LMGI COMPASS
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Winter 2019
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45
KYLE HINSHAW: I started my career in film school at Georgia
State University. I worked on staff at Tomorrow Pictures during
college, editing and producing small, client-based projects
until I graduated. In 2009, I got an opportunity to work with
a local location manager, Mike Riley, on a feature film for the
Cartoon Network. He needed a location assistant who could
make maps, and I jumped on that opportunity as quickly as I
could. Luckily, I had some photoshop skills I picked up during
my stay at Tomorrow Pictures, and was able to piece together
some maps based on a few references he gave me. I continued
to work my way up in the Location Department over the next
few years, and ultimately started managing on 2nd Units and
reshoots. I met a lot of really great producers that I stayed
in touch with over the years, and one of those connections
ultimately led to getting hired as the local location manager on
Baby Driver and working with Doug Dresser, LMGI.
LR: You and Doug Dresser won an LMGI Award for Best
Contemporary Feature for Baby Driver. How did the challenges
of First Man differ from putting together Baby Driver's extensive
and complex chase sequences?
KH: First Man was a very different type of project compared to
Baby Driver. On Baby Driver, we were piecing together these
incredibly complex driving sequences in urban areas with
stunts and special car rigs, trying to figure out how we could
accomplish the work in the daytime and scheduling around
events in the city. Director Edgar Wright embraced Atlanta as
the setting of the film, so we were shooting the streets as they
really existed. Not much changed from a design perspective,
even the geography of the chases were relatively true to the
actual layout of streets in Atlanta.
For First Man, I was tasked with recreating NASA in the '60s,
and finding period-correct environments that production
designer Nathan Crowley could make over and match to the
iconic photos and footage on file with NASA. Some searches
were easier than others—but most of the time we were
finding locations that were originally period correct but had
been updated. We would have to take them back in time a bit
with set dressing, or hide their modern updates. The biggest
challenge in Atlanta is the older architecture is slowly being
