Support Film In Cleveland with AmazonSmile

You can use AmazonSmile every day of the year and support Cleveland Film when you shop!

Sign up for AmazonSmile and select Greater Cleveland Film Commission as your preferred charity at smile.amazon.com/ch/34-1884733 or in the Amazon Shopping App on iOS and Android.

GET STARTED IN THE APP:

  1. Join AmazonSmile – If you are not already an AmazonSmile member, sign up on your web browser. Simply select the Greater Cleveland Film Commission to start generating donations, at no cost to you.
  2. Get the App – Download or update to the latest version of the Amazon Shopping app on your phone. You can find it in the App Store for iOS or Google Play for Android.
  3. Turn on AmazonSmile – Open the app and find ‘Settings’ in the main menu (☰). Tap on ‘AmazonSmile’ and follow the on-screen instructions to turn on AmazonSmile on your phone.

INSTALL THE MAKEMESMILE CHROME EXTENSION

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Make your online purchases count with no extra effort on your part by downloading this free extension.

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Limited Edition ‘Guardian of Film’ Merchandise Available Again for the Holidays!


The
 ‘Guardian of Film’ Fundraiser is now back and open for a LIMITED time!
The campaign will run from November 18th – December 1st, 2021 for a delivery date of December 17th, 2021.

VIEW THE ENTIRE COLLECTION HERE!


The Greater Cleveland Film Commission (GCFC) is the only 501(c)3 nonprofit dedicated to driving economic development and job creation by cultivating a robust film and television industry in Northeast Ohio.

Since 2009, media projects in Ohio have generated over $1.1 billion in economic impact and created 6,192 full-time equivalent jobs. More than 70% of Ohio’s film tax incentive spending occurs in Greater Cleveland, thanks to our work.

GCFC’s work to bring jobs and economic impact to our community is more important than ever.

CLICK HERE to Purchase a ‘Guardian of Film’ T-Shirt

CLICK HERE to Purchase a ‘Guardian of Film’ Hoodie

CLICK HERE to Purchase a ‘Guardian of Film’ Hat

By purchasing a Guardian of Film Limited Edition t-shirt, hoodie, or hat, a portion of the proceeds benefited our Sustainability Fund to support Film Commission operations during the Coronavirus pandemic. Your support helped GCFC’s vital programs and services to continue through the pandemic and thrive into the future.

*GCFC ‘Guardian of Film’ Fundraiser orders are fulfilled by CustomInk, LLC., and CustomInk, LLC will deliver ordered items by December 17th. Due to increased demand, shipping delays may occur, and the delivery date is not guaranteed. For questions, please contact CustomInk, LLC Help Center.

Greater Cleveland Film Commission Announces Leadership Transition

Motion Picture Location manager Bill Garvey named as New President|Photo by Jeff Downie


CLEVELAND, OH (July 12, 2021) – The Greater Cleveland Film Commission is pleased to announce that longtime Television and Motion Picture Location Manager Bill Garvey has been named the organization’s new President, effective September 27.

During his 26 years in the industry, Garvey has forged relationships with Marvel, Disney, Paramount, Universal, Warner Bros., Netflix, HBO and NBC. Since moving to Ohio in 2008, he has spearheaded the filming of “Fast & Furious: Fate of the Furious,” “Captain America: Winter Soldier” and “The Avengers,” among others.

Garvey’s credits prior to working in Ohio include “Shutter Island,” “National Treasure,” “Spiderman 2” and “The Manchurian Candidate.” For television, he also spent four seasons working on “Law & Order” and “The Sopranos.”

“Greater Cleveland has the architecture and infrastructure to become a major power player in the motion picture industry,” Garvey said. “Coming out of the COVID shutdown, there’s an explosion of content poised to enter production this year — a growth in production unlike any other time. But none of these movies will film in Ohio if not for the Ohio Motion Picture Tax Credit. The Greater Cleveland Film Commission has laid the groundwork for the last decade to build the industry here. There’s an urgent need to strengthen the Motion Picture Tax even further if we are to seize this substantial opportunity. The work of the Greater Cleveland Film Commission is essential to the continued growth of a robust, diverse industry workforce. These new economy jobs can keep our talented youth in Ohio while at the same time attract talent from out of state to move here. The GCFC’s partnership with the Tri-C Film Academy and Cleveland State University’s School of Film & Media Arts goes hand-in-hand with the rise of Northeast Ohio as a motion-picture hub.”

In his new role, Garvey will build upon the success the GCFC has already achieved in nurturing motion-picture investment here, and leverage his partnerships in television and motion-picture production to showcase Northeast Ohio to the world.

“We are pleased that Bill has accepted this essential role that will ensure that Cleveland will continue to grow as a motion-picture destination,” says Greater Cleveland Film Commission board chairman Tim Birch. “Under his leadership, the organization will be instrumental in attracting and generating the economic impact that will help the region thrive. His first-hand knowledge will help train and grow future industry professionals in Northeast Ohio.”

