{"id":31026,"date":"2021-01-26T11:02:29","date_gmt":"2021-01-26T19:02:29","guid":{"rendered":"https:\/\/locationmanagers.org\/?p=31026"},"modified":"2021-06-14T09:39:09","modified_gmt":"2021-06-14T16:39:09","slug":"the-verdict-is-in-perry-mason-is-a-winner","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/the-verdict-is-in-perry-mason-is-a-winner\/","title":{"rendered":"The Verdict Is In: Perry Mason Is a Winner!"},"content":{"rendered":"

by Nancy Mills<\/h4>\n

\u201cHow you pick a location is critical because it controls\u00a0how you tell your story.\u201d
\n\u2014Production Designer John Goldsmith<\/h4>\n
\n

When Jonathan Jansen\/LMGI and his location team started prep on Perry Mason<\/em>, the eight-part HBO series that recently won Outstanding Locations in a\u00a0Period Television Series at the 7th\u00a0Annual LMGI Awards, one of the first things they heard was this: Producing director Tim Van Patten doesn\u2019t like to shoot on a backlot or a stage.<\/p>\n

\u201cTim wanted everything on location,\u201d SLM Jonathan Jansen says.\u00a0Jansen was thrilled.\u00a0\u201cIt keeps you busy and guarantees your job,\u201d he says, \u201cbut it is also daunting.\u00a0How were we going to find 1930s Los Angeles?<\/p>\n

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Angels Flight & shooting with green screen\/VFX. Photo courtesy of HBO.<\/p><\/div>\n

\u201cTim wanted it to be a little dark, gritty and dirty, with a noir-ish feel to it. We referenced Chinatown<\/i> (1974) quite a bit.\u00a0The feel of it and as unsettling as that was, we were trying to evoke that same kind of emotion in Perry\u2019s journey\u2014where he was coming from and where his demons were.\u00a0By the end, he has transformed and has become a more polished attorney.<\/p>\n

\u201cWe wanted to stay away from the original \u201950s series.\u00a0The old\u00a0Perry Mason<\/i>\u00a0was a bit more refined and polished.\u00a0We were trying to create a new story, darker, edgier than what anyone would expect.\u00a0We were going off the Erle Stanley Gardner books rather than the earlier show.\u00a0(Gardner, who introduced Mason in The Case of the Velvet Claws<\/i> in 1933,\u00a0died in 1970.) There had never been an origin story before. They wanted to present what Gardner represented.\u201d<\/p>\n

Jansen started with a small team of scouts, all of whom had worked with him on The OA<\/i> and Barry<\/i>: LM Alexander Georges\/LMGI, KALM\/scout Brian Kinney\/LMGI and KALM\/scout Alex Moreno\/LMGI. Perry Mason<\/i>\u00a0co-executive producer Aida Rodgers, who had worked closely with Jansen on\u00a0The OA<\/i> and Barry<\/i>, was quick to invite him onboard for\u00a0Perry Mason<\/i>.<\/p>\n

\u201cJonathan was born in Los Angeles and grew up there and knows the city inside and out,\u201d she says. \u201cWe\u2019ve worked on many of the same projects. He loves architecture and buildings and loves a challenge. We have a great production designer in John Goldsmith. John and Jonathan work really well together, and they have a great time solving the riddle that is each show.<\/p>\n

\u201cJonathan is not afraid of knocking on doors and connecting with homeowners. He loves finding unique and different things, as opposed to going through location services. He tends to go the extra mile, and he often finds a real gem. He cares deeply about the creative.\u00a0What makes him unique is that he wants to find something new. He doesn\u2019t get frustrated when a director says, \u2018Oh, that\u2019s good, but give it another push.\u2019<\/p>\n

\u201cI\u2019m pretty big on vetting whom I hire.\u00a0I like having people I enjoy spending time with, and we all spend a lot of time together on a show. On\u00a0Perry Mason<\/i>, we had a phenomenal director, Tim Van Patten, who provides an inclusive environment. In Tim\u2019s world, no idea is bad. Maybe it\u2019s off the wall but fun. The sky is the limit when you\u2019re trying to recreate 1930s L.A. in 2019.\u201d<\/p>\n

Rodgers admires Jansen\u2019s management style. \u201cHe manages his team really well,\u201d she says. \u201cHe has a good eye for people. We have amazing scouts. Everyone is part of the family and he takes care of them.\u00a0I\u2019ve worked with him since 2005. He was a location assistant on Numbers<\/i>, the first show I was supervisor on in L.A.\u201d<\/p>\n

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Sister Alice McKeegan (Tatiana Maslany) at\u00a0the Radiant Assembly\u00a0of God Church<\/p><\/div>\n

Rodgers brought Goldsmith into the mix because 1) she had just worked with him on The OA<\/i> and 2) he comes from an architecture background.<\/p>\n

