"Taking REFUGE in Las Cruces" An evening with WSIFF Board Member Mark Medoff

Tony Award Winning and Academy Award Nominee Writer/Director Mark Medoff (CHILDREN OF A LESSER GOD,WHEN YOU COMIN' BACK RED RYDER, CHILDREN ON THEIR BIRTHDAY'S, REFUGE)will present 83 minutes of stories, scenes, amusing videos, surprise guests and technological glitches from the making of his most recent film, REFUGE, starring Linda Hamilton.

All Proceeds Benefit the White Sands International Film Festival

Date: Saturday, April 03, 2010 7:00 PM, Reception starts at 9:00pm

Location
Allen Theatres Cineport 10 / Medoff Home
700 S. Telshor
Las Cruces, NM 880011
*Map to reception will be supplied at the screening

Price is $50.00 for individuals - $75.00 for couple

Info Line: 877-345-6973
Website http://www.brownpapertickets.com/event/102326

Contact Kierstin Schupack: 626-664-0986
kierstin@wsiff.com

LA-ABQ Double-Shot Casting Connection Workshop!

The LA-ABQ DOUBLE-SHOT CASTING CONNECTION WORKSHOP, Brings you JASON WOOD, C.S.A., LA Casting Director, and KATHRYN BRINK, C.S.A., New Mexico Casting Director, for a Dynamic Workshop on the weekend of March 27^th & 28^th.

With 20 films and 21 television shows/episodes to his credit since 2008, JASON WOOD has got to be one of Hollywood’s busiest CDs. With 20 years of casting Principal & Supporting roles in film, video, TV, national & international commercials & documentary projects, KATHY BRINK is one of New Mexico’s busiest CDs. Spend a very FULL day (Saturday or Sunday) with these 2 experienced, working, professional Casting Directors. Prepare yourself to succeed, whether you plan to move into the LA Market, or stay right here in New Mexico. Learn from the best of both worlds, while you solidify invaluable relationships.

What You’ll Work On: Audition technique, 1-on-1 readings, scene work, taking adjustments & re-direction, making choices, tools of the trade, getting your act together, etc. Remember, the only thing you can ever be certain about in show business is, if the people who hire you don’t know you, they can’t consider you. The LA Casting Connection is committed to them knowing you, and to you being ready.

SPACES ARE LIMITED AND WILL NOT LAST. The presence of a Casting Director is never a guarantee of employment.

WHEN: Saturday or Sunday, March 27^th or 28^th, 9:30-5:30

WHERE: Far Horizons Studio, 304 Washington St. SE (between Central & Lead) ABQ

COST: $150 (checks made out to The Natural Act, mailed to: Price Hall, 53 Sandia Haven Dr., Cedar Crest, NM 87008; credit cards accepted via PayPal)

CONTACT INFO: 505-286-4272 office; 713-201-1245 cell.

Email: thenaturalact@gmail.com; www.thenaturalact.com

Open Casting Call for In Plain Sight for paid extras during this weeks Film and Fashion Industry night Wednesday March 3rd at the Q-Bar. We will be ho

There will be an open casting call for paid extras for "In Plain Sight" during this weeks Film and Fashion Industry night Wednesday March 3rd at the Q-Bar at Hotel Albuquerque.

The casting call will begin at 6:30pm. Casting directors will be on hand!

NM Women in Film Hosts Award Presentation and Showcase in Honor of Ali MacGraw

Local Non-Profit Film Chapter presents 2010 Sage Award and Showcase celebrating Local Celebrity and International Women’s Month

NM Women In Film (“NMWIF”), a non-profit chapter organization dedicated to supporting women’s achievement in film and television, is hosting a tribute to fellow New Mexican and actress, Ali MacGraw, at their 2010 Sage Award presentation on Sunday, March 21st. In addition, NMWIF will also present a showcase of the best female-created films from Women in Film and Television International (WIFTI)’s annual event held in March of each year.

The New Mexico Women in Film Sage Award was created to honor a person or entity which takes professional and/or financial risks to create important film and television work dedicated to the "greater feminine," i.e. issues of social justice, environmental degradation and protection, civil rights, racism and sexism. The NMWIF chapter conducted a call for nominations in 2009 and Ali MacGraw won the board members’ vote to receive the 2010 award.

