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    5th Annual LMGI Awards

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    When:
    April 7, 2018 @ 7:00 pm – 11:00 pm
    2018-04-07T19:00:00-07:00
    2018-04-07T23:00:00-07:00
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    216 N Brand Blvd
    Glendale, CA 91203
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    Cash Bar and Red Carpet: 7-8pm

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    After Party: 9:30 pm -11pm

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    1:00 pm Sundance Panel, “Location by Des... @ Media Studio
    Sundance Panel, “Location by Des... @ Media Studio
    Jan 25 @ 1:00 pm
    Sundance Panel, "Location by Design" @ Media Studio
    LMGI presents a panel discussion: “Location by Design” LMGI Members Nancy Haecker, Stevie Nelson and Jonathan Slator will discuss locations that are a character in the story, set the tone, place the story, define characters, and[...]
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    Save the Date! 6th Annual LMGI Awards Show September 21, 2019 The Broad, Santa Monica
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    • Submissions are now OPEN for the Sixth Annual LMGI Awards! Mark your calendars for September 21st at the Broad Theatre in Santa Monica as we honor the visual contribution locations make to a motion picture, television production or commercial. Follow the link in our bio for entry guidelines and details! #locationmanagers #lmgiawards
    • Join in for the LMGI’s annual #SundanceFilmFestival Panel, showcasing the art and craft of location professionals. 2019’s Panel will feature Location Professionals Nancy Haecker (The Revenant, Wild, Into the Wild), Jonathan Slator (Hell or High Water, Lone Survivor, This Must Be the Place) and Stevie Nelson (After Earth, 13 Reasons Why, Fresh Off the Boat). Take part in this lively discussion on the creative impact of location professionals and learn how their work tells the story. Admission is free but you must RSVP. Link in Bio!!
    • Looks like Christmas came early! Keep an eye out for our Winter Issue of #CompassMagazine and its cover feature story on the Amazon’s series, JACK RYAN. From Montreal to Morocco to Paris to D.C, learn how these location teams pulled off this breakout series. Thanks to @amazonstudios for its collaboration! #JackRyan #StockingStuffer
    • A look back at last weekends LMGI Holiday Bash in London where nearly 200 location workers and affiliates rang in the season. Members attending from around the globe got a chance to meet, mingle, and celebrate our growing international footprint. Thanks again to @forgedinlondon & @thomasneedhamphotography Pictured: James Davey, Georgette Turner, Tom Howard and Jacqui Sweeney.
    • Photos we love! #Repost LMGI Location Manager Leann Emmert on Location. Scouting Hawaii from the sky with David Paris (pilot), John Desjardin (VFX sup), Dylan Gross (camera). #SeenWhileScouting @leannemmert
    • Orson Welles’s last film, #theothersideofthewind, finally makes it to the screen after almost 50 years, with its long-awaited world premiere at the #venicefilmfestival, 33 years after the legendary filmmaker’s death. LMGI member Jim Collette gives us an insider’s view of the making of one of the most famous and celebrated unfinished films at its iconic desert location in Carefree, Arizona. Check out this piece in our Fall issue of #CompassMagazine & catch the film now on @netflix
    • Find out how our newest #nextgeneration profile, Luke Ford got his start in Locations while operating week-long underground expeditions to Vietnam’s, Son Doong Cave. #compassmagazine Fall Issue now up on the website with many more feature stories! @lukehford
    • Follow #gotham Supervising Location Manager Keith Adams as he gives us a closer look behind the scenes of the past four seasons of Fox’s popular noir series. We love this shot—on location of the GMD Shipyard at the Brooklyn Navy Yard. Check out our Fall issue of #compassmagazine for the full story! 📸 @warnerbrostv @kanyfilm @gothamonfox
    • Check out our exciting Fall features in the new issue of #compassmagazine. We travel up North with LMGI #locationmanager Klaus Darrelmann to get a behind the scenes look at #TheGirlInTheSpidersWeb and find out just how Berlin doubled for Sweden. Read on! 📸 @sonypictures

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    Location Managers Guild

    10 hours ago

    Location Managers Guild

    When The Marvelous Mrs. Maisel needed a bar where Midge Maisel and Lenny Bruce could commiserate about the hardships of being cutting-edge comics in the late 1950s, the award-winning Amazon show chose Dublin House on 79th Street between Amsterdam Avenue and Broadway.

