{"id":28390,"date":"2019-07-10T12:29:23","date_gmt":"2019-07-10T19:29:23","guid":{"rendered":"http:\/\/locationmanagers.org\/?p=28390"},"modified":"2020-07-09T16:12:15","modified_gmt":"2020-07-09T23:12:15","slug":"the-s-w-a-t-location-department","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/the-s-w-a-t-location-department\/","title":{"rendered":"The S.W.A.T. Location Department"},"content":{"rendered":"

Making the Impossible Possible<\/h2>\n

by Shaun O\u2019Banion<\/b><\/p>\n

Shawn Ryan (The Shield<\/i>) had been a fan of the original series and approached Moritz about developing a new series with Sony Pictures Television for the now action-oriented CBS network. They brought in Justin Lin (director of four films in the Fast & Furious <\/i>franchise) to direct the pilot and produce with them and, very quickly, along with producer Paul F. Bernard and his partner, began figuring out new and exciting ways to blow up the City of Angels.\u00a0<\/span><\/p>\n

\"\"

Shemar Moore as Daniel “Hondo” Harrelson. Photo: Bill Inoshita\/CBS \u00a9CBS Broadcasting, Inc. All Rights Reserved<\/p><\/div>\n

The new series, led by actor Shemar Moore, premiered in November of 2017 and ended its first season as one of the top five most-watched shows. According to Nielsen ratings, it averaged about 6.2 million viewers per week and held CBS firmly in the top five for Thursday-night viewership overall. It was also one of the network\u2019s top streamers on its digital platforms CBS.com and CBS All Access. It was quickly picked up for a second season.<\/p>\n

Aviv Surkin, LMGI had grown up around the business. His father had been a special effects artist at Universal for more than 20 years before starting his own special effects company. But despite being exposed to filmmaking from childhood, the bug to work in the industry didn\u2019t really strike until Surkin was in college. \u201cI realized that this was something I really wanted to do, but I didn\u2019t know what I wanted to do,\u201d says Surkin. He did know that following his father into the effects trade wasn\u2019t for him. Nonetheless, he moved out of his parents\u2019 house and \u201cinto a shitty apartment in Hollywood where I basically lived on Top Ramen for two years,\u201d he says.<\/p>\n

\"\"

Aviv Surkin, LMGI. Photo courtesy of Keith Bohanan<\/i><\/p><\/div>\n

Soon, he began to find work as a PA for Hallmark movies and moved up quickly from day-player positions to key set PA. It was Hallmark (known for their aggressively nonunion productions) that would change the course of his career\u2014twice.<\/p>\n

While working on a TV movie in Sacramento, California, the producer gathered all the PAs together in a room. They were about two weeks from shooting and, with the group assembled, he announced that the location manager had quit the show.\u00a0<\/span><\/p>\n

\u201cHe looked around the room and said, \u2019who wants to be the new location manager?\u2019\u201d remembered Surkin. Nobody in the room raised a hand. Then, after a moment, Surkin raised his hand and asked, \u201cIf I do it, will I get paid more?\u201d The answer was yes. \u201cWe were making, like, 50 bucks a day, so more money sounded good,\u201d says Surkin. The producer handed him a Bankers Box full of paperwork and said, \u201cHere you go, we shoot in two weeks.\u201d\u00a0<\/span><\/p>\n

Surkin was now the location manager, his life changed by Hallmark for the first time.<\/p>\n

\u201cI had no clue what I was doing,\u201d laughs Surkin. \u201cIt was definitely \u2018fake it till you make it.\u2019 I remember the office was putting together the call sheet for the first day and they asked for the map. I was like, \u2018map?\u2019 They said, \u2018Yeah, you have to give us a map for base camp, crew parking, all this stuff\u2026\u2019 So I spent the next three or four hours hand-drawing a map of downtown Sacramento. It looked like a 2 year old did it.\u201d<\/p>\n

He may not have known about creating the map, but fortunately, a previous experience had illuminated a key part of the job: \u201cI was on this little movie. The company didn\u2019t have a permit and they couldn\u2019t shoot the entire day, so I realized the number one thing was to have a permit,\u201d says Surkin.<\/p>\n

Despite his limited understanding of the Location Department when he began, Surkin learned fast and Hallmark kept him on. He even helped the company set up their facility in Simi Valley.\u00a0 <\/span>One day, after several years with the company, Surkin went into the office to start prepping a new show and found someone sitting at his desk. \u201cI asked who he was,\u201d Surkin says, \u201cand the guy goes, \u2018you should probably go talk to the producer.\u2019\u201d In the producer\u2019s office he was told, rather matter-of-factly, \u201cOh, we forgot to tell you before the break, but you\u2019ve reached our max pay scale and we needed to find someone cheaper.\u201d<\/p>\n

