Featuring LOCATION PROFESSIONALS Ilt Jones Nancy Haecker Matt and Joy Thayer Heather Haase Jordana Kronen

Home , Ben Mendelsohn, Ian Bryce, Location manager

Warner Bros. Entertainment

proudly supports the 24th Annual COLA Awards and warmly congratulates all the 2018 honorees 4 California on LocationAwards California 4 COLA FEATURES CEREMONY 58. 52. 44. 38. 28. 22. with Location Manager Location with Ilt Jones Managing: of Location AConversation with Program with Director Stone Nancy Rae Answers the Call Answers theCall Through Shasta County Through Shasta Takes Us Camping 60. 16. 14. 13. 11. 8. 60. President Hesseltine Cassandra Director Executive Amy and FLICS Lemisch

COLA FLICS Committee COLA &Show Credits Finalists

9-1-1”: Location Manager “9-1-1”:Location Heather Haase Hosts Words from California Commission Film Introduction to Judges

“Top Skydives Rolls, and Plows Gear” South Lake Tahoe South Lake Takes on Television How Is CGI Changing theLandscape The CreditTax ConversationUpdate: A

Location Manager Location Nancy Haecker Advertiser Index About FLICS Media Sponsors: WHAT’S INSIDE 2018 38. 28. 22. 44.

20TH CENTURY FOX TELEVISION PROUDLY CONGRATULATES OUR CALIFORNIA ON LOCATION AWARDS FINALISTS

LOCATION PROFESSIONAL - TELEVISION 1/2 HOUR JORDANA KRONEN

LOCATION TEAM - TELEVISION 1 HOUR LOCATION TEAM - TELEVISION 1 HOUR Location Manager Location Managers HEATHER HAASE DUFFY TAYLOR Key Assistant Location Manager (Location Coordinator) STEVE WEISSBERGER Courtney Ochoa Key Assistant Location Managers Key Assistant Location Managers Patrick Chisholm Spencer Coates Amanda Harrington Matt Hickman Chelsea Lawrence Jon Hollis Mandy Marion Brooke Kivowitz Hilary Walker Lara Massengill Lee Wall Perri Pearson Jen Smith Assistant Location Managers Paul Messana John West Rory Shoaf Chester Wong Conrad Maslen (scout) Don Winkelbauer (scout) Assistant Location Managers Michael Borushek Brittney Klaus

fox_cola_ad_cfo.indd 1 10/11/18 5:29 PM CONGRATULATIONS TO OUR 2018 CALIFORNIA ON LOCATION AWARD TM FINALISTS

LOCATION MANAGER OF THE YEAR TELEVISION – ONE HOUR MANDI DILLIN

LOCATION MANAGER OF THE YEAR TELEVISION – ONE HOUR GREGORY H. ALPERT

LOCATION TEAM TELEVISION – HALF HOUR NANCY HAECKER, LMGI, LOCATION MANAGER KYLE SNAPPY OLIVER, KEY ASSISTANT LOCATION MANAGER STEVIE NELSON, LMGI, KEY ASSISTANT LOCATION MANAGER CLAY DODDER, KEY ASSISTANT LOCATION MANAGER BILLY A. FOX, ASSISTANT LOCATION MANAGER SPENCER HIGGS, ASSISTANT LOCATION MANAGER

THANK YOU, FILM LIAISONS IN CALIFORNIA STATEWIDE, FOR YOUR RECOGNITION

Photo by Dyana Carmella San Francisco, California

December 16, 2018

Production is booming in California, and it’s amid this very positive news that we come together for the 24th Annual California On-Location Awards. The California Film Commission andFilm Liaisons in California Statewide are proud to honor and celebrate the accomplishments of location managers, public employees and other professionals working to facilitate production across the Golden State.

The expanded Film and Television Tax Credit Program 2.0 has helped level the playing field and reaffirm the many reasons why California is the first and best choice. Building on this success, the state legislature recently extended the program for an additional five years! Productions are returning home and taking advantage of stunning locations -- from Del Norte County all the way down to San Diego.

Working together, Film Liaisons in California Statewide and the California Film Commission are attracting and retaining production by providing exceptional service to the production industry.

We have much to celebrate this evening as we honor the achievements of location managers and public employees working across the Golden State. Congratulations to all the nominees, and profound thanks to everyone helping to keep production here at home.

Cassandra Hesseltine Amy Lemisch Presidents, FLICS Executive Director Humboldt/Del Norte Film Commissioner California Film Commission

The California on Location Awards is brought to you by FLICS.

COLA 2018 FLICS THE SHOW Committee

COLA Co- Chairs: Executive Producer/Director Janice Arrington - Orange County Rajan Shandil - Wirefire Labs Charla Teeters - Imperial County Sabrina Jurisich - Film Shasta Registration Lisa Purcell-Rorick Sponsorships: Kathleen Dodge - El Dorado/Lake Tahoe The Beverly Hilton Eric Coyne - Tulare County Michael Robertson - General Manager Elizabeth Nalagan - Ridgecrest Regional Gino Pesanti - Director of Events Kayley Summers - Senior Catering Manager AV Follow-up: Rachel Wolfe - ENCORE, Dir. of Event Technologies Cassandra Hesseltine - Humboldt & Del Norte Counties Nate Adams - Humboldt & Del Norte Counties

COLA Awards: Alicia Vennos - Mono County Magazine Editor Dyana Carmella - Mystic Creative Gift Baskets: Creative Director Lucy Steffens - Sacramento Rajan Shandil

Accounting: Copy Editor Melody Lilley - FilmL.A. Lauren Waldron

Film Liaisons in California Statewide (FLICS) Contributing Writer Cassandra Hesseltine - FLICS President Eleni Roussos

GIFT BASKETS COLA MAGAZINE 2018 Published by Mystic Creative Antelope Valley Film Office www.createmyst.com avfilm.com www.californiaonlocationawards.com All rights reserved. Reproduction in whole or part without El Dorado Lake Tahoe Film & Office express written permission is strictly prohibited. filmtahoe.com Copyright © 2018 California On Location Awards Film Shasta filmshasta.com Humboldt – Del Norte Film Commission filmhumboldtdelnorte.org Mono County Film Commission filmmonocounty.com Placer - Lake Tahoe Film Office ON THE COVER placer.ca.gov/films Tulare County Film Commission Location manager Ilt Jones filmtularecounty.com Photo by Dyana Carmella

Sonoma, California Photo by Dyana Carmella www.californiaonlocationawards.com 11

This year’sHosts

Amy Paffrath Stuart Brazell

Actor / Comedian / Television Host Television and Digital Host / Producer www.amypaffrath.com www.stuartsays.com

www.californiaonlocationawards.com 13 1 2 3

4 5

2018 6 8

Judges

9 10

11 12 13

1.) Kyle Alexander – Location Manager 2.) Michael Burmeister – Location Manager 3.) Steve Dayan – Secretary Treasurer for Studio Transportation Drivers, Teamsters Local 399 4.) Ed Duffy – Vice President, Teamsters Local 399 5.) Alexandra Gibson – Location Manager 6.) Bill Macdonald – Producer/Writer 7.) David Michael Gonzalez – AICP, Director External Affairs 8.)Marcus Morton – Producer/Writer 9.) Brian O’Neill – Location Manager 10.) Richard Prince – Producer/Production Manager 11.) Nina Ruscio – Production Designer 12.) Alison Taylor – Location Manager 13.) Wilson Wu – Location Manager

