indie

Independent filmmaker Sylvia Ray always wanted to shoot her first feature film, “The Middle,” in California — as it’s set in Barstow, where she grew up.

Instead, she shot it in Mexico.

The math made the decision for her. Grants and incentives from the municipality of Torreón and the state of Coahuila covered 30-40% of her production budget, which came in under a million dollars. She didn’t pay for filming permits. On-site security was provided. Local hotels came in as sponsors. Over 21 days in March and April, the production hired 75 local crew members and college students.

“All I needed was a desert landscape and American homes. I could have definitely shot it in L.A. comfortably. Had I gotten more support and made it make sense for us financially,” Ray said. “But it just didn’t.”

Her budget was too small to qualify for any California film incentive at the time, as the state’s program doesn’t reach projects costing under $1 million. Filmmakers and producers say that gap is the whole problem. California’s incentives, even after the recent expansion, are built for productions several rungs above them.

Los Angeles County has plans to change that. Supervisors Lindsey Horvath and Kathryn Barger are developing an Entertainment Evergreen Fund, first introduced last July, which would channel money to productions the state’s tax credit doesn’t reach. It isn’t a tax credit, rather a grant program.

No dollar amount has been attached and the county has not committed funding. The board intends to explore a public-private model, with funding sources, amounts and any cost sharing determined only after an outside consultant completes an analysis and presents recommendations. Any final proposal returns to the board for public discussion and a vote.

“Like every County initiative, this work must be balanced with our current fiscal realities,” Barger said in a statement, adding that she hopes to build “a sustainable … partnership that helps keep film, television, and digital media production” and keeps L.A. “the global leader in entertainment production.”

Horvath said in a statement that direct investment in productions, like with this fund, “is the best way to keep the work here in LA. “

“State tax credits have been the most instrumental tool to keep production local, and we want to amplify their success to make clear to the industry: LA County wants you here,” she added.

Director Sylvia Ray on set of “The Middle.”

(Alex Crunker)

Why L.A. got expensive for small films

The trouble small-budget indies run into in L.A. is location and permitting costs, said Philip Sokoloski, vice president of communications at FilmLA, the nonprofit that coordinates permits and tracks local production.

“Many property owners inclined to rent out their homes or places of business for filming are used to an era where there was a lot of money to go around … It’s not true anymore,” Sokoloski said. “Until that message is widely understood, there’s a certain priced-out-of-the-market feeling that many indies are experiencing.”

A fund, he said, could help offset those costs.

The broader production picture hasn’t recovered. Between April and June, the greater L.A. area logged 4,711 shoot days, down nearly 13% from the same period a year earlier, according to FilmLA’s second-quarter data. Feature film shoots fell 20% year over year.

Incentivized work is one of the few bright spots. FilmLA said 170 projects between July 2025 and July 2026 have benefited from the California Film & TV Tax Credit Program while 33% of the 443 feature film shoot days in 2026’s second quarter came from productions receiving tax credits.

Making an indie movie is harder than it has ever been, said Steven Wolfe, a producer whose credits include “(500) Days of Summer” and more than 45 other films. Companies are less willing to finance independent projects, buyers are spending less and the exhibition market is harder to navigate. Yet “there’s an audience that’s very hungry for them,” he said.

Wolfe is developing what he calls a passion project with a first-time feature director, set to shoot in Los Angeles. Whether it gets made, he said, depends on whether the fund materializes. “All of us recognize the need to take extreme action and soon on trying to rebuild Los Angeles as the film capital of the world,” he said.

What’s being proposed

The fund is being shaped with input from the Indie Film Task Force, a group of industry voices led by the nonprofit NewFilmmakers Los Angeles. The task force pushed for grants rather than a tax credit, arguing that budgets this small don’t generate enough tax liability for a credit to be worth much.

“We see this as a foundational level investment. It is a trickle-up incentive that’s going to feed into the studios,” said NFMLA Executive Director Larry Laboe. “This is a way to invest very little money in a lot of different productions and hope for some big wins from those productions that can trickle up.”

Laboe points out Curry Barker’s box office underdog “Obsession” as the latest example of a major low-budget indie success. The horror flick, which hit theaters in May, was made in Los Angeles for a budget of $750,000 and has since grossed nearly $475 million worldwide.

