February 20, 2025 • 28 mins
Las Vegas plans on developing land for their own film production studios in Summerlin, calling the proposed assembly bill "Hollywood 2.0."
(recorded on February 18, 2025)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Oh, I rewatched Stranger Things again.
(00:02):
Mm-hmm.
It still pisses me off.
They're like, why didn't they just bring their parents into the fold?
Yeah, yeah, that's dumb.
Into season four.
Like, season one, I can kind of get that Scooby-Doo-esque vibe.
But season four, you don't have things under control.
No, you don't.
Yeah.
So why are you still hiding it from your parents?
They're like, oh, you know, just, you were going for a swim at night, you know?
(00:25):
We were just chilling.
Whatever.
Like, you might as well just f***ing come clean.
Yeah.
Of like, everything that's going on.
You're already in trouble.
The minute you explain this s***, do you think they're going to care about that?
Like, any of that?
Like, oh, and I was like...
Their world will literally be flipped upside down with their understanding.
Yeah, and then there's demons now.
(00:46):
Like...
Wait, wait.
What?
All right, here we go.
We are going in five, four, three, two...
What's up, everybody?
This is the Red Band Podcast, your source for all film and TV related news and topics.
I am your host, Anthony King, and of course with me is my co-host...
(01:09):
Adrian G. Fuentes.
And sitting over there in the control room is our technical director, Mike Cards.
What are you doing this time?
What are you doing?
There we go.
You see, you always cause these weird, awkward pauses because you're trying to do some stupid...
You know this doesn't make sense on the audio portion, no one's going to see what you're doing.
No, of course not, but it's just like a little...
(01:33):
Trying something new every time.
Every time, something really annoying.
How are you guys doing tonight?
Pretty good.
Pretty good.
I'm excited.
There's a lot to cover.
Yeah, there's a lot to...
Well, we're covering little bits, but it's still like big, big things we got to talk about.
It's like some serious moves are being made in Hollywood right now, so it's actually surprising that.
Because they've been talking about stuff like this for quite some time.
(01:56):
It's just weird actually seeing them take the initiative now.
But before we get to that main topic of what we're talking about, we're going to cover over a smaller film news.
Because you know...
That's how we do.
That's how we do.
You know how we do.
Every week.
Anyways, what we got here first going on.
Captain America, Brave New World opened up this weekend, finally surpassing $100 million at the domestic box office.
(02:21):
This finally brings the film globally at just under $200 million.
But that's pretty good just for an open weekend.
On a film everyone was expecting to critically pan.
Which it did get panned by the critics, so it's sitting at a 49% with critic reviews.
However...
It really matters.
No one follows critics reviews anymore.
(02:42):
But the shocking thing is, this is kind of a reverse of what everyone was expecting.
Because you're actually seeing an 80% audience score.
Everyone's actually liking it for the general audience moviegoers.
But when this movie was being advertised, a lot of people were shitting on it pretty early on.
So we were expecting to see very low audience rating scores.
So they just went from here here and then just swapped them.
(03:04):
Yep.
And that's usually what we were kind of seeing with the most recent Marvel films.
Is we're seeing high critics scores, low audience scores.
It's been a while now that we got like a full flip.
I think it just has to do with...
We just want to watch a fun movie.
Yeah, yeah, right?
It's a fun movie, man.
Of course critics are going to complain about it doesn't have substance.
It doesn't have a great storytelling.
(03:25):
Like, well, we just want to watch a movie.
But we were getting, even before the film was coming out, we were getting people complaining.
It's not Chris Evans, Captain America.
I don't want to see anyone tell it to the man.
This is a black Captain America.
I don't want to hear any of that preachy woke shit.
You're already getting people pre-shitting on that.
So it's kind of interesting.
Like, yeah, we always talk about the people who are hating on it are still going to go see the movie.
(03:48):
But I was expecting high box office numbers with low audience review numbers.
So this was kind of surprising.
You're actually seeing people who are actually genuinely liking this movie.
I kind of expected this turnout where people are going to like...
First shit talking like, oh, it's not that bad of a movie.
The expectation is so low.
That is true with the last recent films produced by Marvel.
(04:12):
The expectation has been pretty low.
Yeah, because other than Deadpool, which people had high expectations already, which did bring back the score a little bit down.
But with this, people had low expectations like, man, this movie is going to suck.
But I got to see it.
Because with at least Deadpool, you kind of expect a certain level, some sort of raunchy comedy.
(04:33):
The last time I went in with a Marvel movie with my bar set very low was Love and Thunder.
And I didn't think it could get any lower than that.
Got it.
So you think because now everyone's expectation was so low, a decent movie, they're like, yeah, no, it's good.
But even Love and Thunder was like the bar that I had set to be so low was still too high.
(04:58):
That's how bad that movie was.
So this one is overall being praised.
It's like it's not like a horrible movie.
It's not like the greatest thing ever.
It's just a decently well-made movie.
It's got like a B minus cinema score, which isn't terrible.
But it's a movie to enjoy.
Yeah.
So yeah, I think this movie could be pretty cool.
(05:22):
So yeah, I actually think so.
I mean, if you guys want to check it out, it just released what, the 14th Valentine's Day?
Yes.
Yeah, so it's still in theaters now.
Like Red Hulk is the mascot for Valentine's Day.
Of course.
Because he's just fucking red.
All right, go over to our next film news topic.
What we have here, this is pretty interesting.
This is fascinating.
So Maya Haack was explaining at a podcast she recently sat in that producers now are looking at your Instagram follower count to determine how well your movie will get funded.
(05:55):
That's a weird thing.
It's weird.
Yeah.
So what she was explaining, she was recently sitting down at, it was Happy Sad Confused podcast.
She was talking about like when you're working with a director and she said she doesn't like Instagram, she doesn't want to mess with Instagram.
She barely even keeps up with Instagram.
But she was talking about recently want to delete it and a director was like, look, you can do what you want to do.
(06:17):
But I was handed a sheet of a specific follower count my cast members need to have.
That's weird.
So we need to hire specific actors and actresses who have specific Instagram following accounts.
I stupidly enough, I see that from the business side, but that's not an actual thing that happens practically because you still get unknown actors and actresses in well-made films and then word of mouth, bam, shoot some like that to me seems more in the teenage drama route.
(06:52):
Yeah.
