{"id":24411,"date":"2017-02-27T15:57:06","date_gmt":"2017-02-27T23:57:06","guid":{"rendered":"http:\/\/locationmanagers.org\/?p=24411"},"modified":"2018-10-09T16:57:33","modified_gmt":"2018-10-09T23:57:33","slug":"conversation-carol-flaisher","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/conversation-carol-flaisher\/","title":{"rendered":"A Conversation with Carol Flaisher"},"content":{"rendered":"
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Reprinted from the March\/April 2017 issue of Bethesda Magazin<\/em>e<\/a>.<\/p>\n

The movie location manager talks about finding a house for Wedding Crashers<\/em>,
\nthe power of name-dropping, and memorable moments on the set<\/h3>\n
BY STEVE GOLDSTEIN<\/div>\n


\nCarol Flaisher and Actress Judi Dench<\/strong> aren\u2019t exactly friends, but Dench\u2014or her name, at least\u2014once did Flaisher a big favor. When Flaisher, a movie location manager, was hunting for a house for Philomena four years ago, she was driving up Bradley Boulevard on a rainy Sunday morning when her eyes drifted to a home on the left. \u201cI slammed on my brakes and drove into the driveway,\u201d she says. \u201cThe house had everything. I looked like hell, but I rang the bell anyway. The woman who answered the door seemed reluctant. Then I mentioned Judi Dench was in the film. [She said,] \u2018Judi Dench is going to\u00a0be in my house?\u2019 We were in.\u201d<\/p>\n

It\u2019s Flaisher\u2019s job to find the perfect room, house, building or neighborhood for movies that are shooting in the Washington, D.C., area. Location, location, location is not just a mantra in real estate; it is essential to movies, too. \u201cGenerally, I get a call from a producer and make a deal,\u201d Flaisher says. \u201cThey\u00a0send me the script and most often they put me in touch with the director or the designer who gives the film the \u2018look\u2019 and lets me know what they want.\u201d<\/p>\n

\"\"

Carol Flaisher<\/p><\/div>\n

At 70, Flaisher is a movie buff\u2019s dream date. She has an encyclopedic memory of the films she\u2019s worked on, loves to gossip, and tolerates the blathering of other cinephiles. Over\u00a0the course of working on countless commercials and more than 100 movies\u2014including\u00a0Body of Lies, Enemy of the State, True Lies, Snowden<\/em>\u00a0and the hit Netflix series\u00a0House of Cards<\/em>\u2014Flaisher discovered that her gift of gab was an asset. \u201cI\u2019m a talker,\u201d she says. Once the owner of a home she covets hears her pitch, very few say no, she says, \u201cbecause it\u2019s fun, it\u2019s different, it\u2019s something for them to talk about.\u201d<\/p>\n

As a young girl, Flaisher wanted to be a movie star, but she eventually decided that she\u2019d settle for any job in the business. After graduating from Bethesda\u2019s Walter Johnson High School in 1964, she studied speech pathology at Central Missouri State College (now known as the University of Central\u00a0Missouri) and then worked in a dental office\u2014two fields that really didn\u2019t interest her. It wasn\u2019t until she was 32, a stay-athome mom with two young children, that she realized her ambition: She turned a gig as a part-time volunteer on stage and film sets into a job as a location manager, and now has her own company, Flaisher Films. Flaisher\u2019s son, Ari, who was named after Paul Newman\u2019s character in Exodus, has spent\u00a0time working for film companies, and her daughter, Holly, is a TV producer. (Their father is Carol\u2019s first husband, Meir Flaisher, who owned the Georgetown Metal Plating Co.) Carol Flaisher has been married for 22 years to Murdoch Campbell, who has a film-related lighting business.<\/p>\n