“We are very excited to honor Ali and we look forward to a wonderful event celebrating her historic role in film, as well as the best short films from our sister filmmakers around the world,” said board member and co-chair of the Sage event, Trish Lopez. “We hope that our membership and the public will join us in Santa Fe on March 21st to commemorate this special occasion!”

WHAT: NM Women in Film: Sage Award Presentation with Ali MacGraw -and- International Women’s Day Showcase 2010
WHEN: Sunday, March 21, 2010 – 6:00pm-8:30pm
WHERE: NM Film Museum (Jean Cocteau Theatre) – 418 Montezuma, Santa Fe, NM
WHO: Open to the public - $15 for non-WIF members | Free for members
URL: www.nmwif.com

AFTRA Board Approves Joint Bargaining With SAG

From the Digital Media Law Blog by Jonathan Handel

At a videoconference meeting today in New York and LA, AFTRA’s national board unanimously voted to approve joint bargaining with SAG for the Primetime Television Contract and the SAG TV/theatrical contract. The move comes a month after SAG’s national board voted, by a tally of 82% to 18%, to “seek engagement with AFTRA in a joint bargaining agreement for negotiation of the Television/Theatrical Contract.”

Assuming SAG and AFTRA sign a formal agreement to bargain jointly – which seems highly likely – the negotiations with the AMPTP (studio alliance) will be conducted under the Phase One agreement that had been used for decades, with the notable exception of the most recent negotiating cycle, in 2008-2009. That’s good news for an industry that can ill-afford another strike or year-long stalemate.

In a statement, AFTRA National President Roberta Reardon cited “productive discussions with our counterparts at Screen Actors Guild” and added, “I look forward to continuing our work with SAG President Ken Howard and the leadership and members of our sister union as we move forward to bargain the strongest possible contracts for professional talent.” SAG was equally enthusiastic, commenting through a spokeswoman that the AFTRA vote was “terrific news for the memberships of both unions and we look forward to an effective negotiation."

To read the full article, and see the agreement, click here.

The Actor's Lab in ABQ. Acting Classes With Price Hall - 30 Year Industry Veteran

Our original ad for Price's classes in the Movie News featured an incorrect phone number, so we'd love to make sure you've all got it right!

Check out this great roster of ongoing training classes for New Mexico talent by clicking here!

Price can be reached at:
(505) 286-4272 (H)
(713) 201-1245 (C)
or via email at thenaturalact@gmail.com

What's New in New Mexico Film

Today we've launched the 4th edition of the New Mexico Movie News, and it's going out to 11,000 filmmakers and film supporting businesses in NM, LA, and, well, everywhere else.

It's our way of helping showcase New Mexico and all that it offers to productions, and also a way to help keep New Mexico residents up to date on what's happening in their industry.

As an incentive-based industry, we like to make sure everyone knows what's what and who's who and what those little yellow signs around your neighborhood might mean. And its also important for us to insure that those who support us have information and visibility on what's happening in the world of New Mexico film.

We'd like to send a special thank you to all those New Mexico residents and business owners who have contacted us voicing your support for the film incentives, and we thank those who have also written, called, and faxed your legislators.

Working together, we can strengthen the industry and keep New Mexico as one of the world's leading places to make a movie.

Board greenlights Santa Fe Studios

Construction on project off N.M. 14 could begin as early as April

by Robert Nott The New Mexican

The state Board of Finance on Tuesday approved restructuring of a Santa Fe County land sale that gives Santa Fe Studios the right to start building.

The board voted 2-1 for the move after reviewing an updated study on the economic feasibility of the film studio, which will be off N.M. 14 near the Penitentiary of New Mexico at the Santa Fe County Media Park.

Construction could start as soon as April, according to Lance Hool, chief executive officer of Santa Fe Studios. Hool said he'd like to see the studio ready and open for business by October.

Questions about the financial viability of the project arose almost immediately after Santa Fe County announced last autumn that it would lend $6 million to Santa Fe Studios to encourage economic development and job growth. The county will generate the $6 million through bond sales and gross-receipts tax revenues. In addition, the state will provide $10 million in grant monies to support the enterprise.

To read the full article, click here!