ABOUT THE GREATER CLEVELAND FILM COMMISSION
The Greater Cleveland Film Commission (GCFC) is a 501c3 nonprofit, whose mission is to create jobs and economic impact for Northeast Ohio through a vibrant film and media arts industry. GCFC was the driving force behind the Ohio Motion Picture Tax Credit (OMPTC) in 2009. Since then GCFC has attracted over 300 productions, most recently “Judas and the Black Messiah,” “Cherry” and Liam Neeson’s “The Marksman.” These projects have created 6,192 full-time equivalent jobs and brought over $1.1 billion into Ohio’s economy. GCFC connects cast and crew talent directly to production opportunities and invests in a strong local workforce by presenting workshops, seminars, FilmSkills training and internships, designed to give local talent the education, experience and professional connections to succeed in the film industry. GCFC works tirelessly to expand the film industry in Northeast Ohio, train and support a local workforce in order to generate real, sustainable opportunities that attract and retain talent.

MISSION
Promote the increase of media production in Northeast Ohio using effective strategies for attraction and workforce development, including building an artistic infrastructure through film.

VISION
Achieve increased economic development in Northeast Ohio by using the artistic and culturally enriching activities of film and other media production to strengthen the workforce, support the media production industry and attract media production to the region.

Lost in Sports Episode One: Master of the Gridiron


SOURCE: Lost in Sports | Ben Baskin
May 27, 2021

The Cleveland Browns are the most tortured franchise in sports. They have never won a Super Bowl. But in 1986, in the middle of the season, the players on the team filmed a time travel sorcery movie that prophesied they would do just that— it featured the novelty-singer Tiny Tim, had ninjas and sword fighting, a castle, a shotgun, and even a black bear. Ben searches for answers about why this obscure movie was made and why no one outside Cleveland has ever seen it.

Host and journalist Ben Baskin was recently joined by former Cleveland Browns center Mike Baab and his wife Lolis Garcia-Baab, Cleveland-native directors Joe Russo and Anthony Russo, Cleveland comedian Mike Polk Jr., WKYC Channel 3 sports commentator Jim Donovan, and #ClevelandFilm Stuntman Rick Fike, as they all discuss this forgotten, barbarian-themed classic.

ABOUT LOST IN SPORTS

Join host and journalist Ben Baskin on an adventure through time as he takes on some of the biggest questions in sports history— and some you never thought to ask. Every episode of Lost In Sports explores the mysteries of the lost, the forgotten and the disappeared, and goes on a quest for answers.


Want to watch the film? You can thank The Mike Polk Jr. Show for uploading it to YouTube!

InternCLE Episode 064 – Greater Cleveland Film Commission


SOURCE: InternCLE Podcast | Annette Kramer
May 14, 2021 | Episode 064

Mike Wendt and Maria Rouzzo joined me this week to talk about the Film industry and the opportunities the Greater Cleveland Film Commission connects its interns to.  I did not know much about the industry itself and this interview opened my eyes to the ins and outs of Film in Cleveland.

Mike shared that there is a tight family like feel to film production.  That the film industry uses a mentorship approach to bring people into, connect people and grow them in this unique field.

While currently forced to go remote, the GCFC year-round internship experience is a strong connector to the Film industry for students and adults alike, looking to gain entry.  In a non-COVID year, interns help Mike scout locations for films, help maintain databases that are used to catalog resources or support grant writing initiatives, get creative themselves coming up with promo videos or blog contributions, and so much more.

Here is more information about the GCFC Internship/Shadowing Program: All seasons are tentative for now, but they are always accepting applications! Apply by filling out this form. You can read more about GCFC’s internship program at this link. Keep in mind we cannot guarantee any access to any current productions that are filming.

Please contact EA/Office Manager Maria Rouzzo with any questions: [email protected]

GCFC Production Coordinator Mike Wendt – [email protected]

Stay up to date on jobs, workshops, events and other film/media production opportunities:

In the show we referenced the Greater Cleveland Sports Commissions interview on the podcast – you can find that episode here: https://podcast.interncle.com/266696/3658471-interncle-episode-044-greater-cleveland-sports-commission-and-adulting-a-crash-course

Around Town

Don’t forget to register for the Ohio Cooperative Education Association’s annual conference May 27-28th.  OCEA Conference – http://www.ohioco-op.com/event-4189909

Cleveland On Film

SOURCE: Encyclopedia of Cleveland History, Case Western Reserve University | Pietro Shakarian, The Ohio State University


CLEVELAND ON FILM. Films have been set and shot in Cleveland since the late 19th and early 20th centuries. The rise of Cleveland’s status as a major American city coincided with the rise of motion pictures as a major entertainment medium in American life. Significantly, films made and/or set in Cleveland tend to focus on key themes reflective of the city’s history and identity, such as aviation (Ceiling Zero (1936)), LABOR (Native Land (1942) and F.I.S.T. (1978)), ethnicity and IMMIGRATION (The Deer Hunter (1978)), race (Uptight (1968)), SPORTS (The Fortune Cookie (1966) and Major League (1989)), and ROCK MUSIC (Almost Famous (2000)).

