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SPRING 2015The Official Magazine of the Location Managers Guild of America

TMSPRING 2015 / IN THIS ISSUEVolume 3 / Issue 24EDITORS’ DESK6LETTER FROMTHE PRESIDENT8CONTRIBUTORS11IN THE NEWSAt the AFCI LocationsTrade Show32TheThirdHALFLife afterlocations38ACROSSTHE PONDGlobe-trotting withlocation pro David BroderSouthern California. Photo by Mark Indig12LMGA AwardsCelebrating excellence onlocation worldwide20IN MY CITYReady to rumble inMotor City: tour withhigh-octane locationpro David Rumble42Location Managers Guild of America8033 Sunset Blvd., Suite 107Los Angeles, CA 90046Prsrt StdU.S. PostagePaidSanta Ana, CAPermit No. 45046MARTINI SHOT41° 48' 26" N / 1° 53' 4" ESPRING 2015The Official Magazine of the Location Managers Guild of AmericaKNOW YOURRIGHTSAdvice on copyright andlocation photography17career focusVeronique Vowell26FILMINCENTIVESIs the bubble here to stay?©LOVE PASADENA MOREREASON #365: PASADENA IS FILM-READY3 DAY TURNAROUND• OVER 1,000 LOCATIONS• WITHIN “THE ZONE“photo: Jaime PhamON THE COVER2015 LMGA Awards shine.Photo by Craig MathewLMGA COMPASS | Spring 2015 • 3

FROM THEEDITORS’DESK“Mediocrity knows nothing higher than itself; buttalent instantly recognizes genius.”—sir arthur conan doyle“Let us celebrate the occasion with wine and sweetwords.”—plautusWe are gratified by the success of our colleagues as exemplified by the 2015 LMGAAwards. Truly an expression of excellence on locations worldwide, location professionalsaround the globe were thrilled to see acknowledgment of our craft. In this issue,we celebrate our SRO awards show at the Wallis Annenberg Center for the PerformingArts. The gala included Alfre Woodard, Debbie Allen, Ted Lange and Oscar-nominatedproducer Caroline Baron, as well as members of the industry press corps. Attendeesflew in from all over the USA, as well as South Africa, England, Jordan, Iceland andGermany. Multinational colleagues celebrated each other—our differences, similaritiesand contributions to the industry.We also explore omnipresent tax incentives and their impact on the location community.Chris Fuentes’ “Boom or Bust: A Hard Look at Film Incentives” and the Haber/Balton companion piece “A Necessary Evil? Incentives, Take Two” present differentviews on the realities of attracting film revenue.In a conversation with LMGA Award-nominated location manager David Broder (TheImitation Game), writer Alexandra Zeevalkink returns with her series “Scouting Acrossthe Pond.” UK native Broder takes us on a delightful tour of his three favorite locations.Continuing the celebration of our far-flung community, we look at life after locationmanaging with Mark Indig’s “The Third Half.” Balancing Mark’s foray into photography(creativity) are the tales of LuAnne Cadd (humanitarian) and Cassandra Heredia (logisticsto the nth power). We hone a variety of talents in our demanding jobs.And finally, attorney Bert Krages offers sage advice about knowing and protecting yourcreative rights as photographers and artists.Our departments in each issue include “Career Focus,” “In My City,” “In the News”and “Martini Shot.” Articles and photography submissions by members are alwaysencouraged.As we greet the return of spring, take a moment to savor the fact that we are fortunateindeed, as location professionals, to be a part of such a joyous, creative and vitalcommunity.Always a pleasure, never too busy,Marie, Stevie,Ken and LoriFor rates and availability please call Angelaat (805)579-8000 x4165View over 250 pictures on our website at:4 • LMGA COMPASS | Spring 2015

CONGRATULATIONSLocation Managers Guild of America Nominees© 2015 AMC Network Entertainment LLC. All Rights ReservedOUTSTANDING LOCATIONS IN A PERIOD TELEVISION SERIESTom TrigoBecky Beckstoffer

TMLETTERFROM THEPRESIDENTDear Members,During the after-party press interviews at the 2nd AnnualLMGA Awards Show, I was asked, “What does it mean to you,personally, to win the LMGA Award for Locations in a ContemporaryFilm?” I could not answer that question becausethere is little personally in the award.Don’t get me wrong, I was appreciative and it was great funto feel special for a night, to know that my peers judged thework as worthy of notice and for the confirmation that the location professionals onWild are in fact, location artisans. Receiving the award, felt like a ‘win’ for all locationprofessionals to me because it was the 2nd Annual LMGA Awards Show recognizinga profession that has been doing this previously unacknowledged work for decades.Winning this award, I have become more aware of the meaning of connectivity andresponsibility to our community to acknowledge our artistry.As president of the LMGA, I had the privilege of opening the show. I practiced myspeech, enunciating words, pausing for applause or emphasis but one thing I did nothave to practice was representing the Guild with presence, confidence and legitimacyas it was in the Wallis Annenberg Center for the Performing Arts, filled to capacity,that night.I sat in the audience and watched as commercial location manager David Doumengwas as charming and funny an award’s show host as any professional entertainer.Location professional Kokayi Ampah’s body of work rivaled any distinguished produceror director and location manager Klaus Darrelmann accepted his award for TheGrand Budapest Hotel with more gratitude for the confirmation from his peers thanSally Field’s memorable Oscar acceptance speech. Our Awards Show is new but thetalent and history of our members span decades.I encourage you to feel as good all year long as you did at the Awards Show by supportingyour Guild, all year long, with participation and membership.Thank you,Nancy HaeckerC MPASS Official Magazine ofLocation ProfessionalsPromoting Excellenceon Location WorldwidersrEditorsLori BaltonMarie HealyStevie NelsonKen HaberLMGA OfficersNancy Haecker, PresidentLori Balton, 1st Vice PresidentKen Haber, 2nd Vice PresidentEric Klosterman, TreasurerSinclair Anderson, SecretaryLMGA Administrative DirectorMarc BlackbirdLMGA Board of DirectorsMike FantasiaKevin FunstonWelton JonesJason KaplonJJ LevineAlex MorenoStevie NelsonHeather RossTony SalomeRebecca “Puck” StairLMGA Chairman EmeritusOrin KennedyWebmasterBeth TateThe LMGA Compass is published quarterly bythe Location Managers Guild of America.locationmanagers.orgTM Comments, editorial and photo submissionscan be sent to:compass@locationmanagers.orgPublisherIngleDodd MediaAdvertisingIngleDodd Media310.207.4410LMGA@IngleDodd.comwww.IngleDoddMedia.com6 • LMGA COMPASS | Spring 2015

Our focus is onMotion Picture & Television Fund and UCLA —working together for better healthMPTF focuses solely on the unique needs of the entertainment community.Recently, the health centers became part of UCLA Health, and you can restassured you’ll still find them in the same convenient locations close to whereyou work and on the studio lot with the Health Wheels mobile clinic.So whether you’ve always counted on MPTF healthcare or haven’t yetexperienced it, there’s never been a better time to explore the healthcareoptions available to you — now with the expertise of UCLA Health.1-800-876-8320 uclahealth.org/mptfLos Angeles, Hollywood, Mid-CityBob Hope Health Center335 N. La Brea AvenueLos Angeles, CA 90036(323) 634-3850Los Angeles, West Los AngelesWestside Health Center1950 Sawtelle Boulevard #130Los Angeles, CA 90025(310) 996-9355Santa ClaritaSanta Clarita Health Center25751 McBean Parkway #210Valencia, CA 91355(661) 284-3100Toluca LakeToluca Lake Health Center4323 Riverside DriveBurbank, CA 91505(818) 556-2700Woodland HillsJack H. Skirball Health CenterMPTF Wasserman Campus23388 Mulholland DriveWoodland Hills, CA 91364(818) 876-1050

