LMGA Summer 2015

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

SUMMER 2015 / IN THIS ISSUE VOLUME 3 / ISSUE 3 4 32 EDITORS’ DESK The Authentic Character of 6 Osceola Refetoff LETTER FROM THE PRESIDENT 8 CONTRIBUTORS Photo by Osceola Refetoff Osceola by Photo 36 MR. DARRELMANN’S Wild Ride: Berlin 12 IN THE NEWS • Madrid in Focus 50 • NY Union Update MARTINI SHOT • Fantasia in Chile 20 33° 21' 3" N / 115° 43' 47" W • LMGA Elections IN MY CITY • Comic-Con: Location, A Knight in Montreal Location, Location • Sheri Davis on the Move • Emmert at Outfest 42 PORTUGAL Profile in Pictures João Alves

ON THE COVER 26 Artistic photo of the Salton 16 DRONES: Sea from location scout CAREER FOCUS Rewriting the Narrative Osceola Refetoff. Rick Schuler of Cinema Photo by Osceola Refetoff

LMGA COMPASS | Summer 2015 • 3 FROM THE “Pull a thread here and you’ll find it’s attached to the rest of the world.” —NADEEM ASLAM “I live my life in widening circles EDITORS’ that reach out across the world.” —RAINER MARIA RILKE Connectivity. This current issue of the LMGA Compass seems to have chosen its own topic. DESK Portugal, Chile, Berlin, Atlanta, Montreal, Madrid, New York, Los Angeles … our members live and work around the world. Once isolated, living and working in our own geographic areas, we now work in a global environment made smaller every day by technology, the Internet and social media.

Interdependence. No matter the geographic distance between us, the essential work remains the same. We share a passion for the creativity and camaraderie of our chosen profession.

Synergy. An intermingling of kindred spirits and unbridled creativity. Together, we make each other better … a tangible result of 11 years of LMGA volunteerism.

A passion for creativity is on display in our cover story, “The Authentic Character of Things As They Are.” Writer, critic and curator Shana Nys Dambrot explores the art and vision of location scout and fine art photographer Osceola Refetoff. His work endeavors to reveal the inherent truth of things, rather than serve our expectations.

Mark London Williams, senior correspondent for Below the Line, accompanies LMGA award-winning location manager Klaus Darrelmann on a whirlwind ride through Ber lin—a city steeped in architectural magic and history in “Putting Berlin on the Map.”

Jill Naumann’s ”Game of Drones” looks behind the scenes at the regulations that are lagging behind new drone technology. From virtual set extensions to 3-D modeling to dynamic footage, drones are changing the narrative of cinema. How fast can legisla- tion catch up?

If a picture is worth a thousand words, Portuguese location scout João Alves has written an epic novel. “Profile in Pictures” showcases his eye for composition as well as the diverse beauty of his homeland.

Our departments in each issue include “Career Focus,” “In My City,” “In the News” and “Martini Shot.” In the last “Career Focus,” Veronique Vowell’s piece was inadvertently cut off. See page ten for the final column and the LMGA website for her entire story.

As we enjoy the long days of summer, celebrate the connectivity, interdependence and synergy that the LMGA fosters. Wherever your wandering paths might take you, there is always a seat for you by the LMGA’s communal fire.

Always a pleasure, never too busy.

Marie, Stevie, Ken and Lori

4 • LMGA COMPASS | Summer 2015 THE BEAUTY SHOTS YOU EXPECT, WITH THE DIVERSITY OF LOCATIONS YOU DON’T.

Filming in the U.S. Virgin Islands is one unbelievable shot after another. You’ll fi nd a diversity of locations from rural farmland, lush rain forest and rolling hills to quaint European towns, cosmopolitan settings and colorful Caribbean architecture. Not to mention picturesque beaches. You’ll also fi nd an experienced fi lm community with English-speaking crews and the convenience of U.S. currency. For more opportunities in St. Croix, St. John and St. Thomas, call 340.775.1444 ext. 2243. Plan your production at fi lmUSVI.com. Ask about our pending new incentives.

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LETTER C  MPASS FROM THE Official Magazine of Location Professionals Promoting Excellence PRESIDENT on Location Worldwide

Dear Members, rsr Editors I write to you today away from home, in the burgeoning film Lori Balton hub of Atlanta, Georgia, where I will be working on the Fox show Marie Healy Sleepy Hollow for the next few months. I do miss the comforts of Stevie Nelson home—sun-drenched days, the smog sunsets and the soothing Ken Haber white noise of the 405 freeway—but I must admit, I have begun to feel good here in Georgia. Over 2,000 miles separate Los LMGA Officers Angeles from this “incentive state,” one of many popping up Nancy Haecker, President around the country, and yet the work remains the same. Lori Balton, 1st Vice President Ken Haber, 2nd Vice President A quick tour of Atlanta reveals some striking similarities to Los Angeles. Drive down Eric Klosterman, Treasurer Marietta Street and notice the CNN and TBS headquarters looming overhead. Head Sinclair Anderson, Secretary north and pass by Atlanta Tech Village, part of the growing “Silicon Peach” tech sector in the city. Atlanta has sought out these industries to boost job growth, and the LMGA Administrative Director reality is, the entertainment industry will continue to spread as other locales follow Marc Blackbird the blueprint. Our Guild is expanding and moving with the entertainment industry as LMGA Board of Directors it places our work in areas where they can get the most bang for their buck. Jimmy Ayoub Robert Decker Whether you are based in Los Angeles and scouting outside of your state or a Melissa Demonaco local managing in your hometown, the challenges of locations work remain the same. Mike Fantasia We still must wrestle for shooting permits, wrangle truck moves at 4 a.m. and pacify Wes Hagan local residents when we bring the circus to their doorsteps. Many of us are firmly Mario Ramirez entrenched in our community wanting to keep our jobs local, some of us relish the Jordan Schmidt opportunity to travel and explore new areas across the nation and around the world. Rick Schuler Wherever you live, we have the same concerns. We want to work, pay the mortgage, Rebecca “Puck” Stair feed our families and plan for retirement. Dorian Thomas

The LMGA prides itself on its global reach, and we strive to represent location LMGA Chairman Emeritus professionals in all places, whether it’s Los Angeles, Atlanta or Dubai. We may be Orin Kennedy THE BEAUTY SHOTS YOU EXPECT, WITH spending more time on the road, like myself, but when we clock in to work (sometimes at 4 a.m.), we fall under the same umbrella. THE DIVERSITY OF LOCATIONS YOU DON’T.

So to LMGA members here, there and everywhere, remember that you have the sup- The LMGA Compass is published quarterly by Filming in the U.S. Virgin Islands is one unbelievable shot after another. You’ll fi nd a diversity the Location Managers Guild of America. port of your Guild wherever you are. Take advantage of the community and benefits locationmanagers.org of locations from rural farmland, lush rain forest and rolling hills to quaint European towns, we offer, including this issue of the LMGA Compass, and enjoy our diversity. We are cosmopolitan settings and colorful Caribbean architecture. Not to mention picturesque a unique and global community. The LMGA collective connects you to professional Comments, editorial and photo submissions brothers and sisters throughout the world. Take the occasional opportunity to reach can be sent to: beaches. You’ll also fi nd an experienced fi lm community with English-speaking crews out and say hello to a distant colleague through our online forum, a phone call or a [email protected] personal note. No matter where you make your home—in a production  hot spot or and the convenience of U.S. currency. For more opportunities in St. Croix, St. John isolated community, the LMGA is here for you.    and St. Thomas, call 340.775.1444 ext. 2243. Plan your production at fi lmUSVI.com.  Publisher   Ask about our pending new incentives. Thank you, TM IngleDodd Media Nancy Haecker  

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Bob Craft Shana Nys Dambrot Bob Craft is a Los Angeles Shana Nys Dambrot is an art critic, transplant with over 25 years curator and author based in Los of experience as a manager Angeles. She is currently LA editor for João Alves Jill Naumann and scout. Bob fell in love Whitehot Magazine, arts editor for Vs. João Alves has been a Los Angeles native Jill Naumann with film in college, went to magazine, contributing editor to Art Ltd. location scout in his native considers filmmaking to be an integral graduate film school at NYU and a contributor to LA Weekly, Flaunt, Portugal for 10 years, part of her cultural heritage. Training and got his first job as a PA on The Huffington Post, Palm Springs Life following a successful career on the streets of LA during the ’90s The Warriors, shooting three and KCET’s Artbound. She studied art as a commercial producer. filming boom, Naumann worked months in the subways of New history at Vassar College, curates one Born in the magical city of with directors such as Ron Howard, York. He has never looked back. or two exhibitions a year and speaks Sintra, he studied design at Mick Jackson and William Friedkin. He is currently scouting on an in public with alarming frequency. An Lisbon University. He lives In 2003, she received a COLA Award Alexander Payne feature film. account of her activities is sometimes in Ericeira, a small fishing for Location Professional of the Year- updated at sndx.net. village, with his surfing Television for 44 Minutes: The North 13-year-old daughter Hollywood Shoot-Out. In 2013, she Carolina and his faithful was honored with a second COLA for assistants, his dogs, Sushi the Best Reality Series Top Hooker. Her and Goshi. photography has been showcased in AFCI’s Locations Magazine and many California country brochures distributed by tourism boards. In her downtime, she enjoys using multi-sport vacations Leann Emmert Rick Schuler to scout California’s small towns, and Leann Emmert has been a Rick Schuler has worked in the film donates her time on the festival circuit proud location professional for industry since 1989. He was a nominee to promote filming. over 16 years, having worked at the LMGA’s first awards show for his on such features and TV series work on the Spike Jonze feature film Her. as Minority Report, War of Impressed with the professionalism of the Worlds, Lincoln, The Dark the show and the dedication of various Knight Rises, Ray Donovan and LMGA members, he ran for a seat on the the Transformers movies. She LMGA Board and joined the committee to is currently out of town on a help vet award show nominees for the new adventure, which has her 2nd Annual LMGA Awards Show. Schuler scouting and filming in Hawaii & is currently an active LMGA Board Vietnam until spring of 2016. member, contributing to several committees.