Interview with Albuquerque Film Liaison Ann Lerner

If you've ever filmed in Albuquerque, you likely know Ann Lerner, Film Liaison. She's at the heart of the film boom in ABQ, and a great industry resource and local icon. Ann took some time out to shed a little light on her job, the impact of film on the culture and economy of ABQ, and some favorite anecdotes from her time on the job. . .

CREW: Albuquerque was just ranked the #1 film location in the country by Movie Maker, and we're often in the top 3 in surveys by Variety Magazine. That's pretty impressive, considering there's many places that are trying to attract film. To what do you attribute this success?

AL: I think it's a combination of things. First, of course, are the generous state film incentives offered to filmmakers, and a rebate program that is easy to use. Secondly, we have an infrastructure that is ahead of the rest of the United States. Look at ABQ Studios, www.abqstudios.com, the largest studios in North America, located right here in ABQ! We have grip and light companies, catering companies, camera houses, Filmmaker Production Services, a 25,000 sq ft. prop/costume/drapery shop, Star Waggons, just to name a few....the list is amazing. And I apologize ahead of time to those companies that I didn't single out. Other factors that work in ABQ's advantage are the 310 days of sunshine, the close proximity to Los Angeles, the plethora of locations the city can double for (recently, in "Crazy Heart", ABQ doubles for Phoenix and Tucson!); and, probably most importantly --- an amazing Film Friendly Attitude towards filming in the city.

CREW: The NM film industry is highly dependent upon financial incentives granted to productions by the State, and upon the support of the residents and legislators of New Mexico. What message would you like to convey to everyone about the incentives, and how they ultimately impact the economy? Do you have any favorite stories or data about how film has impacted Albuquerque?

AL: Forty-two states now offer filmmakers some kind of film incentives to come film in their states. Twelve states offer incentives that are higher than the 25% that New Mexico offers. Why? Because films bring in new dollars to our economy, they employ local crew and talent, they pay them high wages, and its an industry that is creative and non-polluting. The direct spend to the city of ABQ over the past six years is 450 million dollars. Direct spend! No multiplier! It thrills me to see local filmmakers buying houses and new cars, and spending the money that they are making locally.

CREW: Tell us a little bit about your job. What exactly does the Albuquerque Film Liaison do on a given day?

AL: I have a very difficult job - I sit around and read scripts, and send out digital pics to potential production companies to entice them to come take a look. When these companies do come into ABQ, I drive them around and show off our city. Once here, I help them with any number of things to make their life easier while they are filming in the city. I also give speeches to various groups, to talk about why the film industry is exploding in New Mexico. Community Outreach is very important in maintaining a film friendly city. And I act as a conduit - connecting people who may want to have their house used as a location, for example; or a citizen who might want to be an extra on a film. Things like that -- it's really very varied. And I am never bored.

CREW: It's not always easy to convey to the industry all the services and talent available to them when they're considering shooting in New Mexico. What little secret about shooting in ABQ do you wish everyone knew about?

AL: Our one-stop film permitting process, led by Carrie Wells, Assistant Film Liaison, is absolutely the best in the nation. It makes shooting here much much easier.

CREW: How did you arrive at the job of Film Liaison? Who do you work for? What were you doing before?

AL: I have worked for the City of Albuquerque as the Film Liaison for the past six years. My office is in the Office of Economic Development, and my boss is John Garcia, who is the Director of Econ Development for the city. (Did you know that John was the Secretary of Economic Development for the state when the very first film incentives were passed??! ) Previously, I was a Commercials Film Producer, and owned my own company here producing TV commercials. I've shot TV commercials all over the states, ranging in budget size from a million dollars (Toyota) to free (United Way).

CREW: The longer we have a film industry in Albuquerque and New Mexico, the more film becomes ingrained into our culture and economy. What developments have you seen during your time as liaison that you're most proud of, and what do you see coming down the pike? Where do we go from here?

AL: We formed a loosely run club a little over a year ago called "Indie Q". Membership is for local independent filmmakers who have either NO budget or LOW budget to make their projects. This group is now 250 people strong and we meet every other month to network and show off works in progress. There are some wonderful, creative shorts, features, blogs, etc being made by our local talent with very little money, but with a lot of creative spirit. Promoting our local filmmakers and watching their success is my ultimate goal.

CREW: What's your favorite story from your time as a film liaison?

