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
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16 • LMGI COMPASS | Summer 2026 mazes without ever leaving the city. This natural transition between eras and architectural styles greatly expands creative possibilities. Furthermore, there's a constant presence of greenery: hills, parks, ecological corridors and a topography that adds visual depth to any shot. My favorite projects are those where the city reveals its contrasts. I'm especially drawn to productions that take advantage of the transition between the historical and the contemporary, when a single frame can contain past and present simultaneously. Bogotá allows for this constant visual dialogue. It's a city of layers. For example, historic centers like La Candelaria and Los Martires offer a colonial and republican aesthetic with powerful visual impact: colorful facades, balconies, aged textures and an urban density that immediately lends character to the camera. These are spaces that work very well for period pieces or narratives with a more raw and authentic feel. In contrast, the north of the city presents a completely different landscape: glass buildings, contemporary architecture, corporate developments and vertical gardens that project a cosmopolitan image. In a matter of minutes, one can go from a heritage setting to a modern financial district. One of the projects that best exemplified this breadth was the film Triple Frontier. We saw how the city could transform itself from mountain neighborhoods with a dense, urban atmosphere to central areas with an institutional and modern character, integrating multiple layers of Bogotá within a single narrative. Similarly, in Mile 22, attack and chase sequences used emblematic locations in the city. The way we combined modernity, road infrastructure and recognizable urban spaces of walking the streets, exploring territories, understanding communities and building trust. Having started from the ground up gave me a comprehensive perspective: I know the work of a location scout, the needs of the set, the director's demands and the logistical challenges. But what truly defines my path is the conviction that every space has the potential to become a character, an atmosphere or the emotional catalyst for a scene. For me, this profession isn't just technical; it's profoundly human. It's about interpreting a script and going out into the world to find it a real home. It's about persuading, listening, imagining and bringing it to life. After all these years, I still feel the same thrill every time I discover that place that makes the whole team say, "This is it." Stevie: WERE YOU BORN IN BOGOTÁ? IF NOT, HOW LONG HAVE YOU LIVED THERE? DD: I was born in Cali, a city in the southwest of the country, spread across a sun-drenched valley and internationally recognized as the world capital of salsa music (and dancing of course). Growing up in Cali means growing up in a culture where rhythm, closeness and community life are essential parts of one's character. As Cali isn't a film production hub, I packed my bags and moved to Bogotá in 2007 to study production at Manuela Beltrán University. I like to say that although I was born in Cali, it was in Bogotá that I found the environment that allowed me to turn my passion into a solid career. Stevie: WHAT DO YOU THINK IS THE PRIMARY DRAW FOR FILMING IN & AROUND BOGOTÁ & ITS SURROUNDING AREAS IN GENERAL? DD: Bogotá is extraordinarily versatile. It's a city that, in visual and narrative terms, offers a breadth rarely found in a single Latin American capital. Production can move seamlessly from historic streets steeped in heritage to modern, corporate IN MY CITY: BOGOTÁ La Candelaria