April 8, 2026 • 39 mins
Danielle Guilbot is an Austin-based actress and film-tech entrepreneur. She is the founder of TexasFilmScene.com: the Texas Movie Operating System. TFS is a clearinghouse connecting producers, crews, and talent with everything they need to bring productions to Texas — from firsthand producer insights and crew resources to a full breakdown of the state's film incentive programs.
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SPEAKER_02 (01:16):
What if one of the smartest things you could do to
make and fund your film issimply choosing the right place
to shoot it?
SPEAKER_00 (01:27):
Hi, I'm Claire Papan, co-host of the podcast
here with Carol Dean, presidentof From the Heart Productions
and author of the Art of FilmFunding Alternative Financing
Concepts 2nd edition.
Thank you so much for joining ustoday.
We're excited to have you herebecause this episode is going to
(01:49):
open your eyes to newpossibilities, not just for
funding your film, but for whereand how you produce it.
Today we're speaking withDanielle Gilbo, an Austin-based
actress and film techentrepreneur.
Danielle is also the founder ofTexasfilmScene.com, what she
(02:11):
calls the Texas Movie OperatingSystem, a platform designed to
connect producers, crews, andtalent with everything they need
to successfully bringproductions to Texas.
Her work sits at theintersection of real production
experience and industry,innovation with a mission to
(02:34):
help make Texas the newHollywood.
Danielle is an Austin-basedactress and film tech
entrepreneur with creditsspanning Richard Linklater's
Apollo 10 and a half, A SpaceAge Childhood on Netflix, and
Young Jedi Adventures on DisneyPlus.
(02:56):
She's the founder ofTexasfilmScene.com, the Texas
Movie Operating System.
TFS is a clearinghouseconnecting producers, crews, and
talent with everything they needto bring productions to Texas,
from firsthand producer insightsand crew resources to a full
(03:18):
breakdown of the state's filmincentive programs.
Her work sits at theintersection of on-screen
experience and behind-the-scenesindustry building with a mission
to make Texas the new Hollywood.
And Carol, you and I are bothTexans, and I live in Houston,
and you were born in Dallas, sothis conversation is going to be
(03:40):
a lot of fun for us.
SPEAKER_02 (03:42):
It is, Claire.
And that's why we're so happy tohave you, Danielle.
Welcome.
What you're doing is excitingbecause you're not just
participating in the industry,you're helping reshape it.
And for filmmakers looking tofund and produce their own work,
this kind of resource can begame-changing.
(04:04):
So let's dive in, okay?
Sure.
I'm excited.
Thank you for having me.
All right.
Well, you've acted in majorproductions like Apollo 10 and a
half and Young Jedi Adventures.
So what did working on thosesets teach you about what
producers actually need, and howdid that shape the idea for
(04:27):
Texasfilmcene.com?
SPEAKER_01 (04:30):
Sure.
Yeah, well, having thoseopportunities to be on these
huge sets starting at age 13,that's sort of when I got into
film and television, they reallytaught me that producers are the
business side of show business,and actors like myself, hair and
makeup, art department, otherroles in the movie making
(04:51):
process are more the show, thecreative artistic side.
And it doesn't mean that theseroles can't overlap, but I
really learned, for example, onApolloton and a half from one of
the main producers, MikeBlizzard, on I learned how their
process works for movie making.
And so one of the things that hewas tasked with on this movie
(05:13):
was creating a historicallyaccurate scene from the 1960s.
And so we were, I was acting ina scene where we were in a
living room, 1960s, Houstonactually, and Mike Blizzard was
tasked with figuring out whatmovie or TV show would have been
on the TV at the time of uswatching that.
(05:34):
So based on the day, the year,it was insane.
And so he did all of thistechnical research, he figured
all of this information out, andit made our production so much
better.
But there was a business side toit.
And then there were theproducers who also had to figure
out where are we going to film?
What permits are we going to beable to pull?
(05:54):
How are we going to actuallycreate, for example, on Apolitan
and a half, a production that ison a green screen within this
huge airplane hangar andtroublemaker studios where they
shot Spy Kids and Shark Boy andLava Girl.
And so there were a lot of,there's a lot of technicality to
being a producer from what I'veexperienced and what I've heard.
And there's a whole businessside to it.
(06:17):
And so I realized they're theones actually making the movie.
And so I wanted to create a toolthat helped producers make
movies easier and make theirlives easier, make the film
commission's lives easier, sothat eventually, as I'm a Texan,
born and raised in Austin,Texas, we can make Texas the new
Hollywood.
And I hope that Texas FilmScene, the Texas movie operating
(06:40):
system I've created, I hope thatthat will be able to contribute
in a major way.
SPEAKER_02 (06:44):
So tell us about the TexasfilmScene.com.
What gap in the indie film worldinspired you to build it?
And so who's really designing itto serve?
SPEAKER_01 (06:57):
Sure.
So it's my tools for indieproductions and larger budget
productions as well.
And so Texas Film Scene is theTexas movie operating system
that we built specifically tofix bigger pain points that
producers face when trying tofilm in Texas, especially now
that the government is hascreated the SB22 film
(07:21):
incentives,$1.5 billion they'regiving to these productions.
And so I was figuring out howcan, after talking to dozens of
producers, how can I fix thisgap that I noticed?
And the gap that jumped out atme was how much money is being
lost on each production,literally tens or hundreds of
thousands of dollars perproject.
(07:42):
I think on average it's$50,000to$500,000 per production, or
that like it gets leaked, itgets left on the table because
of fragmented tools, outdatedlocation data, crew
availability, chaos, et cetera,et cetera.
And so producers have told methat they were spending a
(08:02):
fortune on consultants just tofigure out if a project even
qualified for these filmincentives.
And I just kind of realized,okay, I think the main people
I'm trying to serve are filmproducers.
And I'm also adding in, I'mstarting to meet with people
from the various Texas FilmCommissions.
(08:24):
I'm adding in them as the otherside of the market for my
product.
SPEAKER_02 (08:30):
Okay, so you've been researching and collecting
producer insights for theplatform.
So what are the top reasonsproducers give for choosing to
shoot in Texas?
SPEAKER_01 (08:42):
Sure.
I would say the top reasons thatthey give for choosing Texas
sort of boil down to acombination of the financial
upside as well as the diverselocations and the growing crew
base.
So, I mean, first and foremost,Texas has now committed to
providing$1.5 billion over thenext decade through these SB22
(09:07):
financial film incentives.
And producers are able toactually stack these base
rebates they're allowed withthese other um available
rebates.
And so now I think yourproduction can get up to 45%
money back as far as the filmrebates.
(09:30):
And this is for if you'refilming in multiple different
cities like San Antonio orAustin or a rural area, and you
stack all these different baseincentives.
So, for example, I think forfilming in a rural location, you
can get a 2.5% bump.
And I think for hiring crew,it's another 2.5% bump, or a
(09:52):
faith-based production is a 2.5%bump.
And so all of these financialincentives to come film here are
really leading people fromGeorgia and California and
sometimes like Oklahoma and NewMexico.