14 California on Location Awards

INTRODUCING THIS YEAR’S FINALISTS

INDIVIDUALS TEAMSTER 399 AWARDS LOCATION MANAGER - Feature Film Studio ASST. LOCATION MANAGER – Television Captain Marvel – Ilt Jones “Westworld 2” - Laura Brown The Children– Adam Robinson (pick up shots) “Bosch” - Kimberly Lynn Ant-Man and the Wasp – Mike Fantasia/Dan Cooley “Camping” - Kyle “Snappy” Oliver “Westworld 2” - David Park LOCATION MANAGER - Feature Film, Independent Ballbuster – Stan Bautista ASST. LOCATION MANAGER - Feature Film Booksmart – Michael Wesley Bird Box - Philip Brooks Bird Box – Boyd Wilson Once Upon a Time in Hollywood - Scott Fitzgerald Captain Marvel - Lee David Lee LOCATION MANAGER - Television One Hour “Westworld” - Mandi Dillin “Sharp Objects” – Gregory Alpert “9-1-1”- Heather Haase PUBLIC PUBLIC EMPLOYEE – City LOCATION MANAGER - Television Half Hour City of Lake Tahoe, City Council – Mayor Pro-Tem Tom Davis “Modern Family” – Jordana Kronen Burbank Unified School District – Kathy Yeager “The Mayor” – Jennifer “JJ” Levine City of Los Angeles, Dept. of Public Works – Mark White “The Kids Are Alright” – Chester Wong PUBLIC EMPLOYEE – County LOCATION MANAGER - Reality Television LA County Fire – Captain Cesar Cano “Jay Leno’s Garage” – Daniel Meincke LA County CEO – Gary Smith “Sheriffs of El Dorado County” – Michael Dennis El Dorado Sherriff’s Office – Deputy Greg Almos “Top Gear” – Matt Thayer PUBLIC EMPLOYEE – State LOCATION MANAGER - Commercials California State Parks – Stacy Beard 2018 Kia Sorento: Geoff Juckes California State Parks – Dena Bellman Walmart – Flint Maloney Nike: “Choose Go!” – Michael Levy PUBLIC EMPLOYEE – Federal US Forest Service – Brian Hansen FAA – John Blanco LOCATION MANAGER - Stills National Parks Service – Michelle D’Ulisse Calvin Klein – Brenda Ferrell Chevy vs. Ram – Ken Brubaker American Express: Don’t Live Life Without It – Brenda Ferrell

16 California on Location Awards LOCATION TEAM – Television Half Hour “GLOW” Ralph Coleman - Location Manager Steven Lee - Key Asst. Location Manager Chase Crane - Key Asst. Location Manager Jennifer Wilson - Asst. Location Manager FINALISTS Glenn McGee - Asst. Location Manager

“The Kids Are Alright” Chester Wong - Location Manager Chris Beal - Key Asst. Location Manager TEAMSTER 399 AWARDS Melissa Areffi - Key Asst. Location Manager TEAM [work] Jon Hollis - Key Asst. Location Manager ASST. LOCATION MANAGER – Television Brittany Klaus - Asst. Location Manager “Westworld 2” - Laura Brown LOCATION TEAM - Feature Film, Studio “Bosch” - Kimberly Lynn Triple Frontier “Camping” “Camping” - Kyle “Snappy” Oliver Catherine Kagan - Supervising Location Manager Nancy Haecker - Location Manager “Westworld 2” - David Park Jonny Daniel Sanchez - Key Asst. Location Manager Kyle “Snappy” Oliver - Key Asst. Location Manager Jasmin Paris - Key Asst. Location Manager Stevie Nelson - Key Asst. Location Manager ASST. LOCATION MANAGER - Feature Film Clay Dodder - Key Asst. Location Manager Bird Box - Philip Brooks Billy Fox - Asst. Location Manager Captain Marvel Spencer Higgs - Asst. Location Manager Once Upon a Time in Hollywood - Scott Fitzgerald Ilt Jones – Supervising Location Manager Captain Marvel - Lee David Lee Lee David Lee - Key Asst. Location Manager Michael Louis - Key Asst. Location Manager Zach Quemore - Key Asst. Location Manager LOCATION TEAM - Feature Film, Independent Peter Gluck - Key Asst. Location Manager Gloria Bell Erce Cantu - Key Asst. Location Manager Michael Edward Smith - Location Manager Jennifer Kennedy - Key Asst. Location Manager Eric Stangeland - Key Asst. Location Manager Donny Martino - Key Asst. Location Manager Brian Johnson - Asst. Location Manager Sonia Villerias - Asst. Location Manager Antonio Garcia - Asst. Location Manager Todd Campbell – Asst. Location Manager Untitled Sia Project Wine Country Rick Schuler - Supervising Location Manager Caleb Duffy - Location Manager Steve Mapel - Location Manager Taylor Erickson - Key Asst. Location Manager Christina Beaumont - Key Asst. Location Manager Clay Valenti - Key Asst. Location Manager Scott Kradolfer - Asst. Location Manager Tada Chae - Key Asst. Location Manager Galidan Nauber - Location Scout Keomanee Vilaythong - Key Asst. Location Manager Zak Kahn - Key Asst. Location Manager Mario Hernandez - Asst. Location Manager Bird Box Boyd Wilson - Location Manager Napa Team: Phillip Jordan Brooks - Key Assistant Location Manager Dan Kemp - Scout Leann Emmert - Location Manager Heather MacLean - Key Asst. Location Manager Justin Harrold - Location Scout Alonso Velarde - Asst. Location Manager Ted Kim – Location Scout Patrick Sprinkle - Scout Napa Valley Joe Bettencourt - Key Assistant Location Manager Jun C. Lin - Key Assistant Location Manager Vernon Smith - Assistant Location Manager Jacob M. Torres - Key Assistant Location Manager Peter Gluck – Location Scout Continued...

www.californiaonlocationawards.com 17 TEAMSTERS LOCAL 399 TAKES GREAT PRIDE IN OUR LOCATION PROFESSIONALS AND THE WORK THEY DO TO BRING FILM, TELEVISION & COMMERCIALS TO LIFE.

WE WANT TO ACKNOWLEDGE ALL OF OUR LOCAL 399 MEMBERS NOMINATED FOR A 2018 CALIFORNIA ON LOCATION AWARD. WE WISH YOU ALL THE BEST OF LUCK!

Adam Robinson Duffy Taylor Justin Harrold Peter Gluck Amanda Harrington Erce Cantu Keith Nakata Phillip Jordan Brooks Antonio Garcia Eric Stangeland Keomanee Vilaythong Ralph Coleman Billy Fox Eva Schroeder Kimberly Lynn Rick Schuler Boyd Wilson Flint Maloney Lara Massengill Robert Mendel Brad Warden Frank Yoshikane Laura Brown Robert Paulsen Brenda Ferrell Galidan Nauber Leann Emmert Rory Shoaf Brian Bird Geoff Juckes Lee David Lee Sam Gomez Brian Johnson Glenn McGee Lee Wall Scott Fitzgerald Brittney Klaus Gregory Alpert Mandi Dillin Scott Kradolfer Brooke Kivowitz Heather Haase Mandy Marion Snappy (Kyle) Oliver Caleb Duffy Hilary Walker Mario Hernandez Sonia Villareas Catherine Kagan Ilt Jones Matt Hickman Spencer Coates Chase Crane Jacob M. Torres Melissa Areffi Spencer Higgs Chelsea Lawrence Janet Harrold Michael Borushek Steve Mapel Chester Wong Jasmin Paris Michael Edward Smith Steve Weissberger Chris Beal Jason Neudecker Michael Levy Steven Lee Christina Beaumont Jen Smith Michael Louis Stevie Nelson Claudia Eastman Jennifer “JJ” Levine Michael Wesley Suzanne Shugarman Clay Dodder Jennifer Kennedy Mike Fantasia Tada Chae Clay Valenti Jennifer Wilson Nancy Haecker Taylor Erickson Conrad Maslen Joe Bettencourt Oscar Ibarra Ted Kim Courtney Ochoa John Cefalu Osceola Refetoff Todd Campbell Dan Cooley John West Patrick Chisholm Vernon Smith David McKinney Jon Hollis Paul “Junior” Bortoli Weston Marsh David Park Jonny Daniel Sanchez Paul Messana Zach Quemore Don Winkelbauer Jordana Kronen Paul Schreiber Zak Kahn Donny Martino Jun C. Lin Perri Pearson