\u201cI\u2019d worked with this team before,\u201d Goldsmith says, \u201cand Jonathan is a friend. We trust each other. Location is one of the most powerful tools in moviemaking. How you pick a location is critical because it controls how you tell your story. I sat down with Jonathan and went back-and-forth. He\u2019s smart and fun. It was a great collaboration. Sometimes we\u2019d drive around scouting together or we\u2019d bat ideas around.\u201d<\/p>\n

Was he influenced by Chinatown<\/i>? \u201cYes,\u201d he says, \u201cbut it was not something we were trying to repeat. We watched it with Tim. It\u2019s so compelling as a marker in time and place. We wanted to do that as well. Our work was primarily removing what\u2019s built up since 1932. DTLA (Downtown Los Angeles) was thick with fantastic buildings\u2014if you can get above street level.<\/p>\n

\u201cThere was a confluence of events in Los Angeles in 1932\u2014the Olympics, Prohibition and The Depression. All those things were going on at the same time, and the racial scene was shifting. African Americans, many from the South, were moving\u00a0to L.A.,\u00a0where homeownership was possible.\u00a0The team found places with the director after parking the van and walking a\u00a0grid.\u201d<\/p>\n

Jansen and LM Georges also had a strong relationship. \u201cJonathan and I always push each other,\u201d he says. \u201c\u2018Let\u2019s keep going,\u2019 we\u2019d tell each other.\u00a0We\u2019d keep looking for more options. Sometimes we\u2019d rotate the scouts off locations they were searching for, just to shake things up.\u201d<\/p>\n

Explaining how he and his team operate, Jansen says, \u201cI generally run the look of the show for our department and drive that narrative.\u00a0I work with the director, DP, producers, art department heads and writers. Usually, I do the budget, handle the permits and coordinate the scouts.\u00a0This time, we moved up Alexander Georges to manage.\u00a0He wanted to do permits and handle logistics of the coordinating team.\u00a0Brian Kinney and Alex Moreno are some of our best scouts.\u00a0I tell all my assistants, \u2018Always have your camera on you. You never know what I might need you to find.\u2019\u201d<\/p>\n

Jansen spent a lot of time with VFX coordinator Justin Ball, with whom he had worked on\u00a0The OA<\/i>.\u00a0\u201cJustin is a really nice guy and pleasant to be around,\u201d he says. \u201cWe\u2019d be out scouting for locations, and he\u2019d have his iPad taking notes. We\u2019d look at the scope, and Justin would ask, \u2018How much can you do here?\u2019\u00a0I would say, \u2018I can remove those meters, mailboxes, light poles, signage, etc.\u2019\u00a0\u00a0<\/span><\/p>\n

\u201cOr I would say, \u2018If you can do this, I can do that.\u2019 If there are high-rises in the background, we\u2019ll need VFX.\u00a0We\u2019d come up with a checklist. If we were unable to get something physically removed, I\u2019d send Justin a note saying, \u2018Keep an eye out for this, you\u2019ll have to remove it in post.\u2019\u201d<\/p>\n

Although Jansen and his crew searched throughout the southern half of California for specific locations, they spent considerable time in DTLA. \u201cMost of Downtown L.A. is still intact,\u201d he says.\u00a0\u201cBut everything depended on the shot and the frame. We had a shot set at 4th and Main involving the preacher and Perry walking up the street.\u00a0Most of that was practical. It exists today, and we didn\u2019t need VFX to do the whole thing.\u201d<\/p>\n

Then there was a whole city block the film crew took over.\u00a0\u201cSpring Street and beyond had to be repainted,\u201d Jansen says. \u201cThey put oil derricks and painted in backgrounds and occasionally in foregrounds too.\u00a0If we didn\u2019t remove something modern, they\u2019d paint it out in post.\u201d<\/p>\n

Adds Moreno about the life of a location scout: \u201cI enjoy meeting people and finding new locations. People tell their stories.\u00a0I might get a call from Jonathan at 4 p.m., wanting to know what I was doing.\u00a0I\u2019d say, \u2018I\u2019ve got seven places.\u2019 He\u2019d say, \u2018There is\u00a0still light.\u00a0Keep going.\u2019\u201d<\/p>\n

\"\"<\/p>\n

\n

HOW WE BECAME LOCATION SCOUTS AND MANAGERS<\/b><\/h4>\n

\u201cI fell into location work,\u201d Jansen, a Los Angeles native, says.\u00a0\u201cI took an unusual route. Stacey Brashear\/LMGI, a friend I grew up with, worked in locations.\u00a0She\u2019d call me up and tell me she was scouting up in the mountains, down at the beach or maybe Beverly Hills.\u00a0Everything she did sounded so interesting and fantastic.\u00a0She started telling me, \u2018You should do this.\u2019\u00a0Finally, I decided to take the jump.<\/p>\n