Like if you're trying to make a teenage movie for teenagers or kids, I guess that makes sense because you want an influencer to be, you know, the reason why they're brought in.
I mean, it's the same concept as using a list celebrity.
It's the same concept.
It's the same thing.
How many movies they've been in, how, how they're, they're exposed to us and how often we know, you know, know them by first by name and by.
(07:15):
Yeah, it makes sense.
It's just a different way now.
So it's a little weird to us.
Like, yeah, they're using social media, but at the same time, it's always been that way a little bit.
Yeah, like you're they're using social media to be able to engage, engage with a younger audience.
Well, it's not that they're, they're using social media to predict and to help move forward, hire box office numbers and returns because they want more people into the theaters.
(07:40):
So they see this actor has this many followers.
That means this many followers or a percentage of them would go see this movie.
So we have a somo cast with like millions of followers each.
That's going to be more millions of people we're going to have in our seats.
That's what they're looking at it for.
But that's not even a practical like determination you can use to get high box office returns.
(08:05):
Yeah.
You see what I'm saying?
Yeah.
And on top of that, a lot of producers are artists, you know, a good number of them are on the older end.
Yeah.
So trying to explain to them that, you know, this person has five million followers.
And of course, with them trying to keep up with the younger crowd or try to keep up with those figures.
Like, yeah, yeah, let's do that.
Let's do that.
They not knowing what that means.
(08:26):
Actually, that means you're just going to get a lot of your talent just walking around the studio with their phones,
just immediately having to go like, damn, I got to post my requirement of five posts a day and one engagement video of just like multiple talent, just going, hey, guys, I'm not even that.
Okay.
Also, it's well, it's kind of practice like on studios not to use your phone on set.
(08:49):
If you record something, you're not supposed to release until until promotion time.
Exactly.
Which means you're going to have these influencers not know the simple rule of or being coached into like, hey, if you're going to take the video, you got to hold on to for about a year or maybe two years.
You can't live stream.
You can't live stream.
So you have to hold on to this footage for about two years before you can release it.
That's just dumb.
Yeah.
Now, she says she has been lucky to work with specific directors who either she didn't specifically explain if they just rejected looking at those numbers or just no students approached them because they're just bigger names who have control.
(09:21):
But she was talking about like working with like Bradley Cooper, working with Quinn Tarantino for Once Upon a Time in Hollywood.
And of course, working with Wes Anderson, too, with Asteroid City.
Wes Anderson does not give a fuck about social media.
The people she named do not care.
Exactly.
Yeah. And they have enough pull to be like, just talk to a producer, just like smack that paper out of the hand, like get out of here.
(09:46):
Yeah.
Who the fuck at?
I'm working here.
God, if David Lynch was still alive.
If they came up to him.
Bro, have you? Oh, my God.
I wonder if they have.
I doubt that.
And he just reacted with, what the fuck is this?
I'm so sick of this shit.
I'm pretty sure this is practices that certain producers will work with newer or younger directors because that's something they can't.
(10:07):
You can't hustle that with an older experience filmmaker.
Or they might just do the whole simple, oh, yeah, we'll take a look at it.
Just throw it to the side.
Throw it to the side.
And there you go.
I cast who I want to cast.
Like no one's going to talk to James Cameron and be like, yeah, sorry, you need to make sure your cast members need to have certain follower.
Like, come on.
I get the fuck out of here.
Yeah. No one's going to say that to him.
And on top of that, I told Mike earlier was that, I mean, it did happen during the 2010s where Disney and Nickelodeon both brought in influencers to do their shows and their movies.
(10:40):
They didn't do so well.
We got Fred.
Yeah.
Remember that?
YouTube's I remember that.
Angry Orange.
Yeah.
It doesn't do well.
Jake Paul at one point had Disney show.
Oh, yeah.
I forgot about that.
Short lived.
That was short lived.
But just the idea of like, well, they have their influencers.
They have a large following.
(11:01):
They're going to watch the show.
They're going to watch the show.
No, they're not.
It does not work out like that.
So, man, that is actually pretty interesting too.
I'm going to actually be following this more to see if there's more validity within what she'll say.
But if that's really true, that's going to be a pretty interesting dynamic going to the future for Hollywood, especially the film industry.
If you're going to if you're really using social media as an end all be all for what you produce in the film.
(11:27):
Yeah, that's what scares me.
Yeah.
Yeah.
All right.
Well, we're going to take a quick break from our sponsor.
And when we get back, we're going to cover over the main topics.
Pretty interesting.
So stay tuned.
We'll be right back to you guys.
These are the smaller news topics that couldn't make it in today's episode.
(11:49):
Harvey Weinstein sues his brother for fraud over misappropriated funds.
Dune 3 is set to start filming this summer.
And the first image of Matt Damon as age accurate Odysseus has been released online.
That's it for smaller news.
Now back to the episode.
And we are back covering over a main topic tonight.
(12:12):
This is pretty interesting because Mike, you found this one for us.
And this is actually a pretty big thing going on moving forward with the film industry specifically.
We're actually going to have studios open up right in Vegas.
Yeah.
Like actual film studio lots.
This was originally proposed back in twenty twenty three.
The idea is to be able to give studios at least 80 million dollars tax credits yearly.
(12:37):
Before it was set at like 190 million to try and get studios to like come in.
Yeah.
Because the tax credit was only 10 million.
Right.
I was that deal was kind of we worked a little bit and now it's at 80 million.
And the whole project is being spearheaded by Sony Pictures, Mark Wahlberg.
And there was another person on their Howard Howard Hughes Holdings Howard Hughes holding.
(12:59):
So sounds like what the bill they're proposing is what the Nevada Assembly Bill 238.
I think they're just calling it Hollywood 2.0.
Yes.
But yeah, this is the bill that they're proposing to move forward to actually start bringing companies and investors into Vegas is very own Hollywood.
Yes.
Their own film studio.
And there's terms with this.
Right.
(13:20):
There are terms.
Yeah.
So before we get into the terms, we also have to kind of acknowledge that Las Vegas actually does have a very large talent base.
No, they do.
Absolutely.
However, because there's no infrastructure for for studios or pretty much any sort of like Hollywood talent or movie or television talent, all that talent moves out of the state.
(13:44):
Yeah.
Goes to either L.A. or Louisiana or Georgia.
So this is designed to be able to keep the talent in state and help grow its talents internally and then recruit where everybody who wants to come in.