\u201cSo many people say, \u2018Oh, your job sounds like so much fun,\u2019 and, yes, it has its moments of fun and glitter. But it\u2019s a lot of work\u2014and a big commitment,\u201d says Flaisher, who received a Women of Vision Award from D.C.\u2019s Women in Film & Video in 2005. \u201cIf you love it, as I do, it\u2019s a life sentence.\u00a0\u2026It\u2019s like being married to the mob.\u201d Years ago, when she thought she\u2019d misplaced the sole original negative for a film she was working on, Flaisher got out of bed late at night and went to Colorlab in Rockville to find it\u2014in her nightgown.<\/p>\n

Bethesda Magazine<\/em>\u00a0caught up with Flaisher at her modernist home in Cabin John.<\/p>\n

Name<\/strong><\/p>\n

Carol Flaisher<\/p>\n

Age<\/strong><\/p>\n

70<\/p>\n

What she does<\/strong><\/p>\n

Movie location manager<\/p>\n

Lives in<\/strong><\/p>\n

Cabin John<\/p>\n

How did you get your start?\u00a0<\/strong><\/p>\n

I was fascinated by movies. But I was in Washington, D.C., not Hollywood. After I volunteered for the Kennedy Center Honors show in 1978, I was bitten, and there was no turning back. With my friend Margaret, who was also crazy about movies, we\u2019d do anything. We\u2019d find props, or extras for commercials. We did a Talking Turkey product commercial in the late \u201970s. Here we were, two suburban housewives, and we were willing to do anything to be around film.<\/p>\n

DAR Constitution Hall (seen in Jackie<\/em>). Courtesy of Carol Flaisher<\/p><\/div>\n

What was the learning curve like?<\/strong><\/p>\n

I\u2019m really a product of on-the-job training. I didn\u2019t even know the difference between film and video when I started. There was no one before me\u2014no location managers I could learn from\u2014so I had no mentors. And I didn\u2019t mind doing the scut work like babysitting, finding props, whatever. I really built a career from scratch.<\/p>\n

How do you go about finding the right locations?\u00a0<\/strong><\/p>\n

First, I always read the script. Then my job is to tell the director or production designer what is possible. If the writer hasn\u2019t done his or her homework and ends up writing in something that doesn\u2019t exist\u2014like the famous Metro station in Georgetown\u2014then my job becomes double the work.<\/p>\n

Tell me about a house that eluded you.<\/strong><\/p>\n

This was for\u00a0Wedding Crashers<\/em>. We scouted by air, land and sea for a mansion that had a dock. We found a house in Talbot County on the Eastern Shore, but I couldn\u2019t locate the owner. I went to the governor\u2019s office for help. When I found the owner, she told me the reason they had this house on the bay\u2014tucked away\u2014is that they appreciated their privacy. Most times, when someone initially says \u2018no, no, no,\u2019 we can get them to say yes. Not with this one.<\/p>\n

Do you use actors\u2019 names to close a deal?<\/strong><\/p>\n

Yes. I call Harrison Ford \u2018the golden key,\u2019 because his name helps me open doors and get properties. And Clint Eastwood. When we were shooting\u00a0J. Edgar<\/em>, I had to find a specific dining room that looked like Hoover\u2019s. Once I mentioned Clint, who was directing, I had what I wanted. He will smile and wave to the crowd. Leo DiCaprio was the opposite. When\u00a0Body of Lies<\/em>\u00a0was shooting in Annapolis, Leo didn\u2019t do any of that. My feeling is that a wave of the arm [to the crowd from a famous actor] doesn\u2019t cost you one second or one penny, and it helps the whole production\u2014especially people like me.<\/p>\n

Will a star offer to help you with\u00a0a homeowner?\u00a0<\/strong><\/p>\n

We were shooting\u00a0Along Came a Spider<\/em>\u00a0in 2000 on a street off New York Avenue [in Washington, D.C.,] and I needed a house to add to the shot. So I go to the house I want, and an older man answers and we chat for a while and then he says, \u2018You know, I\u2019m blind.\u2019 And I say, \u2018In that case, I\u2019m a 6-foot-2\u00a0gorgeous blonde.\u2019 We both laughed. I promised the man he would meet Morgan Freeman, who was the lead. On the shooting day, I approach Freeman and explain the situation while apologizing for bothering him. I took him to the back of the man\u2019s house and they sat on stools chatting with each other. So now we\u2019re ready to shoot and they\u2019re still talking. Morgan was engrossed. I was really touched by it.<\/p>\n