\u201cI started out as a security guard.\u00a0Looking for locations was a union job.\u00a0I needed to get experience.\u00a0Because security falls within the Location Department, Stacey thought it would be the best way to learn.\u00a0She taught me about scouting and everything that falls within Location Departments. Once I had some experience and met enough managers, I got my days and made it into the union.\u00a0My first film,\u00a0Single White Female 2: The Psycho<\/i> (2005), was nonunion and went straight to video. From there, I landed my first union show, Numbers<\/i>, with Claudia Eastman. I also met Aida Rodgers there when she was the production supervisor. My first major film was\u00a0The Number 23<\/i>\u00a0with Jim Carrey (2007).\u201d<\/p>\n

Georges got his start 18 years ago working on a set with location manager Greg Lazzaro. \u201cI was a site rep for one of his locations on Underclassmen<\/i>. Being a site rep allowed me to see all the production departments. I saw what Greg did as a location manager and thought it was something I could like doing. I like logistics, architecture and design and how setting can tell a story. We stayed in touch and I reached out to him just when he needed an assistant on the pilot 13 Graves<\/i>. The roster was low, so I was able to get into the union. I began to build up my experience and abilities from there.<\/p>\n

Moreno says, \u201cI was born and raised in Burbank, where everyone wants to work for the entertainment industry.\u00a0When I was just in grade school,\u00a0I\u2019d carry my briefcase to school. I wanted to know how to get into the film business. I had the \u2018itch.\u2019\u00a0I had a business card when I was 10.<\/p>\n

\u201cFirst, I thought I\u2019d be a graphic designer.\u00a0All my clients were producers, so I thought I could learn the business that way.\u00a0I wanted to\u00a0create films.\u00a0Then 15 years ago, a friend said, \u2018Hey Alex.\u00a0Do you want to work with me?\u00a0You\u2019ll be the location manager, and I\u2019ll teach you everything.\u00a0One of my projects will flip, and you\u2019ll be able to join the union.\u2019 So I worked for indie producers for 5-7 years, and finally, one project turned union.\u2019<\/p>\n

\u201cI started many moons ago in the industry under producer Suzanne Stanford as a PA,\u201d Kinney said, \u201cjust to be able to pay the rent and live in Venice\/Los Angeles. Now I\u2019m in the union with the Hollywood Teamsters Local\u00a0 <\/span>399 and currently working for executive producer Aida Rodgers and her team as a location scout, where I get to scout L.A. and California with Jonathan, Alexander, Alex and everyone else. It\u2019s a sweet dream!\u201d<\/p>\n

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11 MEMORABLE PERRY MASON<\/em> LOCATIONS<\/b><\/h4>\n

Angels Flight: <\/b>The historic narrow gauge funicular railway in\u00a0DTLA. The site of the key scene where the gruesome discovery of a kidnapped baby sets the plot in motion.<\/p>\n

\u201cThere\u2019s such an amount of good stuff in DTLA,\u201d production designer John Goldsmith says. \u201cWhen I first read the script and saw Angels Flight as a location, I thought, \u2018How do you solve this puzzle?\u2019 Angels Flight proved to be one of the most difficult locations to recreate, as most of what once surrounded it no longer exists.\u00a0<\/span><\/p>\n

\u00a0<\/span>\u201cWe used the train car, track and bottom structure and basically created a world around it,\u201d Jansen says. \u201cThe folks who run the train were great to work with and really supportive of the project. The city owns the park to the left of it, and there\u2019s a parking structure to the right of it. We wanted to recreate an environment around it as it existed in the1930s.<\/p>\n

\u201cThe city moved the train in the 1960s. We used some historical photos to recreate the street-level drugstore on the left side. We also wrapped the parking structure in green screen fabric and had other green screen panels on giant forklifts\u2014elevated and floated in the same movement of the train that our visual effects team would use later in post to digitally create the structures that existed on the left.\u00a0We removed the traffic signals, meters, light poles, fences and whatever else was in the way.\u00a0It took a lot of massaging to coordinate.\u00a0\u00a0<\/span><\/p>\n

\u201cTim (director Tim Van Patten) wanted a dolly shot following our Black Hat character carrying the baby to the train with people walking by and cars driving up and down the street. We had a difficult time trying to make the top of Angels Flight work because it is now surrounded by a modern plaza, so we ended up getting a parking lot nearby where we could recreate the look of the upper level street, ticket booth and entrance of the train.\u00a0We then closed streets around the parking lot to bring the period cars and background actors to complete the look.\u201d<\/p>\n

\u201cCranes, lights and pulleys were everywhere,\u201d location scout Moreno says.\u00a0\u201cWe\u2019d film three or four days at a time.\u00a0It was a massive undertaking. The producers said, \u2018We\u2019ve got to do it right, so go for it.\u2019 Everybody bent over backward.\u201d\u00a0<\/span><\/p>\n

Location scout Brian Kinney scouted many of the bigger locations, including Angels Flight. \u201cSince Angels Flight (1901) was an actual place in the script, I scouted the current location of the vintage funicular cars and ticket booth,\u201d he says. \u201cThat was the easy part! Jonathan and Alexander had to deal with heavy lifting for jurisdictional issues and property rights around the area.\u00a0A truss and green screen were built around the funicular car so that VFX could superimpose a 1930s exterior backdrop.\u201d<\/p>\n

