Location scouting

British Cinematographer

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The creative, technical and diplomatic skills of the location manager often fly under the radar. We explore their role and how they work with the cinematographer to help bring a story to life in the most suitable location. 

When Steven Spielberg was honoured by the Location Managers Guild International (LMGI) in 2023, he commented that location managers should be working as foreign diplomats because of the amount of skilled negotiating they have to do. 

“It’s true. This is very much a political job,” says John Rakich, president, LMGI. “We’re negotiating with creatives and the studio. We’re also the public face of the production. We have to go out into the real world and try to pitch what we want and get the production what it needs but still respect and preserve the environment. Locations are a non-renewable resource and we want to be able to return to shoot another show there. Location management is a balancing act where you’re appeasing a lot of masters.” 

Ask students who’s in charge on a film set and they may give the stock answer: ‘It’s the director’. “Well, yes, but it’s also the designer, the DP, the producer and the location manager,” Rakich says. “They’re equal participants in what is being put up on screen.”  

Often one of the first people hired and some of the last people to leave a show, the location supervisor’s primary job is to research and find locations that both fit the script and are also practical. On his current project, a series adaptation of a novel set in Mozambique, Rakich was hired by the studio before the director to start doing legwork. 

“The current political climate in Mozambique isn’t conducent to filming but that’s one of a myriad decisions that production makes on where to locate a film. There are travel costs, tax incentives, production bases, equipment hire.” 

In this case, they’re shooting in South Africa where Rakich spent three weeks in pre-production with a producer, production designer and local service company narrowing options down. 

“We’re looking at the functionality of the set and visually for lighting and shadow. We could find the most perfect place in the world but if you can’t light it or you can’t get the gear to it, there’s no point.” 

He adds, “It’s often the case that we think it’s a perfect spot, but it doesn’t work for the DP in one sense or another. The age-old one is the sun is in the wrong spot, but it could be about access. On a project some years ago we’d scouted all our locations, brought the DP in and he agreed they were fantastic but impractical when he unveiled the immense size of the Cameron Pace 3D system.” 

For episodic TV, many key creative decisions are made by a small group for the longevity of the whole show. This often includes the DP shooting the pilot but it’s the LM who will ensure there’s a continuity between multiple directors and DP teams. “It’s beholden on us to make sure that the director and their DP understands the choices they are being presented,” Rakich says. 

Play time 

As a prelude to their own recce, a cinematographer will view a selection of media researched and scouted by the LM. “Some DPs prefer to see only what the director likes already, rather than see every option,” says Diana Olifirova (Heartstopper). “I always try to get involved at that stage if I can because there’s an opportunity to influence the story visually.” 

She takes her own stills on location from multiple angles which helps inspire ideas. “Even if we don’t choose that location in the end, the pictures I’ve taken can help me replicate similar experiences in another location. Some locations can be dressed a certain way, or have interesting practicals, mirrors, blinds or sunlight that comes through at a certain angle. For me, the scout is play time with the director.” 

She takes a compass to check sun positions and passes that information onto the AD during the later tech scout. “If it’s impossible to shoot at the time I want, then I’d think of other ways of making it work.”  

Even on a returning series like Bridgerton season three, fresh locations for new characters often need to be found: “We have an opportunity to create something interesting and that hasn’t been done before,” says Olifirova. 

Ravi Varman ASC ISC is involved in every location search from inception. “I will go to every location personally, finding two to three options for every scene and then factoring in cost and logistics.” 

For historical epic Ponniyin Selvan: Part II, Varman shot scenes in Ahilyeshwar Temple in Maheshwar in Madhya Pradesh with matte paintings added in post rather than green screen. “You can get permissions to shoot throughout India via the right political connections,” he says.  

To stage key scenes from science fiction romcom Love Insurance Kompany, set in 2035, Varman visited Singapore and Malaysia as well as Tamil Nadu in India. “Places like Japan, Singapore have cityscapes that are more futuristic than any you would find here. India, though, has the best temples.” 

“It’s essential to visit locations to give your input on whether it should be used or not,” agrees DP Irene Gomez-Emilsson (Umeshu Night). “If it’s an interior what is the orientation of the windows? Can we light through them or can I put a lamp outside? What do we see outside? Does it relate to the script? The colour of the walls plays into this too. Is it something that can change or not? I need to understand the layout of a place so I can communicate with the technical crew.” 

She expects location managers to have understood the script from a creative and a technical standpoint. “They should be thinking several steps ahead and walking in our shoes.” 

This is in the location supervisor’s DNA, agrees Rakich. “Clearly, you should ask DPs what they want and include that in your brief. Just as the DP visualises painting in colour, light and shadow and then has to figure out which lenses to use, you’ve got to think creatively in terms of what the DP is looking for then logistically to make the show work as a whole.” 