Mike Fantasia Mark London Williams Following a 13-year career Mark London Williams has reported on with the US Forest Service, moviemaking, both analog and digital, Mike Fantasia decided to run for publications like Variety and the Los away and join the circus. He has Angeles Times, and is currently a senior worked as a location manager correspondent for Below the Line and a for 25 years on over 35 feature contributor to British Cinematographer films throughout the United covering post-production and States, Canada, Western Europe Hollywood’s award season and its and South America. He is on the discontents. He’s also the author of the LMGA Board of Directors, where time-travel book series Danger Boy, he is currently serving a life but hasn’t been able to personally go sentence. backward, chronologically yet. THE ULTIMATE LOCATION

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The Spring 2015 Career Focus, featuring Veronique Vowell, was inadvertently truncated. Here are the concluding paragraphs. Please read her story in its entirety at: http://locationmanagers.org/veronique-vowell-career-focus/

To transform a real location into a fictional set requires attention to a laundry list of details. Every aspect of every location—no matter how mundane—is important to someone associated with the process of preparing the shoot. These are just a few of the things—not in order of importance, they are all important—that have to be done before the director says action: street sign removal; turning on/off street lights; cable placement; roof access; tree trimming; repaving; toilet rentals; tent erection; lane closures; heat or A/C as required; condor, car and truck parking; snake/insect wrangling; hiring of police/fire personnel; obtaining permits; notifying neighbors; layout boarding; location cleaning; bus stop moving; extras holding; environmental testing; furniture moving and storage; safety reports; insurance certifications; contract negotiations; trash collection; memo writing; production meetings; dog kenneling; and it goes on and on.

It takes a team of dedicated professionals to get the job done. I have been extremely fortunate to have a talented, long-standing crew: Andrea Morrissy-Keener, 12 years; Jason Kaplon, 7 years; J Hanna and Jasmin Paris, 4 years. Some are with me still, others have moved on to greater glory. Without their support over the years, I would not be where I am today.

Nothing prepared me for this job except for everything I have ever done or learned in my life. Growing up in Hollywood, I was always encouraged to be a teacher even though secretly I wanted to be a police officer. My father, a television writer and documentary filmmaker, taught me an important lesson: whatever you want to do, do it with everything you have. He was famous for telling me long ago “if I wanted to peck poop with the chickens, then I should go build myself a wooden bill to be able to do it well.”

My mother, who immigrated to the US from Switzerland, taught me to actively observe the world around me, from the beauty of nature, architecture and art, to the diversity of humankind. My years in Switzerland at the University of Lausanne studying French and French literature, gave me the confidence to get along with people of all stations in life.

All these experiences prepared me to be able to advocate for location professionals and the greater film community as a Board member of FilmLA, a member of the LA City Mayor’s Task Force, a founding member of the LMGA and a lecturer at a variety of film schools—AFI, Boston University, Emerson College and Chapman University.

In the question-and-answer periods after my lectures, I always get the same two queries: How do you find locations? And how do you convince people to allow you to disrupt their lives with filming in or in front of their homes and businesses? My answers are always the same. I tell them to keep their eyes open because you never know what you are going to find. I advise them to not just throw money and promises at people, but to explain to them how important the industry and the jobs are to the community at large, how it greases the wheels that helps fuel the local economy.

This is exactly what we told our elected officials across the state to gain passage of AB1839.

10 • LMGA COMPASS | Summer 2015

Originally a Moorish fort, great square is the Plaza class neighborhood, has a wide IN THE the area fell to Alfonso VI Mayor, sight of bullfights, variety of immigrants. of Castile in 1086. Madrid executions, pageants and the On the last day, we explored remained a small village inquisition trials. Paseo de la Castellana in until 1561 when Felipe II Salamanca, an upscale made it the capital and the There are also many business and shopping district NEWS controllable ancient narrow reminiscent of Embassy Row streets for romantic walks and or Massachusetts Avenue in talks. In fact, all the squares Washington, DC. Among the and streets are filmable and architectural highlights were you pay by how much you are buildings designed by Santiago using. The cost comes out to Calatrava, Norman Foster and around 50 euros per square Philip Johnson. The Plaza meter (approximately $53). de Toros de Las Ventas, a The city is working to be as beautifully designed bullfighting film-friendly as possible. ring built in 1929 in the Neo- Mudéjar style (reminiscent of On our second day, we drove the 12th-century Moors), was 45 minutes northwest of also a highlight. L to r: Samuel Castro, Bob Madrid to El Escorial, an Craft, Antoine Depardieu and Michael J. Burmeister imposing palace and world At the conclusion of our Madrid: Ready heritage site. We didn’t start whirlwind tour, the exquisite for Its Close-Up old Arab fortress became our visit until after we had our beauty of Madrid’s International his new palace. In that era, two-hour lunch of tapas and Airport added the final note, By Bob Craft urban architectural design wine. The Spanish have their underscoring the variety of As part of La Ventana del was based on the work of the priorities. architecture and abundance of Cine Madrileño, promoting Roman architect Vitruvius locations that Madrid offers. their audiovisual industry, (1st century BC). This urban El Escorial was built by Felipe Madrid invited producers model included a central II between 1563 and 1584 from Sweden and Columbia, square with a church and as a contemplative retreat for along with myself and fellow various public buildings. himself and a mausoleum for location managers Michael As a result, there are many the royal family. The building Burmeister/LMGA and beautiful squares, great for is huge with a footprint as Parisian Antoine Depardieu to action films looking for that large as the Pentagon. tour their city. international look. That night we toured Madrid’s Madrid is a friendly city with The Bourne Ultimatum shot at Lavapiés, the city’s oldest an easygoing lifestyle. Even the Café del Principe on the barrio and former Jewish film shoots have reasonable Plaza de Canalejas. Another quarter. This mixed, working- hours and two-hour lunches with wine. The capital of Spain and Pedro Almodóvar’s A New Union (Women on the Verge of a Nervous Breakdown) backlot, Rises Madrid has a great variety of locations. New York LMGA members who are part of the Event organizer Samuel grass-roots organization Castro was tasked with Crossroads–ULDW (United showing us all that the city Locations Department had to offer. We stayed in a Workers) have much to modern hotel in City Center, celebrate this summer as enabling us to walk to most the ULDW membership has areas. del Cine Madrileño La Ventana of Courtesy Photo: officially voted to join the Michael J. Burmeister at El Escobal Monastery

12 • LMGA COMPASS | Summer 2015 AFL-CIO affiliated union, the Communications Workers of America (CWA), District 1, Local 1101 in New York City to become CWA-ULDW Local 1101.

“On June 14, CWA Local 1101 met with over a hundred ULDW members and I was proud to be part of such an overflow of unionism,” said Keith Purce, President of CWA,

Local 1101. “The meeting Ardiles Rodrigo by Photo showed that NYC is now and Mike Fantasia at Rio Fuy, Chile will always be a union town! Welcome to CWA, we are CWA and Local 1101 that that includes the Atacama, glad to work with ULDW on our dream of a unionized Chile Seeks Patagonia, Lacustre de la our goal to become a union location department will be LMGA Counsel Araucania and Valdivia Film represented organization!” fulfilled. We look forward to Commissions. The tour By Mike Fantasia working hand-in-hand with included the national parks The ULDW is an organization the rest of the unionized The Chilean government is of the Araucania near Pucon, founded over two years ago, crew members in New making a concerted effort Menetue Hot Springs, Huilo- to mobilize the locations York.” to attract international Huilo Biological Reserve, workers in New York City’s filmmakers. To that end, I Mocho-Chosuenco Volcanoes feature film, and episodic The CWA-ULDW strives attended the 19th Annual National Park, Fort San Luis to join our brothers and Business Conference in Viña de Alba River, Valparaiso, San sisters in SAG, DGA, IBT de Mar in early June. I had Felipe, Putaendo, Quintero and IATSE, as union workers over two dozen meetings and Valdivia. on set. We want to negotiate with television, film and a collective bargaining commercial producers, The highlight of this portion agreement with our directors and location of the trip was the signing employers—like our fellow managers, a soundstage of a Memorandum of unionized location workers developer and various Understanding between the in all other major filming national and regional LMGA and the AFCC that regions of North America. economic development will allow the two groups to officials during the three- work together on mutually “As New York enjoys record- day conference. These beneficial projects, including

Photo by Michelle Stella by Photo breaking years of network discussions centered on training and educational and studio production, developing relationships with seminars for Chilean location due to the tax incentive the LMGA to conduct a series managers. They also want network television industry. program, the new CWA- of seminars and educational us to participate in meetings We built a movement and ULDW Local 1101 feels it’s programs over the next few with key production and now number more than 200 now our job to see that the years to raise the level of business people to discuss strong, and counting. location departments that expertise of Chilean location ways Chile can become sustain this volume and managers. more competitive in the “For two years now, we have impact, get a fair contract world filmmaking market. been looking for a partner to work under,” said ULDW After the conference, I In exchange, the LMGA will to help us get a contract on founder John Spady/LMGA. participated in a five-day receive Chilean products the job,” said Dan Welch, familiarization tour sponsored for our various functions as chairperson of the CWA- For further information, by the Association of Film well as familiarization tours ULDW Local 1101. “We please visit: Commissions of Chile for commercial and feature now hope with the help of www.crossroads-uldw.org/ (AFCC), an organization location managers.