The effort it took to bring this iconic landmark and its surroundings back to life indicates how important the recreation of the time and place were to telling this story, and how the Location Department faced the task.<\/p>\n

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Downtown Los Angeles. Photo by Alex Georges\/LMGI<\/p><\/div>\n

Downtown Los Angeles 1932:<\/b> In many ways, hunting for Perry Mason<\/i> locations in DTLA was the same as for any project.\u00a0 <\/span>\u201cYou read the script, make your notes and then have a creative meeting to talk about what we\u2019re looking for,\u201d Moreno says. \u201cThen it was \u2018Go get \u2019em.\u2019\u00a0There were no limits.\u00a0We went deep and we went far to get the best thing.\u00a0It wasn\u2019t, \u2018You\u2019ve got to be close by the studio.\u2019<\/p>\n

\u201cOn\u00a0Perry Mason<\/i>, we started a couple months earlier than usual because of the complexity of requests and clearing certain buildings.\u00a0Who owns it?\u00a0Could they be friendly?\u00a0 What approvals do we need to get? I had fun filming the exterior steps of the West Plaza at Los Angeles City Hall. The parking was a dirt space by the building.\u00a0If you\u2019re filming there, it\u2019s a great help.\u00a0\u00a0<\/span><\/p>\n

\u201cWith City Hall [We filmed the exterior steps of the South Plaza, the rotunda, hallways and bathrooms], though, you\u2019ve got to write everything down with quadruple copies. It\u2019s not just a matter of speaking with the site representative, who\u2019s a very experienced person with filming.\u00a0 He told us, \u2018Let me run it through the process.\u2019\u00a0He knew he was taking care of us.\u00a0Everyone was coordinated, but there were all these emails and questions. We\u2019d be on pins and needles wondering, \u2018Can we remove the soap dispenser?\u2019 In one bathroom, all the fixtures had to be replaced.\u00a0I loved it.\u00a0It was fun.\u201d<\/p>\n

\u201cThere are bits and pieces of old L.A. in DTLA,\u201d LM Alexander Georges says.\u00a0\u201cMostly, they\u2019re east of Broadway.\u00a0We had a lot of the modern stuff removed, including more than 100 parking meters, not to mention streetlights and traffic lights.\u00a0Other things we left for the VFX crew to remove.\u00a0Then we put everything back to the way it was, although we left some billboards up for a while.\u00a0We worked with two teams of VFX people. We\u2019d all go to every location and talk about what they would add and what we would brush away.\u201d<\/p>\n

Finding Los Angeles 1930s was one of the biggest challenges of bringing\u00a0Perry Mason<\/i>\u00a0to life.\u00a0\u201cThe city is not that big, and a lot of it has been modernized,\u201d Jansen says.\u00a0\u201cI was scouting, and I had my scouts out there.\u00a0We did as much research as we could.\u00a0We tried to lock in to streets and buildings and go after them.\u00a0\u00a0<\/span><\/p>\n

\u201cTim Van Patten\/director, John Goldsmith\/production designer, David Franco\/DP, Justin Ball\/VFX, Aida Rodgers\/Co-EP and myself would walk the streets in Downtown Los Angeles and San Pedro and look for camera angles, backdrops where we could create a world around our characters. If you look at the buildings from the second floor up, the city looks amazing.\u00a0It\u2019s down at ground level you see security gates, parking lots, aluminum windows, modern glass storefronts and other modern elements. We had to peel all that away.\u201d<\/p>\n

Jansen credits DTLA with helping make the show successful.\u00a0\u201cCity agencies worked with us on removing streetlights, traffic signals, meters and traffic signage\u201d he says.\u00a0\u201cWe also had a team of vendors who removed security cameras, gates, business signage and light fixtures off buildings.\u00a0They stripped out as much of modern Los Angeles as they could.<\/p>\n

\u201cWe had a small army of people\u2014artisans and vendors\u2014we were constantly coordinating.\u00a0For the most part, the places we were going into and doing all this stuff to were open to us and receptive. Eventually, the art department would come in and put period-correct elements back.\u201d<\/p>\n

Jansen worked closely with FilmLA. \u201cThey were very supportive of the project,\u201d he says. \u201cThey have some stars over there that really helped\u2014Amy Kradolfer, Yulizza Ramierez, Arturo Pena, Katy Mongan and Sara Nuebauer.\u201d\u00a0\u00a0<\/span><\/p>\n

LM Alexander Georges adds, \u201cPermitting was sometimes difficult, but FilmLA was very helpful. So was Joan Aguado in South Pasadena.\u00a0Perry Mason<\/i>\u00a0was a large, ambitious production, and we needed to spend a lot of time with these agencies. Sometimes you get filming fatigue trying to turn a \u2018No\u2019 into a \u2018Yes.\u2019\u00a0You want quality vendors who are prepared to make things happen. You throw something against the wall to see what sticks. There was a lot of extra outreach on the show to make sure we had enough advocates to do what we came to do.\u201d<\/p>\n