Teamsters Local 399 would like to give a special acknowledgment to Department of Defense Entertainment Liaison, Philip Strub, for being the recipient of the inaugural "Distinguished Service Award" in recognition of his Exceptional Leadership & Devoted Service. www.ht399.org TEAM [work] LOCATION TEAM – Television One Hour Continued “This Is Us” Duffy Taylor - Location Manager Steve Weissberger - Location Manager Rory Shoaf – Asst. Location Manager LOCATION TEAM - Commercials Hilary Walker - Key Asst. Location Manager AT&T FirstNet Amanda Harrington - Key Asst. Location Manager Frank Yoshikane - Location Manager Chelsea Lawrence - Key Asst. Location Manager John Cefalu - Location Manager Paul Messana – Asst. Location Manager Keith Nakata - Location Scout Mandy Marion - Key Asst. Location Manager Lee Wall – Key Asst. Location Manager Fruit of the Loom Patrick Chisholm – Key Asst. Location Manger Brian Bird - Location Manager Robert Mendel - Location Manager “Bosch” Robert Paulsen - Location Manager Nature Valley Paul Schreiber - Location Manager Weston Marsh - Location Scout and Manager Claudia Eastman - Key Asst. Location Manager Paul “Junior” Bortoli – Key Asst. Location Manager Sam Gomez - Key Asst. Location Manager Osceola Refetoff - Location Scout Oscar Ibarra - Key Asst. Location Manager Kimberly Lynn - Key Asst. Location Manager Jason Nuedecker - Key Asst. Location Manager LOCATION TEAM - Reality Eva Schroeder - Key Asst. Location Manager Brad Warden - Key Asst. Location Manager “Total Divas ” Janet Harold - Key Asst. Location Manager Brooke Parsons - Locations Manager David McKinney – Key Asst. Location Manager Nicole Uritis - Location Asst. Suzanne Shugarman - Asst. Location Manager Meredith Ewinger - Location Asst. Andrea West – Location Scout “ 9-1-1” Heather Haase - Location Manager “Sheriffs of El Dorado County ” Courtney Ochoa - Key Asst. Location Manager (Coordinator) Michael Dennis - Locations Manager Chester Wong - Key Asst. Location Manager Daniel Norman - Location Asst. Brooke Kivowitz - Key Asst. Location Manager Skyler Brown - Location Asst. Matt Hickman - Key Asst. Location Manager Justin Taylor - Location Asst. Lara Massengill - Key Asst. Location Manager Christian Naranjo - Location Asst. Spencer Coates - Key Asst. Location Manager Jon Hollis - Key Asst. Location Manager “Top Gear” Perri Pearson - Key Asst. Location Manager Matt Thayer - Location Manager Jen Smith - Key Asst. Location Manager Joy Thayer - Location Manager Brittney Klaus - Key Asst. Location Manager Daryl LaFever – Location Scout Michael Borushek - Key Asst. Location Manager Katie Vierhus – Location Asst. Don Winklebauer - Key Asst. Location Manager (scout) Loryn King – Location Asst. Conrad Maslen- Key Asst. Location Manager (scout) Thomas Green – Location Asst. John West - Key Asst. Location Manager

www.californiaonlocationawards.com 19 www.californiaonlocationawards.com 23

PASADENA CONGRATULATES YOU photo: Jaime Pham

Pasadena Film Office • (626) 744-3964 • www.filmpasadena.com www.californiaonlocationawards.com 23

Congratulates

All the Location Professionals Honored at the 2018 COLA Awards

We Proudly Support TOP GEAR ROLLS, SKYDIVES, and PLOWS Through SHASTA COUNTY Story by Dyana Carmella

22 California on Location Awards Chris Harris and Matt LeBlanc riding Alta Redshift MXs, shooting “Top Gear” in Shasta County Photo courtesy of BBC Studios

PLOWS

www.californiaonlocationawards.com 23 Chris Harris with the Skyrunner Photo courtesy of BBC Studios

hen the hit British TV auto show production] used a lot of land from the [Bureau of Land “Top Gear” needed to shoot deep Management,] which were actually some of our fa- in America’s vast wilderness for a vorites spots,” Matt says. “When they got here and told “weekend away in the country,” us what they were looking for, we took them to one of they headed for scenic Shasta County in Northern Cali- our favorite camping places. We were able to take them fornia. The W episode starred Matt LeBlanc and Chris Har- to places we explored ourselves. I was familiar with the ris on a search to find the mythical beast Bigfoot, and area because of Joy, and it was kind of cool to share their hunt featured a collection of some of the most rug- the landscape that she grew up around and some of our ged, beefed-up, off-road vehicles in existence, includ- favorite places, and actually see [the production] share ing a Sherp, Skyrunner and F650 trophy truck. them with the world.” Location Manager Matt Thayer and his wife Joy Joy has turned down many opportunities to led the location team, ensuring that the production had work in Los Angeles because she knew that she was everything it needed to pull off this ambitious shoot. meant to stay in Redding and immerse herself in its sur- The Thayers own SperoPictures, a production company rounding beauty. “We have volcanos, mountains and that aids the entertainment community in the area, and hot springs over in Lassen [Volcanic Park] and lush ter- they’ve scored COLA nominations this year for Location rain in Whiskeytown,” she says. “There’s an abundance Team – Reality Television and Location Manager of the of water and sunshine, [but] what kept me here was that Year – Reality Television. The couple’s success in tack- it was the ideal place to raise a family. [It has a] low cost ling one of the BBC’s most iconic shows proves that the of living and beautiful natural terrain. I think we have a recognition is well deserved. “I had heard of ‘Top Gear’ really good community as well.” and had watched a couple of episodes, but once we got Matt was drawn to production and location the okay I had to watch all the new episodes and get work after exploring his creative side. “I’ve always loved myself up to speed on why they wanted to shoot here, telling stories and being creative,” he says. “I always which was the terrain,” Joy explains. “It was very easy loved going to the movies when I was a kid. I just fell in to translate their vision.” love with the art form. After doing mortgages and title The stunning vistas spread across Trinity Coun- insurances, which I hated [as a job], I suddenly realized ty were used as key locations for the episode. “[The that I could actually be an adult and do something that 24 California on Location Awards Top left: (L-R) Matt LeBlanc and Chris Harris in a Sherp pro ATV - Bottom left: Chris Harris in the Skyrunner - Right: (L-R) Matt LeBlanc and Chris Harris Photo courtesy of BBC Studios

I love. I began to see a lot of movie scenes and ideas in water trucks, helicopters, EMTs and PAs, and we ser- my head, and I would share them with people and they viced everything, not just the camera crew. We serviced would get very excited about it…. So I started reading other jobs that needed to be pulled in the area and even a lot of books about screenplays and started editing a had to build ramps so that they could launch the trophy lot of family photos, iPhone movies and stuff like that to truck off of it.” teach myself how to tell a story. I guess that’s what drew Support from the local community is an integral me into the film industry, the love of story and creativity.” part of a production’s success while shooting on loca- The “Top Gear” location team faced a series of tion. “[This] community is not tainted at all and is ex- hurdles, especially when filming in remote areas with no tremely welcoming to whatever a project needs,” says WiFi, cellular or satellite connectivity. Other challenges Joy. “If the community is open to backing whatever the were the 10 locations where basecamp was at least producers need, we have a bunch of crew that we’ve 40 minutes away, the need to split the camera crews built up over the years that are strong and established. to maintain the shooting schedule, and the acquisition We’ve been building the equipment in our area, and of filming permits. “We got our permits the day of the our film commissioner is absolutely amazing in pushing shoot,” recalls Joy. “That was super intense. I got every- things through and overall making sure you are getting thing scheduled and ready to go [but] everyone was on your needs met.” hold because we weren’t sure if we were actually shoot- Matt also encourages productions to consider ing that day because the printer and the fax machine shooting around Redding/Shasta. “I think what pro- service stopped working. But then it got all pushed ducers and directors would appreciate about Shasta through and we were given the go ahead within 10 min- County is obviously the amazing landscapes,” he says. utes. That was incredibly stressful.” “There are some extraordinary locations but I think Matt and Joy pulled together a location dream [productions] will be surprised at how talented the peo- team that would go above and beyond the call of “Top ple are here, and at how [they’re] willing to just jump Gear” duty. “I think one of my favorite things about my in and work hard and get things done. They’re easy to job is building teams,” Joy admits. “We enjoy what we work with and they’re about the project [and] the work. do so our enthusiasm runs rampant through our teams There’s a lack of prima donnas…. In an environment like because this can be a very intense job. [Our team] is that, we’re willing to do whatever. Do you need me to do skilled and they work hard. They love what they do. At locations or stand here, put on an orange vest and guide the end of it, everyone was exhausted but they kept traffic? Do you need me to get behind the camera or go saying, ‘Let’s do it again.’ Everyone was on par. We had out and scout for you? Do you need me to buy a bunch