Yeah. And like I said, we've been talking about this for the last few years now.
There's more studios open up big lots outside of Hollywood.
We have Trillith in Georgia.
(14:06):
Texas has their own studio lot.
New Mexico starting to develop their lots to Oklahoma's even talking about even building their own studio lots.
You know, we want to be in Oklahoma.
We're not going to be on Oklahoma.
But you get the idea is that they're trying to as hard as possible move out of California.
What if they're going to build it on the reserves?
Like, damn, they got nowhere else to go.
(14:29):
But those are ideal and ideal locations, though, in the middle of fucking nowhere.
Yeah. Where you will have no interferences.
That feels kind of sketchy.
No, it works.
It's the idea of having a studio, especially like Vegas, which Vegas lately has been trying to expand more than just a gambling city.
They're trying to actually because their entertainment structure has actually been expanding where now they have football entertainment venues.
(14:56):
They have sport teams coming in.
Yeah. F1 racing.
Like I said, they recently got the Raiders. They got the Aces.
They're talking about looking for NBA team, their hockey team.
I think they're even start hosting like golf tournaments as well.
OK, I can see that. Yeah.
Yeah. So they're trying to expand it and move away from the city that only gambles and parties.
(15:17):
This is a place where anyone can come to.
So now that they're moving with the film industry, of course, you have to and send them first.
And that's, of course, you know, the tax credit.
What's like it's 80 million dollars a year, right?
For like 10 years, 80 million dollars a year all the way through 2043.
OK, so the whole overall benefit is that it would at least bring in one point two billion dollars in economic impact to the city.
(15:42):
The state would also create diversification on the economy, not relying on just gambling.
Exactly. Because 2020 showed that, you know, with covid happening, inflation and everything.
No one's gambling as much, of course, because no one has the funds.
Yeah. Also, it would be partnering with universities, including University of Las Vegas, to be able to build a talent pool so you can go straight from college into the workforce, into what you're looking for.
(16:07):
Yeah. However, oh, sorry, including 17,000 permanent jobs.
The idea is to create permanent jobs in the state, not just like come in every so often once a month or so, get a job and then leave out.
Like they were looking to build an actual setup in Las Vegas.
So there's always jobs, 17,000 personal permanent jobs with at least a minimum of one hundred thousand dollar annual annual pay.
(16:33):
Yeah. Right.
So that's a lot. Now, this all sounds good, but there are some catches to this one.
So in order to be able to qualify for the 80 million dollar a year tax credit, the studios need to be able to.
These are the what they need to do, right? Yes.
This is what they need to do in order to be able to qualify for this is that they not only need to build up permanent digs like buildings and structure and things like that, like an actual lot.
(16:58):
Yeah. No, but they also have to stay there for about 10 years to be able to start qualifying for that 80 million dollar tax credit.
Makes sense, too, because you don't want companies just coming in, hopping and doing a few projects and then just bailing out.
You want to keep them long term.
The other thing is that every project has to be at least one hundred million dollars yearly production.
(17:20):
OK, so whatever production that you're putting on that year has to at least be one hundred million dollars.
Every every production or just a single production yearly.
So all your all your productions combined need to equate up to one hundred million.
That's good for the big studios.
However, would that be enough because they also want to entice smaller film studios, too.
(17:43):
Yes. So how are you going to entice them if they can't they don't have the funds to produce over one hundred million dollars?
And they're they'll make more sense if they have like tear steps like big studios who make this much annually.
You need to produce this much for the state.
Smaller studios who make this much annually need to produce.
You see I'm saying they should have a tier step instead of just a one singular flat line.
(18:06):
Well, luckily, well, I guess not really so much.
Luckily, but I mean, overall, Warner Brothers is actually expanding their studio into Las Vegas.
Funding eight point five billion dollar.
Yeah. Eight point five billion dollar investment into the film studio expansion into Las Vegas over 17 years.
How many studios are there or lots are they expecting to open?
(18:29):
They're looking to build at least 13 buildings sprawled across Summerlin.
OK, so a little bit smaller for right now, but overall just trying to create a hub right now.
And then there's more things these studios need to do.
Right. It's not just producing over one hundred million dollars annually.
Yes. It also requires at least 50 percent of the below the line crew must be Nevada residents.
(18:52):
Makes sense.
And it seems like they're they're investing a lot into this.
I mean, Warner Brothers is investing also an eight million dollar vocational training facility to grow their own crew and talent.
So they're really investing in trying to keep that talent in the city to be able to entice other people from out of state to come into to build these movies.
(19:14):
Now, how do you think so say we do get Warner Brothers want to either open up another studio lot or they just fully want to relocate over.
And that's the biggest difference that we got to think about this is whether students are just trying to have more lots or they're fully relocating to other states and moving out of California.
And how would that affect California as a state?
(19:36):
That's the biggest moneymaker right now is the film industry.
If you're having studios bounce and leave instead of just trying to open up more studios, that's going to be detrimental.
That's unfortunate. All down to the California economy.
Yeah. Unfortunately, it comes to the politics in our in our states.
That affects it because we talked about for years where they should put more taxes set up.
(19:57):
They should, you know, absolutely. Yeah.
Loosen the regulation or the rules for film here.
I said a couple of weeks ago we talked about how expensive it is to film in L.A. Yeah. For a single day alone.
It's a dollar. It's stupid. Yeah.
So unfortunately, it comes down to the economy, the rules, the laws that makes them like, well, it's cheaper just to film somewhere else.
(20:20):
And yes, we are. I think I see maybe like one or two studios like completely bailing altogether.
Do you think that'll be enough to like kick it right in the state's ass to like finally get their shit together like, all right, we need to try to bring film back.
Like they're not even trying right now to bring film back into the state.
Because my theory is they have the illusion or the it'll never go away.
(20:42):
Yeah. That idea like we're we're California. We're that we're Hollywood.
We have a sign that says Hollywood. I mean, Hollywood doesn't have the full name like you used to when they have big names.
Like I said, I keep saying how big Trillith is growing out over and like it's getting big.
It's going to compete with Hollywood. It is.
(21:03):
But at the same time, it's the idea of the West Coast as well, where it's just I do see like being pulled out of L.A.
But not being pulled out of the West Coast altogether. Got it.
You see like still holding with I still see holding because at the same time when it comes to filming, they need certain locations.
