was in Bayonne.
That was one of the sightings Isaw online.
It feels like the film versionof Pokemon Go.
(17:15):
You know, people are justexcited that they caught one.
But I love that.
I just love that people aregetting excited, right, because
for a long time, jersey tends tobe like the butt of people's
jokes, especially like onbroadway.
They love making fun of ofjersey.
But now I feel like we'refighting back and it's finally
becoming obvious to the rest ofthe world, or at least one thing
(17:36):
, though.
Jon Crowley (17:37):
One thing I have to take issue with gina is I
wouldn't say that Los Angeles isFort Lee West, because the
industry started here in FortLee at the turn of the last
century, like in the 1910s,right.
(17:58):
And here's the here's.
The irony is, the reason whyHollywood exists is because
Thomas Edison, you know, heinvented some of the of the gear
that you need to make motionpictures, cameras and things
like that.
He had a device called theBlack Mariah.
Well, the early filmmakers, thestudio heads, didn't want to
spend money on Edison's tax.
(18:21):
It was a licensing fee, sobasically a tax to use his gear.
So they said we're just goingto run away, as far away from
Edison as we can.
And when they hit the Pacificocean they stopped, and that's
where Hollywood began, right?
So now, 110 years later, um,we're getting filmmakers to come
(18:42):
back to the original home ofwhere filmmaking began, and
we're getting them here, as Isaid, you know, initially with
the tax incentives and, ofcourse, all the other stuff, but
taxes scared them away and taxincentives are getting them back
.
So it's a real circle of lifemoment, I think, right.
Gina Marie Rodriguez (19:01):
Absolutely .
I like that.
I'm stealing it.
I will begin calling Go for it.
It's yours, I'm going to thankyou.
Jon Crowley (19:06):
I'm stealing it.
I will begin calling Go for it,it's yours.
Gina Marie Rodriguez (19:08):
I'm going to Thank you.
I do appreciate the consent,though Big on that.
Oh, I wanted to ask you youropinion you were talking about.
You made your own film earlierfor three million and I'm
wondering what your advice, ormaybe words of encouragement,
would be to independentfilmmakers who are working at
(19:29):
like the micro micro budgetlevel of, let's say, under
100,000, who might be a littlebit trepidatious that these big
studios are coming in and thatprices may be inflating and they
may not be able to afford tomake their smaller independent
works.
Is there some way that you cansoothe their fears?
Jon Crowley (19:51):
So great question and a whole bunch of different
answers that I'll try to runthrough really fast, right?
Because for one thing, let'sjust say, let me start at a
little higher price point than,say, $100,000.
The tax incentive program worksin a way that if you spend a
million dollars qualified spend,you're eligible for the tax
(20:14):
incentive, or 60% of your budget.
So it doesn't have to be amillion dollars, it could be
less than that.
I think probably the If yourbudget is in the $250,000 range,
you should be applying for atax incentive and try to get
some money back on yourqualified spend.
(20:35):
And those are businesses, again, that are registered to do
business in New Jersey.
Why do I say like $250,000?
Because there is a fee of goingto a CPA and having them do a
report, so that does cost somemoney.
Cpa and having them do a report, so that does cost some money.
And so that's sort of the sweetspot of a budget to be able to
afford a CPA but apply for thetax incentives, get some money
(20:57):
back that you can apply towardsmaybe your next production or
paying off a loan that you tookout to make your film right.
So there's that.
The other part is the commission, for free, will do a script
breakdown.
If you've got your script, youcan give it to us.
We'll do a script breakdown andwe'll give you a location
(21:19):
packet and we'll show you allthe locations that we think that
we've got available to you togo then and negotiate location
permit fee, all that fun stufffor your production.
But we'll hand you that packetand say here's everything that
we think is going to work foryour production.
That's free.
You want us to sort of adviseyou on the permitting process,
(21:42):
because we know what thepermitting processes are in over
200 towns in the state, right,so we can walk you through that.
Because that sometimes is whenyou're beginning your
pre-production.
You know your head is going toexplode.
You're like I don't even knowwhere to go.
What, who do I have to talk to?
What do I have to do for thepermitting?
We can walk you through that.
(22:03):
Also, if you have, say, childtalent in your movies, we'll act
as a liaison with Department ofLabor to put you in the process
for permitting for free,department of Transportation,
state troopers, any of theseother state agencies.
We're happy to act as a liaisonand put you in touch with the
right people to talk to, to helpyour production free.
(22:24):
So it doesn't matter if you'rebig budget or you're low budget
or in between.
We don't discriminate on any ofthat.
And I'll tell you why.
It's real simple Is the littleprojects that come through.
They're filling the gaps in thecalendar between the big giant
productions, meaning they'rerenting from the rental houses
(22:46):
their lighting gear and theirgrip gear.
They're putting crew to work inbetween projects and the last
two years independent filmmakershave amounted to like $50
million worth of production inthe state.
That's nothing to be sneezed at.
So we support all projects, bigor small, because they keep
people busy and working at therental houses and on the crew
(23:08):
side, in terms of prices goingup because there's more major
productions coming into thestate, you know wages are set.
Everybody knows what you'repaying cruise, but you know one
size does not fit all.
So you know a location feedoesn't stay the same for a
(23:29):
small production that it doesfor a big one.
And you know, look, there areplenty of non-union projects
that are going on and peoplenegotiating with the rates Our
friends at IATSE and theTeamsters.
They negotiate rates all thetime depending on the budget.
So people understand it'simportant to keep busy and
nobody's budget is the same.
(23:51):
The budgets are all over theplace and so people are
negotiating.
But if you're a young filmmakerstarting out and you're working
, maybe, with a younger, lessexperienced crew, they all are
hungry to get better and getmore experience.
So you know, with more and moreproduction coming in, there are
more and more people that arecoming out of film school or
(24:12):
that are just interested ingetting into the business.
Look, there's all sorts oftrade schools, people that are
welders and painters andcarpenters that look at this
industry coming into the stateand they go.
You know what?
Maybe I want to pivot frompainting houses or office spaces
and get into production.