The time I told Paul Haggis, who was in town scouting for In the Valley of Elah, "Nah...it doesn't really snow here in ABQ....just light flurries, and then in a few hours its gone." That was the winter it snowed 18 inches in the middle of his shoot, and those 18 inches stayed on the ground for ten days. Ooops. I've learned to not predict the weather.

Secrets of a Successfully Insured Production, Sam Levy, Rio Grande Insurance

We'd like to present part 2 in a series on production insurance from Sam Levy, Film Insurance Division Manager of Rio Grande Insurance - one of New Mexico's leading film insurance providers. Whether you're making your first film or your 50th, there's much to be aware of when it comes to insuring your production. For more information, contact Sam at (505) 984-8216.

Secrets of a Successfully Insured Production

If the dirty little secrets of production insurance are worrying you, stop worrying – and start asking questions. That’s the only real secret to a successfully insured production. You can explore all the options in the world with your insurance agent, but unless you ask the right questions to begin with, the disconnect between what you think you're getting and what you're really getting can become costly.

Let’s start by taking a look at the most common types of coverages for film and video production insurance, and outlining some of the important exclusions. To ask informed questions you’ll need to know the basic coverage definitions, especially those that relate to general liability (often misunderstood), property, inland marine, work comp and specialty coverages.

It’s this simple: if you understand the needs behind the different types of coverage, you’ll be able to ask the questions that help correctly insure your production.

Where Do I Get a Policy that Covers Everything?

Sorry. There’s not an insurance policy on earth that covers every eventuality. Expect your insurance to cover the major causes of loss that are typical and can be predicted; that's why the insurance company works so hard to make a complicated legal document explaining what is - and is not - covered. But every claim is unique. And the world is a crazy place where extenuating circumstances can make clarity of coverage seem frustratingly impossible. Accept the fact that there is always the possibility of a one-time event that won’t be covered no matter what insurance policy you buy. In the eventuality of a major claim involving a lawsuit, it can come down to who has the better lawyer and can sway the judge or jury. That’s just the way it is.

Now for the good news. You can prepare to cover your production as securely as possible by working with an agent who can explain your coverage options. Don’t leave it to the agent to do the understanding or make the decisions. You must do that. An agent probably can’t predict whether you’ll be covered if the noise of your production traumatizes llamas on a neighboring ranch, but he or she can tell you what is covered, and for how much. The more homework you’ve done, evaluating your needs and possible eventualities, the better information you’ll get – and the less risk you’ll be exposed to.

How Do I Know What to Cover and What Not to Cover?

The state of New Mexico and most municipalities require a $1 million general liability minimum limit in order to obtain film permits.

Larger productions (budgets over $200,000) often buy package policies that include a number of what are called “producer’s risk” coverages. One of these production package policies may have general liability limits of more than $1 million per occurrence, with a $1 million total maximum payout per policy period. A producer’s risk package often includes coverage for the total budget, if necessary, to re-shoot an entire production. Smaller productions tend to pick and choose the actual coverages (called lines of business) they are most likely to need. Your lines of business will be added to your core general liability policy.

Large productions tend to factor their liability and producer’s risk insurance premiums at around $15,000 per $1 million of budget, not including workman's comp.

Nationwide (U.S. and Canada) general liability coverage for short-term, one-time productions with budgets under $1 million starts at a minimum premium of $500 that covers up to 10 contiguous days of principal photography, and goes up from there.

General Liability is a Must

Liability coverage comes in two parts: injury to people and damage to property. So general liability covers the risk, due to the negligence of you or your crew, of bodily injury to others or property damage during what insurers call operations in progress. “Others” does not include people working with or for you, so don’t think that your general liability policy will cover you when a light stand collapses during principal photography and breaks a grip’s finger. On-the-job injuries for those who work for you are covered under workman’s compensation. General liability is for third parties. That can include bystanders or volunteers, neither of whom are covered under workman’s comp.

The term general liability includes four other types of liability coverage:

• Personal and Advertising Injury - slander and libel, invasion of privacy, malicious prosecution and copyright infringement;
• Products and Completed Operations - goods or products manufactured, sold, handled, distributed or disposed of as well as operations that are completed and therefore no longer in progress;
• Medical Expense - minor medical costs if someone is injured in an accident on your set;
• Fire Legal - damage by fire to premises that you rent.