We got the beaches, unfortunately. We've got beaches. We got mountains.
(21:26):
Like, unfortunately, there's at times that stuff does help us out.
I do worry, though, if you have enough like studios leaving state, the state itself will be a little bitter.
So anytime someone wants to film in here, they're just going to jack up the prices.
Like I do worry whether our officials will be dumb and petty.
(21:47):
I think it's a swing one way or the other. Super petty or they're going to be extremely desperate.
One or the other. It's going to be one or the other.
But like I said, we have so many studios thinking about going out there.
Warner Brothers thinking about already planning to go out there.
I do see Universal going out there because they already purchased property for doing their whole like entertainment thing out there.
(22:08):
And I do see them doing a secondary, a mini Universal Studios kind of thing where you go do their entertainment stuff.
If you want to take a tour of the backlot, we'll charge you an extra 50 bucks.
I mean, what do you see of like more like actors or celebrities taking incentives on this trying to push for like you have Mark Wahlberg who's involved.
Do you see other actors who do not live in California natively trying to push for more filming opportunities over there?
(22:32):
Yeah, again, I think the whole thing about being the West Coast.
Yeah, because it's not it's not too far away from, you know, L.A. itself.
It's not like what a four hour drive. Yeah.
So it's not too far away or even an hour plane ride.
Depending on the day is like six hours sometimes that prior planes.
I mean, from what last year, I know that Gavin Newsom was looking to extend the the tax incentive from thirty three million to like over seven hundred million.
(23:06):
That number. OK, here's the thing about that.
And that was last year. Yeah, no, but that's the thing about that.
That that's that tax incentive things have been going on for years.
They've been talking and it's been all talk, but nothing has been done about it. Got it.
And since they sat on their hands for so long, people are now dipping and you expect them to actually start doing stuff.
(23:27):
But it still doesn't sound like anything's happening now.
So, I mean, to me, if they go out to Vegas, why not? Yeah.
I'll say why not a fresh start a, you know, who knows, maybe you actually will become a better hub for filmmaking, especially if they put it one area.
That's even better. Yeah, as we know, we're filming in L.A.
(23:51):
All the studios are separated and they're sparse, sparse, heavily sparse out.
So to get to one student, another at times, you drive almost hour, two hours in traffic just to get one place.
If it's in one hub in Las Vegas, dude, easy, easy back and forth.
Yeah, it's actually pretty interesting.
I do see more studios hopping onto this and finally initiating themselves leave L.A. and go into other lots like this.
(24:16):
You know, I hear more people trying to go to Austin, hear more people trying to go to Trillis, Nevada, like trying to get out.
Actually, one question I was going to have was I don't know, Mike, maybe you have the answer or not.
Is it just filmmaking studios or animation studios, music studios or just straight film?
That's true. They haven't said whether it just branched out to other forms of media.
(24:37):
They said from the article that I'm reading, it's from Rice Real Estate.
This is kind of giving a little bit of like what to expect in this endeavor.
But it's saying that overall, it's on its way and on a track to became a huge hub for television and film.
Yeah. OK, I don't. So I don't know if it means animation.
(24:58):
I don't think they would consider animation unless they plan on developing animation studios in.
And that won't be in the studio.
That'll just have to have more animation studios in the state itself, because unfortunately, the biggest thing that happens with animation, it's always outsourced.
Yeah. So I don't see them taking any priority in that.
(25:19):
They're just more work. They're more focused on physical filming with physical crews that you have to physically hire.
You see I'm saying? Yeah.
So I think that's what they're more focused on first. And then eventually they might.
No, no, no. I kind of get the idea.
But I don't know if they're going to also include, you know, like, let's say, you know, bring in DreamWorks or they're trying to bring stuff like that.
(25:40):
Or if Warner wants to bring in their music department with it, you know, things like that.
Yeah. Since it sounds like just from this bill right now, they're just focused on filming.
I do believe, yeah, eventually start branching out to other forms of media.
Yeah. But it's still being introduced.
So, I mean, overall, it's looking pretty good. Yeah. I mean, it's looking pretty good for it to go through.
(26:07):
I mean, I really want to see any reason why it shouldn't.
I mean, I think the only like minor fears are like the residents fear that it would be like another L.A. Yeah.
Yeah. Everyone always worries about that. Yeah. That's a natural fear.
But Las Vegas and Reno are already seeing a higher rise in populace. Exactly.
So the city is growing. No matter what. No matter what.
(26:31):
It's still going to grow. And it's not just the types of industry that affect the city.
It's just when you have city growth, of course, those worries that people have with L.A. is just going to happen.
Yeah. And one, I mean, the advantage of being out there is there's so much desert. Yeah.
So much. Yeah. You can get out there. Plus you got nothing else to do except work and gamble.
Yeah. All right. We want to thank everyone for listening to this week's episode.
(26:54):
I'm curious on your thoughts on tonight's topic. How do you feel about studios opening up in Vegas? Do you like it?
Do you hate it? You can leave a comment below for watching this on a Red Band podcast, YouTube channel for our listeners, discuss episode topics and various other film related news.
We put up episodes every Wednesday for our audio listeners and Fridays for those who like to watch our videos for audio listeners.
You can find the Red Band podcast on Spotify, Apple Podcasts and I Heart Radio.
(27:17):
And of course, I'll say again, you can watch our video format on a Red Band podcast channel on YouTube.
And before we fully close out, Mike has those last end notes for you guys.
Yes, as Anthony has mentioned, all the different ways you could be able to listen to us, including Samsung Podcasts, Apple Podcasts, Spotify and I Heart Radio.
Not to mention be able to watch the live versions of these episodes as they are filmed on YouTube, which is our channel at YouTube dot com forward slash the Red Band podcast.
(27:45):
I almost got tripped up there. Yeah. Please leave a like and subscribe on all the listening channels that that you listen or watch on.
We'd really appreciate it. Please share with a friend who you think might enjoy this and leave a comment down below of what you think we should cover next.
We also have our Patreon account, which we'd really help if you guys went over there and subscribe, because that would be awesome because it would mean that we get to do more of this stuff.
(28:09):
We don't even get paid to do it. So you're like essentially paying us and you can be that guy that says, hey, we pay your salary, you know, like an asshole.
So be that asshole. But we'd really appreciate it. We like doing these. So we want to keep doing this for you guys.