So there's all sorts of people,different age ranges, that are
(24:38):
saying this looks like a reallyinteresting career that I'd like
to pivot into and would behappy to work with, with younger
filmmakers that need needpeople that want to work on on
any size production.
Gina Marie Rodriguez (24:48):
To clarify does the commission work with
non-union productions as well oronly union productions?
Jon Crowley (24:55):
Anybody that comes to us and says I have a script,
we'll take the script and we'lldo that breakdown.
It doesn't matter.
Gina Marie Rodriguez (25:01):
All right, that's awesome.
I mean, what I heard with allof that is that the project that
I'm working on right now I wantto hit that sweet spot of
$250,000 for my budget.
That's what I'm going for.
Jon Crowley (25:11):
If the sweet spot for you is $250,000, it means
you're obviously getting acouple more days of production
so you can take time to reallyfinesse your scenes or get that
extra special location that youwant.
We all strive to get a biggerbudget, don't we?
We all want a bigger budget,you know.
Look at Kevin Smith Now.
That's 30 years ago, when hemade the first clerks and I
(25:34):
think the dollar amount wassomething like twenty five or
twenty six thousand dollars.
Don't quote me on it.
It would probably take a littlemore to get that done today
with inflation.
But you know you can, it's.
I taught directing at MaristUniversity and I was like you're
a student, you know you're newfilmmakers.
You're going to graduate, youknow, next month or in a year,
(25:56):
whatever.
Get out, go be a producer andnegotiate a great rate for a
great location.
People always want to help outsomebody in an artistic um, you
know venture.
So, um, when I was a student, Iwas getting Panavision cameras
for free, because thesecompanies realize he's not
(26:18):
always going to have a lowbudget.
One day he's going to have abigger budget and he's going to
remember us that we gave himcameras for free.
And you bet, the first time Ihad the budget that I could
afford getting a Panavisioncamera.
Of course I returned the favor.
So people always love helpingout others that are just
starting out.
So I think you'd be amazed athow much you can stretch a buck,
(26:40):
whether it's a location youknow or some piece of art
direction or props or you knowwhatever, and crews are willing
to work.
You know to help somebody thatif you've got a vision right and
you you're thoughtful about it,you've planned it out, you've
got your storyboards togetherand your your shot lists and all
(27:02):
that, they know that you'rereally putting in the time
because you're serious about it.
They'll.
They'll jump on board If you'vegot the creative vision and
they believe in it and you cansell it to them the idea.
There's no limit to how far youcan go.
Gina Marie Rodriguez (27:16):
Absolutely , and I think our listeners are
learning just from hearing youspeak what a skill it is to
pitch this whole conversation.
I feel like has been amasterclass for me at least.
Maybe others listening agreewith me, but I think you're
wonderful.
So, if you can't tell, I'menamored with you.
Jon Crowley (27:35):
But I appreciate that.
Thank you.
Gina Marie Rodriguez (27:37):
But you're right.
Jon Crowley (27:38):
Gina, you're right, it's.
Pitching is a is a topic thatdoesn't get discussed often
enough.
And if you, I would say to anyof your, your listeners that are
filmmakers, you really have gotto know your project backwards
and forwards.
You have to think through allthe angles.
You have to be able tovisualize your project.
Who's in your cast, what arethe scenes look like, what's the
(28:01):
camera movement?
You got to know it better thananybody else because then when
you go in a room, you've got tobe able to how do you pitch that
?
You go in a room, you've got tobe able to, how do you pitch
that you know, in 90 seconds orless, right and and be able to
sell the vision and get somebodyelse excited about it.
I literally the last show I did,the Breaking the Ice show I was
at a conference, the elevatordoors open.
(28:23):
The president of a network wasstanding in the elevator that I
knew and I said, oh my gosh, theexact guy I want to talk to.
I said I have an idea for you.
Well, here's that 20 times aday.
And he said get in.
And the elevator.
I got in the elevator, thedoors are closing, he goes.
You have as long as it takesthis elevator to get to the
ground floor to pitch me youridea, and I was like.
(28:46):
I was like, oh my gosh, this istruly an elevator pitch quite
literally I I had to figure outokay, 90 seconds, how do I sell
the show?
and by the time the doors openand we walked out, he turned
around, he looked at me and hesaid you get me the cast that I
want.
And he said and I will buy thisshow.
(29:06):
And I was like, yeah, did, didit, honest to God.
Elevator pitch.
But why is that?
That's not because I'm a great.
I knew I had to do a greatpitch.
It was.
I'd really spent a lot of timethinking about the project and
my point is like when I wasteaching up at Marist, I was
floored at the students thatwould get up and didn't really
(29:28):
believe in the idea and if youasked them a question, hadn't
really thought about it.
And so that's, you've got to beprepared.
You've got to be prepared.
You know how do I distill it.
Who are the faces on the poster?
So and I don't know if that's alot of your audience, that are
filmmakers and what have you butyeah, who are the faces on the
poster and why do I care?
(29:48):
And, more importantly, how am Igoing to market this?
So, if I'm buying it, if I'mthe studio or the network, how
am I going to market.
This and the other part of theequation is where am I putting
it in my lineup and my currentlineup?
Because if it's too much of anoutlier, I don't have a show
that's going to be the lead in.
(30:08):
And then how am I benefiting myshow afterwards by your show?
How am I building the audiencefor my next, my next half hour,
my next hour?
Gina Marie Rodriguez (30:15):
Right.
I mean marketing is its ownskill set.
I've always said that, and youneed to.
You need to practice untilyou're comfortable with that
skill as well.
And I don't know the the numberof listeners who may also be
filmmakers.
I genuinely don't know that,but you're talking to one, so at
least you have me.
You have one filmmaker that'slistening to you, and the rest
(30:35):
may just be fans of movies.
I don't know what the mix is,but I'm curious to know.
So for those listening, pleasereach out and let us know Are
you a filmmaker?
Jon Crowley (30:42):
We'll find out.
We'll find out, If nothing else.
Gina Marie Rodriguez (30:52):
I having a good time?
Yeah, absolutely.
I told you I'm having a blast.
I would love to end this onmaybe a light and fluffy note,
If you can share any, if you'refamiliar with any fun stories
from the filming of Deliver MeFrom Nowhere, since that's Bruce
Springsteen's biopic and he issynonymous with New Jersey.