So that was it. He packed up his belongings and walked out. Hallmark had altered his course for the second time. \u201cLooking back, getting cut loose like that was the best thing that could have happened to me because it propelled me to the next step which was joining the LMGI.\u201d A friend helped Surkin get into the Guild and then Tristan Daoussis, LMGI and Scott Poole connected him to the team on Fox\u2019s 24<\/i> where he got the rest of his union days. Once Surkin had his days, Scott Poole would prove to be a frequent collaborator, and Surkin would often alternate between working with Poole and Keith Bohanan, LMGI. Poole and Bohanan, in turn, would leapfrog shows for producer Paul F. Bernard, depending on their availability. \u00a0<\/span><\/p>\n

\"\"

L to R: Michael Trucco as Eric Wells and
Moore as Harrelson. Photo by Bill Inoshita\/CBS<\/p><\/div>\n

Bernard and his partner Jim Scura had just wrapped up a series called Angie Tribeca<\/i>, with Bohanan and were eager to dive into something. They asked their agents to get them \u201cthe hardest pilot in L.A.\u201d and quickly found themselves sitting with Justin Lin and Shawn Ryan discussing S.W.A.T.<\/i> \u201cCareful what you wish for,\u201d laughs Bernard.\u00a0<\/span><\/p>\n

With a green light from CBS, Bernard immediately brought in Scott Poole as location manager for the pilot with Surkin as key ALM. \u201cI knew, with Shawn Ryan, Justin Lin and CBS, it was gonna be a huge show, so having Scott and Aviv and their team makes all the difference,\u201d says Bernard. The team likes working for Bernard due to the fact that he keeps the mood of his shows as light as possible.<\/p>\n

The pilot, shot in a whirlwind 18 days, was nearly wall-to-wall action. \u201cWe killed ourselves,\u201d says Surkin. \u201cIt was, without a doubt, the hardest pilot I\u2019ve ever done.\u201d When the show was picked up to series, Poole was unavailable so Bernard brought in Bohanan as supervising location manager\u2026 Surkin got the next call. Bohanan took on the herculean task of Season 1 and part of Season 2 before handing the show off to Surkin who stepped up.\u00a0<\/span><\/p>\n

\u201cThe producer called and said, \u2018Keith is here and we\u2019d love to have you with us,\u2019\u201d Surkin says. He initially turned them down. \u201cAfter the pilot, I said I would never do the series if it got picked up,\u201d he explains. After a lot of thought, Surkin reconsidered and had a serious conversation with his wife. \u201cOf course, she wants the best for our family,\u201d Surkin says, \u201cbut she supported me and said, \u2018go do it. It\u2019s gonna be a big show.\u2019\u201d Then she quoted the oft-repeated Hollywood phrase, \u201cGo big or go home.\u201d Of course, if ever there was a show that was going to go \u201cbig,\u201d it was S.W.A.T.<\/i>, which means that Surkin and the members of his team rarely \u201cgo home.\u201d<\/p>\n

\"\"

Los Angeles cemetary<\/p><\/div>\n

\u201cI don\u2019t think Aviv and his team ever get a day to relax. It\u2019s pretty much a seven-day-a- week job,\u201d says Bernard. \u201cWe talk all week, we talk on the weekends, there\u2019s constant planning.\u201d The reason for all that planning? The showrunners and producers are always trying to push the envelope in terms of action and what is possible on television. \u201cI always say \u2018Let\u2019s supersize it,\u2019\u201d says Bernard, \u201cand that\u2019s how everyone on this show thinks. None of us will ever settle.\u201d<\/p>\n

\u201cSupersizing\u201d is what everyone in the scout van was thinking as they drove around looking at locations for the Season 1 finale. The writers knew they had to come up with a sequence that was bigger than anything they\u2019d done previously. Not an easy task when the cast and crew pull off at least one massive action sequence, if not more, every single week. They were scouting for a car-chase sequence involving a massive 18-wheeler semi which has been loaded with explosives and the S.W.A.T.<\/i> team\u2019s MRAP (Mine-Resistant Ambush Protected) vehicle\u2014basically a tank on wheels. The scene was initially written to end in an intersection, but that changed when a casual comment was uttered in the van that day: \u00a0<\/span><\/p>\n

\"\"

South Central LA chop shop<\/p><\/div>\n

\u201cSomeone said, \u2018Wouldn\u2019t it be cool if\u2026\u2019 and then went on to describe a much larger version of the sequence,\u201d says Bohanan. \u201cIt became \u2018what if it\u2019s a longer car chase where the truck is on one street and the MRAP is on another, tracking them in parallel, and then at the end, the MRAP rams the truck trailer causing a huge explosion \u2026 and then what if there\u2019s a helicopter filming it all from above?\u2019\u201d<\/p>\n

