Oklahoma-made films and filmmakers are currently commanding attention at SXSW in Austin, TX. Between major world premieres and high-level networking, the local industry is showing that we have the crew, the incentives, and the grit to compete on a national level.

SXSW isn't just a festival; for those of us in the Oklahoma film industry, it’s a high-stakes proving ground. While the red carpets are great for the highlight reel, the real value for us is seeing our local work validated by global audiences. It’s a reminder that the long hauls and the Oklahoma heat are paying off with actual, measurable success.

The Premiere: Brian and the Power of the "Stack"

The world premiere of the coming-of-age comedy Brian is a major milestone for our community. Produced by the Oklahoma-based Rebellium Films—a production house known for championing local projects—this film is a perfect case study in how to make the industry work for us.

By utilizing both the state rebate and the specific Oklahoma City film incentives, the production was able to bring in talent like William H. Macy while keeping the core crew local. For an actor or crew member in OKC, this means more than just a credit; it’s proof that high-caliber productions can thrive here without "importing" the entire team.

The Documentary Lens: Lainey Wilson: Keepin' Country Cool

Oklahoman Director Amy Scott is also in the spotlight this week with her documentary on country star Lainey Wilson. Having a local director helm a project for a global star at a festival of this size is a massive win for our directing and post-production community. It shows that whether you're renting gear from a local rental house like Apex (which provides high-end cinema cameras and lenses) or NGP (a go-to for lighting and grip equipment), the talent behind the lens is what truly carries the day.

Cherokee Film and the Industry Grind

Cherokee Film—the division of Cherokee Nation Businesses dedicated to expanding the native film industry—has been a powerhouse in Austin this week. Their "Going Off Script" panel featured major voices like Director Sterlin Harjo, focusing on the honest, sometimes difficult reality of building an indigenous-led industry.

For filmmakers working in areas like the Osage Hills, these conversations are vital. They bridge the gap between our unique geography and the technical requirements of modern storytelling, ensuring our community isn't just a "backdrop" for others, but a hub for our own creators.

What This Means for You

When our films succeed at SXSW, it makes it easier for all of us to pitch our next project or land our next gig. It builds the credibility of the "Okie" workforce in the eyes of out-of-state producers. While we celebrate these wins, we know the work continues back home on the soundstages and in the editing bays. This momentum belongs to all of us.

See you on set.

The City of Okmulgee has launched a local film incentive to supplement state rebates. The program offers cash back on local labor and lodging, aiming to draw productions away from the OKC/Tulsa hubs and into Creek County.

If you’ve scouted Okmulgee, you know the aesthetic—historic, textured, and perfect for period pieces or gritty indies. As of this week, the city is trying to bridge that gap by offering a localized film incentive.

Okmulgee is now a "stackable" location, meaning you can layer their local rebate on top of the existing OF+MO state incentives. If you’re a UPM or a producer staring at a shrinking contingency fund, this move makes the 45-minute haul from Tulsa a lot more justifiable.

The Practical Impact for Local Crew

For the crew and talent based in OKC or Tulsa, here is the reality:

• Lodging & Per Diems: The incentive specifically targets local stays. This means more productions might actually spring for overnight stays in Okmulgee rather than forcing "commutable" drives after a 14-hour day.

• Labor Requirements: To hit the rebate thresholds, productions have to hire locally. Expect to see Okmulgee-specific residency requirements on upcoming casting calls and crew blasts.

• The "Rural" Hustle: Keep in mind the infrastructure isn't Tulsa or OKC. You'll likely be hauling gear from Apex or NGP, so the incentive needs to outweigh your transport and swing-out costs.

The Ground Reality

We’ve seen similar programs work in OKC and Tulsa, and the success of Okmulgee’s program will depend on the city’s ability to handle the "set-life" friction—permits, street closures, and police coordination. But, this all moves Oklahoma forward as we aim to establish our own slice of Hollywood outside California

See you on set.

The drive down I-35 to Austin is a rite of passage for many of us, usually fueled by gas station coffee and the hope of catching a glimpse of the industry’s future. But this year, we aren't just there to watch—we’re there to lead. As SXSW 2026 kicks off, the "Oklahoma Film" brand is louder than ever, and the ripples of this week will be felt from the soundstages in Quapaw to the casting offices in OKC.

