We own an entire block of houses with nothing behind them but parking for 100 cars and a large base camp
M O U N T A I N V I E W F I L M L O C A T I O N S M O U N T A I N V I E W F I L M L O C A T I O N S
bit.ly/MountainViewFilming
FOR TOURS: 626-390-5604 FOR TOURS: 626
What one must realize, all
crew, no matter what their
role is an important part
of the circle and must be
respected for their talent and
efforts to bring the production
they are working on to the
screen. Reading your script
and understanding the details
required is number one for me.
Introductions are a key element
in my opinion, to bringing
people together and having a
sense of family. I remember
location managing a MOW
with Diane Ladd in the key role
(Hush Little Baby) and by day
two, she knew everyone's name
and shook hands, introducing
herself to each crew member.
That took a big effort on her
part but it set the tone for a
good friendly shoot. Most days
on set she would make me a
fresh carrot juice saying, "Aine,
it will give you a lift" and it did!
Such a lady, it was a pleasure
working with her and the
director of that MOW was Jorge
Montesi, whom I had worked
with on many occasions. What
a great bunch!
I was lucky to work with very
talented directors, however,
Ian Toynton did stand out, as
did others. Producer Gil Grant
was always a pleasure to work
with and LM two of his series
(Relic Hunter and X111). In
1995, I had the pleasure of
working with Haskell Wexler,
cinematographer fi lm icon (and
LMGI Humanitarian Award
winner) on Michael Moore's
Canadian Bacon. Haskell was
a true gentleman and I was
in awe of his demeanor and
talent.
Having some 400 hours of
screen time and nearly four
decades of work, I felt it was
time to hang up my location
manager hat, given much
younger people have fresher
ideas and more energy. I just
woke up one morning and said,
I'm retiring … I'm sure a lot of
champagne corks were popped
when everyone got the news.
The profession has got better,
faster, more effi cient, bigger
crews, video villages and some
long overdue recognition for
location managers and scouts
who are now considered part of
a creative team thanks to the
tireless volunteer efforts of the
LMGI, who put our profession
in the limelight. With more
location professionals around
the world, it is amazing that
one can network with almost
anyone in any country for
ideas, advice, etc., as a
member of the LMGI. What a
giant step for the betterment
of moviemaking. In Ontario,
we are members of the DGC
and rarely travel outside of the
province to work but with other
unions the rules vary.
I can honestly say, I was
blessed given producers
took a chance on me and I
kept working, over and over
again, mostly with the same
producers. I loved going to
work each day, meeting new
people who taught me so many
things that gave me "lessons
in life," getting paid well, being
fed each day but I didn't realize
just how much stress goes with
the job until I retired.
I don't location manage
anymore (as I am full-time
babysitting for my young
grandchild) but have helped
when I am available and my