The earliest known film made in Cleveland was the short actuality film, Giant Coal Dumper (1897), produced by Ohio native Thomas Edison in New York.  This early Kinetoscope short was followed by others, including Public Square, Cleveland (1900) and Cleveland Fire Department (1902). In 1908, local cameraman William Hubern Bullock captured the wreckage and debris of the COLLINWOOD SCHOOL FIRE on film. He then showed the footage at the American Theatre until Cleveland Police Chief (and future Mayor) FREDERICK KOHLER compelled him to stop. From the start, vaudeville played a significant role in the early development of film in Cleveland.  Most notably, the husband-and-wife comedy team Johnny and Emma Ray shot several early two-reel comedies in the city, specifically at the COLONIAL THEATER on Superior (demolished in 1932).

The first feature made in the city was The Love Chase (1915), jointly produced by THE PLAIN DEALER and the Duchess Theater. Directed by Lawrence B. McGill, it was filmed at EDGEWATER PARK, LUNA PARK, and the large SEEANDBEE ship, as well as other locations in the city. Thousands of spectators observed the film’s production with great interest. The cast was comprised of local amateur performers who had won a Plain Dealer contest to appear in the film. The feature also included a memorable cameo from a smiling Mayor NEWTON D. BAKER. The second known feature to be made in Cleveland was the three-reel melodrama The Perils of Society (1916) directed by female film pioneer Katherine Russell Bleecker. This film was followed by a 1916 adaptation of Snow White (not to be confused with the Paramount Picture released at the same time). Distributed nationally and internationally by Educational Pictures, the now-lost four-reel film featured a cast of 200 Cleveland children and premiered at the STILLMAN THEATER. It was filmed at the H. A. Tremaine estate in CLEVELAND HEIGHTS and other locations in the Cleveland area.

In the days before Hollywood came to dominate the American film industry, Cleveland even had its own film studio, run by local filmmaker Samuel R. Brodsky. At the time, the city was one of the few in the United States with a motion picture industry of its own. The other major eastern centers were New York-New Jersey and Chicago, with southern California dominating the west. According to film historian Richard Abel, Detroit also attempted to establish itself as a center for feature film production. However, this venture did not succeed, and Detroit never attained the status of a film production center. The son of RUSSIAN JEWISH immigrant parents, Brodsky (also known professionally by his anglicized name Samuel R. Bradley) began his career as an actor and comedian on vaudeville in Cleveland in 1907.  His big break came when he began working for the repertory company of playwright, impresario, and future OHIO THEATER manager ROBERT H. MCLAUGHLIN. Under McLaughlin’s tutelage, he started in minor roles and eventually began to perform in major productions by playwrights such as Edward Sheldon.  From the stage, he graduated to cinema, serving as the director of the PLAIN DEALER Screen Magazine (originally known as the Plain Dealer Motion Picture Magazine). Beginning in 1917, the screen magazine was shown weekly in theaters across Cleveland and throughout Ohio, including in Akron, Canton, Youngstown, Sandusky, and as far as the Columbus, Dayton, and Toledo metro areas. Carrying the motto “The Plain Dealer Screen Magazine Sees Everything,” it was produced by a film company founded by McLaughlin known as the Argus Company (originally known as the Superior Photo Plays). The latter maintained various offices along the stretch of Prospect Ave. in DOWNTOWN CLEVELAND, later known as “Radio Row.” These included an office at the Columbia Building (112 Prospect, now demolished), at the Belmont Building (750 Prospect, today the Pointe at Gateway Apartments), at the Sloan Building (823 Prospect), and finally at the Buckeye Building (323 Prospect, today Flannery’s Pub).

Assisting Brodsky on the screen magazines were Milton Korach and innovative cameraman Ernest M. Reynolds, both of whom had cut their teeth working on the early Ray comedies in Cleveland. Occasionally, they were joined by the famous Missouri-born performer and 1920s popular music sensation Cliff “Ukulele Ike” Edwards (best known for his later voice acting at Disney). The screen magazines would cover a wide range of local news and events, from labor strikes to Edgewater Park bathing beauties.  They also included animated cartoons by local cartoonist Don Wootton, and coverage of visits from prominent stars, such as Olga Petrova, Will Rogers, Samuel Goldwyn, Samuel Roxy Rothafel, and Anne Pennington. In addition, the screen magazine served to bolster the US war effort in WORLD WAR I, and Brodsky’s company also produced films that would be sent abroad to France and Italy on behalf of the U.S. government and the International Red Cross. The screen magazine also captured footage of the annual “Bal Masque” of the KOKOON ARTS CLUB and, partially, of the MAY DAY RIOTS of 1919. After the 1918 November Armistice, screen magazine cameramen were on hand to film the Allied War Exposition held at the lakefront and the CENTRAL ARMORY. The footage of that event became so renowned that it was exhibited by theaters in Chicago, Los Angeles, and San Francisco. The success of the screen magazines soon became nationally known. An envious Detroit Free Press even sought the counsel of The Plain Dealer on starting a screen magazine of its own. The result was the Detroit Free Press Film Edition.