LMGA COMPASS | Summer 2015 • 13 Transformers: Revenge of the Fallen), Stacey McGillis (Guardians of the Galaxy, Infiltrator), Kei Rowan-Young (Django Unchained, Chef), Scott Trimble (Terminator Genisys, Jurassic World) and Steve Woroniecki (Tomorrowland, X-Men: Photo by Jimmy Hang/LMGA Jimmy by Photo First Class). electronic. Sinclair Anderson LMGA Board did a great job spearheading of Directors the work! Our administrator, Marc Blackbird, and event Location Election coordinator Taline Semerdjian, Returning Board members along with volunteers Brian Reality Meets Mike Fantasia, Eric Klosterman Love, Robert Girardin, Shelly and Sinclair Anderson were D. Wilson and Jimmy Hang did Fantasy at voted in at our annual meeting. a great job! Comic-Con 2015 Newly elected Directors are Rick Schuler, Jimmy Ayoub, A round of applause to On July 9, Location Managers Bob Decker, Wes Hagan, outgoing Board members: Guild of America members Dorion Thomas, Jordan Tony Salome, Stevie Nelson, divulged secrets and shed Schmidt, Melissa Demonaco Heather Ross, Jason Kaplon, insights to scouting and and Mario Ramirez. Continuing JJ Levine, Welton Jones, Alex managing locations for Sheri Davis on on the Board are Nancy Moreno and Kevin Funston. major motion pictures during the Move Haecker, Rebecca “Puck” Stair, the “Hollywood Location Ken Haber and Lori Balton. Our Their service to the Board has Scouts” panel at Comic- After 24 years, the Inland organizational meeting yielded been critical to the LMGA’s Con International 2015. Empire Film Commission has another term for the Executive growth and success. We hope This popular panel was officially closed its doors with Committee: Nancy Haecker as they will continue their good spearheaded for the third year the retirement of longtime President, Lori Balton and Ken work with the Guild. in a row by location manager director Sheri Davis. Haber as 1st and 2nd VPs, Eric Scott Trimble/LMGA. Klosterman as Treasurer and Special thanks to LMGA Board Three separate agencies will Sinclair Anderson as Secretary. nominee Greg Babcock who Meant for entertainment handle production inquiries traveled all the way from professionals and the general and permits: City of Big Bear We are indebted to you for your Colorado to attend Sunday’s public alike, the panel Lake Film Services, Riverside continued service to the Guild. meeting. We hope to see more addressed the behind-the- County Film Commission of Greg in the future! And scenes work that bridges the and San Bernardino County Continued inclusion of thanks as well to nominees gap between imagination and Film Permitting. Go to business members to the Alex Moreno and Steve Bornn. reality during the production filminlandempire.com for Board is a boon to the LMGA. of major motion pictures. contact information and Per Co-chair of the Business We enjoyed a lovely Sunday The panel also discussed website links. Committee Ken Haber, “Our afternoon in an urban oasis at the challenges of how those business members are in- the DoubleTree by Hilton Los incredible locations were found Ms. Davis will assist the City creasingly influential in our Angeles Downtown’s Kyoto by the scouts, modified by the of Big Bear, the County of activities and support the Gardens. The company, food crew and managed logistically Riverside and the USFS (US mission of the Guild. It’s and entertainment were top prior to and during the filming. Forest Service) during the only logical that they should notch. Special thanks to our transition. Dan Taylor (IEFC have representation in our sponsors: DoubleTree Hilton, This year’s panel featured deputy director) will steer leadership.” The Location Portal; Skye LMGA members Nick Carr operations in San Bernardino Rentals and Reel Waste & (Spider-Man 3, Enchanted), County. This was the first time our Recycling. Stephenson Crossley elections were 100 percent (Fear, The Walking Dead, A visionary leader, Sheri

14 • LMGA COMPASS | Summer 2015 Davis was honored with some international indie the first LMGA Trailblazer filmmakers of all ages, with a Award. Her efforts to further varying degree of experience. the recognition of location The panel broke down the professionals culminated process of filming in Los in the annual California On Angeles, explaining the new Location Awards Show, which California tax incentives, will celebrate its 21st year. the role of FilmLA and the permitting process, as well as Photo by Shane Hirschman/FilmLA by Photo L to r: Moderator Peter Caranicas, Variety; Stephanie Outfest Los Allain, producer of Beyond the Lights; Leann Emmert, loca- Angeles LGBT tion manager; Kevin James, Chief Film Liaison, City of Los Angeles; Paul Audley, Film Panel President, FilmLA; and Amy Lemisch, Executive Director, By Leann Emmert California Film Commission This July, Outfest Los Angeles recently celebrated the wide variety of resources its 33rd anniversary with Los Angeles has to offer one of its biggest festivals filmmakers of all budget sizes. yet, with films from around the world representing the I shared with the audience best in LGBT storytelling. the role of location scouts & managers and the benefits of As a proud member of the having us on a film project LGBT community, I was early, not only to guide honored to be included them through the variety of on this year’s panel about looks L.A. has to offer but to “Filming in L.A.,” along also steer them away from with FilmLA President potential problem locations Paul Audley, Mayor that can be costly. Having castlegreenfilming.com Garcetti’s film liaison scouted for several features Kevin James, California before the script is even Film Commissioner Amy finished, I let the audience Lemisch and producer know we often help to craft Stephanie Allain. The the look of the film. One panel was moderated student filmmaker asked, by Variety’s managing “How do you know what to editor of features, Peter scout for without a script?” Caranicas. I quoted what Michael Bay once told me, “Go find some The audience consisted cool s**t!” and the writers For access anytime for every need, of both local and also will work it in! call: 626-807-6195 / email: [email protected]

LMGA COMPASS | Summer 2015 • 15 Where the Camera Meets the Eye     CAREER and the Rubber Meets the Road   TM

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Rick Schuler  

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FOCUS

Rather than focus on all the projects i have worked on, this is more of a

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reflective account of how my life experience prepared me for a  career  

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as a location scout and manager.    disco moves, captivating of living between the two the crowd who cheered countries was catching up with unabashed delight at with me. It split my identity; the nostalgic reprieve. The I never fully integrated into contrast between the two either culture. Maybe this events was palpable. From my propensity for neutrality experience, it appears that prepared me for the situations much of moviemaking seems we often find ourselves in as to be forged in an intersection we seek to meet the needs of of competing ideas and egos. both production and property We work in a schizophrenic owners. business or at the very least, a great sociological experiment After eighth grade in France, worth the price of admission! I was enrolled in an English- speaking boarding school in I was 5 when my family moved Southern West Germany. Black Rick Schuler. All photos courtesy of Rick Schuler overseas. The first generation Forest Academy was populated I was born in Ypsilanti, of their lungs, inches from in both of their families to with kids from across Europe, Michigan, a town that made each others’ faces. This attend college, my missionary North Africa and the Middle history in 1964 when Rokeach ‘high level’ heated argument parents, with four children in East, whose parents were published the psychiatric case had to do with the next best tow, were off to establish a missionaries, diplomats or study, The Three Christs of course of action for a scene Protestant Evangelical church businessmen brought to this Ypsilanti: A Narrative Study in the movie Swordfish, in a fundamentally Catholic, corner of the world by their of Three Lost Men. The book starring John Travolta, Hugh if not agnostic, country. While careers and callings. This is details the interactions of Jackman and Halle Berry. most missionaries go to Africa when I satisfyingly leaped from three paranoid schizophrenics, While none of these enraged or South America, my parents eighth to 10th grade, caught each claiming to be Christ. men claimed outright divinity, headed to Europe. We lived in up with my age group, and They confront each other the implication could easily Paris for two years while they graduated from high school. fiercely, about who is the be inferred by the verbal studied French and French real Jesus Christ. In the end, intensity of clashing egos. In culture at the Sorbonne. I returned to Wheaton, Illinois, their delusions prevail over a all likelihood, Jesus’ name had Without comprehending and lived with my parents, consenting decision, as they been invoked a time or two! one word of French, I was home “on furlough.” While each unwaveringly proclaim enrolled in first grade. I don’t they traveled and visited the other two to be mentally ill The deepest impression remember learning French, churches that supported imposters. I have of this event is the but by second grade I had them, I fulfilled my immediate contrast between what integrated it into my adopted ambitions as a young man This study came to mind occurred the day prior at the culture. At the end of my by getting a driver’s license, years later while shooting in same intersection. Music third year, we returned to securing gainful employment the middle of an intersection played over loudspeakers, the States. I continued my as a grease monkey at a local in Ventura, California. The filling the streets with fourth-grade education, now Pontiac dealership, and … entire movie set of about a familiar rhythms, when the with a limited ability to speak buying a car! I don’t know thousand people grew eerily famous actor stepped out English. Upon our return to why, but I never thought quiet while witnessing three of his town car and without France a year later, I advanced about going to college. Up to men staunchly stand their missing a beat, broke into to fifth grade only to fail and this point, school had been ground, yelling at the top his legendary Staying Alive repeat the class. The strain a rather trying experience

16 • LMGA COMPASS | Summer 2015 for me. My mind was set I met my future wife while   on driving and enjoying the I lived in the French House,    independence this country immersed in French culture   afforded me. and language. Being certain   of our desire to be with each TM After work, I drove aimlessly other regardless of what life

  around small midwestern brought, Carla and I were

  towns. I cruised main streets, married before our senior year.

