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LMGI COMPASS
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Summer 2023
IN MY CITY: VICTORIA
Government House Ballroom.
Photo: Paul Russell/LMGI
Victoria, Photo: Jason Nolan/LMGI
companies to provide certain
non-film resources like tents
and protective cardboard but
given our relative isolation,
it requires a great deal of
organization and planning to
ensure we have what we need.
It also requires creating
positions like prep van drivers
and additional vehicles to
ensure our equipment arrives
where and when we need it
as delivery from the rental
houses on the first day of prep
isn't an option.
On
Maid, we had 15-20 ac-
tive locations in some state
of pre/shoot or wrap on any
given day. The logistical re-
quirements dictated we be
extremely organized as there
is no opportunity to run to an
equipment rental house on
the day.
Stevie: WHAT ARE YOUR FAVORITE
OR MOST MEMORABLE FILMING
EXPERIENCES?
PR:
There are so many shows
I've done over the past 21
years that all provide unique
experiences or unique insights.
When I first started on
Dark
Angel,
the scope and scale
of that show was staggering.
There was a real sense of awe
for me as a young PA from
a small town on Vancouver
Island witnessing and being
involved in that scale of
production.
As a location manager on the
show, I'm most proud of was
Season 4 of
The Man in the
High Castle.
Stepping into
that world was a real eye-
opener. I took a lot of cues
from Nicole Chartrand/LMGI
(location manager Seasons
1-4) and how she built and ran
her department. I have used
examples from that model to
build my department similarly
on every show since. I'm very
proud of that project.
Stevie: DOES VICTORIA OR
BC OFFER ANY INCENTIVES TO
FILMMAKERS?
PR:
Yes. Victoria offers an
additional tax credit on top
of the BC Provincial tax credit
of 40% on all local resident
labor.
Stevie: WHAT ARE YOUR TOOLS OF
THE TRADE?
PR:
My attitude, experience
and enthusiasm.
Stevie: WHAT DO YOU LOVE ABOUT
THE JOB?
PR:
What drew me to loca-
tions was the opportunity to
straddle the line and be a liai-
son and ambassador between
our industry and the public.
We represent the needs of
production, but we also have
a unique opportunity to work
with the public and educate
and exceed their expectations
of the filming process.