1919 proved to be a pivotal year, as Brodsky’s company began to focus on the production of features.  In that year, he and McLaughlin produced two films – The House Without Children (1919) and Hidden Charms (1919; also distributed as The Supreme Passion). These features were filmed at the ANDREWS’S FOLLY and TOM L. JOHNSON properties on EUCLID AVE. In-between these two features, Brodsky and McLaughlin also produced the one-reel film The Greatest of These (1919). This short was also filmed at the Andrews home and was made for the CLEVELAND COMMUNITY CHEST CHARITY. The local and national success of these productions encouraged Brodsky, who anglicized his name to Bradley and reinvented his company as Bradley Studios, a change that he announced at a grand banquet on February 9, 1920. He opened a new office at 2147 Prospect Ave. (today part of CLEVELAND STATE UNIVERSITY) and converted the Andrews Property (today the location of WEWS studios) into a permanent studio. McLaughlin would work as the studio’s “literary supervisor.” The studio’s films were distributed nationally and internationally through the Federated Film Exchanges of America and publicity was handled by a then-up-and-coming New York company known as Warner Bros. Only three feature film productions were made under the Bradley Studios banner – Women Men Love (1921),  Dangerous Toys (1921), and False Fronts (1922). The latter two films were written by British screenwriter Edmund Goulding and ALLEN THEATRE manager S. Barret McCormick respectively. These films were major motion pictures, featuring popular actors and actresses of the day. Collaborating with McLaughlin, Brodsky also produced a second short for the Cleveland Community Chest under the Bradley banner – Suppose Nobody Cared (1920).

However, as American film production decisively moved to southern California, Brodsky shifted his focus away from feature films and back to the Plain Dealer Screen Magazine, which he continued to supervise until 1924. Nevertheless, Brodsky had not given up directing features entirely. In 1922, The Plain Dealer sponsored the production of another film, After Dark, directed by Brodsky, which premiered at the HIPPODROME THEATER on August 13, 1923. The five-reel romance, centered on an aspiring musical actress, was made almost entirely on the stage of the Hippodrome, with exterior shots filmed at various locations in Cleveland. The Plain Dealer touted it as notable for being “the first feature length picture ever made on a theater stage, in full view of the audience.” The film script and the players were chosen locally, through a contest sponsored by The Plain Dealer and the Hippodrome, echoing the earlier production of 1915’s The Love Chase. The female lead was played by a non-Clevelander, the Swedish-born actress and Ziegfeld girl, Diana Allen. Produced in only two weeks, it lacked the professionalism and polish of the earlier Brodsky films and was only shown in Cleveland. Nevertheless, Plain Dealer film critic W. WARD MARSH wrote that despite its shortcomings, the film was a “surprisingly good product.” After Dark would be Brodsky’s final feature film.

Overall, Brodsky had supervised six features, two short films, and over 300 screen magazines. All of these films today are thought to be lost and the original 35mm negatives were likely intentionally destroyed by their owners years later, especially in the aftermath of the 1929 CLEVELAND CLINIC DISASTER. The latter tragedy claimed the lives of 123 people and was caused by smoldering nitrate x-ray film stock, the same material used in motion picture production until 1951. The silent era also saw the production of the promotional film, The Heart of Cleveland (1924), by the CLEVELAND ELECTRIC ILLUMINATING CO. That same year, in international cinema, SOVIET filmmaker Lev Kuleshov decided to make the Cleveland suburb of BRECKSVILLE the hometown of the Harold Lloyd-esque title character of his comedy, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks.

WRHS | Samuel R. Brodsky directing cameraman Ernest M. Reynolds in “House without Children,” shot at the Samuel Andrews house.

The earliest feature set in Cleveland in the “talkie” era, although not filmed in the city, was Michael Curtiz’s Goodbye Again (1933), a pre-Code romantic comedy from First National-Warner Bros. with Warren William and Joan Blondell. A precursor to the screwball comedy genre, that film was based on the then-popular Broadway production of the same name by George Haight and Allan Scott. Another Warner Bros. production, William Wellman’s Wild Boys of the Road (1933), is a gritty drama about destitute, Depression-era youth, and features a sequence set in a Cleveland Hooverville. The city was also featured in the plots of other major studio films in the 1930s, such as The Big Pond (1930) starring Maurice Chevalier and Claudette Colbert. The latter introduced audiences to the JAZZ standard “You Brought a New Kind of Love to Me”, which was also employed by the Marx Brothers in their attempt to impersonate Chevalier in Monkey Business (1933). References to Cleveland in early Paramount films produced at its Astoria Studios in New York were common; the city felt “closer” given the Astoria’s East Coast location. The first sound film made locally in Cleveland was It Happened in Cleveland (1936), financed and cast from students at John Marshall High School. The city’s position as a national center for aviation and the NATIONAL AIR RACES made it the subject of several aviation-related films produced by major Hollywood studios in the 1930s and 1940s.  Prominent among these was the suspenseful Howard Hawks drama Ceiling Zero (1936) starring James Cagney and Pat O’Brien. Notably, visits to Cleveland by Cagney, O’Brien, and several other major Hollywood performers, such as Cary Grant, Jack Benny, Fanny Brice, Fred Astaire, Ginger Rogers, Helen Hayes, Frank Sinatra, Judy Garland, Ethel, John, and Lionel Barrymore, and hometown native BOB HOPE, were common during this era. In addition to promoting their films, the visiting stars often frequented restaurants such as OTTO MOSER’S and Alpine Village, which became local hangouts for celebrities at a time when Cleveland was the nation’s sixth largest city.

