{"id":28951,"date":"2020-02-11T15:31:46","date_gmt":"2020-02-11T23:31:46","guid":{"rendered":"http:\/\/locationmanagers.org\/?p=28951"},"modified":"2024-06-19T11:28:14","modified_gmt":"2024-06-19T18:28:14","slug":"q-a-with-location-manager-georgette-turner-lmgi","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/q-a-with-location-manager-georgette-turner-lmgi\/","title":{"rendered":"Q & A with Location Manager Georgette Turner, LMGI"},"content":{"rendered":"

Reposted with permission from KFTV (KEMPS FILM TV VIDEO)<\/a> Published January 28, 2020.
\nAuthor: Chris Evans<\/h4>\n

In a wide ranging interview, Turner talks about Tom Cruise, tax breaks, scheduling, Net\ufb02ix\u2019s impact, shooting Jesus in the desert and her favourite locations.<\/h4>\n

Georgette Turner has worked on a variety of projects of all sizes as a location manager (from assistant to supervisor), including Mission: Impossible \u2013 Fallout, Edge of Tomorrow, Night at the Museum: Secret of the Tomb<\/em> and Ginger and Rosa<\/em>. She is also Treasurer at the Location Managers Guild International.<\/p>\n

Can you tell me about the types of projects you work on? <\/strong><\/p>\n

I work on everything from commercials and short \ufb01lms to big budget projects. In fact, I am currently working on one of the biggest live-action remakes Disney has ever done. Then over Christmas I had a short hiatus and a friend asked if I could help a team \ufb01nd a location for a small reality-TV show, which I did. I think it helps keep you really versatile, working from big budget productions to small.<\/p>\n

Is the process very different depending on budget?<\/strong><\/p>\n

It is so different \u2013 you have to put your different hats on. On a TV show\u00a0I need to be very vigilant of where we are because you cannot move \u2013\u00a0you shoot more so you need things within a certain remit. You have to\u00a0be creative, but logistically you have to have options which work within\u00a0a certain time zone. It is much more about relationship managing and being able to pull things out the bag without upsetting anyone. On a \ufb01lm we have lots of time to do set-up, but there is no margin for error at all. You just have to make things work. Even if an ask is absolutely ridiculous you have to \ufb01nd a solution.<\/p>\n

Have you had many ridiculous requests?<\/strong><\/p>\n

Always, yes! But that is why we do it \u2013 we love the crazy requests! I was working on the film Edge of Tomorrow<\/em> with\u00a0[veteran location manager] Sue Quinn and we had about four months to go when Tom Cruise was brought in. We had\u00a0a meeting and were told they wanted to bring in an RAF helicopter and land it in Trafalgar Square – and we did it! It was\u00a0the biggest buzz. Luckily at the time the planets just aligned \u2013 the dates were available, Transport for London was on\u00a0board and everybody just did it. I could be asked again tomorrow and it might not work.<\/p>\n

Everything starts and stops with the director on a film, but on a TV show they are a director for hire, so they don\u2019t have\u00a0as much say. Vision and ideas, yes, but the executive producer, writer and set runner will have much more say in how\u00a0things are done.<\/p>\n

I guess as Netflix comes in and the budgets get bigger, you\u2019re getting much higher status directors on board the high end\u00a0TV shows, but I\u2019m talking about your traditional TV shows.<\/p>\n

How have the likes of Netflix changed the shooting landscape?<\/strong><\/p>\n

In the UK, Netflix has got an exclusive deal at Shepperton, which was all in the news last year, but some of the stages\u00a0can then been sold out to other production companies. This happens at studios quite a lot. However, there is still a lack\u00a0of building actual facilities, so the TV shows really suffer.<\/p>\n

When you are a TV show and you get a director over from the US they want to go to somewhere brand new, which isn\u2019t\u00a0a reality in London! Everywhere has been shot so it\u2019s all about seeing what\u2019s available, kind of going off brief. Before it\u00a0was creatively led. You can still do that with enough time, but if you haven\u2019t got a cast or haven\u2019t scheduled then you\u00a0sometimes end up in the same place anyway. You\u2019re having to lose great locations to time because scheduling is\u00a0everything. It\u2019s not just us in locations with content scheduling problems, it\u2019s casting directors as well whose cast are\u00a0busy promoting movies they worked on six months ago.<\/p>\n

