Linn Sitler, from the Memphis & Shelby County Film Commission (USA) is one of the most experienced film commissioners in the world. We had the opportunity to meet her during the Cineposium, the Annual International Conference of Film Commissioners, which was held in Barcelona last September. In this interview, we review her career as film commissioner.

- First of all, could you describe your role at the Memphis & Shelby County Film & TV Commission? 

When I began working at the Commission in 1987, even though I was the Film Commissioner, I was the primary person photographing and researching shooting locations. Over the years, I have transitioned to a supervisory role as a "trouble-shooter," "public relations professional," and film and television advocate with the various City, County, and State entities.I also have worked on developing alliances with international cities with which Memphis shares a common bond. We have begun such relationships with – most recently – Barcelona, several years ago began a relationship with Berlin-Brandenburg and recently have rejuvenated a longtime city alliance with Enschede in The Netherlands.

Although being the "woman in the field" was more fun, I have a very capable woman, Sharon Fox O'Guin, who is a marvelous scout and project specialist. She began as an intern more than 20 years ago and became the Deputy Film Commissioner many years ago. Today, I would say that our respective responsibilities match our natural abilities and skill sets.

- In your opinion, why is so important to work between the producer and the municipal city councils?

Although the Film Commission is seen as the representative of the producers to the City Council and County Commission, our Councilmen and County Commissioners want to meet the filmmakers and feel a part of what they are asked to make happen. I have even had Council members go on scouts! The Council needs to understand the Return on Investment (ROI) of grants given to the Film Commission for operation and incentives given to the client for production. The more the Councilmen feel invested in what we do, the more they want to make the local industry grow. Although theSo, why is so important the work of a film commission? The members of the field are much better qualified than when I began in 1987.Governments have come to realize that the potential for economic development, for return on investment(ROI) is huge. They have also come to realize that the potential for liability is huge and that procedures, insurance, permits have to be in place. Many film commissioners today have legal backgrounds or experience as studio executives. Without film commissions, a few of the clients would literally "run wild" and wreak havoc on a city and its locations and people. Their productions would suffer, in turn. Film Commissions are a modern necessity of cities, counties, states, countries  today. 

- If I am not wrong, you are working as a film commissioner since 1987. What are the main changes of the film industry since then?

Today, everything is about "the bottom line" -- incentives. Who gives the best deal, the biggest deal. Back in the day, it was very fulfilling to recruit a project to come to Memphis. The recruitment was based not on incentives, but on the director's feeling the locations matched his "artistic vision." Relationships were also very important and hitting it off with the director or producer was certainlyimportant. And the fact that everything is digitized now — no more 35mm. Back in 1987, we pasted still photographs on file folders and expressed those to the clients. Today we just email digital photo packages.

- What is the most difficult shooting that you have managed at the Memphis Film Commission?

Francis Ford Coppola's The Rainmaker -- several of the lanes of Memphis' Hernando de Soto Bridge were closed to allow for shooting. Another bridge was supposed to provide space but Arkansas unwittingly closed almost every lane of that bridge. Traffic was backed up for hours. We have not asked to close the bridge for shooting ever again!

- And what are some of your proudest accomplishments at the Memphis & Shelby County Film & TV Commission?

The 2006 Visual Content Act (Tennessee's first significant incentives bill) being honored with our own historic marker (see photo). To conclude, what do you think makes Memphis special to film and shoot there? What are the Memphis’ main characteristics? Memphis is a sleepy town with a soul vibe. Visually,  many of its neighborhood, streets, and locations are frozen in time. Memphis has one of the oldest film commissions in the South and certainly one of the most successful ones and with the longest serving commissioners. We have the largest Black metropolitan population in the country which has influenced our food, our music — everything. We have a sizable Jewish population which has affected our business and education values. The Christian Church is strong here — among both Blacks and Whites — and this has truly influenced our morals and our music. We are a city which has been picked 6 times by MovierMaker Magazine as one of the top ten movie cities in the U.S. We are eccentric, we are unique. We are a combination of cultures and races and influences. We love ourselves.