Locations Magazine 2011

LOCATIONS MAGAZINE 2011

THE OFFICIAL MAGAZINE OF THE ASSOCIATION OF FILM COMMISSIONERS INTERNATIONAL

$5.00/2011

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Take the Plunge in Queensland, Australia Village Roadshow Studios’ newest tank facility in Queensland Australia was completed in 2007.

The tank has also been used for both surface fifilming lming with green screens and underwater filming, fi lming, including the following productions: • Warner Bros. feature fi film lm Fools Gold • Walden Media feature Nim’s Island, (including fi filming lming with sea lions) • Timeless Pictures / Pics in Paradise feature Triangle • 20th Century Fox / Walden Media’s Narnia, Voyage of the Dawn Treader.

• More M recently, A Great Wight Production & Universal Studios Sanctum 3D

The tank is 40 x 30 mtrs (131.24 x 98.43 ft) providing a surface area of 1,200m2 (12,915 sq ft) with a depth of 7 mtrs (23ft) and a 5 mtr deep (16.4 ft) outer shelf with 2 viewing ports.

Holding 6 million litres (1.59 million gallons) of water the tank has state of the art filtration fi ltration enabling the water to be totally turned over every 18 hours.

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With eight sound stages providing 10,844m2 (16,727 sq ft) of stage space plus three water tanks, Village Roadshow Studios is Australia’s premier facility for water themed fifilm lm and television production.

Just a few examples of movies created using the Warner Roadshow Studios’ tank facilities

TRIANGLE Timeless Films Directed by: Christopher Smith,

THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER

SANCTUM 3D

Twentieth Century Fox and Walden Media

Director: Alister Grierson

A Great Wight Production and Universal Studios

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Director: Michael Apted

Queensland: Entertainment Road, Oxenford, Gold Coast, QLD Australia 4210. Tel +61 7 5585 9666 Fax +61 7 5573 3698 USA: Village Roadshow Pictures, 100 N. Crescent Drive, Suite 323, Beverly Hills, CA 90210. Tel +1 310 385 4300 Fax +1 310 385 4301

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EDITORIAL DEAR FRIENDS BOARD OF DIRECTORS

VOLUME 24 2011

PRESIDENT MARY NELSON

EDITOR JULIAN NEWBY

Virginia Film Office (USA)

Boutique Editions

VICE-PRESIDENT JOAN MILLER

MANAGING EDITOR DEBBIE LINCOLN CONTRIBUTORS MARLENE EDMUNDS, LIZA FOREMAN, EMILIA JONES, MAX LEONARD, GARY SMITH PUBLICATION MANAGEMENT

Vancouver Island North Film Commission (Canada)

O

n behalf of the Association of Film Commissioners International, it is my great pleasure to welcome you to the 2011 edition of Locations Magazine, the official publication for the AFCI. With its dynamic photography and insightful articles, Locations Magazine will take you inside the remarkable world of on-location filmmaking the world over.

As the only worldwide organization dedicated to the work of film commissions, the AFCI is ensuring that every time you work with an AFCI member film commission, you can be sure you are working with the best commissioners in the world.

This is because AFCI film commissions meet strict membership requirements including continuing education courses that teach film commissioners how to most effectively meet any challenge or solve any problem.

This year, the AFCI has launched several new innovative programs. After celebrating 25 years as the longest running trade event in the world, AFCI Locations has entered into a very special partnership with the Producers Guild of America.

We are please to announce that Locations 2011 will be held at Walt Disney Studios, in association with the PGA’s highly regarded, Produced By Conference. In addition, the AFCI has just debuted a fresh new website that will make it even easier for you to locate AFCI film commissions worldwide and access information about their unique financial incentives, services and locations.

I hope you will have the opportunity to work with an AFCI member commission soon and find out for yourself how exceptional they are. Visit afci.org to find out more.

Best wishes,

VICE-PRESIDENT DREW MAYER-OAKES

San Antonio Film Commission (USA) SECRETARY WALEA CONSTANTINAU

Honolulu Film Office (USA) TREASURER STEN IVERSEN

Montana Film Office (USA) DIRECTORS KEVIN CHANG

Cheongpung Film Commission (Republic of Korea) GEORGE DAVID

Royal Film Commission of Jordan (Jordan) BELLE DOYLE

Creative Scotland (Scotland) INGRID RUDEFORS

Stockholm Mälardalen Film Commission (Sweden) KEVIN SHAND

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LOCATIONS MAGAZINE 2011

PUBLISHER RICHARD WOOLLEY

Glenwood Springs Film Commission (USA) DAVID SHEPHEARD

Abu Dhabi Film Commission (United Arab Emirates)