Downtown Parade:<\/b> In the original draft of episode 107, Strickland (Shea Whigham) falls asleep in his car outside of Elder Seidel\u2019s house, allowing Seidel (Aaron Stanford) to get away,\u201d Jansen says. \u201cTim wanted something more compelling and dynamic so he came up with the cat-and-mouse chase downtown with Strickland chasing Seidel through the city streets and ultimately losing him in the parade. In a few lines on a page, we went from two actors at one location in a quiet neighborhood to clearing multiple city blocks in DTLA with hundreds of background actors, picture cars and hundreds of crew members.<\/p>\n

\u201cThe parade through DTLA was a lot of work but very fun to put together. We had so many city streets we\u2019d worked on to get these scenes. You add in the background actors in their wardrobe, period hair, makeup, the period cars, the band and horses and it was such a large scale for a TV show.\u201d<\/p>\n

Georges also liked the parade down 5th\u00a0Street, although he describes it as \u201cour most logistically challenging location.\u201d\u00a0\u201cWe did it in the middle of the Christmas holidays, when all local businesses were trying to make money. Our time to shoot was limited.\u00a0The scene wasn\u2019t in the original script, but showed up in the rewrite.\u00a0We were, \u2018Okay, here we go.\u00a0Let\u2019s find it and make it happen.\u2019\u201d\u00a0\u00a0<\/span><\/p>\n

World War I Battlefield:<\/b> <\/b>Site where Perry Mason (Matthew Rhys) flashes back to in his nightmares. <\/b>\u201cThe World War I battlefield was pretty amazing and spectacular,\u201d Jansen says. \u201cThat was our first two days of filming.\u00a0Tim wanted to kickstart the production by filming this large-scale battle first. We spent three months prepping that location at Mystery Mesa.\u00a0That and Perry\u2019s farmhouse were the two biggest locations to prep. We worked hard trying to find the right background even though we knew we would spend a lot of time in the trenches.\u201d<\/p>\n

Mason\u2019s Farmhouse: <\/b>Perry Mason\u2019s family home. <\/b>\u201cAnother location that proved challenging to find was Mason\u2019s farmhouse, which in the script was being taking over by an airfield,\u201d Jansen says. \u201cWe were trying to recreate the what-would-have-been Van Nuys Airport in the 1930s.\u00a0We wanted to build an airstrip where we could land planes outside of Mason\u2019s house. We were trying to find the right farmhouse, but we also needed a property that had the space to support an airstrip that was suitable to land the prop planes safely. We looked everywhere, as far north as San Luis Obispo and as far south as San Diego and San Bernardino to the east.<\/p>\n

\u201cWe eventually landed in Thousand Oaks with some help from the Ventura County Film Office.\u00a0The property we picked was in the agricultural zone of Ventura County, which meant we had to pull a conditional use permit that would require public hearings and could take a year or longer to get, which we didn\u2019t have time for.\u00a0We had to scale back the design and impact of the airstrip to keep our use within the perimeters of what is normally allowed in a filming permit. Our original intent was to have planes land and take off practically, but we cut back because of the additional permitting requirements.\u00a0In the end, we were able to find a compromise with the county that allowed us to still achieve what we needed.\u201d<\/p>\n

Kinney recalls, \u201cWhen we had a hard time finding Mason\u2019s farm from the start, Alexander sent me to a specific place that came to mind in Thousand Oaks to scout. Until then, we had both scouted for weeks without a real true contender that could work.\u00a0This place became Mason\u2019s farm, which also had many hurdles from the county\/city to film the nascent airstrip next to Mason\u2019s farm, where Lupe (Veronica Falc\u00f3n) is supposed to have planes actively flying in and out of the airstrip.\u201d<\/p>\n

Radiant Assembly of God Church: <\/b>Where evangelist Sister Alice McKeegan\u00a0(Tatiana Maslany), channeling Aimee Semple McPherson, preaches to hordes of followers. Kinney says, \u201cThe church had three components, the exterior and the interior lobby and the main hall. The exterior and lobby I found in West Adams near USC (The Art of Living Center, formerly the Second\u00a0Church\u00a0of\u00a0Christ, Scientist). It had those big pillars and a nice look. The interior hall was another piece we\u2019d been chasing for some time. Dennis Morley\/LMGI tracked down the Trinity Auditorium Building in DTLA that hadn\u2019t been filmed in for more than 15 years and was being developed into a boutique hotel. The main hall still had many architectural elements from the period.\u201d \u00a0<\/span><\/p>\n

\u201cIt was still a pretty big build, and we shot all the scenes\u00a0for the whole show together in a block,\u201d co-executive producer Aida Rodgers adds.\u00a0\u201cWe had over 450 extras each day, and they were like a drop in the bucket for the size of the space.\u00a0There was a choir plus all the people working in the church.\u00a0How would we fill the church with enough people? How could we even try to dress thousands of extras to fill every space? Ultimately, VFX supervisor Justin Ball took pictures of the extras and populated the empty seats through visual effects.\u201d<\/p>\n

