D.C. not film-friendly
No-fly zones and few tax incentives keep entertainment industry from capital
WASHINGTON — It’s a hobby among District of Columbia locals: Picking apart glaring geographic and architectural inaccuracies in movies and television shows set in Washington.
One of the most famous is the 1987 film “No Way Out,” where Kevin Costner escapes pursuers by taking a subway from Georgetown. No subway station has ever existed in the tony neighborhood. The opening credits of the new Amazon show “Jack Ryan” show the title character biking to work via a route that makes no geographic sense.
The reason for this disconnect is simple: Few TV shows or movies actually film in Washington. That’s something district officials are trying to change. They scored one success last summer with the filming of the Wonder Woman sequel in the district. And they have a high-profile ally in author George Pelecanos, who has set all 20 of his crime novels in the Washington area and is on a personal mission to turn the nation’s capital into a film hub.
But they have difficulties overcome. Other cities offer more generous tax incentives. Filmmakers say Washington can be a difficult place for them — the entire district is a no-fly zone for helicopters and drones.
Those seeking film permits must sometimes contend with several overlapping police forces: the district’s Metropolitan Police, National Park Service police, the United States Capitol Police and the Secret Service.
So Washington-centric series such as “House of Cards” or “Veep” typically come to the District just to shoot what locals call the “postcard shots” of the monuments or the White House, then do their principal filming elsewhere.
But Angela Gates, director of Washington’s Office of Cable Television, Film, Music and Entertainment, feels like the district is on a roll after the “Wonder Woman” shooting.
“That says a lot about how far we’ve come,” Gates said. “When you do a project well, word of mouth starts to get around.”
Gates said 2016 was a turning point. That’s when Mayor Muriel Bowser reinstituted Washington’s dormant tax rebate program. A production spending more than $250,000 filming in the district can apply for a rebate of up to 35 percent of taxable expenditures, with further incentives for hiring local residents. Her office also helps secure permissions from law enforcement.
“We have a seat at the table now,” Gates said. “These are game-changing times for us.”
Pelecanos’ support has also helped. His popularity is surging due to his work as a writer on “The Wire.” Now he’s the executive producer of the HBO show “The Deuce.” He recently completed an independent film, “DC Noir,” based on his stories, and made a point of filming in all eight of Washington’s wards.
“The city’s beautiful, and it hasn’t really been exploited yet,” said Pelecanos.
Competing against film hotspots including Georgia, Louisiana and New Mexico is hard. Washington’s funding package is relatively modest — about $5 million per year.
Vans Stevenson, senior vice president for state government affairs for the Motion Picture Association of America, said Washington’s rebate funding is dwarfed by most of its rivals.
“They’ve put some money in it, but it’s still not competitive,” he said.
Crosby said the difficulties of filming in Washington are often exaggerated. It can sometimes take a little longer to secure permission, but generally the process works. However, certain sites including the Vietnam Memorial are off-limits and, “You’re not putting a camera crew on the steps of the Capitol ever. You’re just not,” he said.
Crosby said local filming increased after the tax rebates were reinstituted, with movies like “Jackie” and “Spider-Man: Homecoming” filming there. But he describes a chickenand-egg problem: there’s a shortage of specialized equipment because there aren’t enough productions to justify keeping them in Washington.
“For now if you’re going to do a major project here, you’re bringing most of your trucks from outside,” he said.