They're like leading thesepeople all to Texas.
Plus, Texas doesn't have anystate income tax.
(10:14):
So if you have people living inthe state for a long time, that
can also help cut down on cost.
And then I would say the otherreason we have many diverse
locations in Texas.
So I think most people, evenwithin the United States, can
see Texas as a tumbleweed landwith horses that you ride to
(10:35):
school.
And it's not, it can be that,but it's not quite that.
And so we have borderlands, wehave prairies, we have big
cities, and then we also havelike swamps and caves and
beaches and deserts, and we justhave such a variety and range of
places you could film, and wehave so much space for
(10:56):
productions to film.
I mean, we have, you know,people like Taylor Sheridan who
are spending millions of dollarsin Texas on their productions
per production.
And I think that that's anotherfactor that is really leading
people to Texas.
And then also we've had sincethe 2000s, we had crew members
(11:18):
kind of go where there was otherwork because Texas had lost its
incentives for a while.
And now that Texas is reallywelcoming filmmakers again, we
have a growing crew base.
And so now you have not just theactors and the producers and the
writers, but you also have thishuge pool of crew members that
you're able to take in toaccount for your production.
(11:40):
And I actually have that whereyou can track it on my site,
TFS.
So you can actually see crewavailability where there might
be crew shortages based on uhregion, basically.
SPEAKER_02 (11:53):
You know, I'm so glad you brought up Taylor
Sheridan because he's been myfavorite writer director for
years when he did um Come Hellor High Water.
That is one of my favoritefilms.
That's a good one.
(12:15):
I was so upset because that's aTexas story.
Perfect.
It's um the story is aboutgetting a Texas Ranger on your
tail when they birdongs, youknow, they always get their man.
That's that we we we've allgrown up knowing.
If a Texas Ranger thinks you didit, you're in trouble.
(12:36):
You're they're gonna catch you.
SPEAKER_01 (12:38):
Mm-hmm.
SPEAKER_02 (12:39):
And film on that, which have you seen it?
SPEAKER_01 (12:44):
Heller come Heller High Water?
Yes.
I've seen my my dad has seen itand I've seen clips of it from
him, but that's one of the onesI have on my list to watch
because I've heard it'sphenomenal.
SPEAKER_02 (12:55):
You will love it.
You will love it because it'sall over Texas.
They're up in the mountains,they're in a country town.
Uh, it does show uh the width uhof the various locations, lots
to choose from.
But Taylor uh helped bring uhthis money to Texas, I'm sure he
(13:19):
was part of the decision making.
And I saw a trailer that theymade that had Billy Bob Thornton
and five, like five movie starswho came from Texas as talking
about Texas, how important it isto have a good uh discount or
(13:39):
rebate for shooting in Texas.
I think all of that together iswhat created this massive uh
billion-dollar fund for films,right?
SPEAKER_01 (13:51):
Right.
And also, I've just talkedrecently with a longtime Texan,
but also Hollywood producer andactor named Todd Allen, and
wonderful guy, and he's verywell connected in California,
but he has so many stories thathe wants to tell that are real
(14:11):
stories from Texas.
And now that all of these filmincentives are really happening
and the Texas film scene isbooming, he was talking to me
about my product to see if wecould partner in some way so he
can help make these productionsreally happen in Texas where the
stories were told.
And now that's not to say thatif you're not from Texas, you
(14:34):
cannot use Texas film scene oryou cannot even come and film in
the state.
Like we want people to come andfilm here and bring their work
here, especially if you havetrue tech true to wow, true to
Texas stories.
But even if if not, if you justwant to utilize our great
hospitality and our locationsand our incentives, like come on
(14:55):
over.
You know, we want we want Texasto become the new Hollywood.
SPEAKER_02 (14:59):
Exactly.
That's great.
So walk us through the TexasMoving Image Industry Incentive
Program.
What should indie filmmakers andproducers know about qualifying
and how significant can thesavings be?
SPEAKER_01 (15:16):
Sure.
And I'm not the most expert inthis.
However, I have recently talkedto the Film Incentives
Coordinator at the stategovernment of Texas.
So I have some information fromher, but basically the Texas
Movie Image Industry IncentiveProgram is a cash rebate, not a
tax credit, and it reimburses apercentage of qualified in-state
(15:39):
spending for like film, TV,commercials, animation, and even
video games, I believe.
So to qualify, what I know of isthat projects need at least
$250,000 in Texas spend.
And then the base rebate tiersare 5% on in-state spend between
(16:00):
$250,000 and 1 million, and thenI think it's 10% between 1
million and 1.5 million, and 25%on 1.5 million and above.
And then those are the baserebates.
So then on top of that, thereare several additional grant
programs I kind of referred toearlier, and those can add up to
another 6%.
(16:20):
And so examples include yeah,2.5% for rural productions.
And now rural isn't based on howthe area looks, if they're
tumbleweeds, it's actually youhave to be filming in a
designated area with fewer than300,000 residents.
And then, yeah, it's 2.5% bumpif you hire more than 5% Texas
(16:43):
veterans, and there are otherbonuses as well, of course.
And then, and on TFS, you canactually scenario model and you
can put in your project, yourmovie, your TV show, and you can
put in your budget as well.
That's a new feature we've addedafter some feedback we got from
other producers.
But you can go in and you canmodel your scenario, figure out
(17:07):
if you can actually increase theamount of film incentives you
get back.
And so we have stackableincentives on there as well as
the base rate, just like I'mtalking about here.
And then some key qualificationsthat producers must know is that
at least 35% of paid crew andthen 35% of paid caste,
including extras, not just themain slate of people, they must
(17:31):
be Texas residents.
And this percentage will, Ithink, phase up gradually over
the next few years, but for nowthat's um that's the number.
And then I think at least 60% oftotal production must be
completed in Texas, whichactually is not a lot.
Like these are these are somepretty easy bars to pass, it
(17:53):
would seem.
And so that's part of why,again, I really want to help
make sure people can film herebecause the government is really
inviting filmmakers to come makemovies.
And then for indie filmmakers, Ithink a$300,000 indie project
might be able to get like 5%plus possible uplifts, and then
(18:14):
you know, a$2 million project,which is much larger, could get
25% as the base tier plus plusextras.
And so they could easily see,you know,$500,000 back in
rebates.
And this money will often makethe difference between green
lighting a project or not.
And so the best advice that I'veheard from producers is to model
(18:38):
scenarios early.
So before you lock in yourbudget and make sure you use
compliance tools so that youdon't lose the rebate on
paperwork.
That's exactly what I've builton TFS.
And then this program isproducer-friendly once you
navigate it and it's clearer.
So that's part of why, again,we've we've been told we want to
(18:59):
make the math of this processvery clear, because right now
there are a lot of different,there are a lot of different, I
guess, paths being told for howyou can actually get to the end
goal of receiving theseincentives.
And so if you don't know how toget there, that's just all gonna
(19:20):
compound into this crazy filmwhere you don't even know where
you can get incentives and whereyou can't.