I did a shoot two years ago, which only re-shot in November last year because they couldn\u2019t get the two actors back\u00a0until then to re-shoot. So, what happens is you end up settling for places just because you can get everybody there at\u00a0the same time.<\/p>\n

\"\"<\/a>

Tom Cruise in Edge of Tomorrow<\/p><\/div>\n

Do you have to have that conversation initially, to try and coordinate everyone?<\/strong><\/p>\n

No, as at the start it\u2019s going to be the best thing in the world with no issues! Actually, I believe that\u2019s true as you want to\u00a0be glass half-full!<\/p>\n

But for most projects, you have to factor in everything from cast to lighting to time of year to even getting the right\u00a0type of costume designer. It\u2019s all about awards now for a lot of these studios and outdoing competitors. If you\u2019ve got\u00a0Apple spending $20m an episode on a series, then the next month you have Netflix doing a show which is $21m an\u00a0episode. It\u2019s become a case of \u201cwe\u2019ve got the biggest show\u201d. With that comes insane scheduling and so many\u00a0particulars to squeeze into one spot. It just haemorrhages everywhere and so you book your locations for five weeks\u00a0because you don\u2019t know how long you\u2019ll need them for. The line producer will say \u201cdo it!\u201d because they don\u2019t want the\u00a0headache of having to restart the process with scouts again further down the line, plus get a designer doing new\u00a0drawings on overtime etc.<\/p>\n

It affects everything down to things like make-up mirrors. Someone I know had to book them for 16 weeks, even\u00a0though they only needed them for three weeks, because they couldn\u2019t afford to lose them to another production. It\u2019s a\u00a0lot of money! I have a hire company and I\u2019ve just bought some new make-up mirrors. It\u2019s boasting in the most\u00a0wonderful way. Everything is new and it\u2019s quite chaotic, so there needs to be some more structuring going on.<\/p>\n

What we need, above all, though is studios. It\u2019s coming \u2013 10 years ago you couldn\u2019t get a loan to build a studio. Now\u00a0banks will offer them, because they see it\u2019s a proper business.<\/p>\n

Is enough being done though to build studios?<\/strong><\/p>\n

It is very different depending on where you go. I am a freelance studio consultant. It came about because when I\u00a0worked on Edge of Tomorrow<\/em>, we were the first production that leased the big swanky new Warner Bros studios. As we\u00a0were the first production in the studio I was very involved with the finishing process. I really got to know a lot about\u00a0studio making and sound proofing.<\/p>\n

Liverpool have got it right \u2013 I think the Liverpool Film Office<\/a> is one of the best in the world. They are all in one place –\u00a0travel, tourism, estate management \u2013 so it just gets stuff done.<\/p>\n

However, you also get a lot of cowboys in the studio build environment. You start to wonder if people are there just to\u00a0sign a piece of paper. What often happens with planning permission is that if you are building a studio you are creating\u00a0jobs by bringing a lot of wealth to an area. Therefore, it\u2019s quite easy to get it. With housing estates there are a lot more\u00a0hoops to jump through. When you are building a film studio you have to also develop a certain amount of social\u00a0housing. What\u2019s happening quite often now is developers are coming forward under the pretence that they are going\u00a0to build a studio. Then when the investment doesn\u2019t come in, they build a load of houses, save themselves a lot of\u00a0money and cut through a lot of hoops.<\/p>\n

You do get a lot of people not involved in the industry who want to build a studio because they can see what it\u2019s going\u00a0to bring but they don\u2019t quite have the connections or the know-how and it just doesn\u2019t seem to happen.<\/p>\n

You start to see a lot in the media that you think is just a media opportunity rather than what\u2019s actually happening.<\/p>\n

What about the alternative studio space race? Warehouses, hangars etc? Is that the way to go?<\/strong><\/p>\n

It\u2019s the only way to go, especially when you start on a big feature. We all share ideas. I have a Facebook group with 900\u00a0UK-based members and we\u2019ll message each other to share information. You can\u2019t keep it all to yourself because you\u00a0have to help each other out with such a quick turnaround. You spend thousands getting these places how you need\u00a0them to be. What you can do is search for empty warehouses. Someone just did a Toys R Us search because they\u2019re all\u00a0empty now. It can get tricky though because the administrators still have them. It\u2019s all that kind of stuff to deal with.<\/p>\n

What are some of the key factors that make a country successful as a shooting location?<\/strong><\/p>\n