    You can’t miss the place. It has an amazing sign: a one-story-high, flashing neon harp. “Irish owned and operated for nearly 100 years, the Dublin House was often the first thing sailors docking at 79th Street Boat Basin saw,” according to its website.

    The long, narrow, wood-paneled room is dark even in the middle of the day. The digital jukebox alternates between 50s, 60s, and 70s music, while soccer plays on several flatscreen televisions above the bar. The back room is for parties and darts. No food is served. The bar itself is the original from 1921, when Dublin House opened as a speakeasy during Prohibition.

    The scene in the show has been a boon for the bar.
    “It’s been great for business,” said Nicola Cusack, the daytime bartender, with a beautiful Irish brogue. “This last two weeks, people come in and say, ‘Oh my God, we recognized your sign from the TV show. They sit down and have a drink, then walk around and take pictures. It’s great when they notice the bar hasn’t changed in all the years. Except for the TVs and jukebox, it’s still the exact same.”

    At that moment, another location scout entered, looking for a bar with “good character,” she told Nicola, for an upcoming HBO miniseries, called The Undoing. Nicola gave her free rein to take pictures.

    “It’s good for the bar and it’s good for Mike,” she said, with obvious affection.

    Mike Cormican is the owner of Dublin House. He was the bartender, then bought it in 2006. He, too, is from Ireland, and speaks with a brogue.

    “They came in and took pictures,” he said, of Mrs. Maisel’s location scouts. “About two months later, they called me and said, ‘We like this place, we’re gonna take it.’ It’s pretty profitable. You negotiate a deal with them. You’re not allowed in when they’re filming. I met some of the actors, but you don’t want to push yourself on them. That’s the way I feel about it.”

    He called the filming of Mrs. Maisel, the “most exciting thing that’s happened at the bar. She’s a nice lady,” he said. “We hope to get her back again.”     ... See MoreSee Less

    West Side Rag » ‘Mrs. Maisel’ Scene Brings New Customers to a Classic UWS Bar; ‘The Harp is Always Shining’ at Dublin House

    westsiderag.com

    When The Marvelous Mrs. Maisel needed a bar where Midge Maisel and Lenny Bruce could commiserate about the hardships of being cutting-edge comics in t...
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    Location Managers Guild

    1 day ago

    Location Managers Guild

    Cold Feet is back on our screens for an eighth series, with Manchester as always acting as an extra character amid all the drama.

    The cast were once again reunited in Manchester and its surrounding areas last year to film the eighth series of the popular show, which returned in 2016 after 13 years away from our screens.

    Pals Adam, Pete and David are often seen putting the world to rights at their local pub - and the traditional green and dark wood pub used is The Woodstock in Didsbury.

    Location manager Mark O’Hanlon said previously: "We always wanted that to feel like that was their local pub in Didsbury, so we always wanted it to feel really authentic to that.”

    From the very moment Cold Feet first burst onto our screens back in 1998, the couples have all lived in Didsbury and the love affair with the suburb remains.

    The two most well-known houses in the show, the homes of Pete and Jenny and David and Karen, are filmed at properties on Kingston Road in Didsbury.

    But all of the interior scenes, that may look very convincingly like stylish townhouses, are actually purpose-built sets filmed at the Space Studios in Gorton.     ... See MoreSee Less

    Where is Cold Feet series eight filmed?

    manchestereveningnews.co.uk

    The Manchester locations to look out for as Cold Feet returns to ITV for series 8 with John Thomson, Fay Ripley, Hermione Norris, James Nesbitt and Ro...
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    Location Managers Guild

    2 days ago

    Location Managers Guild

    One of the curious side effects of living in Los Angeles is that the mundane scenery of life is sometimes transformed into something more momentous. The latest brunch hotspot gets used to prop up the Insecure cast’s hipster bona fides. A local tourist attraction becomes a stand-in for one of The Good Place’s many iterations of heaven. And sometimes, a Sunday detour for some grilled chicken takes place mere steps from the spot where, in an alternate universe, A Star is Born’s Ally Campana spontaneously composed the song that would make her a superstar.

