Section 181: Why Don’t You Use it Already?

17 01 2009

I have written about Section 181 and the tax benefits it gives to film makers and music video producers in the past.  Well, I did it again.  It continues to amaze me that more people in the entertainment industry are simply not aware of this tax break.  It is an amazing way to save money and give your investors some peace of mind.  Here is an article that is going to published this month by firm.


American film makers and savvy investors received a bailout of their own recently. H.R. 6049, the Renewable Energy and Job Creation Tax Act of 2008 (“Act”) recently passed the House of Representatives and then became law by passing the Senate with a 93-2 vote. Buried deep within the Act is an extension of Subsection (f) of Internal Revenue Code Section 181 (“Section 181”). The Act calls for the one year extension of Section 181 from December 31, 2008 to December 31, 2009. For the select few that were already aware of the benefits of Section 181, this is good news (great news if it passes the Senate). However, for most Americans, they have no idea what Section 181 is and how they could potentially benefit from it.


Section 181 was Congress’ reaction to what had come to be known as Runaway Productions. A Runaway Production was a movie or television show that was typically produced by Americans and filmed in the United States which left the to be produced and filmed on foreign soil. Hollywood, like many American industries, had grown tired of the high cost of labor and taxes in the United States. Canada and other countries, identifying the potential financial benefit, took advantage and successfully lured American film and television production to their soil.


The government’s reaction was to include Section 181 within the American Jobs Creation Act of 2004. Section 181 offers tax incentives for investors in independent film and television productions. An investor may deduct the money which is invested in a film or television production and actually spent or utilized by the production from his or her passive income earned in the same year. If the investor is also actively involved in the operation or direction of the production, he or she may deduct the amount of his or her investment from all income earned in the same year. Productions with budgets between o $1 and $15,000,000 (up to $20,000,000 if produced in a defined low-income location) which have at least seventy-five percent 75% of its production completed within the United States qualify under Section 181.

Investors can be either individuals or businesses. In order to comply with Section 181, an investor will need to complete the required IRS filings along with their normal tax forms. A qualified accountant and attorney are always a good idea when trying to decipher and utilize the benefits of Section 181.


Not wanting to be left out, several states got in on the tax incentive game. States such as Michigan, New Mexico and even Illinois appreciated the value of attracting Hollywood productions to their state and the boom to their local economies. State film offices are great resources for investors and film makers alike in determining what incentives are available.


Tax rebates and incentives for money spent on film or television production within a particular state combined with the benefits of Section 181 allow an investor to greatly minimize his or her risk on what would ordinarily be a somewhat risky investment. For example, if a tax payer is in the thirty-five percent (35%) tax bracket and a qualifying film is shot in Michigan which has a tax credit of up to forty-two percent (42%), an investor will be eligible to recapture seventy seven percent (77%) of her investment in a qualifying production. This recapture is realized before the film is even released and/or makes its first dollar. In today’s economy this type of investment assurance is hard to come by.


We will continue to monitor the Act and issue additional updates as they become available. For any questions related to Section 181 or private equity placements for film or television production please contact us at jkaplan@stahlcowen.com.

Oliver knows all about Section 181, do you?

Oliver knows all about Section 181, do you?





2009: Who is the Next Soulja Boy? (yikes)

7 01 2009
One and done?  Hopefully

One and done? Hopefully

 

What can we expect in the world of music in 2009?  As I am a lawyer for musicians and not a music critic for musician, I cannot predict which band is going to make it big nor can I even wager a guess as to who is 2009′s Soulja Boy (please don’t let there be another one).  What I can do, however, is perhaps offer a sneak peek as to what the hot button legal and business issues will be this year. 

This year we are bound to see more lost jobs, closed doors and consolidations in the music business than what we saw last year.  Depressing as it may sound, its better to be honest then to live in denial.  The industry is in shambles and was headed that way even before the global economic meltdown.  However, all is not lost my friends.  The advantage that music and entertainment have over banking and auto makers, is that there are truly talented and creative people in the entertainment world.  You cannot teach talent.  In addition to talented individuals, the entertainment industry has another key advantage:  a hungry public.  When you combine talented and innovative people with a public who craves new, creative and unique ways of being entertained, you have a great market for sales and growth.

Here is some hard evidence for you:  According to Soundsacn, 2008 saw a drop of 14% from 2007 for album sales with the real anchor being physical cd sales plummeting by 18.2%.  The upside: digital downloads.  Digital albums skyrocketed to a gain 32% over sales in 2007.   As if we didn’t already know, these stats offer further proof that even though the CD is a dinosaur, the industry is not extinct. 

Creative artists and management offering unique digital downloads can still make quite a bit of money.  The best thing about the death of the CD is that it also means the death of sneaky “manufacturing expenses” and ”hold back” clauses in recording agreements.  Labels cannot (although they may still try to) charge an artist huge manufacturing costs and hold back’s or reserves for returned or damaged CDs when the artist is releasing a strictly digital album.  Lowered expenses and increased downloads at fair prices equals more revenue.  Artists who follow the digital revolution will continue to make money in the rocky economy.

Along the same line of thought, without the need for CD manufacturing and distribution, the need for a label further diminishes.  An artist and a capable management team can hire the appropriate digital distribution company, marketing company and PR company and achieve the same gains as a label without the cost of losing ownership of the artist’s music and a lousy royalty split. 

Energy plus New Beyonce Single...Sweet.

Energy and New Beyonce Single...Sweet

  

So my predictions for 2009 are that we will see even more innovative and creative ways to get music to the public.  CD sales will decline even more and digital downloads (singles, albums, ringtones, videos) will continue to increase.  Music will come in packaged deals for other products people are still buying:  dvd movies, beverage sales (think energy drinks), computer and video games, sneakers, bikes, and more will include exclusive tracks of musicians who are truly on top of their game.  Labels will continue to die or at least slip further into a darkening coma.  The independent do-it-yourself artist will continue to make great strides getting her music to more people.  Bottom line, more music will be available to more people via new and exciting mechanisms.  Should be fun.








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