Jonathan Nolan, known for his work as a writer and producer, rarely opens his sets to visitors. While not as secretive as his brother Christopher Nolan, famed for “Oppenheimer,” Jonathan has grown cautious of revealing details prematurely due to his history of creating suspenseful dramas like “Westworld.”
However, amid unprecedented challenges, Nolan is leading Hollywood’s campaign to convince California lawmakers to approve $750 million in tax rebates designed to restore television and film production to the state. Recently, he invited seven state legislators to tour the Southern California set of his acclaimed Amazon series, “Fallout,” showcasing a large-scale production employing between 600 and 800 mostly local crew members daily.
Speaking on set, Nolan emphasized, “Every element you see here—from sets and costumes to props—has been crafted by dedicated teams.” He added, “It’s unacceptable that this level of work is not the norm everywhere. This should serve as a wake-up call to all studios.”
California’s longstanding dominance in film and TV production has waned over recent years, a decline intensified by the Covid-19 pandemic, industry strikes two years ago, and recent wildfires near Los Angeles. Film and TV projects in the region fell roughly 30 percent in the first quarter of 2025 compared to the previous year, with few high-budget productions choosing to shoot in the state.
Production has increasingly shifted to other U.S. states such as Georgia and New York, as well as international locations. This trend recently drew national attention when a proposed 100 percent tariff on foreign films was announced and quickly retracted. In response, California Governor Gavin Newsom proposed a $7.5 billion federal tax credit to support domestic production.
Nevertheless, Hollywood’s focus remains on state legislation championed by Governor Newsom that would double California’s annual tax credit to $750 million for in-state filming. Nolan has aligned his efforts with this initiative.
The first season of “Fallout” was primarily filmed on soundstages in Brooklyn, with additional shooting in Namibia, South Africa, and Utah. Attracted by a $25 million tax rebate and the desire to film where the story is set, Nolan relocated production of the second season to studios in Santa Clarita, north of Los Angeles. The move, which included some facilities previously used for “Westworld,” cost $6 million and involved 77 trucks.
In February, following devastating wildfires that destroyed homes of ten crew members, Nolan publicly encouraged other filmmakers to bring their projects to Los Angeles. During a Saturn Awards acceptance speech for Best Science Fiction Television Series, he urged colleagues to support local fire victims by filming in the area.
He stated bluntly, “As producers, our role isn’t only about saving money.” This call to action sparked widespread engagement, with Nolan reaching out to fellow filmmakers and legislators to advocate for California’s production sector.
Nolan shared, “I’ve heard from filmmakers who haven’t budgeted for California in decades, and from others who haven't filmed here in ten years. Many are unable to shoot here despite their influence because the economics don’t add up.”
California’s tax credit currently offers a 20 percent rebate on production costs but excludes salaries for actors and directors. “Fallout” also benefited from a one-time 5 percent relocation rebate. Despite this, Nolan noted that filming in California was more expensive than in New York, where credits reach 30 percent and there is no $100 million cap on individual productions. To offset costs, he shortened the production schedule by approximately 18 days.
With fewer productions underway statewide, Nolan was able to secure his preferred crew, easing the challenge of the condensed schedule. Additionally, his two showrunners live locally, and most visual effects and postproduction work are handled in Southern California.
He remarked, “On large-scale shows like this, having everyone in one location consistently improves the quality of the production.”
Among the legislators invited to the set was State Senator Ben Allen, whose district includes Hollywood. Allen, author of one of the proposed tax credit bills, praised the meticulously crafted Western town set, complete with stagecoaches, wooden buildings, and a metal archway reading “Welcome to Freeside,” a nod to fans of the video game inspiring the show.
Senator Allen said, “We spoke with industry veterans who have increasingly sought work outside California to sustain their careers.”
Republican Senator Suzette Valladares, representing the Santa Clarita area, expressed renewed determination to help pass the legislation after her visit. She explained, “With many state projects facing budget shortfalls, this is a challenging time. We need to communicate to members from other regions that this industry supports 700,000 jobs and generates $600 billion in payroll.”
Actor Walton Goggins, who portrays “The Ghoul” on “Fallout,” echoed this sentiment. Fresh from filming his final scene of the season, he reflected, “Los Angeles is built on the people who work both in front of and behind the camera. Without them, what is L.A.? Many industries exist here, but this is why people come—to dream and create.”
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