And that's all I got. All right, guys, you heard it from Mike. Please like and subscribe. We'll see you next time. Later, taters.
Oh, I rewatched Stranger Things again.
(00:02):
Mm-hmm.
It still pisses me off.
They're like, why didn't they just bring their parents into the fold?
Yeah, yeah, that's dumb.
Into season four.
Like, season one, I can kind of get that Scooby-Doo-esque vibe.
But season four, you don't have things under control.
No, you don't.
Yeah.
So why are you still hiding it from your parents?
They're like, oh, you know, just, you were going for a swim at night, you know?
(00:25):
We were just chilling.
Whatever.
Like, you might as well just f***ing come clean.
Yeah.
Of like, everything that's going on.
You're already in trouble.
The minute you explain this s***, do you think they're going to care about that?
Like, any of that?
Like, oh, and I was like...
Their world will literally be flipped upside down with their understanding.
Yeah, and then there's demons now.
(00:46):
Like...
Wait, wait.
What?
All right, here we go.
We are going in five, four, three, two...
What's up, everybody?
This is the Red Band Podcast, your source for all film and TV related news and topics.
I am your host, Anthony King, and of course with me is my co-host...
(01:09):
Adrian G. Fuentes.
And sitting over there in the control room is our technical director, Mike Cards.
What are you doing this time?
What are you doing?
There we go.
You see, you always cause these weird, awkward pauses because you're trying to do some stupid...
You know this doesn't make sense on the audio portion, no one's going to see what you're doing.
No, of course not, but it's just like a little...
(01:33):
Trying something new every time.
Every time, something really annoying.
How are you guys doing tonight?
Pretty good.
Pretty good.
I'm excited.
There's a lot to cover.
Yeah, there's a lot to...
Well, we're covering little bits, but it's still like big, big things we got to talk about.
It's like some serious moves are being made in Hollywood right now, so it's actually surprising that.
Because they've been talking about stuff like this for quite some time.
(01:56):
It's just weird actually seeing them take the initiative now.
But before we get to that main topic of what we're talking about, we're going to cover over a smaller film news.
Because you know...
That's how we do.
That's how we do.
You know how we do.
Every week.
Anyways, what we got here first going on.
Captain America, Brave New World opened up this weekend, finally surpassing $100 million at the domestic box office.
(02:21):
This finally brings the film globally at just under $200 million.
But that's pretty good just for an open weekend.
On a film everyone was expecting to critically pan.
Which it did get panned by the critics, so it's sitting at a 49% with critic reviews.
However...
It really matters.
No one follows critics reviews anymore.
(02:42):
But the shocking thing is, this is kind of a reverse of what everyone was expecting.
Because you're actually seeing an 80% audience score.
Everyone's actually liking it for the general audience moviegoers.
But when this movie was being advertised, a lot of people were shitting on it pretty early on.
So we were expecting to see very low audience rating scores.
So they just went from here here and then just swapped them.
(03:04):
Yep.
And that's usually what we were kind of seeing with the most recent Marvel films.
Is we're seeing high critics scores, low audience scores.
It's been a while now that we got like a full flip.
I think it just has to do with...
We just want to watch a fun movie.
Yeah, yeah, right?
It's a fun movie, man.
Of course critics are going to complain about it doesn't have substance.
It doesn't have a great storytelling.
(03:25):
Like, well, we just want to watch a movie.
But we were getting, even before the film was coming out, we were getting people complaining.
It's not Chris Evans, Captain America.
I don't want to see anyone tell it to the man.
This is a black Captain America.
I don't want to hear any of that preachy woke shit.
You're already getting people pre-shitting on that.
So it's kind of interesting.
Like, yeah, we always talk about the people who are hating on it are still going to go see the movie.
(03:48):
But I was expecting high box office numbers with low audience review numbers.
So this was kind of surprising.
You're actually seeing people who are actually genuinely liking this movie.
I kind of expected this turnout where people are going to like...
First shit talking like, oh, it's not that bad of a movie.
The expectation is so low.
That is true with the last recent films produced by Marvel.
(04:12):
The expectation has been pretty low.
Yeah, because other than Deadpool, which people had high expectations already, which did bring back the score a little bit down.
But with this, people had low expectations like, man, this movie is going to suck.
But I got to see it.
Because with at least Deadpool, you kind of expect a certain level, some sort of raunchy comedy.
(04:33):
The last time I went in with a Marvel movie with my bar set very low was Love and Thunder.
And I didn't think it could get any lower than that.
Got it.
So you think because now everyone's expectation was so low, a decent movie, they're like, yeah, no, it's good.
But even Love and Thunder was like the bar that I had set to be so low was still too high.
(04:58):
That's how bad that movie was.
So this one is overall being praised.
It's like it's not like a horrible movie.
It's not like the greatest thing ever.
It's just a decently well-made movie.
It's got like a B minus cinema score, which isn't terrible.
But it's a movie to enjoy.
Yeah.
So yeah, I think this movie could be pretty cool.
(05:22):
So yeah, I actually think so.
I mean, if you guys want to check it out, it just released what, the 14th Valentine's Day?
Yes.
Yeah, so it's still in theaters now.
Like Red Hulk is the mascot for Valentine's Day.
Of course.
Because he's just fucking red.
All right, go over to our next film news topic.
What we have here, this is pretty interesting.
This is fascinating.
So Maya Haack was explaining at a podcast she recently sat in that producers now are looking at your Instagram follower count to determine how well your movie will get funded.
(05:55):
That's a weird thing.
It's weird.
Yeah.
So what she was explaining, she was recently sitting down at, it was Happy Sad Confused podcast.
She was talking about like when you're working with a director and she said she doesn't like Instagram, she doesn't want to mess with Instagram.
She barely even keeps up with Instagram.
But she was talking about recently want to delete it and a director was like, look, you can do what you want to do.
(06:17):
But I was handed a sheet of a specific follower count my cast members need to have.
That's weird.
So we need to hire specific actors and actresses who have specific Instagram following accounts.
I stupidly enough, I see that from the business side, but that's not an actual thing that happens practically because you still get unknown actors and actresses in well-made films and then word of mouth, bam, shoot some like that to me seems more in the teenage drama route.
(06:52):
Yeah.
Like if you're trying to make a teenage movie for teenagers or kids, I guess that makes sense because you want an influencer to be, you know, the reason why they're brought in.