So I wonder if you, if you'vegot any fun stuff to share.
Jon Crowley (31:09):
Well, I'll tell you , last year, when they were
filming lots of conversationswith friends that grew up in New
Jersey that were ecstatic thathis story was getting made, you
know, he is right, he's Mr NewJersey, right.
Everybody you think of Bruce,you think of New Jersey, new
(31:32):
Jersey, right.
Everybody you think of Bruce,you think of New Jersey.
I was at a film festival on theother side of the Atlantic and
introduced myself to it.
Was the director of Bend itLike Beckham, and I said, hi,
I'm from New Jersey.
And she went, bruce, and she,of course, associated New Jersey
with Bruce, and I think a lotof people really got a kick at
us seeing, uh, the boss allaround the state, uh, whether it
(31:55):
was asbury park or freehold,wherever the case might be,
metal and serena was up there,um, seeing him while he was
making this film.
And I think what we're allreally looking forward to is a
film that was, you know, I think, almost entirely shot in new
jersey and it's going to be alove letter, I think, to the
state, uh, when all is, when allis said and done, so, um, I
(32:19):
think there's going to be a lotof, a lot of pride in people
going to the theater to go seethat movie and seeing their
state everywhere I'm alreadyreally excited.
Gina Marie Rodriguez (32:27):
I mean, I I've only seen the trailer,
obviously, at this point, but itlooks so beautiful and Asbury
looks beautiful.
Uh, I, yeah, I'm not that farfrom Asbury.
I mean, who in the state isreally that far?
It's it's not a huge state, but, yeah, I love the story.
You met, oh, uh, I don't knowhow to pronounce her name, but
the the director of Bend it LikeBeckham is Gurinder Chadha.
I don't pronounce her name, um,but I loved her film because
(32:50):
she does have that BruceSpringsteen tie and she did
blinded by the light, I thinkthat was the name of the film.
I was obsessed with that movieand I didn't necessarily grow up
on on Springsteen's music, butI still love Springsteen, just
as a human, and I'm excited tosee the movie.
I'm I'm excited, um, by thiswhole conversation.
(33:12):
So I'm I'm going off ontangents.
I will say it is.
Jon Crowley (33:16):
Uh, when I met her um, it was in can and took
probably 40 different meetingsin can with um filmmakers,
european filmmakers, um, justletting them know everything
that we have going on in NewJersey.
Now I was there a year ago andyou'd walk into a room and you'd
say, hi, I'm from New Jersey.
And it was like the responsewas you know, nice to meet you.
(33:40):
Right this year you walk into ameeting and you say hi, I'm
from New Jersey.
And everybody, without fail,was what is going on in New
Jersey?
Right, like everywhere I turn,I hear New Jersey.
When we went to the set of HappyGilmore 2, adam Sandler came
around and he said what is goingon in New Jersey?
(34:03):
Everybody's talking about NewJersey.
And again, that's one of thebig functions of the film
commission is Jersey.
And again, that's one of thebig functions of the Film
Commission is, you know, justspreading the word, letting
people know everything that wehave.
And again, it becomes reallyhard to say no to filming your
project in New Jersey when youhear about all the great things
that we have to offer.
Gina Marie Rodriguez (34:23):
Absolutely , and I mean I hope this
conversation helps.
I hope more people have learnedabout what the Film Commission
has to offer, what New Jerseyhas to offer.
Everybody, come on film yourstuff in NJ.
Bring it here Bring it to Jersey, as we hope is very evident by
now.
The film scene in New Jersey isever-growing and if you're
(34:52):
considering a career in theindustry, keep in mind that the
governor has set aside about $5million in workforce training
under the NJ Filmworks grantprogram.
You can learn more about thisand what else the New Jersey
Motion Picture and TelevisionCommission offers at NJ.
gov/ NJFilm.
If you'd like to hear moredirectly from Jon Crowley and
other industry professionals,consider checking out the
upcoming panel, Filming in NewJersey at Two River Theater in
Red Bank on August 22nd.
For tickets and moreinformation, be sure to visit
(35:14):
IndieStreetFilmFestival.
org.
If you liked this episode, besure to review, subscribe and
tell your friends.
A transcript of this podcast,links relevant to the story and
more about the arts in NewJersey can be found at
JerseyArts.
com.
The Jersey Arts Podcast ispresented by Art Pride New
Jersey, advancing a state ofcreativity since 1986.
(35:34):
The show was co-founded by andcurrently supported by funds
from the New Jersey StateCouncil on the Arts.
This episode was hosted, editedand produced by me, gina Marie
Rodriguez.
Executive producers are JimAtkinson and Isaac Serna-Diez,
and my thanks, of course, to JonCrowley for speaking with me
today.
I'm Gina Marie Rodriguez forthe Jersey Arts Podcast.
(35:55):
Thanks for listening.
This is Gina Marie Rodriguez, and you're
listening to the Jersey ArtsPodcast.
For those of you who've been onthis ride with me for a while
now, you may have noticed one ofmy secret tells the more
grammatical errors I make andwords I stumble through, the
more giddy I am to be talking tomy guest.
You'll note that during theepisode, as a creative myself
(00:24):
and an independent filmmaker, Ihave once again found myself
fangirling over an interviewee.
This time it was Mr Jon Crowley, the recently appointed
executive director of the NewJersey Motion Picture and
Television Commission, under thepurview of the New Jersey
Economic Development Authority.
What a mouthful.
Prior to joining the NJEDA,crowley worked within the
(00:48):
television industry for over twodecades, producing and
directing several well-knowntelevision series, including
Impractical Jokers, houseHunters, international Big
Brother Trading Spouses and manymore.
He also just so happens to be atwo-time Emmy Award winner and
a Cable Ace Writing nominee.
(01:08):
He now serves as the seniorleader of all of New Jersey's
film initiatives, leading boththe NJEDA's film sector
development work as well as themanagement of the NJMPTVC.
So many acronyms, so little time.
If you're a filmmaker or justconsidering joining the industry
, this is one episode you won'twant to miss, and if you simply
(01:31):
love movies and the behind thescenes that make them possible,
this one's for you too.
