Michael Milken and Scott Bessent at the Milken Global Conference, Credit: The Milken Institute

Tariffs and the Creative Industry: Reflections from the Milken Global Conference

The Creative Industry Under Pressure
The creative community has faced unprecedented turbulence in recent years. The evolution of artificial intelligence has fundamentally challenged traditional creative roles—AI can now write movie scripts and generate artwork, raising existential questions for writers and artists about their professional futures.

Simultaneously, we've witnessed what many call "the race to the bottom," where various jurisdictions compete to offer the lowest possible taxes to attract film production. This trend has decimated the Los Angeles entertainment industry, as studios increasingly move production abroad to reduce costs. Hollywood has seen a sharp decline in jobs, affecting not only direct creative positions but also the extensive network of supporting industries that once thrived in the entertainment capital of the world.

Trump's Tariff Announcement

Against this backdrop, Donald Trump's recent announcement of a proposed 100% tariff on foreign-produced films represents a significant potential shift in the landscape. This development adds a fascinating dimension to the broader tariff conversation that has primarily focused on physical goods, particularly those from China that could face tariffs as high as 150%.

Scott Bessent speaking at the Milken Global Conference, Credit: The Milken Institute

Scott Bessent's Perspective at Milken

At the Milken Institute conference this week in Los Angeles, Treasury Secretary Scott Bessent's comments on tariffs took on new relevance for those of us in creative fields. While Bessent didn't specifically address the film industry, his broader vision of tariffs as instruments for reindustrialization resonated deeply with the challenges facing American creatives.

Bessent framed tariffs not merely as punitive measures but as strategic tools to rebuild American industry. This perspective feels particularly relevant when considering how many creative jobs have migrated overseas in recent years. The concept of "bringing jobs back" has typically been associated with manufacturing sectors, but perhaps it's time we extend this thinking to creative industries as well.

A Telling Conversation

A conversation with a movie executive at the conference (whose company shall remain unnamed) reinforced this point. This executive, who works in logistics, admitted that much of their production now happens abroad, dramatically reducing their operational footprint in the United States. This shift affects countless professionals across the creative spectrum—producers, filmmakers, writers, and support staff.

Reconsidering Tariffs

Given these realities, perhaps tariffs on foreign-produced films deserve more thoughtful consideration from the creative community. If such measures could help restore domestic production and creative employment, they might align with the interests of American artists and filmmakers who have seen their opportunities diminish.

Bessent's vision of reindustrialization through tariffs, while controversial in many circles, offers an interesting framework for thinking about the future of creative work in America. As the entertainment industry continues to evolve under pressures from both technological disruption and globalization, policy tools that once seemed irrelevant to creative professionals may warrant a second look.

We'd love to hear your thoughts on whether tariffs could play a constructive role in revitalizing America's creative industries.

Links


Milken Institute:

Milken Global Conference 2025:

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