guy I met on that project got me on a show lming in Louisiana
called The Maze Runner. So, I packed up my car and headed
south. That was my rst gig as a location PA. It was a real trial
by re, but I genuinely loved doing it. Now, I primarily work on
feature lms but have also done some episodic work. Lately, I
have been working on various Marvel projects. We just nished
up Creed III with Michael B. Jordan.
PM: Was there a particular moment while scouting/
assistant managing that really made you think about this
fi eld as a long-term career worth pursuing? Are there
particular people or productions that have inspired you to
take this current career path?
JB: There was no "aha moment" for me in terms of pursuing
this career. Falling into locations and beginning to progress in
Porto, Portugal
the department happened very organically. The lm industry
in Louisiana was very rocky. After nishing the feature lm The
Free State of Jones, the state suddenly capped its tax incentive,
creating an atmosphere of uncertainty for production. Work
dried up for a lot of industry professionals when that happened.
I decided to move to Georgia—which was booming—and
basically started all over again. In Georgia, I was hired by SLM
Mike Fantasia/LMGI on Ant Man and the Wasp, and for some
reason, that was when I nally felt like I could relax, that I was
somewhat secure in my career path. It was a good long run with
a lot of responsibility from beginning to end. Up to that point,
the stability in my career choice was lacking.
PM: So what's next? Is there anything you are aspiring to
do in locations?