CONTRIBUTORSChris FuentesChris Fuentes is a seventhgenerationCalifornian. Raised in apolitically prominent family, Chrishas been active in local, state andnational politics his entire life.Chris’ background in art/visualdesign led him to locations, firstworking for Frawley Becker onJerry Maguire (1995). The perfectmarriage of art and politics,location scouting and managementhas been Chris’ passion since.Chris has been elected twice tothe LMGA Board of Directors andserves on the Motion Picture andTelevision Fund Volunteer AdvisoryCommittee with his husbandPaul Botha. Chris and Paullive in Hollywood with adoptedchihuahuas Molly & Dexter.Alexandra ZeevalkinkAlexandra Zeevalkink is thepublishing manager of KFTV.With a background in online filmjournalism, she has been workingfor the international productionwebsite since the beginningof 2013. KFTV (formerlyKemps) has over 50 years ofexperience providing news tothe international productioncommunity. Being able tocombine journalism with film hasmade Alex’s dream come true.Always curious, she loves meetingnew people with innovative ideas,watching independent films andtraveling the world in search ofa good story for KFTV (or in thiscase, the LMGA).Veronique VowellA native Californian with aperchant for all things Swiss,Vowell loves the challenge oflocation managing. A memberof Teamsters Local 399, theLMGA and Board member ofFilmL.A., she enjoys makingfilming in Los Angeles better forcrew and neighbors alike. Whennot scouting or managing, sheworks in her garage on threedimensionalart pieces. Hercredits include: Scandal, ColdCase, Curb Your Enthusiasm andAngels in the Outfield.Bert KragesBert Krages is an intellectualproperty attorney in Portland,Oregon. His interest inphotography dates back to whenhe was a high school studentliving in Okinawa, Japan. Hedeveloped (pardon the pun)an interest in photography lawin the late 1990s after beingquestioned by a constructionmanager, and later by an attorney,about why he was photographinga superfund site. He is wellknown in photography circlesas an advocate of the right totake photographs in public. Thefirst edition of his book LegalHandbook for Photographerscame out in 2001, a few daysbefore the September 11attacks. In 2003, he published asummary of photographers’ rightson his website, which has beendownloaded over a million times(www.krages.com/phoright.htm).Lori BaltonThe first location professional accepted intothe Academy, Lori is grateful to have achallenging job that lets her explore theworld. She is lucky to work with some of thebest location managers, designers anddirectors in the business. A foundingmember, Board member and past presidentof the LMGA, she is thrilled with the Guild’sprogress in garnering recognition for ourcraft. Recipient of four COLA Awards, Loricounts Heat, Memoirs of a Geisha, Argoand Inception among her credits.Mark IndigMark Indig was born in New York Cityand lives in Los Angeles. He spent 40years in the motion picture industry, mostrecently as a studio executive, producerand unit production manager for Disney,Miramax, Universal and DreamWorks.He has worked on films such as BodyHeat, The Big Chill, Titanic and The LoneRanger. But it was his 15 years as alocation manager that gave him a love ofphotography and a unique perspective onthe urban landscape.Ken HaberA feature film location manager for morethan 20 years, Ken has shot thousandsof locations throughout the country fordirectors such as Adrian Lyne, OliverStone, Ridley Scott, Clint Eastwoodand Terrence Malick. A professionalphotographer, Ken specializes in shootingfilm and television sets in Hollywood. Healso enjoys shooting fine art photography.A member of the LMGA, DGA, Teamsters399 and SDSA, Ken’s work has appearedin numerous magazines and books.

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IN THENEWSKen Haber at the LocationsShow presenting a strongLMGA presence. Photo byEric Klosterman, LMGATreasurer Eric Klosterman manningthe LMGA booth at the Show.Photo by Ken Haber, LMGACompass) is putting togethera Location Expo in London theweek before Christmas 2015.He and the Location Guidehave invited the LMGA to berepresented with a booth at theshow.AFCI LocationsShowEric Klosterman and KenHaber did a great jobwrangling the LMGA presenceat the AFCI Locations ShowMarch 5–7, 2015. It wasone of the best shows inyears, with all the booths inthe same area at the HyattRegency Century Plaza.Many states and countrieswithout film incentives didn’tparticipate, so the show wasmore intimate than in thepast.Elliot Kotek, the Q&A featuredlocation managers RobertBentley (Homeland), CyndyMcCrossen, LMGA (Coca-Cola “America Is Beautiful”),Wes Hagan, LMGA (Selma)and Tasha Day, FilmCommissioner for the LongBeach Special Events andFilming Office. The event wasrecorded and streamed livecourtesy of LMGA Businessmember Sinclair Anderson ofAcumen Studios.We also had a lot of trafficfrom international membershere for the LMGA Awardsfollowing the Locations Show.Robert Bentley, nominee fromSouth Africa (Homeland), wasvery interested in becominga member. And nomineeDavid Broder (The ImitationGame), a UK LMGA member,stopped by to talk about ourIMDb credit placement. Hewill be spearheading thisfight. Broder (featured in“Scouting Across the Pond”in this issue of the LMGAAs the LMGA grows, it’s greatto attend this trade show andmeet members from across thecontinent and around theworld. A big thanks to theLMGA booth volunteers—location pros Bob Craft, RobertGirardin, Rebecca “Puck” Stair,Mike Fantasia, Nancy Haecker,Peter McClafferty, PaulinaSalazar, Kent Matsuoka andLMGA Business membersHeather Ross, SinclairAnderson and Sharianne Greer.Our coupling the LMGA Awardswith the AFCI Locations Showhas proven to be a great fit.We were front and center,making contact with the cityof Las Cruces, New Mexico;Alkatraz Productions in Dubai,the Beijing Wanda Studios,the Huesca Film Office inNortheast Spain and PietroNavarra of Pietro’s Italy.The LMGA presented a “Meetthe LMGA Award Nominees”panel at the show. Moderatedby Beyond Cinema editorMeet the Nominees panelfrom left to right:Elliot Kotek (Moderator)Tasha DayCyndy McCrossenRobert BentleyWes Hagan.Photos by Marie Healy, LMGALMGA COMPASS | Spring 2015 • 11

Excellenceon LocationAbove: Alfre Woodard and Caroline Baron. Belowfrom top: Teamsters 399 Secretary-Treasurer SteveDayan (left) and Marino Pascal; Klaus Darrelmannand Harry MedvedWorldwide:LMGA Awards Go Globalby Lori BaltonThe iconic Wallis Annenberg Center for the PerformingArts in Beverly Hills provided the perfect backdropfor the 2nd Annual LMGA Awards. Architecturallyunique, the location speaks volumes about ourcraft. The elegant red carpet arrivals and sold-out theaterechoed our mantra: location, location, location. AwardsCommittee Co-chairs Robin Citrin and Marie Healy did usproud!Guild President Nancy Haecker welcomed over 500 enthusiastic LMGAmembers, industry executives and press. Taking a tip from Billy Crystalat last year’s show, location manager David Doumeng hosted the evening,supported by actor Ted Lange (The Love Boat) and the hilariousTroubadour Theater Company. The “George Clooney of Location Managers”perhaps missed his true calling, rocking the house with his sly quipsand musical tribute to the many base camps we have lost over the years.12 • LMGA COMPASS | Spring 2015

Above: Debbie Allen, Kokayi Ampah andTed Lange. Below: Nancy HaeckerWE congratulate the winners and honoreesof the 2ND ANNUAL LMGA Awards!Outstanding Locations in a Contemporary FilmWild / Nancy Haecker, LMGAOutstanding Locations in a Period FilMThe Grand Budapest Hotel / Klaus Darrelmann, LMGAOutstanding Locations in a Contemporary Television SeriesTrue Detective / Batou Chandler, LMGAOutstanding Locations in a Period Television SeriesBoardwalk Empire / Amanda Burbank and Audra GormanOutstanding Locations in a Single CommercialCoca-Cola “America Is Beautiful”Jimmy Ayoub, LMGA; Cyndy McCrossen, LMGA; Peter Orth, LMGA; Stephen PherigoOutstanding Locations in a Commercial CampaignRam Trucks / David McKinney, LMGA and Peter Orth, LMGAOutstanding Film CommissionCity of Long Beach Office of Special Events and FilmingHumanitarian Award RecipientCaroline BaronLifetime Achievement Award RecipientKokayi Ampah, LMGATrailblazer Award RecipientMarino Pascal, LMGAPhotos by Craig MathewLMGA COMPASS | Spring 2015 • 13