Laboe, one of the proposal’s leading advocates, has projected the fund’s ceiling could reach $100 million depending on fundraising. NFMLA isn’t positioned to administer it, though he’s open to a role.

Cast and crew on set of Sylvia Ray’s “The Middle.”

(Adriana Martinez Benavides)

Barger said her conversations with filmmakers, labor representatives and production companies have surfaced “several promising ways an Evergreen Fund could strengthen our local industry,” including “grant incentives that encourage productions of all sizes — including independent filmmakers — to choose Los Angeles County.”

The case against

Film and TV production incentives rarely deliver the economic benefit that justifies them and only occasionally change where a project shoots, said Patrick Button, an associate professor of economics at Tulane University who studies the programs. He sees a particular problem with targeting small productions: Indie filmmakers, already working on thin budgets, are the least likely to relocate in pursuit of a subsidy. Chasing incentives across jurisdictions is largely the province of major studios.

“Despite the goal with these incentives being to attract filmmaking and lead to economic stimulus, that’s not materialized in the data,” Button said. “In general, these incentives don’t have a good return on investment for the states and their counties.” Low-budget producers, he added, aren’t the ones moving around, “which creates even less rationale.”

He also noted “a lot of stress on the LA County budget right now, and a lot of other things that the money could be spent on,” and expects the fund’s effect to be “very small.”

Laboe countered that covering even 10% of an indie production budget would help keep work local, and said filmmakers may be able to layer a county grant with the state credit where it applies.

Who it would reach

Independent productions are a meaningful share of SAG-AFTRA members’ income, particularly as major studios chase incentives abroad. More small films shot locally would mean more roles, said SAG-AFTRA Secretary-Treasurer Joely Fisher.

“People are rolling up their sleeves, raising money and going to make a movie for under a million bucks,” Fisher said. “But also they’re able to take more chances. People are being discovered in these indie movies, and I think that that’s a great thing for our newer members, who can cut their teeth on something indie.”

Making the film is only half of it. The fund should address marketing costs, or the films won’t get seen, said Jackie Brenneman, president of the Independent Film & Television Alliance. Those budgets traditionally come from distributors, but more independent films now go directly to theaters without one.

“You have to be able to exploit the thing you make,” Brenneman said. “If we want to be able to access theaters, the theater’s first question is going to be, what’s your marketing plan? What’s your marketing budget? And if you don’t have one, then you’re more likely to get four-walled” — renting the screen themselves and absorbing the risk.

Ray is still editing “The Middle.” Whatever happens with the fund, it won’t reach her first feature. But she’s already thinking about her next one.

“After this film is done, I’ll have my next one to worry about,” she said. “As a filmmaker here, there are so many hurdles, and it would just be nicer to have a clear pipeline, a scaling budget for all of these things and [provide] access to people who want to support emerging talent and artists, not just the studio system.”

A BRITISH indie icon has been rushed to hospital after a nasty scooter accident.

He confessed he felt “stupid” and “embarrassed” as this comes just days before he’s set to headline a huge weekend festival.

Frontman of Reverend and the Makers Jon McClure has revealed he’s in a lot of pain and could be dealing with a broken rib.

Taking to Instagram the musician told his fans all about the “daft” incident that left him “shaken up.”

“A little update from me. I had an accident yesterday doing summat daft on a scooter,” wrote Jon.

“It’s my own fault and I feel a bit stupid and embarrassed tbh.”

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The 44-year-old is set to appear onstage at the Tramlines Festival in Sheffield – his home town – and has assured fans it will still go ahead.

He said: “This weekends gigs @togetheragainfest and @tramlines will go ahead even if I have to dose myself up . Hopefully it’s just a knock.

“Might need a cuddle though. Proper shook me up. Feeling a bit blue.”

One fan penned: “Take it gentle Rev, you will still have the crowds bouncing.”

Another fan added: “Ouch! Get well soon bud – if you are going to take a fall being daft on a scooter feels like the way to do it though! You know you are the heart beat of Tramlines – come what may you and the gang will smash it this weekend.”