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Perry Mason (Matthew Rhys) and Lupe Gibbs (Veronica Falc\u00f3n) at Rancho Camulos. Photo courtesy of HBO<\/p><\/div>\n

Iconic Spanish Home Known as McKeegan Mansion: <\/b>Where Sister Alice lives with her mother. <\/b>\u201cThe McKeegan Mansion was a tough one to nail down,\u201d Jansen says. \u201cWhen John Goldsmith and I discussed homes for the characters, we wanted to pick styles that represented them and helped identify the personalities of the characters in the show, at the same time trying to show the wide array of architecture the city has to offer. We started looking at the classic Victorian homes throughout the city and then moved to Neoclassical homes in Windsor Square and Hancock Park. We then decided to explore the elements of old Hollywood with the classic Spanish mansion. We found the perfect one in Pasadena.<\/p>\n

\u201cWhen\u00a0finally\u00a0I got hold of the owner\u00a0on the phone, he said, \u2018Yeah, I got your messages. Let\u2019s talk.\u2019\u00a0It was pretty amazing that it came through.\u00a0It was a lot of work to get that guy to say, \u2018Yeah!\u00a0OK.\u2019 Every location has its sensitivities and special requirements. In all, there is not ever one way to approach a location and receive an \u2018OKAY TO FILM.\u2019\u201d<\/p>\n

\u201cWhen you\u2019re identifying a character, you want to be sure that person has a visual language,\u201d Georges adds.\u00a0\u201cWe wanted to be period-correct but also show how they lived.\u00a0Their homes reflect their interior lives. We scouted over 50 mansions. Every time we showed them something, it wasn\u2019t exactly right. The flavor and flow of the house was wrong.\u00a0Or there was worry about whether we would be able to accommodate cars in front of it.\u201d<\/p>\n

Lucky Lagoon Casino: <\/b>Where George Gannon (Aaron Stanford) spent time as a mob accountant. \u201cMy favorite location was Mason and Lupe (Veronica Falc\u00f3n) flying in an airplane on their way to the Lucky Lagoon Casino,\u201d Kinney says.\u00a0\u201cAlexander and I had felt that the historic Rancho Camulos (1800s) would work as the Lucky Lagoon, so I scouted it and Alex Moreno handled the on-set management.\u00a0\u00a0<\/span><\/p>\n

\u201cIt really gave the audience a chance to have fun. It had an almost Indiana Jones<\/i> quality to it.\u00a0However, to find the right look for the airplane in flight, Jonathan and I scouted by helicopter over the desert-like areas in Los Angeles and Kern Counties.\u00a0It was my first helicopter job, where I had a GoPro on my head, a gimbal for my camera, plus my iPhone. To sit strapped in the back with the large headphones on and open the helicopter side door to get some clear footage was pretty exhilarating!\u201d<\/p>\n

San Pedro: A stand-in for DTLA street life.<\/b> Not all the\u00a0Perry Mason<\/i>\u00a0street scenes were shot in DTLA.\u00a0Key scenes took place in San Pedro, about 25 miles south. \u201cWe decorated two city blocks for our introduction of Perry and officer Drake (a police officer),\u201d Jansen says.\u00a0\u201cAlso, Perry and Drake met outside near a new restaurant that was just opening. Then we find them again at the homeless encampment that we built out in an empty dirt lot.\u00a0<\/span><\/p>\n

\u201cWe had everyone onboard but had a little resistance from the new restaurant owner, who complained, \u2018I\u2019m just opening and trying to get my sea legs.\u2019\u00a0He was concerned about his patrons and impact to his fledgling business, which I can completely understand. Alexander Georges was able to get in there to address his concerns, and we were able to compensate him for any loss of business. You don\u2019t even think about it.\u00a0You just do it.\u00a0You push through challenges you\u2019re confronted with and try to make people as happy as possible.\u201d<\/p>\n

Madam Jin\u2019s: <\/b>\u201cI had scouted a 1920s building in the Koreatown\/Westlake area, which has pockets of history mixed amongst dense modernization,\u201d Kinney says.\u00a0\u201cThis location gave us the ground-floor brothel (which the art department built inside an empty storefront).\u00a0This is also where George Gannon drags himself to the roof with detective Ennis (Andrew Howard) on his tail, with the fireworks going off.\u00a0Alex Moreno, who managed the roof work, had a blast seeing all those screaming colorful fireworks in person after all the prep working the neighborhood!\u201d\u00a0<\/span><\/p>\n

Hyperion Bridge: <\/b>\u201cAnother of my favorite locations was Hyperion Bridge in Silverlake, between L.A. and Atwater Village,\u201d Georges adds.\u00a0\u201cIt was completed in 1928 and 1929.\u00a0It was an all-night shoot, with stunt drivers and we had 30 period cars. It was one of my favorites because of what we filmed there and how we filmed it as opposed to what it is. I like the bridge but because we filmed it at night and because we were able to watch the action from a great vantage point at night, one could imagine we were transported back to 1932 Los Angeles. You were there without having to look only in one direction or squint your eyes.\u201d<\/p>\n

