This is a busy start to the week for Donald Trump. On Monday, the president sat in the White House with Israeli Prime Minister Benjamin Netanyahu and hoped to persuade him to accept plans to end the war in Gaza. Later that same afternoon, he met with the Congressional top four leaders and considered reaching a deal to fund the government before the September 30 deadline and avoid the closure. Still, as the morning began, Trump joined social media in a new wave of threats: tariffs on films made outside the US
True socially, the president wrote that “film production business was stolen from the United States by other countries, as if it were stealing “candies from babies,” adding that “we will impose 100% tariffs on all films made outside of the United States.”
The studio and streamers were caught up in off guard by Missive. The White House had not made any efforts to contact them or the Film Association ahead of the announcement that reflected previous threats that Trump made in May last year. They are still uncertain about how he will respond to Trump’s message, and remain personally skeptical of him doing good on his promises, noting that the president dropped the subject in a question last spring about whether tariffs will be imposed on the film.
“He’s president, so you have to take it seriously, but most people are confused by this,” the studio executive said.
The Film Association declined to comment, but sources said the board was already scheduled for Tuesday. Trump’s tariffs are expected to be on the agenda as entertainment leaders such as MPA board members and Disney’s Alan Bergman, Amazon MGM’s Mike Hopkins and NBCUniversal’s Donna Langley will be convened for quarterly discussions. Members of the studio’s government relations team were expected to speak at some point on Monday, according to studio sources who noted that such consultations were commonplace.
The global filmmaking community is responding to new threats from Donald Trump, about tariffs on films made outside the United States with a mixture of concern, confusion, indifference and a light-hearted splashes.
It is unclear why it sparked Trump’s latest declaration. He arrived less than five months after his previous announcement (which was also made on social media) similarly declared that he would impose a 100% tariff on films that said there was no details about how the taxation would be enforced and which films would affect it. No policy has occurred since.
“When Trump sent the tweet a few months ago, no details were provided. How do you do customs on something like a movie? Do you end up charging tariffs? Entertainment lawyer Stephen Weisenecker says Burns & Thornberg.
But the initial proposal sent much of the international industry to tailspin to try and separate what it means for producers, sales agents, distributors and the film business, but this time we mostly met with exhaustive glasses or, in some cases, expletive.
“It’s also enthusiastic, his Rooney Tunes brand,” says Phil Hunt, UK producer and co-management director of Headgear films, to Variety. “We can’t help North America. He doesn’t understand the details of film being a global business.”
The White House did not respond to multiple requests for comment and clarification, some of which.
Kayvan Mashayek, head of Borderless Producers, an international network of producers, understands “frustration” with runaway shootings, but says that the application of tariffs “it’s never black and white, so there’s a lot to be desired.”
Certainly, as Moviemaking is becoming more and more global, film nationality is becoming an outdated concept as more and more American filmmakers, from Kristen Stewart to Jim Jarmusch to James Gray, are working with European producers and investors. Many major studio blockbusters, including the next two “Avengers” films, the third “Dune” film and HBO’s “Harry Potter” series, have moved to British production hubs, hungry and other European countries, offering richer subsidies than the US. For example, filming a film in California can add tens of millions of people to your budget, and you can be hesitant to make a film in the same state where the studio is headquartered.
French producer Charles Gillibert said his recent works include Angelina Jolie’s “Couture” and Stewart’s debut, “The Chronology of Water.” Gillibert believes that potential tariffs will hurt arthouse films more than major studio Tempole.
“The current costs of filming in the US do not allow certain Auteur films where commercial vehicles are made there,” he said. “It is part of this auter film that has been targeted by this law, as these films are made by artists who have freedom of expression to the American industry and its politics.”
Ironically, many of the artists most damaged by tariffs are also the biggest ambassadors of American films around the world. For example, Jarmusch won the Golden Lion of Venice along with “Sister Brothers of Father’s Mother” which was mainly filmed in Ireland and France.
“If the president really wants to help the American film industry and help create more American jobs, he will work with Congress to create a national program to encourage production in the United States, comparable to programs that exist in Europe and around the world.”
Rafael Benoriel, a major line producer and executive producer who has worked for numerous US productions in France, including The Walking Dead: Daryl Dixon and Emily in Paris, will not be wary until something more formal is announced.
“Now we tend to backtrack his announcements, so we have to have a waiting approach,” he said. “He likes to make confusion, but I like to be patient and calm.”
Northern Ireland producer Trevor Barney was behind last year’s Buffta Award-winning hit “Kneecap,” and was even more concise in his reaction to Trump. “Fuck yourself! Once again!” he said. As for the reasons for the latest explosion, he suggested that it was spurred by recent failures in US sports. “Trump obviously didn’t take the Ryder Cup loss very well!”
Rebecca Rubin contributed to this report.