The phrase, \u201cWouldn\u2019t it be cool if,\u201d can strike fear into the heart of most producers and members of the Location Department, but by the time they\u2019d reached episode 1.22 on S.W.A.T.<\/i>, it wasn\u2019t fear that struck Bernard, Bohanan or Surkin. It was more a question of logistics versus time; did they have enough time to properly plan and prep such a massive sequence? Fortunately, they tend to scout three to four episodes ahead.<\/p>\n

\u201cEvery time the writers come up with something like a truck loaded with explosives going off in the middle of the city, you kind of just laugh, like \u2018who in the city is going to let us do something like that?\u2019\u201d says Bernard. \u201cBut we have the best Location Department in television, so I wasn\u2019t worried.\u201d In the van, Bernard turned to look at Bohanan and Surkin and just smiled.<\/p>\n

\"\"

Photo: Sonja Flemming\/CBS\u00a92018 CBS Broadcasting, Inc. All Rights Reserved<\/p><\/div>\n

Surkin practically started making calls right then, Bohanan and Surkin immediately began thinking of logistics. \u201cWe knew we would have to shoot on a weekend in order to close the amount of streets we\u2019d need to shoot the chase that leads up to the explosion with helicopters, drones and the Russian Arm,\u201d says Surkin. Initially, they estimated they\u2019d need to lock down a minimum of six blocks on one street and six blocks on a parallel street just for picture, then maybe another four or five blocks beyond that for safety and support, as well as all of the intersecting streets. That alone would be enough to consider, but of course, there was more.<\/p>\n

They\u2019d also need to find a nearby base camp location large enough to accommodate a feature film scale crew (the show always carries SFX, stunts and 2nd unit), not to mention locking down a landing pad or another nearby lot for the helicopter. \u201cOn S.W.A.T.<\/i>, very often, the key is finding big enough lots for up to three base camps and then looking for locations nearby,\u201d says scout Dominick Clark, LMGI.\u201d<\/p>\n

Of course, the Location Department on S.W.A.T.<\/i>, like all Location Departments, is always coming up against creative expectations and the realities of safety and control in a major city. Clark was sent to find a suitable location for the entire sequence they\u2019d be allowed to completely shut down. Safety is always his primary concern. \u201cFor this particular sequence, because of the aerial element, it was imperative that we find an area with no live-wires like electrical or telephone poles. It needed to be just a bare intersection. Not an easy thing to find in L.A., as you can imagine,\u201d said Clark. Once he\u2019d found the location with an assist from FilmL.A., KALM Logan White got sent in. According to Bohanan, \u201cHe is the neighborhood negotiator.\u201d<\/p>\n

\"\"

Closed city housing<\/p><\/div>\n

Ultimately, the team was able to lock down The Reef LA Mart\u2019s parking lot where the explosion would happen, but the real question was whether the city would allow them to shut down such a large run-up of streets before reaching the lot or if they would have to shoot elsewhere and tie in a different location. \u201cIt is very hard to do a show like this in L.A. where we have a lot of driving. That seems to be the biggest challenge. Every episode we get seems to have some sort of car chase. I\u2019ll read it and just be like, \u2018Oh, God\u2026\u2019 and we can\u2019t do the car work we do with regular ITC \u2026 we have to have complete shut-downs,\u201d says Bernard.<\/p>\n

\u201cWe had lots of meetings with the city\u2019s permitting agency FilmL.A. to get them on board and, even though we were going to shoot it on a weekend, we really had to get them in sync to get such a large closure,\u201d Surkin says. The team got approved to shoot the run-up to the explosion on both S. Main and S. Broadway.<\/p>\n

\u201cI hadn\u2019t done anything as big as the truck sequence in television before and I hadn\u2019t seen anything of that scale in L.A. since we used to shoot big features here,\u201d says Bernard. \u201cI don\u2019t know how Keith and Aviv were able to pull it off, honestly.\u201d In the end, the sequence took several weeks of planning and the permit was 70 pages long! On the day, they did one final tech scout and went into full-on lockdown mode, closing down roughly 18 blocks for the car chase. To manage the closure, they had no less than 25 off-duty LAPD officers and \u201can army of PAs to lock up pedestrians,\u201d says Surkin.<\/p>\n

According to Surkin, they got the announcement that they were being picked up for a second season just after they\u2019d completed the sequence. A well-earned bit of news.<\/p>\n

\"\"

