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 | Winter 2022 • 35 Production designer and art director Jim Bissell said of his longtime friend and colleague: "She was one of the rst women to make her mark as a world-class location manager, and she has physically blazed many a trail in her chosen profession—happily, I have blazed a few with her in our long friendship, starting in the Paci c Northwest on Harry and the Hendersons and continued to Steven Spielberg's Always in 1988." Pat's hard work and talent led to her getting work with some of the creative industry heavyweights of her time. Based in Seattle, she worked on several commercials and movies before being called to South Carolina to work on Dino DeLaurentis's Firestarter. Since, her credits also include Dante's Peak, Assassins and The Patriot. "I love working locations, love nding them, knowing that I am the rst one in and the rst one out, and being able to train other women, like Vicky Bergland Davenport/LMGI, who nominated me. I'm happy knowing that today, talented women are at the top of my eld," she concluded. "Inclusivity makes the Guild stronger." Patricia shared that she was also happy to teach any young man in whom she saw potential, like the re ghter she met while on location in Montana—our own former LMGI President, location professional Mike Fantasia. GETTING US THERE Without the support of hardworking lm commissions, all of production's hopes and starry-eyed visions are not going anywhere! "They're our friends, they're our allies and they are also the experts who have answers to in nite amounts of questions … and solutions to countless dilemmas that may pop up!" said actor Chris Geere (This Is Us, Hacks, Modern Family, You're the Worst) as he introduced the nominees for OUTSTANDING FILM COMMISSION—all distinguished for going above and beyond in their support for the lming that lands at their front doors. The Bath Film Of ce helped the Bridgerton team create its opulent world by smoothing the way for production to shoot scenes on many of the city's iconic locations. The Estonian Film Institute/Film Estonia granted Tenet the use of its highway for driving stunts, and permission to restore Linahall, a massive derelict compound from the 1980s Olympics, for its explosive opening scene. The Liverpool Film Of ce spared no effort to accommodate the third season Tin Star: Liverpool, coordinating residents and business with the needs of the production as it mined the city's iconic buildings and surrounding rural and coastal landscape. Screen Queensland lent its support to Love and Monsters with on-the-ground scouting for stunning, majestic and diverse locations. The Umbrella Academy was able to secure six blocks of Ottawa Street to recreate Dallas in the 1960s and keep it dressed for scenes such as a Civil Rights march and a military invasion shot intermittently over their six-month production schedule because of the help provided by the Hamilton Film Of ce in Ontario, Canada. PATRICIA FAY, TRAILBLAZER AWARD RECIPIENT PRESENTER JIM BISSELL LR MIKE FANTASIA/LMGI, PAT FAY, JIM BISSELL