What kinds of fees do you pay to\u00a0use someone\u2019s house?<\/strong><\/p>\n

We may pay $2,500 for a one-day shoot for a commercial, up to $10,000 for a movie. With a movie, it depends on the number of shooting days, whether it\u2019s just the exterior or whether we go in. If a family has to move out, it\u2019s a big deal. Sometimes we have to pay the neighbors for the disruption on their street. I needed a house in Georgetown and I offered the owner, a psychiatrist, $10,000. \u2018No, I want more than that,\u2019 he said. I told him, \u2018Look, I\u2019m not selling cars here, this is what I have.\u2019 We paid $37,000 for a house in Chevy Chase Village for\u00a0National Treasure: Book of Secrets<\/em>, but that included repainting the house. The\u00a0Wedding Crashers<\/em>\u00a0house was expensive, perhaps at least $50,000.<\/p>\n

Any bad experiences with houses or homeowners?\u00a0<\/strong><\/p>\n

We were shooting in a gorgeous home off of Wisconsin Avenue near The Washington Ballet. As usual, we covered the floors\u2014we use layout board and paper tape, the kind the painters use. I don\u2019t know what tape was used, but it completely pulled off the wax finish of those nice floors. We had to pay thousands to refinish the floors.<\/p>\n

When we were shooting\u00a0Wedding Crashers<\/em>, we shot some scenes at the Inn at Perry Cabin in St. Michaels. But we were only allowed two days at the inn and we needed more time. So we found a house that looked enough like the inn and we booked it. Well, as we were replacing the roof shingles to match the inn\u2019s roof, I noticed the woman who owned the house was rereading the contract and seemed to be rewriting it. I went to the producers and told them the deal was going south and we should get out. So we paid her a kill fee and pulled out.<\/p>\n

Describe some unusual occurrences on the set.<\/strong><\/p>\n

When we were shooting Oliver Stone\u2019s\u00a0Snowden<\/em>\u00a0in April 2015, we were on Pennsylvania Avenue in front of the White House when there was a partial electrical blackout due to [an explosion at a D.C. power plant]. So police blocked off the street and we had to move to Lafayette Square to wait. Finally, we\u2019re given the all clear and we\u2019re rolling again on Pennsylvania Avenue. Then the police find an unclaimed briefcase in Lafayette Park, and again we had to evacuate. We all went to lunch.<\/p>\n

You\u2019ve said your favorite director to work with is Ridley Scott. Why?<\/strong><\/p>\n

Ridley\u2019s longtime production designer, Arthur Max, is a friend, and Arthur treats me like an equal. So does Scott. And Ridley is really an artist\u2014when he comes to the set, he\u2019s ready to shoot.<\/p>\n

Can you give me an example of your collaboration with Scott?<\/strong><\/p>\n

During\u00a0Body of Lies<\/em>, Max says to me, \u2018We have to come up with Holland.\u2019 There\u2019s a key explosion scene in the Netherlands in the film. I told him I had two ideas: the canal in Georgetown and Eastern Market. I take him to the market and he says, \u2018Bingo, we got it!\u2019 I said, \u2018Wait a mi-nute, I don\u2019t know what we can blow up here.\u2019 But he tells Ridley [Scott] we have the location. Eastern Market had recently burned down, [but] we only needed the exterior. D.C. owns Eastern Market and they were looking for money to restore it. Cha-ching! I had the money. Next problem was the explosion itself, since the market is eight blocks from the Capitol. So between the fire department, the shop owners and the market, I paid out between $35,000 and $60,000. For one day. But it went off great.<\/p>\n

St. Paul\u2019s Community Church in Poolesville (from the movie Philomena<\/em>). Courtesy of Carol Flaisher<\/p><\/div>\n


