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
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LMGI COMPASS | Summer 2019 • 23 O N A L recently, His House, a new regency feature from first-time director Remi Weekes. My route wasn't an easy one. England is a class-based society. Early on in my career, I was told to lose my dirty accent in order to be reputable within the industry. I'm pretty thick-skinned and things like that just make me dig my heels in more, I like the fact that I'm different and I've never tried to hide the fact that I'm from a working-class background— I've always believed that it's not where you're from, it's where you're going! I find that for as many people who think that way, there are twice as many that don't, so you just have to take it all on the chin. I've been working in the Location Department for 14 years now. I've been very busy for the past year since taking up my role as chairman for the Location Department branch of BECTU (Broadcasting, Entertainment, Cinematograph and Theatre Union)—the UK's media and entertainment trade union, representing all industry crafts. I was the Location Department representative for the historic vote for a collective agreement for major motion pictures. The deal was a decisive vote with a majority of 87.61 percent of the UK film industry voting in favour. The deal includes payments for overtime, night work, sixth and seventh consecutive days, time off clock, meal penalties and removal of the grace period. These talks were crucial and will provide departments and producers with clarity and industry stability. As a working mum of two, I'm very keen to help other mothers looking to return to work. No job is easy with children—and our job is especially demanding and frequently may require us to travel. I have been very fortunate in my career to have worked for companies like Warner Bros., whose company policies are based on family values. They have always been very supportive of me. I think there are a lot of issues being raised at the moment regarding women in the workplace. It's equally important to highlight companies with good practices, as well as women with success stories to educate the next generation that things are moving in the right direction. I have had two pregnancies whilst location managing on big features—I was really well looked after and I'm so pleased to see so many of my co-workers having the same experiences. I often get asked, how do you do it? What's my secret? The truth is everyone will have an opinion but only you know what you're capable of. My little Bill was five days old when I had a call to go scouting for a particular tree. They were extending the Warner Bros.' Harry Potter tour and the art department wanted a particularly large pine tree that they could take a print of to replicate in the new forbidden-forest section of the tour. It was a beautiful summer and I had a good idea of where I needed to look so I took the job and took the baby with me. I was literally walking around country parks taking pictures of beautiful trees with him strapped to my chest—we had a great time. I think it's important to inspire people from all walks of life to follow their dreams. I trained as an actress as I always loved film. I fell into the Location Department and so many creative opportunities opened up for me. From getting the script very early on in a project and finding locations that can help shape the entire look of a movie to finding those hidden gems that you know are going to creatively implement someone's vision—I truly have the best job in the world. I was incredibly lucky to find a mentor in location manager Sue Quinn, LMGI who has trained me and passed on a wealth of knowledge. If things ever get tough, I know The official location picture from the movie The Young Victoria A very pregnant me (7 months) and Emily Coldwell for the Armistice Day sequence on Wonder Woman. I was location manager for the Trafalgar Square sequence, as it was period, we were put in costume so we could move freely around the square.