As much as tax breaks are great, they\u2019re only great if you\u2019ve got the crew. If you\u2019ve got a tax break of 45% but you need\u00a0to bring the crew from the UK and put them up, that tax break is soon gone. Romania launched an incredible tax\u00a0break, but two shows went there and couldn\u2019t get any crew! That had a ricochet effect throughout the industry with\u00a0everyone saying, \u2018don\u2019t go to Romania, they don\u2019t have crew\u2019, when in fact they do and they\u2019re great, but they were on a\u00a0job in a neighbouring country. It\u2019s the same with Serbia. Now it has really established itself and is coming up and doing\u00a0wonderful work, but three years ago the crew would have gone to Budapest instead. Another thing would be how\u00a0quick the turnaround on the tax break is. If I have to wait six months for a 35% tax break, it may well only be worth\u00a028% after I\u2019ve paid off the loans I\u2019ve been given against my cashflow. Serbia don\u2019t declare it, but their turnaround is\u00a0about five days, so their 35% is actually worth more like 38%, because you\u2019re getting the money so quickly.<\/p>\n

Accessing the incentives isn\u2019t always a straightforward process in some countries and political issues can\u00a0sometimes have an effect too, right?<\/strong><\/p>\n

Absolutely. It\u2019s all business. When countries are downgraded on their security, the big studios, like Disney, are watching\u00a0this constantly, so that they know before going anywhere. You can give them a list of options and they will then do\u00a0their due diligence into issues like terrorism and weather factors, such as earthquakes, tsunamis etc.<\/p>\n

You have always got to watch tensions and that can change things hugely. Shooting in the Middle East can be\u00a0problematic depending on where you go. If you want to make a film about Jesus, go to Morocco<\/a>, because politically, of\u00a0all of the desert countries it is probably the most westernised in terms of filming. They\u2019ve got all the costumes for every\u00a0kind of film about Christ, purely because it\u2019s safe and you won\u2019t get targeted, plus the king is very pro-filming. Of\u00a0course, you\u2019ll still have some issues but the crews are now some of the best in the world because they\u2019ve been taught\u00a0by some of the best people. They\u2019ve trained them up whilst being over there.<\/p>\n

Where Morocco get it really right is that they\u2019re very honest \u2013 they have a certain amount of money per year that can\u00a0be used for the tax relief and so they have a queuing system. If they have seven films shooting there, and you\u2019re late to\u00a0the party they\u2019ll put you in line, but they\u2019ll tell you there are six in front of you and that only five are qualifying spends\u00a0and so you might not get any money back. At least you know what to expect.<\/p>\n

You touched on natural disasters there, how much is climate change having an effect on the industry,\u00a0particularly with the Australian fires at the moment?<\/strong><\/p>\n

It is devastating for an industry which has really done well. Studios and production companies plan everything 18\u00a0months in advance, so films that were going to Australia next September might now be going somewhere else. Then\u00a0once a production goes somewhere else that looks like where they were going to go in the first place it becomes their\u00a0new norm. So, this could really have an impact for them. It\u2019s very sad.<\/p>\n

The same thing happened over in Georgia with the new abortion laws. There was a crisis meeting in Los Angeles with\u00a0all the film execs and commissions. It\u2019s a business. You have to consider if you stay are you endorsing the change? If\u00a0you leave what kind of message are you sending? All of those things do need to be spoken about. I am sure there are\u00a0so many things on a different political level discussed that we don\u2019t even know about. There are so many ex-MOD, exintelligence\u00a0people doing exploratory roles to ensure that you\u2019re safe.<\/p>\n

What about the issue of diversity, is the industry getting better on that front?<\/strong><\/p>\n

Yes and no. I was lucky being an East London girl from a really working-class background, not with family in the\u00a0industry etc, so I had to graft. I am now a mum of two working in the industry, which is quite a rarity. I never had an\u00a0issue and was always well-received.<\/p>\n

Most of the people I know that I bring into the industry are from diverse backgrounds. People usually bring in who you\u00a0know but the more people from different backgrounds they bring in, the more you get going forward too.<\/p>\n

There are now financial incentives to bring people from different backgrounds in, which has its positives and negatives.\u00a0It\u2019s great that you have a percentage to aim for, but you need lots of different types of recruiting going on to achieve\u00a0that \u2013 not just taking someone on because you have to. You could have five great candidates from one background\u00a0and two from another, but you\u2019re not choosing the one you want because you\u2019re looking to tick a box.<\/p>\n

