50
•
LMGI COMPASS
|
Fall 2024
PM: What got you interested in the industry?
SRC: My siblings and I were always at the video store looking
for new films and making short films. We were obsessed with
horror films and my parents would do various film genre
movie nights to broaden our horizons. I fell in love with
cinematography and found myself in film school.
I started in the indie world, working various jobs. I fell into
location scouting on one of those jobs and enjoyed the creativity
in location scouting. I love the idea of finding a character's
world; the place where they interact and live is so important.
I mean, you can walk down any street in life, but when you're
telling a story, it has to be the street, it has to offer the look and
the situation. The location must have the right qualities if you
want it to feel authentic.
PM: How long have you been working in locations and what
do you primarily work on?
SRC: I've worked in locations since about 2012. I started out on
student films, then went to indie films as location manager in
the indie world until I joined the union. I've worked on all sorts
of projects and am always open to exploring various medias.
Recently, I wrapped up
Freakier Friday with Danny Finn/LMGI
and I am currently working on a project with Mandi Dillin/LMGI.
Prior to this. I worked on
Venom 3 and last year, I worked on
MaXXXine, which was a super fun project.
PM: Was there a particular moment while scouting or
assistant managing that really made you think about this
field as a long-term career worth pursuing?
SRC: I don't think there was one particular moment. I think a
lot of events led me here. When you work on a film as a location
person, you have various wavelengths of creativity you must
attach yourself to during each phase. I enjoy this process. When
I came into film, I knew this was where I wanted to be. I had
worked all sorts of odd jobs and there was nothing that satisfied
me. I'd learn all there was to learn and move on. Working on
movies was different. The creativity and collaboration with
various filmmakers made locations very exciting.
Although there is a blueprint, the variables change just enough
to keep my attention and I am intrigued by the chase. Something
in me is attracted to the chaos. I enjoy the knowing but also
the not knowing, the gamble it takes to line everything up and
watch it fall in place, and the high that comes when all that hits.
PM: Are there particular people or productions that have
inspired you to take this current career path?
SRC: I started collaborating with my siblings, Sean Hernandez
and Remy Elles. We all worked on indie films together, then
later, films like Michael Bay's Ambulance with LM Rob Gibson
Records Room
