The Location Managers Guild International (LMGI) is the largest organization of Location Managers and Location Scouts in the motion picture, television, commercial and print production industries. Their membership plays a vital role in the creativ
Issue link: http://digital.copcomm.com/i/1036928
18 • LMGI COMPASS | Fall 2018 Singapore to see if they were interested. They were, but the final decision rested with the resort's general manager (GM). My first international location experience would be a trip to the British Virgin Islands (BVI), to a hotel I could never afford, to convince the general manager that bringing in a film crew to his exclusive and peaceful hotel would be a great idea! Thankfully, I had the acting talent as ammunition. The first-class cast featured Bill Nighy, Helena Bonham-Carter, Ralph Fiennes, Winona Ryder and Christopher Walken. I set up a meeting with the GM and flew to the Turks & Caicos. If successful, I was to stay on to scout for the rest of the locations. If the hotel did not assist us, I would have to scout other Caribbean Islands. But David really wanted this island because of ex-colonial associations—the affluent holidaying in a country which only exists for tourists and off- shore banking. I was soon in the BVI. Glorious weather, turquoise seas, was I on holiday? No, I was here to work! A pristine white Landcruiser picked me up from my downtown hotel and we drove north, past the other resorts, past the airport and through the workers' town (this was another potential location). Then another 20 minutes through scrub lands—the hotel's buffer from the rest of the world. Finally, large gates blocked the way and security appeared. Entering the Aman Resorts was like crossing from purgatory into heaven. Roads were surfaced, lined with manicured hedges, low-rise Bali-style roofs floated above private swimming pools and incense filled the air. The meeting took place in the freezing cold restaurant, the GM and operations manager arrived, both tanned and internationally cosmopolitan. I felt pale and slightly out of my depth. How could I convince someone like this that letting a film crew into this serene environment would be a good idea? I did my presentation: a Knighted, award-winning playwright, Oscar-winning cast, professional British crew, minimal disruption, etc. I gave it everything, a draft planning document, an example of a movement order. Dead silence. A look passed between them. The room was freezing, turquoise sea outside, I was very hot. The GM looked at his notes, then got up. "Well, you convinced me. You just need to work with Sven on the logistics and costs," and he left. Bloody Hell, I had our first location in the Turks & Caicos. We had quite a few more to find. The designer joined me to scout the island and we returned triumphant The North York Moors Railway. Photo: Matt Bowden with the key location and suggestions for all the others. The Worricker series was my first opportunity to supervise a Location Department. While managing the Turks & Caicos locations, I also had locations in London, Germany and France. After my Caribbean trip, I flew to Frankfurt to meet a local scout. Then back to the UK, working with the London location manager to find our MI6, 10 Downing Street, etc. This production gave me the confidence to manage a three- currency budget, crew working in different time zones and working with fellow location professionals in different cultures. Over the years, I have been blessed in collaborating with amazing crews who understand the requirements of shooting on location. One of the most testing productions that snapped my patience was A Monster Calls. It shook my confidence and I questioned my desire to continue working in the industry. Directed by J.A. Bayona (Jurassic World) and budgeted at $43M, A Monster Calls starred Sigourney Weaver and Felicity Jones. The Spanish production team were logistically demanding, disorganized and refused to speak English on recess. A bolshy UPM translated for the UK crew, a three-minute speech by the director or cinematographer was summarized into three-word interpretations. I also think our replies were not fully translated to the director if they were contrary to his requirements. The film had a small number of UK locations packed into a three-week shoot and the crew size kept growing with more Spanish members. Even a second unit shoot, of a speeding car through a town only to be held up at a level crossing, ballooned to a 100+ person crew, five lighting cherry pickers and closed the town centre of Ramsbottom for two long nights. The final straw