Katie Patton Pryor shares her journey from PR to film commissioner, the importance of collaboration in the film industry, and how Film USA unites film commissions nationwide
A dynamo in the film industry serving as Executive Director of the Baton Rouge Film Commission, Katie Patton Pryor gets candid about her unconventional and inspiring career trajectory. From a chance opportunity to assist a sports stunt coordinator to her pivotal role as one of the two Co-Founders of Film USA, she reflects on what it took to get to her accomplished position today.
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A visionary journey redefining film and tourism connections
Destination Film: How did you get involved with the Baton Rouge Film Commission?
Katie Patton Pryor: It’s funny because my path into the industry is such an uncommon one. This field is so niche, and its structure isn’t something you’d learn in an MBA program. I started in PR in Louisiana, but after the firm I worked for was bought out, I was laid off. At 23 or 24, fresh out of college, I thought my life was over.
Then a friend called and said, “You won’t get rich, but you’ll have fun. Want to work on a film in New Orleans?” I said yes and became an assistant to the sports stunt coordinator. I knew nothing about sports—I literally had to confirm with my partner that basketball was “the orange ball.” My job was to find people who could play basketball with the actors and handle logistics. It was challenging because Louisiana is the shortest state in the U.S., but I managed.
That job was with Michael Fisher, a renowned sports stunt coordinator. We hit it off and worked together on multiple projects over the years. Funny enough, my very first paycheck came from Disney when I was a child. They filmed Tom and Huck in my hometown, and I got to be on set. That experience stuck with me, even though my liberal arts degree didn’t immediately open career doors.
Later, I was called to UPM (unit production manager) for a rugby movie in Baton Rouge. I had no idea what a UPM was, but I said yes anyway. Though the film didn’t pan out, the producer liked my work ethic and offered me a long-term role managing his ventures. Over five years, I learned a lot about the business side of film.
The producer was active in LGBTQ+ activism, and I began working on political campaigns and social issues. Eventually, I joined the mayor’s campaign in Baton Rouge, and after she was elected, she brought me into this role, blending my experience in film, politics, and PR.
Now, eight years later, my job bridges government, film, and business. Understanding the film industry while effectively communicating its economic value to officials and businesses is essential.
DF: Are you seeing a trend in the film industry similar to what happened with sports commissions a decade ago, where CVBs started taking notice and integrating sports groups into their strategies?
KPP: Yes, there’s a parallel. Louisiana introduced film tax incentives in 1992, strengthening them in 2002, making us the first state to offer such incentives. Now, over 40 states have similar programs. But incentives alone aren’t enough. Communities need someone to help productions integrate—liaising between traffic, locations, and other logistical needs. That’s where film commissions are vital.
Film commissioners are scrappy. We’re often understaffed and underfunded, so we rely on community collaboration. It’s fascinating to see how each region solves challenges, but a strong network is crucial.
One of the top questions I get is, “Do you all get along, given the competition?” The answer is yes. Film commissioners across the U.S. readily share advice and resources. At the end of the day, we all want filming to thrive nationwide. If a project isn’t a fit for Louisiana but works for Montana, I’ll recommend it there. And when Montana needs swamps, they’ll send it my way.
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DF: Let’s talk about Film USA. How did the idea come about?
KPP: In 2021, Tony Armer (former St. Pete Clearwater and then Dallas Film Commissioner – current head of production at Talon Entertainment Finance) and I attended the Cannes Film Festival and Marche after COVID. Between the Festival and the Marche, it is the largest industry event in the world, therefore attracting global attention. What shocked us was the absence of a U.S. government presence. While private companies and individuals represented the U.S., there was no pavilion promoting tax incentives, locations, or projects.
In contrast, countries like Tanzania and Romania had impressive setups. These pavilions serve as cultural showcases and home bases for filmmakers. Tony and I realized the U.S. needed something similar.
We returned home, spoke to film commissioner friends, and decided to form an association. Film USA launched as a 501(c)(6) in 2022. Our first event at Cannes was modest—panels held outdoors with folding chairs. But the camaraderie and enthusiasm were undeniable. We have grown so much.
Since then, we’ve hosted events at Focus and Sundance, providing affordable ways for commissions to participate under one umbrella. At Cannes last year, we had a double pavilion with a covered terrace with incredible programing. For 2025, we’re planning an even larger splash.
Film USA allows individual commissions to showcase their work collectively, reducing costs while creating a unified global presence. Without a federal film office, this collaboration is crucial, especially as the U.S. faces increasing competition from international markets.
DF: How does Film USA operate, and what are the membership costs?
KPP: Membership for U.S. film commissions is currently free. We aim to keep it that way while exploring alternative funding sources. In 2025, we’ll open membership to corporate and individual partners.
Our initiatives include brand recognition events, partnerships, and resource-sharing. Eventually, our website will feature a national database of incentives, locations, and contacts, serving as a go-to resource for filmmakers worldwide.
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DF: What are some of your goals with Film USA?
KPP: A large portion of what we’re working towards is the creation of a federal film office. The way we’ve proposed it, it would be structured as a specialized office within the Industry and Analysis (I&A) office, which operates within the International Trade Administration (ITA) of the U.S. Department of Commerce.
There is a similar existing road map for this in the tourism sector. The Omnibus Travel and Tourism Act of 2021 (Otis) established the Travel and Tourism office in the ITA. They work with Brand USA, which has been around since 2010 (established by the Travel Promotion Act of 2009). Brand USA is the official tourism marketing organization for the United States, responsible for promoting the U.S. as a premier travel destination to international visitors. It operates as a public-private partnership.
The federal film office would have specific responsibilities, including economic reporting, market strategy, and long-term planning. Right now, we’re in a reactive stance. All these states have their own incentives and economic studies, but they’re not calculated using the same metrics, so it’s impossible to make accurate comparisons. If there were federal oversight tracking where money is spent, where jobs are created, and other key data, I believe a federal film incentive proposal would soon follow.
Having a federal incentive is critical for maintaining and growing the industry here. However, without a federal office home base for this industry, incentives alone won’t fix everything. We still need consistent planning, economic research, policy advising, evaluation, and relationship building.
This proposed federal agency would be independent of Film USA. Film USA would still exist and continue its work, but we would collaborate with the federal office on advocacy, tax incentives, and creating educational opportunities to make the industry more accessible.

Katie Patton Pryor – Catalyst 2023 group
DF: You mentioned Brand USA as an example. Why?
KPP: If you look at what Brand USA has achieved, they’ve become omnipresent, conducting sales missions and organizing marquee events like IPW. Their efforts have created a cohesive message that showcases the U.S. as a destination with something for everyone. We could adopt a similar approach for film—emphasizing that no matter where you want to film in the U.S., there’s an opportunity and the resources to make it happen.
Many international filmmakers still only associate U.S. filmmaking with California and New York. They’re often unaware that states like Georgia, Louisiana, New Jersey, New Mexico, Illinois and more – all have strong film industries. Film USA wants to change that perception and highlight the opportunities available across the entire country.
DF: What’s your prediction about the future of the on-location film industry?
KPP: As the demand for global content rises, there’s so much potential. I think streaming platforms have really broken barriers, starting with shows like Squid Game, proving Americans are willing to embrace subtitles. We’re seeing a shift from focusing on box office numbers to prioritizing streaming data. And with advancements like satellite internet, I predict a surge in content from underrepresented regions like Africa. Improved access will transform the industry, not just for entertainment but also for cultural exchange.
DF: Such an exciting time for film and tourism. Thank you for sharing your insights!
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