Bringing Hollywood to the Heartland with Kelley Hiatt #210

In this episode of The Screen Lawyer, Pete Salsich dives into the transformative potential of Missouri's new Film Tax Credit with Kelley Hiatt from the Saint Louis Film Office. Discover why the Netflix hit series Ozark, set in Missouri, was filmed in Georgia and how Missouri aims to turn the tide with its own competitive incentives.

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So, you know, the Netflix hit show Ozark, set in Lake of the Ozarks in Missouri, was not filmed in Missouri. It was actually filmed in Georgia because Georgia at the time has and still has a robust film tax credit program in Missouri did not. Well, joining us on The Screen Lawyer Podcast today is Kelley Hiatt from the Saint Louis Film Office. And Kelley is going to help us understand how the newly enacted Missouri Film Tax Credit has the chance to bring the next Ozark filmed here and shot here and set here all to our state. Welcome, Kelley. Thanks for having me, Pete. This is going to be great. Join us. Hi there. Welcome to The Screen Lawyer podcast. I'm Pete Salsich, The Screen Lawyer. And today I'm joined by Kelley Hiatt, manager of the Saint Louis Film Office, who's here to tell us about the newly enacted Missouri Film Tax Credit program and how it's impacting already film production in our region, and how it can really help grow that industry here locally. Kelley, welcome. Thank you. I'm excited to be here. Yeah, this is great. You and I have interacted over the last several months in a variety of zooms and meet ups and things like that, but this is the first time we've really had a chance to dig in to the work that you're doing. And I'm really excited to have you here today to kind of talk a little bit more about that. The one of the things that I think is fascinating. So the, you know, folks who listen to this podcast know that our legal work often is involved with productions. We do production, legal location agreements, talent agreements, film financing, all of that stuff. But we're not typically involved in bringing the film here, right? That's not really our job. It'd be great to do more of that. But that's where you come in, right? Yeah. Yeah. you know, it's it's really great to be here. I've been working in production for the last 20 plus years, as a location manager. So I kind of my brain works in a space of. Wow, what would it take to actually film there? I look for all of the the obstacles that you may run into and and what would work, what wouldn't work. and so now, working at the film office, I'm on the other side of the table where I'm receiving phone calls, or I'm doing outreach to production designers and directors and producers and and people with new screenplays and saying, hey, listen, you know what I think? I think that that could actually work here in Saint Louis. And now that we have our tax credit, it actually can and it will and it should happen here and say, yes. Absolutely. And so let's let's unpack that a little bit because you said you've been in the industry for over 20 years. You said but you're relatively new to Saint Louis in this role. so letter, tell us a little bit how how did you get there and then back here. So I went to, college at Columbia College in Chicago and did, television and production, and, right after that, I ended up, kind of packing up my bags and heading to New York, because at that time, there was no tax incentive in Illinois. Right. So everyone was leaving Illinois. So I went to New York and I kind of, dabbled out there with some reality TV when it just kind of started, and then got into network television. for some reason, I always found myself on a fire show because I was on the show Rescue Me. I don't know if you remember that. That was a Denis Leary show. and then when I ended up back in Chicago, the Illinois tax incentive had been passed. At that time, a studio started coming out of the woodwork, called Cinespace. And then came Dick Wolf, and then came Chicago Fire. And I found myself on Chicago Fire. so it was. You're good at something, right? I guess I guess I always liked fire trucks, and I was a little like, you know, premonition. so. Yeah. So I worked on that, and again, it was doing locations work. and, you know, there's a lot involved in that, but a lot of it is really community outreach, dealing with the communities, dealing with the local governments. and really just kind of figuring out a way to bring our productions to life within someone else's space. I always say that we are guests in your community, right? so, you know, it was great. It was working on that, all that kind of stuff. And then I ended up in Los Angeles in 16 with my family, and, worked on a little show that you might know called This Is Us. Oh, yeah. and, I went big. When I went there, I was I was gone right to the top. and so, yes, of course, my that, and then ended my, my, my, my world, out in Los Angeles on another fire show called Station 19. So I wrapped that up, in April of this last year. And at that time, it was we as a family decided it was time to come back to the Midwest. and so, as luck had it, the, the the bill was on the governor's desk, and I sat anxiously waiting and and calling the powers that be. And they kept telling me, no, we don't know yet. Right, right, right. And then one day I called and they said, yes, it passed. Yeah. So, thankfully, a job was opened at the, Saint Louis film office, and here I sit. So it's really great to to kind of, do what I've been doing for the last 20 years. And like I said, just kind of bring it to the other side of the table. And I think, well, yes. And I remember, like we talked about the when the tax credit was passed and then when the governor signed it, on the podcast last year, and then leading in towards late in the year, we had our first film, big Film come. And we're going to talk about that in a second. But I want to focus on something you said there just a minute ago. You're you spent a lot of time on the in the location manager role, where you're trying to place a film in a