Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I'm not looking to hurt the industry. I want to
help the industry. It's abandoned the USA where it started,
and we'll get it. We'll get it back.
Speaker 2 (00:08):
If the goal is to incentivize people to shoot more
in this country, the likely remedy is probably some kind
of tax incentive rather than a terrff to punish people
who go overseas.
Speaker 1 (00:23):
Lots to consider there, and let's bring in on that note,
Randy J. Goodwin, friend of the program and the poobah
here in Omaha, Fallen Giant Films. Good to have you on, Randy.
Good morning.
Speaker 3 (00:34):
Hey, thanks Garry.
Speaker 1 (00:35):
How you doing man, I'm well, Thanks Scott or he
is here with me. What do you think of this idea?
Just broad strokes the idea of a terraff on American
companies making overseas films.
Speaker 3 (00:47):
Well, first of all, this is they've been taking productions
away from the US for many years. My first ever
TV series, Fast Track, that we did on Showtime Again
ninety seven with Keith carroty Man. We shot that in
Toronto because Toronto has great film incentives. So everybody's offering
these incentives to pull productions away from the US or
(01:09):
away from Hollywood in general, which is why I'm back
in Nebraska and overseas. Yeah. Man, they are offering so much.
I just got called to do one of my movies
that I want to shoot here, that I'm going to
shoot here in Nebraska to shoot it over in Uh
what Turkey. I'm not shooting Turkey, man. But yeah, I
(01:31):
think it's I think it's a good thing. Yeah, I
think we should bring productions back here. When I when
I got a call about this from LA I started laughing,
and I go, guys, you knew this was coming. Big
Donna's in the house. Man, She's bringing everything back to
the US.
Speaker 1 (01:46):
Well, how would it work? How would it work? I mean, like,
it's not a physical product. How would you how would
you tear up a movie?
Speaker 3 (01:53):
It's well, that's that's where the exploration is about to happen,
because you know, you can tear DVD and things of
that nature, but a digital product is very hard. Although
like with TikTok, they shut it down for a short
while or there's certain things that China doesn't do on
(02:14):
social media that the US is allowed to do, so
they can track this stuff and there is a way,
I don't know how it's going to happen, but I'd
like more productions to come back to the US, specifically Nebraska.
Speaker 1 (02:26):
Got a note from Mark here on the email he's
heard an interview with Rob Low and that Rob Low
has this game show and he says he's being shot
in Ireland because it costs so much less to fly
everyone in Ireland to Ireland and back then to do
it than to do it in Los Angeles. And that
and airfare is not cheap, so imagine the cost.
Speaker 4 (02:48):
I was going to point that out. What Rob Low
said was it's cheaper to bring one hundred American people
to Ireland than to walk across the lot at Fox,
past the sound stages and do it in California.
Speaker 3 (03:00):
Well, that's garbage. That that's garbage. That's only because look
look at these budgets on a lot of these films,
two hundred million dollars. Where do you think all that
money's going. It's going, It's going in pockets. Man. I
can shoot a movie here for five grand I'm sorry,
five grand. I wish for five mili and make it
look like a twenty five million dollar movie. Because everybody's
(03:22):
getting these inflated paychecks. What happened to the day when
a pilot for a TV series cost a million dollars
to shoot. That same pilot is on the air today
like CSI and NCIS back in the day a million,
two million dollars. Now they're twelve million, thirteen million, fifteen
million for a pilot. Come on with all this technology. No,
(03:45):
no way.
Speaker 1 (03:45):
So do you think the last voice we heard in
that report earlier, and I don't know who it was,
he's onto something that it's going to be a matter
of incentives for filmmakers.
Speaker 3 (03:56):
Well, I think a little bit. It's it's not the
end all the taxi. The centives are very important, which
is why I've been back in Nebraska, coming back for
over twenty years, in the last ten years really spearhead
and getting a film incentive here. I worked with a
group of people, about eight people, and we finally got
it passed by Jim Pillen last year. But we've got
(04:20):
we've got like five hundred grand in it. I mean
we need we need one hundred million dollar taxings to
draw the production tiers. That's why Texas is killing it
with Taylor Sheridan. He's got like nine shows on the
air and out of Texas and Pulsa. Atlanta is going
crazy because the film incentives are important to the state
(04:40):
and local government. We need that here and the more
we have, the more we'll draw productions back here.
Speaker 1 (04:47):
So what's your current one or your next one?
Speaker 3 (04:49):
Here, Randy, we're shooting a project called Poison Pond. It's
a crime thriller set in Omaha. Everything I do is
about Nebraska, so it's written to highlight Omaha, you know,
not just some home in the city where Jack Nicholson's
looking like some crazy person. Yeah, and you don't know
where he is. You know, it's Omaha and it's gonna
(05:10):
beautiful excellent.
Speaker 1 (05:11):
Hey, Randy, thanks, thank you, you bet. I appreciate the
time this morning. Randy J. Goodwin a fallen giant films
on the President's idea. Yeah, they'd have to figure out
what they're actually terriffing, wouldn't they, Scott to put this
in place? You know? Okay, there's a car I can
I can understand how you can TEARI if a car
(05:33):
a movie, I don't know, the big canister of film
that will cost you a million dollars to bring me
I'm not looking to hurt the industry. I want to
help the industry. It's abandoned the USA where it started,
and we'll get it. We'll get it back.
