{"id":36310,"date":"2023-09-14T10:00:58","date_gmt":"2023-09-14T17:00:58","guid":{"rendered":"https:\/\/locationmanagers.org\/?p=36310"},"modified":"2024-10-21T13:34:06","modified_gmt":"2024-10-21T20:34:06","slug":"the-last-of-us","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/the-last-of-us\/","title":{"rendered":"The Last of Us"},"content":{"rendered":"

SLM Jason Nolan Helps Turn Pristine Alberta
\n<\/span>Into a Post-Apocalyptic Landscape in The Last of Us<\/em><\/h2>\n

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

\n

A Video Game Inspires a Series<\/b><\/p>\n

In 2013, Sony had a massive hit game on their hands with The Last of Us<\/em>. Created by Neil Druckmann, the game sold more than 1.3 million units in its first week of release alone and by 2018, had sold 17 million.<\/p>\n

The game is set in a post-apocalyptic world where Joel, a hardened survivor and smuggler, is tasked with taking 14-year-old Ellie on a treacherous quest across a ravaged United States to help find a cure for a devastating fungus.<\/p>\n

\"\"

Photo courtesy of HBO\/Liane Hentscher<\/p><\/div>\n

In a gaming chatroom, when someone asked why people believe the game is the best-ever made, gamer Jayant Lahoti replied, \u201cBecause it is. That\u2019s it. The Last of Us is the most heart-wrenching, soul-crushing, unapologetic piece of fine art ever. It\u2019s not a game, it\u2019s an experience. The whole game just rips your heart out and stuffs it down your throat. And I dare you to play this game without crying.\u201d<\/p>\n

Though that may sound hyperbolic, co-showrunner\/writer-director Craig Mazin agrees. In an interview with online journalist Jonatan Blomberg (conducted prior to the May 2 WGA Strike) he said, \u201cI had never played a game like it, and I don\u2019t think I had ever felt that much about a game\u2014throughout it, not just at the end\u2014and I was almost sad because I thought, \u2018I\u2019ll never get a chance to bring something like this to the screen.\u2019\u201d<\/p>\n

\"\"

Neil Druckmann stands on the real-life version of freeway. Photo by Jason Nolan\/LMGI<\/p><\/div>\n

Mazin, known primarily for comedies like The Hangover Part II,<\/i> had recently surprised the industry with his Emmy-winning limited series Chernobyl<\/i> for HBO and, following that success, he was offered a meeting with Sony execs to see if he might be interested in adapting any of their game properties.<\/p>\n

At the meeting, Mazin was handed a list of titles to choose from, but when he flipped through the pages searching for The Last of Us,<\/i> it surprisingly wasn\u2019t there.\u00a0<\/span><\/p>\n

The execs explained that Druckmann was trying to make it into a movie. \u201cImmediately, I was like, \u2018mm-mm. It\u2019s not a movie. It\u2019s gotta be a show,\u2019\u201d says Mazin. The Sony execs set a meeting for Mazin to pitch his take for adapting the game as a series. Druckmann loved the pitch, and, with the full support of HBO, they were off.\u00a0<\/span><\/p>\n

SLM Jason Nolan\/LMGI<\/b><\/p>\n

\"\"

Jason Nolan\/LMGI
Courtesy of Jason Nolan\/LMGI<\/p><\/div>\n

SLM Jason Nolan\/LMGI was prepping Prey<\/i>, the latest entry in the Predator <\/i>film series for Fox, when he got a call from Luke Antosz who had worked for him as a KALM in the past.\u00a0<\/span><\/p>\n

\u201cHe asked if I\u2019d ever played The Last of Us<\/i>,\u201d Nolan recalls. \u201cAnd, of course, I\u2019d heard of it, but I didn\u2019t know much about it.\u201d<\/p>\n

Antosz was a huge fan of the game and was going on about what an amazing show it could be. \u201cHe told me he\u2019d been tipped off by our film commission that some people from HBO were headed up to Canada to scout,\u201d Nolan says, \u201cand asked if I\u2019d be willing to help prepare some image pulls for them.\u201d\u00a0<\/span><\/p>\n

