Wait why don’t filmmakers want to work in Seattle?

Corporate welfare is good when you like the product, I guess?

A race to the bottom across states in terms of taxes and incentives is nothing new. And it doesn't buy any loyalty once the next state goes cheaper. Ask Boeing.

If you interview previous employees of WA Filmworks you'll have a clearer picture of why films aren't shot here. Spoiler: it's because the organization is run by an incompetent, toxic egomaniac. The place has rarely held an employee for longer than a year and filmmakers have told employees in private that they don't want to shoot in Washington because they don't want to work with Amy Lillard. Movies will be made in Washington when she leaves her post.

@1 Totoman and Jas: I have some ideas:
1. Maybe because the overwhelming majority of those in charge of operating film companies have overly rude and obnoxious personalities that really suck, possibly because their profit lusting fragile male egos keep getting in the way of producing anything really outstanding?
2. Perhaps it's also partly due to many filmmakers in Los Angeles and New York City already working and living in a daily nightmare of traffic congestion, so why bother with Seattle's gridlock? And, while we're at it....
3. Seattle's traffic woes are bad enough without motorists and pedestrians having to take detour routes because Paramount Pictures is filming on 1st and Pike, or, heaven forbid--a chase scene on Aurora Avenue North?
4. Actors like Tom Cruise don't really need to make any more money (I don't know and don't care about his net worth, but let's face it--Tom Cruise isn't exactly hurting financially)?
5. The film industry is currently ~ 99.99999999999% remakes and sequels nowadays, leaving about .000000000001% of offering anything actually new and inspirational. WTF is Hollywood doing by trying to remake classics?

@3 banana: I have never met Amy Lillard of Washington Filmworks but have had the grievous misfortune of dealing with more than my fair share of the Puget Sound region's incompetent, toxic egomaniacs assigned male at birth. I would think that's enough to keep a lot of filmmakers out of Seattle, Miss Lillard notwithstanding.

Auntie Grizelda, I don't care too much about Tom Cruise except that he and other celebrities bring in the audiences, but what about the thousands of not-yet-famous actors in WA who are looking for work? We exist and we would like the film budget to be raised at least to the level of the surrounding areas.

@3:

You're so full of shit the pixels dribbling out of your keyboard must be brown. I've known and collaborated directly with Ms. Lillard since Washington FilmWorks came into being more than a decade ago, and I will state unequivocally that she is one of the most dedicated, and universally respected members of the state film industry. She has been a tireless advocate for film and filmmaking and if you have evidence to the contrary, I, and literally every other filmmaker would be VERY interested in your sources, IF you have any.

@7 Babz: I feel for you as I am a composer and musician struggling with gaining recognition. I know how hard it is. I am also active with community theatre and wish you success in your acting career.

@8 COMTE: I am a composer who would very much like to expand my musical background of over thirty-five years into scoring and arranging for film and television. Your positive experience with Amy Lillard is very refreshing compared to the people in the industry that I have faced and dealt with by telephone. What you have to share about the Seattle film industry is valuable. It seems that my biggest problem is in finding a good music agent to represent my work.

I agree with Comte! Amy Lillard has been a dedicated advocate for our local film industry since before Washington Filmworks even existed.

@9:

I don't know if anything like a musical agent exists locally, although I would imagine most of the scoring work, with the exception of locally produced films, is contracted out of Los Angeles, so that would probably be the place to start looking, if you haven't already.

It's my understanding Seattle has a very good reputation in this area and that quite a bit of scoring is done here. So, it might also behoove you (again, assuming you haven't already) to reach out to local recording studios such as Bad Animals, Victory, and Formosa Group (nee Clatter & Din). There are a number of smaller studios in the area as well, but I don't know how deeply they may be involved with film music scoring; it's my understanding they mostly record bands and/or do voice over work, but it certainly never hurts to ask.

And, just like most other segments of this industry, networking is a key component. The Seattle Office of Film+Music sponsors a monthly networking event, "The Mixer" where creatives gather (currently virtual) and which generally includes a specific presentation on some aspect of the industry. The next one is coming up on January 27th (https://www.seattle.gov/filmandmusic/events). I would also encourage you to join some social media groups. There are several on FB: Film Collective NW (https://www.facebook.com/groups/filmcollectivenw), Film & Media Community of Oregon (https://www.facebook.com/groups/filmandmediacommunityoforegon), and Seattle Film Industry Caucus (https://www.facebook.com/groups/seattlefilmindustrycaucus) would all be good places to start getting to know folks in the local industry.

Finally, I would suggest the Seattle 48 Hour Film Project (https://www.48hourfilm.com/en/seattle-wa - they also have a FB group: https://www.facebook.com/groups/seattle48hfp). They run a bi-annual competition for filmmakers that involves writing, shooting, editing, and scoring a complete short film in a 48 hour period. It's a fun and highly immersive experience in "seat of the pants" filmmaking and frankly, the results are pretty amazing! Again, great way to meet people and do some hand-on post-production work with very little time commitment.