So stay tuned to meet JonCrowley and learn just how
impressive Jersey is when itcomes to making movie magic.
So how are you today?
Let's start with that.
How are you doing?
Jon Crowley (01:47):
I am good, I am good, thank you.
Thank you, gina, for having meon your show.
I appreciate it, thank you.
Gina Marie Rodriguez (01:55):
Of course, I'm excited to talk to you.
First, I just I want to learn alittle bit more about you,
because you've been in thisindustry for what?
Over 20 years, let's say.
Jon Crowley (02:05):
Oh gosh, even longer, like 30 years.
Yeah, I started life as aneditor my very first show.
I got hired as a PA productionassistant on the Academy Awards,
made friends with the editorsbecause I had an editor's reel
and I thought that wouldprobably, that would likely, be
my entree into the business.
My first job, real paying job,would be as a cutter, as they
(02:28):
say in editor.
And sure enough, one of theeditors came to me about two
weeks into my job and he's like,kid, I'm going home, I'm not
feeling well, he's like.
But I got to cut a piece and itwas for what they call a nom
package, a nomination packagefor Randy Newman, for I Love to
See you Smile was the song thatwas nominated for an Academy
(02:49):
Award.
He said you cut it and he goes,I'll come and look at it in the
morning and if it's any goodI'll show the boss and if he
likes it I'll tell him you didit.
And he said and if he doesn'tlike it I'll say I was feeling
sick and went home and I didn'tdo a very good job.
So I edited Gina from sixo'clock at night when I was off
(03:14):
work technically, and I cut allthe way until six o'clock in the
morning, ran home, took ashower, didn't get any sleep,
came back to work the next dayat eight o'clock in the morning
and uh, of course I was on pinsand needles because the editor
was in the meeting with theexecutive producer and he came
back out and he goes.
Well, the boss liked it, hegoes, that's the good news, he
goes.
I got a couple notes for you andthen from that day on I was
(03:37):
hired as an editor on theAcademy Awards and that begat
like I think six or seven yearsof editing of editing before I
say more into writing anddirecting, and then became a
showrunner, created anddeveloped and basically bought a
series called ImpracticalJokers and I was the executive
(04:11):
producer on the pilot and thencontinued on producing it for
its first season.
And then, when COVID hit, Idecided to hang my own shingle,
started my own company and withmy business partner we developed
, created, sold, optioned 11different series and the last
one we did was a show calledBreaking the Ice which was about
(04:35):
an all-female, all-diverse,competitive ice skating team and
we sold that to AMC and it's onAll Black still streaming.
So that's the production side.
And then I'm in my third termas a councilman and a police
commissioner here in New Jersey,so I sort of straddle both
worlds of government andproduction.
(04:55):
And that's how I wound up atthe film commission, where our
job is letting everybody knowhow great New Jersey is, so we
get more production here.
Gina Marie Rodriguez (05:04):
Wow, that is a heck of an origin story and
you did such a great job ofjust like surmising everything.
That was amazing, well done.
Jon Crowley (05:11):
Short and to the point That'll fit in the summary
there for your listeners onyour podcast.
When you say what's thisepisode about, you know what.
That's from years of learninghow to pitch a show right.
Gina Marie Rodriguez (05:23):
Exactly, and so now.
Jon Crowley (05:25):
I've gone from Gina .
I've gone from pitching TVshows and trying to sell them to
now I'm pitching an entirestate.
It's the faces have changed onthe poster and now it's our
workforce.
It's our experienced workforce,it's our huge variety of
locations that we have in thestate in a geographically
compact space, of locations thatwe have in the state in a
(05:46):
geographically compact space,and our great film commission
that's as hands-on as you wantus to be in terms of your
filmmaker.
And you need a location packer.
You need to help us, help youwith interfacing with like
Department of Transportation orDepartment of Labor right, we do
all that stuff.
And then it's ourinfrastructure.
We've got this fantasticinfrastructure of motion picture
cameras or lighting gear orsound gear or sound stages.
(06:10):
You really don't need to goacross the river for anything
like you might have.
Just a few years ago, we hadthis big thing called the NJ
Film Expo May 1st at theMeadowlands Arena, and the
tagline on it was like whateveryour production needs, new
Jersey's got you covered.
So we literally have everythingyou need.
So you start in our taxincentives.
(06:32):
We've got some of the best taxincentives anywhere and that's
the big door opener to getpeople interested in finding out
about New Jersey.
So they get here becausethey're like the tax incentives
are great.
So the governor and thelegislators both sides of the
aisle, by the way, both sides ofthe aisle in Trenton major
support for it.
So people come here, they'reinterested in that, and then
(06:54):
they find out all these otherthings that we offer in New
Jersey that most other statescan't even come near.
And then what I always say islike why would you say no to New
Jersey?
Like why, why would you say nowhen we've got everything
covered here?
So I've just gone from pitchingTV shows down pitching this
great state that's been my homefor 18 years and more and more
(07:16):
people are discovering andthat's why we're getting busier
and busier.
Gina Marie Rodriguez (07:19):
I think that's amazing.
It sounds like you were theright hire, because to have that
skill set is pivotal.
Jon Crowley (07:25):
So you're in it.
It's easy, Gina, it's easy.
The state sells itself.
Oh yeah, oh yeah.
Well, the state does sellitself, I will say that so if
anybody in Trenton is listening,it's really hard and I'm doing
my best.
No, no, no, no, no.
The state is the state it is.
It really is.
It's an easy sell when youthink about all the things that
(07:46):
I just talked about.
Again, I ask the question whywould anybody say no?
Gina Marie Rodriguez (07:51):
Oh, I'm with you, but I'm biased because
I'm from New Jersey, born andraised been here my whole life.
So I'm with you.
Jon Crowley (07:57):
I think it's an easy sell, but I Are you North
Jersey, Central Jersey or SouthJersey person?
Gina Marie Rodriguez (08:03):
I am Central Jersey and I've been
saying it since before theyestablished the official Central
Jersey.
Jon Crowley (08:09):
Well, we know.