I mean, it's the same concept as using a list celebrity.
It's the same concept.
It's the same thing.
How many movies they've been in, how, how they're, they're exposed to us and how often we know, you know, know them by first by name and by.
(07:15):
Yeah, it makes sense.
It's just a different way now.
So it's a little weird to us.
Like, yeah, they're using social media, but at the same time, it's always been that way a little bit.
Yeah, like you're they're using social media to be able to engage, engage with a younger audience.
Well, it's not that they're, they're using social media to predict and to help move forward, hire box office numbers and returns because they want more people into the theaters.
(07:40):
So they see this actor has this many followers.
That means this many followers or a percentage of them would go see this movie.
So we have a somo cast with like millions of followers each.
That's going to be more millions of people we're going to have in our seats.
That's what they're looking at it for.
But that's not even a practical like determination you can use to get high box office returns.
(08:05):
Yeah.
You see what I'm saying?
Yeah.
And on top of that, a lot of producers are artists, you know, a good number of them are on the older end.
Yeah.
So trying to explain to them that, you know, this person has five million followers.
And of course, with them trying to keep up with the younger crowd or try to keep up with those figures.
Like, yeah, yeah, let's do that.
Let's do that.
They not knowing what that means.
(08:26):
Actually, that means you're just going to get a lot of your talent just walking around the studio with their phones,
just immediately having to go like, damn, I got to post my requirement of five posts a day and one engagement video of just like multiple talent, just going, hey, guys, I'm not even that.
Okay.
Also, it's well, it's kind of practice like on studios not to use your phone on set.
(08:49):
If you record something, you're not supposed to release until until promotion time.
Exactly.
Which means you're going to have these influencers not know the simple rule of or being coached into like, hey, if you're going to take the video, you got to hold on to for about a year or maybe two years.
You can't live stream.
You can't live stream.
So you have to hold on to this footage for about two years before you can release it.
That's just dumb.
Yeah.
Now, she says she has been lucky to work with specific directors who either she didn't specifically explain if they just rejected looking at those numbers or just no students approached them because they're just bigger names who have control.
(09:21):
But she was talking about like working with like Bradley Cooper, working with Quinn Tarantino for Once Upon a Time in Hollywood.
And of course, working with Wes Anderson, too, with Asteroid City.
Wes Anderson does not give a fuck about social media.
The people she named do not care.
Exactly.
Yeah. And they have enough pull to be like, just talk to a producer, just like smack that paper out of the hand, like get out of here.
(09:46):
Yeah.
Who the fuck at?
I'm working here.
God, if David Lynch was still alive.
If they came up to him.
Bro, have you? Oh, my God.
I wonder if they have.
I doubt that.
And he just reacted with, what the fuck is this?
I'm so sick of this shit.
I'm pretty sure this is practices that certain producers will work with newer or younger directors because that's something they can't.
(10:07):
You can't hustle that with an older experience filmmaker.
Or they might just do the whole simple, oh, yeah, we'll take a look at it.
Just throw it to the side.
Throw it to the side.
And there you go.
I cast who I want to cast.
Like no one's going to talk to James Cameron and be like, yeah, sorry, you need to make sure your cast members need to have certain follower.
Like, come on.
I get the fuck out of here.
Yeah. No one's going to say that to him.
And on top of that, I told Mike earlier was that, I mean, it did happen during the 2010s where Disney and Nickelodeon both brought in influencers to do their shows and their movies.
(10:40):
They didn't do so well.
We got Fred.
Yeah.
Remember that?
YouTube's I remember that.
Angry Orange.
Yeah.
It doesn't do well.
Jake Paul at one point had Disney show.
Oh, yeah.
I forgot about that.
Short lived.
That was short lived.
But just the idea of like, well, they have their influencers.
They have a large following.
(11:01):
They're going to watch the show.
They're going to watch the show.
No, they're not.
It does not work out like that.
So, man, that is actually pretty interesting too.
I'm going to actually be following this more to see if there's more validity within what she'll say.
But if that's really true, that's going to be a pretty interesting dynamic going to the future for Hollywood, especially the film industry.
If you're going to if you're really using social media as an end all be all for what you produce in the film.
(11:27):
Yeah, that's what scares me.
Yeah.
Yeah.
All right.
Well, we're going to take a quick break from our sponsor.
And when we get back, we're going to cover over the main topics.
Pretty interesting.
So stay tuned.
We'll be right back to you guys.
These are the smaller news topics that couldn't make it in today's episode.
(11:49):
Harvey Weinstein sues his brother for fraud over misappropriated funds.
Dune 3 is set to start filming this summer.
And the first image of Matt Damon as age accurate Odysseus has been released online.
That's it for smaller news.
Now back to the episode.
And we are back covering over a main topic tonight.
(12:12):
This is pretty interesting because Mike, you found this one for us.
And this is actually a pretty big thing going on moving forward with the film industry specifically.
We're actually going to have studios open up right in Vegas.
Yeah.
Like actual film studio lots.
This was originally proposed back in twenty twenty three.
The idea is to be able to give studios at least 80 million dollars tax credits yearly.
(12:37):
Before it was set at like 190 million to try and get studios to like come in.
Yeah.
Because the tax credit was only 10 million.
Right.
I was that deal was kind of we worked a little bit and now it's at 80 million.
And the whole project is being spearheaded by Sony Pictures, Mark Wahlberg.
And there was another person on their Howard Howard Hughes Holdings Howard Hughes holding.
(12:59):
So sounds like what the bill they're proposing is what the Nevada Assembly Bill 238.
I think they're just calling it Hollywood 2.0.
Yes.
But yeah, this is the bill that they're proposing to move forward to actually start bringing companies and investors into Vegas is very own Hollywood.
Yes.
Their own film studio.
And there's terms with this.
Right.
(13:20):
There are terms.
Yeah.
So before we get into the terms, we also have to kind of acknowledge that Las Vegas actually does have a very large talent base.
No, they do.
Absolutely.
However, because there's no infrastructure for for studios or pretty much any sort of like Hollywood talent or movie or television talent, all that talent moves out of the state.
(13:44):
Yeah.
Goes to either L.A. or Louisiana or Georgia.
So this is designed to be able to keep the talent in state and help grow its talents internally and then recruit where everybody who wants to come in.
Yeah. And like I said, we've been talking about this for the last few years now.
