Actor and comedian Jeff Garlin said on Adam Carolla’s podcast last week that he had not worked as an actor in almost three years, since the end of “Curb Your Enthusiasm.” He also described productions moving away from California and the United States, saying projects could be made in places such as Sweden.
The comments come as California officials promote expanded tax incentives intended to attract film and television work. The California Film Commission said 35 films received incentives in its latest award round, including 28 independent productions. The commission estimates those projects will account for more than $1 billion in direct production spending, employ more than 5,400 cast and crew members, and use 24,800 background actors.
The state’s efforts also include a new post-production tax credit and protections for actors against AI-generated content, according to Gov. Gavin Newsom’s office. Separately, a bipartisan group of lawmakers is developing a federal tax credit for film and television production that could be combined with state incentives. The material does not specify when the federal proposal might take effect or whether it has secured enough support to pass.
Despite the incentives, people quoted in the report questioned whether production work will return at a scale that restores lost jobs. The Bureau of Labor Statistics is cited as showing a loss of 49,000 industry jobs since 2022, after the pandemic and a slowdown in streaming production.
Actor Bryan Callen told Fox News Digital that he understood Garlin’s concern. He said it has become difficult to support oneself in Los Angeles through acting alone, pointing to taxes, representation commissions, and the cost of producing projects there. Callen said he has increasingly pursued stand-up comedy and podcasting instead of depending only on acting income.
Callen also argued that entertainment has become less centered on a small number of widely watched stars and programs. In his view, that change has weakened the older model in which a major name could reliably draw a broad audience. He nevertheless said Los Angeles retains advantages, including its experienced workforce and reliable weather, and rejected the idea that the industry can simply be relocated elsewhere.
Carolla described a similar effect on workers behind the camera, recounting that an editor he knew had stopped working after decades in the business. He noted that productions support a wide range of jobs beyond actors and directors, including hair, catering, and crew positions. Garlin described a more difficult path for newcomers, saying that aspiring performers may struggle even to get noticed.
The accounts offer differing perspectives on the industry’s prospects: state officials point to incentives and projected production activity, while the entertainers describe reduced opportunities and uncertainty. The available material does not establish how many productions have left California, how many jobs the incentive programs will ultimately produce, or whether the new measures will reverse the broader decline.