ART DIRECTOR CHRISTIAN ZIVOJINOVIC

www.anoir.fr

MARK STRICKLIN

Birmingham-Jefferson Film Office (USA) MIKAEL SVENSSON

Oresund Film Commission (Sweden) ADVISORY BOARD SIMON BARSKY

Chairman BILL BOWLING

ADVERTISING SALES JERRY ODLIN

International Sales Director jodlin@boutiqueeditions.com NICKI WEBBER

STEVE CAPLAN

N.America Sales nwebber@boutiqueeditions.com

GMMB

LISA RAY

ROBIN CITRIN

Location Manager

International Sales lray@boutiqueeditions.com

HUDSON HICKMAN

KAREN WATTS

International Production Consultant

Producer ILT JONES

Location Manager MICHAEL LAKE

Producer CLEVE LANDSBERG

Producer/UPM ANGELA MIELE

Motion Picture Association of America MATTHEW MILLER

Association of Independent Commercial Producers MORGAN O’SULLIVAN

Producer AFCI EXECUTIVE OFFICE MARTIN CUFF

Interim Executive Director KEVIN CLARK

Director of Membership ELYSE GAMMER

Director of Business Relationships CHERYL HENRY

Accounting & Collections Manager LAURIE LEHMANN

Director of Professional Development & Events For membership or more information about the AFCI, please contact: ASSOCIATION OF FILM COMMISSIONERS INTERNATIONAL

MARY NELSON AFCI President

Boutique Editions Ltd 117 Waterloo Road London SE1 8UL United Kingdom T: 44(0) 20 7902 1942 F: 44(0) 20 3006 8796 www.boutiqueeditions.com

2110 Artesia Blvd, Suite 234 Redondo Beach CA 90278 Phone: LA: 1-323-461-2324 Fax: 1-413-375-2903 Email: info@afci.org Web: www.afci.org

International Sales kwatts@boutiqueeditions.com KIRSTY WOOLLEY

Marketing Executive kirsty@boutiqueeditions.com Locations Magazine is the official publication of the Association of Film Commissioners International. Production companies may obtain additional copies at no charge by sending requests on their letterhead to AFCI : 2110 Artesia Blvd, Suite 234, Redondo Beach CA 90278 Listing information in this publication is edited from submissions provided by the individual commissions and organizations. Although a reasonable effort has been made in compiling this information, the AFCI & Boutique Editions Ltd assumes no responsibility for accuracy Locations Magazine is published for the AFCI by Boutique Editions Ltd The publisher assumes no liability for unsolicited manuscripts, photographs and artwork Copyright ©2011 by the Association of Film Commissioners International. All rights reserved. Reproduction in whole or in part of any text, photograph or illustration without prior permission of the AFCI is strictly prohibited

CONTENTS

CONTENTS 38

14 PORTFOLIO

63

80

FEATURES

MAKING A SCENE

14 SHOOTING THE ENEMY

35 WINTER’S BONE

As the way we fight wars has changed in the past 60 or 70 years, so the way we depict war on the big screen has changed too. Marlene Edmunds braves the movie battlefields

Winter’s Bone owes much of its seasoning flavor to authentic locations around the Ozarks. Robin Holabird reports

38 MAIN STREET USA So many movies have used the classic American Main Street as a principal location.

But does it really exist in reality ? Debbie Lincoln went scouting for Main Street USA

88 ON THE WATERFRONT Cameras and water do not mix. Add in weather and logistics and waterside locations become a complex and often dangerous prospect. Debbie Lincoln goes waterside

106 3D Does anyone remember a world pre-Avatar ?

A world where everything was 2D and you could go to the movies without having to borrow a pair of somebody else’s glasses in order to be able to see the screen ?

Julian Newby investigates

63 WHERE THE WILD THINGS ARE The street for the film-of-the-book by Maurice Sendak had an American look, but was actually in Victoria, Australia, Debbie Lincoln discovered

80 ROBIN HOOD The film Robin Hood found an unlikely source of production assistance in the National Trust. Max Leonard reports

COVER IMAGE Redrock-Randsburg Road, Kern County, California “The road itself has seen more commercials than I can count,” says Geoff Jukes of the Locations Managers Guild of America (LMGA). The road has two distinguishing features: a long desert straightaway — with open desert to the south, and the foothills of the Coso Range on the north — and a section near SR14 that has a number of large, rolling dips, a couple of which are deep enough to hide a car. Mercedes shot there years ago to the Janice Joplin song Oh Lord, Won't You Buy Me A Mercedes Benz?