I mean, when I moved here Ilearned very quickly don't you
dare say, that there's noCentral Jersey and that's where
(08:47):
Netflix is coming.
You know a lot of jobs for crewthat live in Monmouth County to
be so close, and I remember,honestly, when I moved here gosh
, all my contacts are on theWest Coast and I've seen over 18
years more TV, more film cominghere, and certainly in the last
few years with what thegovernor and what our
legislators have done in Trenton, with the incentives like more
and more and more and more, andthen that's a big part of the
job of the commission is we justgo bang on doors and to the
(09:07):
networks and studios and saythis is everything that's going
on, Because you can't everassume that people know Right.
A lot of people think Jerseylooks like the opening credits
to the Sopranos.
Yeah, and we know as residents.
Oh, no, no, no, no, no Way morethan that.
So if you want a littleMayberry, rfd-looking small town
(09:28):
, got it, but guess what, Only30 minutes away there's probably
a big city.
You want mountains with snow oryou want a beach, the ocean,
got that too, and that can be.
That's only 90 minutes away.
Some days, with traffic, ninetyminutes it'll take you just to
go.
You know, crosstown and alittle Island across the river,
(09:49):
right, so you can get all sortsof different looks.
Queen Anne, victorian homes,one block away from a
mid-century ranch, right, sothat's, that's a big draw when
you've got a script with a lotof different needs for looks,
different looks.
Everything's here.
All these looks exist, and soit's just really spreading the
word about that stuff.
(10:10):
Happy Gilmore, biggest spend inthe state, and they shot for
over 60 days and they spent areyou ready?
$152 million throughout NewJersey.
Crazy had 6,000 crew hires,spent $18 million alone on
(10:32):
location fees.
So those golf courses right,and it was.
I'm trying to think how muchmoney do they spend on extras?
It was a huge.
Here it is, I can tell you.
It was a huge.
Here it is, I can tell you.
So.
1,600 jobs on Hapig Gilmore.
Their average daily spend wasover $2.3 million per day and
their budget for extras was $6million and their location fees
(10:56):
were $18 million.
So when you see a house or astore or those golf courses,
they were all making a lot ofmoney.
And they spent $1.2 million onhotels for their crew as they're
moving all around the state.
So that's why we do it.
Gina Marie Rodriguez (11:13):
Yeah, those numbers are really
impressive.
I think you nailed why it'simportant to the state's economy
.
Just with all of those numbersright there, how helpful one
film could be.
And now imagine when we havemultiple films filming in the
state.
That's so impressive.
Jon Crowley (11:29):
One last piece of Jersey pride is that you know
our goal on the Film Commissionis to make us the third largest
production hub in the UnitedStates, behind LA and New York.
La and New York and I can tellyou we went from $592 million in
(11:50):
that qualified spend in 2023 tolast year, 2024, $810 million.
So that's a 37% increase.
And you can look around therest of the country LA was down,
new York was flat, georgia wasdown, texas was down, louisiana
was down, toronto was down.
Of the top 10, you know majorproduction hubs, we were the
(12:11):
only one, I think, that was upand that's not by mistake,
because the word is getting outthat we have all these great
assets that you know filmmakerswant to come and take advantage
of and put to use.
Gina Marie Rodriguez (12:22):
Absolutely .
That's amazing.
Did you say what our rankingwas?
Do you know what our rankingwas behind?
Jon Crowley (12:29):
Some of the figures are still coming out from other
states.
I think we're going to I don'tknow, it's maybe a tie for three
or four.
I don't think we're below four,but our goal is to become the
third largest production hub inthe United States and I think
we're within just a couple ofyears of achieving that goal.
Gina Marie Rodriguez (12:49):
Yeah, I hope so.
I mean, hey, I'm happy with topfive.
Like if you're saying we're inthe top five, I already feel
good about it.
Jon Crowley (12:55):
Well, let me see if I can do better for you, if we
can do better for you, if thestate can do better, I think we
can.
You know, the New Jersey FilmExpo that we had May 1st in
Meadowlands was a greatgathering.
It's the first time we've everdone it and the producing
partner on that was Sanj, whichis the Screen Alliance of New
Jersey.
(13:16):
Fantastic people, those areowners and operators within our
infrastructure stage owners,grip, electric caterers, truck
rentals, all that stuff, specialeffects, you name it and got
them all under one roof.
And it was really a way to beable to message out to the
studios and networks Again,repeating that message whatever
(13:36):
your production needs, Jersey'sgot you covered to showcase to
them.
You don't need to go anywhereelse, you don't need to bring
those things, we have them allhere for you.
And that it's really about teambuilding, because you need all
these different pieces, parts,to come together so we work
efficiently and it's not justenough to get a studio or
network to state.
(13:56):
Once we wanted to keep comingback again and again and again
because they had a greatexperience.
We also have a thing calledFilm Ready, which is a
certification program here inthe state where a town, a
municipality can come.
They do a workshop that we puton and they assign a film
liaison and they put together afilm permit or ordinance or a
(14:20):
code of conduct.
Um, and we're.
It's all about buildingconsistency through the state so
that if you are a studio ornetwork you don't think of New
Jersey as like, oh, there's 564different municipalities, which
means 564 different sets ofrules, that if they go to a film
ready town it's consistent.
(14:41):
You're the turnaround time onyour permits, the consistency
and what it costs for a permit,all that stuff.
And then as part of ourworkshop for our ambassadors, if
you will, on the municipal side, it's sort of that.
You remember the book what toExpect when Expecting, I say
(15:03):
this is film ready is like whatto expect when expecting a film
production or TV production inyour town.
You know we walk you throughthese are the things to think
about and to be, you know, cluedin on when the circus moves
into town for a week or a day ortwo or whatever.
You know, when production movesin, this is what to expect.
So it's again part of that teamis like all of our elected
(15:25):
officials and our municipalworkers.
They're ambassadors for theirtown, which then is their
ambassadors for the whole stateto showcase.
You know why Jersey is so easyto work in?
You know because we're herewith open arms.
We like it, it's fun, andthere's the tourism side too.
