LMGI COMPASS
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Fall 2023
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41
FLINT MALONEY:
In a nutshell, I thought we were not getting our due.
We have the ability to look and see and to frame a
shot and get the big picture. We know how to keep
our word and be reasonable with people on both
sides.
JOHN GRANT:
We needed to advance our screen credit, and
advocate for recognition within the industry awards
system.
LISA BLOK-LINSON:
I was not alone feeling that we were undervalued,
with credit for our work assumed to be under the
sole purview of production designers and directors.
Rarely were location managers mentioned in the
press about how the look of a film was achieved.
Here is what we had to say:
Beth Tate:
We are the first eyes on a location.
If we don't show it, the director
won't see it. And it has to be shot
so that it matches or maybe even
expands their vision. We needed to
do something that would elevate
us in the eyes of the industry.
DAVID BERTHIAUME:
There was a lot of scuttlebutt going around. We were
tired of being treated like PAs with a camera. We do more
than just take pictures. We find places. Everyone was
talking. It was in the air.
LESLIE THORSON:
I didn't even get an onscreen credit on my first Hollywood
movie. The studio policy was to only list two people
from the Location Department. I was so disappointed,
and it was the beginning of my understanding that no
one really understood what we did and we were not
respected.
Beth Tate scouts a dry lake bed, Southern
California, 1999; Photo courtesy of Beth Tate