SPEAKER_02 (19:28):
Okay.
I think uh hiring 35% of peoplein Texas is really smart if it's
a Texas story, because I watchedTaylor Sheridan, everything he
makes.
I am a true fan.
I know you can tell when he'sgot somebody off of a ranch
(19:50):
somewhere, brings them on andputs them on camera, they fit,
you know, the shoemakers andhe's put in people who
specialize in certain things umfor horses, when they're shooing
horses or when they are buyingcattle or whatever, and you see
these old guys out theretalking, and you know they're
(20:13):
doing it, they are the truething.
I think it'd be uh very easy tofind and cast uh the best people
for your film in Texas.
SPEAKER_01 (20:24):
I agree, yeah, especially if it's again like an
authentic Texas story.
SPEAKER_02 (20:30):
Yes.
Well, um, so your site acts as apublic clearing house.
You are connecting talent,crews, and productions.
Now, how does that work inpractice?
Can a producer come toTexasfilmScene.com and actually
find the crew they need fortheir project?
SPEAKER_01 (20:51):
Yes, producers can absolutely come to
texasfilmcene.com and find thecrew they need.
We have a directory right nowthat actually has crew vendors
and producers as the mainhighlights.
And so this basically functionsas a public clearinghouse by
giving everyone visibility intothe Texas production ecosystem
(21:14):
and being able to see all thesedifferent people in our
directory.
And so that's basically how itacts as a public clearinghouse.
SPEAKER_02 (21:23):
Okay.
See, there's this perceptionthat you have to shoot in LA or
New York to be taken seriously,but what you've uh uncovered
building this platform really uhshows that the uh the data and
the producer feedback isactually saying, right?
(21:45):
Tell us what the data and theproducer feedback says.
SPEAKER_01 (21:49):
Sure.
So some of the feedback I'vecollected while building this
platform, and this has evenchanged and shifted a little bit
over the past few few months,even, but the it is a myth that
you have to shoot in LA or NewYork.
I mean, even places like Georgiaand New Mexico and Louisiana and
Texas have been over the past, Iwould say, decade, couple
(22:14):
decades, really attracting filmas well.
So it's definitely not just thatthe hotspots are only LA and New
York.
And also producers are kind ofvoting with their budgets.
So Texas has currently, I think,116 projects that I know of that
are filming or scheduled to filmsoon.
And they're leaving, I wouldsay, an average of like 50,000
(22:38):
to 500,000 again and incentiveson the table per project.
And so it just kind of depends,you know, if you can get that
type of money back in Texas, ifyou if you can get these rebates
from the Texas government andyou're really invited to shoot
in Texas, then you don't youcertainly don't have to shoot in
(22:59):
Los Angeles or New York or evenGeorgia or any other state.
So it's definitely it'sdefinitely shifted, especially
now that places like Texas havethis huge growing crew base,
like we said, or a variety oflocations.
Also, people I've talked to likeAdam Swordlow and Zach Levi who
are building Wildwood studiosout here in Texas.
(23:19):
And you know, they're they'rejust all these different people
who are creating these not justimpromptu um, I guess, filming
locations, but they're actuallycreating studios to be built
here and used over time forproductions, and they're quite
cool.
I know over in December I hadseen a production that was
(23:40):
filmed at Stray Vista Studios,which is one of the LED Wall
studios, and it was really coolto see.
And I was like, wow, this ishuge, and it's really helping
production, and it's here in thestate of Texas.
So definitely, definitely that'sa myth that's not quite true
anymore.
SPEAKER_02 (23:57):
Well, tell me where is Wildwood Studios?
What city?
SPEAKER_01 (24:01):
Sure.
Um, so Wildwood Studios is in,and this is again Zach Levi and
Adam Swordlow.
It's in Bastrop, Texas.
SPEAKER_02 (24:10):
Yes, Bastrop, Bright.
That's a sweet community overthere by Austin, right?
Yes, it is.
Yeah.
Now I heard about that studio,so it sounds terrific.
Um okay, so what do producerstell you surprises them the most
in a good way?
(24:31):
Once they actually get to Texasand they start production, what
is it they love?
SPEAKER_01 (24:38):
I would say, well, I would say besides realizing that
they can stack these incentives,these film incentives, and get
more out of their productionthan they thought, they've also
really appreciated the growingcrew base, the actors that are
here.
And like you said, for TaylorSheridan's productions, like you
(24:58):
can you can pull someone who's aveteran or a country boy and and
add them to the production.
And I feel like everyone inTexas is just so welcoming in
general, and there's thatsouthern hospitality we have
here, and everyone is a teamplayer, and so yeah, you can
pull these people intoproductions and they'll all have
a blast, and it really adds auniqueness and a and a really
(25:22):
great quality to these differentproductions.
And then I would say also peopleare surprised that in Texas, you
know, we're on the coastline, sotechnically we do have beaches
and we also have a cave systemand swamps, which I think is
wild because I I think I forgetthat sometimes myself, since
I've mostly been in Austin, butwe just we have such surprises
(25:44):
that await people whenever theygo and travel.
So, and Texas is so much biggerthan people realize as well,
which is great for filmingbecause you have far more space
to film and you have far morepeople you get to meet.
SPEAKER_02 (25:59):
And you have um a lot of money coming in there
with Taylor Sheridan because hewas he's been given a giant
budget.
Uh I I think that his contractwith Paramount was running out
and he was taking bids and hegot something on incredible from
(26:19):
Apple.
So you're going to see a lot ofwork coming into Texas.
SPEAKER_01 (26:24):
Yes, yeah.
And I'm I'm so excited aboutthat.
I really think that the Texasfilm scene and ecosystem is
booming, and I think we'reseeing that.
And I think even though Texashas also become a tech hub, I
think in a lot of ways, like Iwas talking about with studios
like Stray Vista, this tech hubthat we have, especially in
(26:45):
Austin, but even in GreaterTexas, mixed with this creative
artsy film ecosystem, it sort ofall compounds into this
wonderful, into this wonderfulfilm ecosystem, yeah.
SPEAKER_02 (26:59):
Right.
I was um shocked when he broughtback Michelle Pfeiffer.
My son, she studied acting withmy son, and she was a great
actress, but then she was shedropped out.
I mean, we haven't seen her inyears, and in this film Badison,
(27:19):
she's doing a superb job.
It was fabulous.
Have you seen it?
SPEAKER_01 (27:26):
I have not yet, but I've been watching the trailers
and clips of it, and yeah, she'sdoing a really wonderful job.
Everyone in that production isjust phenomenal, and the the
quality of the production aswell is mind-blowing.
It's very beautifully done.
SPEAKER_02 (27:42):
Yes.
So um, and also Marshall's now.
He's got that going.
I'm sure they're shooting thatin Texas, and he's picking up on
important issues like missingIndian women.
It's an amazing thing, nobodyhas been looking for them.
And he did a whole show on itlast week, uh, which is greatly
(28:06):
appreciated, to bring somethinglike that to the forefront so
people are aware of what's goingon and can help solve that
problem.
