In a fleeting moment, the popular TV series created by Taylor Sheridan and featuring Sylvester Stallone was briefly titled “Kansas City Mob.” However, due to a lack of film subsidies in Missouri, the working title had to be changed, leading to its eventual success in Oklahoma City.
The birth of “Tulsa King” took place.
“We were motivated to secure the name,” explained Rachel Cannon, the creator of Prairie Surf Studios in Oklahoma City, where a significant portion of the first season of the show was filmed.
Oklahoma’s robust funding for its rebate program proved to be a magnet for major productions. Thanks to these incentives, acclaimed films like “Killers of the Flower Moon,” which received an Oscar nomination for Best Picture, and popular TV shows like “Reservation Dogs” were drawn to the state.
Oklahoma’s program has experienced significant growth, reaching a budget of $30 million annually. Surprisingly, this amount surpasses the funding offered in the much larger state of Texas. The success of the program caught the attention of influential Texans, who successfully advocated for increased funding from $45 million to $200 million over the next two years. Currently, Oklahoma is actively pursuing legislation to further expand its offerings, aiming to more than double its current budget.
The Red River Rivalry didn’t just stay confined to the football field; it made its way into the world of film as well.
In an interview, actor Dennis Quaid, who hails from Houston, expressed his thoughts on Oklahoma and its film incentives, stating, “They’ve established a positive situation. However, it’s important to recognize that competition can be beneficial for all parties involved.”
Economists argue that the fear of lagging behind is a crucial factor driving states to persistently allocate funds for Hollywood subsidies, despite their low return on investment. To date, states have invested over $25 billion in a fierce competition to secure film projects.
Standing out in a competitive market can be challenging, especially when a neighboring state presents a more enticing offer. New Jersey, in its bid to attract a Netflix production hub, has put significant pressure on New York. As a result, New York has recently increased its film incentive program from $420 million to an impressive $700 million annually.
A border war is simmering in Oklahoma, mirroring the situation in Texas. Last year, Quaid, Matthew McConaughey, Glen Powell, Woody Harrelson, and Owen Wilson collaborated in a video, urging Texans to rally behind increased funding for film and TV. In a lighthearted manner, they playfully teased Oklahoma, which is now gearing up to retaliate.
In an interview in his office, Lt. Gov. Matt Pinnell of Oklahoma expressed his belief that $30 million is insufficient. He has been actively advocating for a bill that would increase the state’s incentives to $80 million annually. Additionally, there is a separate legislative effort to allocate additional funds specifically for episodic television series that feature a live studio audience.
“We must maintain our competitiveness,” he stated.
For years, the arid plains and wide skies of Oklahoma lacked the glitz and glamour of Hollywood. However, this state has always been a breeding ground for growth, constantly seeking new opportunities. To tap into the potential of the film industry, Oklahoma decided to take a significant leap by investing in film incentives.
The city of Pawhuska has provided over $4 million in incentives for the filming of “Killers of the Flower Moon,” with additional payments still pending. Meanwhile, “Reservation Dogs” received $12.8 million in state funding to film a pilot and three seasons in and around Okmulgee. Similarly, “Tulsa King” received a $14.1 million rebate for the episodes it filmed in Oklahoma City.
Oklahoma film and TV enthusiasts firmly believe that there is ample opportunity for further growth in the industry.
In the past few months, the highly anticipated summer film “Twisters,” a revival of the 1996 movie “Twister,” has completely occupied Prairie Surf. This production hub boasts an impressive 1.3 million square feet of space, located within Oklahoma City’s former convention center.
Cannon, who proudly displays a framed editorial cartoon featuring tax credits and Stallone in her office, confidently asserts, “The only way I can be defeated is if we lack the necessary funds to offer.”
The Cherokee Nation, located in northeastern Oklahoma, has recognized the potential of the film industry as a lucrative investment. With a dedicated film office, state-of-the-art soundstage, and an attractive incentive program, the Cherokee Nation is actively encouraging and supporting the growth of the film industry within its territory.
Chuck Hoskin Jr., principal chief of the Cherokee Nation, expressed that when it comes to bringing films to their region, Georgia and Texas often miss the mark. He emphasized that as an Oklahoman, he would prefer Texas to be the runner-up in this regard.
The film industry highlights the potential return on investment and argues that states are vying for an industry that generates high-quality jobs and boosts the local economy.
“The film, television, and streaming industry’s proven economic impact is the reason why 38 states have implemented programs with bipartisan support to incentivize productions,” stated Kathy Bañuelos, a senior vice president at the Motion Picture Association.
Andrea Sporcic Klund, the director of the Missouri Film Office, understands the disappointment of not being among the 38. Missouri had long been bothered by the fact that “Ozark,” the popular Netflix series set at the Lake of the Ozarks, was actually filmed in Georgia.
During one trade show, Sporcic Klund and her colleagues started keeping track of the number of times people asked about Missouri’s filming incentives.
“It was mesmerizing to see the countless tally marks filling up the pages, and it always brought the conversation to a halt,” she reminisced. “Whenever we mentioned that we lacked any form of motivation, people would simply walk away.”
According to an anonymous executive familiar with the show, the choice to film in Tulsa was not solely based on Oklahoma’s rebate program. Instead, the executive revealed that the decision to relocate to Georgia was primarily driven by the greater availability of actors and crew members in the area.
“They didn’t provide us with a reason for their decision to leave,” she mentioned. “All I know is that they didn’t receive an adequate refund.”
Oklahoma is facing a growing concern as Texas continues to attract movies and shows with its expertise in building large-scale productions.
Last year, Dripping Springs welcomed the launch of Stray Vista Studios, the largest virtual production space in the state. Located just 25 miles west of Austin, this state-of-the-art facility offers filmmakers and production teams an ideal environment to bring their creative visions to life. Additionally, San Marcos is set to introduce Hill Country Studios, a sprawling 200-acre production hub that will unveil its initial seven soundstages next year. As if that’s not enough, there is also an exciting 600-acre project in Bastrop, a mere hour’s drive from San Marcos, which is slated for development in the near future. These upcoming ventures are set to further solidify Texas as a premier destination for the booming entertainment industry.
“Texans, in general, have a tendency to strive for superiority over not just Oklahomans, but everyone else,” remarked Four Price, a House member who previously introduced a bill in the last session. The bill aimed to establish a fresh incentive program, but unfortunately did not pass.
Advocates for this initiative argue that it would generate more reliable funding by introducing transferable tax credits for film productions, as opposed to the current cash grant system employed by the state.
Chase Musslewhite, a leading member of the coalition Media for Texas, has announced that a new video featuring prominent Texans will be released in the near future. With the goal of presenting a new bill to the Legislature by 2025, Musslewhite is actively working towards advocating for change.
The group will seek funding.
Musslewhite highlighted that Georgia’s program does not have a limit, while states like New York and California can allocate hundreds of millions of dollars annually. She expressed the desire for Georgia to achieve a similar level of competitiveness in funding.
Quaid’s statement was more specific.
He confidently declared, “When we return, our request will be for a whopping $1 billion.”
