FILMING OVERLOAD HAS RESIDENTS, OFFICIALS REELING.

Byline: Rick Orlov Daily News Staff Writer

Two years ago, the complaint was over runaway productions. Today, people are fuming about productions running over neighborhoods.

Just ask Jerry Blissmer.

He remembers well the tell-tale moving trucks, catering vans and mobile dressing rooms that tied up traffic and absorbed all available parking on his Tujunga street one recent day.

``It was the attitude more than anything,'' Blissmer said. ``The whole attitude was they didn't care about anyone who lived here. They also were filming on a Monday, which is trash collection day. But they didn't care.''

Every day in this city, from downtown Los Angeles to Woodland Hills, the film crews are out there - working off of the more than 100 permits issued for productions encompassing everything from feature films, television shows, commercials and music videos.

The city and county have been so successful in keeping the entertainment industry in L.A. that protests from residents have begun to mount, meaning elected officials are beginning to complain.

``We've gone from 23,000 days to 46,000 days of production in two years,'' said Cody Cluff, executive director of the Entertainment Industry Development Corp., the city-county agency created to issue film permits. ``With that kind of increase in the number of days of productions, you're bound to get complaints.''

Most of the complaints involve the inconvenience of having film crews in a residential area, with everything from blocked driveways to traffic tie-ups on a street.

Those with complaints can contact the EIDC office at [phone]. However, neither Cluff nor city officials could provide the number of complaints received.

Most companies also have someone assigned to deal with residents and try to resolve disputes. In addition, off-duty police offices are assigned to film crews.

Need a break

Last week, a complaint over content captured headlines.

Councilwoman Rita Walters convinced the City Council to revoke a film permit in South Central Los Angeles, saying she was concerned a staged shootout at a church after dark would cause undue fear in her community.

``Every weekend, there is filming outside of where I live,'' Walters said. ``It's not like the city is making money off these permits. People are entitled to a break.''

Her complaints drew other city officials to question the extent of filming in the city and the protests they are receiving.

``We should send a message to the film office that everything is not OK in the name of filming,'' Councilman Joel Wachs said. ``There has to be a balance of interests.''

For Cluff and the EIDC, the balance of interests is in helping out the film industry that was leaving en masse due to complicated city regulations and protests from officials.

Last year alone, the city's efforts to keep filming in Los Angeles are estimated to have brought in about $9 billion in local income and supported 210,000 workers.

One study said each day of shooting on location results in a $100,000 economic boost.

While Cluff and his organization generally get high marks in speeding permits and dealing with neighborhood issues, not all are convinced.

``We've called them on a few things, but the film office is biased toward the industry,'' said Tony Lucente of the Studio City Residents Association. ``But when we do have a specific complaint, they seem to respond.''

Desirable locations

The problem is there are only so many locations that are desirable for filmmakers.

Downtown Los Angeles - with its mix of older Eastern-style buildings and modern high-rises - can offer different settings. Other parts of Los Angeles form a mosaic that can be like a backdrop for any other part of the nation.

``There are some areas that get shot a lot because of the type of homes and structures,'' said Jim McCabe of Red Corner Locations. ``You're looking for a particular kind of house, and it might be Hancock Park, Chatsworth or Encino. Each has a distinct look.''

McCabe said he and most production companies try to be sensitive to neighborhood concerns, and he looks for different areas to spread around some of the burden.

``You don't want to interfere with peoples' lives,'' McCabe said. ``But a lot of it depends on the production company. Some are better than others.

``My experience has been if you let people know what you're doing, they're generally more tolerant.''

But, he added, there have been instances of homeowners trying to extort money from film companies.

``If you are truly inconveniencing someone or an area, you try to compensate them,'' McCabe said. ``But sometimes people will come up and demand money when you aren't anywhere near them. That's extortion.''

McCabe recalled one situation in which an irate resident attempted to block a film crew in on a private street, but his request for money was rejected.

``We just got smaller trucks and got around him,'' McCabe said. ``We couldn't believe it. He actually tried to block his street.''

Janice Polley, another location manager, said she tries to be sensitive to the needs of neighborhoods.

``We just finished shooting for 12 days, including three nights, in the Pacific Palisades, and the neighbors were extremely gracious,'' Polley said.

``We are aware of how much an inconvenience it can be. I know I wouldn't want a crew shooting for 12 days next to me.''

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Photo: A film production crew unloads trucks at a location on Lankershim Boulevard in North Hollywood.

Michael Owen Baker/Daily News

Box: TOP L.A. FILMING SITES