SPEAKER_01 (28:15):
Sure, yeah.
No, I agree.
Yeah, I think that the talentcoming in from the producer
side, the the business side ingeneral, plus the art side is is
quite impressive.
I'm always very, very pleased.
SPEAKER_02 (28:29):
Yes.
Uh, well, you're very young andyou've already built a tech
program for the film industry.
So what advice would you give toyoung filmmakers who want to be
proactive about shaping theindustry rather than just
waiting for their break?
SPEAKER_01 (28:50):
Sure, yeah.
I I would say I've been anactress since, like
professionally since I was abouteight years old, so just over a
decade now, and I just kind ofrealized that I love it so much,
but I don't want to let otherpeople define my destiny, and I
don't want to find have otherpeople define which projects I'm
(29:12):
able to work in and what I'mnot.
And so besides just creating myown projects and and movies,
which I'm doing as well withsome of my filmmaking friends, I
realized I want to createsomething that actually has
value to offer to others,especially to the people who are
making film happen, soproducers.
(29:32):
So once I figured out how tostop thinking like an actor, and
I figured out how to startthinking more as an entrepreneur
and as, in some ways, as aproducer, just with all the
insights I've been getting, Irealized that there's a real,
there's a real problem I canfix.
And so I guess part of what Iwould advise other young people
is figure out where there's amarket and where there's a need,
(29:58):
and see if you can solve it.
See if there's any way you cancombine doing what you love with
solving this problem for otherpeople.
Because, for example, as anactor, you do have value as an
actor and and your talent there,but every every actor wants to
be in a production and everyonewants to be an actor, it seems.
(30:19):
So there's a lot of competitionthere.
And I think the best thing youcan do is provide value to other
people outside of your of yourtalent as an actor or outside of
your work ethic.
And so as I've I've been meetingwith producers and people at the
city and state levels at theTexas Film Commissions, I've
realized, like, wow, I'mactually able to provide help in
(30:43):
this way to other people.
And then it in turn willhopefully help more productions
be made in Texas, which willmake Texas the new Hollywood,
which in turn will allow me tohopefully be in more productions
and it'll allow other youngpeople to be in more
productions.
And so I think that's thebiggest advice I can give.
Also, definitely try to work onsomething that relates to what
(31:06):
you love to do.
So for me, it's acting, but forsomeone else, it might be it
might be plumbing.
Yeah, I don't know.
But just figure out where thewhere the product market fit is.
SPEAKER_02 (31:17):
Exactly.
And right now, with AI comingon, there's a lot of new
opportunities for people.
So uh I think you're absolutelyright.
And I want you to know that aHarvard study says that
filmmakers are entrepreneurs.
So consider yourself afilmmaker, even though you're an
(31:40):
actress, you're expanding beyondthat one thing.
And filmmakers need to thinklike entrepreneurs.
So your advice to people isperfect.
Think like that, and then yourbusiness opportunities will
come.
Because I work with a producernamed Tom Malloy.
Now he started out as an actor,just like you, and he had a
(32:04):
great hit, but a lot of actingjobs didn't come after that.
So he decided I'll write ascript.
He did.
Then he said he realized hewould have to produce it to get
the script made, so he hadright.
So he became a producer awriter, then a producer.
(32:25):
Well, fast forward 20 years,he's made 30 films, and he is
now a writer, producer,director, actor.
Uh, he just kept expanding andhas made a very good living, but
he also teaches, which he loves.
So he ended up, he gets to doall the things he loves, work in
(32:49):
the film industry and then teachothers how to make films.
Uh, and so now, where do youthink the Texasfilm scene.com is
going and what would successlook like for the Texas indie
film ecosystem in the next fiveyears?
SPEAKER_01 (33:07):
Sure.
Well, I think the best thingthat my my platform and my
producer vision slate of toolscould do is to ultimately in
five years, ten years, help makeTexas a new Hollywood.
And so I think if all of thevarious Texas film commissions
(33:28):
were able to use my use mytools, use my platform and from
one side of the marketplace.
And then if all producers thatare coming in with a production
wanting to film in Texas werealso using my platform from the
other side of the marketplace,then I think I could really help
both parties heal thefragmentation there and this
(33:51):
filmmaking world.
And I think that if everyone isusing this tool, it will
ultimately, it will ultimatelybenefit and smooth out the whole
movie making process.
And I would love to be able todo something so revolutionary
for film and especially, yeah,film, film in Texas.
So I would say in in five, fiveyears, you know, maybe we can
(34:14):
get there.
I would think that that would bethe biggest dream come true.
And then I think ultimately, ifI was successful in Texas, then
you know, if other states neededhelp as well with their with
their productions, then I wouldlove to also go out and and
branch out and help them.
SPEAKER_02 (34:35):
Great idea.
Um now tell us how people canreach you.
Um, you run the Texasfilmscene.com, right?
Yes.
So they may have questions aboutTexas or about acting or many
things.
Tell us how to reach you.
SPEAKER_01 (34:54):
Sure.
Well, I have first I want to saythat if anyone has any further
questions after listening tothis, um, you can always reach
out to info at texasfilmcene.combecause my team and I would be
happy to help answer anyquestions you might have.
Also, yes, the site istexasfilmcene.com and it is it
(35:17):
is live.
I also have a special oftenerfor all of the listeners and
it's 50% off any Texas filmscene plan using code A F F P O
D and then 5-0.
(35:38):
That's again A F F P O D 50.
And so if you want to go toTexasfilmcene.com, you want to
look at the plans we have, andand you want to start helping to
make Texas a new Hollywood, youwant to join us on our journey,
then we'd love to see you, we'dlove to have you.
And yeah, 50% off for y'all.
(35:59):
And then I also have productionsI'll hopefully continue to be in
as an actor while I'm working onthis.
So I have IMDB, it's just myfirst name, last name, and my
website, which is alsodaniellegilbo.com,
dannygilbo.com.
And those are the main placesyou can reach me.
Yeah.
SPEAKER_02 (36:19):
Spell your website.
SPEAKER_01 (36:21):
Okay, perfect.
It's D A N I G-U-I-L B-O-T.com.
SPEAKER_02 (36:34):
Okay, terrific.
Danielle, thank you so much forbeing with us.
What you've shared is incrediblyvaluable because it opens up
something many filmmakers don'trealize that where you choose to
make your film is not just acreative decision, it's a
funding strategy.
(36:55):
So when you understandincentives, then you understand
where support exists.
And when you position yourproject intelligently, you give
your film a real advantage fromthe very beginning.
And that's what we're here to dois to give you film, your film,
the best possible chance to befunded, produced, and seen.
(37:18):
So to all of you listening, Iwant to take this information
with you.
You don't have to follow the oldpath.
You don't have to stay in onecity or believe that opportunity
only exists in certain places.
There are resources,communities, and support systems
opening up all over the country.
(37:40):
And as Danielle has shown ustoday, Texas is becoming one of
the most exciting of thoseplaces.
So smart filmmakers don't justchase funding, they position
their films where funding canfind them.