I\u2019ve always had a diverse team but not consciously, I just have. You usually give someone a chance and train them up\u00a0because they\u2019re someone you know. The top location managers in the country are mostly women and they\u2019ve been at\u00a0it for 30 years \u2013 Sue Quinn, Emma Pill, Ali James, Teresa Darby \u2013 and it\u2019s very diverse within the locations department.\u00a0Probably because you could be working on a council estate one month and a stately home the next.<\/p>\n

It is lovely to see camera and sound departments changing too. I did a job eight years ago for a studio on a backlot and\u00a0used a security service called Hoxton Film Services because I\u2019d used them before successfully. I had so many\u00a0comments because most of the crew were black – which I certainly didn\u2019t stand for \u2013 but that kind of thing would never\u00a0be commented on now.<\/p>\n

It should just be a case of are they talented enough?<\/strong><\/p>\n

100%. Part of that is through training. I sponsor a casting agency in East London which is all about training young\u00a0people from diverse working-class backgrounds, so they have the same opportunities as everyone else. But they\u2019re just\u00a0on the agency. They\u2019ve still got to get up and go to that job. You can only lead a horse to water.<\/p>\n

Where do you see the landscape going in 2020? What will be the key issues do you think?<\/strong><\/p>\n

For me, because of how the tax breaks work now, they\u2019ve opened up. There\u2019s so much co-production that if the UK was to build a new studio \u2013 just one \u2013 I think it would seal the deal for us, regardless of Brexit. You can qualify for your UK\u00a0spend, the crews are established here and the actors want to be here \u2013 it\u2019s a production mill. Having a studio here\u00a0benefits the whole of Europe.<\/p>\n

Films get made here that don\u2019t ever film in the UK at all apart from in the studios, but they quality for the tax break\u00a0because they\u2019ve made over 35% of the movie here.<\/p>\n

I know there\u2019s a lot of frantic paperwork to get done after Brexit, but it\u2019s like anything, people will find their ways and\u00a0workarounds and then it\u2019ll stabilise again. The key thing for me is really just having production space and versatility.\u00a0There are big films now shooting in England without trailers, moving back into hotels, which is so important because\u00a0there just aren\u2019t enough car parks these days.<\/p>\n

We just need to develop training and studios \u2013 those are the two big things.<\/p>\n

Finally, what are your favourite locations?<\/strong><\/p>\n

I\u2019ve been all over Europe. But in terms of efficiency, great period locations, being able to shut down streets and\u00a0roadways, I\u2019d have to say Liverpool. It\u2019s so linked up. You can match it for London<\/a>. They\u2019ve really got it together. In\u00a0terms of countries, it depends what you\u2019re looking for. I\u2019m always going to say London.<\/p>\n

But in terms of a location that surprised me I\u2019d say Berlin. It\u2019s such a city of culture. It\u2019s history is incredible. It\u2019s kind of\u00a0untouched and a tribute to what\u2019s gone before. The people of Berlin are so accommodation. It wasn\u2019t on my list of\u00a0places to go, but now it\u2019s one of my favourite cities in the world. Logistically it was easy to get permits to shoot. The last\u00a0mayor was so pro filming that he made it his agenda to really make it simple to shoot, and he left a lasting legacy.\u00a0Everyone there is so pro shooting. The parking is easy because of the wide road and grid system. The locations are\u00a0relatively cost effective. Everything is so pro filming. The film commission<\/a> is incredible. You can ring someone in Berlin\u00a0and it\u2019s like talking to an old friend. They\u2019re just so helpful and pro filming, it paves the way for a lot of things.<\/p>\n

Another country is Serbia<\/a>. The reason people come to the UK to film is it\u2019s so versatile, you can be in seven different\u00a0countries in three miles, if you\u2019re creative enough. Serbia has that on a super scale because of the money in\u00a0development, more brutalist architecture than anywhere else I\u2019ve seen, and it\u2019s unspoilt. Plus, they have art deco\u00a0architecture, then just a few miles down the road you\u2019ve got mountains, snow and beautiful parks. It\u2019s a canvas. There\u2019s\u00a0so much there to explore. It\u2019s an exciting up and coming country that I want to be successful because it has so much to\u00a0offer.<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

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