Disney exec, top producers say talent beats tax deals
Disney exec top producers at the Costa Rica Media Market said tax incentives are now the industry norm, so studios weigh local crew, talent depth, and efficient film commissions when choosing where they shoot major film and TV productions abroad. Variety reports the shift at a panel on how global studios pick locations, with Disney physical production lead Michael Woolston and Latin American producers stressing risk, craftsmanship, and local support.
Key Takeaways
- Disney's Michael Woolston said crew and local talent are among the biggest make-or-break factors once budgets look similar.
- Cimarrón Cine's Sandino Saravia noted seasoned actors often prefer shoots closer to home and family.
- Lemon Studios' Isaac Toussier argued the real competition is no longer tax incentives but how ready a country is to host productions.
- Efficient production services, producers, and film commissions help major studios mitigate legal and operational risk.
The comments came during this year's Costa Rica Media Market panel titled "The Decision Behind the Location: How Global Studios Choose Where to Film," according to Variety. For more location and studio alerts, follow Streaming & TV Alerts on BlasterPost.
What did the Disney exec say about choosing film locations?
Michael Woolston, Manager of Physical Production at The Walt Disney Studios and a producer with credits including "Avatar: Fire and Ash" and "The Little Mermaid," said foreign location picks hinge on two assets: crew and talent.
When countries sit in similar budget ranges, he said those variables become decisive. Studios may import a director, producer, or production designer, Woolston explained, but Disney wants to hire as much local talent as possible—costume designers, construction crews, and craftspeople who can deliver polished visuals.
"The goal is to have that talent here that we can just pull from," he said, stressing craftsmanship as central to Disney-scale work.
Why are efficient film commissions and producers now so important?
Woolston said massive studios need "boots on the ground" partners who can handle local laws and policies. Because The Walt Disney Company operates "under a microscope," he said productions rely on service companies and local producers when something must stay fully compliant.
His blunt standard when comparing countries: mitigate risk and choose the least risky option. Lemon Studios VP of content and development Isaac Toussier pointed to practical friction—if a camera takes eight days to arrive instead of two, that alone can turn a production off.
Toussier said Costa Rica is "in a very good place" as a younger market that can still shape best practices, adding that companies return where people solve problems under pressure.
Is tax incentive competition really over for global shoots?
Toussier put the shift in stark terms: "The real competition is no longer tax incentives, which are the norm in all countries now, but rather how well the country is adapted to receiving these productions."
Sandino Saravia, executive director at Cimarrón Cine—with bases in Uruguay, Argentina, Brazil, and Mexico—added another human constraint. Actors travel constantly and may resist six months away from family, so casting needs can decide a shoot location beyond pure economic efficiency.
Woolston also called film a "relationship industry," noting Hollywood executives share experiences across studios such as Netflix and Warner Bros.—good feedback can open doors, while a bad shoot can make a return hard.
Toussier agreed that personalities and creative-production synergy matter, saying Latin America's shared cultural dynamics can speed collaboration across countries such as Colombia, Costa Rica, Argentina, and Uruguay.