Right Is the tourism part of itis like we had an owner of a
(15:51):
salvage yard and I forget theseries Somebody, one of your
listeners will totallyunderstand this and they filmed
the series at his salvage yard.
Then the show started runningand then fans were like can I
come out and see your location?
And to the point where he got acall and he said we want to do
a weekend with cosplayers.
And he said I had 500 peoplerunning around.
(16:13):
They rented out my salvage yard.
He goes I made some good moneyrenting it out for all the
cosplayers, for this group.
And he said I started thinkingabout it and I'm like wait a
minute, where are all thesepeople staying and where are
they eating?
And he's like and I sort ofextrapolated out and realized,
wow, this is a lot of money inour little area, our town, here,
from these 500 people that arespending the weekend.
(16:34):
So you know, that's on thehorizon.
It's starting to happen already, but that's on the horizon too
is the is the film tourismaspect of all this that people
will see New Jersey on theirfavorite show or their favorite
movie and they're going to say,I want to go see it, you know,
and we'll get that business too.
So it's pretty incredible,right.
Gina Marie Rodriguez (16:54):
It really is, and you just you were
talking about fans and it makesme think like we're seeing this
increased celebrity presence aswell, now that we're kind of
like aiming to become HollywoodEast, right, adam Sandler was
just in Westfield and I thinkthat I most recently saw John
Cena was in Bayonne.
That was one of the sightings Isaw online.
It feels like the film versionof Pokemon Go.
(17:15):
You know, people are justexcited that they caught one.
But I love that.
I just love that people aregetting excited, right, because
for a long time, jersey tends tobe like the butt of people's
jokes, especially like onbroadway.
They love making fun of ofjersey.
But now I feel like we'refighting back and it's finally
becoming obvious to the rest ofthe world, or at least one thing
(17:36):
, though.
Jon Crowley (17:37):
One thing I have to take issue with gina is I
wouldn't say that Los Angeles isFort Lee West, because the
industry started here in FortLee at the turn of the last
century, like in the 1910s,right.
(17:58):
And here's the here's.
The irony is, the reason whyHollywood exists is because
Thomas Edison, you know, heinvented some of the of the gear
that you need to make motionpictures, cameras and things
like that.
He had a device called theBlack Mariah.
Well, the early filmmakers, thestudio heads, didn't want to
spend money on Edison's tax.
(18:21):
It was a licensing fee, sobasically a tax to use his gear.
So they said we're just goingto run away, as far away from
Edison as we can.
And when they hit the Pacificocean they stopped, and that's
where Hollywood began, right?
So now, 110 years later, um,we're getting filmmakers to come
(18:42):
back to the original home ofwhere filmmaking began, and
we're getting them here, as Isaid, you know, initially with
the tax incentives and, ofcourse, all the other stuff, but
taxes scared them away and taxincentives are getting them back
.
So it's a real circle of lifemoment, I think, right.
Gina Marie Rodriguez (19:01):
Absolutely .
I like that.
I'm stealing it.
I will begin calling Go for it.
It's yours, I'm going to thankyou.
Jon Crowley (19:06):
I'm stealing it.
I will begin calling Go for it,it's yours.
Gina Marie Rodriguez (19:08):
I'm going to Thank you.
I do appreciate the consent,though Big on that.
Oh, I wanted to ask you youropinion you were talking about.
You made your own film earlierfor three million and I'm
wondering what your advice, ormaybe words of encouragement,
would be to independentfilmmakers who are working at
(19:29):
like the micro micro budgetlevel of, let's say, under
100,000, who might be a littlebit trepidatious that these big
studios are coming in and thatprices may be inflating and they
may not be able to afford tomake their smaller independent
works.
Is there some way that you cansoothe their fears?
Jon Crowley (19:51):
So great question and a whole bunch of different
answers that I'll try to runthrough really fast, right?
Because for one thing, let'sjust say, let me start at a
little higher price point than,say, $100,000.
The tax incentive program worksin a way that if you spend a
million dollars qualified spend,you're eligible for the tax
(20:14):
incentive, or 60% of your budget.
So it doesn't have to be amillion dollars, it could be
less than that.
I think probably the If yourbudget is in the $250,000 range,
you should be applying for atax incentive and try to get
some money back on yourqualified spend.
(20:35):
And those are businesses, again, that are registered to do
business in New Jersey.
Why do I say like $250,000?
Because there is a fee of goingto a CPA and having them do a
report, so that does cost somemoney.
Cpa and having them do a report, so that does cost some money.
And so that's sort of the sweetspot of a budget to be able to
afford a CPA but apply for thetax incentives, get some money
(20:57):
back that you can apply towardsmaybe your next production or
paying off a loan that you tookout to make your film right.
So there's that.
The other part is the commission, for free, will do a script
breakdown.
If you've got your script, youcan give it to us.
We'll do a script breakdown andwe'll give you a location
(21:19):
packet and we'll show you allthe locations that we think that
we've got available to you togo then and negotiate location
permit fee, all that fun stufffor your production.
But we'll hand you that packetand say here's everything that
we think is going to work foryour production.
That's free.
You want us to sort of adviseyou on the permitting process,
(21:42):
because we know what thepermitting processes are in over
200 towns in the state, right,so we can walk you through that.
Because that sometimes is whenyou're beginning your
pre-production.
You know your head is going toexplode.
You're like I don't even knowwhere to go.
What, who do I have to talk to?
What do I have to do for thepermitting?
We can walk you through that.
(22:03):
Also, if you have, say, childtalent in your movies, we'll act
as a liaison with Department ofLabor to put you in the process
for permitting for free,department of Transportation,
state troopers, any of theseother state agencies.
We're happy to act as a liaisonand put you in touch with the
right people to talk to, to helpyour production free.
(22:24):
So it doesn't matter if you'rebig budget or you're low budget
or in between.
We don't discriminate on any ofthat.
And I'll tell you why.
It's real simple Is the littleprojects that come through.
They're filling the gaps in thecalendar between the big giant
productions, meaning they'rerenting from the rental houses
(22:46):
their lighting gear and theirgrip gear.
They're putting crew to work inbetween projects and the last
two years independent filmmakershave amounted to like $50
million worth of production inthe state.
That's nothing to be sneezed at.