After reading the pilot, Nolan found himself so intrigued by the storyline that he picked up a couple of books about the art and design of the game to have a better sense of what HBO might need.<\/p>\n

\u201cLocation and setting were so central to the journey of these characters,\u201d says Nolan. \u201cThe locations set the mood and created a landscape for the harrowing experiences the characters navigate through in a world that had been transformed.\u201d<\/p>\n

Nolan grew up in Ottawa, Ontario, Canada, and became fascinated by photography at a young age, using the family camera to take pictures whenever possible. He also discovered the magic of film and television and realized that there was one element of the process he always found himself more curious about than any other:<\/p>\n

\u201cI wondered how they found all the places they\u2019d shoot in,\u201d Nolan laughs. \u201cLike, I\u2019d be watching E.T.<\/i>, and Elliott would go from his house to the redwood forest over the mountain and I\u2019d be like, \u2018is the forest really behind that mountain? How did they find that?\u2019\u201d\u00a0<\/span><\/p>\n

\n
\u201cLocation and setting were so central to the journey of these characters. The locations set the mood and created a landscape for the harrowing experiences the characters navigate through in a world that had been transformed.\u201d\u00a0<\/span><\/b><\/h5>\n
-SLM Jason Nolan\/LMGI<\/b><\/h5>\n
\n

By his teens, he knew he wanted a career in film so, at age 19, he decided to give it a shot. Despite having no connections in the business, he drove to Vancouver and hit the pavement. Miraculously, he booked a job as a production assistant not long after his arrival.<\/p>\n

One day, a location manager asked if he had a camera. In that moment, all those years spent developing his photography skills were about to fuse with his dream career. He soon found himself out on the road photographing various potential locations for a project.\u00a0<\/span><\/p>\n

\u201cTo me, that was crazy,\u201d he recalls. \u201cI mean, it never occurred to me, that that was how you\u2019d find locations \u2026 just by going off on your own with a camera, taking pictures and talking to people.<\/p>\n

He moved his way up in the location department rapidly and was nearly a decade into his career when Antosz drew him into helping out on The Last of Us. <\/i>Despite his interest, Nolan assumed that helping pull images was the end of it since Prey<\/i> and The Last of Us<\/i> seemed to overlap.<\/p>\n

Boots on the Ground<\/b><\/p>\n

Producer Rose Lam would serve as the \u201cboots-on-the-ground\u201d representative for co-showrunners Mazin and Druckmann. She narrowed down the photos Nolan had helped put together and headed up to Canada for nearly a week of scouting in both Manitoba and Alberta with Antosz, an executive from HBO and two members of the local film commission.\u00a0<\/span><\/p>\n

\"\"

Photo courtesy of HBO\/Liane Hentscher<\/p><\/div>\n

When Lam returned to Los Angeles, she presented her findings to Mazin, who would be directing the pilot, Druckmann, who was set to direct episode two (his first time helming an episode of television) and other HBO execs.<\/p>\n

The team settled on Alberta due to the variety of different terrain and architecture, as well as the fact that Manitoba gets much harsher winters, and the shoot was expected to take as much as a year.\u00a0<\/span><\/p>\n

When production designer John Paino joined the production, he was surprised at how clean and well-cared for everything in Alberta appeared to be.\u00a0<\/span><\/p>\n

\u201cI\u2019ve worked all over,\u201d he says, \u201cand pretty much everywhere you go, you can find an area that\u2019s a bit \u2026 run down. Not there. The Canadians keep things pretty buttoned up. Very clean and neat which, of course, was not what we needed.\u201d<\/p>\n

\"\"

Photo courtesy of HBO\/Liane Hentscher<\/p><\/div>\n

What was needed was a world ravished by a hideous fungal infection that attacks the body from the inside, growing like a mushroom and sprouting outward. With roots spreading underground, the fungus also bursts above ground overtaking physical structures and interior surfaces. Humans are turned into deformed-crazed-zombies and, as the fungus takes hold, cities are destroyed as the uninfected attempt to eradicate the zombie hordes with bombs.\u00a0<\/span><\/p>\n

In other words, it was going to require a lot of work to make the area look, well, bad<\/i> and to be able to get it all done, they were going to need an absolutely top-notch Location Department.\u00a0<\/span><\/p>\n