  noticing the architectural

 

details of the shops, After Wheaton, I worked the

restaurants and civic buildings. phones at Tyndale House 



 I explored neighborhoods, Publishers, selling books 

  taking in the individual and bibles to Christian  

    characteristics of houses, bookstores and other retail. churches and schools. I The experience in cold calling, meandered the surrounding making a quick connection countryside. I took it all in, with the person on the other including the way the evening end of the line, is another skill light warmed the scenery. At that has benefited me greatly the time, all I knew was that as a location manager. Most driving felt good, and that I of my conversations with found the variety of what and homeowners or merchants whom I saw inhabiting these involve a quick assessment. Filming Her on a penthouse rooftop in downtown LA. small towns interesting. This I try to adjust my vocabulary new pastime felt purposeful to fit theirs, whether it’s using close the door, or drive around a job teaching at Alverno, somehow, but I had no idea it big words, or even profanity. town with a Starbucks in my an all-girls Catholic high was going to turn into a career I also listen for signs or cues hand and not speak a word to school. The Italian mansion path years down the road. as to how they are feeling at a single soul. on campus was a frequent the moment. I can’t tell you location for TV shows, movies My parents’ return to France how many times people have My unusual upbringing and commercials. It was here prompted me to move on divulged personal information contributed a great deal to that I first came into direct with life’s adventures. I was about themselves just because my interests at the time. I contact with the industry. accepted to Wheaton College’s I asked a few questions and was intrigued with religion’s Conservatory of Music as a genuinely listened. When impact upon the development I decided to transition piano performance major. the schedule allows for it, I of Western thought. So, into location scouting in In an attempt to understand like getting to know people. following my stint in phone commercials. It called upon my religious upbringing Working out the details of a sales, we moved to Indiana, the use of my many skills in the world of Evangelical shoot is one thing, making where I completed a master’s and interests: my schedule Christianity, I switched majors a human connection with a degree in theology at the would no longer be dictated and pursued religious studies stranger is quite another. I University of Notre Dame. by the sound of a bell; I would and sociology. It was a decision value both experiences. There Tired of midwestern winters, be driving; my interest in solely motivated by academic are days, however, when I just we headed west and landed in architecture and history would interest. I did not possess the want to go to the office and Pasadena, California. I secured be relevant; my interest in forethought to think about traveling and meeting new what I would be doing later people would come in handy; as a career. For a year, I was a and I was also interested in teaching assistant for a French photography. Interestingly, I professor, followed by two went from a profession that is years of managing the on- not really valued by society as campus student coffee shop. a whole to another profession The experience of managing that fights for recognition in its employees was a training own world. ground for location managing. I interacted with the students Very early on, I was securing and the staff to get things permission to fly a helicopter done; from cleaning the floors 50 feet off the ground as it and throwing away the trash … traveled a precarious route why does that all sound so through downtown LA. familiar? The project was for Sprint, Rick Schuler scuba diving off Santa Cruz Island. featuring a helicopter carrying

LMGA COMPASS | Summer 2015 • 17 29 years. The ceremony took place under a beautiful Deodar tree at Mountain View Cemetery. I never figured that a location I had scouted many times would one day feature my own story in real time. What amazed and comforted me most was that the people in the biz I had worked with all these years were standing there with me. My colleagues rallied to my aid and I was reminded that the legacy of our work pales in comparison to the deep abiding friendships that develop while we work tirelessly as a team.

One of my favorite aspects of Schuler on the set of the award-winning Budweiser Super Bowl commerical. the job is the camaraderie with a phone. The dangling Marlboro, when my wife called Antoine Fuqua, Simon West my location team. I recall a phone was added in post- in tears. She felt like she could and Dominic Sena. time when one of my assistants production. The permit no longer care for our two and I were reviewing the details simply read, “Helicopter sons by herself. She was now a My foray into movies began of a parking lot he had secured fly-bys.” Those were the psychologist in private practice with a call from David Fincher for our catering truck. During days! Multiple cameras in Pasadena. The next day, I for the movie Seven. I told our conversation, he explained were filming the scene; was on a plane back to LA. him that I didn’t do movies. to me that the deal he had one placed in a manhole This was the first-and-only He replied that he only struck with the church involved on Grand Avenue; one by time I remember walking away wanted me to scout. I could 200 homeless people walking a swimming pool atop a from a job. I worried it would assess how I felt after that. through the center of our eating hotel rooftop; and another have negative consequences I think I am most proud of area to go to the church to get on the helicopter pad of the for my career, but there was my scouting on Seven. The some food of their own. I’m Bonaventure Hotel. Fifty something bigger calling. complexity and challenge like: “You’re not serious, right?” PAs locked down the street. Family. Each of those jobs of finding those locations He just looked at me and then But the sweetest part of it away from home had started stands apart from the rest. It we both burst into laughter at all was hearing the director the same way: the call to get took a total of seven different the thought of it. turn to me and say: “This on a plane, the excitement of interior and exterior locations is your day.” Little did I travel and discovery, followed to create the downtown police On another occasion, we were know that years later for the by the conflict and sadness of station. When it came time to set to move in the middle of movie Swordfish, I would leaving my loved ones behind. move into managing, I didn’t the day and needed the street pull a much more detailed For the sake of my family, I think I was prepared enough. parking to be completely permit to fly a large Zikorsky made the decision to limit I was scared to fail. I told clear for our arrival. I asked helicopter carrying a real the scope of my work, for the David I wasn’t ready for the my assistant how things were payload. A bus! We flew an most part, to scouting and responsibility. Paul Hargrave looking. He said that when he actual city bus around the managing in and around Los ably managed the film. I was arrived early that morning, very same area, requiring Angeles. worried about letting David the street was packed with the closure of 26 blocks in down, but he didn’t see it cars and he had to call the downtown LA, on a Super I began working at Propaganda that way. Following principal tow company. I was a bit Bowl Sunday, no less! That Films with young directors photography, David insisted concerned and asked how was the first time, and quite shooting commercials and I help him with additional many cars had been towed probably the last time, that music videos. A reputation photography. This time, I so far. He proudly stated 17 a city bus had ever flown for burning locations had was ready. I followed his and counting. He was proud between buildings above previously kept me away from direction, and I have been of himself for having tackled the streets of downtown Los this company. But things fortunate and privileged to be the problem. I tried to conceal Angeles. were a changin’… Producers asked to work with him ever my shock and told him that in I respected began popping since. all my years in the business, I After six years, scouting up there. I worked with David had maybe reluctantly towed around the world came to an Fincher, Michael Bay, Mark In the summer of 2009, I three cars. He was silent at end. I was in Moab, Utah, for Romanek, Spike Jonze, buried my wife of almost the other end of the phone.

18 • LMGA COMPASS | Summer 2015 NIAGRA FALLS VACATION … A scout is always scouting, no matter where they are. Past his silence I could may have initially resisted, hear some lady yelling in I have found that what the background: “not the the job requires most is Cadillac, not the Cadillac” creativity, lots of creativity. as she ran down the middle And somehow, over the of the road chasing the tow course of my lifetime, I truck that was impounding have gleaned skills that her car. prepared me for this amazing career as a scout Pulling off a seemingly and a manager. When I’m impossible feat, where asked what one needs to fantasy meets reality, ranks do to be a location scout highest in my job satisfaction and manager, I reply with category. There have been the following: get a college a considerable amount of education and major in them; exploding cars and any field that is of interest firing weapons at the base to you. Travel. Study of Pyramid Lake Dam in the architecture. Immerse National Forest, Post 911 yourself in another culture. and during a heat wave over Enjoy beauty. Observe the 100 degrees for Savages, to intersection of light and securing a location for a car shadows throughout the stunt that involved driving day. Take a picture of them a Porsche at full speed, in your mind’s eye. When across a car showroom floor, you’ve got that covered, crashing through a wall of get a camera, learn the floor-to-ceiling windows, necessary tools of the trade sliding the car sideway on and hit the road. the street in front of the dealership, and tearing down Rick Schuler’s list of credits the road at high speeds for includes Seven, The Game, Gone in Sixty Seconds, in Fight Club, Gone in Sixty Beverly Hills, no less! Seconds, Adaptation, Swordfish, Zodiac, Mr. From finding a location, to & Mrs. Smith, National framing a shot, to negotiating Treasure: Book of Secrets, a contract, to problem The Social Network, Her solving logistical issues, to and Gone Girl. getting people on board who

LMGA COMPASS | Summer 2015 • 19 IN MY CITY: MONTREAL Q&A with Adrian Knight 45° 30' 44" N / 73° 33' 16" W Co-editor Stevie Nelson talks to member Adrian Knight about filming in marvelous Montreal. Photo courtesy of Adrian Knight/LMGA Stevie: HOW LONG HAVE YOU BEEN WORKING IN LOCATIONS? Stevie: WHAT TYPES OF PRODUCTIONS FILM IN MONTREAL? HOW DID YOU START & WHAT DO YOU PRIMARILY WORK ON? AK: We are very fortunate in Montreal, since we have not Adrian Knight: I’ve been location managing since 1994. I started only a steady flow of big-budget Hollywood films, but also a out by helping on student and independent films, then moved lot of midrange or lower budget independent projects from into commercials. After three years of doing mostly commer- all over the world. We also have a long-standing cinematic cials, I started managing feature films. Features were my main- and television culture in French, with our own star system stay for many years, but since 2011, I find myself doing a lot and regionally popular TV series and movies. The combination more episodic TV. I am fluently bilingual as I was born and raised of so many projects allows for year long employment. Some in Montreal. I work on just as many French-Canadian projects as great indie films that have shot in Montreal include I’m Not I do on English-Canadian or foreign productions. My very first There, On the Road, Mother Night, Mr. Nobody, The Score and feature as a location manager was the bilingual thriller Le dernier Upside Down. Some of the tent pole films include The Day After souffle. My first American studio feature was Warner Bros.’ Bat- Tomorrow, The Aviator, X-Men: Days of Future Past, White tlefield Earth, starring John Travolta. This film was great fun to House Down, The Curious Case of Benjamin Button and The work on even though it’s widely considered to be one of the worst Smurfs 2. films in cinematic history! At least Variety said that the locations were great! Some favorite films I’ve been fortunate enough to Stevie: WHAT CHALLENGES DO YOU FACE IN YOUR JOB? work on include Blades of Glory, Journey to the Center of the Earth, On the Road and Life of Pi. The last few years I’ve done AK: As any location manager would attest, there are many chal- lots of TV, and I’m currently working on my third episode of Who lenges in our line of work. In Quebec, we have to face these Do You Think You Are? I’m also just about to start production on challenges in two official languages. Especially in Quebec, we season three of the Canadian police drama series called 19-2. mostly negotiate and contract in French, and there are many different levels of government and administration to deal with Stevie: WHAT DO YOU THINK IS THE PRIMARY DRAW FOR FILMING IN & on any given location. In Montreal, high production volume AROUND MONTREAL? WHAT KIND OF “LOOKS” ARE THERE? in certain ‘hot spots’ around the city has made things a little more difficult, especially if you show up with a lower budget AK: There are so many reasons people choose Montreal: we project in a popular location like Old Montreal on the heels of a have a unique blend of North American and European cul- bigger budget show that was able to compensate all the mer- tures, reflected in our customs, our architecture, our food. We chants and residents up and down the block. That being said, have some of the oldest buildings in North America in Old however, I still believe that we have very competitive pricing Montreal and Quebec City, just a short hop away, and one and mostly friendly, welcoming home and business owners. can do contemporary USA on one street, and literally turn the corner and do period Europe on another. Furthermore, there Another challenge is our weather. As beautiful as our winter light are hundreds of easily accessible rural locations within a very is, it never seems to be around long enough for a solid day of short distance of the urban core. Our European je ne sais quoi, filming. The cold also presents its share of challenges, with sus- combined with our Anglo-American practicality and efficiency, tained below-freezing temperatures making it that much more make us a unique city in the Americas. challenging to get through the day. We make up for it, though, in All photos by Adrian Knight/LMGA except where noted. where except Knight/LMGA Adrian by All photos summer, with 16-hour daylight and near-tropical heat! LMGA COMPASS | Summer 2015 • 21 IN MY CITY: MONTREAL

