The Location Managers Guild International (LMGI) is the largest organization of Location Managers and Location Scouts in the motion picture, television, commercial and print production industries. Their membership plays a vital role in the creativ
Issue link: https://digital.copcomm.com/i/1545239
force of nature contained in a five-foot frame. Bavi single- handedly convinced the Kurdistan government to create a film commission after 10 years of meetings, economic studies and sheer perseverance. Working with her and her team was a dream. They brought together local filmmakers—ADs, producers, location managers, directors—a diverse group eager to exchange ideas and learn new ways and techniques for getting the job done. Our classroom was intimate and perfect for focused conversations and debate on why, how, when and where. These conversations were only made possible with the help of our intrepid translator, Mohammad. The program started as you would start any new show: reading and breaking down the script, research, logistics and what may or may not be feasible at any given location—and don't forget the art of how to communicate good and bad news to directors and production designers. We explored scouting techniques and mapmaking, as well as the ins and outs of getting a large-scale production into the most complicated locations. We had lively conversations about what may be expected from the Location Department and our responsibility to the crew. John and I shared forms that each of us has used over the years to help us communicate effectively to the production, as well as our budget, map and memo templates. And what seminar would be complete without a fun, colorful PowerPoint presentation? Well, we had one of those, too. Now, I'm not sure about you, but I think we often make things harder than they need to be. Perhaps it's our need to cover ourselves that we have backups to backups for locations and ways to ensure all the information is disseminated appropriately and on time. Going above and beyond to craft those layers add to a heavy workload, on top of what production already expects. When the participants shared that in Kurdistan scout photos, call sheets, maps— really, they just share addresses—are all shared with the director, producers and the entire crew via WhatsApp, I had to pick my chin up from the floor! I don't advocate for this on most productions but maybe close your eyes and consider it for a moment. If you don't break out in hives or feel a panic attack starting, maybe try it on your next production. Let me know how that goes. Enough of the classroom. Time to get out and scout! The city of Slemani—the Kurdish spelling—or Sulaymaniyah, as it is spelled in Arabic, and the Kurdistan Region writ large, offered many diverse options for scouting. We took full advantage! Everywhere you look, the landscape and environment were rich with color and light. From the bazaar to the mosque to the teahouse where Bavi's father, a local poet and celebrity, would frequent. Every small alley led to another hidden gem. I could envision scenes being filmed in every nook and cranny. One teahouse on a little backstreet in particular was begging to be the main character in a film. It was all so magical. Now, out of the city and into the countryside. Some would say we were well outside "the zone." Kurdistan offers many varied landscapes for distinct and unique locations. There were lush and fertile valleys surrounded by craggy, towering mountains. We scouted lakes, villages, roadside pomegranate vendors, hippie festivals and encampments set up on beaches. Oh—and then we uncovered floating coffee houses in the middle of Dukan Lake. Picturesque white towers dotted along mountain ridges turned out to be lookouts on the Andrea Keener/LMGI (center) and class. Courtesy of Andrea Keener/LMGI