Jon, nicknamed “The Reverend,” and his band shot to fame in 2007 after releasing their debut album The State of Things.

They then landed a UK top 10 single with Heavyweight Champion of The World, which peak at number eight.

In 2009, the band were invited to support Oasis on their final major stadium tour before they split.

Dine-in movie theater chain Alamo Drafthouse Cinema is launching a new initiative to show unreleased independent films that had successful festival runs, a move that comes as specialty films have struggled to gain distribution.

The Alamo Exclusives program, announced Wednesday, will give limited theatrical runs to films that showed at festivals including Sundance, the Toronto International Film Festival, Tribeca Festival and South by Southwest festival, as well as Alamo’s own Fantastic Fest.

The idea is to help showcase films that received critical acclaim, but did not secure distribution or acquisition deals. The chain will not acquire these films, but instead will enter into agreements with filmmakers to exhibit their films on Alamo Drafthouse screens. By showing these films to audiences on the big screen, these films could get the momentum they need for further opportunities.

The program’s first film will be the documentary “Butthole Surfers: The Hole Truth and Nothing Butt,” which debuted last year at South by Southwest and chronicles the history of the punk rock band.

The film will be shown in Alamo Drafthouse theaters for a limited time later this summer.

The Austin-based chain, which is owned by Sony Pictures, has a long history of curating indie films for its audiences, giving Alamo Drafthouse confidence that its viewers want to see these kinds of movies, company chief executive Michael Kustermann said in a statement.

“Time and again, they’ve shown they’ll come out to support bold, original films when given the opportunity,” he said. The new Alamo Exclusives “gives us another way to champion filmmaker-driven films that deserve to be discovered and connect them with the wider Alamo Drafthouse audience.”

The initiative comes at a difficult time for indie films. Since the pandemic upended the movie business, traditional studios and distributors have had less appetite for risk, including betting on smaller indie films out of festivals.

And as the 2023 dual writers’ and actors’ strikes thinned out theatrical lineups, that aversion to uncertainty became a push for reliable and profitable hits.

“Too many incredible films premiere at festivals and then never receive the theatrical life they deserve,” Lisa Dreyer, director of Fantastic Fest and film innovation at Alamo, said in a statement. “We are actively searching for films across all genres, from horror to comedy, to everything in-between, to champion in this new, exciting way.”

Ben Gibbard remembers late 2023 as a time of competing realities.

Onstage, the frontman of Death Cab for Cutie and the Postal Service was thriving as his two bands toured together to mark the 20th anniversaries of Death Cab’s “Transatlanticism” and the Postal Service’s “Give Up.”

Behind the scenes, Gibbard’s personal life was in shambles.

“I was getting off phone calls — very difficult phone calls — 20 minutes before going on in an arena,” he says. The singer and his wife, photographer Rachel Demy, were in the middle of an agonizing breakup that would eventually lead to divorce. Yet audiences in the thousands were turning up nightly to see Gibbard reanimate the peak-millennial classics that made him one of indie rock’s defining stars.

“I’d just tell myself, You’re a professional — you’re gonna go out there and do it, and no one’s gonna know,” he recalls. “It was all waiting for me when I got offstage, of course. But for two hours I was able to disconnect and be a performer, which was incredibly …” Gibbard, 49, trails off into a laugh.

“I don’t know if it was healthy,” he says. “But it was helpful.”

Two and a half years later, that split-screen experience — “this idea of how we compartmentalize our pain or our grief or our trauma,” as Gibbard puts it now — forms a through line of Death Cab’s ruminative new album, “I Built You a Tower.” Due Friday from Anti Records, where the group landed after leaving its longtime home of Atlantic amid a corporate shake-up, the LP sets thoughts of broken fences and never-ending storms against tuneful arrangements that can churn, shimmer or chime.

“I pledge myself to your misery / I kneel at its throne,” Gibbard sings in his still-boyish tenor over the sleek new wave groove of “Trap Door,” “Respecting your proclivity / To languish on your own.” In the fuzzed-out “Envy the Birds,” the frontman recounts an argument between two lovers “spraying bullets of grievances”; the driving “Riptides” is narrated by a guy “too tired to end the war.”

