United States v. Peter Hoffman

CourtCourt of Appeals for the Fifth Circuit
DecidedAugust 9, 2018
Docket16-30527
StatusPublished

This text of United States v. Peter Hoffman (United States v. Peter Hoffman) is published on Counsel Stack Legal Research, covering Court of Appeals for the Fifth Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
United States v. Peter Hoffman, (5th Cir. 2018).

Opinion

Case: 16-30104 Document: 00514593666 Page: 1 Date Filed: 08/09/2018

IN THE UNITED STATES COURT OF APPEALS FOR THE FIFTH CIRCUIT United States Court of Appeals Fifth Circuit

No. 16-30104 FILED August 9, 2018 Lyle W. Cayce UNITED STATES OF AMERICA, Clerk

Plaintiff - Appellee Cross-Appellant

v.

PETER M. HOFFMAN

Defendant - Cross-Appellee

MICHAEL P. ARATA; SUSAN HOFFMAN,

Defendants - Appellants Cross-Appellees ______________________________________________________________________

cons. w/ 16-30226

UNITED STATES OF AMERICA,

Plaintiff - Appellee-Cross- Appellant

PETER M. HOFFMAN,

Defendant - Appellant-Cross- Appellee ______________________________________________________________________ Case: 16-30104 Document: 00514593666 Page: 2 Date Filed: 08/09/2018

No. 16-30104 c/w 16-30226, 16-30013, 16-30527

cons. w/ 16-30013

Plaintiff - Appellant

PETER M. HOFFMAN; MICHAEL P. ARATA,

Defendants - Appellees ______________________________________________________________________

cons. w/ 16-30527

Defendant - Appellant Cross-Appellee

Defendants - Cross Appellees

Appeals from the United States District Court for the Eastern District of Louisiana

2 Case: 16-30104 Document: 00514593666 Page: 3 Date Filed: 08/09/2018

Before KING, DENNIS, and COSTA, Circuit Judges. GREGG COSTA, Circuit Judge: With its colorful history and rich cultural stew, Louisiana has long been a popular setting for works of fiction, including movies. In recent years the state has also tried to become a place where films are made. That effort enjoyed considerable success. The Curious Case of Benjamin Button, Django Unchained, Twelve Years a Slave, The Dallas Buyer’s Club, and Dawn of the Planet of the Apes are some recent films of note shot in New Orleans. Believe it or not, in one recent year (2013) Louisiana surpassed even California as the most popular locale for filming major-studio productions. Mike Scott, Louisiana Outpaces Los Angeles, New York, and All Others in 2013 Film Production, Study Shows, TIMES-PICAYUNE (Mar. 10, 2014). This development led some to call New Orleans “Hollywood South.” Id. State tax credits for the film industry spurred much of this growth. Id. (“[M]ake no mistake: The state’s tax-credit program . . . is largely responsible for the surge in local productions.”). They also provided an incentive for fraud. A jury found that to be the case for Peter Hoffman, Michael Arata, and Susan Hoffman. It credited the government’s allegations that they submitted fraudulent claims for tax credits, mostly by (1) submitting false invoices for construction work and film equipment or (2) using “circular transactions” that made transfers of money between bank accounts look like expenditures related to movie production. Their principal challenge to those convictions is an argument that the tax credits are not property within the meaning of the mail and wire fraud statutes but are instead akin to the video poker licenses the Supreme Court rejected as a basis for federal prosecution in Cleveland v. United States, 531 U.S. 12 (2000). If we conclude that the credits are property subject to the federal fraud statutes, defendants also contend that the evidence 3 Case: 16-30104 Document: 00514593666 Page: 4 Date Filed: 08/09/2018

was insufficient to convict because they made a good-faith effort to comply with a state program riddled with gray areas. While the defendants seek to undo their convictions, the government is unhappy with the sentences of probation that all three received. So it too appeals, arguing that the substantial downward variances exceeded the district court’s discretion. The government also contends that the district court improperly vacated a number of the jury’s guilty verdicts. I. The Hoffmans and Arata owned and jointly operated Seven Arts Pictures Louisiana, LLC (Seven Arts). Each of them was also involved in several other film-related ventures. Through their companies, defendants purchased a “dilapidated mansion” at 807 Esplanade in New Orleans, intending to renovate the structure and turn it into a postproduction facility where films are edited and prepared for final release. To offset the cost of this project, Seven Arts applied for film infrastructure tax credits with the state. A. Louisiana enacted the Motion Picture Incentive Tax Credit in 1992 to encourage local development of the movie and television industry. La. Rev. Stat. § 47:6007. In its initial form, the law authorized investors to claim a credit for 50% to 70% of losses sustained during in-state film production. In other words, it was a “safety net” for bad film investments. John Grand, Motion Picture Tax Incentives: There’s No Business Like Show Business, STATE TAX NOTES at 791 (Mar. 13, 2006). The state legislature extended the program in 2002, permitting investors to claim tax credits for money spent on profitable projects. La. Rev. Stat. § 47:6007(C)(1) (2002). The next year saw further amendment, this time allowing investors to sell or transfer the tax credits. Id. § 47:6007(C)(4) (2003). This was an important innovation because many 4 Case: 16-30104 Document: 00514593666 Page: 5 Date Filed: 08/09/2018

investors—those like Peter Hoffman who resided in California—did not themselves owe Louisiana taxes. Nontransferable credits had been of little value to these numerous out-of-state producers. The program was again amended in 2005 (and extended in 2007), when the legislature authorized income tax credits for state-certified infrastructure and production projects. 1 See generally La. Rev. Stat. § 47:6007(C) (2005). Projects with total base investment exceeding $300,000 could qualify for tax credits worth up to 40% of in-state expenditures. Id. § 47:6007(C)(1)(b)(i), (iii); see also Dep’t of Revenue, Policy Servs. Div., 2005 Regular Legislative Session: Legislative Summaries 5 (Jan. 13, 2006), http://www.rev.state.la.us/ publications/lsls(2005).pdf. Louisiana’s Office of Entertainment Industry Development, a component of the Department of Economic Development, administered the program. Issuance of film tax credits was a two-step process. First, the applicant had to file an initial application for tax credits and obtain a precertification letter from the state agencies. See Red Stick Studio Dev., L.L.C. v. Louisiana, 56 So. 3d 181, 183–84 (La. 2011). After receiving that authorization, the applicant still had to submit a cost report tallying its expenditures, accompanied by an audit from an independent accountant. Id. at 183 n.4. After a review of those materials, the same state agencies determined whether the expenditures should be certified and tax credits issued.

1 The film infrastructure tax credits central to this case lapsed in 2009, though investors can still obtain credits for film production. See Loren C. Scott & Assocs., Inc., The Economic Impact of Louisiana’s Entertainment Tax Credit Programs ii, 1–2 (Apr. 2013), https://louisianaentertainment.gov/assets/ENT/docs/2013_OEID_Program_Impact_Report% 20_FINAL.pdf. But in June 2017 Louisiana lawmakers placed a long-term spending cap “on the tax breaks for Hollywood South” and imposed a 2025 sunset provision on the entire program. Associated Press, Louisiana’s Film Tax Credit Program to Continue, with a Cap, TIMES-PICAYUNE (June 2, 2017). 5 Case: 16-30104 Document: 00514593666 Page: 6 Date Filed: 08/09/2018

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United States v. Peter Hoffman, Counsel Stack Legal Research, https://law.counselstack.com/opinion/united-states-v-peter-hoffman-ca5-2018.