Exteriors for a shoot in the South African bush is dependent on where the sun is and where it’s going to be. “But what if it’s cloudy? You need to bring in lights. What if it’s too sunny? Now we have to bring in something to block it with. You have to anticipate and plan.” 

Dynamic duo 

“You can tell if a location manager has great relationships with the people,” says Shane Hurlbut ASC of Christopher Kusiak, the LM on Way of the Warrior Kid. “When we showed up at different places in San Diego it felt like we were all family and we’re going to get whatever the hell we want. That was really reassuring because we had a lot of locations that were very sensitive, such as Fort Rosecrans National Cemetery. I had a lot of demands on time and light. I needed to take out a lot of fencing to be able to complete one big crane shot.” 

Hurlbut is a huge advocate for prep. “The production designer and I are like the dynamic duo. I try to explain my ideas for lighting early on so the location team actually have the time to be able to make it happen. When you don’t plan, you’re flying by the seat of your pants.” 

It might only be possible to block off locations for half a day, such as Parisian streets on Mission: Impossible, which puts added pressure on achieving the sequence. Even on a more sedate show like Bridgerton certain locations will only permit access for a weekend, or limit access or equipment. “Pragmatically, you decide to go with something that’s a bit more available and flexible rather than shoot it all in the location that has the beautiful ceiling,” says Olifirova. 

Locations can also change at the last minute. On location in Iceland Gomez-Emilsson had to find a barren ‘post-apocalyptic’ spot with no human construction, something you’d think would be straightforward in that country. 

“Because we were restricted on time and budget we were trying to stay close to Reykjavik but it took several scouts to find the right one. It ended up being a little bit further away but the extra travel time was worth it.” 

The finale of HBO horror comedy series The Baby required a night exterior for characters running from a forest onto grass towards a cliff with a baby then falling off the cliff.  

“They wanted to shoot it in a real location with blue screen,” says Olifirova. “Finding a forest that comes out onto grass that could also be serviced was a big challenge.” 

A perfect location was found to which different departments went a dozen times to set the shot up. Then a week before photography the permission was revoked. “The location team had to find somewhere else while we were shooting. We scouted it one weekend then went straight there but because we’d done so much work on the original location it helped us transfer the whole setup without a hitch.” 

The lesson is to roll with sudden changes. “Always have a backup and don’t get attached to a location because it’s not always up to you,” she says. “Even if you have the best lighting plans, things can change and then you should just embrace what’s new.” 

Hurlbut says he embraces the challenges with location filming because it forces creative solutions. “When you can’t rip the ceiling up to put in a top light or you can’t screw into anything or hide lights there’s problem solving with that. Being put in that box is what I love because it makes things feel more honest and real.” 

Way of the Warrior Kid 

Action drama Way of the Warrior Kid, starring Chris Pratt and directed by McG, (Skydance Media for AppleTV+) needed a scene where a man jumps from a rock face into a river. Shane Hurlbut ASC pitched the idea that they stage it at a dam in Malibu Creek State Park, CA.  

“I do my location research with Google Earth. It’s got so powerful, you’re able to drill down and even see the perspective.” 

Director McG wanted the stunt to be performed from an iconic Southern California 1920s bridge. This they found at Tujunga but since it had no water underneath making it impossible for anyone to jump into, the final shot was a composite of dam, bridge, tank and VFX. 

“What I love is when location people can see that it’s going to take three locations to be able to bring the director’s vision to life,” Hurlbut says. “When a location manager reads the script and gets passionately involved in finding unique locations that we haven’t seen before. Our rock star LM [Kusiak] was able to extrapolate those three different locations to put it all into one. He worked with Parks and Rec to get access with four-wheel drive vehicles.” 

Prior to being opened to the public in 1976, the park was owned by 20th Century Fox and used extensively as a backlot to film numerous shows, notably Planet of the Apes (1967). 

Authenticity was important for this coming-of-age story which is why they declined to shoot on volume stage. “I don’t care how good you are, you’re not able to get those serendipity moments of light ricocheting off of cars or faces on a volume,” says Hurlbut. “We wanted to do this practical, shoot with four cameras and light it in a way that it looks awesome from every angle. That was where the location department was essential. This needed to be backlit. I needed a road going west. I want to shoot late afternoon. In fact, I’m telling them the exact time I want to shoot. These things are crucial when scouting.” 

The film’s location budget was $4.7 million. Even so the producers baulked at spending $250k per day just to park crew on location in LA. “There was some questioning asking why can’t [the location manager] negotiate better deals, but this is Los Angeles, the most expensive city to shoot in. That’s why everyone is going everywhere else!”