Film
Hundreds of feature films have been located in Georgia. By 2007, more than $4 billion had been generated for the state's economy by the film and television industry since the 1970s. Some of these films include Deliverance; Smokey and the Bandit; Driving Miss Daisy and Midnight in the Garden of Good and Evil. Due to the success of Deliverance, Jimmy Carter established a state film commission, now known as the Georgia Film, Video and Music Office, in 1973 to market Georgia as a shooting location for future projects. The commission has recruited more than 550 major projects to the state by 2007.
Many other films other than the ones listed above have been set in or have used Georgia as a background for their settings. One such film was Forrest Gump, which used a bench in Savannah, Georgia during the film. Fried Green Tomatoes, though set mostly in Alabama a small portion of the novel and film were set in Valdosta Georgia, was filmed in Juliette, Georgia in Monroe County, Georgia. A more recent film, Sweet Home Alabama, was filmed almost entirely in Crawfordville, Georgia.
| Year Filmed | Project Title | Project Type | Location |
|---|---|---|---|
| 1972 | Deliverance | Film | Tallulah Gorge, Clayton and Rabun County |
| 1976 | Smokey and the Bandit | Film | McDonough, Jonesboro and Lithonia |
| 1980 | Escape from New York City | Film | Atlanta |
| 1982 | The Big Chill | Film | Atlanta |
| 1986 | Mosquito Coast | Film | Cartersville and Rome |
| 1986 | Friday 13th: Jason Lives | Film | Covington |
| 1987 | School Daze | Film | Atlanta |
| 1989 | Driving Miss Daisy | Film | Atlanta |
| 1989 | Glory | Film | Savannah and Jekyll Island |
| 2010 | "The Last Song" | Film | Tybee Island |
Read more about this topic: Culture Of Georgia (U.S. State)
Famous quotes containing the word film:
“A film is a petrified fountain of thought.”
—Jean Cocteau (1889–1963)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)
“This film is apparently meaningless, but if it has any meaning it is doubtless objectionable.”
—British Board Of Film Censors. Quoted in Halliwell’s Filmgoer’s Companion (1984)