\n

Why Location Pros Love Perry Mason:<\/strong>
\nIts LMGI Nominee Ballot Essay for Best Period Television\u00a0 \u00a0<\/span><\/strong><\/h4>\n

by Lori Balton & Diane Friedman<\/h4>\n
\"\"

Filming WWI at Mystery Mesa. Before photo by Jonathan Jansen\/LMGI<\/p><\/div>\n

\"\"

Filming WWI at Mystery Mesa. After photo by Alex Georges\/LMGI<\/p><\/div>\n

\"\"

Filming WWI at Mystery Mesa. Cast and crew in the trenches. Photo courtesy of HBO.<\/p><\/div>\n

A reimagined prequel to the famous \u201950s serial Perry Mason is a sweeping series set in 1932 Los Angeles. Hard-boiled detective Mason struggles to solve a sensational baby kidnapping that ends badly in this noir crime drama steeped in hyper-realism. The intricacies of period detail coupled with a sense of scope and scale, given how little remains from that period in the contemporary City of Angels, is impressive. Corners, fragments, a remnant of patina\u2014somehow entire locations materialize that describe a city of both extreme wealth and poverty, rampant corruption and frenzied spiritual revival. \u201cWe were not going for the highly stylized, clich\u00e9d version of the \u201930s,\u201d explains an executive producer. \u201cWe wanted to dirty it up.\u201d \u00a0<\/span><\/p>\n

The period recreation of the Angels Flight funicular railway for a grisly murder scene sets the story in Downtown Los Angeles and the dark tone for what follows. The reimagined stately Women\u2019s Wilshire Ebell Club as a posh, masculine men\u2019s clubhouse was impressive. Another atypical use of a well-known location was turning a Ventura ranch into a period landing strip.\u00a0 <\/span>Bonus points for its 19th-century farmhouse and barn that played for Mason\u2019s inherited family home and two-cow dairy farm. Familiar locations were turned on their heads in a most creative way, all hauntingly evocative of the period.\u00a0<\/span><\/p>\n

Deception swirls around LA\u2019s iconic City Hall as the DA twists the facts serving his own political ambition. The steps of a stately columned church in West Adams and the interior of the Embassy Auditorium in Downtown Los Angeles are reminiscent of the home of historical LA evangelist Aimee Semple McPherson who Sister Alice channels, setting her flock afire preaching that Mason\u2019s case has become her cause. 6th Street in the harbor town of San Pedro is lined with period facades, including the 1931 deco Warner Grand Movie Palace, and stands in for the streets Mason walks, the dives he eats in, and the phone booth where he conducts business. Empty lots allow for the construction of huge billboards that obscure the shanty towns behind them. The period courtroom was found in the Beaux Arts-style Old City Hall on Beacon and 7th Street.\u00a0<\/span><\/p>\n

Digital effects were used as needed, but Perry Mason remains a show rooted in physical spaces. From period neighborhoods with appropriately spaced homes to a Downtown Los Angeles parade, the location team turned back the clock, coordinating the removal of modern streetlights and inappropriate signage. In Perry\u2019s unnerving flashback scenes of a WWI-trenched battlefield, staged on a Santa Clarita plateau, the authenticity is palpable. The location team was meticulous and unceasing in its hunt for elements that could blend into the sensational noir world of Perry Mason and bring us back into the sordid Los Angeles of the past to mingle with the sinners and the saved.<\/p>\n

\n

The Artful Collaboration\u00a0of Locations and VFX<\/strong><\/h4>\n

\u201cI\u2019m a big fan of period pieces,\u201d VFX supervisor Justin Ball says. \u201cI enjoy trying to put myself there. On Perry Mason, I did a lot of the research myself. SLM Jonathan Jansen\/LMGI, production designer John Goldsmith and I worked together before on The OA: Part II. We\u2019d look at various locations and figure things out on the fly.<\/p>\n

\u201cLuckily, HBO had us involved very early. That way, we could solve potential problems and help the director and others focus on the story. Certain issues might be a big problem while others wouldn\u2019t. We could inform their decision-making process by saying, \u2018No, we can solve that problem.\u2019<\/p>\n

\u201cBecause Perry Mason was a period show, anytime they were shooting outside, there was some work for us. And when we\u2019re shooting inside a historical building, we might have had to clean up smoke detectors and other modern signage or devices.\u201d<\/p>\n

The largest build that Ball was involved with was the World War I scenes. \u201cI worked with every department on it,\u201d he says. \u201cThe scenes were filmed on top of Mystery Mesa outside Santa Clarita. We had to build the trenches. The practical effects guys did the explosions, bullet hits and flares. Then we went in and embellished it all and added bigger explosions and changed the landscape to look like the south of France.\u00a0We filmed things that made it safe for the actors.\u201d<\/p>\n