Thank you for listening to TheArt of Film Funding.
I'm Carol Dean with my co-host,Claire Papin, and we invite you
(38:05):
to join us next week for anotherimportant podcast on film
funding.
What if one of the smartest things you could do to
make and fund your film issimply choosing the right place
to shoot it?
SPEAKER_00 (01:27):
Hi, I'm Claire Papan, co-host of the podcast
here with Carol Dean, presidentof From the Heart Productions
and author of the Art of FilmFunding Alternative Financing
Concepts 2nd edition.
Thank you so much for joining ustoday.
We're excited to have you herebecause this episode is going to
(01:49):
open your eyes to newpossibilities, not just for
funding your film, but for whereand how you produce it.
Today we're speaking withDanielle Gilbo, an Austin-based
actress and film techentrepreneur.
Danielle is also the founder ofTexasfilmScene.com, what she
(02:11):
calls the Texas Movie OperatingSystem, a platform designed to
connect producers, crews, andtalent with everything they need
to successfully bringproductions to Texas.
Her work sits at theintersection of real production
experience and industry,innovation with a mission to
(02:34):
help make Texas the newHollywood.
Danielle is an Austin-basedactress and film tech
entrepreneur with creditsspanning Richard Linklater's
Apollo 10 and a half, A SpaceAge Childhood on Netflix, and
Young Jedi Adventures on DisneyPlus.
(02:56):
She's the founder ofTexasfilmScene.com, the Texas
Movie Operating System.
TFS is a clearinghouseconnecting producers, crews, and
talent with everything they needto bring productions to Texas,
from firsthand producer insightsand crew resources to a full
(03:18):
breakdown of the state's filmincentive programs.
Her work sits at theintersection of on-screen
experience and behind-the-scenesindustry building with a mission
to make Texas the new Hollywood.
And Carol, you and I are bothTexans, and I live in Houston,
and you were born in Dallas, sothis conversation is going to be
(03:40):
a lot of fun for us.
SPEAKER_02 (03:42):
It is, Claire.
And that's why we're so happy tohave you, Danielle.
Welcome.
What you're doing is excitingbecause you're not just
participating in the industry,you're helping reshape it.
And for filmmakers looking tofund and produce their own work,
this kind of resource can begame-changing.
(04:04):
So let's dive in, okay?
Sure.
I'm excited.
Thank you for having me.
All right.
Well, you've acted in majorproductions like Apollo 10 and a
half and Young Jedi Adventures.
So what did working on thosesets teach you about what
producers actually need, and howdid that shape the idea for
(04:27):
Texasfilmcene.com?
SPEAKER_01 (04:30):
Sure.
Yeah, well, having thoseopportunities to be on these
huge sets starting at age 13,that's sort of when I got into
film and television, they reallytaught me that producers are the
business side of show business,and actors like myself, hair and
makeup, art department, otherroles in the movie making
(04:51):
process are more the show, thecreative artistic side.
And it doesn't mean that theseroles can't overlap, but I
really learned, for example, onApolloton and a half from one of
the main producers, MikeBlizzard, on I learned how their
process works for movie making.
And so one of the things that hewas tasked with on this movie
(05:13):
was creating a historicallyaccurate scene from the 1960s.
And so we were, I was acting ina scene where we were in a
living room, 1960s, Houstonactually, and Mike Blizzard was
tasked with figuring out whatmovie or TV show would have been
on the TV at the time of uswatching that.
(05:34):
So based on the day, the year,it was insane.
And so he did all of thistechnical research, he figured
all of this information out, andit made our production so much
better.
But there was a business side toit.
And then there were theproducers who also had to figure
out where are we going to film?
What permits are we going to beable to pull?
(05:54):
How are we going to actuallycreate, for example, on Apolitan
and a half, a production that ison a green screen within this
huge airplane hangar andtroublemaker studios where they
shot Spy Kids and Shark Boy andLava Girl.
And so there were a lot of,there's a lot of technicality to
being a producer from what I'veexperienced and what I've heard.
And there's a whole businessside to it.
(06:17):
And so I realized they're theones actually making the movie.
And so I wanted to create a toolthat helped producers make
movies easier and make theirlives easier, make the film
commission's lives easier, sothat eventually, as I'm a Texan,
born and raised in Austin,Texas, we can make Texas the new
Hollywood.
And I hope that Texas FilmScene, the Texas movie operating
(06:40):
system I've created, I hope thatthat will be able to contribute
in a major way.
SPEAKER_02 (06:44):
So tell us about the TexasfilmScene.com.
What gap in the indie film worldinspired you to build it?
And so who's really designing itto serve?
SPEAKER_01 (06:57):
Sure.
So it's my tools for indieproductions and larger budget
productions as well.
And so Texas Film Scene is theTexas movie operating system
that we built specifically tofix bigger pain points that
producers face when trying tofilm in Texas, especially now
that the government is hascreated the SB22 film
(07:21):
incentives,$1.5 billion they'regiving to these productions.
And so I was figuring out howcan, after talking to dozens of
producers, how can I fix thisgap that I noticed?
And the gap that jumped out atme was how much money is being
lost on each production,literally tens or hundreds of
thousands of dollars perproject.
(07:42):
I think on average it's$50,000to$500,000 per production, or
that like it gets leaked, itgets left on the table because
of fragmented tools, outdatedlocation data, crew
availability, chaos, et cetera,et cetera.
And so producers have told methat they were spending a
(08:02):
fortune on consultants just tofigure out if a project even
qualified for these filmincentives.
And I just kind of realized,okay, I think the main people
I'm trying to serve are filmproducers.
And I'm also adding in, I'mstarting to meet with people
from the various Texas FilmCommissions.
(08:24):
I'm adding in them as the otherside of the market for my
product.
SPEAKER_02 (08:30):
Okay, so you've been researching and collecting
producer insights for theplatform.
So what are the top reasonsproducers give for choosing to
shoot in Texas?
SPEAKER_01 (08:42):
Sure.
I would say the top reasons thatthey give for choosing Texas
sort of boil down to acombination of the financial
upside as well as the diverselocations and the growing crew
base.
So, I mean, first and foremost,Texas has now committed to
providing$1.5 billion over thenext decade through these SB22
(09:07):
financial film incentives.
And producers are able toactually stack these base
rebates they're allowed withthese other um available
rebates.
And so now I think yourproduction can get up to 45%
money back as far as the filmrebates.
(09:30):
And this is for if you'refilming in multiple different
cities like San Antonio orAustin or a rural area, and you
stack all these different baseincentives.
So, for example, I think forfilming in a rural location, you
can get a 2.5% bump.
And I think for hiring crew,it's another 2.5% bump, or a
(09:52):
faith-based production is a 2.5%bump.
And so all of these financialincentives to come film here are
really leading people fromGeorgia and California and
sometimes like Oklahoma and NewMexico.
They're like leading thesepeople all to Texas.
Plus, Texas doesn't have anystate income tax.
(10:14):
So if you have people living inthe state for a long time, that
can also help cut down on cost.
