Four states that are popular destinations for location production are showing different sides to episodic television audiences. Often thought of for its adobe-accented southwestern vibe, New Mexico displays high plains landscapes in Longmire. New York goes distinctly non-urban serving up beaches and affluent beachfront homes for Royal Pains. Florida rolls back the clock to spotlight 1959 Miami for Magic City. Even Texas, which has dusted off the iconic Southfork Ranch for the new Dallas, shows off a young and hip namesake city for the second-generation Ewings.
Soundstages. Some states have one; some have more. But some states don’t have any, so producers who want to work in those locales may find a properly sized and located warehouse or another structure to fit the bill.
Is it time to stop referring to movies as “films”? This is a question I’ve been pondering since June, when I read that movie studios will cease producing film prints for major markets by the end of 2013. At the very least, should we stop referring to new movies as films?
“Daybreak” is a five-episode commercial for AT&T. Each episode averages 10 minutes, making the entire commercial 50 minutes long. Created by BBDO of New York and Tim Kring, a television producer whose credits include Heroes, Crossing Jordan and the recent Fox hit Touch, the commercial is an action-adventure thriller that never mentions AT&T.
Bones is a murder mystery/comedy/drama starring Emily Deschanel as the brilliant and socially awkward Dr. Temperance “Bones” Brennan and David Boreanaz as the emotional Special Agent Seeley Booth of the FBI.
DUCK opened 41 years ago as the animation studio Duck Soup. It rebranded as DUCK Studios, an animation/design studio creating commercials, music videos, short films and web content, about eight years ago.