Peter Orth, Cyndy McCrossen and Jimmy Ayoub(not pictured: Stephen Pherigo)Left: Actor Tony Denison with Batou ChandlerAbove: Audra Gorman and Amanda Burbank.Right: Kevin Clark (AFCI) and Tasha Day (City ofLong Beach Office of Special Events and Filming)The after party buzzed with camaraderie. We were honoredto have location professionals from around the world: Jordan,Iceland, Germany, South Africa, England, Oregon, New York,Georgia, Louisiana, Tennessee and New Mexico—all celebratingtheir colleagues’ accomplishments and exchanging stories.German location manager Klaus Darrelmann (The GrandBudapest Hotel) spoke eloquently about being a part of a locationcommunity—we are proud to have him as a member! TheLMGA Awards truly celebrate excellence worldwide, focusingon productions that effectively use locations as critical storytellingelements, providing a canvas for the director anddesigner.Renowned actress Alfre Woodard (State of Affairs) presentedthe Humanitarian Award to FilmAid International Founder andAcademy Award®-nominated film producer Caroline Baron.Baron founded FilmAid to provide human connection and hope,supplementing basic needs for food and shelter, all through themagic of cinema. FilmAid’s screenings of classic cinema providea critical escape from the world of refugee camps, and its educationalfilms promote awareness of social issues such as HIV/AIDS, women’s rights, pediatric malnutrition, land mine awarenessand conflict resolution. There are similarities in FilmAidand the work she produces for Hollywood. In addition to herindependent streak, and her interest in cross cultural explora-tion, the same skill set applies: team building, raising funds andworking toward the common goal of affecting an audience. Thedifferences are a testament to Baron’s strength of character.Working with limited resources, FilmAid addresses critical issueswhile targeting a specific audience. It’s information, education,art and entertainment: humanity, not commerce. VisitFilmAid’s website www.filmaid.org and feel good about being afilmmaker/storyteller.Producer/director/actor Debbie Allen and actor/director TedLange presented the Lifetime Achievement Award to veteranKokayi Ampah, the first African-American location manager.One of the most respected location managers in the industry,Ampah’s career spans more than three decades, and he’s stillgoing strong. Transcending boundaries, he is a mentor, a leader,a collaborator, and to the lucky ones among us, a friend. Hiscollaborations include work with top directors on iconic films:The Shawshank Redemption, Million Dollar Baby (one of sixprojects he managed for Clint Eastwood) and Amistad, his secondfilm with Spielberg. His oeuvre includes Mystic River, MarsAttacks!, The Color Purple, The Soloist, Flags of Our Fathers, 8 Mile,The A-Team and White Men Can’t Jump.Formidable location scout Marino Pascal received the TrailblazerAward, presented by Steve Dayan (Teamsters 399 Secretary/14 • LMGA COMPASS | Spring 2015

David McKinney and Peter Orth withdirector James ManeraLeft: Awards Committee (left to right) Nancy Haecker,Mario Ramirez, Diane Friedman, Lori Balton,Orin Kennedy, Marie Healy, Robin Citrin, Ken Haber(Not pictured: Jason Kaplon and Rick Schuler)Below: Host David Doumeng and Ted LangeTreasurer). In his typical exuberance, Pascal did a jig in lieu ofan acceptance speech, one of the evening’s highlights. Pascalsingle-handedly revolutionized the world of Los Angeles locations.Building professional websites for us, he set the bar forlocation photography presentation. Pascal has also mentoredhundreds of scouts in digital photography and image management.His development of Locolist, an archival chatroom for locationprofessionals, unites scouts and managers in a thrivingcommunity of shared knowledge. Accustomed to working on ourown, Pascal was the first to intimate what we could accomplishif we shared information. In that sense, he was one of severaldriving forces behind the Location Managers Guild of America.Pascal believes that an individual with leverage from friends andpeers can change the world … if not in a big way, at least enoughto make a difference.The City of Long Beach Office of Special Events and Filming beatout stiff competition from Jordan, Oregon, Iceland and Chicagofor the Outstanding Film Commission Award. Manager TashaDay accepted on behalf of the film office.Additional presenters included actor Tony Denison (MajorCrimes), AFCI Executive Director Kevin Clark, film historianHarry Medved and award-winning commercial director JamesManera.LMGA Awards sponsors included Title Sponsor Newhall Land FilmLocations; Premier Sponsor Hilton Worldwide; Platinum SponsorU.S. Virgin Islands Film Office Department of Tourism; Gold SponsorsBig Sky Movie Ranch, GranCanaria Film Commission, LosAngeles Center Studios, Pacific Production Services, Reel SecurityCorp., Scandinavian Locations; Silver Sponsors A PrivateAffair Productions, British Virgin Islands Film Commission, CulverStudios, DM Vineyards and Partners, Golden Oak Ranch, HintWater, Image Locations, Imperial Art Studios, InterContinentalLos Angeles Century City, Los Angeles Times Square, Marriott,Maui County Film Office, MCS Security Services, Montana FilmOffice, Oakwood Worldwide, Pasadena Film Office, Reel Waste& Recycling, Sarasota County Film & Entertainment Office, SkyeRentals, The Location Portal, The London West Hollywood, TheRoyal Film Commission–Jordan, Venice Duck Brewery, VirginiaFilm Office, Warner Bros. Studio Facilities; Media Sponsors AFCI,Below the Line, The Hollywood Reporter, The Location Guide,SHOOT Magazine/SHOOTonline, Variety.LMGA COMPASS | Spring 2015 • 15

STUDIOFACILITIESExterior Set Rentals& Sound StagesCome check out theManor Hotel in Hollywoodfor your next production.We’ve been film-friendly sincethe 1980s. Located at 5930Franklin Avenue just off the101, we’re an activebusiness member of theLMGA and proud friend to theTeamsters Local 399.Call Adam Medeiros,Site Rep at (310)808-8962.adam@celebritycentre.orgmanor-scientology.org/film-shoots.html818.954.2577© CSCCI 2014. All rights reserved.

CAREERFOCUSVeronique Vowell.In October of 2014, I foundmyself standing in the rotundaof the California state capitol.I was not scouting a location. Iwas there with Teamsters Local399 Secretary/Treasurer SteveDayan, President Wes Ponsfordand Vice President Ed Duffyto pass an important pieceof legislation—AB1839—theassembly bill to authorize thetax incentive our industry sobadly needed. The ExpandedFilm and Television JobCreation Act was passed. Afund of $330 million a year forfive years was set aside to helpkeep our jobs in California.I was humbled to representlocation managers in such animportant campaign.Political lobbying, I discovered,was very much like canvassinga neighborhood for filming. Ididn’t know such a job existedwhile growing up in LA’s SanFernando Valley in the 1970s.Veronique Vowellnothing prepared me for this job except foreverything i have ever done or learned in my life.I also discovered that very fewpeople outside of the insularworld of production knowwhat a location manager doesbeyond “scouting.”Location managing, likepolitics, is the art ofcompromise in the effort toachieve the impossible. Duringmy 26 years as a feature andtelevision location manager, itbecame evident that you rarelyget everything you want but,with luck, you can get enoughto get the job done.I learned my craft withouteven realizing it—as a fieldresearcher for the Ripley’sBelieve It or Not televisionseries and before that, as aresearcher on the NationalGeographic network televisionseries. Field research not onlyinvolved interviewing peopleand gaining their trust, butalso such mundane chores asmeasuring doors to make sureequipment would fit, findingaccommodations for the filmcrew and learning the “lay ofthe land.” I traveled the countryalone with nothing more thana small typewriter, a 35mmcamera and a roll of quartersfor pay phones in the long agoera before cellphones and theInternet.After a few years, as mostfilm workers do, I foundmyself unemployed. A friendsuggested that I work “probono” on an American FilmInstitute (AFI) thesis film. Ipresented myself to the studentproducer and he suggestedthat I could be the costumedesigner. When I said I didn’tknow the first thing aboutcostumes, he looked down ata list of crew positions andsuggested location manager.He explained that I would goout into the community andfind locations for the film, talkto people and take pictures. Itsounded like what I had beendoing for the past severalyears.After my AFI experience, Ineeded to find a job thatpaid. I mailed out more than400 letters and resumesto production companies,producers and a few locationsmanagers. I got only oneresponse. But, as it turns out,it was the only one I needed.Jim McCabe, location manageron Steven Spielberg’s AmazingStories, called me. He likedmy letter and wanted to meetme. After a few days, he didsomething truly remarkable.He recommended me toanother location managerfor an assistant position on aunion MOW. That job got meinto Local 399.When I first started in locationmanaging, I had two thingsgoing against me: I was awoman in a male-dominatedindustry and I was very shy.But life is strange. You neverknow your strengths until achallenge is presented to you.If you are lucky, you learn thatthere is a solution to everyproblem if you take the timeto think it through. Somesolutions are political, somefinancial and some are foundthrough trial and error.In 1989 on the feature Tango& Cash, I was presented witha wonderful opportunity. Theproducer and UPM askedme midway through prepif I wanted to step up fromassistant location managerto location manager. I wasdelighted. I was also terrified.They told me I had 10 minutesto make the decision. I walkedout of the office and pacedbetween the stages at WarnerBros. It was a pivotal moment.There were very few womenin locations and in productionthen, and I knew none of themTM LMGA COMPASS | Spring 2015 • 17