Impressed with the images Jason had put together for the scout months earlier, they asked him to join the team. As Prey <\/i>was nearing completion, he was able to accept. \u00a0<\/span><\/p>\n

\"\"

Photo courtesy of HBO\/Liane Hentscher<\/p><\/div>\n

The mandate from the start was that The Last of Us<\/i> would not be a show with actors walking past green screens or LED walls. This show would be about placing the actors into real locations that would then be extensively dressed. \u201cIn the story,\u201d Paino says, \u201cJoel meets Ellie (played by Pedro Pascal and Bella Ramsey in the series, respectively) after the world has shut down, and they make their way across the U.S. The audience needed to believe, first of all, that Joel and Ellie were moving through those different states \u2026 but even more important was to give a sense that nature had completely taken over. That\u2019s what gives the show its gravitas and it was very important to Neil, Craig and the rest of the team.\u201d<\/p>\n

In vast areas of Canada, from Alberta to Calgary, Edmonton and surrounding suburbs, Jason and his team were called upon to find versions of Boston, Kansas City, Wyoming, Texas and Utah so that Paino and the art department could then turn them into overgrown wastelands.\u00a0<\/span><\/p>\n

Diving In<\/b><\/p>\n

Nolan started building his team immediately: He hired KALM Antosz for the full run, along with a few others he\u2019d grown close with over the years, including scout\/LM Mohammad \u201cMo\u201d Qazzaz\/LMGI.<\/p>\n

\u201cThe goal in the beginning,\u201d says Mo, \u201cwas to build up a library of possible locations as quickly as possible.\u201d<\/p>\n

Official prep began in January of 2021 with the shoot set for July. Paino set about working to create the look of the show, along with DP Ksenia Sereda. They connected with Nolan immediately and were impressed by the team he\u2019d assembled.<\/p>\n

\u201cI thought they did a really good job finding places\u2014especially given our schedule\u2014that could work for what we needed or that could at least create a foundation we could build on,\u201d says Paino.<\/p>\n

Sereda echoes that sentiment. \u201cJason knew the area, the people and he really understood how to support Neil and Craig\u2019s vision for the show.\u201d<\/p>\n

\"\"

Photo by Jason Nolan\/LMGI<\/p><\/div>\n

Paino\u2019s art department began churning out concept art and, of course, they had the vision from the game which Jason had seen in those art books he\u2019d picked up early on in the process.\u00a0<\/span><\/p>\n

They also found a valuable resource in YouTube. \u201cGamers spend hours playing the game and then post it all on YouTube,\u201d Mo explains, \u201cso watching those videos would give you a good idea of the feel of things and, anytime a new set or location came about, the team would start by looking at the location from the game on YouTube and then we\u2019d try to match it in real life.\u201d<\/p>\n

\u201cEverywhere we looked, we always kept the game in mind, but then there are production realities that creep in,\u201d adds Lam. \u201cWith a game, you can do whatever you want, but when you\u2019re shooting live action in the real world, although we were mucking up the real world, there were other parameters that we really needed to consider.\u201d\u00a0<\/span><\/p>\n

\u00a0<\/span>Visual Scope and Large Scale<\/b><\/p>\n

\u201cAs soon as we moved into active prep, the scale of the show hit me,\u201d Mo laughs. \u201cRequests started pouring in from all over and my role transitioned into planning, logistics, deploying and supervising our department\u2019s human resources, negotiating contracts and most importantly, maintaining efficient communication with other departments.\u201d<\/p>\n

\"\"

LM Mohammad \u201cMo\u201d Qazzaz\/LMGI<\/p><\/div>\n

Overall, the roles in the department were fairly fluid. If there was an area where support was needed, the team would jump in and assist and, by the end of the show, the department had grown to 22 full-time LMs, ALMs and an additional 18 to 20 location PAs on set each day.<\/p>\n

\u201cThere were no recurring locations on the show, so we were always prepping, shooting and wrapping at the same time,\u201d says Nolan, \u201cand that overlap was continuous for nearly a year. Often we had about 80 people in our department and frequently over 100.\u201d<\/p>\n