The Big Screens: Premiers and Power Moves

The headline act is undoubtedly the world premiere of Brian, a coming-of-age comedy from the team at Rebellium Films. Produced right here in our backyard, its slot in the Narrative Feature Competition is a massive nod to the quality of work coming out of the state.

We’re also seeing Oklahoman Director Amy Scott bring the noise with her documentary Lainey Wilson: Keepin' Country Cool. Having local directors on the festival circuit isn't just a win for their resumes; it proves to the coastal "suits" that we have the visionaries to match our landscapes.

Building a Self-Sustaining Hub

This SXSW presence comes on the heels of MovieMaker Magazine ranking both OKC and Tulsa in the top 25 places to live and work as a filmmaker. We aren't just a "flyover" location anymore; we are building a self-sustaining ecosystem. Between the new Emerge Studios certification and Tulsa's fresh 5% local rebate, the infrastructure is finally catching up to the talent.

The hustle is real, the heat is coming, and the work is hard—but as our friends in Austin are seeing this week, Oklahoma is no longer the industry's best-kept secret.

See you on set.

Located in the historic Paramount Building, OFX continues its mission to "Keep Film on Film Row" with a diverse schedule of screenings that encourage community discussion and appreciation for the craft. Whether you’re a local filmmaker looking for inspiration or a cinephile seeking something outside the mainstream, here is what’s on deck through Sunday:

The Lineup

About the Oklahoma Film Exchange (OFX)

The Oklahoma Film Exchange is a worker-owned cooperative microcinema dedicated to preserving the history of Film Row. Operating out of the last remaining film exchange screening room in the United States, OFX focuses on providing an inclusive, accessible space for arthouse films, local art, and community dialogue.

Location: 701 W Sheridan Ave, Oklahoma City, OK 73102 (Paramount Building)
Admission: Tickets are typically available on a first-come, first-served basis, often utilizing a "pay-what-you-can" donation model to keep cinema accessible to everyone.
Stay Connected:

• Website: oklahomafilmexchange.com

• Instagram: @okfilmmexchange

There is a specific kind of shadow you only find in the corners of an Oklahoma landscape, and Jeff LeForce just proved that the rest of the world is dying to see it.

Last week, LeForce’s short film Unkind walked away with the Best Short Film award at the Toronto After Dark Film Festival. For those of us grinding away in the indie horror and sci-fi trenches, we know Toronto After Dark isn’t just another laurel for the poster; it’s one of the world’s premiere showcases for genre cinema. Winning there is a massive nod to the craftsmanship coming out of our community.

Why This Matters for the OK Scene

We’ve spent the last few years watching big-budget trucks roll into the Osage Hills and downtown OKC. That’s great for the day rates, but the win for Unkind represents the second half of the dream: Okie-grown stories. When a local director like Jeff—someone who has been a staple in our filmmaking circles—takes a win on an international stage, it shifts the narrative. We aren't just "flyover country" with a good tax rebate anymore. We are a hub of creators who can hold our own against any production in the world.

The "Unkind" Aesthetic

If you haven't seen the teaser yet, Unkind leans into a psychological dread that feels remarkably intimate. It’s a testament to what we can do with limited resources and a hell of a lot of vision. For those of you currently drafting your own dark scripts in your home offices or during breaks on set, let this be the "mentor's nudge" you need: the industry is looking for the unique, gritty perspective that only we have.

The Momentum is Real

This win comes right on the heels of MovieMaker Magazine ranking Tulsa (#18) and Oklahoma City (#24) as top places to live and work as a moviemaker. Between LeForce’s festival run and the new $400,000 Tulsa film incentive, the "Oklahoma Film Industry" is no longer a goal—it’s a reality.

Huge congrats to Jeff and the entire Unkind crew. You earned it.

See you on set.

Oklahoma is taking a massive leap toward protecting our "digital twins" with House Bill 3299. This legislation would criminalize the unauthorized use of an individual’s name, image, voice, or likeness (NIVL)—essentially giving us the same legal shield as the famous ELVIS Act in Tennessee.