\nHow did you get the house on Aspen Street off Connecticut Avenue for\u00a0True Lies<\/em>?\u00a0<\/strong><\/p>\n

The character in the movie played by Jamie Lee Curtis is Helen Tasker. When I knocked on the door of the house, a very beautiful woman answered. I explained who I was and my reason for knocking, and then I asked her name. Helene Tucker, she replied. I knew I was in. I almost called [James] Cameron to ask if we could change the name in the script.<\/p>\n

You reportedly are able to do everything but change the weather. True?<\/strong><\/p>\n

We were filming near National Airport, and the director, perhaps half-jokingly, said, \u2018Carol, can you change the way the planes are going?\u2019 Unbeknownst to him, I had a friend in operations at the airport because I\u2019ve worked that location so often. I also knew that, weather depending, he could change the takeoff-landing directions. So I said, \u2018I\u2019ll see what I can do.\u2019 And I made a call to my friend. He changed the pattern. The director was amazed. Also, during the first season of\u00a0House of Cards<\/em>, director David Fincher\u2014who loves to challenge me\u2014asked me to get the lights turned on at the U.S. Capitol. I didn\u2019t tell him how, but I just called the house electrician and the lights came on.<\/p>\n

OK, so you\u2019ve amazed others. Have you ever been surprised?<\/strong><\/p>\n

In the 1980s, I was hired as production manager on a film called\u00a0Good to Go<\/em>, with Art Garfunkel in the cast. The producer, Sean Ferrer, planned the film with me over the phone and then flew to D.C. to begin shooting. I go to the airport to meet him. I\u2019m expecting an older guy, and he\u2019s probably looking for someone younger. I finally spot him, and he\u2019s this handsome young guy carrying a boom box on his shoulder. First thing he asks [is] if we can go to a bank so he can open an account. Fine. So at the bank, the woman is taking his personal info\u2014he\u2019s making a large deposit\u2014and she asks for his mother\u2019s maiden name as a security question. Sean says, \u2018My mother\u2019s name is Audrey Hepburn.\u2019 I’m sure I made a sound that was unworldly. You see, my daughter\u2019s name is Holly\u2014named for Holly Golightly, the Hepburn character in\u00a0Breakfast at Tiffany\u2019s<\/em>.<\/p>\n

Has your job become more difficult since 9\/11?\u00a0<\/strong><\/p>\n

It\u2019s a little bit tighter around the White House. The real problem is getting through security in every government building. I even have to go through security to get to the D.C. Film Office.<\/p>\n

The National Park Service (NPS) has jurisdiction over many government buildings and monuments. Is it a challenge to work with them?\u00a0<\/strong><\/p>\n

They have their rules and regulations, and you may not like them but you have to work with them. The biggest problem now is scheduling. For example, the Lincoln Memorial is hard to schedule because it\u2019s so popular with tourists. Also, we were filming\u00a0True Lies<\/em>\u00a0around the same time that\u00a0Forrest Gump<\/em>\u00a0was shooting in D.C. The NPS wouldn\u2019t let Arnold Schwarzenegger ride a horse over a submerged plank in the reflecting pool, but they allowed Tom Hanks into the pool. They explained that Gump was in a re-creation of a historical event\u2014the \u201cI Have a Dream\u201d speech.<\/p>\n

Are there any great locations that are underused?\u00a0<\/strong><\/p>\n

The Old Executive Office Building is wonderful. The hallways are fantastic. But they won\u2019t let us shoot there. Union Station was very popular, but they\u2019ve raised their rates and are too expensive.<\/p>\n

You\u2019ve said that you were so dedicated to your job that you never really developed a life outside your work. Would you say that your career conflicted with your first marriage?<\/strong><\/p>\n

Yes, my interests left the house. At first, Meir was very much in favor of it; I was having fun and making money. But I was pulled away. All of a sudden I was getting attention because I had an interesting job meeting famous people. I had an ego, I was an independent woman. I was a big fish in a little sea. I always think I could have made a good film critic, and I kind of wish I had a radio show.<\/p>\n

