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/924095
"Finding a place to build a full-scale lighthouse was not easy," Jones recalls. "We did extensive scouting and logistical analysis and settled on Hastings Point, which is about 45 minutes south of the studio. The great challenge with that location was that it took quite a lot of time creating a set that could be put in a place as sensitive as Hastings Point. We chose to build on a grassy knoll, where locals go every day. We had to spend a lot of time in the community talking about their concerns: One was that the grass wouldn't grow back, but eight weeks later, it has." "The Hastings Point site has protected animals and plants, so it's environmentally fragile," Brzeski adds. "It has rare Aboriginal arti- facts dotted across it, so it was culturally sensitive. And there was a small community who cared for and loved the location, so there were social pressures. The site required three months of occupan- cy, so there was constant engagement and management by loca- tions to ensure Aquaman had a successful shoot and got the shots we needed." Brzeski describes the location looks he needed. "I wanted Canadian coastline, Italian coastline, as well as mythi- cal island and water elements," he says. "We needed to find all these locations in a reasonable distance from our base and we did. Duncan understood what I was trying to achieve, but he also understood the work that would go into fulfilling de- sign aims. He knew construction would need time and space, set dec would have needs, lighting would then have their needs and so on. "There's a lot more equipment and logistics that go onto a location now," he says, referring to movies heavy on visual effects. "Location managers not only need to consider the main unit shooting needs, but also the splinter units, the VFX units and the aerial/ drone units. Almost every location had to shoot full- on plates at different times of the day. The combi- nation of all these teams and their film combine to form the big picture." Cornwell adds, "VFX-heavy films have definitely changed the way we approach films—including loca- tions—from changes to how we shoot scenes (green screens, etc.), the need for logistics for VFX close to set (capturing extras/cast/props/set dressing) and the need for background plates." Traditional LM skills are still essential, however. Brzeski says, "Duncan worked behind the scenes not only to secure locations, but also form relationships with Aboriginal communities, coor- dinate road construction into difficult sets and ensure that crew With Aquaman, his work with dolphins proved invaluable. "Dun- can was one of the best location managers that could have done Aquaman!" the film's production designer Bill Brzeski says. "His background and love of the ocean was what we really needed. Also, his knowledge of making large studio movies was very help- ful when dealing with local politics and large corporations." Thor: Ragnarok, produced by Marvel Studios and distributed by Dis- ney, reportedly had a budget of $180 million. Aquaman, to be dis- tributed by Warner Bros., reportedly has a $160 million budget. The film Aquaman, which stars Jason Momoa as the title char- acter, tested Jones' persuasive skills. When director James Wan wanted to shoot key scenes at the Hastings Point Headland on the New South Wales far north coast, Jones, who served as su- pervising location manager, skillfully overcame strong communi- ty opposition. Locals were already sensitive about possible harm to the environment and impact on local amenity. When Aquaman came calling, nearby residents were concerned that the site would be off-limits for a few months while the DC Comics block- buster took over. The production worked hard to resolve this by providing extensive areas accessible to the public during their visit, and even moved the schedule to accommodate a wedding. Practical locations marry with CGI to produce what audiences see on the screen in big CGI films. Above: Practical shot of Sakaar Wastelands, also known as the Bullrin Quarry. Photo courtesy of Duncan Jones/LMGI. VFX augmenting the location completes the final illusion of an endless wasteland. Movie stills: Photos courtesy of Marvel Studios and Walt Disney Studios Motion Pictures.