location. Right. And that's a lot more than just finding that one house that has an interesting three car garage, right? It's not a location scout. Right? As much as the entire location management role. Or is it both? Well, it's both I mean, episodic television moves very fast. It's a little different than a film. So let me have a little bit more time to kind of find the places and develop the story. Episodic television typically is a ten day, production schedule. So you would do, you know, let's just say odds and even episodes. So I would be working on all the odd episodes. So while I'm filming my odd episode, the even episode is then prepping for theirs, and then they flip flop. the show that I worked on in Los Angeles, ironically, which took place in Seattle. So everything that we shot in Los Angeles, we couldn't have palm trees. And that put a little twist. but there is an area of, Los Angeles called Altadena that looks very similar to Seattle. Big pine, pine trees, all that kind of stuff. so anyway, yeah, I mean, it it's different. And and the location manager role. Really? there's an ebb and flow. There's a, there's a part of getting the script and what I call, buy or build. So you're basically breaking down the script to see if you're going to buy the location or build it on the stage. and depending on, you know, the episode, sometimes you spend, you know, 50% inside, 50% outside. Sometimes we do is a call the bottled episode. And that's when the studio wants to save a little money, and they keep us inside the whole time, which is a dream for a location manager. it's a there's a little breathe, a little breath. but, yeah. No, you go from anything from reading the script, trying to figure out what are we going to buy? We're going to build, and then we send scouts out to go find the particular locations, give the powers that be some options. once they're selected, then I kind of start my process of negotiating and getting to find out, you know, the the there's a budget always involved. and then again, you have to deal with the, with the local government. If we're shutting down a street, you know, we have to deal with the police streets, right. make sure all the neighbors are aware of any kind of inconvenience. and also let people know, especially when you're doing something, that involves any kind of special effects that we are filming. It's not real. This is not really an explosion. People are falling out of a building. Your neighbor's house is not burning down. Right. So, but, yeah, there's a there's a big element to it. And as part of that role also and now maybe not so much of episodic television or maybe only at the start of the series, but in a film, when you're deciding to shoot in a different location, the part of it is making sure that that location can support the production, right? Yes. You know, and so what I was involved in that because that's a big part of what you're now doing on the other side of Saint Louis. Right? You know, that's a big that's a that's a good question. And it's something that a lot of people are talking about. I like to operate operate from if you build it, they will come. I want to get the productions here. And I think that Saint Louis will provide and will still step up and do whatever needs to be done to make it happen. Right. People have asked, there's a there's a phrase depth of crew. and so how how many productions can be going on at the same time? And how can we really, really staff all of them? The reality is we're on the lacking side of that. I think maybe we could do one, maybe one and a half, but we'd be hard pressed. But that's that's just, that's just at this snapshot in time. That's just and I mean just in On Fire being here. I mean, there is a number of crew that worked on the show, that are working in New Orleans just because there's lack of work. But they live here and they want to come back here. Right? So, you know, just because today we only have, you know, one, one crew, so to say another production comes to town and then everyone starts coming home. Right. Which is great. Right. That and that's something that, you know, for a long time I've been involved in the production side of things, primarily with, production studios really for a long time, primarily in the docu series reality TV world, but then more recently in the independent film world. And I know there is a really robust production community here, film community here, talented people with lots of experience, and and genuine talent across all levels. But it is still a finite number. And you're right, there are a lot of people from Saint Louis or from the Midwest who relocate to other cities to find work, but if there was enough work here, they might come back very quickly. Absolutely. And so that depth of crew that you mentioned is something that we think we can expand. I think so, absolutely, absolutely. Yeah. And I like the I have a similar sort of philosophy. Not so much. If you build it they come but just say yes. Yeah. We can either figure it out. I'll go back and see how it was, I don't know. And then you look back and you're like, how did we do that? But we do do because you have the capacity. Absolutely. You have the will. And as you said, we're starting with a great foundation. So now you're back here in The Saint Louis Film Office, and you were the person that those location managers on other projects are talking to, right, about whether to film here. Yes. yeah, I mean, I yeah, but it's kind of goes both ways. I'm doing a lot of outreach just for my own personal network. but yeah, so I mean, like, for instance, I had, a coworker of mine call, he's working on a film that takes place in San Francisco. and it is it is kind of a bank hoist. and they do not want to shoot it there. and so they're looking elsewhere, and he just called me randomly and said, hey, listen, do you know of any, banks that are shut down? We need the old school big, walk in safe and kind of think of the opening scene of Batman, you know, that's a shot at the post office in Chicago. so something like that. And so for me, it's a it's