Speaker 2 (00:08):
If the goal is to incentivize people to shoot more
in this country, the likely remedy is probably some kind
of tax incentive rather than a terrff to punish people
who go overseas.
Speaker 1 (00:23):
Lots to consider there, and let's bring in on that note,
Randy J. Goodwin, friend of the program and the poobah
here in Omaha, Fallen Giant Films. Good to have you on, Randy.
Good morning.
Speaker 3 (00:34):
Hey, thanks Garry.
Speaker 1 (00:35):
How you doing man, I'm well, Thanks Scott or he
is here with me. What do you think of this idea?
Just broad strokes the idea of a terraff on American
companies making overseas films.
Speaker 3 (00:47):
Well, first of all, this is they've been taking productions
away from the US for many years. My first ever
TV series, Fast Track, that we did on Showtime Again
ninety seven with Keith carroty Man. We shot that in
Toronto because Toronto has great film incentives. So everybody's offering
these incentives to pull productions away from the US or
(01:09):
away from Hollywood in general, which is why I'm back
in Nebraska and overseas. Yeah. Man, they are offering so much.
I just got called to do one of my movies
that I want to shoot here, that I'm going to
shoot here in Nebraska to shoot it over in Uh
what Turkey. I'm not shooting Turkey, man. But yeah, I
(01:31):
think it's I think it's a good thing. Yeah, I
think we should bring productions back here. When I when
I got a call about this from LA I started laughing,
and I go, guys, you knew this was coming. Big
Donna's in the house. Man, She's bringing everything back to
the US.
Speaker 1 (01:46):
Well, how would it work? How would it work? I mean, like,
it's not a physical product. How would you how would
you tear up a movie?
Speaker 3 (01:53):
It's well, that's that's where the exploration is about to happen,
because you know, you can tear DVD and things of
that nature, but a digital product is very hard. Although
like with TikTok, they shut it down for a short
while or there's certain things that China doesn't do on
(02:14):
social media that the US is allowed to do, so
they can track this stuff and there is a way,
I don't know how it's going to happen, but I'd
like more productions to come back to the US, specifically Nebraska.
Speaker 1 (02:26):
Got a note from Mark here on the email he's
heard an interview with Rob Low and that Rob Low
has this game show and he says he's being shot
in Ireland because it costs so much less to fly
everyone in Ireland to Ireland and back then to do
it than to do it in Los Angeles. And that
and airfare is not cheap, so imagine the cost.
Speaker 4 (02:48):
I was going to point that out. What Rob Low
said was it's cheaper to bring one hundred American people
to Ireland than to walk across the lot at Fox,
past the sound stages and do it in California.
Speaker 3 (03:00):
Well, that's garbage. That that's garbage. That's only because look
look at these budgets on a lot of these films,
two hundred million dollars. Where do you think all that
money's going. It's going, It's going in pockets. Man. I
can shoot a movie here for five grand I'm sorry,
five grand. I wish for five mili and make it
look like a twenty five million dollar movie. Because everybody's
(03:22):
getting these inflated paychecks. What happened to the day when
a pilot for a TV series cost a million dollars
to shoot. That same pilot is on the air today
like CSI and NCIS back in the day a million,
two million dollars. Now they're twelve million, thirteen million, fifteen
million for a pilot. Come on with all this technology. No,
(03:45):
no way.
Speaker 1 (03:45):
So do you think the last voice we heard in
that report earlier, and I don't know who it was,
he's onto something that it's going to be a matter
of incentives for filmmakers.
Speaker 3 (03:56):
Well, I think a little bit. It's it's not the
end all the taxi. The centives are very important, which
is why I've been back in Nebraska, coming back for
over twenty years, in the last ten years really spearhead
and getting a film incentive here. I worked with a
group of people, about eight people, and we finally got
it passed by Jim Pillen last year. But we've got
(04:20):
we've got like five hundred grand in it. I mean
we need we need one hundred million dollar taxings to
draw the production tiers. That's why Texas is killing it
with Taylor Sheridan. He's got like nine shows on the
air and out of Texas and Pulsa. Atlanta is going
crazy because the film incentives are important to the state
(04:40):
and local government. We need that here and the more
we have, the more we'll draw productions back here.
Speaker 1 (04:47):
So what's your current one or your next one?
Speaker 3 (04:49):
Here, Randy, we're shooting a project called Poison Pond. It's
a crime thriller set in Omaha. Everything I do is
about Nebraska, so it's written to highlight Omaha, you know,
not just some home in the city where Jack Nicholson's
looking like some crazy person. Yeah, and you don't know
where he is. You know, it's Omaha and it's gonna
(05:10):
beautiful excellent.
Speaker 1 (05:11):
Hey, Randy, thanks, thank you, you bet. I appreciate the
time this morning. Randy J. Goodwin a fallen giant films
on the President's idea. Yeah, they'd have to figure out
what they're actually terriffing, wouldn't they, Scott to put this
in place? You know? Okay, there's a car I can
I can understand how you can TEARI if a car
(05:33):
a movie, I don't know, the big canister of film
that will cost you a million dollars to bring me
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