A Bravura Opening Sequence<\/b><\/p>\n

At the start of the series, we\u2019re in 2003, years before Joel will meet Ellie, and we get to experience the beginning of the infection as the fungus takes hold of his neighbors and turns them into crazed zombies. In a pulse-pounding five-minute-plus sequence, Joel, his daughter and brother jump into their truck and make a high-speed escape from their once quiet cul-de-sac in \u201cAustin, Texas.\u201d<\/p>\n

\u201cWe scoured just about every town, neighborhood and street in the province to find the right home and the right street for that,\u201d Jason says. In fact, the team looked at more than 300 houses <\/i>and, when they finally found the house and street they would end up using in an area called High River, they all knew it was the one.<\/p>\n

There was another factor at play that is important to mention here: the real-life pandemic.<\/p>\n

\u201cPeople didn\u2019t really want to deal with a film crew and <\/i>COVID,\u201d Paino says, \u201cand that\u2019s if they were even home in the first place.\u201d<\/p>\n

\"\"A lot of residents had fled towns and cities, so there were places the team were interested in where the residents just never turned up. Jason would have someone from his team sitting on a kind of stakeout hoping the owners would eventually come home\u2014but they often didn\u2019t.<\/p>\n

Finding the hero house on the cul-de-sac in High River was only the beginning\u2026<\/p>\n

For the sequence, which shot over five or six nights, the production would require no less than nine separate locations<\/i> stitched together to pull off.<\/p>\n

From High River, the scene then moves to Fort Macleod in Southern Alberta where they drive onto main street, encountering hundreds of people\u2014many of them infected\u2014as they pour out of movie theaters, bars and hotels. It\u2019s absolute chaos brilliantly organized and realized by the creative team.<\/p>\n

The bright side to the street location was that behind one of the rows of buildings was a parking lot running almost the full length of the street, so the crew was able to base there. They also placed massive lighting cranes in the lot.\u00a0<\/span><\/p>\n

\n
\u201c\u2026one day you look at the concept art and then you\u2019re standing on location holding up that image and it matches perfectly, or the actors walk onto set and you hear them go, \u2018Wow, man we\u2019re in the game,\u2019 that\u2019s a really special feeling.\u201d\u00a0<\/span><\/b><\/h5>\n
-SLM Jason Nolan\/LMGI<\/b><\/h5>\n
\n

\u201cWe basically bought up every square inch of available space in the town that was on the street or nearby,\u201d Jason says, \u201cincluding a hockey arena two blocks away where we were able to set up a secondary base to process the large number of stunt performers and background artists.\u201d<\/p>\n

As with every single location on the show, everything on camera for the sequence was dressed by the art department, which often changed out facades completely so that stunt people could come crashing through windows and send glass flying.<\/p>\n

\u201cIt was a lot of work,\u201d Jason laughs. \u201cNearly 150 location agreements for the main street chunk of the scene alone.\u201d<\/p>\n

Once the narrative moves into present day, every set had to be aged to show the ravages of time. Decaying streets with cracks and water blisters. Crumbling buildings and infrastructure. Nature reclaiming cities. If a scene involved a road or highway, they would bring in cars rather than relying on CG.<\/p>\n

\u201cOur greens department had to bring in clumps of grass and vines to lay in, along with debris and rocks everywhere we went,\u201d says Paino. \u201cAnd with the cars, it\u2019s not like you just bring them in and drop them there. First, they have to be circa 2003 or earlier. Then they have to be aged as if they\u2019d been sitting there for decades and rusted out. The tires all had to be deflated. It was a big, big job.\u201d<\/p>\n

Jackson<\/b><\/p>\n

In stark contrast to almost every other location in the series, in episode six, Joel and Ellie arrive in \u201cJackson, Wyoming,\u201d to discover a town that is miraculously fully functioning. A sanctuary.\u00a0<\/span><\/p>\n

\"\"

The gates of Jackson.
Photo by Jason Nolan\/LMGI<\/p><\/div>\n

Inside the 30-foot-tall log wall that has been erected to protect the survivors inside, life is seemingly normal. The town includes all the accoutrements of a normal town pre-fungus, but many are things Ellie has never seen before. Electricity, for example. There\u2019s even a movie theater and a fully decorated Christmas tree placed in the town square.<\/p>\n