And then I would say the otherreason we have many diverse
locations in Texas.
So I think most people, evenwithin the United States, can
see Texas as a tumbleweed landwith horses that you ride to
(10:35):
school.
And it's not, it can be that,but it's not quite that.
And so we have borderlands, wehave prairies, we have big
cities, and then we also havelike swamps and caves and
beaches and deserts, and we justhave such a variety and range of
places you could film, and wehave so much space for
(10:56):
productions to film.
I mean, we have, you know,people like Taylor Sheridan who
are spending millions of dollarsin Texas on their productions
per production.
And I think that that's anotherfactor that is really leading
people to Texas.
And then also we've had sincethe 2000s, we had crew members
(11:18):
kind of go where there was otherwork because Texas had lost its
incentives for a while.
And now that Texas is reallywelcoming filmmakers again, we
have a growing crew base.
And so now you have not just theactors and the producers and the
writers, but you also have thishuge pool of crew members that
you're able to take in toaccount for your production.
(11:40):
And I actually have that whereyou can track it on my site,
TFS.
So you can actually see crewavailability where there might
be crew shortages based on uhregion, basically.
SPEAKER_02 (11:53):
You know, I'm so glad you brought up Taylor
Sheridan because he's been myfavorite writer director for
years when he did um Come Hellor High Water.
That is one of my favoritefilms.
That's a good one.
(12:15):
I was so upset because that's aTexas story.
Perfect.
It's um the story is aboutgetting a Texas Ranger on your
tail when they birdongs, youknow, they always get their man.
That's that we we we've allgrown up knowing.
If a Texas Ranger thinks you didit, you're in trouble.
(12:36):
You're they're gonna catch you.
SPEAKER_01 (12:38):
Mm-hmm.
SPEAKER_02 (12:39):
And film on that, which have you seen it?
SPEAKER_01 (12:44):
Heller come Heller High Water?
Yes.
I've seen my my dad has seen itand I've seen clips of it from
him, but that's one of the onesI have on my list to watch
because I've heard it'sphenomenal.
SPEAKER_02 (12:55):
You will love it.
You will love it because it'sall over Texas.
They're up in the mountains,they're in a country town.
Uh, it does show uh the width uhof the various locations, lots
to choose from.
But Taylor uh helped bring uhthis money to Texas, I'm sure he
(13:19):
was part of the decision making.
And I saw a trailer that theymade that had Billy Bob Thornton
and five, like five movie starswho came from Texas as talking
about Texas, how important it isto have a good uh discount or
(13:39):
rebate for shooting in Texas.
I think all of that together iswhat created this massive uh
billion-dollar fund for films,right?
SPEAKER_01 (13:51):
Right.
And also, I've just talkedrecently with a longtime Texan,
but also Hollywood producer andactor named Todd Allen, and
wonderful guy, and he's verywell connected in California,
but he has so many stories thathe wants to tell that are real
(14:11):
stories from Texas.
And now that all of these filmincentives are really happening
and the Texas film scene isbooming, he was talking to me
about my product to see if wecould partner in some way so he
can help make these productionsreally happen in Texas where the
stories were told.
And now that's not to say thatif you're not from Texas, you
(14:34):
cannot use Texas film scene oryou cannot even come and film in
the state.
Like we want people to come andfilm here and bring their work
here, especially if you havetrue tech true to wow, true to
Texas stories.
But even if if not, if you justwant to utilize our great
hospitality and our locationsand our incentives, like come on
(14:55):
over.
You know, we want we want Texasto become the new Hollywood.
SPEAKER_02 (14:59):
Exactly.
That's great.
So walk us through the TexasMoving Image Industry Incentive
Program.
What should indie filmmakers andproducers know about qualifying
and how significant can thesavings be?
SPEAKER_01 (15:16):
Sure.
And I'm not the most expert inthis.
However, I have recently talkedto the Film Incentives
Coordinator at the stategovernment of Texas.
So I have some information fromher, but basically the Texas
Movie Image Industry IncentiveProgram is a cash rebate, not a
tax credit, and it reimburses apercentage of qualified in-state
(15:39):
spending for like film, TV,commercials, animation, and even
video games, I believe.
So to qualify, what I know of isthat projects need at least
$250,000 in Texas spend.
And then the base rebate tiersare 5% on in-state spend between
(16:00):
$250,000 and 1 million, and thenI think it's 10% between 1
million and 1.5 million, and 25%on 1.5 million and above.
And then those are the baserebates.
So then on top of that, thereare several additional grant
programs I kind of referred toearlier, and those can add up to
another 6%.
(16:20):
And so examples include yeah,2.5% for rural productions.
And now rural isn't based on howthe area looks, if they're
tumbleweeds, it's actually youhave to be filming in a
designated area with fewer than300,000 residents.
And then, yeah, it's 2.5% bumpif you hire more than 5% Texas
(16:43):
veterans, and there are otherbonuses as well, of course.
And then, and on TFS, you canactually scenario model and you
can put in your project, yourmovie, your TV show, and you can
put in your budget as well.
That's a new feature we've addedafter some feedback we got from
other producers.
But you can go in and you canmodel your scenario, figure out
(17:07):
if you can actually increase theamount of film incentives you
get back.
And so we have stackableincentives on there as well as
the base rate, just like I'mtalking about here.
And then some key qualificationsthat producers must know is that
at least 35% of paid crew andthen 35% of paid caste,
including extras, not just themain slate of people, they must
(17:31):
be Texas residents.
And this percentage will, Ithink, phase up gradually over
the next few years, but for nowthat's um that's the number.
And then I think at least 60% oftotal production must be
completed in Texas, whichactually is not a lot.
Like these are these are somepretty easy bars to pass, it
(17:53):
would seem.
And so that's part of why,again, I really want to help
make sure people can film herebecause the government is really
inviting filmmakers to come makemovies.
And then for indie filmmakers, Ithink a$300,000 indie project
might be able to get like 5%plus possible uplifts, and then
(18:14):
you know, a$2 million project,which is much larger, could get
25% as the base tier plus plusextras.
And so they could easily see,you know,$500,000 back in
rebates.
And this money will often makethe difference between green
lighting a project or not.
And so the best advice that I'veheard from producers is to model
(18:38):
scenarios early.
So before you lock in yourbudget and make sure you use
compliance tools so that youdon't lose the rebate on
paperwork.
That's exactly what I've builton TFS.
And then this program isproducer-friendly once you
navigate it and it's clearer.
So that's part of why, again,we've we've been told we want to
(18:59):
make the math of this processvery clear, because right now
there are a lot of different,there are a lot of different, I
guess, paths being told for howyou can actually get to the end
goal of receiving theseincentives.
And so if you don't know how toget there, that's just all gonna
(19:20):
compound into this crazy filmwhere you don't even know where
you can get incentives and whereyou can't.
SPEAKER_02 (19:28):
Okay.
I think uh hiring 35% of peoplein Texas is really smart if it's
a Texas story, because I watchedTaylor Sheridan, everything he
makes.
I am a true fan.