Consider Your Liability - Exclusions and Buy Backs

You should be aware of the common exclusions to core general liability policies, which can include: Intentional Injury; Contractual Liability; Work-related Injury; Copyright; Liquor; Aircraft; Auto; Watercraft; Transportation.

Many of these exclusions are available for what we call buy back, meaning that, although they are excluded from your core policy, you can pay to add them back. Be aware that the name of the coverage may not mean what you think. So don’t assume. Always ask your agent, no matter how obvious it seems. For example, liquor liability is excluded only if your production is required to have a liquor license. “Host liquor liability,” for non-regular, incidental occurrences relating to alcohol, is included on a general liability policy and would likely provide coverage for an accident that happens, say, at a wrap party.

Which exclusions should you consider buying back? That depends on your project, but most film and video productions look at these: Auto; Equipment; Stunts; Pyrotechnics; Driving (precision, public or private roads, off road, race tracks or courses); Animals; Fights; Guns, blanks, or squibs; Jumps and falls; Water; Boats, aircraft, railroads or motorized craft of any kind; Cast (accident, sickness, essential element, bereavement and extra expense).

Another consideration is location. Production operations in the U.S. and Canada are all automatically covered. But other countries will require a specific endorsement, or may not be available for coverage inclusion because of travel, security or international “unstable government” concerns. The underwriters who work with your agent will let you know what additional information they need in order to price coverages. When you talk to your agent, be prepared with a preliminary list of exclusions that might apply to your production.

Be Sure You Have Complete Automobile Coverage

One piece of liability insurance you should pay special attention to is your automobile coverage. While your general liability policy covers “others,” which means anybody or anything that may get hit in the course of production, it won’t cover the vehicle your person is driving or the driver. Unless you have found a way produce a film without anyone driving anywhere for any reason, you’ll want to be sure you have both “hired auto” and “non-owned auto” coverage. Hired auto covers any vehicles you rent, regardless of who drives them (as long as the drivers work for your production). Non-owned auto covers vehicles that are owned by your employees or people working for you. Hired and non-owned auto liability is one of the most important coverages for any film or video production, because it covers just about everybody, everywhere, driving anything!

Errors and Omissions Covers Intellectual Property Issues

E&O, also known as professional liability, covers contract disputes, especially those over royalties, rights (music & script), copyright and permissions. E&O provides legal defense and damages coverage against those who may come after you for a share of your revenue, claiming that you stole some portion of their work. E&O policies, unlike other policies, are often written for a three-year period, and if they are renewed, provide coverage back to the date the first policy was written. This is called a claims made coverage form. Be sure you put this on your list of questions for your agent.

Inland Marine: Very Important, and Not About Boats

In the early days of insurance, property on a barge was called “inland marine” to distinguish it from property on an ocean-going vessel. As the transportation industry grew to include railroads and all other types of land transport, the term inland marine evolved to mean any moving or movable property that is not at a specified or permanent location.

An inland marine policy in the film industry includes seven types of property coverage:

• Miscellaneous (rented) Equipment – equipment that you pay a fee to borrow;
• Props, Sets and Wardrobe;
• Negative/Film and Faulty Stock (includes hard drives and camera equipment functionality);
• Third Party Property Damage (a.k.a. Care, Custody and Control) – equipment or items that you borrow and are responsible for, but do not pay to rent and do not own;
• Extra Expense – loss-related costs you would not have incurred had the loss not happened, such as additional night stays in a hotel;
• Vehicle Physical Damage – vehicles that you rent or that are driven or owned by employees/workers;
• Animal Talent and Animal Extra Expense.

By far, the most common additional coverages (besides general liability) that we write for small productions are auto liability, miscellaneous rented equipment and vehicle physical damage. For the same minimum premium coverages as the above noted small/short-term production 10 day policy, auto liability can be added for an additional $322; and $100,000 (replacement cost) of miscellaneous rented equipment can be added for about another $300.

Know Your Workman's Compensation

Workman’s compensation coverage (work comp) is a must for your production. But it’s often misunderstood. Any employer with more than two employees is required to have work comp in New Mexico. Work comp policies are rated based on total dollar amount of payroll, and include all non-covered contractors as well as employees. Your work comp premium is currently one of the best insurance deals for the money in New Mexico, running about $1.89 per $100 of payroll (plus fees & charges), or around 2% of your payroll.