www.californiaonlocationawards.com 25 Matt and Joy Thayer from SperoPictures Photos by Dyana Carmella

of props? We’re willing to do whatever it takes because fascinating to watch a team like that working together we just want to create something great.” [as] they are so used to each other…. It was interest- Matt admires “Top Gear” and its highly skilled, ing to watch them navigate issues and problems and be fast-moving production team. “[I like] watching that able to communicate and problem solve effectively. This type of production and the way they move the camera was something I took note of.” around to get the shots they need,” he says. “It was very At the time of the production, “Top Gear” was the biggest shoot that Matt and Joy have had the op- portunity to work on. “It was enlightening to be a part FILM AT of that [show] and to watch and see [how] the team of people coordinates,” Matt notes. “We also learned a lot about our capacity, which was also enlightening Congratulations to all of because all of a sudden we realized, ‘We can do this.’ Nearly 500 That was really cool.” Joy also gained insights during acres the nominees and winners of the 2018 California on the shoot. “It was very interesting for me to see where Location Awards [the production] spent and cut money. That was some- The filming opportunities thing I paid attention to. Why would you spend extra at Fairplex are endless: money on certain things? We had to use a helicopter for » Nearly 500 acres of private, some shots that we couldn’t use a drone for. What is the 300,000 adaptable film environment reason behind that, when a helicopter is so much more Sq. feet » 300,000 square feet of column- free sound stages with expensive? [I learned about] finding the value in telling » Film-friendly Expo Hall 10 now that story.” with raised lighting, high ceilings, sound baffling, polished floors After “Top Gear” or any other shoot, Joy enjoys and air conditioning finding peace in Shasta County. “One of the things I love » Regulation-size soccer fields about filming here is that your days off are amazing,” » Infield and 9,000 seat grandstand 1/4Drag Mile strip she says. “You get to rest on the lake or go down the » Auto Club Raceway’s 1/4-mile drag strip river or do some fun activities. This is such an amaz- » 5-acre urban farm ing place to explore and enjoy. And it’s kind of like a » Sheraton Fairplex Hotel, KOA ‘work-cation,’ especially when you’re working five to six RV Park and equipment rental company all on-site days a week and long-hour days and the last thing you want is to be stuck in a hotel room. You want to be able FAIRPLEX IS IN 4 SoccerFields to relax when you’re not doing anything major, and we THE STUDIO ZONE! have that. We have such a welcoming community and Contact Melissa Harrington at wonderful places to eat and lots of life here.” 909.865.4042 or [email protected] You can catch “Top Gear” on BBC America.

26 California on Location Awards ConGratulationsTo all the California on Location Awards Finalists

Special thank you to the following productions that filmed on location in Shasta County:

Location Team Commercials - Nature Valley Location Team Reality Television - Top Gear Weston Marsh - Location Scout and Manager Matt Thayer - Location Manager Paul "Junior" Bortoli - “Gang Boss” Joy Thayer - Location Manager Osceola Refetoff – Location Scout Daryl LaFever - Location Scout Katie Vierhus - Location Assistant Location Manager Reality Television - Top Gear Great Job Finalists! Loryn King - Location Assistant - Sabrina Jurisich, Matt & Joy Thayer Public Employee Federal - Nature Valley Shasta County Film Commissioner Michelle D’Ulisse, Lassen Volcanic National Park

(530) 225-4103 | FilmShasta.com | [email protected]

www.californiaonlocationawards.com 27 Marvel Studios’ CAPTAIN MARVEL Left: Talos (Ben Mendelsohn) Photo: Chuck Zlotnick ©Marvel Studios 2019 How CGI is Changing the Landscape of Location Managing

A Conversation with Captain Marvel Location Manager Ilt Jones

Story by Dyana Carmella

www.californiaonlocationawards.com 29 Marvel Studios’ CAPTAIN MARVEL L to R: Director Ryan Fleck, Ben Mendelsohn, Director Anna Boden Photo: Chuck Zlotnick ©Marvel Studios 2019

isney/Marvel’s highly anticipated last year and headed to Spain for three weeks to de- Captain Marvel will hit theaters early compress from the pressure of the job. “I did one of next year as the 21st film in the Mar- those camino pilgrimage walks, which was brilliant,” vel Cinematic Universe. This is the says Jones. “I walked 300 miles in three weeks. first Marvel film to star a solo female superhero, and While I was in Spain, Producer Patty Whitcher called MCU fans D across the globe are hyped to see Actress and said ‘Hey, are you interested in doing Captain Brie Larson take on the role of Carol Danvers/Cap- Marvel?’ and I asked ‘Is the Pope a Catholic?’” tain Marvel. When it comes to doing research before a When Directors Anna Boden and Ryan Fleck new project, Jones has an unusual approach. “If I were challenged to manage a slew of complex film- was injected with truth serum, I would have to admit ing locations, they knew the perfect person to call: that up until the day I was interviewed for the [TV veteran Location Manager Ilt Jones (Black Panther, show] ‘X-Files’ I had never seen the ‘X-Files,’ and Kong: Skull Island). Jones had just come off the pro- then I ended up doing ninety episodes,” he says. duction of the Marvel sensation Black Panther but he “The day before I interviewed for Transformers, I was more than ready for the experience. “Towards didn’t even know what Transformers were because the end of Black Panther I spoke with a studio ex- I’m the wrong age. I’ve told that story to some peo- ecutive that oversaw the Marvel films, and she men- ple over the years and they’ve almost cried and said, tioned that Captain Marvel was in the works,” Jones ‘Well, why do you get to work on these things?’ I’m recalls. “I sort of threw my hat into the ring.” In the not particularly a fan boy. If I were, I would be a fan vast world of location managing, Jones has become man.” sort of a renegade with a long list of big-budget pro- Jones credits most of his success to the indi- ductions under his belt. He finally took some time off viduals who gave him a chance early on. “I have a lot

30 California on Location Awards “I’m finding that, especially on films likeTrans- formers or Skull Island, we provide a playground for the visual effects team to put their object in, whether it’s robots or giant gorillas or fake rhinos like in Black Panther. There is still plenty of room for location managers in their world. You learn what to look out for and things to avoid. It’s a relationship that you build up — they understand the limitations of our world and we understand what’s possible in their world.” - Location Manager Ilt Jones