well enough to ask for advice.In the end, I simply jumped inand never looked back.I have had many highs andlows in my quarter century inthis job. One that stands out inmy memory happened duringhalftime of an NFL game atRavens Stadium in Baltimore,Md. Ninety thousand peoplewere in their seats. A regularseason game was in full swing.In the tunnels of the stadiumwere two complete footballteams for The Replacements,Keanu Reeves as quarterback,Gene Hackman as the coach,400 background artists, sixcamera crews, two Steadicamcrews and various other crewmembers. Once we were letonto the field, we would haveexactly 10 minutes to film 10plays.As the two-minute warningsounded on the field, the crewwaited. But penalty flag afterpenalty flag was thrown—thelast two minutes of the secondquarter lasted 25 minutes.Suddenly, as if in a dream,the stadium crew yelled intomy earphones: “Go, Go, Go!” Ithrew out the signal to the firstAD and the entire platoon ofThe Replacements personnelran onto the field. The crowdwas on their feet cheering. Thestadium vibrated with noise.And as if on cue—exactly atthe end of our 10 minutes—Keanu’s character threw theball for the scene-endingfinal touchdown. The real NFLteams ran onto the field. Thecrowd roared. And so did thelocation crew.The Replacements illustratesthe complex details a locationmanager has to deal with.The Ravens’ ground crew andNFL wanted to make sure thatduring our two-week shoot, thefield was kept pristine for theSunday games. Twice a day,at 6 a.m. and 6 p.m., I wouldwalk the field with the Head ofGroundskeeping and a memberof the Model family, theRavens’ owners. During thosemeetings, we would decidewhich grass turf tiles neededto be removed and replacedand which could be salvaged—which required constantnegotiation: “they” wanted toreplace all of them and “we”didn’t want to spend the severalthousands of dollars per tile. Inthe end, the production spentclose to $1 million on repairingthe field, a compromise.While shooting Richie Rich atthe Biltmore Estate in Asheville,N.C., we dealt with all thenormal issues associatedwith filming in an activemuseum as well as the specialrequirements of the museum’sadministration. The Cecil family(the heirs of George Vanderbilt)insisted that the entire crewconform to the same dresscode as their staff—long pantsand shirts with collars. Thelocation department had theonerous task of enforcingthe dress code despite thepredictable objections of thecrew. “S--- Happens” T-shirtswere definitely a no-no.On HBO’s Curb YourEnthusiasm, filmed in LosAngeles, the consequences offilming in HD Video without ascript in public places becameextremely clear. While actorsimprovised during exceptionallylong takes, merchants andhomeowners still insisted ongoing about their everydaybusiness. The locationdepartment (which consistedof me and Andrea Morrissy-Keener) had the pressure andpleasure of trying not to breakthe creative flow of the actor/writers while still trying toallow the general populationaccess to merchants andhomes.Cold Case filmed almostentirely in Los Angeles,however, the series took placein present-day Philadelphiawith all the “cold cases”taking place from 1920s to1990s Philly. These movieswithin the show requiredpainstaking attention to detail,transforming the streets androads of contemporary LA intoa variety of period locations inand around Philadelphia.Set in Washington, D.C., butfilmed entirely in Los Angeles,ABC’s Scandal has benefitedgreatly from the advances ingreen screen technology. Withever-evolving scripts andschedules, along with multipleepisodes shooting concurrentlyand last-minute changes, thelocation department’s chargeof finding beautiful, East Coastarchitecture that tells the storycan be extremely challenging.Teamwork between alldepartments on any projectis important—on this one it isparamount.My experiences are shared bymany location managers. Theyknow, as I do, that the behindthe-scenesstories are usuallymore grit than glamour. Thejob that I started at 29 yearsold is not the job I do today.When I began, all that wasneeded was a wad of cash, aLeft to right: Andrea Morrissy-Keener, Veronique Vowell, Jasmin Parisand J. Hanna.18 • LMGA COMPASS | Spring 2015

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smile and a good spiel. Today,the work is done not only withan eye to the needs of thecreative team but also in closeassociation with the legal andrisk management executivesof the large multinationalcompanies that I work for.And therein lies the finesse ofthis job.Finding the location thatfits the story is the glamour.Managing the location thatfits the crew’s needs is thegrit. The challenges of the jobare as varied as the locationsneeded to tell the story thescript lays out. To transforma real location into a fictionalset requires attention to alaundry list of details. Everyaspect of every location—nomatter how mundane—isimportant to someoneassociated with the processof preparing the shoot. Theseare just a few of the things—not in order of importance,they are all important—thathave to be done before thedirector says action: streetsign removal; turning on/offstreetlights; cable placement;roof access; tree trimming;repaving; toilet rentals; tenterection; lane closures; heator A/C as required; condor,car and truck parking; snake/insect wrangling; hiringof police/fire personnel;obtaining permits; notifyingneighbors; layout boarding;location cleaning; bus stopmoving; extras holding;environmental testing;furniture moving and storage;safety reports; insurancecertifications; contractnegotiations; trash collection;memo writing; productionmeetings; dog kenneling andit goes on and on.It takes a team of dedicatedprofessionals to get the jobdone. I have been extremelyfortunate to have a talented,long-standing crew: AndreaMorrissy-Keener, 12 years;Jason Kaplon, seven years;J. Hanna and Jasmin Paris,four years. Some are withme still, others have movedon to greater glory. Withouttheir support over the years,I would not be where I amtoday.Nothing prepared me for thisjob except for everything Ihave ever done or learnedin my life. Growing up inHollywood, I was alwaysencouraged to be a teachereven though secretly Iwanted to be a police officer.My father, a television writerand documentary filmmaker,taught me an importantlesson: whatever you wantto do, do it with everythingyou have. He was famous fortelling me long ago that “if Iwanted to peck poop with thechickens, then I should go abuild myself a wooden bill tobe able to do it well.”My mother who immigratedto the US from Switzerland,taught me to actively observethe world around me,from the beauty of nature,architecture and art, to thediversity of humankind.My years in Switzerland atthe University of Lausannestudying French and Frenchliterature gave me theconfidence to get along withpeople of all stations in life.All these experiencesprepared me to be ableto advocate for locationprofessionals and the greaterfilm community as a Boardmember of FilmLA, a memberof the LA City Mayor’s TaskForce, a founding member ofthe LMGA and a lecturer at avariety of film schools—AFI,Boston University, EmersonCollege and ChapmanUniversity.In the question-and-answerperiods after my lectures,I always get the same twoqueries: How do you findlocations? And how do youconvince people to allow youto disrupt their lives withfilming in or in front of theirhomes and businesses? Myanswers are always the same.I tell them to keep their eyesopen because you neverknow what you are going tofind. I advise them to not justthrow money and promisesat people, but to explain tothem how important theindustry and the jobs are tothe community at large, how itgreases the wheels that helpsfuel the local economy.This is exactly what we toldour elected officials acrossthe state to gain passage ofAB1839.20 • LMGA COMPASS | Spring 2015

IN MY CITY: DETROITQ&A with David Rumble42° 19' 54" N / 83° 2' 52" W20 • LMGA COMPASS | Winter 2014