an amazing challenge. It kind of taps back into my treasure hunt skills. and so although, you know, I don't have time every day to go do those types of things, it is great to be able to go out and find those types of things. My answer to him was, I don't know, but I know it exists somewhere. I don't know where it is, but I know we have it and I will find it, you know? So I've continually been sending him photos of places that I've found and it's progressing. I mean, the directors now involved, and, you know, the next step would be to have them come out to a lot to, to hear and check it out. Yeah. That's cool. That's really cool. I'm just thinking to myself, oh, do you like, schedule it, you know, Tuesday night and drive around for an hour and then go, well, sometimes I'm driving to work and I just pull off the road. Sure. Okay. I mean, I'll see things and I'll be like, oh, well, that's kind of cool. And what is that? And, you know, I found myself in some peculiar situations, but, you know, I lived to tell that's true. To get your phone out. That's what it. Well, that's so that's very exciting. And I, you know, we, this is something that I'm a big, big believer in, and our group here is in seeing this industry grow because one, it's work we love to do. and I did a whole lot of rather working, doing the legal work, the business building the investment side and stuff on projects like these than anything else. So I'm very motivated to it. But it's great to see the, the, rise up, I guess, of, of an actual office in the sort of Saint Louis development community, right in your part of Explore Saint Louis. Yes, that is correct. So the the film office has always existed, essentially when the, original tax credit, hit, it's sunset. there was an organization that was the film office, and eventually dissolved. so there has been a person, Renee Eichelberger, who's, head of, the convention. and the visitors bureau. She, has been running the film office and, you know, and there's there's commercials and there's things like that. So but once, once the, tax incentive was passed, they thought it was, you know, good opportunity to bring on someone full time. Yeah. so, you know, it's been great. That's great. And there's energy. There's huge energy in the air. I mean, I it really feels like back of the day in Chicago coming out of college. And you can just kind of feel it, but we just didn't quite have it. And it's a very similar energy I'm feeling here. So it's super exciting. That's I think that's really cool to hear. I'm I and I would sort of say the same thing, but I'm a step removed. Right. I'm on the business deal side or when there's ready for contracts. So seeing it where, where you are is, is really cool to hear. well, let's talk about, the movie On Fire. Okay. She hasn't been released yet, but was filmed here late last year. tell us a little bit about that movie. What's the story? And then how did it get here, and then how did it go? Because it was pretty cool. I mean, I will speak to it as much as I possibly can. the movie started production the second day I got my job, so I was kind of thrown in the fire. I was thrown into the fire. Yeah, it's not like. Oh, by the way, we have a movie starting. Okay. and you know what? The Missouri Film Office really was the champion behind getting all that done. so, so kudos to them. And yes. Yeah, they they were all over it. So, On fire is the story of John O'Leary. He was local Saint Louis. And unfortunately when he was a child, I think from the age of nine, you know, they don't play with matches, as we're all told. And unfortunately, he, he he did. And, there was quite an explosion at his home. he was burned, over, I think 100% of his body. The only thing that was not touched was his face, I think, to his thanks to his sister, who, was able to kind of put water and, and kind of and save that area. Anyway, he ended up in the hospital for quite some time, and through some excruciating recovery, was able to walk out of the hospital, quite a few months later. it was a true miracle. and he grew up his whole life, you know, just just rising above and fighting through. And unfortunately, he lost his hands during during the process. But he plays piano and he throws a baseball, and, became a motivational speaker. And he travels all over. He's a powerful, powerful human being. and the idea that that that story was made and was being was able to be made in Saint Louis is truly, truly remarkable. And On Fire is the name of his book, right? That is correct. This is a biopic about him and his story, and it involves, you know, people like Jack Buck, Cardinals announcer. And and, he was quite a story as a child and then. And what he's done. Yeah. And he he ended up going to SLU. And so that's a big part of the movie as well. And he met his wife there. And so they were amazing throughout the whole process. And we got to film, film a number of scenes right on the SLU campus. And they opened it up to, to the production for, for a number of locations. So it was great. It was it was a community effort. And everyone was behind it. Were you and I remember when that happened, when they when they showed up because I was following like you. Is it actually go live. When's it going live. What's going live and I wasn't we didn't have anything to do that production was ready to go and was ready to go to film in Canada. Right. That's. Yeah. My understanding is it was all ready to go to Canada and the tax credit went through and they, they just flipped it and said, hey, we're heading to Saint Louis. So that was great. They would have set the whole movie in Saint Louis. It just would have been filmed in places in Canada. It looks sort of like. Correct. Yes, maybe. And maybe they might come to take some external shots. Yeah, Busch Stadium or something. But yeah, to set the scene with the some scenarios but but no it and looking back and just and talking to people that were really, really involved, they couldn't imagine it being shot anywhere else. And just, you know, I can imagine it was a very emotional process for John to