Based on the La Follette Committee Report of 1938, the 1942 docudrama Native Landdepicted American labor struggles in the 1930s and featured a scene set in Cleveland and references to rubber-manufacturing Akron. The film brought together original footage and dramatized re-enactments, with New York serving as a stand-in for Cleveland in reverse of what would later become a prevalent trend in the 2010s. Its filmmakers, Leo Hurwitz and Paul Strand, as well as its narrator, Paul Robeson, were later blacklisted during the McCarthy era.  In 1948, decades before the TV series “Hot in Cleveland,” a young Marilyn Monroe burned up the screen in her first major film role in Ladies of the Chorus, a B picture from Columbia set in Cleveland at its burlesque capital, THE ROXY THEATER. The Kid from Cleveland (1949) was filmed in the city using the members of the 1948 World Series-winning INDIANS in scenes in and outside the MUNICIPAL STADIUM and in other downtown locations.

In 1953, photographer Jasper Wood completed the poetic short independent film, Streetcar, in Cleveland. After realistic location shooting become more prevalent, moviemaking started to move out of Hollywood more often. The first effect was felt in Cleveland with Billy Wilder’s The Fortune Cookie (1966), the first screen pairing of comedians Jack Lemmon and Walter Matthau. Staged scenes were shot in Municipal Stadium, where more than 10,000 Clevelanders gathered as extras to play the roles of football fans. Jules Dassin’s Uptight (1968) was a loose remake of the famous John Ford film The Informer (1935) about Irish revolutionaries, which used the AFRICAN AMERICAN ghettos of Cleveland’s East Side to tell the story of militants betrayed by one of their own members. That same year, independent producers Roger and Gerald Sindell pooled their resources to make Double-Step (1968), a domestic tragedy involving the family of a cellist with the Cleveland Orchestra. Featured were scenes filmed in SHAKER HEIGHTS and in the Fine Arts Garden (where a murder takes place). Hoping to capitalize on the success of the Broadway play Hair, producer John Pappas brought a crew to Cleveland to make cinema history’s first full-length tribal rock musical movie, Aquarius (1970). Open auditions for singing and dancing parts for hippie and non-hippie types were held in facilities of Playhouse Square. Shaker Hts. native and local filmmaker Harold Cornsweet came home to make a comedy called Return to Campus (1973), using locales familiar to him in Shaker Heights, in addition to scenes on the campus of The Ohio State University in Columbus.

Moviemaking in Ohio truly began to boom with the establishment of the Ohio Film Bureau in 1976. One of the first films to be made in Cleveland as a result of its efforts was The Deer Hunter (1977), which was named Best Picture of the Year. ST. THEODOSIUS RUSSIAN ORTHODOX CATHEDRAL and nearby LEMKO HALL in Cleveland’s TREMONT neighborhood provided the setting for a fictional wedding and reception. The Gathering (1977) was a made-for-TV movie filmed on location in CHAGRIN FALLS, Hudson, and Cleveland, which were translated in the movie into a generic New England city. Norman Jewison’s film F.I.S.T. (1978) featuring Sylvester Stallone his first post-Rocky role as a labor leader in 1930s Cleveland was set, but not filmed, in the city. Actress Natalie Wood strolled in front of the downtown MAY COMPANY department store and other storefronts along Euclid Ave. near PUBLIC SQUARE for the made-for-TV movie The Cracker Factory (1979). Cleveland in the 1950s was portrayed in the real Cleveland of the 1970s for the film Those Lips, Those Eyes (1979). Cleveland Heights’ open-air CAIN PARK THEATER was the setting for this screenplay by Clevelander and CASE WESTERN RESERVE UNIVERSITY graduate David Shabar. Singer Paul Simon came to Cleveland to make One Trick Pony (1979), because he felt Cleveland was the rock ‘n’ roll capital of the world. The Escape Artist (1980) was a Francis Ford Coppola production filmed downtown near CITY HALL and the CUYAHOGA COUNTY COURTHOUSE and in the FLATS, OHIO CITY, and the Cedar Rd. and Fairmount Blvd. area.

The main floor of the HIGBEE COMPANY department store, as well as all of Public Square, was transported back in time for the offbeat Jean Sheppard comedy A Christmas Story (1983), a tale told in flashback of a man remembering Christmas as a boy. In 1985 the CLEVELAND INTERNATIONAL FILM FESTIVAL featured Stranger Than Paradise (1984), directed by Clevelander Jim Jarmusch. The highly lauded film premiered at the Cannes Film Festival in France and included scenes shot on the 9th St. pier behind the former Captain Frank’s landmark restaurant, others on both the West Side and along I-71. In May 1986 Michael J. Fox spent a few days in the Cleveland area shooting the film Light of Day, directed by Paul Schrader. Locations included the Euclid Tavern on Euclid Ave. near E. 116th St. and Marshallan Prods., Inc., on W. 85th St. The sports comedy hit Major League (1989) and its less successful sequel Major League II (1994) featured a fictionalized version of the Cleveland Indians and depicted the team’s very real struggles during its 1960-1993 slump. Cleveland was also used as a stand-in location for other locales in films of the 1990s.  Among them were Francis Ford Coppola’s The Rainmaker (1997), partially filmed at KEY TOWER, and Air Force One (1997) with Harrison Ford, partially filmed at SEVERANCE HALL and the County Courthouse. Conversely, the 1990s also saw the release of films that were set, but not filmed in, Cleveland. They included Telling Lies in America (1997), the semi-autobiographical coming-of-age film written by hometown native Joe Eszterhas, and Cameron Crowe’s Almost Famous (2000), which was partially set in the city.