For those of us grinding in the local scene, our voice and our face are our resume. But as generative AI gets scarily good at mimicking human performance, with tools like Sora AI, many of us have been looking over our shoulders. Whether you're a voice actor in a home booth or a lead on a feature in the Wichita Mountains, your likeness is your property—and Oklahoma lawmakers finally agree.

On Tuesday, Feb. 17, the House Criminal Judiciary Committee took a stand for the Oklahoma film industry by unanimously advancing HB 3299. Authored by Representative Neil Hays (R-Checotah), the bill is a direct response to the "Wild West" era of deepfakes and AI voice cloning.

The Meat of the Bill

This isn't just corporate-speak; it’s a set-ready safety net. Here is what the bill actually does for us:

• The Consent Rule: It becomes illegal to create or distribute synthetic media using your likeness without your written consent, specifically if there is intent to cause emotional or financial harm.

• Misdemeanor to Felony: Using a "digital twin" without permission starts as a misdemeanor. However, if the theft causes more than $25,000 in financial damage—roughly the rate of a solid indie supporting role or a major commercial VO contract—it jumps to a felony with up to five years in prison.

• Political Transparency: The bill also targets those deceptive political ads. Any AI-altered media used in a campaign within 45 days of an election must have a clear disclosure.

Why This Matters for Oklahoma Creators

We’ve all heard the stories about actors being asked to sign away their "digital rights" for a day rate. This bill gives us the leverage to say no. Representative Hays put it bluntly: "Every Oklahoman deserves to control their name, likeness, and voice."

In an industry where we are often "in the trenches" trying to prove Oklahoma is a premier production hub, this kind of protection is a major win. It signals to out-of-state productions that while we welcome the work, we value our talent’s autonomy. It also provides a clear path for local shops like NGP and Apex to ensure their talent rosters are protected from bad actors using bots to undercut real humans.

What’s Next?

HB 3299 now heads to the full House floor. We are also keeping an eye on Senate Bill 746, a companion effort focused on AI disclosures in political media.

This move follows in the footsteps of Tennessee’s ELVIS Act (the Ensuring Likeness, Voice, and Image Security Act), which made waves last year as the first of its kind. If this passes, Oklahoma won't just be a place with great tax incentives; we’ll be a state that actually respects the people behind the performance.

It’s about time the law caught up to the tech. We’ll be watching this one closely from the Capitol to the crafty table.

See you on set.

Let’s be real: the hustle in the Oklahoma film industry doesn't start on a union set in Guthrie or a soundstage in OKC—it starts in the classrooms and backyards where the next generation of Okie filmmakers are cutting their teeth.

On March 28, 2026, the University of Central Oklahoma (UCO) is teaming up again with our friends at deadCenter Film to host the Oklahoma Teen Film Festival. While the directors behind the lens are middle and high schoolers, the opportunities for actors of all ages are wide open. If you’re looking to sharpen your craft or mentor the talent coming up behind you, this is where you need to be.

The Breakdown: Deadlines & Genres

If you’ve been tapped for a student project or are helping a young creator polish their submission, keep these dates taped to your trailer door:

• Regular Deadline: February 8, 2026

• Late Deadline: March 2, 2026

• The Big Day: March 28, 2026 (UCO Campus, Edmond)

The festival accepts everything from gritty Horror/Thriller and Drama to Micro Films (under 3 minutes). For actors, these categories are the perfect sandbox to experiment with character beats without the high-pressure stakes of a multi-million dollar production.

Why We’re Showing Up

We all know the "broken-down car on the way to set" stories—the grit it takes to make indie film work in the 405 or the 918. This festival captures that energy but adds professional polish.

• Workshops That Matter: This isn't just a "sit and watch" event. There are dedicated tracks for Acting and Directing, featuring insights from the pros at OCCC and Rose State. It’s a chance to hear how directors think, which—as any seasoned lead will tell you—is the secret sauce to a better performance.

• Building the Reel: High-quality student films are the lifeblood of a starting actor’s reel. With Cherokee Film sponsoring an Indigenous Filmmaker Award, there’s a massive emphasis on authentic, local storytelling that resonates far beyond our state lines.