There's more studios open up big lots outside of Hollywood.
We have Trillith in Georgia.
(14:06):
Texas has their own studio lot.
New Mexico starting to develop their lots to Oklahoma's even talking about even building their own studio lots.
You know, we want to be in Oklahoma.
We're not going to be on Oklahoma.
But you get the idea is that they're trying to as hard as possible move out of California.
What if they're going to build it on the reserves?
Like, damn, they got nowhere else to go.
(14:29):
But those are ideal and ideal locations, though, in the middle of fucking nowhere.
Yeah. Where you will have no interferences.
That feels kind of sketchy.
No, it works.
It's the idea of having a studio, especially like Vegas, which Vegas lately has been trying to expand more than just a gambling city.
They're trying to actually because their entertainment structure has actually been expanding where now they have football entertainment venues.
(14:56):
They have sport teams coming in.
Yeah. F1 racing.
Like I said, they recently got the Raiders. They got the Aces.
They're talking about looking for NBA team, their hockey team.
I think they're even start hosting like golf tournaments as well.
OK, I can see that. Yeah.
Yeah. So they're trying to expand it and move away from the city that only gambles and parties.
(15:17):
This is a place where anyone can come to.
So now that they're moving with the film industry, of course, you have to and send them first.
And that's, of course, you know, the tax credit.
What's like it's 80 million dollars a year, right?
For like 10 years, 80 million dollars a year all the way through 2043.
OK, so the whole overall benefit is that it would at least bring in one point two billion dollars in economic impact to the city.
(15:42):
The state would also create diversification on the economy, not relying on just gambling.
Exactly. Because 2020 showed that, you know, with covid happening, inflation and everything.
No one's gambling as much, of course, because no one has the funds.
Yeah. Also, it would be partnering with universities, including University of Las Vegas, to be able to build a talent pool so you can go straight from college into the workforce, into what you're looking for.
(16:07):
Yeah. However, oh, sorry, including 17,000 permanent jobs.
The idea is to create permanent jobs in the state, not just like come in every so often once a month or so, get a job and then leave out.
Like they were looking to build an actual setup in Las Vegas.
So there's always jobs, 17,000 personal permanent jobs with at least a minimum of one hundred thousand dollar annual annual pay.
(16:33):
Yeah. Right.
So that's a lot. Now, this all sounds good, but there are some catches to this one.
So in order to be able to qualify for the 80 million dollar a year tax credit, the studios need to be able to.
These are the what they need to do, right? Yes.
This is what they need to do in order to be able to qualify for this is that they not only need to build up permanent digs like buildings and structure and things like that, like an actual lot.
(16:58):
Yeah. No, but they also have to stay there for about 10 years to be able to start qualifying for that 80 million dollar tax credit.
Makes sense, too, because you don't want companies just coming in, hopping and doing a few projects and then just bailing out.
You want to keep them long term.
The other thing is that every project has to be at least one hundred million dollars yearly production.
(17:20):
OK, so whatever production that you're putting on that year has to at least be one hundred million dollars.
Every every production or just a single production yearly.
So all your all your productions combined need to equate up to one hundred million.
That's good for the big studios.
However, would that be enough because they also want to entice smaller film studios, too.
(17:43):
Yes. So how are you going to entice them if they can't they don't have the funds to produce over one hundred million dollars?
And they're they'll make more sense if they have like tear steps like big studios who make this much annually.
You need to produce this much for the state.
Smaller studios who make this much annually need to produce.
You see I'm saying they should have a tier step instead of just a one singular flat line.
(18:06):
Well, luckily, well, I guess not really so much.
Luckily, but I mean, overall, Warner Brothers is actually expanding their studio into Las Vegas.
Funding eight point five billion dollar.
Yeah. Eight point five billion dollar investment into the film studio expansion into Las Vegas over 17 years.
How many studios are there or lots are they expecting to open?
(18:29):
They're looking to build at least 13 buildings sprawled across Summerlin.
OK, so a little bit smaller for right now, but overall just trying to create a hub right now.
And then there's more things these studios need to do.
Right. It's not just producing over one hundred million dollars annually.
Yes. It also requires at least 50 percent of the below the line crew must be Nevada residents.
(18:52):
Makes sense.
And it seems like they're they're investing a lot into this.
I mean, Warner Brothers is investing also an eight million dollar vocational training facility to grow their own crew and talent.
So they're really investing in trying to keep that talent in the city to be able to entice other people from out of state to come into to build these movies.
(19:14):
Now, how do you think so say we do get Warner Brothers want to either open up another studio lot or they just fully want to relocate over.
And that's the biggest difference that we got to think about this is whether students are just trying to have more lots or they're fully relocating to other states and moving out of California.
And how would that affect California as a state?
(19:36):
That's the biggest moneymaker right now is the film industry.
If you're having studios bounce and leave instead of just trying to open up more studios, that's going to be detrimental.
That's unfortunate. All down to the California economy.
Yeah. Unfortunately, it comes to the politics in our in our states.
That affects it because we talked about for years where they should put more taxes set up.
(19:57):
They should, you know, absolutely. Yeah.
Loosen the regulation or the rules for film here.
I said a couple of weeks ago we talked about how expensive it is to film in L.A. Yeah. For a single day alone.
It's a dollar. It's stupid. Yeah.
So unfortunately, it comes down to the economy, the rules, the laws that makes them like, well, it's cheaper just to film somewhere else.
(20:20):
And yes, we are. I think I see maybe like one or two studios like completely bailing altogether.
Do you think that'll be enough to like kick it right in the state's ass to like finally get their shit together like, all right, we need to try to bring film back.
Like they're not even trying right now to bring film back into the state.
Because my theory is they have the illusion or the it'll never go away.
(20:42):
Yeah. That idea like we're we're California. We're that we're Hollywood.
We have a sign that says Hollywood. I mean, Hollywood doesn't have the full name like you used to when they have big names.
Like I said, I keep saying how big Trillith is growing out over and like it's getting big.
It's going to compete with Hollywood. It is.
(21:03):
But at the same time, it's the idea of the West Coast as well, where it's just I do see like being pulled out of L.A.
But not being pulled out of the West Coast altogether. Got it.
You see like still holding with I still see holding because at the same time when it comes to filming, they need certain locations.
We got the beaches, unfortunately. We've got beaches. We got mountains.
