Location Managers Guild International

Shino, and that drove the focus of the space. We highlighted the actual locations used in the movie and how they inspired the director and the story, also how they were enhanced with color and set dressing to evoke the true feeling of being in that world. We have scout pictures of the family house, the spot for the café and the warehouse where the factory was created—all on the wall of the gallery." "People love knowing where movies are lmed," enthuses Kokayi. "They love seeing their towns and streets on the screen. They travel all over the world to visit these sites, to New Zealand to see where The Lord of the Rings was shot, or to the U.K. for the castle used in the Harry Potter lms, for example. "Two years ago, I went back to Manseld, Ohio, for the 25th anniversary of The Shawshank Redemption. Manseld sits 70 miles between Cleveland and Columbus with no air service, yet each year thousands come to visit the prison and other locations around the town. This year, well over 2,500 people came for the celebration weekend. That's the power of lm and how it can spark an industry in the most remote of places, and how it becomes a part of the culture and resonates on so many levels." Changing Lenses on the Past Kokayi is also a member of the museum's Inclusion Advisory Committee. He has broken barriers throughout his career and knows what people can accomplish when given a chance. "Hey, I'm just a poor kid from St. Paul, Minnesota, and here I am in the Academy. I was the rst African American to join the Teamsters as a location manager. They told me I would probably be asked to scout downtown or in the hood—at least until people could see what I could do. But all my early jobs were in Santa Clarita which was the complete opposite! Now there are over 30 African American union location managers and assistants, my son among them. From being the rst—wow, that's something to see! "This is a very active committee," adds Kokayi. "Whoopi Goldberg and Marlee Matlin are on it. People from every kind of background and ability are represented. We want to make sure that the exhibits are accessible to people of all abilities and we speak to tell the truth about the history of lmmaking. "Did you know that when Hattie McDaniel won the Oscar in 1940 for best supporting actor for her role in Gone with the Wind ,she wasn't allowed into the theater for the premiere in Atlanta? Then, at the Academy Awards in Los Angeles, she had to sit at a segregated table at the side of the room. She couldn't sit with the Gone with the Wind party. I'm glad these stories are now being told." "The committee's input has been invaluable to the museum's curatorial team during exhibition planning—it's a tremendous resource," adds Sophia. "Our mission is to represent a broad spectrum of global movies and moviemakers and embrace a commitment to diversity and inclusion. We work hand in hand with the committee to make sure we address these topics head on, and as truthfully and sensitively as possible." A Script for the Future Seventeen task forces representing each of the Academy's branches also work collaboratively with museum curators to offer their expertise. They draw from an impressive collection of props, scripts, photographs, objects, moving images, oral history recordings and more than 2,000 interviews from various sources that the Academy has amassed over the years. Says Sophia, "The exhibitions are modular, so our content on view will always be changing. We have just announced our rst round of new exhibitions for the 2022-2023 season that includes one that traces the founding of the studio system in Los Angeles called Hollywoodland, in-depth looks at The Godfather, Casablanca and Boyz in the Hood, and a focus on production designer Sarah Greenwood and set decorator Katie Spencer." Their exhibition will showcase the design process, highlighting how the crafts within the design branch work together to create the world that is ultimately seen on the screen. "In May, the museum will be screening John Singleton's 1993 lm Poetic Justice to mark the 30th anniversary of the Los Angeles uprising," shares Kokayi. "I have been invited—as the lm's location manager—to participate in a panel discussion following the movie, along with John's daughter, writer Justice Singleton and actor Roger Guenveur Smith. "I hope that locations will be a bigger and bigger part of future exhibits. I hope there will be seminars and exhibits about locations. Take one or two award-winning lms and break down the process used by that location person or team to get something on screen. "By nally having a presence in the Academy, we will be able to tell more of our part of the story—for me as a person of color and as a location professional. This is just the beginning—there's the promise of great things ahead for us here at the museum. I'm so happy we are included, that there's a light shining on what we do. It's a dream come true." Sophia agrees, "Designers have been advocating that we talk to the location managers because they know so much about how and why movies are lmed where they are. We are always looking for new ways to explore how movies are made." The Academy hopes that visitors will be both enchanted and enlightened by all that is on display in the museum's grand opening. It has taken bold steps to call attention to the missteps of the past and embrace the diverse chorus of voices that contribute to the making of movie magic—then, now, and in the years ahead! Kokayi Ampah/LMGI & son, Miles Beal-Ampah/LMGI

• Cover
• 16-23 In My City Zagreb
• 24-33 Cover-Story_Under the Banner of Heaven
• 34-43 MPA MUSEUM
• 44-51 NEXT GEN