[of people] to thank, especially [Creator] Chris Carter from the ‘X-Files’ and [Producer] Ian Bryce from Transformers, because they set me on this path to take on these very ambitious movies,” he says. “[Captain Marvel] was an enor- mously fun project to work on, very technically complicated. Part of what you have to do as a location manager is learn fast.” Part of that process of learning fast came forcefully when CGI was injected heavily into the industry. In 1993, the world witnessed the first dinosaur come to life inJuras- sic Park, which was the first “physically textured” CGI film. Then, advancing into the millennium, CGI reached new heights with films like Pearl Harbor and Lord of the Rings. “I’ve been very lucky in my career that I’ve worked on a series of projects with very gifted visual effects supervisors, which has really taught me about what’s required for CGI,” says Jones. “I’ve learned on Inception, The Dark Knight Rises, Black Panther and the succession of films leading up to Captain Marvel. I find that visual effects artists are always the ones that are really nice, interesting, sophisticated, intelligent and very generous with their time and information in helping me to understand their world. Over the years, these visual effects supervisors have taught me what to look out for in terms of finding environments to do Location Manager Ilt Jones Transformers Kong: Photo by Dyana Carmella this work in. For example, in both and

www.californiaonlocationawards.com 31 Skull Island, I had to find locations where you can fit big robots or big monkeys into the frame.” When it comes to the relationship between the location manager and visual effects supervisor, Jones says a mutual understanding is needed for the project to succeed. “What tends to happen on these movies like Captain Marvel and Black Panther is the visual effects supervisor is involved with the process very early on,” he explains. “Whereas on other movies that have a much less complex visual-effect base component, you tend to not have the visual effects guy or girl out till much later. Generally speaking, the location manager and the production designer work hand in hand on a movie and on these big visual effects movies. The visual effects supervisor is an additional component in that equation.” Over the years, Jones has learned what works and what doesn’t when it comes to CGI-heavy films. “These days, CGI is so sophisticated,” he notes. “I think it’s a really interesting development in moviemaking since Star Wars, which was the first real visual effects movie. People have said to me over the years in various entities, ‘Do you think visual effects will put you out of business?’ [I would say] no, it’s just changing the business. I’m finding that, especially on films like Transformers or Skull Island, we provide a playground for the visual effects team to put their object in, whether it’s robots or giant gorillas or fake rhinos like in Black Panther. There is still plenty of room for location managers in their world. You learn what to look out for and things to avoid. It’s a relationship that you build up — they understand the limitations of our world and we understand what’s possible in their world.” The primary filming locations forCaptain Marvel took the production all over Central and Southern California, but a fraction was shot in Louisiana. “[It was] a very California- encompassing project because we shot in Los Angeles County, Ventura County, San Bernardino County and Fresno County,” Jones explains. “We received great support from the film commissions and the film offices in all those places. FilmL.A. we leaned on very heavily because a majority of the movie was shot in Los Angeles. I don’t know what I would have done without FilmL.A. because this was such a complicated movie.” One particularly strenuous shoot day involved a chase sequence with different modes of transport on many different streets going through downtown Los Angeles. “On one Sunday we had about 50 cops shutting down six different streets all at the same time,” Jones recalls. “If you’re in one location with one unit on one day, there are certain curveballs that can come with that, but if you’ve got six differ-

32 California on Location Awards Marvel Studios’ CAPTAIN MARVEL Carol Danvers/Captain Marvel (Brie Larson) Photo: Chuck Zlotnick ©Marvel Studios 2019

www.californiaonlocationawards.com 33 Marvel Studios’ CAPTAIN MARVEL L to R: Leader of Starforce (Jude Law) and Carol Danvers/Captain Marvel (Brie Larson) Photo: Chuck Zlotnick ©Marvel Studios 2019

ent locations on the same day with two different units, of a chain being only as strong as its weakest link,” says you’ve got double the amount of crew then six times as Jones. “And I had no weak links on this. I couldn’t afford many potential scenarios for curveballs to deal with. It to have any weak links. Everybody gave 150 percent. was a whirlwind driving to each location, down street I’ve been a location manager for 25 years and this was after street, making sure everything was going to plan.” the most challenging and complex movie I’ve done. If it When the L.A. shoot required two or more units wasn’t for my team, I would have been royally screwed to operate as one, help was always appreciated. “Carri and the production would have been royally screwed. Stevens, our coordinator at FilmL.A., was indefatigable They were magnificent. It’s nice to be nominated and and stayed up late one night talking me and the bar- I’ve [won] a few [COLA Awards] before, but this nomina- ricade company through the closures,” says Jones. tion is particularly sweet because it was such a quintes- “She went way above and beyond the call of duty. I’ve sence of a team effort. I’m so proud of them all. I judge shot all over the world in the last 10 years, [and] I sup- my team by after the fact, [asking] would I want to go pose they’ve been all great experiences. From a tech- to war with them and would I want them in the trenches nical standpoint, it’s astonishingly useful for a location with me, and I would absolutely want every single one manager when FilmL.A. has your back. Sheri Davis and of them in my trench.” Dan in San Bernardino County and the guys in Ventura Jones also praises the LAPD and Department and all over the place were also fantastic. Captain Marvel of Transportation, likening their team work to a game of was a show that took advantage of the California Tax Jenga. “You take out one wooden block and the whole Incentive and, even then, it was hard to cram everything tower comes down,” he says. “I felt like that each day. we wanted to do into that budget. But because we got I suppose that’s the essence of location managing. such great support from the film offices around Califor- You’ve got to keep order in a disorderly world, and I nia, we got it done. It was a great California team effort, thought we did. I’m really proud of what we achieved. not just the people in the production but also the people We’ve got to the end of a very complicated movie with outside the production and the film offices.” our sanity intact.” Jones is singly nominated for a COLA this year, and his location team is also nominated in the Feature Captain Marvel hits theaters on March 8, 2019. Film category. “I’ve said this before and I’ll say it again, when you’re a location manager, it’s a classic example 34 California on Location Awards

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38 California on Location Awards Location Manager Jordana Kronen Photo by Dyana Carmella

The hit TV sitcom “Modern Family” has been welcomed into the living rooms of millions for nearly a decade. The recipe for the show’s success comes from the relatable characters and storylines that resonate strongly with viewers. “All of these stories all stem from some personal experience that [the show’s creators] Steve Levitan or Chris [Lloyd] would have had in their lives,” explains Location Manager Jordana Kronen. “And they take these little experiences and they expand on them.” One of those childhood moments occurred on a houseboat and inspired “Lake Life,” the season nine premiere episode that scored Kronen a nomination for Best Location Manager for Episodic (Half- Hour) Television. “Lake Life” was shot in South Lake Tahoe, as it met the demands of the script, but the search for this perfect location became a real challenge for the production. “The problem with where they originally saw this happening was when you look at the reality of the logistics of it,” Kronen says. “If you can’t get your crew there and then there’s no place to put them or house them, you just can’t shoot. So we ran into a lot of problems. Every time you found [a location] you had to then do the equation. Where do you fly into? How do you get your crew from Point A to Point B? And can you get three houseboats, because it was originally written for three houseboats, on the water? Can you rent them? Are they available with whatever company is there? So there were all of these factors that had to be considered and, little by little, we kept eliminating the pos- sibilities because these factors weren’t working.” The production soon learned that houseboats do not travel easily so they would need to find a lake that already had them, which limited their options. Kronen searched for a suitable location that would meet all of their requirements, but solutions were in short supply. “We were running out of ideas,” Kronen recalls. “I looked at Lake Tahoe but the lake doesn’t rent houseboats to people. [But] they have boats so we thought,

www.californiaonlocationawards.com 39 On the set of “Modern Family” in South Lake Tahoe/El Dorado County Photo courtesty of Tim White

On the set of “Modern Family” in South Lake Tahoe/El Dorado County Photo courtesty of Tim White ‘Well, maybe the writers can change their vision and use three different kinds of boats.’ As a last-ditch effort, I called [El Dorado County Film Commissioner] Kath- leen [Dodge] and said, ‘So I know you guys don’t have houseboats but here’s what we need.’ And she’s like, ‘You’ve just got to come see the lake. We will figure this out.’” Kronen flew to the location where she and Dodge found a large, three-story houseboat that was perfect for the episode. “This gentleman, who is a lovely man, didn’t want his boat to be filmed, but he didn’t mind us renting it for a support boat,” Kronen says. “So we had to convince him.” Once the man was persuaded, the script was changed from three houseboats to one mas- sive boat that could be used by an entire family. With the houseboat secure, everything else slowly fell into place. “Once we saw the lake and how utterly beautiful it was … we literally started checking all the boxes,” says Kronen. “It had an island, and the script had an island where the kids go hiking, and [the location] had a beach where the kids go to the beach.” Tahoe was soon settled as the backdrop for the episode, and plans were put into place for the five-day summer shoot. In addition to the main houseboat, several smaller vessels were secured for extras and film crew to film on the water. Camp Richardson, a historic lodg- ing area and campsite just two-and-a-half miles outside of South Lake Tahoe, was also used. “We based out of [Tahoe] and we had our little camping site there, and we built another scene over in Camp Richardson,” Kronen explains.

