LOCATIONS
Locations is the one department on a project that requires people with very diplomatic personalities. Good location people are diplomats, able to communicate effectively with nonproduction people. This ability is a special quality that is invaluable when working on a show. The location person has to get someone to let a crew of ten to fifty or more people onto his property, carrying in all kinds of equipment, for 10–12 hours per day. A good location person will know how to present this situation and maintain good relations with the owner of a location. A bad location person could lose a location entirely, leaving you to scramble for a place to shoot. In addition, the location team provides support services for a location as needed, such as security, firefighters, police, and lavatory facilities. This chapter discusses the location team’s duties and its particular relationship to the community. The two different kinds of scouts are discussed, along with who goes and what they are looking for at each location. Support personnel and services are also discussed in terms of who is needed and when they are needed. Figure 15.1 shows the location hierarchy.
LOCATION MANAGER
The location manager is the head of the location team and thus responsible for the location budget. As discussed, this is a person with great diplomatic acumen. She not only has this personality but is also a creative force. A good location manager can find locations that completely fit with the director’s vision and provide interesting production value for the screen. Think of a western with beautiful panoramic views of cascading mountains and wide open prairies. The location manager has found these settings with the vision of the film in mind. In low budget, the location manager may perform all of the duties of the location department, from finding the locations to completing the paperwork. In higher budget, the location manager will use a team of location people to fill in on these jobs. The location manager will usually start work on a project with anywhere from one month to more of pre-production, depending on how many locations are needed. Duties and responsibilities of the location manager follow the location hierarchy.
Pre-Production
■ Discusses the location looks with the director and producer.
■ Works with location scouts to find possible locations.
■ Compiles pictures or footage of each possibility, puts the pictures in a folder or on a CD or DVD, and presents these shots to the director and producer. If the location looks good, then they will arrange to see it on a formal location scout.
■ May have to approach the owner of a site and try to nurture interest in having a film crew come and shoot on her property.
■ Supervises location scouts.
■ If the location is chosen, will work with the owner to work out possible pay.
■ Informs the owner of shoot dates and has the owner sign a location release agreement. A location is not locked until this is done. You should never assume a location is locked with a secretary; always make arrangements with the owner.
■ Arranges for payment to the location owner.
■ Arranges for access to the location.
■ Supervises the tech scout.
Production
■ Lets the crew into the location.
■ Makes sure there are no violations of the location. There may be a situation where the owner of a house may want crew only on the first floor and not the second. The location manager makes sure that the location team adequately marks the location with signs prohibiting anyone from going on the second floor. The location team will constantly be watching to make sure the location is being used as agreed upon.
■ Follows up with the location owner if there is any damage to the location.
■ Makes sure any damages to locations are paid for.
Wrap
■ Makes sure all locations are left in good order.
■ Publishes a final location list (see Figure 15.2).
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04/29/2002 |
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Frame Right Films, Inc. |
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LOCATION LIST |
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LOCATION |
ADDRESS |
CONTACT |
SHOOT DATES |
SCENES |
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Icelandia Desert |
Route 115 & Carson St. |
Harold Jimes |
July 22–24 |
1,3,67,54 |
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Kerlina, CA |
310-345-8756 |
57,58,72 |
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Wochera Tower |
113 Highway 46 |
Misty Kilner |
July 31–Aug 1 |
5,14,52,49 |
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Kerlina, CA |
310-789-7890 |
10,62,60 |
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61,63,9 |
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Margee & Alb’s Home |
763 Humice Lane |
Noreen Johnson |
Aug 10–15 |
7,8 |
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Los Angeles, CA |
213-789-7652 |
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Castle |
8722 Vernon Drive |
Dan Rodman |
July 25–29 |
66,16,26 |
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Augora Hills, CA |
310-364-9983 |
65,68,74 |
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Sport Theater |
LA Forum |
Mike Starr |
Aug 2–7 |
13 |
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837 Gower St. Los Angeles, CA |
310-361-8465 |
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Wochera Dining Hall |
9111 Magnolia Place |
Yvette Alnon |
Aug 15–16 |
15 |
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Los Angeles, CA |
310-463-8836 |
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Research Center |
Universal Stage |
Joan Arefton |
July 30 |
18,22 |
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34 Jones St. Los Angeles, CA |
310-337-1127 |
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Majesty Room |
Universal Stage |
Joan Arefton |
Aug 8–9 |
17,19,21 |
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34 Jones St. Los Angeles, CA |
310-337-1127 |
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FIGURE 15.2
Location List
ASSISTANT LOCATION MANAGER
The assistant location manager assists the location manager. He may be someone who lives locally in the area and therefore knows where certain locations can be found. Alternatively, he may be someone who works frequently with a location manager. In low budget, the assistant may also work as the location scout. The assistant location manager will usually start work shortly after the location manager begins. Following is a general list of responsibilities:
■ Puts together and maintains the location list. The location list is a record of each location along with any pertinent contact information. As locations are locked, this list is updated (see Figure 15.2).
