Daniel ThronHostChris NicholsHostPeter TimberlakeGuestOne of the major reasons I got out of visual effects industry is because I was told if I don't move to a tax-subsidized place, I don't have a job, right? And I didn't want to move my family away from where I live because it was not fair to my family.
I'm not necessarily for tax subsidies because it forces a nomadic culture out of people.
Nonetheless, people have made some great movies in great tax-subsidized places.
So I do want to necessarily say, you know, that's great that people like Ed have been enabled through tax subsidies.
But I do want to sort of say, what is the current flavor of tax subsidies? Obviously, you know, Obsession was done mainly without tax subsidies at a very low cost.
So you don't always need them to make a cheap movie, right? But you can take advantage of them for other reasons.
What is the general vibe about how people feel about tax subsidies, especially with some of these lower budget films that you guys are involved with?
Yeah, Ed, do you want to comment on this first? You are in a tax subsidy region, and I
I'm in Vancouver, and there's incentives for all sorts of different parts of production, physical and post visual effects, animation, to do work here.
jurisdictions across Canada, across Europe, sometimes across different parts of America that have similar and Vancouver's home.
I can totally understand the struggle to see work leave traditional homes like Los Angeles and Chase around different jurisdictions, whether it's Vancouver, New Jersey, Louisiana for a little while.
One of the major reasons I got out of visual effects industry is because I was told if I don't move to a tax-subsidized place, I don't have a job, right? And I didn't want to move my family away from where I live because it was not fair to my family.
I'm not necessarily for tax subsidies because it forces a nomadic culture out of people.
Nonetheless, people have made some great movies in great tax-subsidized places.
So I do want to necessarily say, you know, that's great that people like Ed have been enabled through tax subsidies.
But I do want to sort of say, what is the current flavor of tax subsidies? Obviously, you know, Obsession was done mainly without tax subsidies at a very low cost.
So you don't always need them to make a cheap movie, right? But you can take advantage of them for other reasons.
What is the general vibe about how people feel about tax subsidies, especially with some of these lower budget films that you guys are involved with?
Yeah, Ed, do you want to comment on this first? You are in a tax subsidy region, and I
I'm in Vancouver, and there's incentives for all sorts of different parts of production, physical and post visual effects, animation, to do work here.
jurisdictions across Canada, across Europe, sometimes across different parts of America that have similar and Vancouver's home.
I can totally understand the struggle to see work leave traditional homes like Los Angeles and Chase around different jurisdictions, whether it's Vancouver, New Jersey, Louisiana for a little while.
The rest of this transcript — segmented and speaker-labeled, so you land on the exact moment something was said
Search every transcript — by keyword, by phrase, or by meaning, across every show Radar indexes
Trends — what is surging across podcasts, measured against its own baseline
Alerts — when a name you follow appears in a newly indexed episode
No account is needed to search Radar.