Director Doug Liman and David Rumble on the set of Jumper.All photos by LMGA member David Rumble except top left: Lori Balton, LMGACo-editor Stevie Nelson talksto member David Rumble aboutfilming in the Motor City.Stevie: HOW LONG HAVE YOU BEEN WORKING IN LOCATIONS?HOW DID YOU START & WHAT DO YOU PRIMARILY WORK ON?David Rumble: I had worked for UPS for seven years and I wasn’thappy. While there, I enrolled in a local film school, the MotionPicture Institute (MPI) of Michigan. I completed the program inthe summer of 2001, but had no idea on how to capitalize on mynewfound skill set. I knew I wanted to work in film but the thoughtof freelancing was baffling and foreign to me. Then September11 happened and the realization that life was too short resonated.I was 27; I quit my job and walked away from the safetynet of 9-5, health insurance and four weeks’ paid vacation toexplore the unknown. I contacted MPI for advice/leads and theyrecommended that I call a former student that I knew, as he wasworking on an Eminem movie. I reached out to him and a weeklater, he told me to send my resume to the locations department.Having no idea what they did other than scout, I faxed my resumeand the next day I was interviewed by location manager NancyHaecker. She asked me about my scant experience and then offered,“The hours suck, the pay sucks, do you want the job?” Ijumped all over that ringing endorsement and started working on8 Mile. Over the next four months, I would get experience in justabout all parts of the department. It was also on this film that Istruck lasting relationships with fellow location professionals KimCrabb, David Wolfson, Michael Burmeister and Peter Martorano.Nancy had told me on my first day that if I could figure the jobout, I could be the “go to” guy in the Detroit area. I thought thiswas a standard LA motivational speech but it turned out to betrue. In 2004, I was fortunate to get a job as assistant locationmanager on Michael Bay’s The Island, the first of four timesworking with him. From there on out I have been very fortunateto work on many great films with many great people.Stevie: WHAT DO YOU THINK IS THE PRIMARY DRAW FOR FILMING IN &AROUND DETROIT? WHAT KIND OF “LOOKS” ARE THERE?DR: The look that everyone thinks of when they hear “Detroit”is the gritty, dirty, scary urban feel. There are many derelictbuildings sitting vacant outside of downtown which is an urbanexplorer’s paradise. The city offers many other great looksbeyond decay.Downtown Detroit has unbelievable architecture that can passfor downtown Los Angeles, New York City or Chicago. It hasbeen rejuvenated and is the nicest it has ever been in mylifetime. We have filmed several projects like Low Winter Sun,Transformers 3 and the upcoming Batman vs Superman insideof the Old Wayne County Building which is an elegantcourthouse and county office building built in 1902, nowcompletely vacant.Stevie: WHAT TYPES OF PRODUCTIONS FILM IN DETROIT?DR: We’ve been all over the spectrum. We range from sci-fi(The Island, Transformers) to period movies (Jimmy Picard),and everything in between. I also scouted for months for acanceled movie that was set in 1906 San Francisco. One ofthe great things about southeast Michigan is that we havemany different looks in close proximity to each other. We havelakes of every size, forests, farms, beautiful college campuses,quaint towns as well as urban downtowns.Stevie: WHAT CHALLENGES DO YOU FACE IN YOUR JOB?DR: The newest challenge is the rapid growth of downtown Detroit.Just three or four years ago, there was very little activitygoing on and many buildings were either empty or had verylow occupancy. Four years ago, Bedrock Real Estate ownedzero properties in downtown, now they own over 40. Parkinglots that for years were empty and eager to be leased with filmdollars are now either not interested in playing ball or costinefficient.Desolate streets which were once easy to close arenow bustling and more of a challenge.LMGA COMPASS | Spring 2015 • 21

IN MY CITY: DETROITThere is also the impact that the aggressive tax incentivesimplemented in 2008 have had on local cities’ film policies.Prior to the incentive, most local communities had no filmingpolicy in place; it was easy to walk them through the processand move quickly. After the movie influx in the metro-Detroitarea, some bridges were burned and cities started to implementsuperfluous procedures and paperwork to safeguardagainst mishap.Stevie: WHAT ARE A LOCATION MANAGER’S FAVORITE “LOOKS” ORLOCATIONS IN DETROIT? WHAT ARE YOUR PERSONAL FAVORITES & WHY?DR: The Michigan Central Train Depot is the one place thatblows everyone away. It was built in 1914 by Reed & Stemand Warren & Wetmore who designed Grand Central Stationin NYC. It is 15 stories and half a 14 million square feet ofBeaux Arts crumbling glory. Even the directors and designerswho come to town that have no need to film there want to seeit with their own eyes. I have filmed five movies there: TheIsland, Crossover, Transformers, Transformers 3 and Batmanvs Superman.The lobbies of the Guardian Building and Fisher Building(Transformers 3) are two of my favorite places to show fortheir beauty and architecture. I have never walked into eitherof these buildings and not been awed.Stevie: WHAT IS ONE OF YOUR FAVOR-ITE OR MOST MEMORABLEFILMING EXPERIENCES?DR: In winter 2007, Doug Limancame to Ann Arbor to film a fewscenes for his movie Jumper. Theshoot only lasted a few days butit was extremely bitter cold. Wewrapped and minutes later theUPM asked me if I could drivearound with Doug the next day toshoot some plate shots for a scene thatwas supposed to be Antarctica. I waspained by the idea of working in theelements for another day, but I knewdriving around with Doug would probablyprove to be interesting. I picked upa map from a gas station on my wayback to the hotel and looked to find theclosest place to Ann Arbor where youcould look across a lake and not seethe other side. The next day I led thegroup to a peninsula jutting into LakeErie with the idea if it didn’t work, wewould work our way down the coasttoward Ohio. We turned onto the roadwinding its way around the peninsulaand saw ice drifts along the houses and cottages lining theroad. As we drove down the road they got higher and higheruntil we reached the end of the road where the ice peaksreached about 20-25 feet into the air. It was stunning, evento a local. The peaks had a deep blue quality that made themlook magical. Doug’s mind was blown and this clearly wasmuch cooler than what he had expected to find. We parkedin front of a house with smoke coming out of the chimney. Iknocked on the door and an elderly couple answered. I introducedmyself to Milt and Mary Ellen and told them I had a bigHollywood director in my van and we wanted to go film in theirbackyard. Not a typical Sunday afternoon for anyone. Theyobliged and we scaled the ice and got our shots. The companycame back a few weeks later to reshoot with Hayden Christensen.The homeowners had their grandson come by and getphotos with Anakin Skywalker and came out with us at wrapfor dinner. This was clearly an example of how sometimes it’sbetter to be lucky than good.Stevie: DOES MICHIGAN OFFER ANY INCENTIVES TO HOLLYWOODFILMMAKERS?DR: In 2008, the state of Michigan came out with a very aggressivetax incentive of up to 42%. This was in place until anew governor was elected and almost immediately stoppedaccepting applications. About a year later, a reduced incentivewas put in place and that was changed just a few weeks ago.The new program has 25% for all direct production and quali-Michigan Central Train Depot. Photo by Lori Balton, LMGA22 • LMGA COMPASS | Spring 2015

fied costs. An additional 3% if the production uses a qualifiedproduction facility. The budget must be at least $100,000 andthe incentive is a direct cash refund.Stevie: WHAT ARE YOUR TOOLS OF THE TRADE?DR: For scouting, I use a Canon 40d and Leica D-Lux 4. I amusing the latter more and more as it will shoot a F2.0 and hasvery crisp images. The Leica is also less conspicuous whenscouting in less savory neighborhoods. I always carry a moleskinewith me when I scout as it has a pouch that I keep businesscards in and is great for making notes.For managing, I love my little Canon scanner and my CanonIP90 printer. The scanner is powered off of USB and my printeris Bluetooth and battery powered which makes working on thefly great. My iPhone and apps are probably the most importanttools to me. I have every contact list I have ever made inthe business in my Air Sharing app, the state of Michigan FilmOffice has an app that connects to its database of images andproduction crew list, my Genius Scan scans business cardsinto my contacts and Sunrise gives me all rise and set times.Stevie: WHAT DO YOU LOVE ABOUT THE JOB?DR: I love the relationships that are built with both the crewand the locations. I love taking directors and designers aroundon scouts early in pre-production. This is the kind of thingthat I would have never imagined I’d be doing before I got intothis business. I love the connections that you make with cityofficials and power players in the area. Most of all, I love thelast day of a shoot when I can look back on the last severalmonths of work and smile knowing that I was an integral partof making the movie. I love that I get to see places that mostpeople never get to see like the world’s largest vacuum chamber,the loudest room in the world and an anechoic chamber(room so quiet you can hear your own heartbeat). I love thethings I learn like how garbage dumps collect methane, howcities’ catch basin drains work, how power plants and automanufacturing plants work. I love that every job has specificchallenges that need to be figured out. Even when filmingat a place a second or third time, there are new and uniquepuzzles to solve. I appreciate the mentor/protégé relationshipthat comes with the job. I have learned and continue to learnfrom some of the best location managers in the business andI pass my knowledge down to the folks that work for me.Stevie: WHAT MADE YOU DECIDE TO JOIN THE LMGA & HOW LONG HAVEYOU BEEN A MEMBER?DR: Nancy Haecker came back to Michigan in the fall of 2010to look into shooting an episode of House and I scouted forher. If you know Nancy, you know that she was not leavingtown without having me signed up. I have been a proud cardcarryingmember ever since.Photo by David Rumble, LMGA

