Location Managers Guild International

Summer 2026

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/1546164

Contents of this Issue

Navigation

Page 47 of 67

46 • LMGI COMPASS | Summer 2026 It was 2020 and he was working on Martin Scorsese's Killers of the Flower Moon, one of the highest profile productions ever to be filmed in the state. At the same time, Sterlin Harjo's new television series Reservation Dogs—whose pilot Kucharski had been working on before COVID shutdowns—was picked up for its first season. "Sterlin did a bunch of smaller independent feature films that were really brilliant, very thoughtful," Kucharski says. "Even when it's a dark, serious subject matter, he's got a way of bringing levity. I made what at the time was a crazy decision to step away from a Martin Scorsese project to work on a TV show. Working on Killers of the Flower Moon was such an enlightening learning experience, it was a tough decision." But the choice would prove transformative, shaping a synergistic creative partnership in northeastern Oklahoma over three seasons of the groundbreaking Indigenous dramedy, and ultimately leading to The Lowdown. Building Truthstorian Lee Raybon's World Kucharski understood that Tulsa's complex history and offbeat local culture needed to mirror Lee's inner life and define the story's emotional identity. Ethan Hawke's performance as Lee Raybon gains much of its power from how physically connected the character feels to Tulsa. Hawke moved his family to the area during filming and explored its local haunts, soaking up the vibe of the city's neighborhoods to better inform his portrayal of the quirky amateur detective. The team committed to a stripped-down ethos similar to Lee's own investigational approach: go where life happens. "This character manages to amble through all these different landscapes and cultural zones while never truly being a part of it, always an observer," explains Tonner-Connolly. One of the defining production choices on The Lowdown was to film inside real, operational spaces whenever possible. They spent months traversing a patchwork of neighborhoods, industrial sectors and overlooked pockets of infrastructure to negotiate access to buildings and transitional spaces: abandoned strip malls, aging motels and municipal buildings with decades of wear. Apartments were borrowed, offices adapted to feel like evidence of lives already in progress. The city's layered architecture became one of the production's greatest assets. Old oil wealth gleams in Art Deco towers and sprawling estates while working-class communities Hood Owl Bookstore Before & After

Articles in this issue

Archives of this issue

view archives of Location Managers Guild International - Summer 2026