If you ask these filmmakers why they’re there, they’ll likely say it’s mostly because of the location; there’s also incentive. In particular, Jordan is making it easier to compete on an international scale so that they can find ways of creating better opportunities for filmmaking in Jordan, as opposed to it just being a scenic location.
For example, there is now a cash rebate of up to 45% available in Jordan for both film/TV productions, being offered through the Royal Film Commission, which would appear to me to be the first time this type of financial incentive has been available to filmmakers in Jordan. This means that for any given film or television production, this will provide an incentive for that production to be filmed in Jordan relative to that type of film or television production. This initiative also signifies to the global marketplace that Jordan is making every effort to position itself as a player/competitor in the worldwide film industry. – The above mentioned incentive should allow for filmmakers to have a great deal of confidence that this financial incentive will greatly assist them and/or provide them many additional ways for their project to be successful.
The Shadowbox agreement solidifies the strategy with a practical foundation. Olivewood is described as the only purpose-built indoor soundstage facility in Jordan, bringing together studio infrastructure, support services, and the natural filming geography of the country under one roof. This means that Jordan will no longer rely solely on dramatic landscapes to make films but instead use those locations along with a studio capacity that can accommodate larger and more complex productions.
Combining these two things could result in a significant competitive advantage because Jordan already has a track record of success in film production that global producers know. Olivewood has cited many of the world’s major films shot in Jordan, such as Dune, Aladdin, The Martian and Star Wars, along with many of the iconic locations for these films like the Wadi Rum desert, Petra and the Red Sea. The message is obvious; Jordan wants to be viewed as not merely an aesthetically pleasing filming location but as a viable international production pipeline.
The overarching theme here revolves around strategy. Studios are constantly trying to find cheaper ways to produce films, ways to generate better incentives, and dependable infrastructure; Jordan positions itself as a highly attractive “package” that is visually interesting, financially aggressive, and, in some cases, increasingly ready for production. If successful, Jordan may not only be able to release more films but could actually change its position on the global filmmaking map.