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www.californiaonlocationawards.com 41 Congratulations to all the finalists this year and thank you for your hard work and making California shine.

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42 California on Location Awards On the set of “Modern Family”

The 150-person crew arrived at South Lake tions throughout El Dorado County is her status quo. Tahoe during the height of tourist season to begin shoot- “Directors and producers should know when they come ing the episode. Kronen worked tirelessly to make sure to EDC, they’re going to be welcome,” Dodge explains. the process went smoothly but she’s the first to admit “We understand what their business is and we’re going that she didn’t do it alone. “I am very fortunate because to help them do it in the best way possible. That’s what I have [Jeffrey Morton], a producer that is extremely con- I’m here for…. I’m on call 24/7 so, if something goes scientious of what my challenges are,” she says. “He wrong and they’re stuck, they’re not alone. They’re not appreciates the importance and the value of the right going to be out here in the country and feel like, ‘Wow, location so I have a lot of support. If I have issues with no one gets what we’re doing and we need help.’ While locations, I can go to him and he doesn’t just say, ‘Make they’re shooting, they’re going to have our support and it work.’ He helps me make it work. He figures out what be appreciated.” needs to happen to make it work. That is really the se- During filming in the South Lake Tahoe area, cret to my success on this particular show. I have a lot of myriads of fans turned out to show their appreciation support and I have a great team. I’ve been with my same for the series. “We’re used to them because ‘Modern key assistant for 10 years. We have a seamless commu- Family’ is popular,” says Kronen. “We actually appreci- nication and that’s everything. I can’t do it by myself. I’m ate them because instead of it being an inconvenience just really lucky in that I’m surrounded by people who that we’re [shooting] there, [the locals] actually think it’s support my efforts.” an added bonus because people enjoy the show. Most Kronen also credits Dodge with helping to ex- everybody was very respectful because they are all in a ecute the “Lake Life” episode. “In no small part to Kath- good mood [while] on vacation.… It really does help to leen, she was there every step of the way, trying to solve be on a recognized show.” Kronen now sees the pos- any potential issues we might have,” she reports. “Kath- sibilities of South Lake Tahoe as a location for other leen really served as an umbrella support system for projects in the future. “[It offers us] so much to choose me [regarding] all the different entities. Whether it’s the from,” she says. “You have the water aspect of it, which Rangers or the parks or whatever it was, she was right is beautiful. You have hiking. You have forests. You have there to help me with that so that really wasn’t a big deal. adventure. You have paragliding and the jet skiing and When you have support like that from the film commis- all of that. And then you have the casinos. You have sion, anything is possible…. She was so attentive to my such a great variety of things [that] you could just build needs and the crew’s needs. She really was part of the an entire show just there in Lake Tahoe. I absolutely love crew when it was all said and done.” it and I’m super happy that’s where we ended up.” The service that Dodge provides for produc- www.californiaonlocationawards.com 43 a

Operator: 911 what’s your emergency?

Heather Haase: The production needs me to land a 737 on a golf course!

Operator: Ma’am, please stay calm. Do you have any flying experience?

Heather Haase: Does a kite count?

Operator: A kite? Ma’am, I’m tracking your location. Stay calm. Is anyone on board?

Heather Haase: The whole production is! How am I going to pull off a stunt like that?

Operator: Ma’am, I’m tracking you and it looks like you’re at a Coffee Bean near Wilshire and Fairfax.

Heather Haase: Yeah, I just ordered a latte, waiting on it now. So what do I do?! I mean, they could CGI it but they want the real deal.

Operator: Ma’am, is this a real emergency?

Heather Haase: YES! Wait, hang on, my latte is here.... dang! Hot! Hot! Hot! They always make these things too dang hot. So what do I do?!

Operator: [dial tone]

Heather Haase: Hello? Damn, not again.

44 California on Location Awards a

911- - LOCATION MANAGER HEATHER HAASE ANSWERS THE CALL (After finishing her latte)

Story by Eleni Roussos

www.californiaonlocationawards.com 45 ased in Los Angeles, the TV drama “9- 1-1” is about first responders and the crisis situations they take on from the first call to the emergency’s end. The popular series showcases a talented cast led by Angela Bassett, B Peter Krause and Kenneth Choi, but its central star may actually be the City of Angels. Before shooting a first season on location, “9-1- 1” producers hired veteran Location Manager Heather Haase to ready the streets of L.A. for their close-up. Newly nominated as Best Location Manager for Episod- ic (1-hour) Television, Haase utilized her vast experience to bring the show’s ambitious concept to life. “We did 187 locations in ten episodes all over Southern Califor- nia,” recalls Haase. “We had two-and-a-half stage days out of the entire season [and] 55 pieces of rolling equipment. We average two units almost everyday. When we go out, people are like, ‘Oh, it must be Trans- formers or something’ [because] it’s so big. I think physically, footprint- wise we’re the largest production in town.” The show’s emergency-themed storylines required quick permitting, which became We average two units almost plane landing, second nature for but it creates another Haase and the loca- issue. “I get the pa- every day. When we go out, “ tions department. people are like, ‘Oh, it must be perwork back from One memorable “ the FAA saying, ‘You moment involved Transformers or something’ can land a plane on episode six, in a golf course but you which a private [because] it’s so big. I think have to close down airplane makes an physically, footprint-wise we’re McBean Parkway,’” emergency land- she recalls. “Well, ing on a golf course. the largest production in town. typically you need 72 When the first location hours minimum to get fell through at the last any kind of sheriff detail, minute, Haase needed but we managed it … We to find an alternative fast. had 14 sheriffs with us and “We had scouted the Griffith closed down McBean Park- Park golf course … and everyone way, [and] we pulled it off in about was okay with it,” she recalls, “[but] four hours.” at 4 p.m. I get a call from the park film of- Another ambitious “9-1-1” episode in- fice saying, ‘We can’t let you land an airplane ona volved a 737 emergency water landing and rescue, golf course.’ We had gotten all the approvals up to that which required immense planning and preparation. No point, so no one ever thought about having a backup... water tank large enough or available to meet the pro- I called a couple of different services and a few of the duction schedule, so a decision was made to dig a hole golf courses in Santa Clarita, and I called Jen [Jzyk] at at Disney Golden Oak Ranch. The roughly 300-by-600- the Santa Clarita Film Office and said, ‘This is the crazi- foot hole had a custom-made liner and was filled with est request but I need a permit to land a big Cessna on 6.1 million gallons of water. A 737 airplane was then cut a golf course. Can we work that out?’ And she was like, into three pieces and placed in the center of the newly ‘Well, we can try.’” created lake. Heaters were used to warm the water while Haase finally found a golf course that would allow propane tanks provided fire for the scene. “The whole 46 California on Location Awards On the set of “9-1-1”

process, from the time we started dig- ging the hole to the time the hole got filled back in and restored, was six months,” explains Haase. The rescued plane passengers were brought to an emergency trauma center created on Dockweiler Beach in Playa del Rey. “I think it took three to four weeks to get everybody onboard between [the Department of] Beaches and Har- bors, all the multi-jurisdictions, because that was huge,” notes Haase. “It was a major plane crash and the aftermath so we had pieces of airplane floating around the ocean; we had rescue boats. It was insane. I think we had 300 or 400 people. You need to watch [the episode] because it is mind blowing.” Location Manager Heather Haase Other emergency challenges from the first season of “9-1-1” include a car crash, collapsed building, dog attack, Haase and her team very little information to work with and an escaped tiger at a zoo. “We needed to film at an when planning for shoots. “We get a bit of an outline so actual zoo,” Haase explains. “The Santa Barbara Zoo, we just try to figure out from the outline what may hap- within three days’ notice, gave us the okay. We filmed pen,” says Haase. “We scout a ton and I blanket per- while they were open. That was insane because it was mit a ton of stuff, and then we just kind of figure it out basically a scene of a live tiger and snipers trying to get the night before. I know that sounds weird but it’s pretty the live tiger. I mean, we don’t do normal stuff.” Another much the way it works.” challenge involved constant script delays, which gave www.californiaonlocationawards.com 47 On the set of “9-1-1”