“This record is definitely the result of a divorce,” Gibbard says plainly during a recent visit to Los Angeles from his home in Seattle. “But I didn’t want to make a score-settling record or an angry record. This wasn’t an opportunity to defame someone or make this about how I’d been wronged. People drift apart — relationships don’t work. And I think how that’s affected me at almost 50 is a very different mindset than I found myself in when I was 33 or whatever the last time it happened.”

Gibbard means his first divorce, in 2012, from the actor and singer Zooey Deschanel — a split that inspired Death Cab’s 2015 album “Kintsugi,” on which one song asks, “Was I in your way when the cameras turned to face you?” and another chides an unnamed celebrity: “You’ll never have to hear the word ‘no’ if you keep all your friends on the payroll.”

“There’s some gnarly stuff on that record,” says Gibbard, who’d moved to L.A. to be with Deschanel then promptly left as soon as their marriage collapsed. “It’s not exactly a kind album.”

Bassist Nick Harmer, who formed Death Cab with Gibbard in the late ’90s after the two met as students at Western Washington University, agrees that “I Built You a Tower” represents a shift in perspective. “There’s so much more self-examination — and so much more self-indictment,” he says. (Death Cab’s other members are drummer Jason McGerr, guitarist Dave Depper and keyboardist Zac Rae.)

Which isn’t to say that Gibbard entirely resists placing blame. In “Trap Door” he sings about “a trap door in your heart and a button on your desk well-worn from being pressed.”

The frontman says that in recent years he’d “tried to get away from using the word ‘heart’ because that had been a touchstone for so many of our early records.” Yet this line seemed worth holding onto when it came to him.

“I Googled it to see: Did I already write this?” he says, laughing. “Or is there a very popular song called ‘There’s a Trap Door in Your Heart,’ and now I’m just rewriting it? We’ve made a lot of songs at this point — you gotta check your work.”

Indeed, “I Built You a Tower” is Death Cab’s 11th studio LP. After the band’s previous album, 2022’s “Asphalt Meadows,” fulfilled its deal with Atlantic, Death Cab reupped with the major label for one more record, Gibbard says, based on its strong relationship with the company’s then-CEO, Julie Greenwald.

“Julie was our shepherd and our protector the whole time we were there,” the singer says of Death Cab’s nearly two-decade run at Atlantic, which began with 2005’s Grammy-nominated “Plans.” Yet just days after they reached an agreement for “Tower,” Greenwald was fired and replaced by a new leader, Elliot Grainge, about whom the band felt less than optimistic.

Ben Gibbard

(Cielito Mercado Vivas / For The Times)

“We weren’t given the impression that Elliot had spent a lot of time with ‘Transatlanticism’ in college,” Gibbard says of the 32-year-old exec, who made his name signing rappers like Ice Spice and Trippie Redd. With Greenwald’s help, Gibbard says, Death Cab negotiated an exit from Atlantic with ownership of the new album.

Did Grainge try to persuade the band to stay?

“Never heard a word,” Gibbard says.

In an email, Grainge (whose father is Universal Music Group Chairman and Chief Executive Lucian Grange) said that Death Cab’s music “has meant a great deal” to him.

“Working together may not have been in the cards for us; however, that does not lessen my enthusiasm for the band,” he wrote. “They have delivered an impressive body of work over their decades-long career, and I am looking forward to their new music.”

Death Cab’s Harmer says he and his bandmates “talked for half a beat” about putting out “Tower” on their own before thinking better of the idea.

“We’re not businesspeople,” Gibbard says. “Music is the only thing we know how to do.”

At a friend’s wedding in 2024, the frontman had been seated next to the musician Allison Crutchfield, who was then heading up Anti’s A&R department; early this year, Death Cab announced that it had signed to the indie label, whose other acts include Fleet Foxes and Madi Diaz.

This summer, the band will tour behind “I Built You a Tower,” including two shows in August at L.A.’s Greek Theatre. After the “Transatlanticism”/”Give Up” anniversary outing — not to mention a subsequent tour on which the group looked back at “Plans” — Gibbard is “very ready to play some new material,” he says.

Doing the hits was fun. “But at a certain point,” he adds, “it’s really about moving ahead.”