LMGI COMPASS
|
Fall 2018
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21
director until I had permission. Finally,
after a week, the owner called back.
She was very unsure about filming but
invited me to take a look. She always
thought of it as the house from the
book and wanted to hear what I had to
say about filming on location. After a
two-hour chat over coffee, I was able
to take some pictures, just as reference
while she thought about filming. A
week later, she allowed me to show the
director and designer. We arranged a
visit in autumn that was not conclusive;
I was asked to continue scouting.
Another 40 houses were scouted but
this house remained on the wall as the
one to beat. Over the course of the two
months of scouting, I had gone back
regularly to see the owner and build a
rapport. Finally, the owner agreed if the
director wanted to use the house, then
it would be available. After another visit
in frosty December with the director and
designer, they finally decided to set the
drama here.
When starting in the Location
Department, I wondered how long I
would last as invariably our department
was always understaffed and dismissed
as the logistics hub for unit parking,
green rooms and toilets. Our hours were
long and the unit moves would push
us into very late nights. I imagined this
start in locations would inevitability lead
into a production management role. But
since the LMGI has become more vocal
about our role in the production process,
shining a light onto our profession with
the awards and bringing us together
from across the world, I can see my
career remaining and developing in the
Location Department.
It starts with an intuition for a location,
honed by years of experience, and ends
with a continued successful career
(touch wood) of bringing original and
exciting locations to the screen.
Editors' note: Moving adroitly between
film and television, Howard's credits
include The Secret Garden, Red Joan,
Taboo, A Monster Calls, Parade's End
and Great Expectations.
See more at
http://www.thelocationmanager.co.uk/