Stevie: WHAT ARE A LOCATION MANAGER’S FAVORITE “LOOKS” OR Other personal favorite locations are the vestiges of our in- LOCATIONS IN MONTREAL? WHAT ARE YOUR PERSONAL FAVORITES & dustrial past, in neighborhoods like Griffintown and Lachine, WHY? just south and west of downtown. I love the grittiness and the texture of old factories, shipyards, etc. Sadly, many of these AK: One of my favorite places to film is the Old Port of Montre- buildings are being demolished and/or converted, as is the al. The Old Port is a federally run entity that defines the whole case in many cities these days. Another rarely featured fa- waterfront edge of Old Montreal. For the general public, the Old vorite is the classic Montreal staircase. We have lovely iron Port is a great place to rollerblade, cycle, walk, etc. For Loca- staircases in front of many of the city’s residential proper- tionistas, it’s a great place for various looks: industrial, modern, ties, and they are truly distinctive to Montreal. Although we’ll waterfront promenades. The Old Port offers great views of Old feature these residential streets in local productions, they Montreal and Downtown Montreal from various vantage points are often overlooked by foreign productions who tend to use such as the Belvedere and the Clock Tower. There’s also ample Montreal as a backdrop or stand-in for another city. room for base camp—one of the few places near Old Montreal with that capacity—so it’s all around a great place visually and Stevie: WHAT ARE YOUR FAVORITES OR MOST MEMORABLE FILMING logistically. Perhaps the only drawback is that it’s prohibitively EXPERIENCES? expensive for smaller shows. Some films shot there include Blades of Glory (ice-skating chase scene), Barney’s Version AK: I loved working on The Amazing Race! That show is a (actually the Maritime Quay doubled as a sixties airport), Life location manager’s dream; heavy on the logistics and fast- of Pi (when grown-up Pi talks with the author on a bench in paced. It’s a challenge like no other, and since they’ve front of a pond and big ships). introduced The Amazing Race Canada, I’ve done four more episodes. It’s the number one-rated TV show in CTV’s history, I love Old Montreal for all that it offers in terms of looks. On so it’s all the more gratifying to see that Canadians love the a logistical front it’s a little complicated, as the streets are show. It makes all the hard work even more worth it! narrow, the buildings historical and therefore protected, and the residents are a little jaded when it comes to film shoots. By far the honor of working for Ang Lee on Life of Pi is a It can be an expensive location—even on a street corner—but highlight of my career. Although we only did six days of it has helped define the look of many films, including Taking filming in Montreal, the three-month prep-shoot-wrap was Lives, Benjamin Button, Catch Me if You Can, Confessions one of the greatest experiences of my career so far. Life of Pi of a Dangerous Mind. Within the Old Town there are a host was partially shot in Montreal and Westmount. Grown-up Pi’s of grand locations like old banks, early 20th-century office house is on a small street in Westmount, and although Ang towers, luxury hotels and more. Parts of Old Montreal can Lee saw photos of literally hundreds of other potential homes, double for New York City (one of the final scenes ofOn the he absolutely wanted this one! It was a perfect mix of the Road was filmed at night on Saint Jacques Street), and other parts can be period France or other Eu- ropean locations.

Another place I love to film is in the Morgan Arboretum on the city’s West Island which is run by McGill University. This wonderful mixed-forest and agricultural ex- perimentation center provides a lovely setting for dog-walkers, hik- ers and nature-lovers. For those of us seeking rural and forest locations within reasonable distance of the city core, the Arboretum is a lifesaver. It’s within the ‘Zone’ and has well-groomed trails that are hard-packed after years of use by all kinds of heavy machin- ery. The trails and the Arboretum’s experience with shoots of all kinds, make this a go-to location for certain projects

22 • LMGA COMPASS | Summer 2015 Stevie: WHAT ARE YOUR TOOLS OF THE TRADE?

AK: The requisite laptop, iPad, iPhone and both an SLR digital and modern home on an otherwise older street, and it also had a point-and-shoot digital camera, depending on the situation modesty about it that appealed to Ang. Logistically, it was a and the project. Also indispensable are the GPS and good- huge challenge, as Westmount as a city is very restrictive in old Moleskin! My other favorite tool is the plain old-fashioned its filming policy, and there were huge road construction and foldout map! While GPS has its obvious benefits (I especially waterworks projects taking place all around the location when like tagging exact waypoints, which is crucial when scouting we filmed. After much negotiation and discussion, we were landscapes, forests or other locations in which one could able to film the scene where Pi and the author walk & talk easily get lost), the traditional map allows you to situate down the residential street after leaving the house. yourself in a wider perspective and plan routes or itineraries in a logical manner. Depending on the type of map consulted, We also shot on the eastern edge of Old Montreal, as the one can learn a great deal about a place. scene continues and they descend some stairs toward a little park and eventually reach the Old Port. It sounds banal and Stevie: WHAT DO YOU LOVE ABOUT THE JOB? straightforward, but the logistics behind this 3-D shoot were enormous, and we had only one day for all the exteriors—so it AK: I love the creative process; the time in early pre-production had to be sunny! Luckily for us, it was a gorgeous day, despite when we brainstorm with designer, director, DP and ideas are the noisy cement trucks, cranes, bulldozers in the shot! Ang flying around the room! It’s a perfect place where the vagaries is the consummate professional. I was humbled and flattered of real-world politics, red tape, money, etc., haven’t yet when he gave me a firm handshake and a heartfelt thanks for a dampened anyone’s spirit. I also love the people I get to meet job well done. It’s those little moments of gratitude that make along the way. We are so fortunate to have a job that allows us some of our heartache and stress all worth it! access to so many places, people and things that most people would never be lucky enough to experience. Stevie: DOES CANADA OFFER ANY INCENTIVES TO HOLLYWOOD FILMMAKERS? Stevie: WHAT MADE YOU DECIDE TO JOIN THE LMGA & HOW LONG HAVE YOU BEEN A MEMBER? AK: Indeed, we have very competitive incentives in Canada, along with regional (and/or provincial) incentives that AK: I’ve been a member for a year now, and it had been many complement the federal ones. Beyond the financial incentives, years since I wanted to join. I always admired the work the however, are also very experienced and versatile crews, a LMGA was doing to promote and protect our craft, and I am solid and well-stocked infrastructure of stages, equipment honored to have even been considered for membership, let houses and post-production services, and an amazing array alone endorsed by my peers, to whom I owe an enormous of accessible and affordable locations. amount of gratitude.

LMGA COMPASS | Summer 2015 • 23 Adrian’s Private Tour

environment. With 170’ ceilings, 80’- BEST DAY TRIP: high doors and enough electricity to To the Laurentians or the Eastern power a town of 80,000, this facility is Townships. Both regions are just a truly unique. Unfortunately, access is short drive away from downtown, but in very restrictive, but it is certainly worth opposite directions. Each has so much a visit if you’re in the Montreal area and to offer; beautiful countryside, great you hire me to get you in! restaurants, lakeside cottages, etc. In winter, skiing, skating, snowshoeing FAVORITE SHOP: are also available just minutes away. Aux Quatre Points Cardinaux, a specialty In summer, there are sports, farmers’ map and travel store in Montreal’s Latin markets, vineyards and lavender fields. Quarter. This store has been a staple for me So much beauty and enjoyment only and my crew for years. The knowledgeable minutes away from the urban core. staff and incredible inventory make it indispensable for anyone who’s serious FAVORITE NEIGHBORHOOD: about maps of all kinds. I’m partial to Little Italy and everything surrounding the Jean-Talon Market. FAVORITE RESTAURANT: Although I always lived in neighborhoods Le Bremner in Old Montreal. Amazing bordering Rosemont–La Petite-Patrie food, great ambiance and delicious (where Little Italy is), I spent a lot of cocktails. time there, enjoying the market, the bike paths, the great and affordable “MUST SEE” PLACE: PLACE TO SEE BY NIGHT: restaurants. Hydro-Québec’s Electrium in Varennes. The city from the Old Port, or the One of only two such facilities in the city from the Mount Royal Lookout FAVORITE LOCAL ARTIST: world, this research center is used (Kondiaronk). Montreal is just such a I love the folksy, nostalgic art of Carole to simulate lighting in a controlled beautiful place! Spandau. She does wonderful oil paintings of Montreal moments, like kids playing street hockey, or families heading to Fairmount Bagel.