go through to watch his life kind of play out. Yeah. and for him to be home and with his family and surrounded by people that love and care for him and went through it with him. Had it been also a really great emotional support for him? That's true. Yeah. And it was really it was almost the perfect story, the perfect film to be here, right when the tax credit program comes live. And really to demonstrate almost immediately how powerful an impact a production can have on a larger community, certainly emotionally, but also economically. Right. They, they were awarded the tax credit. and my understanding is the number, I don't know the exact dollar amount of the tax credit, but very significantly in the several million dollars in tax credit, which means they spent more than that, more than double that in Missouri, largely in Saint Louis. Right. qualifying expenses. That's how the tax credit program works. So for films or television series productions that are filmed, or post-production done here, any production or post-production that's done in Missouri is eligible for the tax credits. there are some exceptions which we won't get into, but generally that's true. And they, production anywhere from 20 to 42% of the amount of money that they spent in Missouri back in the form of a tax credit. And that tax credit then can be used to help finance the film. It can be sold afterwards to Missouri taxpayers who have a large tax liability, who could use it to offset that. And it becomes part of the financing package for a lot of films. It sure does. And it's really the reason, or the prime reason I think that Atlanta has such a robust film and production community, which Chicago, as you mentioned, states that have enacted these tax credit programs and run them. Well. Right. So the other thing, you can have a tax credit program and not do it well and doesn't last. That is correct. but if it's done well, it's a really powerful economic development tool for our region. and I think it just we couldn't have asked for a better first film. Oh, absolutely not now. Yeah, it was great. It was great. And then there was another film that was that came right after that called Vision. you know, it's a little bit more of an independent film, but they too, it was a movie that was supposed to have started right before the pandemic, and unfortunately, it was shut down because of the pandemic and pretty much just put on the shelf and didn't think it was going to happen. but once the the credit or the the tax incentive went through, they were able to open up the books and they were able to make the movie that, that they had always wanted to make. And as a matter of fact, it's premiering this Saturday, so I'm super, super excited to see it. Yeah, they're doing a home red carpet premiere. It'll be it'll be great. That's also be great. Well, so we've got two under our we've got two under our belt. Yes. And I know other productions and other things have have received approval letters too. Yeah. Well this is a really exciting thing. Kelley, thank you for taking some time with us today. We're just getting started. We're just getting started. if people want to learn more about, the Saint Louis Film Office, the tax screening program, any of this stuff, how would they find you or contact you? You can find me at StLouisFilmOffice.com. and, you can get more information on the, the credit through the Missouri Film Office, which is Missouri... Excuse me, MOFilm.org. Right. Yes. and so you can, you can jump in on those and, and you know. Right. Give me a call. I'll do whatever. I'm always I love coffee and I'll meet people. I can attest that Kelley is absolutely willing to talk to you to come help out. She's here today at my request, on short notice. which I really appreciate. Oh. It's great. I will say, as I say, the business, it's going to be great. It's going to be great. That's what we always say. It could be the worst. It's going to be. It's going to every night. We'll fix it and post. So on that note, folks, we're going to wind this episode of the podcast up. If you've enjoyed today's content, first, definitely go find Kelley. Find more information about the Saint Louis Film Office at the location she told you, and just dig in. There's a lot of cool stuff happening. We want to hear more about what you're doing in this area if you are. Kelley, I have one more question for you that I always ask every guest, and it's sort of the premise of The Screen Lawyer in, in, in sort of its underlying reason for existence. What's on your screen right now? What's on my like whatever screen. How do you answer that question? Do you think of your phone? Do you think you're what do you think of what you're watching? Oh my goodness. okay. What's on my screen? it's I'm thinking my phone and it's my family picture of my family. Oh, that's awesome. I guess so, yeah, that's a perfect answer from you. And that's the whole point. because we literally all use our screens for everything, and that's where they are. And that's what, you know, I just think that's really interesting to how people do even the screen business. Many times it's not what they're working on. It's something else like that. So that's cool. Thank you. That's great. And I have one one more thing I just want to put out there too is that, I appreciate, what I call non-obvious locations. So if you know of anything that is super, super cool that maybe not everyone knows about, but could be an amazing location for filming, please, please, please contact us. All right, there you go, folks. You have homework. No obvious locations. Let's find them and send them to Kelley. Yes. Well thanks again. All right. Thank you very much. If you've enjoyed today's podcast or any of our podcasts, find us and follow us wherever you get your audio podcasts. And if you're watching on our YouTube channel, hit that like and Subscribe button so you get more content from The Screen Lawyer and you'll see all of our podcast episodes. And you can always find us and everything we're working on at TheScreenLawyer.com. Thanks, folks. Talk to you soon.