    In our actual timeline, heavy Oscar favorite “Shallow” is the work of four separate songwriters, not a down-and-out singer and a wasted rock star who manage to turn a few bars’ worth of humming into a concert-ready banger in a matter of hours. But the site of Ally’s debut performance, a Super A Foods supermarket in Northeast Los Angeles, is very much real. And like the dog from Widows or the demonic spirit from Hereditary, the grocery store — an architectural gem in its own right with a prior history in the film industry — is one of those minor-yet-vital supporting players that deserves its own spotlight.

    For such a classic Hollywood story, this latest remake of A Star Is Born is almost shockingly ambiguous from a geographic point of view. Where the 1937 original literally opens with an unmistakable overhead of Los Angeles at night, the 2018 version prompted a spirited debate on social media around its intended setting, including an official response from the film’s production designer. Personally, I was under the impression that director-star Bradley Cooper had moved the action to New York until his character casually brought up a motorcycle ride to his home state of Arizona. The first truly iconic L.A. landmark to make an appearance is the Chateau Marmont, with its stunning roof views and much-memed billboard right outside, and even then only after Ally has reached mononym levels of fame.

    But to some Los Angeles residents, particularly its neighbors in the gentrifying but still largely Latino enclave of Glassell Park, the Super A, too, is a local icon. “Super A’s there for you, but it’s not like, all the way there for you,” explains Javier Cabral, a food writer raised and still based in Northeast L.A. It’s a rapidly changing area that encompasses such neighborhoods as Glassell Park, Mount Washington, and Highland Park, home to Marc Maron’s garage as well as a long history of working-class Latino communities. “Super A is a supermarket that still exemplifies old-school L.A., before it became globalized, before this new wave of supermarkets came in,” Cabral says. “And their products still reflect that.”

    Founded in 1971 by Lou Amen, Super A remains a family business, with eight extant locations across the Los Angeles area. Super A distinguishes itself from other local chains, including the similarly named Super King down the street, by intentionally catering to Latino and Asian immigrant populations. Which also means, before ambassadors like the late Jonathan Gold worked tirelessly to bring those communities’ food to the attention of the city’s wealthier, whiter consumers, that Super A stepped in to fill an underserved market. Cabral recalls being shocked to discover that his local Super A stocked huauzontle, a Mexican herb that’s typically difficult to track down in the U.S. “Super A’s have been ignored by the people who claim parts of the city are food deserts,” Cabral says. “Because Super A’s have always been there for people! That’s still my mom’s no. 1 supermarket in East L.A.”

    Local flavor and authenticity were exactly what Super A was meant to supply in its latest high-profile cameo. “If a grocery store can possibly be cinematic, it’s this one,” cinematographer Matthew Libatique told radio station KPCC in an interview, parts of which were excerpted for KPCC-owned site LAist. “It was meant to root [Ally’s] existence on the east side of Los Angeles.” According to Libatique, production designer Karen Murphy wanted that specificity to contrast with Cooper’s Jackson Maine, whose woodsy retreat looks like it could be practically anywhere, though it’s actually in the hills between Calabasas and Malibu. Ally, meanwhile, knows exactly where and who she is — the kind of girl who drunkenly punches out a cop, then ices her fist with a bag of frozen peas from her local Super A.

    The actual Super A building, which dates back to 1967, is a prime example of midcentury modern architecture, the angular, stripped-down style now beloved of Instagram influencers but originally pioneered by California architects in the 1930s — and which subsequently caught the eye of filmmakers like Curtis Hanson, whose L.A. Confidential prominently features Richard Neutra’s Lovell House. “A lot of it is about the glass and steel, the square cube shapes,” says architecture writer Sam Lubell, the author of several books on midcentury modern; he mentions Pierre Koenig’s Stahl House, seen in such films as Galaxy Quest, as the classic example that comes to most people’s minds. “That’s a big part of it, but the interesting thing is there’s a lot more. There’s a ton more variety to midcentury modern than just that glass, steel box.”