I know you can tell when he'sgot somebody off of a ranch
(19:50):
somewhere, brings them on andputs them on camera, they fit,
you know, the shoemakers andhe's put in people who
specialize in certain things umfor horses, when they're shooing
horses or when they are buyingcattle or whatever, and you see
these old guys out theretalking, and you know they're
(20:13):
doing it, they are the truething.
I think it'd be uh very easy tofind and cast uh the best people
for your film in Texas.
SPEAKER_01 (20:24):
I agree, yeah, especially if it's again like an
authentic Texas story.
SPEAKER_02 (20:30):
Yes.
Well, um, so your site acts as apublic clearing house.
You are connecting talent,crews, and productions.
Now, how does that work inpractice?
Can a producer come toTexasfilmScene.com and actually
find the crew they need fortheir project?
SPEAKER_01 (20:51):
Yes, producers can absolutely come to
texasfilmcene.com and find thecrew they need.
We have a directory right nowthat actually has crew vendors
and producers as the mainhighlights.
And so this basically functionsas a public clearinghouse by
giving everyone visibility intothe Texas production ecosystem
(21:14):
and being able to see all thesedifferent people in our
directory.
And so that's basically how itacts as a public clearinghouse.
SPEAKER_02 (21:23):
Okay.
See, there's this perceptionthat you have to shoot in LA or
New York to be taken seriously,but what you've uh uncovered
building this platform really uhshows that the uh the data and
the producer feedback isactually saying, right?
(21:45):
Tell us what the data and theproducer feedback says.
SPEAKER_01 (21:49):
Sure.
So some of the feedback I'vecollected while building this
platform, and this has evenchanged and shifted a little bit
over the past few few months,even, but the it is a myth that
you have to shoot in LA or NewYork.
I mean, even places like Georgiaand New Mexico and Louisiana and
Texas have been over the past, Iwould say, decade, couple
(22:14):
decades, really attracting filmas well.
So it's definitely not just thatthe hotspots are only LA and New
York.
And also producers are kind ofvoting with their budgets.
So Texas has currently, I think,116 projects that I know of that
are filming or scheduled to filmsoon.
And they're leaving, I wouldsay, an average of like 50,000
(22:38):
to 500,000 again and incentiveson the table per project.
And so it just kind of depends,you know, if you can get that
type of money back in Texas, ifyou if you can get these rebates
from the Texas government andyou're really invited to shoot
in Texas, then you don't youcertainly don't have to shoot in
(22:59):
Los Angeles or New York or evenGeorgia or any other state.
So it's definitely it'sdefinitely shifted, especially
now that places like Texas havethis huge growing crew base,
like we said, or a variety oflocations.
Also, people I've talked to likeAdam Swordlow and Zach Levi who
are building Wildwood studiosout here in Texas.
(23:19):
And you know, they're they'rejust all these different people
who are creating these not justimpromptu um, I guess, filming
locations, but they're actuallycreating studios to be built
here and used over time forproductions, and they're quite
cool.
I know over in December I hadseen a production that was
(23:40):
filmed at Stray Vista Studios,which is one of the LED Wall
studios, and it was really coolto see.
And I was like, wow, this ishuge, and it's really helping
production, and it's here in thestate of Texas.
So definitely, definitely that'sa myth that's not quite true
anymore.
SPEAKER_02 (23:57):
Well, tell me where is Wildwood Studios?
What city?
SPEAKER_01 (24:01):
Sure.
Um, so Wildwood Studios is in,and this is again Zach Levi and
Adam Swordlow.
It's in Bastrop, Texas.
SPEAKER_02 (24:10):
Yes, Bastrop, Bright.
That's a sweet community overthere by Austin, right?
Yes, it is.
Yeah.
Now I heard about that studio,so it sounds terrific.
Um okay, so what do producerstell you surprises them the most
in a good way?
(24:31):
Once they actually get to Texasand they start production, what
is it they love?
SPEAKER_01 (24:38):
I would say, well, I would say besides realizing that
they can stack these incentives,these film incentives, and get
more out of their productionthan they thought, they've also
really appreciated the growingcrew base, the actors that are
here.
And like you said, for TaylorSheridan's productions, like you
(24:58):
can you can pull someone who's aveteran or a country boy and and
add them to the production.
And I feel like everyone inTexas is just so welcoming in
general, and there's thatsouthern hospitality we have
here, and everyone is a teamplayer, and so yeah, you can
pull these people intoproductions and they'll all have
a blast, and it really adds auniqueness and a and a really
(25:22):
great quality to these differentproductions.
And then I would say also peopleare surprised that in Texas, you
know, we're on the coastline, sotechnically we do have beaches
and we also have a cave systemand swamps, which I think is
wild because I I think I forgetthat sometimes myself, since
I've mostly been in Austin, butwe just we have such surprises
(25:44):
that await people whenever theygo and travel.
So, and Texas is so much biggerthan people realize as well,
which is great for filmingbecause you have far more space
to film and you have far morepeople you get to meet.
SPEAKER_02 (25:59):
And you have um a lot of money coming in there
with Taylor Sheridan because hewas he's been given a giant
budget.
Uh I I think that his contractwith Paramount was running out
and he was taking bids and hegot something on incredible from
(26:19):
Apple.
So you're going to see a lot ofwork coming into Texas.
SPEAKER_01 (26:24):
Yes, yeah.
And I'm I'm so excited aboutthat.
I really think that the Texasfilm scene and ecosystem is
booming, and I think we'reseeing that.
And I think even though Texashas also become a tech hub, I
think in a lot of ways, like Iwas talking about with studios
like Stray Vista, this tech hubthat we have, especially in
(26:45):
Austin, but even in GreaterTexas, mixed with this creative
artsy film ecosystem, it sort ofall compounds into this
wonderful, into this wonderfulfilm ecosystem, yeah.
SPEAKER_02 (26:59):
Right.
I was um shocked when he broughtback Michelle Pfeiffer.
My son, she studied acting withmy son, and she was a great
actress, but then she was shedropped out.
I mean, we haven't seen her inyears, and in this film Badison,
(27:19):
she's doing a superb job.
It was fabulous.
Have you seen it?
SPEAKER_01 (27:26):
I have not yet, but I've been watching the trailers
and clips of it, and yeah, she'sdoing a really wonderful job.
Everyone in that production isjust phenomenal, and the the
quality of the production aswell is mind-blowing.
It's very beautifully done.
SPEAKER_02 (27:42):
Yes.
So um, and also Marshall's now.
He's got that going.
I'm sure they're shooting thatin Texas, and he's picking up on
important issues like missingIndian women.
It's an amazing thing, nobodyhas been looking for them.
And he did a whole show on itlast week, uh, which is greatly
(28:06):
appreciated, to bring somethinglike that to the forefront so
people are aware of what's goingon and can help solve that
problem.
SPEAKER_01 (28:15):
Sure, yeah.
No, I agree.
Yeah, I think that the talentcoming in from the producer
side, the the business side ingeneral, plus the art side is is
quite impressive.