BEST BAR/CLUB: I really don’t get out much anymore, at least in the bar/club scene, but I do like the atmosphere at Le Sainte-Élisabeth, a local pub in the Latin Quarter that is especially enchanting in the summer, as there is a wonderful inner courtyard area surrounded by living walls.

BEST PLACE TO HEAR MUSIC: The Maison Symphonique de Montreal, part of la Place des Arts, and home to our world-renowned Symphony Orchestra. The acoustics are just amazing and the space is a beautiful design achievement, coupling form with function in a seamless and natural way.

BEST VANTAGE POINT/SCENIC VIEW: A great view can be had from the roof of the Place Ville Marie, Montreal’s iconic office tower designed by I.M. Pei. For anyone planning a trip to Montreal, there should be a whole new rooftop terrace and observation deck in place by this summer. FILM AT

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by Jill Naumann rones are providing a new vernacular in the language of cinematography. It equates to how Steadicam rigs slowly changed the aesthetics D of filming. Drones allow for spontaneous movement from 4’ to 400’ above the ground without the cost, expense and restrictions of a helicopter.

Of late, they are in the headlines practically every week. Drone technology is changing the narrative of how we view our world. There’s a drone on Mars, a drone showing us the inside of an active volcano and a drone carrying an inflatable life ring to a distressed swimmer. The University of Minnesota moves a drone using brain waves, and drones are even being tested as ambulances, delivering medical supplies. The entertainment industry has long been clamoring to have the FAA moratorium on using them as camera platforms lifted. With drone usage rapidly becoming part of the national landscape, their influence can no longer be ignored. That’s what the California Film Commission (CFC) decided when they sponsored a demonstration hosted at the Malibu Creek State Park earlier this year. I met up with Direc- tor Amy Lemisch and Deputy Director Eve Honthaner to discover what they learned. “The purpose of this demo was not for the film industry per se, it was for government jurisdictions who are involved in approving film permits,” Lemisch explains. Photo courtesy of Aerial Mob Aerial of courtesy Photo “What is going to happen on state property? Caltrans had questions and the CHP had questions, so we decided a demo could get all our stakeholders there to see what it is, talk to pilots and ask questions, so we could formulate guidelines for filming on state property. The genesis of it was to get our state stakeholders to be able to give us answers, and they needed information to do that. Each jurisdiction has a completely different environment and circumstances and needed different answers. Once the word got out, it just kept growing because we involved L.A. City, L.A. County, as well as the federal level.” “About 200 people attended,” says Honthaner, “with a heavy empha- sis on law enforcement.” The LAPD, Deputy Fire Marshall, county, state and national parks, film commission- ers and location professionals with groups from neighboring Ventura, Kern and Santa Barbara counties were in attendance. Photo courtesy of Aerial Mob

The studios sent various safety groups and even production issue. They sent their recommendations to headquarters, but insurance representatives attended the demonstration. Chris have not come up with their guidelines yet, so any request for Schuster, CEO and chief pilot from Vortex Aerial, provided the drone use over Caltrans property would be denied.” I asked practical application, the equipment and the FAA 333 exemp- Lemisch about enforcement and penalty. “If somebody’s doing tion, which allowed the CFC in return to issue him a permit for something on state property, without drones listed on their this event. “Vortex,” an aerial-based video production service, permit, we will shut them down. And law enforcement has the has been in business for eight years, and is one of the eight right to tell them to stop the activity. It’s the same as a regular companies with exclusive membership to club 333. Schuster helicopter shoot, under federal law.” by Jill Naumann and his group were sponsored by the Motion Picture Associa- tion of America (MPAA) toward exemption, and were delighted Speaking of federal authority, there’s a lot of action going on be- to participate in the demonstration. Schuster’s crew set up a hind the scenes for the big push to advance the use of drones. sterile area, generically 500 feet of a lateral dimension, free Meet Keith Kaplan: CEO of Tesla Foundation and UAVSA (Un- from nonparticipants. The talent maneuvered in and around a manned Autonomous Vehicle Systems Association). grove of trees as the drone carrying the camera hovered and followed, but only after a safety meeting, and a signed release “The Tesla Foundation is a policy, research think tank and com- from spectators within 500’ of the activity. mercialization lab foundation. Drones fall under one of the labs called ‘connected flight.’ We give recommendations on the There were six different operators from various aerial com- technology laws to be put in place for the use of commercial panies in attendance at the Q&A which lasted about an hour. drones in the national airspace. Also, we incubated the larg- Many of the questions from the audience focused on safety. est and fastest growing drone association last year. Our first People left the demonstration feeling informed, and the results event was the 2014 L.A. Drone Expo. It was a worldwide suc- have proved positive. The CHP is now comfortable with the use cess with over 4,000 participants. We had 50 exhibitors, some of drones as long as it’s approved by all the other relevant ju- international, and our keynote speakers were the top experts risdictions. California State Parks is now saying that they will from around the globe. approve permits on a case-by-case basis. A lot depends on the park itself, the terrain and activities, how close to the general On January 26, a drone crashed on the White House lawn. Mem- public, what the risks are … bers of UC Berkeley, myself and others including the former White House Council on drones in the national airspace, met “It has to be controllable,” Lemisch explains. “It doesn’t mean with the FAA and DOT in Washington, DC, the next day. We made you have to close the park or beach, but you would have to a recommendation that there be a strong distinction between secure the perimeters. Urban environments are not set up to manned and unmanned aircraft. And this made it into the nation- match the current guidelines. And Caltrans is still studying the al proposed rule making process for commercial drone use. It’s Photo courtesy of Aerial Mob Aerial of courtesy Photo LMGA COMPASS | Summer 2015 • 27 Moderator Jon Huertas; Chris Schuster, Vortex Aerial; Keith Kaplan, Tesla Foundation; and Michael Chambliss, IA Local 600. Photo by Ken Haber/LMGA not a law, it’s just the first process for lawmakers, stakeholders and the public to comment on the proposed rules.

Kaplan elaborates, “The first commercial certificate of exemption ever issued went to AeroVironment, for their Puma aircraft, a fixed wing aircraft that surveys Alaskan pipelines in September 2014. Then former US senator Chris Dodd became the CEO of the MPAA. The MPAA sponsored a group of filmmakers (Drone Me- dia Production Companies). They were the ones that requested an exemption for the drone operators called ‘Closed Set Opera- tions of Drones.’ The technology has moved much faster than the policymakers.”

So what’s it going to look like for the next group of drone appli- cants? Chris Schuster opined, “The pipeline of applications for Keith Kaplan, Tesla Foundation. Photo by Ken Haber/LMGA 333 exemptions is full. I would say maybe 100 companies could make it through by next year. But it doesn’t matter if you have all Recycling that application the way we recycle maps? People your paperwork, all the federal ‘go ahead,’ what works for this are talking about it. Chris Schuster said his group works on that business is a safe, reputable, honest and steadfast reputation. Cur- every day. They are working closely with their location man- rently, we can’t always get our FAA paperwork in time for every ager friends to scout and permit places in advance. At the time production. I’ve met and interfaced with many federal officials of our interview, Schuster, on his way to a job in San Francisco, since we’ve started and they are working day and night to beef up boasts that he has authorization for the whole city. the infrastructure and handle the influx of new operators.” The base requirement is always going to be there. Audley ex- Prior to this, FAA regulations forbid any unauthorized opera- plains, “What the city and counties can do is add to it after- tion of a drone in the national airspace. Which means it’s illegal ward. In Los Angeles, we are required as the permit agency to to commercially fly anything that isn’t authorized, and violators notify L.A. city and county police and fire, and the military be- can be fined $10,000. Since December of 2014, FilmLA reports cause they all fly in the same airspace as drones. The FAA also estimate that approximately 10 permits have been granted with puts out pilot advisories but the city of L.A. asks us to dupli- the 333 exemption. It takes about three weeks lead time to get cate that as a failsafe—for example, if someone calls in because FAA permits—not including the time to process the appropri- they see a drone hovering over a construction site, then LAPD ate jurisdictional film permit. Once an approved operator has knows it’s a film event because they’ve got it on our registry, received a permit for a location, it stays valid for a year. So they and they can access our computer system. We arranged it so it can go back to that location later and use the drone without won’t affect the filmmaker.” reapplying. Paul Audley, President of the Los Angeles city permitting agency FilmLA, gives some insight to this strategy: “I’m What happens when the drone usage is inside a soundstage? hoping these companies will go through an application process Now the FAA is no longer involved, but whoever handles life without filming, to get permission. Then the permit is available safety in that jurisdiction may put restrictions on how it’s used, for a year. So for a period, you won’t have to wait for FAA ap- and who has to be present to supervise. The fire department proval, because the permit is active.” usually has input, so they may choose in some of these jurisdic- 28 • LMGA COMPASS | Summer 2015 tions to create their own regulations. They haven’t done it yet, but it is something to watch for. Audley goes on to explain, “The soundstage is responsible for the activity that goes on. I would suggest the location manager disclose the use of a drone and that soundstage will inform them ‘it’s fine, go ahead, or you need to notify the fire department, or we are going to need to hire a fire officer if you do that.’”