The Greater Cleveland Film Commission (GCFC) was founded in 1998 and has served to increase opportunities for film production in Cleveland and its surrounding metropolitan area.  In the 2000s, the city succeeded in attracting many independent filmmakers as well as a few big studio films to Lake Erie shores. Among them were Antwone Fisher (2002), The Soloist (2009), and American Splendor (2003), all of which were based on the lives of native Clevelanders, with the latter based on the life of underground comic book writer HARVEY PEKAR.  The heist comedy, Welcome to Collinwood (2002), directed by Joe and Anthony Russo, was filmed and set in the city, especially in the COLLINWOOD neighborhood. However, the GCFC’s longtime director Ivan Schwartz realized that Cleveland could only become a major destination for film production if Ohio granted a tax break to filmmakers.  This problem became especially apparent with the filming of the commercially successful crime drama Kill the Irishman (2011), a biopic of Cleveland mobster DANNY GREENE. Although the film was set in Cleveland, it was filmed in Detroit, primarily because Ohio could not match the tax credits offered to the filmmakers by Michigan.

This situation changed in 2009 when the Ohio General Assembly passed the Ohio Motion Picture Tax Credit and the number of movies filmed in Cleveland and the metropolitan area surged.  Following a precedent set by Spider-Man 3 (2007), the city’s downtown began to serve as a stand-in for New York on several big budget action films, including The Avengers (2012), Captain America: The Winter Soldier (2014), and The Fate of the Furious (2017). The period since 2009 has also seen films both set and shot in Cleveland. These included the teen comedy Fun Size (2012), Ivan Reitman’s sports comedy Draft Day (2014) with Kevin Costner, and Nancy Cartwright’s In Search of Fellini (2017), which was partially shot and set in Cleveland. The city has also increasingly become the subject of documentary films. These include the ESPN documentary Believeland (2016), the Netflix series The Devil Next Door (2019) on the John Demjanjuk case, Breaking Balls (2017) about bocce and ITALIAN AMERICAN identity in Greater Cleveland, and Joe Siebert’s The Sax Man (2014) about Cleveland street saxophonist MAURICE REEDUS, JR.. Some observers have argued that Cleveland needs to be used more as setting, and less as a stand-in location on future films. However, despite such concerns, it is undeniable that increased film production has brought numerous job opportunities to Northeast Ohio and has injected much-needed investment into the local economy of Cleveland and the metropolitan area. The Ohio Motion Picture Tax Credit was extended in July 2019 by the Ohio General Assembly, promising more film productions in Cleveland in the coming years.


Abel, Richard. “Reading newspapers and writing American silent history.” In The Routledge Companion to New Cinema History, ed. Daniel Biltereyst, Richard Maltby, and Philippe Meers (London: Routledge, 2019), 68-82.

Dutka, Alan F. Historic Movie Theaters of Downtown Cleveland (Charleston: History Press Library, 2016).

Plain Dealer archives.

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Win Your Own Piece of the 93rd Oscars®!

Thank you to everyone who participated in the GCFC Award Season Raffle!


This year’s raffle is now over. Watch our Facebook LIVE drawing to see the winners!

The Greater Cleveland Film Commission (GCFC) is the only nonprofit dedicated to driving economic development and job creation by cultivating a robust film and television industry in Northeast Ohio.

As the GCFC relies solely on donations, proceeds from this raffle will help the GCFC continue to build a strong, sustainable film and media production industry that brings jobs and business to Cleveland. Thank you!

Black History Month: 10 Recent Must-See Movies (& Where To Stream Them)

Black History Month takes place in February and those wanting recommendations for movies will be glad to know these 10 are streaming now.


Source: ScreenRant | Megan Summers
January 20, 2021

Every February, multiple countries around the world celebrate Black voices and experiences by observing Black History Month. Designed to highlight important people, events, and milestones related to the African diaspora, Black History Month is a longstanding commemoration.

As Hollywood reconciles with its shady track record when it comes to racism and representation in movies, more Black filmmakers, actors, and screenwriters are finally starting to receive long-overdue recognition and opportunity. The push toward making Hollywood truly inclusive is far from over, but streaming services are starting to follow suit by prioritizing films made by and for Black people. From documentaries to fictionalized biopics to plays adapted to the screen, a diverse array of Black Cinema is just a few clicks away.

10. Judas and the Black Messiah (2021) – HBO Max

 

 

 

 

 

Both LaKeith Stanfield and Daniel Kaluuya are receiving tons of attention for their performances in the biopic Judas and the Black Messiah. Coming to HBO Max and theatres on February 12, this Shaka King film tells the story of Black Panther Party leader Fred Hampton.