So we support all projects, bigor small, because they keep
people busy and working at therental houses and on the crew
(23:08):
side, in terms of prices goingup because there's more major
productions coming into thestate, you know wages are set.
Everybody knows what you'repaying cruise, but you know one
size does not fit all.
So you know a location feedoesn't stay the same for a
(23:29):
small production that it doesfor a big one.
And you know, look, there areplenty of non-union projects
that are going on and peoplenegotiating with the rates Our
friends at IATSE and theTeamsters.
They negotiate rates all thetime depending on the budget.
So people understand it'simportant to keep busy and
nobody's budget is the same.
(23:51):
The budgets are all over theplace and so people are
negotiating.
But if you're a young filmmakerstarting out and you're working
, maybe, with a younger, lessexperienced crew, they all are
hungry to get better and getmore experience.
So you know, with more and moreproduction coming in, there are
more and more people that arecoming out of film school or
(24:12):
that are just interested ingetting into the business.
Look, there's all sorts oftrade schools, people that are
welders and painters andcarpenters that look at this
industry coming into the stateand they go.
You know what?
Maybe I want to pivot frompainting houses or office spaces
and get into production.
So there's all sorts of people,different age ranges, that are
(24:38):
saying this looks like a reallyinteresting career that I'd like
to pivot into and would behappy to work with, with younger
filmmakers that need needpeople that want to work on on
any size production.
Gina Marie Rodriguez (24:48):
To clarify does the commission work with
non-union productions as well oronly union productions?
Jon Crowley (24:55):
Anybody that comes to us and says I have a script,
we'll take the script and we'lldo that breakdown.
It doesn't matter.
Gina Marie Rodriguez (25:01):
All right, that's awesome.
I mean, what I heard with allof that is that the project that
I'm working on right now I wantto hit that sweet spot of
$250,000 for my budget.
That's what I'm going for.
Jon Crowley (25:11):
If the sweet spot for you is $250,000, it means
you're obviously getting acouple more days of production
so you can take time to reallyfinesse your scenes or get that
extra special location that youwant.
We all strive to get a biggerbudget, don't we?
We all want a bigger budget,you know.
Look at Kevin Smith Now.
That's 30 years ago, when hemade the first clerks and I
(25:34):
think the dollar amount wassomething like twenty five or
twenty six thousand dollars.
Don't quote me on it.
It would probably take a littlemore to get that done today
with inflation.
But you know you can, it's.
I taught directing at MaristUniversity and I was like you're
a student, you know you're newfilmmakers.
You're going to graduate, youknow, next month or in a year,
(25:56):
whatever.
Get out, go be a producer andnegotiate a great rate for a
great location.
People always want to help outsomebody in an artistic um, you
know venture.
So, um, when I was a student, Iwas getting Panavision cameras
for free, because thesecompanies realize he's not
(26:18):
always going to have a lowbudget.
One day he's going to have abigger budget and he's going to
remember us that we gave himcameras for free.
And you bet, the first time Ihad the budget that I could
afford getting a Panavisioncamera.
Of course I returned the favor.
So people always love helpingout others that are just
starting out.
So I think you'd be amazed athow much you can stretch a buck,
(26:40):
whether it's a location youknow or some piece of art
direction or props or you knowwhatever, and crews are willing
to work.
You know to help somebody thatif you've got a vision right and
you you're thoughtful about it,you've planned it out, you've
got your storyboards togetherand your your shot lists and all
(27:02):
that, they know that you'rereally putting in the time
because you're serious about it.
They'll.
They'll jump on board If you'vegot the creative vision and
they believe in it and you cansell it to them the idea.
There's no limit to how far youcan go.
Gina Marie Rodriguez (27:16):
Absolutely , and I think our listeners are
learning just from hearing youspeak what a skill it is to
pitch this whole conversation.
I feel like has been amasterclass for me at least.
Maybe others listening agreewith me, but I think you're
wonderful.
So, if you can't tell, I'menamored with you.
Jon Crowley (27:35):
But I appreciate that.
Thank you.
Gina Marie Rodriguez (27:37):
But you're right.
Jon Crowley (27:38):
Gina, you're right, it's.
Pitching is a is a topic thatdoesn't get discussed often
enough.
And if you, I would say to anyof your, your listeners that are
filmmakers, you really have gotto know your project backwards
and forwards.
You have to think through allthe angles.
You have to be able tovisualize your project.
Who's in your cast, what arethe scenes look like, what's the
(28:01):
camera movement?
You got to know it better thananybody else because then when
you go in a room, you've got tobe able to how do you pitch that
?
You go in a room, you've got tobe able to, how do you pitch
that you know, in 90 seconds orless, right and and be able to
sell the vision and get somebodyelse excited about it.
I literally the last show I did,the Breaking the Ice show I was
at a conference, the elevatordoors open.
(28:23):
The president of a network wasstanding in the elevator that I
knew and I said, oh my gosh, theexact guy I want to talk to.
I said I have an idea for you.
Well, here's that 20 times aday.
And he said get in.
And the elevator.
I got in the elevator, thedoors are closing, he goes.
You have as long as it takesthis elevator to get to the
ground floor to pitch me youridea, and I was like.
(28:46):
I was like, oh my gosh, this istruly an elevator pitch quite
literally I I had to figure outokay, 90 seconds, how do I sell
the show?
and by the time the doors openand we walked out, he turned
around, he looked at me and hesaid you get me the cast that I
want.
And he said and I will buy thisshow.
(29:06):
And I was like, yeah, did, didit, honest to God.
Elevator pitch.
But why is that?
That's not because I'm a great.
I knew I had to do a greatpitch.
It was.
I'd really spent a lot of timethinking about the project and
my point is like when I wasteaching up at Marist, I was
floored at the students thatwould get up and didn't really
(29:28):
believe in the idea and if youasked them a question, hadn't
really thought about it.
And so that's, you've got to beprepared.
You've got to be prepared.
You know how do I distill it.
Who are the faces on the poster?
So and I don't know if that's alot of your audience, that are
filmmakers and what have you butyeah, who are the faces on the
poster and why do I care?
(29:48):
And, more importantly, how am Igoing to market this?