    That variety includes Googie, the quirkily named midcentury subgenre most commonly associated with diners, though the occasional supermarket does qualify. (In fact, Googie’s namesake is a coffee shop designed by seminal modernist John Lautner.) “Googie is vaguely space age,” Lubell says. Buildings, with their trademark straight lines and sharp angles, “remind you of taking off in flight. It’s all inspired by rockets going off, dreams of going to the moon. Also car culture and airplane culture” — sometimes quite literally, as with the swooping Theme Building at LAX. And Googie structures can be found in all kinds of unlikely places: Dodger Stadium. The Cinerama Dome, a movie theater down the street from The Ringer’s offices. Grocery stores. “It’s not just for fancy villains,” Lubell says of midcentury modern, referring to the cinematic cliché highlighted, and criticized, in the seminal documentary Los Angeles Plays Itself. “It’s in shopping centers and very utilitarian buildings.”

    The Star Is Born Super A has a few characteristics that mark it as a Googie building. The angled roof and space-age fluorescent lighting fixtures run uninterrupted from the interior to the exterior, inside-outside integration being a hallmark of midcentury modern as a whole, from Frank Lloyd Wright forward. Lubell describes the funky, double-hexagon-shaped sign as “atomic-looking,” in keeping with Googie’s Jetsonsesque, retro-futuristic vibe. And though the facade has since been turned opaque, it once allowed the bystander to see directly into the store, an effect preserved for the ages in the market’s last big-screen appearance: in the 2002 Britney Spears film Crossroads, in which the characters make a mid-road-trip snack run on their way to Los Angeles. The effect on the viewer is to conjure not just L.A., but midcentury Americana as a whole, plus the nostalgia and, sometimes, run-down charm that come with it.

    Stopping by the supermarket on a recent Sunday, it’s immediately obvious that Cooper and his crew didn’t use the Super A’s interior, which has less harsh lighting and more dried chilies than the version in the movie where Jackson gets papped by the cashier. But even though it’s the middle of the day, not the wee hours of the morning after an epic bender, one’s impression of the place is the same. The customers are mostly families; the goods aren’t too expensive. Unlike performance venue the Virgil, which the movie transforms into Ally’s native drag bar, or iconic venue the Greek Theatre, repurposed for the site of her breakthrough performance, the spirit of this particular location has been preserved rather than tampered with. The feeling, over all, is far more L.A. than La La Land. “That’s what Super A is; it’s very much a neighborhood market,” Cabral says. “It’s still a supermarket for the people.”     ... See MoreSee Less

    The Grocery Store Where Stars Are Born

    theringer.com

    The Northeast Los Angeles Super A — and its parking lot, where Lady Gaga’s and Bradley Cooper’s characters wrote "Shallow" — has become intern...
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    Location Managers Guild added 5 new photos.

    3 days ago

    Location Managers Guild

    Great board meeting today. So many exciting things in the works for our members! ... See MoreSee Less

    Photo

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    Location Managers Guild

    3 days ago

    Location Managers Guild

    Scene: a Monday evening in late December, rain pouring down on Seattle as it always does in movies set in the city. Rush hour traffic creeps across town, white headlights and red stop lights smearing together against wet windshields. Location: The Clock-Out Lounge on Beacon Hill, a dark bar where the Seattle Office of Film and Music is hosting a mixer to inform local filmmakers about how the Alaskan Way Viaduct closure will affect their livelihoods. As the room fills, colleagues greet each other over beer and free pizza. Raincoats drip drops on the floor.

    “This is the shock-and-awe part of the presentation,” says Chris Swenson, a program manager with the city office. Standing on the small raised stage at the back, he takes the crowd through a slide presentation explaining the gravity of Seattle’s forthcoming “Viadoom” — specifically, its impact on film sets and crew mobility.