■ Informs neighbors that a crew will be in the area. This task is important for good relations, not only with the owner of the property but also with the community. The assistant will either do this in person, knocking on doors, or leave flyers announcing when the crew will be in the area.
■ Sees to any details of the location not covered by the location manager.
■ Procures security, fire, or police as necessary.
■ Orders portable lavatory facilities as needed. Portable lavatories are always needed when shooting exteriors. It is customary, if you can afford it, to have separate lavatories for men and for women.
■ Stays on set if the location manager is gone.
■ Keeps the location owner happy.
■ Provides copies of all location releases and permits to the ADs for the set box. This is important. If for some reason none of the location people are on set with them, the crew must have documentation that allows them to be there.
■ May assist the location manager in following up after the shoot is done to make sure the location was left in good order.
LOCATION PRODUCTION ASSISTANT
The location PA, like other assistants, may be responsible for getting coffee or typing (in this case, the location list). In addition, the location PA may be required to do the following:
■ Mark the area with signs that lead to the location.
■ Mark the location with signs for parking.
■ Put out traffic cones as needed. Traffic cones may be needed to block off a certain part of a location that is off-limits to crew, either because it is not safe or because the owner does not want crew in a certain area.
■ May be required to stay overnight at a location, if this is not covered by security. This situation arises if, for example, you have at a location a fairly elaborate setup that you do not want disturbed. Staying overnight at a location is usually covered in the budget by security, except on a low-budget shoot, in which case security is too expensive.
LOCATION SCOUT—THE PERSON
The location scout is a person who very early in the pre-production process scouts, or finds, possible locations for a project. He has been given a script and will have some idea of what kinds of locations to look for. For instance, if the script calls for a contemporary restaurant, the scout will glean from the location manager exactly the type of restaurant to look for. Is it an upscale modern place with red carpet and valets in front? On the other hand, is it a family-style franchise-type restaurant? The scout’s job is to get as close to the vision of the director as possible. The scout will take pictures and send them to the location manager. In the old days, pictures were done on film and overnighted to the location manager, who might not be in the area yet. Now, pictures are taken digitally with either cameras or picture phones and emailed to the location manager. The location manager will then give the scout feedback to either take more pictures of the same type of location or not.
Location scouts are usually local. They have grown up in the area, or at least have lived in the area long enough to know it well. This is important because they will be able to find possible locations quickly. The scout will work in pre-production as long as locations need to be scouted.
LOCATION SCOUT—THE EVENT
The location scout (event) is a preliminary look at various locations before any are chosen. At this point, the location manager has narrowed down the choices, in consultation with the director and producer, from what has been submitted by the location scout. This scout may involve a few or a number of crew. Minimally, the scout, location manager, director, and producer will visit the location. This kind of scout may also involve the director of photography and the production designer. The process for setting up a location scout is as follows:
■ The location manager or assistant location manager calls each location and sets up a time for the crew to arrive and inspect the location.
■ The assistant location manager or, if there are any, a location PA puts together a cooler with drinks and snacks for the crew, to be put in a van.
■ The assistant location manager coordinates with the transportation coordinator to arrange for a van and driver for the day, to transport the crew to each location.
■ The location team puts together maps and directions to each location for anyone who may not travel in the van.
■ The location manager determines a call time to leave for the scout and informs each person.
■ The van then sets out to visit each location.
At each location, there are several considerations. A good location should have certain qualities that not only match the director’s vision but also have practical applications for shooting. These considerations may not make or break the decision to shoot there, but are only considered at this point in the process. A list of these considerations follows.
Location Considerations
■ What are the creative considerations? Are the colors right? How much may need to be altered?