I'm always very, very pleased.
SPEAKER_02 (28:29):
Yes.
Uh, well, you're very young andyou've already built a tech
program for the film industry.
So what advice would you give toyoung filmmakers who want to be
proactive about shaping theindustry rather than just
waiting for their break?
SPEAKER_01 (28:50):
Sure, yeah.
I I would say I've been anactress since, like
professionally since I was abouteight years old, so just over a
decade now, and I just kind ofrealized that I love it so much,
but I don't want to let otherpeople define my destiny, and I
don't want to find have otherpeople define which projects I'm
(29:12):
able to work in and what I'mnot.
And so besides just creating myown projects and and movies,
which I'm doing as well withsome of my filmmaking friends, I
realized I want to createsomething that actually has
value to offer to others,especially to the people who are
making film happen, soproducers.
(29:32):
So once I figured out how tostop thinking like an actor, and
I figured out how to startthinking more as an entrepreneur
and as, in some ways, as aproducer, just with all the
insights I've been getting, Irealized that there's a real,
there's a real problem I canfix.
And so I guess part of what Iwould advise other young people
is figure out where there's amarket and where there's a need,
(29:58):
and see if you can solve it.
See if there's any way you cancombine doing what you love with
solving this problem for otherpeople.
Because, for example, as anactor, you do have value as an
actor and and your talent there,but every every actor wants to
be in a production and everyonewants to be an actor, it seems.
(30:19):
So there's a lot of competitionthere.
And I think the best thing youcan do is provide value to other
people outside of your of yourtalent as an actor or outside of
your work ethic.
And so as I've I've been meetingwith producers and people at the
city and state levels at theTexas Film Commissions, I've
realized, like, wow, I'mactually able to provide help in
(30:43):
this way to other people.
And then it in turn willhopefully help more productions
be made in Texas, which willmake Texas the new Hollywood,
which in turn will allow me tohopefully be in more productions
and it'll allow other youngpeople to be in more
productions.
And so I think that's thebiggest advice I can give.
Also, definitely try to work onsomething that relates to what
(31:06):
you love to do.
So for me, it's acting, but forsomeone else, it might be it
might be plumbing.
Yeah, I don't know.
But just figure out where thewhere the product market fit is.
SPEAKER_02 (31:17):
Exactly.
And right now, with AI comingon, there's a lot of new
opportunities for people.
So uh I think you're absolutelyright.
And I want you to know that aHarvard study says that
filmmakers are entrepreneurs.
So consider yourself afilmmaker, even though you're an
(31:40):
actress, you're expanding beyondthat one thing.
And filmmakers need to thinklike entrepreneurs.
So your advice to people isperfect.
Think like that, and then yourbusiness opportunities will
come.
Because I work with a producernamed Tom Malloy.
Now he started out as an actor,just like you, and he had a
(32:04):
great hit, but a lot of actingjobs didn't come after that.
So he decided I'll write ascript.
He did.
Then he said he realized hewould have to produce it to get
the script made, so he hadright.
So he became a producer awriter, then a producer.
(32:25):
Well, fast forward 20 years,he's made 30 films, and he is
now a writer, producer,director, actor.
Uh, he just kept expanding andhas made a very good living, but
he also teaches, which he loves.
So he ended up, he gets to doall the things he loves, work in
(32:49):
the film industry and then teachothers how to make films.
Uh, and so now, where do youthink the Texasfilm scene.com is
going and what would successlook like for the Texas indie
film ecosystem in the next fiveyears?
SPEAKER_01 (33:07):
Sure.
Well, I think the best thingthat my my platform and my
producer vision slate of toolscould do is to ultimately in
five years, ten years, help makeTexas a new Hollywood.
And so I think if all of thevarious Texas film commissions
(33:28):
were able to use my use mytools, use my platform and from
one side of the marketplace.
And then if all producers thatare coming in with a production
wanting to film in Texas werealso using my platform from the
other side of the marketplace,then I think I could really help
both parties heal thefragmentation there and this
(33:51):
filmmaking world.
And I think that if everyone isusing this tool, it will
ultimately, it will ultimatelybenefit and smooth out the whole
movie making process.
And I would love to be able todo something so revolutionary
for film and especially, yeah,film, film in Texas.
So I would say in in five, fiveyears, you know, maybe we can
(34:14):
get there.
I would think that that would bethe biggest dream come true.
And then I think ultimately, ifI was successful in Texas, then
you know, if other states neededhelp as well with their with
their productions, then I wouldlove to also go out and and
branch out and help them.
SPEAKER_02 (34:35):
Great idea.
Um now tell us how people canreach you.
Um, you run the Texasfilmscene.com, right?
Yes.
So they may have questions aboutTexas or about acting or many
things.
Tell us how to reach you.
SPEAKER_01 (34:54):
Sure.
Well, I have first I want to saythat if anyone has any further
questions after listening tothis, um, you can always reach
out to info at texasfilmcene.combecause my team and I would be
happy to help answer anyquestions you might have.
Also, yes, the site istexasfilmcene.com and it is it
(35:17):
is live.
I also have a special oftenerfor all of the listeners and
it's 50% off any Texas filmscene plan using code A F F P O
D and then 5-0.
(35:38):
That's again A F F P O D 50.
And so if you want to go toTexasfilmcene.com, you want to
look at the plans we have, andand you want to start helping to
make Texas a new Hollywood, youwant to join us on our journey,
then we'd love to see you, we'dlove to have you.
And yeah, 50% off for y'all.
(35:59):
And then I also have productionsI'll hopefully continue to be in
as an actor while I'm working onthis.
So I have IMDB, it's just myfirst name, last name, and my
website, which is alsodaniellegilbo.com,
dannygilbo.com.
And those are the main placesyou can reach me.
Yeah.
SPEAKER_02 (36:19):
Spell your website.
SPEAKER_01 (36:21):
Okay, perfect.
It's D A N I G-U-I-L B-O-T.com.
SPEAKER_02 (36:34):
Okay, terrific.
Danielle, thank you so much forbeing with us.
What you've shared is incrediblyvaluable because it opens up
something many filmmakers don'trealize that where you choose to
make your film is not just acreative decision, it's a
funding strategy.
(36:55):
So when you understandincentives, then you understand
where support exists.
And when you position yourproject intelligently, you give
your film a real advantage fromthe very beginning.
And that's what we're here to dois to give you film, your film,
the best possible chance to befunded, produced, and seen.
(37:18):
So to all of you listening, Iwant to take this information
with you.
You don't have to follow the oldpath.
You don't have to stay in onecity or believe that opportunity
only exists in certain places.
There are resources,communities, and support systems
opening up all over the country.
(37:40):
And as Danielle has shown ustoday, Texas is becoming one of
the most exciting of thoseplaces.
So smart filmmakers don't justchase funding, they position
their films where funding canfind them.
Thank you for listening to TheArt of Film Funding.
I'm Carol Dean with my co-host,Claire Papin, and we invite you
(38:05):
to join us next week for anotherimportant podcast on film
funding.
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