David’s Private Tour“Must See” Place:Eastern Market on a Saturday morningis crowded with people shoppingfor produce, flowers and locally grownfood. It is an open-air market wherethe smell of barbecue wafts throughthe air while live music plays as youhaggle with local farmers over theprice of potatoes and onions. Severalgreat restaurants like Supino’s Pizza(best thin crust pizza in the state) andRussell Street Deli are in the heart ofthe market.Best VantagePoint/ScenicView:The roofof the nowrenovatedDavid Brodericktoweron the edgeof downtownhas what Ibelieve to bethe best viewof the city.Place to See by Night:The skyline of Detroit from our island park,Belle Isle.Best Bar/Club:The Old Miami. Great beer selection andyou can’t beat the price. The bar is ownedby one of the most decorated Vietnam vetsin Michigan and is outfitted with militarymemorabilia. It is the only bar in Detroitthat boasts a spacious grassy backyard,complete sitting areas, a koi pond andfire pit.Favorite Restaurant:Slows Bar B Q in Corktown just west ofdowntown is a must for carnivores.Best Day Trip:There is a regional park system in MetroDetroit that encompasses five counties.Two of these parks, Stony Creek Metroparkand Kensington Metropark, aremy two favorites. You can rent boats andgo fishing; there are several bike andhiking trails and swimming areas withbeachfront.Favorite Neighborhood:Indian Village in Detroit is my favoriteneighborhood in the city. Many of thehomes were built by prominent architectsfor lumber and steel barons ofthe day. Many of these houses are over10,000 square feet and a large numberof them are in disrepair. The stylesrange from Tudor Revival to RenaissanceRevival to Colonial Revival.Favorite Local Artist:Carl Oxley is a Detroit-based painterwho paints on canvas and has beencommissioned to paint several graffitimurals all over town. My favoriteartisans in town would be the folks atPewabic Pottery. It was founded in 1903and has been in the same Tudor Revivalstyle building since 1907. Many of thebuildings and mansions in and aroundDetroit (among other cities) are adornedwith Pewabic tiles.Best Place to Hear Music:The Masonic Temple in Detroit is a massivecomplex that has 1,100 rooms andthree theaters and two ballrooms. It isthe largest Masonic Temple in the worldand has been used in several movies(This Must Be the Place, Van Helsing,Vamps).Favorite Shop:John King Books is the largest usedbookstore in the state of Michigan andone of the largest in the country. Ithas six stories of books and each floorhas its own specialist to help navigate.There is also a rare book room that youhave to ask about to see. Many first andrare editions are behind glass. Rollingladders travel along walls of titles likesomething you would see in a mansion’sprivate library.

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The Third Half… different every dayby Mark Indig32 • LMGA COMPASS | Spring 2015

Location managers are amazing people doing aunique job. How many are there on Earth thatcould gaff a big movie, TV show or commercial?A couple thousand, maybe? It’s probablypretty safe to say there are more ornithologists orllama ranchers extant than location managers.A good location professional must have experience with anddetailed knowledge of architecture, photography, design, history,research, civil planning, government, politics, law, negotiating,geography, psychology, budgeting, travel, logistics, realestate, taxes, weather, transportation, etc. And of course, morethan a working understanding of the jobs and needs of all departmentson a production. And be willing to parachute into astrange (and possibly foreign) place and know it better thanthe natives in a matter of days. Who does that? You do, and youshould be proud.I was proud to be a location manager for 15 years. It was a fascinating,challenging and rewarding job (most of the time). Thephrase “different every day” was a massive understatement.Then, because of a questionable sense of ambition and a desireto make more money (location pros and production coordinatorsare the most out-of-balance crew based on the ratio of responsibilityto compensation), I moved on to become a studioexecutive, UPM and producer. But I still self-identify as a locationperson and try to stay active with my location professionalfriends, film commissioners (I’m on the Board of Directors forFilmL.A. and do volunteer scouting for the CFC) and of course,my membership with the LMGA.Which brings me to the purpose of this article. For those of youof a certain age and thinking about what’s next, it’s perhapstime to consider how to put those skills to use in the third halfof life.For me, it was the combination of scouting and photographythat I cherry-picked from my location manager skills that Iwanted to more fully explore and enjoy in my third half. Scoutingfelt like treasure hunting to me and finding a previously unusedand project-appropriate location was always a huge thrill,especially in a strange place I’d never been before. The loveof photography came later, but 15 years of taking hundreds ofthousands of pictures in all kinds of conditions gave me theknow-how, skills and practice to shoot for my own artistic pleasure.Nothing makes me happier and more excited than theopen road, a fully charged camera and a paper map unfolded inmy lap. One can draw a straight line from my days as a locationmanager to this state of bliss (and old age).Since my last film (the over-budget, overlong, overwrought, underperformingThe Lone Ranger) a year and a half ago, and inaddition to shooting all over LA, I’ve taken photo trips to sixOpposite page: British Columbia, Canada.This page, top to bottom: Northern California, Louisiana, Texas andPennsylvania.All photos by Mark Indig, LMGA except where noted.LMGA COMPASS | Summer 2014 • 33

Clockwise from top: Taiwan, Italy and Vietnam.countries and nine states, published a photo book on the LARiver and participated in 20 gallery shows across the US. Thephotos attached to this article are my favorites from this postworkwork. Although I’ve won some awards and gotten somenice reviews, I had no illusions about making much money inthese endeavors and I have certainly not been disappointed.Luckily, those Waterboy residuals keep rolling in.I’m currently planning trips to West Texas, South America andEastern Europe. While I love foreign travel, another gift locationscouting has given me is a love of small-town America, which isreflected in many of my destinations and images.Many of you reading this have devoted decades to projects inservice of others’ visions as well as providing for your families.As you get close to or think about retirement, I hope you willalso find a way to put your extraordinary skills to work for yourown pleasure and enjoyment, or to start a new career, or inservice to helping others. We all deserve a fulfilling third half.34 • LMGA COMPASS | Spring 2015

LuAnne Cadd:Citizen of the Worldby Lori BaltonLuAnne Cadd credits locationswork as the best trainingever… for just about anything.Her scouting career began in 1990.She began to take time off in 2005to explore the world, always comingback to locations work. In hertime off from the industry, sheworked in Bosnia, got a degree inphotojournalism, interned on anewspaper in South Africa and taught at an internationalhigh school in Saudi Arabia. Cadd loves locationmanaging, but she wanted to do more. And soshe has.She explains, “During one of those restless periods, I came upwith the idea that I could work hard location managing for half ayear, and then spend the second half volunteering somewhere,such as offering my photography skills to a humanitarian organization.I had no idea how to go about it, though. Bosnia wasjust coming out of a horrific war, so I took a vacation and wentthere, I met some people who directed me toward volunteeringat a refugee camp for a month, which led me to start submittingmy resume to several organizations. In just one week, I was offereda job, based entirely on my description of location managing.The skills perfectly crossed over.”While visiting her brother, a bush pilot in the Congo, she metthe warden of Virunga National Park. He eventually offered hera job as Communications Officer for the park.They were desperately trying to transform the region throughtourism, like neighboring Rwanda. “In the southern sector, thesafest part of the park, we offered treks to the critically endangeredmountain gorillas, and an overnight trek to the rim of anactive volcano with the largest lava lake in the world. The centralsector of the park was extremely dangerous with rebel attacksand poaching. The northern sector with the snow-cappedRwenzori Mountains wasn’t much better.LuAnne Cadd (2nd from left) at the site of theerupting Nyamulagira Volcano in 2011 at VirungaNational Park. Photo courtesy of LuAnne Caddhours to say we had to leave. And through all the tension of thewar, we worked on a documentary, using undercover cameras,not having any clue that it would eventually be nominated foran Oscar.”Cadd currently works for a Christian nonprofit organizationcalled Mission Aviation Fellowship (MAF) made up of highlyskilled bush pilots who fly into remote areas in over 31 countriesaround the world. Based in Nairobi, Kenya, her job is tophotograph and write stories about MAF’s passengers in remoteareas to help raise money to subsidize the flying, whichis a lifeline rather than a luxury. A true citizen of the world,LuAnne Cadd has recently traveled to Madagascar, Liberia,Chad, Bangladesh and South Sudan, and plans to visit Tanzania,Myanmar, Papua New Guinea and Timor-Leste.Her current job gives her the freedom to organize her ownschedule. She is constantly researching, hunting for stories,contacting organizations, arranging travel, often dealing withunreliable authorities in unstable countries, continually finessingand making last-minute arrangements, flying with MAF tothe bush and hoping to accomplish what sometimes seemsimpossible. Sound familiar? Read more about LuAnne Cadd’sremarkable life at www.locationmanagers.org“The second year, a rebel war started that surrounded the parkand our headquarters. All tourism came to a halt. The brand-newlodge shut down just four months after opening. We were evacuatednumerous times over my last nine months at the park.”During that time, Cadd assisted director Orlando von Einsiedel,shooting the documentary Virunga. “It was all rather surreal,”she recalls. “There were times when we casually ate breakfastwhile hearing mortars in the distance. We had a ‘go-bag’ ready,knowing a ranger might come to the tent in the early morningLuAnne Cadd photographs a poached baby gorilla that VirungaNational Park rangers rescued. Photo by Molly FeltnerLMGA COMPASS | Spring 2015 • 35