I caught up with award-winning location manager Veronique Vowell to learn of her success navigating through the permit process under the time constraints of episodic television. “Even though our preferred UAS company already had their 333 exemption, they did not have their FAA permit for flying over Newhall Ranch—which was our director’s first choice. The whole permit process for Scandal took about three weeks,” L-R: Moderator Jon Huertas, Castle’s Chris Schuster, Vortex Aerial, says Vowell. Keith Kaplan, Tesla Foundation. Photo by Ken Haber/LMGA

“I quickly learned that not all UAS companies with approved exemptions can automatically be considered; there are differ- Once an approved operator has ent sets of risk management and legal requirements for each “ studio. So my first call was to our studio legal department to find out which UAS company was eligible. After scouting, the received a permit for a location, it location department provided the exact location that would be used. At that point, the UAS company prepared paperwork that stays valid for a year. So they can went to the FAA in DC for approval, then to SOCAL TRACON (Southern California Terminal Radar Approach Control) in San Diego and finally to the regular LAX FAA. All these documents go back to that location later and then needed to be copied and scanned to the L.A. County Fire and FilmLA before they could issue our filming permit.” use the drone without reapplying.

Vowell adds, “Another important thing I learned was to ask if the UAS company already filed and received a FAA permit for ” a certain area—such as a stretch of Angeles Crest Highway be- “On set, however, the learning curve continued. We realized the tween certain mile markers—because if they have the permit, landing zone could be anywhere and that drones, though swift which is good for up to a year, then the time from permitting to and nimble, can’t fly as fast as needed for some vehicle-follow- filming can be substantially reduced.” ing shots. New procedures kept developing: instead of a fuel truck for a helicopter, the drone operators realized locations But is this really an expanding category of work in the near needs to provide a high-amp generator to keep the spare bat- future for the location manager? Are drones simply a DP or di- teries charging. Then there were tweaks to the wireless stream, rector’s passion or can they also be a practical tool for location and teaching the director that the two wedges dipping into scouts? What creative doors does the use of drones open for frame were the drone’s rotors, manifesting during certain ma- location professionals? neuvers (which we learned how to avoid in crafting the shots).”

Rebecca “Puck” Stair, a location manager based in New Mex- Stair continues, “Aside from mimicking crane-style shots with ico, has some definitive insight. “Drones will change the art less cost and time, drones also generate entirely new shots of scouting. Just like 3D photography shifted how we scout— for cinema. They can thread through trees and buildings, hov- bringing an eye for locations with foreground, midground and er close to actors, and skim over whitewater or lava. Unlike background—drones, and the ability to fly above and through cranes which require one fixed base, drones can film terrain locations, are shifting which locations we can select for various transitions, moving from a beach out over the ocean, or from scenes. For example, the classic zoom-through-a-window shot inside a tenement out over the boulevard, all the while deliv- can now be done without CGI, as one can simply fly a drone ering footage that echoes our flying dreams. In short, drones through a kitchen window. On a recent film, we permitted and expand the visual spectrum of cinematic storytelling.” used a drone for a camera test, on New Mexico state land. Ev- erything ‘drone’ is still so new, so it was good I allowed extra Scout Lori Balton notes, “Using drones for scouting requires time for the state to think about and process their regular ROE the same 333 compliance as filming does. If it is for commercial permit with this new aerial twist. And most people, including use, you need a permit. But the paperwork may well be worth permit agents, are curious and thrilled about drones, so break- the ease of scouting environmentally sensitive locations, like ing this new ground was fun for us all. traversing centuries-old fields of fragile Icelandic moss.”

LMGA COMPASS | Summer 2015 • 29 Yet the ‘hobbyist’ can use unpermitted drones. One location manager who requested anonymity, had this to share. “I own a Phantom drone. It’s manifestly improved my ability to scout for aerial work, and to ‘explain’ the location to a director better. For example, on a recent show we needed a double for the Wash- ington, DC, mall. Photos of large grassy fields taken from the ground don’t ad- equately capture a location, but photos from 100’ above sure do. To follow current law when using my personal drone, I don’t charge for it in kit rental or anywhere else, don’t mention it in writing anywhere, and use it only on ‘breaks’ during my scouting day, to ‘share’ the photos with my ‘friend’ the producer.”

Paul Audley offers these final thoughts. “I think we will see growth when there are more and more of these areas that already have a permit—you get it, it’s good for a year; and therefore, we will be- gin to see commercials and television to be able to use these sites more quickly. Currently, it’s almost impossible to permit use for a dense urban area like downtown because you would have to be 500 feet away from any nonparticipant. We will find a way to make this work better because it certainly is a lot less intrusive than having to fly a helicopter, it’s safer, less noisy and pilots don’t have to leave the set to refuel.” FilmLA thinks the future pace will be a slow and steady process reporting that “permitting will not be that burdensome for us, it’s really more an issue for the FAA and the operators, we are well prepared.”

For more education: Tony Carmean at http://aerialmob.com/ Chris Schuster at http://www.vortexaerial.com/ See the CFC website for current guidelines for permitting drone use at www.film.ca.gov The 2nd Annual International Drone Expo will be at the L.A. Convention Center Dec. 11 & 12, 2015. Check this link for up-to-date current safety laws, applications and safety checklist for drone use http://www.uavsa.org/fly-safe/ To read and give public comment to the current National Proposed Rule Making Process: http://www.faa.gov/uas/nprm/ 30 • LMGA COMPASS | Summer 2015

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LMGA COMPASS | Summer 2015 • 31 Osceola Refetoff: The Authentic Character of Things as They Are

I’ve seen … the advent of digital cameras “ and Internet technology … I see what is lost, and what is gained. Sites like flickr and venue locations with websites make the legwork seem less necessary. But I’m sorry, you can’t replace the kind of knowledge a professional builds up over decades with even the fanciest algorithm. ” Mammoth scouting. Photo courtesy of Osceola Refetoff/LMGA Osceola of courtesy Photo scouting. Mammoth Desert scouting. Photo by Osceola Refetoff/LMGA Osceola by Photo scouting. Desert

by Shana Nys Dambrot

here’s no doubt my career as a location scout and visualization of how spaces become pictures. “I started my work my work as a fine art photographer are linked,” says as both a scout and an artist when everything was still being Osceola Refetoff, “but maybe not how people think. done on film,” notes Refetoff. “I’ve seen and even embraced the Scouting requires a different, more frenetic energy. I advent of digital cameras and Internet technology. There are don’tT think I’ve ever gotten a fine art image while on a scout- pros and cons, I see what is lost, and what is gained. Sites like ing job—despite having access to so many great places, many of flickr and venue locations with websites make the legwork seem which I’ve revisited on my own time. I’d say it’s been more about less necessary. But I’m sorry, you can’t replace the kind of knowl- the co-development of useful habits and personal interests. In edge a professional builds up over decades with even the fanci- scouting, what sets my work apart I think is that once things est algorithm or a keyword search. The commercial industry has went digital, I was able to give the images an extra bit of love sadly changed, with shorter schedules, and a reliance on known in the processing, so that the production team has something resources instead of discovering the new. Digital cameras have more beautiful to look at, without compromising the accuracy made it easier to create adequate exposures, so talent as a pho- of the content. What took hold then was this idea of using photographer has become less valued in general in the industry. I tographs to portray, as my artist statement now reads, ‘not only miss the face-to-face collaboration with directors. These days, what something looks like but how it feels to be there.’” it’s often unclear which scout is responsible for the different location files that are presented on a job.” A major part of his technique involves editing down the shots to the minimum required to describe the space, and further But on the other hand, one of Refetoff’s most popular current organizing them to tell its—the location’s—story in a logical, projects is the Web-based High & Dry: Dispatches From the evocative order not unlike leading the viewer on a tour. “My film Land of Little Rain, a collaboration with writer/historian Chris- school education (by the way, my first scouting job was for the topher Langley (an educator and author who also happens to earliest seasons of Law & Order while I was still at NYU) and my be the Inyo County Film Commissioner, and whom Refetoff met subsequent cinema production experience taught me to think while scouting a Firestone commercial). The ongoing series is about where the director may want to position the camera, and an expansive set of portfolios surveying the human presence to tailor my scouting to reflect and support that,” an empathetic in the deserts of the American West—which is created and LMGA COMPASS | Summer 2015 • 33 disseminated mostly through online means, including its syn- dication on KCET’s Emmy-winning program Artbound. This is where Osceola reminds you that “all these sites have mailing lists. And there’s always Facebook.” desertdispatches.com | facebook.com/highanddry

Another big moment fusing his location and studio work was his acquisition of a Los Angeles film location/photography studio on historic Chung King Road in Chinatown. It’s crisply renovated in high-modern, white-box style, but, Refetoff explains: “Scouts think it’s going to be Chinese, like some kind of curio shop! So it hasn’t been used as a film location (loft, architect’s office, boutique) as much as I thought it would be (I’m looking at you, guys)—but it has been frequently utilized as a well-appointed, amenable gallery-style space hosting pop- up exhibitions and sometimes installations of my own work.” chungkingstudio.com | facebook.com/chungkingstudio

And when it comes to his personal work, as an artist, Refetoff’s interest is in documenting the intersection of nature and industry—humanity’s impact on the world, and the narratives of the people living at those crossroads. His images exist within traditional means—landscape, portraits, travel, editorial—and are variously produced using film, digital, infrared, color and pinhole exposures according to what best expresses the character of his subjects. “That’s a key difference between the scouting and the fine art of course— the possibility of unlimited imagination and interpretation; being able to use black and white or infrared or pinhole; and to focus on details that might not always be practical for the client or salient to what a scout needs to communi- cate directly. Scout work is the opposite of exhibitionary; it’s not for me to show, it’s in support of someone else’s vision.” Thus, despite his documentarian impulses, and the fact that his images deliberately depict quite ordinary, even mundane, subjects, he employs an interpretive and nu- anced vision, yielding surreal and even dreamlike results. ospix.com | facebook.com/ospix

What differentiates photography from other art forms is its in- delible, inescapably direct relationship to the external world. The camera may be telling people’s stories, but it speaks its own language; Refetoff is perhaps the interpreter—as he else- where facilitates communication between locations and production designers. From his Desert Windows examining the formal gestures people use to frame their relationship to the landscape; to related series like Dust to Dust, Magic and Real- ism and Flirting With Disaster examining how stalwart residents build their lives and move across these landscapes, Refetoff shifts between stylistic modes to build layered, multidimen- sional histories of architecture, landscape and population. What links all the aspects of his eclectic practice is not the imposition of any singular vision, but rather a commitment to figuring out “what the picture requires,” using all the potential of the cameras he carries to render “the authentic character of things as they are, not how we expect them to be.”

ospix.com | facebook.com/ospix chungkingstudio.com | facebook.com/chungkingstudio

desertdispatches.com | facebook.com/highanddry L.A.; downtown Scouting with pinhole camera; taken opening; RR tracks/Photo show Chungking Studio/Photo bottom: to top page, This Refetoff/LMGA Osceola by All photos CA. Hope/Cinco, Faith, Love, page: Opposite 34 • LMGA COMPASS | Summer 2015 This page, top to bottom: Chungking Studio/Photo show opening; RR tracks/Photo taken with pinhole camera; Scouting downtown L.A.; Opposite page: Love, Faith, Hope/Cinco, CA. All photos by Osceola Refetoff/LMGA Klaus Darrelmann: Putting Berlin on the Map

by Mark London Williams t becomes apparent that Klaus Darrelmann thinks like a location manager as soon as you climb into his car on a I Sunday morning in Berlin. He informs you that we’ll be heading downtown into the fashionable areas of Kreuzberg and Mitte first, and driving around the capital, because we’re early enough to get there ahead of traffic.