■ Is the location available when you need to shoot? This consideration should be worked out before taking the crew to see it.
■ Do you need any permits? If so, which ones?
■ How much will the permits cost?
■ Is there adequate parking?
■ Are there lavatory facilities that would be available to crew, or will the production need to rent port-a-potties?
■ Are there any safety considerations?
■ Will you need security? Police? Fire?
■ Based on what needs to be shot there, what are the restrictions? I once shot in an old theater that had a floor that was not stable in all places. The crew had to promise to restrict their movements within the theater in order to shoot there.
■ Are there any sound considerations such as frequent air or ground traffic?
■ Are there any time restrictions? In other words, does the owner not want crew there after or before a certain time?
■ What is the electrical situation? Will a generator be needed?
■ Are there proper staging areas for eating, equipment, and extras holding?
■ Is there adequate parking for all the trucks?
■ Is there easy access for the trucks?
■ Would shooting occur on the first floor? If on the second floor, are there elevators? This is important because of the equipment.
■ Is there any normal business that may impede shooting?
■ Are there any neighbors (residential or business) close by that will be affected? If so, who will need to be informed about a crew’s being in the area?
The location manager will make notes on each location, based on any questions or concerns the producer, director, DP, or production designer might have. For instance, the production designer may want to add more foliage to an outdoor garden scene. The production designer would discuss this with the location manager. The location manager would then check with the location owner to see if this would be possible.
Depending on the availability of the locations, there may be many location scouts before all locations are finally chosen. Once the locations are locked, meaning they have all been selected, the location manager will obtain the proper paperwork to secure the location (see the section “Location Paperwork”).
Next, the location team will arrange for a final look at the location before shooting, called the technical scout or tech scout.
THE TECHNICAL SCOUT
The tech scout is a chance for more key personnel to visit the location and determine what needs they might have for that specific location. Key personnel that would attend the scout include the location manager, assistant location manager, director, producer, production manager, director of photography, production designer, art director, set decorator, key grip, gaffer, transportation coordinator, visual effects supervisor, construction coordinator, 1st AD, and possibly the sound mixer. The location manager contacts each location and sets up a schedule to visit each location. Coolers with snacks and drinks are put in a few vans to transport crew to each location. On a tech scout the location manager will send the assistant location manager ahead of the crew to make sure the location is open and ready for the crew to inspect. The key difference between a location scout and the technical scout is that a tech scout happens at a location that has been secured for shooting. Therefore, some of the same considerations apply as in the location scout, but now they become resolved. Different crew members will now need to determine their specific needs.
Location Determinations on a Tech Scout
Director Determines what areas the camera will and will not see. (This is important information for the rest of the crew members so they know where they can stage equipment.)
Producer Makes sure all personnel are working to determine their needs.
Director of Photography Takes light readings and discusses general lighting setups with the gaffer.
1st AD Makes notes on any safety considerations, such as dangerous or off-limit areas. Works with the location manager, key grip, and gaffer to determine specific staging areas. These staging areas include areas for extras, eating lunch, and possibly the following: wardrobe, makeup, grip equipment, lighting equipment, and sound equipment. Makes notes on lock-ups that will be needed.
Gaffer Determines, if needed, access to electricity, or where a generator will be staged so as not to interfere with sound.
Key Grip Works with the 1st AD to determine where the grip equipment will be staged. Works with the transportation coordinator to determine what is the best way to get the equipment from the truck to the set.
Transportation Coordinator Will make a sketch showing where all production vehicles, including trucks, vans, and personal vehicles, will park.
Production Designer Works with the art director and set decorator to finalize art department needs. The production designer may also do this earlier, with just members from the art department.
Sound Mixer Makes notes on where the boom will be placed for various shots. Determines if any special equipment may be required to achieve good sound. Checks for any conditions that may hinder sound, such as air conditioning, construction, etc.
Once the tech scout is completed, each department should know exactly what is needed to arrive at that location and shoot without any delays.