South Central LA chop shop<\/p><\/div>\n

One of the pleasures for the location team on S.W.A.T.<\/i>, both in terms of their personal lives and what they get to feature on the show, is getting to shoot L.A. for L.A.\u2014something rarely done these days. \u201cWe strive to shoot iconic Los Angeles, and we love shooting in town. It\u2019s nice to be able to go home at night, but in terms of the show\u2019s narrative, our goal is to do big things in hard places,\u201d says Surkin.<\/p>\n

Production designer Andrew Murdock, who has been on since the pilot and who had worked with Justin Lin on Star Trek Beyond<\/i>, notes, \u201cIf you\u2019re going to fly a helicopter and drones, you want those high and wide shots. You want to see that iconic L.A. skyline. We\u2019re always trying to get that authentic urban L.A. texture into the show. That\u2019s my favorite phrase: \u2018urban texture,\u2019\u201d laughs Murdock.<\/p>\n

For the members of the Location Department, the most popular settings from the show tend to be those that could only be done in Los Angeles; among them, a rooftop chase shot in Venice Beach and another car chase they shot on Vine Street directly in front of the famed Capitol Records Building. The legendary location, originally built in 1956, has been featured in many movies and television shows over the years and clearly hasn\u2019t lost any of its magic.<\/p>\n

\u201cShooting there took two months of planning. We shot on a weekend and we were right in front of the building\u2014I mean, how much more iconic L.A. can you get than that? We had stunt cars sliding all over the place from the freeway down the hill to Hollywood Boulevard. It was crazy standing there, in the middle of a completely locked-up Vine Street. You just look around and go, \u2018Man, this is awesome,\u2019\u201d says Surkin.<\/p>\n

\"\"

Boyle Heights, Reptile House<\/p><\/div>\n

Now, halfway into Season 2, they often find themselves traveling virtually the entire span of Los Angeles. From their stages in Santa Clarita down to Long Beach, from Downtown to the Westside, the South Bay and beyond, the team is constantly on the lookout for new and exciting locations while also featuring some of the city\u2019s most famous landmarks whenever possible.<\/p>\n

\u201cThis season is huge,\u201d says Bernard. \u201cI made the mistake of going into the writers room once we got picked up for the second season and telling the writers, \u2018go as big as you want and we\u2019ll try to accommodate.\u2019\u201d\u00a0<\/span><\/p>\n

On day one of Season 2, the cast and crew found themselves on the helipad of the US Bank Building, the second highest building in L.A. There they were, some 73 floors above the street shooting a sequence in which their lead actor, amid yet another shootout, leaps onto a hovering helicopter for a mano-a-mano fight with the latest bad guy.<\/p>\n

\u201cWhen I hire people and they ask what it\u2019s like on the show,\u201d Surkin says, \u201cI\u2019ll tell them, \u2018OK, whatever show you\u2019ve worked on? We\u2019re double,\u2019\u201d but he also admits the stuff they pull off can be \u201cridiculous fun.\u201d And as on any show, it\u2019s important to keep it friendly with the city and local residents. \u201cWe don\u2019t want to piss off the community because we want to be able to come back,\u201d says Surkin.\u00a0<\/span><\/p>\n

Bernard, meanwhile, sums up S.W.A.T.<\/i> this way: \u201cThe bar always gets raised.\u201d<\/p>\n

Fortunately for the producers, they have an elite team on the show capable of handling anything that gets thrown at them \u2026 not the S.W.A.T.<\/i> team, but the S.W.A.T.<\/i> location team.\u00a0<\/span><\/p>\n

\n

S.W.A.T.<\/i> Location Department\u00a0<\/b>Season 2<\/b><\/p>\n

Location Manager<\/strong>
\nAviv Surkin, LMGI\u00a0<\/span><\/p>\n

Key Assistant Location Managers<\/strong>
\nJeff Crandall
\n<\/span>Dominick Clark, LMGI (scout)
\nGavin Glennon (scout)
\nPaul Katsenis
\n<\/span>Wayne Yorke
\n<\/span>Shasta Kinney, LMGI
\nLogan White\u00a0<\/span><\/p>\n

Assistant Location Managers<\/strong>
\nLuis Aguilar
\nAssya Dimova<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

Making the Impossible Possible by Shaun O\u2019Banion Shawn Ryan (The Shield) had been a fan of the original series and approached Moritz about developing a new series with Sony Pictures Television for the now action-oriented CBS network. They brought in Justin Lin (director of four films in the Fast & Furious franchise) to direct the […]<\/p>\n","protected":false},"author":63,"featured_media":28391,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[49],"tags":[],"class_list":{"0":"post-28390","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-featured"},"yoast_head":"\nThe S.W.A.T. 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