Production companies tend to get confused about two aspects of work comp:

• Contractors and Volunteers
• Single entity contractors who do not have their own insurance are required to be covered by you. You’ll want any sole proprietor (single entity 1099 contractor) who declines coverage to fill out a form that you’ll keep on file. However, on a film production set, workers compensation is a very valuable coverage to have. If I were making a film, I would want to pay to make sure that everybody was covered. I would not want to be in the middle of the desert, have somebody break a leg, and not know that it takes just one phone call for an air ambulance to get my person immediately to safety and medical care, at no charge to me.
• Volunteers are always excluded from coverage on a work comp policy.
• Employers Liability
• If a covered worker does not get coverage for their medical expenses, they have the right to sue you. A work comp policy covers your liability as an employer in this case.

Work comp has a minimum limit of $100,000 per employee in the state of New Mexico. That limit is per year, and a multi-year work comp policy can pay out up to the maximum year after year. All work comp policies are auditable, which means that after a year is up, or after the policy is cancelled, your bookkeeper is required to swear to an affidavit certifying what your actual total payroll was. If the actual payroll was higher than estimated, you may be invoiced. If the actual payroll is lower than anticipated, you may receive a refund. If you do not respond to the audit, you will be assessed very steep fines and you will not be able to purchase insurance from a standard insurance company again; you will be forced to go to the assigned risk pool which carries even more fees and fines. You don’t want to go there.

Work comp coverage requires that an employer be registered, or intend to register, with the state unemployment office or department of labor. A federal tax ID number is required to procure a work comp policy; you will also be asked for a state unemployment insurance ID number. On larger productions, often a payroll service or PEO will handle reporting of your work comp insurance for a fee. However, you can purchase work comp insurance from any business insurance agent, and may often get a lower rate than a payroll service because independent agents work with many companies.

These and other work comp issues are explained in more detail on the FAQ page at www.RioGrandeIns.com

Put These Specialty Coverages on Your Radar

You should at least be aware of these coverages and endorsements:

• Owned Equipment Floater – covers equipment that the production company owns, regardless of where it is;
• Additional Insureds – covers your rental houses, location owners, police departments and municipalities;
• Waiver of Subrogation – the insurance company agrees not to sue someone with whom you have a contractual relationship, even if a loss was their fault;
• Animal Mortality – covers death and possible loss of future earnings;
• Excess Liability – often called an umbrella, this extends your liability coverage by up to an extra $10 million or more;
• Valuable Papers, Accounts Receivable, Money and Securities;
• Civil Authority;
• Rental Reimbursement;
• Office Contents;
• Rented Furs, Jewelry, Art and Antiques.

Where's the Pay Off?

An insurance agent’s job is to understand your business, assess where the likely possibilities for loss could be, and offer you options for the protection of your production. But for the sake of your bottom line, it’s your job to analyze likely loss scenarios yourself, and yes, really read your policy and ask questions if you are concerned or do not understand. If you don’t get a satisfactory answer from your insurance agent, then ask to speak to the insurance company or request an answer from an underwriter or claims specialist. Keep in mind that an insurance agent does not offer legal advice, but is trying to be your financial strategy partner. Just as you would carefully plan every other aspect of your production in the interest of saving time and money, your insurance should be planned in detail with your agent as your partner in a successful wrap.

When in doubt, ask! No question is stupid when it comes to protecting yourself!

Coming up next time: Not everyone is working on one production at a time… what are your options for ongoing projects, multiple projects and film industry support businesses and services that don’t even make movies?

Send questions or comments to sam@riograndeins.com.

Sam Levy is the Film Insurance division manager at Rio Grande Insurance, www.RioGrandeIns.com. Providing superior service from Green light 'til Wrap, for all your production insurance needs, including: Single and Annual Production policies, Liability, Producer’s Risk, Rented equipment, Errors & Omissions, Work Comp, Directors & Officers, Hired and non-owned auto; Blanket additional insureds. All premiums count for 25% NM rebate.
14 local offices in NM, CA, AZ & UT.

1231 South St. Francis Dr Ste A

Santa Fe, NM 87505

Toll-Free: 888-447-8216

E-mail: sam@riograndeins.com

Web: www.riograndeins.com

Phone: 505-984-8216

Fax: 505-984-8238