MAPS
One of the key functions of the location department is to make sure that each crew and cast member is able to find each location on the day of shooting. Therefore, the location team is responsible for preparing accurate directions and maps for each day of shooting. These maps and directions will be attached to each call sheet (by either a location PA or an office PA), which is then distributed to all cast and crew. Depending on the situation, these documents may also be emailed to cast and crew. The accuracy of these directions is of utmost importance. One wrong turn on the directions and your crew ends up aggravated and late to the set. Therefore, the location manager will have either an assistant or PA drive the route to the location, making notes of exit names, street name spellings, number of stop lights, miles, special markings, and buildings. Then she will take a copy of a detailed map with streets, white out a section for written directions, and write the directions in the whited-out area (some people also put the directions on the back of the map). Multiple copies are made, and then a PA will highlight each map, outlining the route from the production office to the location. Once the maps are completed and attached to a call sheet, the documents are then given to the 2nd AD to hand out at the end of the day. Note that many crew members do rely on GPS systems to get to set, but as we all know, those are not entirely accurate 100 percent of the time. Knowledgeable directions from the location team is the only way to insure your cast and crew will be less likely to get lost and, therefore, more likely to be on time to set.
LOCATION SERVICES
Certain locations may require that the production hire security, firefighters, or police for various reasons. If the shoot is happening in a neighborhood that would attract a large crowd, security is hired to help control the crowds. If the shoot has a big-name star, security may be hired to protect the star from well-meaning but disturbing fans. Security may be hired to protect the crew if shooting is in a dangerous neighborhood. The decision to hire security is usually made by the producer. There are security firms that specifically handle this type of work.
If you are shooting a scene that requires pyrotechnics, or fire of any kind, you must hire firefighters to be standing by on set in case of an emergency. Sometimes firefighters are also needed to create rain with their water hoses (this is mostly in low budget; in higher budget, a rain tower is rented). It is always a good idea to contact the local fire station and check on their requirements for your area.
Police are hired for a film crew for some of the same reasons security might be hired. Police might be needed for crowd control, although it is understood that it is security’s job to handle this first. The main reason police are hired is if you need streets to be blocked off. It is illegal to impede traffic in any way without the authorization of the police. Usually you can hire off-duty police for this job. Just contact the police station in your precinct.
Although police may not need to be hired for your shoot, the location team should always have contact with the local police in certain situations. For instance, if you are filming with weapons that will be either brandished or actually fired, you need to inform the local police. Any passerby could see a man holding a gun to a person’s head and not realize it is part of a film shoot. This is especially critical for low-budget shoots, where only a few vehicles are around and may look even less like a film crew is there.
It is the responsibility of the location department to ensure a comfortable working environment for cast and crew. Sometimes a crew may shoot in a building where heat or air conditioning may not be present, or may not be available for use because of sound considerations. In these cases, the location department rents portable heating or cooling units that are designed to be quiet for shooting or that may be easily turned off and on. Perhaps the location is an exterior that will be extremely hot, such as a desert. In this case the location department may rent a water cooling system to provide relief for the crew. Perhaps the location is a cabin high in the mountains with no electricity. The location department may then rent a portable heater to provide warmth for the crew. It is the responsibility of the location manager to inform the producer of any such needs in pre-production so they can be allotted for in the budget.
SHOOTING ON LOCATION VERSUS IN STUDIO FACILITIES
The decision to shoot on location or in studio facilities is not black and white. If a certain location does not exist, then it may need to be created inside a studio facility. For instance, science fiction films that have interiors of spacecrafts are usually shot on sound stages because they obviously are not available in real life. There are advantages and disadvantages of both settings.
Advantages of Shooting on Location
■ Authenticity of an environment.
■ Often cheaper than renting a studio.
Disadvantages of Shooting on Location
■ The location’s owner determines your time constraints.
■ You have less control over sound infringement.
Advantages of Shooting in a Studio
■ You have control of the environment in terms of sound.
■ You have a better guarantee of being able to shoot when you want to.
Disadvantages of Shooting in a Studio
■ You may lose authenticity of an environment if you do not have enough money to build genuine sets.
■ Can be expensive.
LOCATION PAPERWORK
There are three main types of paperwork that deal with location. They are location agreements, permits, and certificates of insurance. It is important to have all of these documents on set while shooting, in case any questions or problems arise. The documents are kept with the location representative, and a copy is placed in the set box in case the location people need to leave set.