(21:26):
Like, unfortunately, there's at times that stuff does help us out.
I do worry, though, if you have enough like studios leaving state, the state itself will be a little bitter.
So anytime someone wants to film in here, they're just going to jack up the prices.
Like I do worry whether our officials will be dumb and petty.
(21:47):
I think it's a swing one way or the other. Super petty or they're going to be extremely desperate.
One or the other. It's going to be one or the other.
But like I said, we have so many studios thinking about going out there.
Warner Brothers thinking about already planning to go out there.
I do see Universal going out there because they already purchased property for doing their whole like entertainment thing out there.
(22:08):
And I do see them doing a secondary, a mini Universal Studios kind of thing where you go do their entertainment stuff.
If you want to take a tour of the backlot, we'll charge you an extra 50 bucks.
I mean, what do you see of like more like actors or celebrities taking incentives on this trying to push for like you have Mark Wahlberg who's involved.
Do you see other actors who do not live in California natively trying to push for more filming opportunities over there?
(22:32):
Yeah, again, I think the whole thing about being the West Coast.
Yeah, because it's not it's not too far away from, you know, L.A. itself.
It's not like what a four hour drive. Yeah.
So it's not too far away or even an hour plane ride.
Depending on the day is like six hours sometimes that prior planes.
I mean, from what last year, I know that Gavin Newsom was looking to extend the the tax incentive from thirty three million to like over seven hundred million.
(23:06):
That number. OK, here's the thing about that.
And that was last year. Yeah, no, but that's the thing about that.
That that's that tax incentive things have been going on for years.
They've been talking and it's been all talk, but nothing has been done about it. Got it.
And since they sat on their hands for so long, people are now dipping and you expect them to actually start doing stuff.
(23:27):
But it still doesn't sound like anything's happening now.
So, I mean, to me, if they go out to Vegas, why not? Yeah.
I'll say why not a fresh start a, you know, who knows, maybe you actually will become a better hub for filmmaking, especially if they put it one area.
That's even better. Yeah, as we know, we're filming in L.A.
(23:51):
All the studios are separated and they're sparse, sparse, heavily sparse out.
So to get to one student, another at times, you drive almost hour, two hours in traffic just to get one place.
If it's in one hub in Las Vegas, dude, easy, easy back and forth.
Yeah, it's actually pretty interesting.
I do see more studios hopping onto this and finally initiating themselves leave L.A. and go into other lots like this.
(24:16):
You know, I hear more people trying to go to Austin, hear more people trying to go to Trillis, Nevada, like trying to get out.
Actually, one question I was going to have was I don't know, Mike, maybe you have the answer or not.
Is it just filmmaking studios or animation studios, music studios or just straight film?
That's true. They haven't said whether it just branched out to other forms of media.
(24:37):
They said from the article that I'm reading, it's from Rice Real Estate.
This is kind of giving a little bit of like what to expect in this endeavor.
But it's saying that overall, it's on its way and on a track to became a huge hub for television and film.
Yeah. OK, I don't. So I don't know if it means animation.
(24:58):
I don't think they would consider animation unless they plan on developing animation studios in.
And that won't be in the studio.
That'll just have to have more animation studios in the state itself, because unfortunately, the biggest thing that happens with animation, it's always outsourced.
Yeah. So I don't see them taking any priority in that.
(25:19):
They're just more work. They're more focused on physical filming with physical crews that you have to physically hire.
You see I'm saying? Yeah.
So I think that's what they're more focused on first. And then eventually they might.
No, no, no. I kind of get the idea.
But I don't know if they're going to also include, you know, like, let's say, you know, bring in DreamWorks or they're trying to bring stuff like that.
(25:40):
Or if Warner wants to bring in their music department with it, you know, things like that.
Yeah. Since it sounds like just from this bill right now, they're just focused on filming.
I do believe, yeah, eventually start branching out to other forms of media.
Yeah. But it's still being introduced.
So, I mean, overall, it's looking pretty good. Yeah. I mean, it's looking pretty good for it to go through.
(26:07):
I mean, I really want to see any reason why it shouldn't.
I mean, I think the only like minor fears are like the residents fear that it would be like another L.A. Yeah.
Yeah. Everyone always worries about that. Yeah. That's a natural fear.
But Las Vegas and Reno are already seeing a higher rise in populace. Exactly.
So the city is growing. No matter what. No matter what.
(26:31):
It's still going to grow. And it's not just the types of industry that affect the city.
It's just when you have city growth, of course, those worries that people have with L.A. is just going to happen.
Yeah. And one, I mean, the advantage of being out there is there's so much desert. Yeah.
So much. Yeah. You can get out there. Plus you got nothing else to do except work and gamble.
Yeah. All right. We want to thank everyone for listening to this week's episode.
(26:54):
I'm curious on your thoughts on tonight's topic. How do you feel about studios opening up in Vegas? Do you like it?
Do you hate it? You can leave a comment below for watching this on a Red Band podcast, YouTube channel for our listeners, discuss episode topics and various other film related news.
We put up episodes every Wednesday for our audio listeners and Fridays for those who like to watch our videos for audio listeners.
You can find the Red Band podcast on Spotify, Apple Podcasts and I Heart Radio.
(27:17):
And of course, I'll say again, you can watch our video format on a Red Band podcast channel on YouTube.
And before we fully close out, Mike has those last end notes for you guys.
Yes, as Anthony has mentioned, all the different ways you could be able to listen to us, including Samsung Podcasts, Apple Podcasts, Spotify and I Heart Radio.
Not to mention be able to watch the live versions of these episodes as they are filmed on YouTube, which is our channel at YouTube dot com forward slash the Red Band podcast.
(27:45):
I almost got tripped up there. Yeah. Please leave a like and subscribe on all the listening channels that that you listen or watch on.
We'd really appreciate it. Please share with a friend who you think might enjoy this and leave a comment down below of what you think we should cover next.
We also have our Patreon account, which we'd really help if you guys went over there and subscribe, because that would be awesome because it would mean that we get to do more of this stuff.
(28:09):
We don't even get paid to do it. So you're like essentially paying us and you can be that guy that says, hey, we pay your salary, you know, like an asshole.
So be that asshole. But we'd really appreciate it. We like doing these. So we want to keep doing this for you guys.
And that's all I got. All right, guys, you heard it from Mike. Please like and subscribe. We'll see you next time. Later, taters.
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