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Sen. Tim Scott is backing a proposed federal film and television production tax credit that he says could bring more production work—and the jobs around it—back to the United States. The bill, introduced September 24, 2026, is not an enacted tax credit; its employment and economic benefits remain supporters’ claims, not measured results.
What Scott means by a “blue-collar jobs bill”
Scott’s case is that a production’s most visible talent can be paid regardless of where a project is filmed, while many workers in supporting trades need production to take place locally. “The actors, the talent at that level, they get paid no matter where the films are made,” Scott told reporters. “But the people who don’t get paid are those construction workers, the caterers, the costume designers and the makeup artists. Those folks … they don’t get paid unless it’s done here at home.” The Los Angeles Times reported the remarks on September 30, 2026.
That is an argument about where production-related work happens, not evidence that the proposed credit would create a particular number of jobs. Supporters also point to local suppliers and businesses such as caterers, hardware stores, hotels, and tradespeople that may serve productions. These are the intended effects described by the bill’s advocates.
What the proposed federal credit would offer
The Senate sponsors describe the Motion Picture, Television, and Entertainment Revitalization Act as a labor-based federal credit for qualifying U.S. film and television productions. The figures below are proposed terms, not current federal tax law.
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| Proposed feature | What sponsors say |
|---|---|
| Base credit | 20% of qualifying labor costs, according to Sen. Adam Schiff’s September 24, 2026 announcement. |
| Minimum spend | $1 million, according to Schiff’s announcement. |
| U.S. filming threshold | At least 75% of principal photography days must take place in the United States, according to Schiff’s announcement. |
| Potential bonuses | Qualifying bonuses could raise the total credit to as much as 30%. Sponsor announcements cite rural opportunity zones or federally declared disaster areas, independent productions, qualifying multi-state productions, and demonstrated increases in domestic production. |
| Production work covered | The sponsors say traditional post-production and visual effects work can qualify when the relevant work is performed in the United States. |
| Relationship to state incentives | Federal support could supplement existing state credits, according to Schiff’s announcement. |
Scott’s office lists exclusions that include live sporting events, sexually explicit material, marketing, daytime dramas, awards programming, social media posts, and other non-legacy media. The sponsor announcements summarize the proposal; they are not a substitute for the full statutory text when determining whether a particular production or cost would qualify.
Who introduced the bill, and what is its status?
Scott and Sen. Adam Schiff are leading the Senate effort. Rep. Nathaniel Moran introduced companion legislation in the House on September 24, 2026. The releases describe bipartisan support, but introduction and endorsements do not mean the bill has passed or will become law. The materials available for this account establish a proposal, not enactment.
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How to read the job and economic claims
Supporters have cited large employment and economic figures, but those figures refer to broader industries or projections—not independently verified outcomes of this bill. For example, the Motion Picture Association’s Charles Rivkin said the proposal could mean nearly 145,000 new jobs each year across all 50 states and $250 billion in potential economic activity if it passes. Those are industry projections quoted in Senate announcements, not observed results or an independent government estimate.
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Other statistics in sponsor materials describe existing industry activity with different scopes and geographies. Scott’s office cited around 1,700 people in South Carolina legacy production and more than 7,000 in the broader industry including visual effects, along with $416 million in wages and $3.2 billion in economic impact for the state’s entertainment industry. Moran’s office cited more than 59,000 jobs and $4.8 billion in wages in Texas. Schiff’s office quoted CreativeFuture CEO Ruth Vitale citing 2.01 million jobs and $202 billion per year in wages from U.S. film and television productions. These figures come from sponsor or industry materials and do not form one harmonized government dataset; they should not be read as a count of jobs on film sets or as a forecast of the bill’s net effects.
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The sources cited here do not provide an independent fiscal score or a neutral estimate of net jobs created after accounting for public costs and possible shifts of production between states or from other countries. That distinction matters: an incentive might influence where projects are made, but the cited projections do not establish how many additional jobs it would produce overall.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Why supporters say production incentives matter
In its September 24, 2026 endorsement statement, SAG-AFTRA President Sean Astin said, “This is a jobs bill and that is exactly what our members want to see.” That statement shows support from a labor organization; it is an endorsement, not an independent economic finding.
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Scott has also framed the proposal as a way to increase diversity in how America is portrayed on screen. The reporting and sponsor announcements establish that as part of the case supporters make for the bill; they do not quantify any resulting change in representation.
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