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Independent Productions of Motion Pictures, Digital Media & Television
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Independent Productions of Motion Pictures, Digital Media & Television
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Locations by Myrl Schreibman LOCATION MANAGERS Permit getters or is there more? Director Alex Payne (About Schmidt, Election) drives around and looks for locations to better see the "picture" before he begins his work. Producers know that the right location add to the texture and character of the project and is often as important as the story itself. Actors sometimes need the feeling of a location to help them get into the body and soul of the character they are portraying. Where does the location manager fit in all of this? The location manager belongs to the Teamsters Union. How can they be creative? The location manager must read the script, creates a location list and meets with the producer, director, production designer, and cinematographer to determine the look of the project. Then depending on the size of the project will organize his or her staff to help in scouting for the locations while keeping a clear eye on the creative story telling that locations provide. Once the locations have been determined the location manager must organize the logistics of the day-to-day process of production as it relates to locations. This involves working closely with the producer, the production manager, the production designer, and the transportation coordinator and the tedious and personable tasks of filming permits, location contracts, parking, trash, toilets, telephones, feeding and maps and a myriad of other elements that make the production happen smoothly and quickly. New technologies have made this job a bit easier and quicker. The internet has become an excellent source for research, scouting and information retrieval. The wireless internet access to e-mail helps the communication process; it is also used for the posting of photographs. Digital cameras have simplified the scouting process and GPS can be used for digital compass headings and relocating specific locations from remote sites that do not have addresses. And the laptop computer clearly helps in all of this. Producers, designers, directors often communicate the look of locations in terms of "feelings" to the location manager which makes it somewhat difficult for the location manager to do the job because locations don’t have feelings. But then, through this process it allows the location manager to use his/her own creative eye to enhance the character of the project by finding locations that can suggest those feelings to the audience. Finding a great location is easy many times. But finding a great location that can be shot is not so easy. Location managers handle obstacle after obstacle that the director is never aware of. They can be permits, convincing neighbors in a residential area that their neighbor hood is going to be used as a movie lot for a period of time, and the notion of buyouts of certain business interests in business areas so that production can go on without the businesses loosing money. When people see the caravan of trucks that it takes to do a project they get nervous because such equipment can be intrusive to their way of life and habits. Independent producers must be prepared to spend the extra money it takes to make things happen if it is needed. Of course certainly having production in an area that is not used to having production can be a plus to any project, since the locals will find the experience fascinating and exciting and often lend a hand to get things done. When this happens the location managers job becomes easier. Still when it is all said and done, the location manager’s job is one of the toughest to do on a production. They are the first ones to arrive at a location and the last one to leave. They have to deal with a slew of problems including last minute production changes and they have to keep everyone happy even when tempers fly and producers and directors come up with last minute creative ideas that seem to be impossible. -MS
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Independent Productions are rising in California: especially Southern California. Downtown Los Angeles, for example, sees a lot of location shooting but it is used so much that knowledgeable viewers recognize the locations and owners of those locations have raised their location prices. So smart producers are looking into crossing city lines (still working in the county) and thereby finding under-exposed locations for less money. Clearly there are several reasons why Southern California is a favorite place to shoot. First, you don’t have to sleep in a strange bed but can generally stay in your own bed at night. But if you do need to house a company in a hotel, there is no state hotel tax on occupancy in excess of 30 days. California also has a four percent tax exemption (in sales tax) on the purchase of postproduction equipment or equipment used in teleproductions and animation. California also has a Film California First program that is designed to eliminate the state, federal and local personnel costs and help to reduce location fees. They also have a reimbursement program (that’s right, money back to you!) when filming on public property in California. There are many sites in Southern California that are gaining popularity because of the nature of the various looks they offer. One is the campus of UCLA which has entertained productions of Spike Lee and Costa-Gavras and offers excellent cooperation with their Events Management branch. Another is the historic Huntington Library in Pasadena because it has 15 principal garden areas including a rose, Japanese, desert, Australian, palm, subtropical, and jungle garden which has a waterfall. The library's non-public areas offer producers different location looks as well, such as woods, canyons, and orange groves. But the building itself with its manicured lawns and grounds offers the independent producer the look of a mansion for the hero or the villain of any story. Of course Union Station in downtown Los Angeles is your classic art deco 30’s railroad station that can double for a variety of other creative locations with the right set dressing. This is under the jurisdiction of Catellus Development Corporation and houses the Amtrak trains which encourages film production on their railroad (remember if you shoot here you will have to acquire railroad insurance!). Amtrak offers the producer a train station, a railroad car, or even an entire train if they need it. You would have seen their location in “Pearl Harbor,” ”Get Carter,” “Nash Bridges,” and “The Fugitive.” Of course the Metrolink in Southern California is also used for location work, from Ventura to Northern San Diego Counties. These trains ride through urban sprawl, suburban neighborhoods, mountains, deserts, along the ocean, and into farmlands of California. Independent productions for everything are all over the state including the Inland Empire which has a close proximity to Los Angeles for solutions to production equipment problems. The film commission there can turn a permit in one day and support diverse projects from features, to commercials, industrials, still shoots, etc. The Inland Empire area of Southern California is often considered Hollywood’s backlot since they have areas that look like the Midwest, the South of France, the Sahara Desert, and even Napa Valley of Northern California. Web sites abound when looking for locations in Southern California. The first place to start is by contacting each area and cities local film commission who will be most helpful in assisting your needs (free of charge by the way!). You can also try http://www.cinemascout.com for sites throughout all of California. You don’t need to run away from the California community as long as the Producer is a creative producer and knows how to make the shoe fit the foot which is one of the producing tenets talked about in the Indie Producers Handbook. -MS |