Kaluuya plays Hampton, and Stanfield co-stars as FBI information William O’Neal. It was O’Neal who gave up the information that led to Fred Hampton’s eventual death at the hands of the Chicago police during a raid in 1969, and the movie centers around O’Neal’s betrayal.

9. BlacKkKlansman (2018) – Hulu

 

 

 

 

 

Another biopic, Spike Lee’s BlacKkKlansman is based on the memoir of the same name by Ron Stallworth. John David Washington plays Stallworth, the first Black detective in Colorado Springs.

Set in the 1970s, the movie follows Stallworth and his partner Philip Zimmerman (Adam Driver) as they expose and infiltrate the local Klu Klux Klan chapter. Equal parts comedic and dramatic, BlacKkKlansman is a consummate Spike Lee joint.

8. Just Mercy (2019) – HBO Max

Michael B. Jordan and Jamie Foxx share the screen in Just Mercy, an intimate examination of the criminal justice system’s explicit racism. Jordan plays real-life defense attorney Bryan Stevenson, an Alabama-based judicial advocate known for working with death row inmates.

The film tells the story of one of Stevenson’s first cases: Walter McMillian. Fox is riveting at McMillian, falsely accused of murder and condemned to death – unless Stevenson can overturn the charges.

7. One Night in Miami (2020) – Amazon Prime

Regina King goes behind the camera to direct One Night in Miami, which portrays a fictionalized meeting in 1964 between four iconic American figures: Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke. The men convene in Miami to celebrate Ali’s victory over fellow boxer Sonny Liston.

One Night in Miami is a strong debut feature film for King. Kingsley Ben-Adir, Eli Goree, Aldis Hodge, and Leslie Odom Jr. bring these larger-than-life men to life with ease.

6. John Lewis: Good Trouble (2020) – HBO Max

Dawn Porter’s documentary pays tribute to the life and career of Georgia Representative John Lewis, who passed away in 2020 after battling cancer. Good Trouble tells Lewis’s story, from his days as a young Civil Rights activist to his decades-long stint as a Democratic Congressman in Washington, DC.

With its harrowing imagery, the documentary shows how the fight for racial justice Lewis helmed in the 1960s rages on into the 2020s. It also shows how Lewis’s legacy will live on for generations.

5. Harriet (2019) – HBO Max

 

 

 

 

 

Cynthia Erivo brings abolitionist Harriet Tubman to life in Kasi Lemmons’s acclaimed biopic. In the decades leading up to the Civil War, Tubman led enslaved people to safety by guiding them along the Underground Railroad, which brought them north.

Harriet amplifies the terror experienced by its titular character and those she worked to save. Tubman eventually became a spy for the Union Army, leading 150 Black soldiers in 1963’s Raid on Combahee Ferry, which freed 750 slaves in South Carolina’s Lowcountry.

4. Quincy (2018) – Netflix

 

 

 

 

 

Quincy Jones is one of the most iconic 20th-century music producers. Quincy traces his long-running career, which includes producing nearly 3,000 songs and over 300 albums.

Jones is responsible for polishing and perfecting albums like Michael Jackson’s Thriller. This Netflix documentary is co-directed by Jones’s daughter, actor Rashida Jones, and Alan Hicks.

3. Dolemite Is My Name (2019) – Netflix

 

 

 

 

 

Eddie Murphy plays blaxploitation actor, filmmaker, and comedian Rudy Ray Moore in Dolemite Is My Name. The film gives a fictionalized retelling of how Moore developed his most iconic character, a street pimp named Dolemite.

Hustle & Flow‘s Craig Brewer directs Dolemite Is My Name, which includes one of the most performances from Murphy in decades. The film’s ensemble cast includes Keegan-Michael Peele, Craig Robinson, Mike Epps, and Da’Vine Joy Randolph.

2. Toni Morrison: The Pieces I Am (2019) – Hulu

 

 

 

 

 

Considered one of the best American novelists of all time, Toni Morrison’s prolific career includes works that tackle America’s racist, slave-holding past using some of the most beautiful language imaginable. Using Morrison’s own words, Timothy Greenfield-Sanders’s documentary provides a sweeping overview of the author’s life.

The Pieces I Am is also full of images, collages, and music. While it doesn’t reinvent the wheel, the film’s straightforward style gives Morrison space to share some of her most compelling ideas.

1. Ma Rainey’s Black Bottom (2020) – Netflix

 

 

 

 

 

August Wilson’s beloved play Ma Rainey’s Black Bottom is based on the life of real-life blues singer Ma Rainey, who made waves in the 1920s. Ma Rainey set the standard for blues performances, and George C. Wolfe’s film showcases its subject’s ceaseless talent.

Viola Davis shines yet again as Ma Rainey, a character full of vitality who is unafraid to challenge the white people who want to capitalize on her talent. Chadwick Boseman, in his final role, gives an emotional and gut-wrenching performance as Ma Rainey’s ambitious young trumpet player Levee.