Location Manager Heather Haase

Nominated as Best Location Team for Episod- ic (one-hour) Television, Haase’s crew know their way around difficult location issues. “I have the best team in the business!” exclaims Haase. “Phenomenal. Unflap- pable. God, they’re good, every single one of them.… No one ever has an attitude. No one ever says, ‘This is ridiculous.’ [They’re] a super positive team and, especially in this crazy world, they go with very little to no information. I don’t feel like I have to micromanage them. They know the show. They know how I work. They know how we get things done. I can point them in the direction and it gets done. Of course, we all help each other. There is no ‘I’ in team and I tell my team all the time [that] we’re a family. [If] you need something, you need backup, you need help, say it and we’ll do it.” Haase also gets assistance from the rest of the “9-1-1” production team and the location offices around the city. “I’m really blessed because my producers, my directors, my EPs, my showrunners, makeup, hair, grip, electric, they’re all fantastic,” Haase enthuses. “So it really makes for a better place to be, and it makes you want to work harder for the people that are a family. The Santa Clarita Film Office [with] Jen and Matt [Curran are] unbelievable. They do so much for us and help us out so much. And Joan Aguado at South Pasadena [is] amazing. She helps out, doing whatever she can.” If there’s one thing that Haase has learned during the show’s relentless location demands, it’s patience. “That’s the word that I come up with, and I tell it to myself every day,” she says. “As things are constantly changing, I think I just need patience. [I’ll tell myself,] ‘We’ll get through it. It’s just another day.’ [And] some- 20019 Blue Cloud Road, Santa Clarita, CA 91390 how it always works out.” (661) 510-6873 [email protected]

48 California on Location Awards

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 LOCATION MANAGER NANCY HAECKER TAKES US

CampingBy Eleni Roussos

52 California on Location Awards David Tennant and Jennifer Garner on the set of “Camping”

hen the sixth season of the HBO series wide-eyed, like, ‘Yeah, we want it to look fabulous, and “Girls” came to an end, Executive Pro- we want it to have this cinematic quality.’ So I’m going, ducers Lena Dunham and Jenni Kon- ‘Okay, okay. This is a little HBO half-hour comedy, so ner were W already looking for their next big project. They those two just don’t even go hand in hand.’” Haecker soon discovered the Brit TV comedy “Camping” and set decided to take on the show regardless. out to adapt it for U.S. audiences. The series focuses Haecker has a fondness for the challenges that on a married couple, played by Jennifer Garner and Da- come with projects that feature the outdoors and remote vid Tennant, who go with friends on a perfectly planned shooting locations. “I love it,” Haecker says. “Many out- camping trip that goes horribly wrong. door films don’t really go into the wild. Rather they want Dunham and Konner brought “Girls” Executive to look like they’ve gone into the wild from the comfort Producer Ilene Landress onto the project, and the three of basecamp within 100 yards. So for those projects it is began to execute their vision of a half-hour comedy with finding landscapes that look remote from easy access. a theatrical aesthetic. As preproduction got underway, Those locations will be parks, federal, state, tribal and Location Manager Nancy Haecker was invited to join BLM lands, and they have their permitting issues, [such the tight-knit group. “I believe Reese Witherspoon rec- as] open to public use, protection and care, endangered ommended me, as Reese, Lena and Jenni are friends,” species (animals and plants), and tourist season. But for recalls Haecker, who worked previously with Wither- those projects that want period landscapes [and] un- spoon on the film Wild. “The interview was fun as Jenni spoiled wilderness, it is the amount of time and work to Konner, Lena Dunham and Ilene all interviewed me over gain access. On some projects you are chasing weather the phone at the same time. My resume did come into [or] looking for snow or fast-moving rapids. So where play as they referenced my work on Wild, Into the Wild you thought you were going to shoot that winter scene and The Revenant. They wanted a TV show with cin- in February may not be where you end up shooting it. ematic scope and quality.” And [you need to get] the project done before the sea- The show was pitched to Haecker as a “big” sons change and scripted summer starts looking like project, but she instinctively knew it would end up be- fall as colors change, leaves fall, and dry creek beds ing much smaller than Dunham and Konner’s initial vi- are filling up as the rains come. You have to be ahead of sion. “They’re really seasoned but they were still sort of weather as well as sometimes chasing it.” www.californiaonlocationawards.com 53 Jennifer Garner on the set of “Camping”

As a top location manager, Haecker knows you’ve got to make the money people happy, and then what’s needed for everything to fall into place. “From you have to make the people that want it to look really supporting it, to permitting it, to bringing all your trucks fabulous happy, and so it’s always tricky.… This is not there, to having a crew base, to having infrastructure, uncommon. You scout, scout, scout to please people all these things play a part in whether a location is re- and then at some point the hammer comes down. And ally the location,” she explains. Once Haecker officially sometimes they wait for the studio, or they wait for other signed onto “Camping,” she watched the original series reasons, or they wait for the right person to come on…. to bring herself up to speed. “I used it to prep,” she It happens.” The entire series was based and shot in says. “However, the British version had more of a ‘coun- the state of California. Other locations include various try excursion’ look. [Our adaptation of] ‘Camping’ was California State Parks and federal lands, King Gillette going for more of a remote cinematic look.” Ranch, Lake Piru, Griffith Park, Los Feliz, Puddingstone Haecker’s next step was the scouting process. Reservoir, Placerita Canyon Nature Center, Calamigos “We certainly tried to get them visually interesting places Ranch, the Newhall Land and Farming Company, Sierra with vistas and gorgeous [settings],” she explains. “We Madre and Old Town Santa Clarita. shot a lot of research, and we continued to shoot kind Haecker believes filmmaking is changing for the of with this [cinematic] idea for maybe two months. So better in regard to locations, thanks in part to subscrip- we shot a lot of stuff … and we shot for cinematic qual- tion-based content. “In the industry, certainly in the last ity and for weather and fog and mist rising up from the decade, people often use the catchphrase ‘We were sea and for atmosphere, and all these things that you do run by the accountants,’ like we’re no longer run by the not shoot for a half-hour comedy. But, as time started creatives,” she notes. “[As if] it’s not a creative industry crunching, my people got involved [and] creatives got and it’s a business, right? It’s show business, so find- involved and all of a sudden it’s like, ‘We want you to ing the best location isn’t always cost effective, and the find this camp area [that’s] 15 minutes from Jenny Gar- look certainly is compromised by other issues.… [But] ner’s home.’” now you get Netflix and HBO, and … it might be a little Ultimately, the change in direction led the team show [or] a big show [or] a hit show they’re willing to to Disney’s Golden Oak Ranch for the majority of the spend money on, but, for the most part, I found them shoot. “We ended up at Disney Ranch for the camp- to be looser with money. And that sort of plays in many, ing section, but we still tried,” says Haecker. “You know, many areas, but one of them [is] the locations. You can it’s always with a scout. Sometimes there’s one person go look for it and you can travel, and they’re willing to go in charge but that’s rare. I’ve got to make the produc- to a location that looks fabulous [and to] where the story er happy, and she’s not taking this crew very far, and should be told.” 54 California on Location Awards This Year’s COLA Nominees Are Out of this World.