The location was found in Canmore, a town first incorporated in 1884, located roughly 50 miles west of Calgary. For Paino, the Canmore Street was the most impressive find.\u00a0<\/span><\/p>\n

\u201cJackson still has this frontier feel and Canmore fit that element beautifully,\u201d Paino says. \u201cBut more than that, I had been to Jackson and when you stand on the main street there, you can see the Rockies. In Canmore, the Canadian Rockies are right at the end of the street which meant that it was real and felt real<\/i>. No VFX required.\u201d<\/p>\n

\"\"

The Last Of Us<\/p><\/div>\n

\u201cWe knew almost a year out that we wanted to film a large part of this episode in Canmore, so I met with the town officials the spring before,\u201d says Nolan. Over the course of the year, more and more meetings were held as getting final approvals would require the full support of the mayor and city council.\u00a0<\/span><\/p>\n

In the end, they received unanimous approval.<\/p>\n

\u201cThey had to dress the entire street and build awnings and some facades to incorporate some real Jackson locations,\u201d says Nolan. Then there was that wall.<\/p>\n

\u201cThe massive gate needed to be able to open and close, not just for picture, but to allow residents and tourists through before the shoot,\u201d Nolan says. \u201cIt also meant we needed traffic control 24 hours a day for more than a month as we reduced the road down to one lane.\u201d<\/p>\n

Canmore, it turns out, is a very busy town. Just 15 minutes from Banff, it has a bustling local community and a high influx of tourism in the winter. To add to the complication, they shot the episode leading up to Christmas, so shopping was full-on.\u00a0<\/span><\/p>\n

\u201cWe kept businesses open while prepping for three weeks,\u201d says Nolan, \u201cand it was hard to manage all the pedestrians. When we were finally ready to shoot, we closed all the streets and bought out all the businesses.\u201d\u00a0<\/span><\/p>\n

The filmmakers wanted snow for the scenes but, in the weeks leading up to the shoot, Mother Nature had denied them. Luckily, she had a change of heart and decided to sign her location agreement the night before the shoot.<\/p>\n

\"\"

Protecting the set; Photo by Matt Palmer\/LMGI<\/p><\/div>\n

\u201cWe ended up with a winter wonderland the morning of and our director was actually upset because the snow was so heavy, you couldn\u2019t see all the mountains at the end of the road,\u201d recalls Nolan, \u201cbut the sun burned it off, it turned out great and everyone was happy.\u201d<\/p>\n

For the Christmas tree, they brought in the biggest tree they could find that would fit on a semi-trailer and, after the filming, moved it out of the middle of an intersection where it had been placed for picture to a better spot for the residents to enjoy over the holidays.<\/p>\n

Photography on the main street took a week. Nearby, they took over several public parking lots where practical horse stables were built for a few scenes.\u00a0<\/span><\/p>\n

\u201cWe, of course, wanted snow in those scenes but there wasn\u2019t much,\u201d says Nolan, \u201cso the SPFX department trucked a lot in from the surrounding mountains. Another task that took a tremendous amount of coordination.\u201d<\/p>\n

Okotoks<\/b><\/p>\n

Matt Palmer\/LMGI (featured previously for a 2022 LMGI Compass<\/i> article on Hulu\u2019s Under the Banner of Heaven<\/i>) was brought in when sections of episodes three and four needed to be reshot and Nolan needed an experienced location manager to handle the last two episodes.\u00a0<\/span><\/p>\n

\"\"

LM Matt Palmer\/LMGI<\/p><\/div>\n

\u201cWhile they were busy working on their episodes, I set to war prepping the last two,\u201d Palmer says. \u201cIt was a tremendous challenge, but it\u2019s a great thing when you have time, resources and support to do your job.\u201d<\/p>\n

In episode eight\u2014spoilers ahead<\/i>\u2014Joel has been seriously injured and, while attempting to find help for him, Ellie encounters a group of survivors who appear to be deeply religious people but are actually harboring a vile and deadly secret.<\/p>\n

The episode would require a complete takeover of an entire neighborhood in order to portray the community. They ended up finding it in the town of Okotoks, south of Calgary.<\/p>\n

