The devastating wildfires that have swept through Los Angeles have shaken the film industry and its community. For Canadian cinematographers, the fires resonate on a personal and professional level, especially as they highlight the interconnectedness of Hollywood and Canada’s film industry.
“These fires arrived with some catastrophic winds of 150 kph that pushed down the canyons and took any embers from one tree or spot fire to many locations in seconds,” LA-based Mark Irwin csc, ASC said, sharing his firsthand experience of the crisis. “The panicked exodus on foot and via traffic jam in the Palisades was only the beginning.” Despite living in the Sherman Oaks area, Irwin has managed to avoid direct impact but remains vigilant. “I will be riding it out with a mask and a couple of hoses,” he said.
Highlighting the human toll, Irwin added: “So many people are now homeless with over 12,000 structures gone. I have been lucky so far, but for those affected, the need for safety, shelter, nourishment, mobility, communication and finally legalities – insurance, replacing documents lost, arranging mail delivery – is a daily grind.” Community groups, including film unions like IATSE, have mobilized to provide essentials ranging from water to FEMA applications.
The fires also expose vulnerabilities in Hollywood’s infrastructure. “The assumption is that people living in the Pacific Palisades are all Hollywood multi-millionaires,” Irwin notes. “But the entire region surrounding the Palisades is not made up of showbiz elites. This will affect the livelihood of thousands.”
From a Canadian perspective, the fires may further shift film production northward. “Hollywood is a ‘lunch bucket’ town, but as I have often said, the deals are made in Hollywood and the films are made in Vancouver and Toronto (more specifically Burnaby and Etobicoke),” Irwin says, highlighting a long-standing trend. Canadian cities have long been favoured for their tax incentives and skilled crews, and as LA grapples with disasters, Canada’s film hubs may see even greater demand.
The broader industry impact is profound. According to a recent Variety report, permit applications for on-location shoots in LA have plummeted by 80 per cent compared to the same period last year. Production is slowly returning to studio lots, but with more than $250 billion in damage, the road to recovery will be long.
The American Society of Cinematographers has stepped up to support affected members. An ASC/MPTF Relief Fund has been established, backed by contributions from industry leaders like Sony. Additionally, the ASC will host a community event on February 1 to offer resources and community for members, families, and crews.
For Canadian filmmakers, the fires underscore the importance of resilience and collaboration. As Irwin aptly puts it, “Studios do not physically need Los Angeles to make anything other than to be a home for creative expression and production.”
While LA rebuilds, the connections between Hollywood and Canada will likely grow stronger, driven by shared challenges and opportunities in the global film industry.
“We have all become experts in prevailing winds and updrafts and the latest odd buzz term PDS (Particularly Dangerous Situation),” Irwin says. “Things will get back to normal but that new normal will never be the same.”