One of Ball\u2019s biggest challenges was populating the interior of Radiant Assembly of God Church, where an evangelist regularly drew huge crowds. \u201cWe weren\u2019t able to find a church as big as the one we were going for,\u201d he says. \u201cWe knew we could never\u00a0have enough extras, so we added more (via VFX) to fill the church up.\u00a0That was challenging.\u00a0For TV shows, we tend to not do something\u00a0so\u00a0nuanced. This time, we scanned the extras so we would have everyone in costume.\u00a0That\u2019s how we filled the church.\u201d\u00a0<\/span><\/p>\n

Ball and his team did a lot of work in DTLA (Downtown Los Angeles). \u201cIt\u2019s one of my favorite places,\u201d he says, \u201calthough there is a very limited amount of period buildings. We\u2019d come in after the fact and make things more correct, including adding trolley wires and lights.\u00a0 <\/span>We did a lot of work on a rooftop in Koreatown. We changed the placement of the building within Los Angeles and erased the skyline so it would feel more accurate.\u201d<\/p>\n

One popular 1930s piece of equipment surprised Ball. \u201cAfter referencing old Signal Hill photos, we inserted a lot of oil derricks,\u201d he says. \u201cI dug up old maps that looked at areas between downtown and Santa Monica. It was amazing what we found. At the intersection of Beverly and La Cienega, there was an oil derrick in the middle of the street, which was actually a dirt road. Cars would drive around the derrick.\u201d<\/p>\n

The Angels Flight location required a lot of work. \u201cIt was hard to do,\u201d Ball says. \u201cWe erected massive green screens at times at the bottom of the Flight. They had to be very designed and spaced out. We had a lot of green screen at the base and beyond because the top of Angels Flight was not able to be filmed. We couldn\u2019t get access to California Plaza. We filmed the opening shots of the show with the top ticket booth in a parking lot across the street from the base of the Flight.\u201d<\/p>\n

Ball employs five people on his production team. \u201cWe have a producer, an editor, a coordinator and a supervisor, who helps manage the set, and I\u2019m there for the bigger moments,\u201d he says. \u201cThey do everything from preparing road signage to creating or erasing billboards.\u201d \u00a0<\/span><\/p>\n

Without their on-location effects work, 1932 Los Angeles would have been impossible to bring to life. By the time they completed 10 months of work on the eight episodes of Perry Mason, they had added 1,560 FX shots to the mix. \u00a0<\/span><\/p>\n

Ball says, \u201cThe service we provide allows filmmakers to tell the story they want to tell.\u201d<\/p>\n

\n
\"\"

L to R: Brian Kinney\/LMGI, Jonathan Jansen\/LMGI, Alexander Georges\/LMGI, Chelsea Lawrence\/LMGI, Morgan Patterson, Alex Moreno\/LMGI. Photo courtesy of HBO<\/p><\/div>\n

\n

The Perry Mason<\/em> Location Team:<\/h4>\n

JONATHAN JANSEN\/LMGI<\/b>\u00a0 <\/span>Supervising Location Manager
\nALEX GEORGES\/LMGI<\/b>\u00a0 <\/span>Location Manager
\nBRIAN KINNEY\/LMGI\u00a0<\/span><\/b> Key Assistant Location Manager\/Scout
\nALEX MORENO\/LMGI<\/b>\u00a0 <\/span>Key Assistant Location Manager\/Scout
\nMICHAEL MASUMOTO<\/b>\u00a0 <\/span>Key Assistant Location Manager\/Scout
\nHELEN CHO<\/b>\u00a0 <\/span>Scout
\nCHELSEA LAWRENCE\/LMGI<\/b>\u00a0 <\/span>Key Assistant Location Manager
\nJENNIFER KENNEDY<\/b>\u00a0 <\/span>Key Assistant Location Manager
\nPAQUITA \u201cPQ\u201d HUGHES\/LMGI\u00a0<\/span><\/b> Key Assistant Location Manager
\nNICK BELL<\/b>\u00a0 <\/span>Key Assistant Location Manger
\nMORGAN PATTERSON<\/b>\u00a0 <\/span>Key Assistant Location Manager
\nALFONSO RUIZ<\/b>\u00a0 <\/span>Key Assistant Location Manger
\nWILLIS TURNER<\/b>\u00a0 <\/span>Assistant Location Manager
\nAMIR FIROZKAR<\/b>\u00a0 <\/span>Assistant Location Manager<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

The timeless charm of the Frances Hodgson Burnett story, The Secret Garden, has enchanted generations of readers and filmmakers alike. <\/p>","protected":false},"author":63,"featured_media":31033,"comment_status":"closed","ping_status":"open","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-31026","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-featured"},"yoast_head":"\nThe Verdict Is In: Perry Mason Is a Winner! - Location Managers Guild International<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/locationmanagers.org\/es\/the-verdict-is-in-perry-mason-is-a-winner\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Verdict Is In: Perry Mason Is a Winner! 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