• The Network: The grand prize winner nabs passes to the deadCenter Film Festival in June. If you’re the lead in that film, you’re walking into one of the biggest networking events in the region with a "Best In Show" credit already on your resume.

The "On-Set" Reality

Is it a red carpet? Yes. Is there prize money? Sure ($100 for 1st place). But for us, the real value is the community. It’s about the high school senior in Lawton finding the actor in Edmond who can actually deliver a monologue. It’s about building the "crew-family" that will still be working together ten years from now on major features.

Tickets are only $8—cheaper than a decent lunch at the craftie table. Whether you're on the screen or in the audience supporting the future of the local scene, we’ll see you at UCO.

Learn More & Connect

Ready to get involved or help a young filmmaker cross the finish line? Here is where to go:

• Official Site & Tickets: go.uco.edu/okteenfilmfest

• Submissions: Check out the full category list and rules on FilmFreeway.

• Direct Inquiries: For specific questions about the event, contact the UCO College of Liberal Arts via Instagram @ucoliberalarts.

See you on set.

If you’ve ever lugged a C-stand across a sidewalk in downtown OKC and wondered why only the Marvel-sized blockbusters get the tax breaks, listen up. There’s a new piece of paper at the State Capitol that’s more than just "boring civics"—it’s a potential game-changer for our local hustle.

The "Job Interview" Phase

Let’s talk shop. House Bill 3348 (HB 3348) is currently in the middle of its "audition." In legislative terms, a bill is basically a pitch for a new rule. Right now, it’s going through committee meetings and floor votes—think of these as the high-stakes callbacks where lawmakers decide if the idea has enough "star power" to become an official law.

Why the Current "Rebate" System Leaves Us Out

To understand why we’re watching this one closely, we have to look at how Oklahoma handles Rebates.

Currently, our state tells productions: "If you hire our actors, buy our lumber, and rent our hotel rooms, we’ll give you a percentage of that cash back." It’s a great deal, but there’s a catch—the barrier to entry is high. Right now, the rules favor massive productions with deep pockets, often leaving the local filmmaker—the one trying to tell a grounded, gritty story on a shoestring—standing outside the gates.

Enter HB 3348: The Indie-Friendly Pivot

HB 3348 wants to rewrite the script specifically for smaller, faith-based films. Here’s the breakdown of why this matters for the "little guy" in the 405, the 918, and beyond:

• Lowers the "Buy-In": Usually, you have to spend a fortune before the state even looks at your receipts. This bill says if you’re making a movie for $2 million or less, you’re invited to the table.

• Cuts the Red Tape: It strips away the bureaucratic hurdles that usually make rebates too expensive and complicated for a small indie office to manage.

• Hires Local: Smaller movies don’t fly in a fleet of trailers from Burbank. They hire local actors, use local VO talent working out of home studios in OKC, and source their props from the vintage shop down the street.

Why This Matters (Even if You’re Off-Camera)

This isn’t just about the folks in the credits. When a $2 million indie set drops into an Oklahoma neighborhood, the impact is immediate:

• The Coffee Shop on the corner sells 50 lattes a day to a cold, tired crew.

• The Local Actor gets a SAG-eligible credit without having to buy a one-way ticket to LA.

• The General Contractor gets paid to build sets instead of just framing houses.

The Production Timeline

HB 3348 was introduced on February 2nd and is currently grinding through the "Rules" committee. If it keeps hitting its marks and gets the Governor’s signature, it could become law by November 1, 2026.

The Bottom Line: This bill is about ensuring Oklahoma isn't just a scenic backdrop for Hollywood's elite, but a sustainable home for our own creators to tell their stories.

See you on set.

For years, the sprawling silhouette of the old Myriad stood as a titan of the OKC skyline. For our community, it wasn’t just a repurposed arena; it was Prairie Surf Studios, the 1.3 million-square-foot engine that powered tentpoles like Twisters and Tulsa King.

But this week, the view from Reno and Robinson looks a lot different. The "big house" is gone.

The Final Cut

On February 12, the last major vertical structures were brought down, marking the end of a mechanical demolition process that’s been grinding away for nearly a year. As crews clear the last of the debris to make room for the new $900 million Oklahoma City Thunder arena, the local film industry is facing its biggest "pivot" since the tax incentives first launched.