\u201cPrep started at the main house in January,\u201d says Palmer. \u201cThe owner of the home had lived there since the early 1970s and we had to basically take it apart so that it looked like no one had lived there for 20 years and it had completely degraded inside.\u201d<\/p>\n

As they got closer to filming the art, greens and SPFX teams had to take over the streets, dress snow everywhere and age and degrade yards, backyards and the local park. \u201cWe moved 18\u00a0 <\/span>families out for 10 days to allow for the final dressing and a week of filming,\u201d says Matt.\u00a0<\/span><\/p>\n

When you need weather, you often don\u2019t get it and, unlike what Nolan and the team ended up with in Canmore, Mother Nature didn\u2019t cooperate in Okotoks.\u00a0<\/span><\/p>\n

\u201cWhen we started working, there was a lot of snow which is what the scenes required, but a warm spell melted almost all of it,\u201d Palmer says, \u201cso the SPFX team ended up having to bring in over 300 truckloads of the stuff!\u201d<\/p>\n

Looking Back<\/b><\/p>\n

Altogether, The Last of Us<\/i> collected more than 1,000 signed agreements and shot at 180 locations over the course of the season, including shutting down the airport tunnel in Calgary, closing the Fourth Avenue Flyover in Calgary for a week, building a town in High River, Alberta, using the Alberta Legislature Building in Edmonton to double as Boston, the Northland Village Mall in Northwest Calgary and building another entire street on an empty lot outside the Calgary Film Centre.<\/p>\n

\"\"Nolan and his team are currently working on a new Netflix series, but when he looks back on the experience of making The Last of Us<\/i>, he\u2019s proud of what they were able to accomplish.<\/p>\n

\u201cIt is absolutely the biggest thing I\u2019ve ever done and I can\u2019t even begin to truly describe the level of things that were always going on simultaneously,\u201d he says, \u201cbut that\u2019s when you rely on your team \u2026 and when you look at the concept art and then suddenly, one day you\u2019re standing on location holding up that image and it matches perfectly, or when the actors walk onto set and you hear them go, \u2018wow, man, we\u2019re in the game,\u2019 that\u2019s a really special feeling. I\u2019m grateful to my entire team for making it happen,\u201d he says.<\/p>\n

Season 2 of The Last of Us<\/i>, which has already been greenlit, is expected to move to Vancouver.<\/p>\n

\n

The Last of Us<\/em>
\n<\/span><\/b>Location Department<\/b><\/p>\n

SLM Jason Nolan\/LMGI\u00a0<\/span><\/b><\/p>\n

LM\/Scout Mohammad Qazzaz\/LMGI<\/b><\/p>\n

LM Matt Palmer\/LMGI<\/b><\/p>\n

LM Dennis Penney\/LMGI<\/b><\/p>\n

Locations Coordinator\/KALM\u00a0<\/span><\/b><\/p>\n

Shauna Nolan\/LMGI<\/b><\/p>\n

KALM Luke Antosz (On set)<\/b><\/p>\n

KALM Alex McGregor\/LMGI<\/b><\/p>\n

KALM Maeve Orlady<\/b><\/p>\n

KALM Sarah Ellis<\/b><\/p>\n

KALM Bill Kerr<\/b><\/p>\n

KALM Kevin Larsen (On set)<\/b><\/p>\n

ALM Jennifer Pauley<\/b><\/p>\n

ALM Gautam Dharan<\/b><\/p>\n

ALM\/Scout Ryan Leedu<\/b><\/p>\n

ALM Shane Donovan\u00a0<\/span><\/b><\/p>\n

ALM Ben Owens<\/b><\/p>\n

Scout AJ Valadka\u00a0<\/span><\/b><\/p>\n

Scout Shaun Robinson<\/b><\/p>\n

TLM Conor Samphire<\/b><\/p>\n

TLM Travis Coulliard<\/b><\/p>\n

TLM Ismail Okasha<\/b><\/p>\n

TLM Stellar Nolan<\/b><\/p>\n

TLM Clayton McGladdery\u00a0<\/span><\/b><\/p>\n

TLM Rich Bell<\/b><\/p>\n

TLM Jim Gilfillan\u00a0<\/span><\/b><\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

In 2013, Sony had a massive hit game on their hands with The Last of Us. 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