Ernst & Young study finds Hollywood now spends majority of film budget
Summary
A new Ernst & Young study commissioned by major entertainment unions shows US studios have dramatically shifted production spending overseas over the past 25 years. The share of film production spending inside the United States has fallen from 74% to just 42% since 1999.
Major Hollywood studios now direct more than half of their film production budgets to locations outside the United States, a sharp reversal from 25 years ago when domestic spending dominated, according to a new study commissioned by the entertainment industry's leading unions.\n\nThe research, conducted by Ernst & Young, examined spending by major American studios on film and television projects between 1999 and 2024. It covered movies with budgets of at least $5 million and television episodes costing at least $1 million each.\n\nOn the film side, the decline was steep across multiple measures. The share of production spending on movies filmed at least partly in the US dropped from 74% to 42% over the period. The proportion of cast and crew employed on US-based productions fell from 72% to 43%, and among the 25 highest-budget studio films, domestic spending declined by 40%.\n\nTelevision production showed a similar pattern. Episodes filmed partially or primarily in the US fell from representing 96% of major studio output to just 70%, while the share of cast and crew working on US-based TV productions dropped from 86% to 58%.\n\nThe study lands shortly after a bipartisan bill was introduced in Congress to create a federal film tax incentive. Studios, unions and producers have collectively backed such a measure as a way to restore the United States' standing as a competitive global production hub. The proposed incentive would offer a base rate of 20% on qualifying cast and crew spending, with the possibility of reaching 30% under certain conditions.
The Kinolime Lens
The numbers here are a pretty stark reminder of how much production has moved overseas over the past 25 years. A federal incentive could help reverse that trend and bring more work back to US crews and filmmakers, but the scale of the shift suggests there’s no quick fix on the horizon. For screenwriters and emerging filmmakers, the real question is whether these measures translate into more projects actually getting made at home — rather than simply making production a little more competitive.