and recognize and into spaces we haven't seen before. A whole
new world will open up. There is an emotional shift in the story and
therefore, a visual shift as well.
"Once she moved houses, that was the first break with the Gilead
we knew. There's an evolution in the worlds she discovers. Therefore,
visually there will be an evolution as well. There will be this feeling of
doom and starkness and Puritanism. We'll be using more buildings of
the brutalist architecture."
Todd is particularly concerned with the look of the show as it
Anne Richardson/LMGI and Jeremy Pinard/LMGI.
Photo courtesy of Anne Richardson/LMGI
THE HANDMAID'S TALE LOCATION TEAM SEASON 4:
Anne Richardson/LMGI Supervising Location Manager
Jeremy Pinard/LMGI 1st Assistant Location Manager
Art Clarke Location Scout
Laurance Wiese Assistant Location Manager
Mark Beaulieu Location PA (Season 2) &
Assistant Location Manager (Season 3)
Eddy Lomas, Marcos Gomez, Jordon Walsh, Laura Walker
Location PAs
The other team on Seasons 2 & 3 was
Mark Logan Location Manager
Warner Strauss/LMGI Assistant Location Manager
moves forward. "We want the reality of seeing out the windows," she
says. "Because of COVID-19, that may change in Season 4. There will
be a lot of safety and health challenges, so we may be shifting more
into the studio. People are leery of going into unknown spaces. We
don't know for sure when we're going back to work, but all of us are
talking about when we do, how can we do it safely?"
HOW RICHARDSON BECAME A LOCATION MANAGER
Richardson got into location work through her father, Ed Richardson,
who was the executive producer of Canadian Television's The Littlest
Hobo in the late '70s and early '80s. The show was Canada's version of
Lassie, with Hobo, as beloved in Canada as Lassie was in the States. "I
started as a trainee on The Littlest Hobo and fell under LMGI member
Aine Furey's wing," she says, "she trained me in locations. The crews
are 10 times the size now, and there's a lot more to deal with than way
back then."
Richardson quickly discovered the secret to success. "The more
you do location work, the more you have to understand there are
always going to be hiccups," she says. "You always need a Plan B
because there's a risk in any location shooting. You need to be
prepared to just deal with issues as they arise. There will always be
hurdles to overcome. The Handmaid's Tale has always run pretty
smoothly. We have great teams, great crews, and for the most
part, they give us enough time and enough people to prep locations
and get proper permitting in place. I never felt I was under that much
pressure that we couldn't accomplish what they asked us to do."
Private home in the Bridle Path Area,
Toronto. Photo by Elly Dassas/Hulu