 

CLEVELAND NAMED TO MOVIEMAKER’S 2021 BEST PLACES TO LIVE AND WORK AS A MOVIEMAKER

CLEVELAND, Ohio – January 26, 2021

The Greater Cleveland Film Commission is proud to announce that Cleveland has been named one of MovieMaker’s Best Places to Live and Work as a Moviemaker in 2021, ranking 14th out of 25 cities.

MovieMaker determined the winners using surveys, research on tax incentives and recent productions, and personal visits to most of the locations on the list, as well as the best available information on how they’re coping with the pandemic.

The full list of cities and towns — which covers both the U.S. and Canada – is below.

The GCFC pursues media productions and businesses that can make a significant impact on the local economy. They serve as a one-stop shop for local, national and international filmmakers, ensuring not only an exceptional production experience, but also repeat business. They facilitate permits, street closings and other public or private location logistics, as well as liaison with police, fire safety and municipal government. The GCFC offers filmmakers a database with photos and descriptions of 1,600 filming locations, union contacts, casting agencies, crew and vendors. From the biggest blockbusters, to single episodes of television series, Hollywood knows Ohio can handle any size production. Since 2009, over 150 productions have filmed in Northeast Ohio.

“This was obviously a very different year for our annual list of the Best Places to Live and Work as a Moviemaker — it’s a time of incredible upheaval, but also opportunity. Many in the film and TV industry are looking to change their way of life, and many cities and towns across the country are welcoming these storytellers with open arms,” said MovieMaker editor-in-chief Tim Molloy.

“Last year, we moved Los Angeles and New York City to our Hall of Fame, in the belief that their place in moviemaking was so secure that we should make room for communities on the rise. Little did we know how much L.A. and New York would suffer in the months to come. But their discipline and resilience will make them stronger in 2021 and beyond, as they lead movies into an era of innovation and invention.”

For the complete 2021 list of Best Places to Live and Work as a Moviemaker — and complete details — visit MovieMaker.com.

The Greater Cleveland Film Commission (GCFC) is the only nonprofit dedicated to driving economic development and job creation by cultivating a robust film and television industry in Northeast Ohio.

The GCFC relies solely on donations to continue to build a strong, sustainable film and media production industry that brings jobs and business to Cleveland. Click here to make a donation, or here to become a member!


Here are MovieMaker’s 2021 Best Places to Live and Work as a Moviemaker.

CITIES

1. Albuquerque
2. Atlanta
3. Austin
4. Chicago
5. Vancouver
6. Philadelphia
7. Montreal
8. Miami
9. Boston
10. Calgary, Alberta
11. Toronto
12. Dallas
13. Cincinnati
14. Cleveland
15. Oklahoma City
16. Memphis
17. San Diego
18. Baltimore
19. Portland
20. Washington DC
21. Kansas City, Missouri
22. San Antonio
23. Seattle
24. Milwaukee
25. St. Petersburg

SMALL CITIES AND TOWNS

1. New Orleans
2. Santa Fe, New Mexico
3. Pittsburgh
4. Savannah
5. Victoria, British Columbia
6. Providence
7. Tulsa
8. Richmond
9. Wilmington, North Carolina
10. Ashland, Oregon

MovieMaker is dedicated to the art and craft of making movies. Our 2021 list of the Best Places to Live and Work as a Moviemaker appears in our Winter 2020 issue, with a cover story on Regina King and her feature directorial debut, One Night in Miami. The issue is available on newsstands on February 2.

Support Cleveland Film in 2021 with Your Year-End Gift

2020 has been the year of the pivot.

This time last year, we didn’t know how challenging 2020 was going to be, but with YOUR generosity, we were able to pivot all of our advocacy, attraction and workforce development efforts online!

Thanks to YOUR support throughout the year, we hosted:

  • 6 Cleveland Film-Themed Netflix Parties
  • 3 Virtual Media Mixers
  • Music Box Supper Club Film Café
  • Between the Screens with Kathryn Hahn
  • Between the Screens with Patricia Heaton
  • The State of the Industry Discussion
  • Documentary Film Workshop
  • VoiceOver and Beyond with Nancy Cartwright
  • Behind the Story with the Producers from White Boy Rick
  • Between the Screens with Stephen Caple Jr.

And these were just our events!

With your help, we were still able to provide resources to crew, reaffirm our committment to equity and inclusion, offer training through our FilmSkills online learning program, and so much more. 

HELP US CONTINUE OUR WORK IN 2021!

GCFC’s work to bring jobs and economic impact to our community is more important than ever.

On the #ClevelandFilm set of Hobby in October 2020. Photo by by Zac Popik.

Covid-19 brought production to a grinding halt in 2020. While it’s still severely diminished compared to pre-pandemic levels, the production industry is showing some signs of recovery. For instance, the UK recently issued a 30-day, nationwide lockdown with the exception of filming. Why?

Because the production industry’s strict set protocols and low cases of Covid-19 have proven to be effective.

Similar measures are being applied to film/TV production in the US. And when Hollywood swings back into action to meet the exploding, pent-up demand for content, Ohio stands to benefit from the enormous backlog of film/TV production.

Please consider making a year-end gift to our
Sustainability Fund to support Film Commission operations.

Your support will enable GCFC’s vital programs and services to continue through this crisis and thrive into the future.

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