Oklahoma’s film and television industry has quietly become one of the state’s most dynamic economic drivers. Once viewed as a niche market, the state has emerged as a competitive production hub, drawing major studio projects, cultivating local creatives and generating measurable economic impact across communities.
That momentum was the focus of a recent Friends of Finance Executive Speaker Series luncheon, which brought industry leaders together to explore the current state of Oklahoma’s film industry, its economic footprint and the opportunities and challenges shaping its future.
Moderated by Meg Gould, executive director and certified film commissioner for the Tulsa Office of Film, Music, Arts & Culture, the panel featured Dylan Brodie, co-producer of “Reservation Dogs” and “The Lowdown;” Talia Bella Wayne, partner and producer at Rebellium Films; and Jeanette Stanton, director of the Oklahoma Film and Music Office.
Panelists emphasized that Oklahoma’s growth has been driven by sustained, multiyear investment rather than a single catalyst. Central to that progress is the state’s incentive program, which offers a base rebate of 20% for productions that complete principal photography in Oklahoma. While incentives are often the first factor productions consider, speakers noted they are only effective when paired with a strong workforce, reliable infrastructure and local buy-in.
That formula has helped attract high-profile projects such as “Killers of the Flower Moon,” “Minari,” “Reservation Dogs” and “The Lowdown.” Beyond visibility, these productions have brought tens of millions of dollars into the state, supporting hotels, restaurants, rental houses, construction crews and small businesses.
Speakers repeatedly returned to workforce development as a key pillar of long-term sustainability. Apprenticeship programs tied to the incentive structure have expanded opportunities for Oklahomans to enter the industry, while ongoing production activity has allowed local crew members to advance into leadership roles traditionally filled by out-of-state hires. Building and retaining creatives, from production accountants to department heads, was described as essential to keeping projects rooted in Oklahoma.
Panelists also pointed to the quieter ways film becomes embedded in local communities. Beyond tourism, lodging and revitalization, productions can leave behind unexpected traces, including pineapple tops saved from an on-set catering order during “Killers of the Flower Moon,” replanted locally and resurfacing at Pawhuska farmers markets.
Oklahoma’s growing ecosystem continues to take shape through expanded infrastructure, education and cross-sector partnerships. Sound stages, equipment rental houses, workforce training programs and collaboration with universities, film collectives and tribal film offices have strengthened the state’s production capacity. Programs like Film Friendly Community have aided cities as they smooth the runway for projects of all sizes.
Distribution remains one of the most complex questions facing filmmakers nationwide, and Oklahoma is no exception. As production continues to scale across the state, panelists noted that expanding pathways to audiences will be an important part of the industry’s next chapter.
For more information about the Friends of Finance and Executive Speaker Series or to register for upcoming events, visit utulsa.edu/fof.