Emergency PreparednessCassandra Heredia’sLife After Location Managementby Lori BaltonNeeding time to take care of her ailing mother,founding LMGA member Cassandra Herediatransitioned out of the taxing schedule of a locationmanager. She got accepted into a mastersprogram for organizational leadership and disasterpreparedness (sounds like a day on the set!), anddid an internship at LAX. She may have jumped outof the frying pan and directly into the fire.Her years in location management solidified the wiring in herbrain to plan and anticipate. When things go wrong at thelast minute, she instinctively goes into damage control mode.“This ability is a unique skill set,” says Heredia. “I’ve cometo find that most people are either good planners or excel atdamage control. Good location managers do both, maximizingplanning to minimize damage. That’s what made the transitionalmost seamless for me. It’s just the way my brain works, honedby years of working in the location trenches.”Location managers are constantly negotiating and liaising betweendifferent sectors of the community, from neighbors tobusinesses to permit entities like the coastal commission orpark rangers. These daily skills are critical to get opposinggroups to meet halfway. Heredia’s strength is the ability toCenter: Cassandra Herediabring together as many as 14 different government agenciesand negotiate a common goal. Again, an ability refined by yearsof managing locations.While emergency management has been around forever, after9/11 it came to the forefront. When 9/11 was followed by Katrina,we realized we can’t just plan for one kind of disaster.Planning for disaster is no easy feat. The public sector tendsto be reactive and prohibitively slow. “It’s difficult to get themto think ahead,” says Heredia. “I miss the fast-paced work oflocation management, where you MUST anticipate every potentialproblem. I was trained to be proactive. You don’t have twoweeks to complete something and you have to anticipate whatwill go wrong. It’s a whole different mindset.”In the five years since leaving location management, Herediawent from intern to consultant to emergency coordinator to hercurrent position of Chief of Operations, Emergency Managementat Los Angeles International Airport. She continually employsthe skills honed as a location manager, but instead of makingmovies, she is preparing for emergencies and saving lives.the 1-stop location for every need.For access anytime, 24 / 7,call: 626-807-6195 / email: janccady@gmail.com

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Scouting Across the Pondby Alexandra Zeevalkink

While founded in California, the LMGA has expandedaround the globe. Among our growingranks of international memberships areprominent European location professionals. In this secondof a series of profiles, Alexandra Zeevalkink talkswith UK-based location manager David Broder.Above left: London. Photo by Claudia Eastman, LMGA. Bottom left: London. Bottom right: Chott el Djerid. Photos by David Broder, LMGAWelcomed by a loud cat and a very British cup of tea, I meetlocation manager David Broder in his beautiful townhousein London’s Camden. Even before we sit down to do the interview,he’s already chatting away about his career in filmand—as will become crystal clear to me over the course ofthe afternoon—his passion for his profession. Broder findshimself in the fortunate but hard-earned position where hecan now say he’s working with his childhood directing hero:Steven Spielberg.Like many others, Broder’s path into the profession wasn’tstraightforward. In fact, after starting out as a runner after filmschool and going through a plethora of film-related jobs frompost-production to assistant editor, the LMGA award-nominatedlocation manager actually decided to leave the world of filmand become a wine specialist. Lucky for us—and Spielberg—he came around a few years later and slowly moved toward hiscurrent role.His motto of “authenticity, quality and craft” seems to be payingoff and besides location management for movies such as theupcoming Woman in Gold (2015), The Imitation Game (2014)and The Iron Lady (2011), Broder also runs a company calledViewpoint Locations. He set the business up together with colleaguelocation manager Camilla Stephenson, with whom heworked on many projects, including the Oscar-winning featureThe King’s Speech (2010).At Viewpoint Locations they mainly do early consultancy work,advising on locations for feature films, TV series and commer-David Brodercials. These are the short-term projects Broder keeps occupiedwith while in between films.Broder’s Top 3 LocationsHaving traveled the world, there is a little hesitation whenasked which locations are Broder’s favorites. He producessome beautiful answers, some more familiar and accessiblethan perhaps expected.Chott el DjeridThis salt lake is located in southern Tunisia and is the largestin the Sahara. On its southern edge you can find the beginningof the Grand Erg Oriental (the Great Eastern Sand Sea). Thislocation is used in the opening scene of the first Star Wars filmand returns in the series as the Lars homestead and Tatooine.The dunes appear in The English Patient and also Indiana Jonesvisited Chott el Djerid in the series’ first film. During his owninaugural job in Africa, working on his first studio film, Broderarrived at this amazing tranquil place—almost flat and in thesummer full of fata morganas, surrounded by amazing mountainsand a clear blue sky—and was sold from the very start.During that shoot (Star Wars Episode II: Attack of the Clones), hespent six months there and found himself returning frequentlyduring scouts in the years following. He last visited when heworked as a UPM on the HBO series House of Saddam in 2008.

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Scottish Highlands. Photo by David Broder, LMGACaption for leftphotohere.The Scottish HighlandsIn northern Scotland, all the way at the top, you can find theHighlands. Broder recently scouted here for two projects: JustinKurzel’s upcoming Macbeth (2015) and Spielberg’s muchawaitedupcoming project The BFG. As Broder describes it, thelandscape is “astonishing, beautiful and very frameable.” “Thecamera loves it—at some mountain ranges you’ll have to go toofar back, they’re too big to be cinematic, which is very strangebut it’s true. In Scotland, the mountains are big but comparedto the Alps or some of the locations in the States, they’resmall—this means the surrounding landscape just looks righton film. The light is also astonishing, as it’s quite far up northyou get this pure, clean light.” Of course, he admits, you doget rain and will occasionally have to wait for the right time toshoot, but “from the Highlands through to the outer Hebrides,up to Shetland—it’s just an amazing combination of locations.”LondonHis hometown, Broder has nothing but praise for London. Thediversity of the people, the Thames running through it, the history,the historical divide of the different neighborhoods—Londonoffers a wealth of locations, houses all the necessary skills,and is—as a whole—friendly to film in. Broder stresses howthe legal city—the old financial heart—is so quiet in the weekendthat it’s perfect for facilitating shoots. “When I go abroadI sometimes forget how much I miss it here. The vitality, thediversity, I love these aspects of London. When I get to shoot inthe city, these are the things I like to show.”When working at a location you know through and through, youalso have the benefit of spotting details that are ‘just not right.’Broder gives the example of working on David Cronenberg’sEastern Promises (2007). In the film, a body was thrown in theriver but the location it supposedly surfaced at was incorrect.By doing a little research, Broder found the accurate locationand started scouting there. The location eventually made itinto the script. For Woman in Gold—which recently premieredat the Berlin International Film Festival—the city showedanother side to its diversity, that of its many faces. Starringthe British actress Helen Mirren, London itself went internationaland stood in for New York, Washington, Vienna as well asLos Angeles.London. Photo by Scott Dewees, LMGASo what is next for Broder? Well, obviouslyThe BFG—for which most of the shootingtakes place in Vancouver with somelocation filming in the UK and NorthernEurope later this year. Plus, let’s not forget,at the time of writing, a bag will bepacked for LA to attend the LMGA AwardsShow. Knowing how much research, qualityphotography, passion and care musthave gone into filming Alan Turing’s victoryat Bletchley Park and his sad lifestory post-war, this writer at least hopesfor a well deserved win.LMGA COMPASS | Spring 2015 • 41