When you mention an alley you passed on foot in that area the day previously, with intact Cold War-era graffiti in it, he says, “I know exactly where that is!” and drives you right to it.

Later, when the city starts to fill up, the plan is drive against traffic to

the outer neighborhoods, perhaps where he secured a bridge for Steven Imaging Mathew/Mathew T. Craig by Photo Spielberg, or a “congress hall”—keeping in mind that in most Klaus Darrelmann European tongues, “Congress” means “Convention”—that doubled for both Tom Cruise as a Nazi headquarters in Valkyrie, And that notable work—taking in films ranging from Enemy and as an equally dystopian building for the latest, two-part at the Gates to Mission: Impossible III, Cloud Atlas, Inglourious Hunger Games finale. Basterds, the Liam Neeson thriller Unknown, a couple of Bourne installments and Hansel & Gretel: Witch Hunters, among But his internal maps aside, Darrelmann says when he moved others—culminated in an LMGA Award. Darrelmann won the there in the late ’80s, taking a med school education and turn- “Outstanding Locations in a Period Film” award for securing ing that into production work—by way of driver jobs and being the actual hotel for Wes Anderson’s Grand Budapest Hotel, an on-set “medical adviser”—“Berlin wasn’t on the map.” which of course, wasn’t a hotel at all initially, but a perfect locale Klaus found after Anderson & co. had come to Germany Back then, the city and country were still divided into Western for a location scout. and Eastern blocs and only a small handful of German filmmakers were working in Berlin, notably Rainer Werner Fassbinder Producer Jeremy Dawson had called Darrelmann to set up a and Wim Wenders. In part because of the prevailing punk aes- tour. “We laid out a complete route, from Hamburg to Bavaria,” thetic, and because living there was, in his words, “shit cheap.” he recounts. “It’s fascinating to scout with Wes, because he’s not really interested in following a certain laid-out plan, it’s But Darrelmann has done his own part in putting Berlin “on more like veering off track—‘that looks like an interesting the map” in considerable ways, particularly for American and city!’—and you take off from the motorway and have a look at

All photos by Klaus Darrelmann/LMGA except where noted. where except Darrelmann/LMGA Klaus by All photos other international productions that come to shoot there. it. Which usually doesn’t get you anywhere.”

LMGA COMPASS | Summer 2015 • 37 But Darrelmann negotiates such pain quite well, as happened in Valkyrie when he had to secure a courtyard, near the capital, to film the execution of Cruise’s Colonel Claus von Stauffen- berg, the German officer who attempted to assassinate Hitler, and bring an early end to the war.

The assassination failed, of course, and von Stauffenberg, and his co-plotters were all executed in the courtyard of German defense headquarters. Surprisingly, that same building is still used by their Defense Department today.

It took a couple of weeks of intense negotiation for Valkyrie’s Above and right photos by Helmut Prein by photos and right Above green light, but the government finally relented because the But this time, it got them to a city just outside of Berlin, called film was in fact, about von Stauffenberg, and wasn’t being used Görlitz, specifically to an “unused department store, built in for a fictionalized war drama. 1912. The company owning it went bankrupt six or seven years ago. Since then, the building hasn’t been used for anything. It But that’s the hallmark of any good location manager, of was looking kind of cheesy inside, with additions from GDR (the course—not just finding the places, but being the “fixer” who ‘German Democratic Republic’ of East Germany), which always gets permission to use them. It can be particularly tricky in a ruin the whole building.” city drenched in its own history the way Berlin is.

But that cheesy building struck Anderson as exactly right for his And there’s a lot of history to use: “The East Germans had the mythical Zubrowka. Seeing the derelict store’s “giant courtyard, old city center—they couldn’t afford to really properly main- with a glass roof—(Wes) couldn’t resist that. That was like the ide- tain it, restore it, keep it up. But at least they didn’t tear down al thing to put in a big, big hotel lobby—even bigger than real life.” anything. These buildings were basically falling apart … It was like living in the late ’30s here, when the Wall came down.” That “big, big lobby”—four stories’ worth—allowed for great depth of field in the cinematography, and long tracking shots. We drive past sections not only of the colorfully graffitied re- It was perhaps the most celebrated filmic hotel interior since maining sections of the Wall, but those same historical build- Kubrick’s version of The Shining. ings he’s used to double for either WWII-era Berlin or other parts of Europe. We stand on one bridge, near Alexanderplatz, But getting permission to use the building required some adept that he used for a Bourne film: “That was the construction negotiations, since the bankruptcy meant “it was under forced where that boat was going past and Jason Bourne was jumping management. There was a Dutch lawyer taking care of it. It was into the boat,” he says, pointing off into the distance. quite a pain.”

38 • LMGA COMPASS | Summer 2015 LMGA COMPASS | Summer 2015 • 39 He also indicates a section of the city on the other side of the But Darrelmann notes that city authorities are increasingly bridge that he was able to dress with ersatz snow and pass off easy to work with. “They were very interested in making it easy for Moscow, in winter. for the permits,” he says of the general response to film companies. “You always have to negotiate and talk nicely to people. Berlin has also doubled for Stalingrad and other areas on the con- But the city’s very interested.” tinent, but has one big difference from many of those cities that Darrelmann especially appreciates: “One of the Prussian Kings The city’s not the only one. Mockingjay’s executive producer, liked his army,” he says, “he liked his soldiers, he liked them Jan Foster, speaks of the “extraordinary job” he did on that marching up and down the road—so wide roads come in handy. film. “I’m currently on a DreamWorks project we’ll be filming in Berlin really grew in between the 18th and 20th centuries.” Berlin and Klaus was my first call. I feel very fortunate to have come upon such a pro.” And those roads helped fuel the growth: “If you’re going to a city center of a very old city like Florence or something, you That professionalism even extends into the political realm: can’t get around. No way.” And Darrelmann is partial to his He had to “talk nicely” to the French, British and US Embas- “getting around.” He even takes me driving—backward—along sies for a few days of filmingUnknown at the historic Adlon the garage ramps of the Messe Berlin, the convention center Hotel, near all those official buildings by the Brandenburg he likes in the generally upscale Charlottenberg area of Berlin. Gate. When Foster says she “welcomes his skills on my team whenever possible,” she may not have been specifically think- The center itself is a combination of retro, mid-century and ing of his diplomatic negotiating chops. But they come with deco architectural motifs that allowed it to be dressed accord- securing Cold War bridges, bankrupt buildings and an insid- ingly for both Valkyrie and The Hunger Games: Mockingjay fi- er’s knowledge of Berlin that simultaneously combines an in- nale. As we drive backward in the garage underneath, he talks ternal GPS, an internal Wikipedia page and an eternal sense of about not only the commercial car shoots he’s worked, but possibility. production cars he’s bought after shoots were wrapped, in par- ticular, a Land Rover from the third Mission: Impossible. “I’m a bit of a car nut,” he allows.

But we’re zooming along in a Mini Cooper for this tour—which is thankful, given its handling in Messe Berlin’s underground.

From there, we head out toward the suburbs of Potsdam, and find ourselves on the Glienicke Bridge, another former divi- sion between East and West, running over the Havel River. It’s the exact bridge Spielberg wanted for his upcoming Cold War drama Bridge of Spies, about downed U2 pilot Gary Powers. The director wanted to use the actual bridge where the US and USSR did the actual spy-swap in the early ’60s. The government once again balked, but in the end relented, since—as with Valkyrie—the film was re-creating one of the historical events the bridge is noted for. Photo courtesy of Klaus Darrelmann/LMGA

40 • LMGA COMPASS | Summer 2015

Portugal: Profile in Pictures

Location Pro João Alves

Portugal is a small country with great diversity due to our geography, climate and culture. Near Lisbon, we have the whole world: beaches, mountains, castles, small towns, palaces, coastal roads and deserts. The quality of light in Portugal is amazing.

I was always an adventurer and an explorer. I spent years in production with a great knowledge of Portugal … I thought I could be more useful finding locations for filming. I work primarily in commercials, with clients from all over the world.

I love photographing winding roads, climbing mountains to get that perfect shot of the curve. And I love the cliffs by the sea. I love what I do. When you take that last step that opens the landscape just the right way for your lens, it takes your breath away … and when my team reacts to my work in the same way, I know that I have properly captured the image, like the smile of children.

João Alves with camera. Photo by Cornelius Roenz. All photos by João Alves/LMGA except where noted. The Dining Car

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