    Noting that some 60,000 cars will soon be displaced with the viaduct’s absence, he says, “This will be an absolute paradigm shift for drivers.”

    The same goes for film and television makers — indie and big budget, creative and commercial — who use Seattle streets to park trailers and trucks, and to carry actors, directors and production staff from location to iconic location.

    The point of the disaster-movie style warnings, Swenson says, is to get ahead of the problem. Filmmaking is a high stakes, quick turnaround business with many moving parts and unusual requirements — namely, doing things that aren’t generally allowed on streets and in parks. The ability to transport equipment, cast and crew between shooting locations quickly is crucial to the bottom line. For filmmakers, the issue is really as much about moving through the city as it is about losing access to the places that scream Seattle.

    “You want to film at Fisherman’s Terminal and West Seattle in the same day? You probably can’t physically do that,” Swenson says. A nervous murmur runs through the congregation. A fresh round of placating deep-dish pizzas is set on a long table in front of the stage: pepperoni, veggie and something called “Bluto.”

    The thick scent of baked cheese descends on the room as Swenson runs through impressive stats: Seattle issues more than 500 film permits annually for streets and parks. About 60 percent of those shoots are commercial and corporate (ads for cars and local companies), and 20 percent are feature films or episodic shows (such as Grey’s Anatomy and its spin-off, Station 19). Each year, about 5,000 local cast and crew members are hired for these gigs — well-paying jobs that Swenson says place film production at the center of Seattle’s creative economy.
    But as part of the Seattle Squeeze, there will be no street permits issued for downtown and arterials during the initial closure of the viaduct, from Jan. 11 to Feb. 4.

    Swenson’s next presentation slide reveals the biggest spoiler: From February through 2024, there will be limited permits available for popular locations (such as Pike Place Market, the Seattle waterfront and Pioneer Square), limited Seattle Police Department officer availability for traffic control, and more competition for street use (such as from construction crews). Swenson looks around at the room full of widened eyes, and says, “Things will start to slow down around 2022.”

    The crowd laughs tensely. The pizzas grow cold.
    “I’m not trying to sugarcoat it,” he says from the stage. “This will impact the jobs you’ll be able to get.” That’s why his office, alongside Washington Filmworks (the state film office), is working to streamline the permitting process, inform out-of-state clients that Seattle film shoots will require more advance notice, and develop creative workarounds. The primary goal, Swenson says, is to “keep productions local.”

    One way to do so? Body doubles. Of a geographic sort. The city and state film agencies are working with several local scouts to come up with locations in Shoreline, Renton, Everett and Tacoma that could stand in for Seattle.

    “We’re kind of hosed on the Space Needle,” says location manager Dave Drummond. “But for, say, Pioneer Square, with the old brick buildings, what else might look like that? Tacoma’s theater district is a prime candidate.” Old-town Ballard, he suggests, might also be “far enough outside the Viadoom zone” to be a reasonable replacement. Drummond says once you remove the locations that “everyone wants to point a camera at” (such as Pike Place Market), there are solid options for capturing a Seattle vibe.

    Filmmakers seeking “a sleek building that looks like it’s from the future,” Drummond said in a follow-up interview, might consider replacing MoPOP with the Museum of Glass in Tacoma. Up north, Everett’s mossy neighborhoods could serve as stand-ins for Seattle’s residential areas. And to replicate the many shoots that take place in Gas Works and other waterfront parks, he said, “Shoreline has great options that show Northwest beaches, waterfront views and ferries.”

    As for whether production companies will look to Vancouver, B.C. — with its unbeatable tax incentives for filmmakers — as a Seattle replica, Drummond isn’t too concerned. “[Vancouver] made a decision 20 to 25 years ago to invest in movies. Now B.C. caters to marquee Hollywood productions. Our niche is smaller movies and commercial work, so we don’t really compete with them.”     ... See MoreSee Less

    Will the Seattle Squeeze suffocate local film production?

    crosscut.com

    During ‘Viadoom,’ Tacoma and Shoreline may get starring roles as Seattle.
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