Know Your Rightsby Bert KragesPhotography Issues & Location ScoutingThe very nature of location scoutingmakes photography an important aspectof the process. Not only do photographsenable a location scout toefficiently convey the details of a locationto a production company, they also becomea scout’s database. Although location scouting isa fairly innocuous process, people can get upsetover “strangers” who are taking photographs. It isimportant to understand the legal rights that youhave when photographing public places and toknow how to respond to harassment when takingphotographs. In addition, because photographs oflocations have great utility in the business of locationscouting, they can be quite valuable as intellectualproperty. Although the film industry is notexactly known for being reasonable when negotiatingservices, and production companies usually tryto grab all the rights they can, it is nonetheless importantto retain to the extent possible, the rightsto your photographs.Photographing PlacesThe law in the United States is very favorable to photographerswhen it comes to shooting from public spaces suchas sidewalks, parks and similar open areas to which publicaccess is more or less restricted. When photographingin privately owned spaces, you generally need the consentof the owner. However, in many cases, consent is generallyimplied when it appears reasonable under the circumstancesto be able to take photographs. For example, you can generallyassume that it is acceptable to take photographs in placessuch as shopping malls, public events and similar public areasunless there are signs stating that photography is not allowedor someone with authority tells you not to take photographs.Similarly, you could assume that explicit permission would berequired in places that photography would be unreasonably intrusivesuch as taking photos of patrons at upscale restaurantsor of patients in hospitals. This is often a judgment call, andvarious factors can be relevant regarding what is reasonableincluding the number of photographs taken, the intrusivenessof the photographer and the nature of the equipment used.Theoretically, there is very little that cannot be lawfully photographed.This includes things such as government buildings,transportation facilities, bridges, oil refineries and the police.42 • LMGA COMPASS | Spring 2015But in practice, since 9/11, there are some laws that enablethe prohibition of photography of specific areas when deemednecessary to protect national security. In addition, people inpublic view can almost always be photographed without theirpermission unless they are in a space in which they reasonablyhave a reasonable expectation of privacy such as dressingrooms and restrooms. When taking video of a location, keepin mind that the audio portion might be regulated by lawsthat prohibit the recording of conversations of other persons.These laws vary substantially by state. Some states requirethat all parties to a conversation must consent to recordingand some states merely require that the parties be aware theyare being recorded. Likewise, some states require that theparties have a reasonable expectation of privacy and othersdo not have this requirement. Several courts have ruled thatthere is a constitutional right to record police officers performingtheir duties. Although the laws pertaining to recording conversationsvary substantially across the country, the issue canusually be avoided by refraining from recording in areas whereconversations can be picked up by a microphone.Despite the broad right to take photographs, sometimes someonewill feel the need to interfere with your activities.Examples include security guards,concerned citizens and property owners.Generally, “Such persons are actingout of concern that you have animproper purpose and they can oftenbe assuaged by explaining what youare doing. However, you are not legallyrequired to explain yourself if youdon’t want to. Most such confrontationscan generally be handled by being civilbut firm, albeit in a manner consistent withyour personality. Keep in mind that private parties, includingsecurity guards, have very limited rights to detain you againstyour will. Furthermore, private parties have no right to inspector delete your images and certainly are not allowed to takeyour equipment. Although law enforcement officers may havethe authority to seize film when making an arrest, they otherwisemust obtain a court order. Unless they have reasonablegrounds to suspect that you are committing a crime (unlikely),they are not entitled to inspect or delete your images withouta warrant or court order.Copyright IssuesCopyright issues can be problematic for location scouts consideringthat many production companies are unwilling to

e reasonable with respect to intellectual property issues. Althougha production company would rarely have a legitimatebusiness reason to demand that location scouts transfer theownership of copyrights to their photographs, this is an industryin which reasonableness is not always an underlyingprinciple of doing business. In any case, whatever concernsa production company might have could be resolved by thelocation scout granting a nonexclusive license to use the images.Furthermore, there are some valid business reasons forlocation scouts to retain the copyrights to their photographs.One such reason is that ownership of the copyright is necessaryif you want to be able to legally reuse the photographsfor future projects. For example, if you have previously photographeda potential site for a previous production company,and the site appears to be a good candidate for a later project,it would make sense to be able to present the previously takenphotographs to the producer of the later project. However, ifthose photographs are now owned by the previous productioncompany, reusing them would technically be an infringementof the copyright.A typical clause in anagreement with a productioncompany willdeem that you are an“employee for hire” andthat your photographswill constitute a “workmade for hire” that wasspecially commissionedby the production company. The effect of being an employeefor hire is that everything you create during the assignmentwill be treated legally as if the production company itself madethe work. Although it is questionable whether a work-for-hireprovision would actually apply to a photograph that is notincorporated into the film itself, such agreements typicallyhave a provision that requires you to assign your copyrightsto the production company. So, irrespective of whether thephotographs actually constitute works for hire, the assignmentprovision will generally be effective with respect to giving theproduction company the rights to your work. Finally, agreementscommonly require that you either waive or transfer your“moral rights of authors.” Such rights in the United States aregranted to a narrow category of artistic works and are not likelyto be applicable to photographs taken while location scouting.One possible way to ameliorate the harshness of such provisionswould be to negotiate a rider to the agreement whichstates that you are giving the production company an unexclusivelicense to use the photographs but that you are retainingthe copyrights. Such a rider would allow you to use the imagesfor future projects. Likewise, the rider could restrict the transferof rights to images that are actually provided to the productioncompany. Using a rider instead of trying to modify thetext of the agreement itself is more likely to be acceptable to aproduction company. Of course, if the answer is a flat no, yourchoice is limited to whether or not you want to do the work.An interesting question is how such agreements apply to previouslycreated photographs such as those you might have inyour portfolio of potential locations that have been assembledin your free time. Such photographs would have been createdoutside of the agreement, and thus would not be consideredworks for hire. Furthermore, the works would have been createdduring the term of the employment. In such cases, you willmost likely retain the copyright to those photographs becausethe agreements generally apply to works created during thespecific assignment.Finally, you should strongly consider the benefits of registeringthe copyrights to your photographs. This would allow you toenforce the copyrights in the event your photographs are infringed.This could be important in instances where someone isusing images in a manner that you have not authorized. Examplesinclude a competitor who has obtained your images and isusing them in his/her own endeavors or a real estate agent whodecides to use the images commercially.The reason why registration is important is that it affects theeconomics of pursuing a claim. A timely registered copyrightoften makes the difference between an unauthorized use claimthat settles quickly for a decent amount and one that is impracticalto pursue. One reason is that if an image is timely registered,a court can award statutory damages in which you donot have to prove any specific loss. Depending on the circumstances,courts typically award between $750 and $30,000 perinfringed work but may award as low as $200 and as high as$150,000 in extreme cases. Second, a court can award you yourattorney fees if the image is timely registered. This is importantbecause copyright litigation is expensive. Conversely, if theimages are not timely registered, a sophisticated infringer willoften call the copyright owner’s bluff, knowing that it will be imprudentto incur a large amount of attorney fees in an attemptto recover a relatively small amount of actual damages.Registering the copyrights to photographs is neither difficult,time-consuming nor expensive. The instructions on how toregister copyrights online can be found at the U.S. CopyrightOffice’s website (www.copyright.gov) and are fairly easy to understand.Photographers generally register multiple images ata time because when done in this way, only a single applicationfee (currently $55) need be paid.Bert Krages is an attorney inPortland, Ore., who specializesin intellectual property issues.He is the author of LegalHandbook for Photographers.LMGA COMPASS | Spring 2015 • 43

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MARTINI SHOT41° 48' 26" N / 1° 53' 4" EIberpotash MineSallent, SpainPhoto by Peter Gluck

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