Location Agreement
A location agreement is an agreement between the production and the owner of a location. The agreement grants the production legal access to and permission to film at that location. The agreement also guarantees to the owner that if there is any damage to the location, the production will pay for repairs. The location agreement also states what location fee or site fee will be paid to the owner for use of the property. In low budget, there may not be enough money to pay location fees. In this case the location manager will make sure to choose locations that will not request a fee. However, this may not be easy, depending on where you are shooting. If you try to get a free location in Los Angeles, you will probably run into resistance. Because there has been so much production in that city, it is difficult to find anyone who does not know that they can request a location fee. Sometimes the agreement may also guarantee the owner that any electricity or phone use at that location will be reimbursed by the film. See Figure 15.3 for an example location agreement.
Certificate of Insurance
A certificate of insurance is a document drawn up by your insurance company that guarantees the location owner that you have sufficient funds to pay for any damage or loss to the location. Whereas the location agreement states that you agree to repair any damages, the certificate of insurance actually guarantees that you have the money to pay for damages. Most location owners will require that both the certificate of insurance and the location agreement are signed before anyone sets foot on their property for shooting. See an example certificate in Figure 15.4.
Permits
A film permit is a document given by a city, granting a production permission to film in that city. Many cities require permits if you shoot anywhere in the city. Some cities require permits only if you shoot in public areas. Some smaller, rural areas may not require permits at all. The best choice is to check with the city where you are shooting to determine what its requirements and possible fees are. Some cities handle permits through their film offices (if there is one), convention and visitors’ bureaus, or communications offices.
The permit outlines the specific date(s), hours, area, and number of people that will be on the shoot. You are not permitted to film outside of these parameters. Some offices will require a certificate of insurance before even granting a film permit. Again, it is important to check with each office’s different requirements.
LOCATION RELEASE AGREEMENT
Location Release Agreement dated___________June 15___________________, __2002_____, between Frame Right Films, Inc. and________Mike Starr_____________ (RELEASOR), for the following location(s) LA Forum, 837 Gower St., Los Angeles, CA 90004 (“premises”).
FRAME RIGHT FILMS, INC. AND RELEASOR AGREE AS FOLLOWS:
1. RELEASOR grants FRAME RIGHT FILMS, INC. access to and from, and use of, the above listed premises for the purposes of (i) erecting and maintaining temporary motion picture sets and structures, (ii) photographing the premises, sets and structures, (iii) recording sound for any scenes FRAME RIGHT FILMS, INC. may desire, and (iv) any other purposes as FRAME RIGHT FILMS, INC. may desire.
2. RELEASOR acknowledges that RELEASOR has received good and valuable consideration in exchange for granting FRAME RIGHT FILMS, INC. the right to use the premises, including but not limited to the opportunity to participate in this project.
3. RELEASOR acknowledges that FRAME RIGHT FILMS, INC. may begin to use the premises on or about Aug. 2-7, 2002 (date) and may continue to use the premises until the completions of all photographing and recording for which FRAME RIGHT FILMS, INC. may desire the use of the premises for the proposed scenes, including but not limited to all retakes, added scenes, changes and process shots.
4. RELEASOR acknowledges that FRAME RIGHT FILMS, INC. shall have the right to remove all of its sets, structures, and other materials and equipment from the premises. 5. RELEASOR acknowledges that FRAME RIGHT FILMS, INC. shall own all rights to all photographs and recordings of any kind made by FRAME RIGHT FILMS, INC. on or about the premises in all media now known or hereafter devised, and in perpetuity throughout the world, and that FRAME RIGHT FILMS, INC., its affiliates and licensees shall have the right to use such photographs and recordings in any manner it may desire without limitation or restriction of any kind.
6. RELEASOR warrants that RELEASOR is the owner, or the authorized agent of the owner, of the premises and is fully authorized to execute this location release, and that the rights granted in this Agreement do not violate the rights of any person or organization.
| OWNER/AGENT: | FRAME RIGHT FILMS, INC |
| Date Signed:___________________ | Date:_______________________ |
| Signed:_______________________ | Signed:_____________________ |
| By:__________________________ | By:________________________ |
| Address:______________________ | Address:_____________________ |
FIGURE 15.3
Location Release Agreement
SUMMARY
The location department on a shoot must be staffed by people who are diplomatic and creative at the same time. A good location manager makes sure that all locations are treated properly and accurately fit the vision of the director. The location team provides support in the form of perfect maps, security, fire, heating or air conditioning, and police if needed. Shooting on location or in a studio has different advantages and disadvantages. Securing a location requires working with the location owner as well as the city to secure the proper permits.