Timeline Check: From Soundstages to Center Court

This transition has been on the call sheet for a while. Since OKC voters greenlit the penny sales tax in December 2023, the clock has been ticking for our downtown studio home.

• March 2026: The city is set to award the first construction bid packages (foundations and utilities).

• April 2026: Official groundbreaking for the new arena.

• Summer 2028: Target opening date for the arena.

Where the Magic is Moving

The big question at every wrap party lately has been: Where do we go now? While the centralized "mega-hub" is a memory, the industry isn’t leaving OKC—it’s evolving.

On January 29, 2026, the Oklahoma Film + Music Office (OF+MO) officially designated Knox Studios as the state’s newest certified soundstage. With its 270-degree cyclorama infinity wall and specialized voice-over booths, Knox is stepping up to catch the commercial and indie projects that need a professional home base. Paired with the veteran crew at Filmmakers Ranch, "Action!" is still echoing within city limits.

The "New Frontier" Mentality

The loss of Prairie Surf’s massive footprint has forced a decentralized shift. Producers are looking toward "Film Friendly" rural communities and smaller, agile stages.

With the buzz around HB 3348 (which aims to lower the rebate floor for smaller faith-based and indie films), it’s clear the state is leaning into a "high-frequency" model. We might not be chasing one $200M blockbuster every two years; we’re chasing twenty $2M features every season.

The Takeaway for the Local Pro

For the OKC-based actor, tech, or VO artist, the "New Arena Era" means two things: mobility and niche. With the industry spreading out to hubs like Tulsa—which just launched its own city-specific incentive—and certified stages like Knox, the "downtown bubble" has popped. But as the dust settles on Reno and Robinson, the blueprint for Oklahoma’s next chapter is already being drawn. We’re moving from one big roof to a hundred different doors.

See you on set.

For the fourth year in a row, the national spotlight is fixed on the 405 and the 918. MovieMaker Magazine has officially released its 2026 list of the "Best Places to Live and Work as a Moviemaker," and Oklahoma is doubling down.

Ranking alongside industry giants like Toronto and Albuquerque isn't just a win for the tourism board—it’s a signal to every actor, grip, and VO artist in the state: you don't have to leave home to build a career.

By the Numbers: Why the Industry is Watching

These rankings aren't just a popularity contest; they’re built on hard data—production spending, tax incentives, and infrastructure. Here is how our two hubs stack up:

Oklahoma City (#24): The Growth Engine

Since launching its local incentive in 2023, OKC has shifted into high gear. Jill Simpson, Executive Director of the OKC Film & Creative Industries Office, recently noted the momentum:

• The "Stack" Power: OKC’s local rebate of up to 10% can be combined with the state's 20-30% rebate. This financial "one-two punch" is what brought Twisters to town and is currently powering the buzz around the Jenna Fischer and Angela Kinsey project, New Year's Rev.

• Economic Impact: With 10 major projects approved since the incentive's debut, we're looking at $294 million in total economic impact.

Tulsa (#18): The "Hollywood on the Prairie"

Tulsa outpaced the pack this year, buoyed by high-profile shoots at Cain’s Ballroom and the success of FX’s The Lowdown.

• Creative Canvas: Between the Art Deco architecture and the grit of the Brady District, Tulsa is being celebrated for its versatility as a period-piece backdrop.

• The 918 Advantage: With the February 1 launch of the new 5% city rebate and deep partnerships with the Cherokee Film Institute, Tulsa offers a level of support few U.S. cities can match.

The "Talent First" Shift

For those of us in the trenches, these rankings mean more than just a trophy. When MovieMaker puts a city in the Top 25, it’s a "green light" for coastal producers to trust our local talent pool.

This sustained recognition is leading to:

• More Principal Casting: Producers are increasingly casting principal and supporting characters from the Oklahoma talent pool to satisfy local rebate requirements.

• Infrastructure Longevity: Recent bonds have secured funding for the OKC Film Office and local rebates for the next decade. The work isn't just "passing through"; it’s staying.

• A Deeper Bench: We aren't losing our best cinematographers and actors to Atlanta or New Orleans anymore. We are building a self-sustaining ecosystem right here in the red dirt.

See you on set.