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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LMGI COMPASS | Winter 2018 • 33 Myhre enjoys a "mixture of design," with builds, as well as actual locations. He recently wrapped Mary Poppins Returns and was ecstatic that a key mu- sical number was shot at actual loca- tions all over London, his favorite city. Since obtaining an invitation to join the Academy requires letters of recommen- dation from two AMPAS members, a few other good qualities for a location profes- sional were mentioned. Thomas states, "A good location person is a creative partner in the designing of the movie ... someone who is simply showing me pic- tures does not last very long." Like most good scouts, Howard has amassed a vast library of 27 years' worth of collecting images. These files play a very important part in shaping the process of filmmaking. Ampah says, "An outstanding location professional will think outside the box for something that is written; a unique look to add something to the project. You must also 'show' the location, not 'sell' it like a real estate agent." Wasco mentioned deceased location scout Ken Hunter, LMGI as a shining ex- ample of how good photography could influence a choice of location. The prin- cipal criteria for AMPAS membership is that you are creative, intelligent, and dedicated and demonstrate a strong work ethic accompanied by a good aes- thetic sense, so that your body of work reflects the Academy's determination that you have achieved unique distinc- tion or made an outstanding contribu- tion within your field. Thomas states, "Invitation to member- ship to the Designers Branch of the Academy is extended to an artist who has made extraordinary contributions to the craft of moviemaking. After the two letters of recommendation from members in the Designers Branch have been received, the Academy will ask for that individual to send his résumé. Each spring, the new members committee within the Designers Branch evaluates each application, reviewing credits and recommendations. The entire Awards Committee votes to decide who will be elected." He goes on to say, "There are some great location managers out there. They should speak to the production designers that they work with and ask them to sponsor them for membership. My suggestion to everyone is continue to work hard to make movies. The hope is that someone will see and recognize that work and recommend that location person for Academy membership." Wasco is supportive and thinks it's im- portant that location professionals be included in the Academy, that becoming a member is a validation of your work. Oppewall says, "An applicant should have a quality of work over an extended period of time that is recognized by oth- er Academy members and be at the top of their game as location professionals. The fact that some people got in can be attributed to the superior quality of their work and the fact that they are extremely well liked and respected by the design departments. They need to listen imaginatively and be able to ex- ecute ideas from the designer." Ampah received a commendation from the Designers Branch of the Academy for Million Dollar Baby, working closely with his frequent collaborator, legend- ary designer Henry Bumstead. He also made three pictures with Wynn Thom- as, one of his sponsors. He believes the number of projects and quality of films were factors, as well as diversity, not only to include people of color, but possibly other professions in the indus- try. Balton said she was happy to bring up Kokayi's name for membership; with his résumé and industry/community outreach, it was a no-brainer. Ampah said since becoming the first African- American location professional (he will be celebrating his 50th anniversary working in the production industry next year!), he felt a responsibility to help others get into the industry and feels the same responsibility as an AM- PAS member to help others get into the Academy. Balton added, first among the requirements is that you have a résumé that includes Academy-nomi- nated films and you work with Acade- my-winning (or nominated) designers and/or set decorators because they are your sponsors. Howard said that the primary start to the process is to get recommendations from production designers you work with that are members of AMPAS. His letters of recommendation were from a location manager in the Academy and a designer on the governing board. Along with his résumé and bio, he in- cluded major studio executives he has worked with on numerous projects with Warner Bros. and 20th Century Fox stu- dios. Your reputation and connections are also important. Balton "loved that Elston got in because a production de- signer brought his name up! I was very The location manager is by no means a logistical position. He or she is a key creative member of my team. " " –ALEXANDER PAYNE