Netflix’s crime thriller “Night Always Comes” was always intended to be set in Portland, Oregon, reflecting the setting of Willy Vlautin’s original novel. However, filming in Portland was not a given. Executive producer Chris Stinson (“The Holdovers,” “Sound of Metal”) shared that early conversations often focused on maximizing production value, with Canada—particularly Vancouver—frequently considered due to its experienced crews, favorable exchange rates, and robust production incentives.

Stinson ultimately referenced his experience on the 2018 drama “Leave No Trace”, which was filmed in Oregon on a modest budget, to demonstrate that Portland could be both the ideal and most cost-effective location for the project. While Oregon’s film and TV incentive program may not appear exceptional at first glance, it offers cash rebates—rather than the more common transferable tax credits—of 25% on local goods and services and 20% on in-state payroll for productions spending at least $1 million. This can be combined with the Greenlight Oregon Labor Rebate for an additional rebate of up to 6.2% on Oregon payroll.

Oregon has a rich history of attracting notable productions, from Buster Keaton’s “The General” (1926) and the Oscar-winning “One Flew Over the Cuckoo’s Nest” (1975) to the classic coming-of-age film “Stand by Me” (1986). In June, the adventure-comedy “The Goonies” (1985) marked its 40th anniversary with a festival in Astoria, where the original jail location now serves as the Oregon Film Museum.

In recent years, Oregon has hosted high-profile television series such as NBC’s “Grimm” (2011-2017), the satirical “Portlandia” (2011-2018), and the upcoming Amazon series “Criminal” starring Charlie Hunnam. Alongside “Night Always Comes,” which features Vanessa Kirby and Jennifer Jason Leigh, the state has welcomed independent films like “Horsegirls” (starring Gretchen Mol) and “Paradise Records” from writer/director Logic, both premiering earlier this year.

Despite its successes, Oregon recognizes its limitations. Tim Williams, executive director of Oregon Film (the Oregon Governor’s Office of Film & Television) and a former producer of the Oscar-nominated “In the Bedroom” (2001), notes, “We’re not big and we don’t have as much infrastructure, but we’re a really good alternative for medium-sized projects. We’re production friendly, responsive, and offer a cash rebate. Often, you get paid faster than in other places, which can be crucial for completing a film.”

Stinson credits Williams as a key asset for productions in Oregon. “You can send him your budget, and he’ll review it to determine exactly how much tax credit you qualify for, what expenses are eligible, and provide a total. He also helps with location photos, keeps track of what’s filming in town, and ensures productions don’t overlap. When challenges arise, he advocates for filmmakers and helps secure difficult locations. He’s a strong supporter and a valuable ally for producers.”

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