Do friends and relatives ask you to introduce them to movie stars and get autographs? \u00a0<\/strong><\/p>\n

I do get that request, but I\u2019m really not comfortable with it. I\u2019m there in a professional capacity. What I try to do is get them to visit the set, and they\u2019re free to have at it. If you\u2019ve never been to a movie set, it can be interesting, exciting and fun. Other times, totally boring. A lot of standing around and waiting.<\/p>\n

Are movies always more exciting than commercials, or would you sometimes rather get a call from a place like the United Services Automobile Association?<\/strong><\/p>\n

The movies are exciting, stressful, exhausting, demanding. They drain all the energy\u2014a call can come from anyone at any time from any department, with a change or an addition that is usually an impossibility that they want me to accomplish in a wink. When I\u2019m on a movie and we\u2019re close to shooting, I won\u2019t even go out to dinner in anticipation of such a call. I totally focus. And this can go on for weeks. A commercial can have the same demands but on a much smaller scale and in a much shorter time frame. Much more manageable.<\/p>\n

Any other memorable moments from shoots in Montgomery County?<\/strong><\/p>\n

When we filmed\u00a0Random Hearts<\/em>,\u00a0Harrison Ford\u2019s character lived off Bradley Boulevard. Harrison was all over the area\u2014he and the whole crew even had lunch at the Landon School. The neighborhood went nuts. We had to have extra police, but everyone had a blast.<\/p>\n

When we shot\u00a0Philomena<\/em>\u00a0off River Road, the news got out to the press and the traffic jam was enormous. News helicopters were overflying us\u2026we couldn\u2019t shoot! The movie company was blamed for a colossal mess, but in truth we were completely hidden off the road, and all vehicles were concealed in a lot behind a nearby church. The lookie loos and press and rubber-necks caused the problem, not us. But we got the bad rap that day.<\/p>\n

\"\"

C Street Northwest (seen in Jackie<\/em>). Courtesy of Carol Flaisher<\/p><\/div>\n

Do you find yourself trying to convince people to shoot in Montgomery County?<\/strong><\/p>\n

Yes, I do. Most movies that come to D.C. want what I call the \u201cbig five\u201d: White House, Lincoln Memorial, the Mall, the U.S. Capitol and the Washington Monument. So most movies stay in D.C. But our suburban houses are an easy sell.\u00a0Random Hearts<\/em>,\u00a0Yuri Nosenko<\/em>,\u00a0National Treasure<\/em>,\u00a0True Lies<\/em>,\u00a0Philomena<\/em>\u00a0come to mind, all of which filmed [at] houses in Montgomery County.<\/p>\n

Can you tell us about some behind-the-scenes moments with the actors?<\/strong><\/p>\n

On\u00a0My Fellow Americans<\/em>, it was raining and muddy, and I slipped and fell into the arms of James Garner. He was furious, but I thought it was hilarious.\u00a0While getting ready to shoot a scene at Ben\u2019s Chili Bowl, Russell Crowe was hanging around. Russell was introduced to the owners and they started talking. Then Russell got a chili dog. After about 20 minutes, Russell had the director make the scene larger to include more of Ben\u2019s. You can see Russell\u2019s enthusiasm in the scene in the movie.<\/p>\n

If you were filming your life story, who would you cast as yourself? \u00a0<\/strong><\/p>\n

Shirley MacLaine, particularly as she appeared in\u00a0Terms of Endearment<\/em>.<\/p>\n

Any plans to retire?<\/strong><\/p>\n

I have the most wonderful young people working with me. I\u2019m doing commercials,\u00a0House of Cards<\/em>, but no big movies in the near future. I always say, \u2018This is it, this is my last one.\u2019 But it never is. I can\u2019t give it up.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>\n<\/span><\/div>","protected":false},"excerpt":{"rendered":"

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