@COMTE If you've worked with her for a decade then you should be familiar with the revolving door of miserable employees. The women who have left are too professional to speak up and burn bridges (and they're all damn good people too). It's up to the board to realize she treats employees like garbage and to determine how that behavior might contribute to us having one of the worst performing incentive programs in the country.

And no, I'm not one of them. Just a concerned friend who heard too many horror stories and wishes someone would do something.

@12:

Or maybe I'll just ask my friend Julie Daman, who, if you actually DO know anything about WAFW you would know has worked there since 2008. I guess she doesn't feel like she's been treated like garbage, if she's stuck around for more than a decade.

Or I could also ask my friend Vicky Bergland-Davenport, who was just hired as Production Services Manager there. I've known her for nearly 30 years, so if anyone in this town would know about Amy's personality, it would be her, and I seriously doubt she would take a job with someone as toxic as you claim.

The ONLY reason we have a poor incentive program is because it's one of the SMALLEST in the country. When Montana is willing to put more money on the table than Washington, it's pretty clear to anyone who actually knows anything about the industry (which I seriously doubt YOU do) wherein the problem lies - and it's NOT with Amy.

And seriously, if egomania was such a turnoff for Hollywood, half the studio execs, producers, directors, and actors down there wouldn't be working in the industry. Hollywood is essentially driven BY egomania, so it's a pretty specious claim to assert egomaniacs couldn't handle working with another egomaniac - which I am NOT in any way suggesting Amy is - nothing would get done there if they didn't.

So, sorry you wasted a couple of minutes creating an account only yesterday just to shit-post here about one of the most respected people in the local industry. Maybe, next time go try your luck on some obscure subredit for disgruntled wannabe auteurs who aren't talented enough to get anyone to notice their three hour self-written/produced/directed/acted in "masterpiece". I'm sure you'll be welcomed there with open arms.

@11 COMTE: Thank you very much for offering so many helpful suggestions and links. I have duly noted your recommendations and will further pursue these with just one exception. It is to my understanding that Bad Animals co-founder, Steve Lawson, does all the film scoring for the company. I had been misguided by an employee of another Seattle-based company to inquire at Bad Animals, only to be abruptly addressed when I called to inquire by a cold fish receptionist saying, "I can't help you. Goodbye." I have had this happen this nearly everywhere I turn.
I wish you and I could share email addresses and somehow if not meet in person (I'm fully vaccinated but understand because of COVID and Omicron why you wouldn't want to. And I live & work in Bellingham, 85 miles north of Seattle so I'm not close by), at least contact each other after New Year's over the phone. You have some wonderful ideas and have decades of experience in Seattle's local film industry. Maybe you could point me in the right direction professionally. I recently scored a series of short pieces based on a Stephen King novel.

@15:

I don't think Lawson is involved in day-to-day production or operations at Bad Animals anymore. He sold off his interest quite a few years ago, although I think he still rents back space to work on his scoring projects. Mostly though, I believe he uses another studio he's built on the Eastside.

My stepson is currently attending WWU, so we do get up there a few times a year. Maybe one of these days we can do a mini-SLOG Happy meet up!

@16 COMTE: Whenever it works for you, too, I would love that. My studio is within walking distance of WWU. Many humble thanks and bless you for your kind offer!

We've been watching 'Maid', where Vancouver Island plays exurbia rather than Vancouver itself playing Seattle.

Seattle is anti-business.

Seattle has a mind set that if someone is doing well then it is at the expense of another.

The city council does not see the benefit of working with business to build a better city, expanding prosperity for all, not just the down and outers.

This city need an enigma to rid itself of all the anit business toxic material.

Until that happens, more and more business will leave and you will eventfully have a "socialist paradise" which will look like Detroit.... so something more like the former east block counties....lots of decaying public housing, crappy civic centers, bloated city administrations and abject apathy... wait we already have that.

@11 & @16 COMTE: I think you nailed it and got to the heart of my problem in gaining music recognition locally and regionally. Why is the overwhelming majority of Seattle's film and television music contracted out of Los Angeles? Why aren't there reputable music agents here in the Puget Sound region?
I am neither in a financial position to relocate to Southern California, nor internationally to Vancouver, B.C., Canada anytime soon. One would think that a thriving, desirable Pacific Northwestern city on the West Coast with a population of 724,305 (as of 2019 statistics cited from the United States Census Bureau) would have a market. Seattle is bigger than Portland (pop. 649,291 as of 2019). I know people who prefer to record in Vancouver, B.C., because it's a lot cheaper than in any studio in Los Angeles, however the added inconvenience of going through the border crossings.
Currently I do not know exactly who to talk to. I have already tried every Seattle contact and site you have listed to little or no avail. I recently contacting Amy Lillard and Julie Damar, both of Washington Filmworks by email, with no answer. I have stopped making phone calls because often I have been cut off by receptionists. I would really appreciate hearing from you when you can contact me, if you know of someone in the film and television industry who would listen to my music and be able to point me in the right direction onward and upward.