Location Managers Guild International

32 • LMGI COMPASS | Fall 2020 32 • LMGI COMPASS | Fall 2020 Richardson says, "We needed an airport that wasn't a large inner- city airport. It would have to be isolated on its own because we wanted woods right next to it. We called around and found out that Waterloo goes down in the evening because it does not have many planes coming in at night. We needed a big enough runway to bring our 737 in. We also needed to get the plane right beside the road and the woods. The scene really pulls at the heartstrings. We watch the children run from the woods to the plane. We were able to do it all at Waterloo. We combined using its runway with a hangar adjacent to it that was privately owned and had wooded areas next to it. It worked out really nicely." Production designer Elisabeth Williams adds some detail. "When the children go down the ravine, we built some logs into the side of the ravine, along with some paths so they wouldn't fall," she says. "Then when they come to the edge of the airport, we created a path. We also built that little brick structure on the outside of the gate where they threw some rocks at cars." Safety was paramount. "If you want something that has ravines," Richardson adds, "you've got to know that you can get your cast, crew and their equipment in and out safely." USING TWO LOCATION TEAMS ON THE SAME PROJECT When Richardson started Season 2, there were two location teams, a confi guration that continued through Season 3. Mark Logan, whom Richardson had known for many years, served as the other LM. For Season 4, the Location Department was restructured. "I am the su- pervising location manager, and my assistant, Jeremy Pinard/LMGI, will receive an upgrade part way through the season to location man- ager. He and I have done most of the episodes as we have been work- ing as a team for many years. On Season 4, Jeremy will upgrade, start- ing block 2, to location manager. I will do all contractual/legal-related requirements (fi lm agreements, etc., as well as all director scouts, meeting with producers, ADs, production designer, supervising the scouts, etc., and all budgeting. Jeremy will focus mostly on logistics— permits, booking pay duty offi cers/ETF when required, lunchrooms, etc. We will work in conjunction on all blocks under my supervision. "This is a newer way of managing the Location Department, and it seems to work quite well so far! It certainly helps to keep continu- ity for a lot of the departments, in that they know who to coordinate their needs through in a much simpler manner. For example, the pro- duction designer will meet with me in relation to location options. 1st ADs only come to me regarding scheduling and location availabil- ity. The 2nd AD would coordinate with Jeremy regarding BG Holding requirements/lunch room requirements and transportation depart- ment for unit parking. Some divide the work differently ... one does the scouting for everything jumping ahead and one handles logistics on all episodes or they divide up locations." According to Richardson, "Seasons 2 and 3 had 10-15 locations per block. On Seasons 2 and 3, we had two location teams, each consisting of two LMs and two ALMs. Also, between these two, we had four ALMs and one location scout and typically at least three location PAs on any given day. Season 4 seems to have a lot more locations … but I can't tell you why without giving away the story line." Williams and Richardson have worked together since Season 2 of The Handmaid's Tale. Both are on Season 4, but the production shut down on day 11 because of COVID-19. "I love working with Anne," Williams says. "Because of her experience, there's an ease to the way she operates. She's easy to communicate with on a technical Waterloo International Airport

• Cover
• 40-43 Hollywood Forever
• 44-53 6 UNDERGROUND
• 54-59 GRIFFIN
• 62-63 Martini shot