So, if I'm buying it, if I'mthe studio or the network, how
am I going to market.
This and the other part of theequation is where am I putting
it in my lineup and my currentlineup?
Because if it's too much of anoutlier, I don't have a show
that's going to be the lead in.
(30:08):
And then how am I benefiting myshow afterwards by your show?
How am I building the audiencefor my next, my next half hour,
my next hour?
Gina Marie Rodriguez (30:15):
Right.
I mean marketing is its ownskill set.
I've always said that, and youneed to.
You need to practice untilyou're comfortable with that
skill as well.
And I don't know the the numberof listeners who may also be
filmmakers.
I genuinely don't know that,but you're talking to one, so at
least you have me.
You have one filmmaker that'slistening to you, and the rest
(30:35):
may just be fans of movies.
I don't know what the mix is,but I'm curious to know.
So for those listening, pleasereach out and let us know Are
you a filmmaker?
Jon Crowley (30:42):
We'll find out.
We'll find out, If nothing else.
Gina Marie Rodriguez (30:52):
I having a good time?
Yeah, absolutely.
I told you I'm having a blast.
I would love to end this onmaybe a light and fluffy note,
If you can share any, if you'refamiliar with any fun stories
from the filming of Deliver MeFrom Nowhere, since that's Bruce
Springsteen's biopic and he issynonymous with New Jersey.
So I wonder if you, if you'vegot any fun stuff to share.
Jon Crowley (31:09):
Well, I'll tell you , last year, when they were
filming lots of conversationswith friends that grew up in New
Jersey that were ecstatic thathis story was getting made, you
know, he is right, he's Mr NewJersey, right.
Everybody you think of Bruce,you think of New Jersey, new
(31:32):
Jersey, right.
Everybody you think of Bruce,you think of New Jersey.
I was at a film festival on theother side of the Atlantic and
introduced myself to it.
Was the director of Bend itLike Beckham, and I said, hi,
I'm from New Jersey.
And she went, bruce, and she,of course, associated New Jersey
with Bruce, and I think a lotof people really got a kick at
us seeing, uh, the boss allaround the state, uh, whether it
(31:55):
was asbury park or freehold,wherever the case might be,
metal and serena was up there,um, seeing him while he was
making this film.
And I think what we're allreally looking forward to is a
film that was, you know, I think, almost entirely shot in new
jersey and it's going to be alove letter, I think, to the
state, uh, when all is, when allis said and done, so, um, I
(32:19):
think there's going to be a lotof, a lot of pride in people
going to the theater to go seethat movie and seeing their
state everywhere I'm alreadyreally excited.
Gina Marie Rodriguez (32:27):
I mean, I I've only seen the trailer,
obviously, at this point, but itlooks so beautiful and Asbury
looks beautiful.
Uh, I, yeah, I'm not that farfrom Asbury.
I mean, who in the state isreally that far?
It's it's not a huge state, but, yeah, I love the story.
You met, oh, uh, I don't knowhow to pronounce her name, but
the the director of Bend it LikeBeckham is Gurinder Chadha.
I don't pronounce her name, um,but I loved her film because
(32:50):
she does have that BruceSpringsteen tie and she did
blinded by the light, I thinkthat was the name of the film.
I was obsessed with that movieand I didn't necessarily grow up
on on Springsteen's music, butI still love Springsteen, just
as a human, and I'm excited tosee the movie.
I'm I'm excited, um, by thiswhole conversation.
(33:12):
So I'm I'm going off ontangents.
I will say it is.
Jon Crowley (33:16):
Uh, when I met her um, it was in can and took
probably 40 different meetingsin can with um filmmakers,
european filmmakers, um, justletting them know everything
that we have going on in NewJersey.
Now I was there a year ago andyou'd walk into a room and you'd
say, hi, I'm from New Jersey.
And it was like the responsewas you know, nice to meet you.
(33:40):
Right this year you walk into ameeting and you say hi, I'm
from New Jersey.
And everybody, without fail,was what is going on in New
Jersey?
Right, like everywhere I turn,I hear New Jersey.
When we went to the set of HappyGilmore 2, adam Sandler came
around and he said what is goingon in New Jersey?
(34:03):
Everybody's talking about NewJersey.
And again, that's one of thebig functions of the film
commission is Jersey.
And again, that's one of thebig functions of the Film
Commission is, you know, justspreading the word, letting
people know everything that wehave.
And again, it becomes reallyhard to say no to filming your
project in New Jersey when youhear about all the great things
that we have to offer.
Gina Marie Rodriguez (34:23):
Absolutely , and I mean I hope this
conversation helps.
I hope more people have learnedabout what the Film Commission
has to offer, what New Jerseyhas to offer.
Everybody, come on film yourstuff in NJ.
Bring it here Bring it to Jersey, as we hope is very evident by
now.
The film scene in New Jersey isever-growing and if you're
(34:52):
considering a career in theindustry, keep in mind that the
governor has set aside about $5million in workforce training
under the NJ Filmworks grantprogram.
You can learn more about thisand what else the New Jersey
Motion Picture and TelevisionCommission offers at NJ.
gov/ NJFilm.
If you'd like to hear moredirectly from Jon Crowley and
other industry professionals,consider checking out the
upcoming panel, Filming in NewJersey at Two River Theater in
Red Bank on August 22nd.
For tickets and moreinformation, be sure to visit
(35:14):
IndieStreetFilmFestival.
org.
If you liked this episode, besure to review, subscribe and
tell your friends.
A transcript of this podcast,links relevant to the story and
more about the arts in NewJersey can be found at
JerseyArts.
com.
The Jersey Arts Podcast ispresented by Art Pride New
Jersey, advancing a state ofcreativity since 1986.
(35:34):
The show was co-founded by andcurrently supported by funds
from the New Jersey StateCouncil on the Arts.
This episode was hosted, editedand produced by me, gina Marie
Rodriguez.
Executive producers are JimAtkinson and Isaac Serna-Diez,
and my thanks, of course, to JonCrowley for speaking with me
today.
I'm Gina Marie Rodriguez forthe Jersey Arts Podcast.
(35:55):
Thanks for listening.
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