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www.californiaonlocationawards.com 55 56 California on Location Awards When the call comes... LM

CONGRATULATIONS from Rajan Shandil Emmy Award-Winning Producer and Director of the COLAs and the team at WIREFIRE @rajanshandil STUDIOS [email protected]

photo by Roberto Nickson The Tax CREDIT Update: A Conversation with Program Director Nancy Rae Stone

Story by Dyana Carmella

As the California Film Commission (CFC) continues the good fight to keep productions in California, the state has seen a boost in television production over the last few years. A bountiful number of projects have chosen to stay in the golden state and enjoy the fruits of a new second-generation tax credit program dubbed Program 2.0.

o make sure that you’re up to speed, year of production in California can also receive a let’s dive into a rundown of the tax 25-percent credit. Recently, Governor Brown signed credit program. The CFC administers Senate Bill 878 to extend the program until 2025. the state’s second-generation tax Changes beginning in 2020 will include an increase credit program, which has expanded annual funding in the amount of tax credits available for independ- from $100 T million to $330 million per year. It has also ent films, and an additional 5-percent tax incentive expanded project eligibility by removing the $75 mil- for crewmembers that live and work outside the Los lion budget cap on feature films. Participating non- Angeles 30-mile studio zone. Several cities and coun- independent film projects can receive a 20-percent ties offer incentives (see related info on CFC website) tax credit for up to $100 million in qualified spending in addition to the state’s incentives. The certainty that (these expenditures include below-the-line wages, California’s Program 2.0 tax credits will continue ena- payments to vendors, and any in-state purchases or bles the state to remain competitive in the years to rentals). Independent films can receive a 25-percent come. tax credit on qualified spending up to $10 million with An array of productions can utilize this latest no total budget cap. Relocated TV series in their first tax program — it’s open to feature films, independ-

58 California on Location Awards ent (non-studio) films, and scripted TV projects, in- has recognized the variety of productions that create cluding episodic series (40+ minutes per episode), jobs for the state’s highly skilled workforce. “Thanks miniseries, TV movies, pilots, and relocating se- to the increased employment generated by the pro- ries (of any episode length). Since the expan- gram, the number of hours worked by members of sion of the program in 2015, fifteen TV se- California’s below-the-line unions has increased 15.6 ries have relocated to California from percent in 2017 compared to 2014,” Stone explains. other states and Canada. “I have “One remaining challenge involves big-budget fea- seen firsthand how producers and ture films. Because our incentive does not provide tax production companies weigh many credits for above-the-line categories, California has factors when choosing a location to film difficulty competing for the blockbuster features that a project,” says Nancy Rae Stone, the tax can get their above- and below-the-line costs cov- credit program director at the CFC. “Tax in- ered by incentive programs in other locales. Nonethe- centives play a key role in that equation, yet for less, California’s fantastic varieties of locations, depth years California didn’t have a tax credit program. of talent, infrastructure and weather coupled with tax This made the state a far less attractive option for incentives have enabled Program 2.0 to capture sev- anyone seeking an incentive to help finance or offset eral big-budget projects, including the sequel to Top production costs. Since California instituted its tax Gun, A Wrinkle in Time, Ford v. Ferrari and Captain credit program in 2009, the state has seen produc- Marvel.” tion levels rise, and with it all the economic benefits that follow.” For more information on the second-generation tax The current tax credit program has dedicated credit program, visit http://film.ca.gov/tax-credit/ funding for all the qualified categories, and the CFC

Congratulations to the 2018 Congratulations to COLA NOMINEES! the 2018 Nominees and Winners!

Thanks for filming here, there, and everywhere.

We Have a neW WebSite! Placer-Lake Tahoe Film Office FilmSanmateoCounty.Com placer.ca.gov/films

www.californiaonlocationawards.com 59 The Film Liaisons in California, Statewide (FLICS) wish to thank everyone joining with us to celebrate the 24th annual California on Location Awards! Your loyalty and support has helped the COLAs to grow and to honor fittingly the location professionals, production companies, and public employees whose work makes California the best filming location.

FLICS is the professional organization of 41 film offices and commissions that work cooperatively with the California Film Commission to attract, retain and facilitate film production. Please meet them now:

FLICS MEMBERS

Antelope Valley/North L.A. County Film Office – Pauline East Orange County Film Commission – Janice Arrington Berkeley Film Office – Barbara Hillman Pasadena Film Office – Rochelle Branch Beverly Hills Film Office – Scott Lipke Placer - Lake Tahoe Film Office – Beverly Lewis Calaveras County Film Commission – Lisa Boulton Ridgecrest Regional Film Commission – Doug Lueck Catalina Island Film Office – Jim Luttjohann Riverside County Film Commission – Bettina Breckenfeld and El Dorado Lake Tahoe Film & Media Office – Kathleen Dodge Stephanie Stethem FilmL.A. – Paul Audley Sacramento Film Commission – Lucy Steffens Film Shasta – Sabrina Jurisich San Francisco Film Commission – Susannah Greason Robbins Fresno County Film Commission – Kristi Johnson San Luis Obispo County Film Commission –Brooke Burnham Humboldt - Del Norte Film Commission – Cassandra Hesseltine San Mateo County/Silicon Valley Film Commission – Marie Ivich Imperial County Film Commission – Charla Teeters Santa Barbara County Film Commission – Ryan Michael Grau Inyo County Film Commission – Chris Langley Santa Clarita Film Office – Evan Thomason Kern County Film Commission – David Chavez Santa Cruz County Film Commission – Christina Glynn Livermore Valley Film Office – Jeannie Haigh Sonoma County Film Office – Dawn Proteau Long Beach Office of Special Events & Filming – Tasha Day South Pasadena Film Office – Joan Aguado Malibu Film Commission – Kimberly Collins-Nilsson Tulare County Film Commission – Eric Coyne Marin Film Resource Office – Deborah Albre Tuolumne County Film Commission – Bethany Wilkinson Mendocino County Film Commission – Sharon Davis Vallejo/Solano County Film Office – Jim Reikowsky Modesto/Stanislaus County Film Commission – Jennifer Mullen Ventura County Film Commission – Bill Bartels Mono County Film Commission – Alicia Vennos West Hollywood Film Office – Eddie Robinson Monterey County Film Commission – Karen Nordstrand Yosemite/Madera County Film Commission –Rhonda Salisbury

ADVERTISER INDEX

5 20th Century Fox Television 35 Marvel Studios 62 Antelope Valley Film Commission 61 Monterey County Film Commission 64 The Beverly Hilton 42 Mystic Creative 48 Blue Cloud Ranch 41 NBCUniversal 36 Big Sky Movie Ranch 54 Orange County Film Commission 12 Boeger Winery 2 Pacific Production Services / Pacific Traffic Control, Inc. 9 California Film Commission 20 Pasadena Filming & Event Office 61 California State University Northridge 59 Placer-Lake Tahoe Film Office 26 Fairplex 54 Plan A Locations 50 Film L.A., Inc. 62 Production Security Services 27 Film Shasta 41 Reel Security Corp 36 Film This 10 Real to Reel Locations 51 Golden Oak Ranch 55 Ridgecrest Regional Film Commission 6 HBO 7 Riverside County Film Commission 37 The Hollywood Reporter 59 San Mateo County Film Commission 62 Humboldt Del-Norte Film Commission 49 Santa Clarita Film Office 55 Joe’s Auto Parks 63 Stanley Production Services 15 LA Center Studios/Hollywood Locations 18 Teamsters Local 399 41 Location Managers Guild International 42 Tulare County Film Commission 61 The Location Portal 21 Variety 27 Lunchbox Transportation 3 Warner Bros. Entertainment, Inc. 55 Mammoth Mountain Ski Area, LLC 57 Wirefire Lab 61 Marin Film Resource Office 60 California on Location Awards Congratulations to all 2018 COLA Nominees and Award Winners

MARIN COUNTY A place perfectly different...

”

Congratulations to the Nominees and Congratulationsto all at the Award Winners

“California On Location Awards

Congratulationsto all at the

California On Location Awards

Carmel-by-the-Sea The University Corporation (818) 677-2628 Just like you…our Locations are Winners! www.csun.edu/licensing FilmMonterey.org

www.californiaonlocationawards.com 61 CONGRATULATIONS

NOMINEES

filmhumboldtdelnorte.org

62 California on Location Awards

Home of the CALIFORNIA ON LOCATION AWARDS Proud to be the choice for on-location production since 1955!