(Photo, courtesy Geoff Jukes, LMGA) $5.00/2011

My Barefoot Friend follows a group of rickshaw drivers as they run barefoot through the streets of Calcutta to make a living. Liza Foreman reports on an extraordinary piece of location filming

112 MURDOCH MYSTERIES

118 AFCI MEMBERS - 127 AFCI DIRECTORY - 128 ADVERTISERS LOCATIONS MAGAZINE 2011

Locations Magazine teams up with location managers and film commissions to bring you some striking images from around the world

TIONAL

99 MY BAREFOOT FRIEND

The meticulous effort to recreate nineteenthcentury Toronto for this popular TV series has paid off. Emelia Jones reports

8

65 LOCATIONS IN PICTURES

THE OFFICIAL

MAGAZINE OF

THE ASSOCIATION

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OF FILM COMMIS

PRESENTED BY

HOSTED BY

IN ASSOCIATION WITH

JUNE 3-5, 2011 THE WALT DISNEY STUDIOS THIS YEAR THE PRODUCED BY CONFERENCE HAS TEAMED UP WITH ONE OF THE INDUSTRY’S MOST POPULAR TRADE SHOWS, AFCI LOCATIONS, AND FORMED AN ALLIANCE TO BRING TOGETHER

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CREATIVE ILE DE FRANCE Inspiring for Directors, Attractive for Producers

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Producer Patrick Aiello with Richard Gere

“Michigan offered us a vast canvas of locations and we were able to double parts of Detroit for Washington DC, Paris, Geneva and Moscow. We look forward to shooting another Hyde Park Entertainment movie in Michigan,” according to Patrick Aiello, producer of the new Richard Gere, Topher Grace, Martin Sheen and Stephen Moyer thriller, “The Double.”

LET’S TALK: KMURRAY@FILMDETROIT.COM or TEXT/CALL: 310.418.5555 Sign up to receive Film Detroit’s monthly E-Newsletter, “The Green Light” at filmdetroit@fleishman.com and check out filmdetroit.com today!

FEATURE MAIN SHOOTING STREET THE USA ENEMY

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LOCATIONS MAGAZINE 2011

SHOOTING THE ENEMY As the way we fight wars has changed dramatically over the past 60 or 70 years, so the way in which we depict war on the big screen has changed too. Marlene Edmunds looks at some of the issues facing producers when re-enacting the horrors of war on location

The Pacific (HBO)

LOCATIONS MAGAZINE 2011

15

SHOOTING THE ENEMY FEATURE

A scene in Fair Game where helipcopters dropped leaflets on the streets and sidewalks of Iraq

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RADITIONALLY war movies have been all about bravery, decency, fighting for the right cause, and a constant move towards a conclusion — usually victory.

But war has changed in the past 60 or 70 years, is often not purely about territory, and is no longer confined exclusively to the battlefield. And as war itself has changed, so the way in which many filmmakers depict war on the big screen has changed too. Last year’s multi-Oscar-winner The Hurt Locker is a case in point.

Kathryn Bigelow’s striking movie depicts a new kind of war where the enemy is rarely seen, the main threat to the lives of civilians and military personnel hidden away in barely detectable devices left in random places to cause maximum impact. Here no rampaging armies, masses of military hardware and multiple on-screen deaths; the stories are up-close and personal, focusing on the psychological, the confusion and the ill-defined reasons for conflict. “The Hurt Locker is a really good example of what soldiers today have to go through,” says Ian Fryatt, whose North Vancouver-based company

“Conditions have changed, the nature of war has changed and let’s not forget that the style of filming has changed as well” Phoenix 1 International Film Services, provides props, costumes, sets, vehicles and technical support for war movies.

“Frankly, anyone who goes and takes bombs apart is number one in my book. I would be running the other way.”

Fryatt served as a UN soldier in the Golan Heights and then, when he hung up his uniform, moved into the business of shooting film rather than military weapons — initially in a modest way. “I bought an old army ambulance and restored it, and it was used on a film called Serving In Silence, my first job.” The 1995 film starring Glenn Close, Judy Davis and Jan Rubes, tells the true story of a decorated officer’s legal challenge to her involuntary discharge when she admitted she was

LOCATIONS MAGAZINE 2011

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SHOOTING THE ENEMY FEATURE

On set for 2007’s The Shooter directed by Antoine Fuqua, with military camp, uniforms and vehicles provided

by Ian Fryatt’s Phoenix 1 International Film Services

homosexual. From a small one-man business run from Fryatt’s house, Phoenix 1 International Film Services has become a well-established production services company with three warehouses containing vintage and state-of-the-art military equipment from many different countries, serving a vast roster of productions including new titles Apollo 18, Mortal Kombat, Underworld 4: A New Dawn, and for TV, Battlestar Galactica: Blood And Chrome.

As a former serving soldier, Fryatt’s views on war are clear: “I still think if you can get away from shooting people I always think that’s a good thing — but then it does make me money.”

The digital world has made it possible to shoot more, to get up close to the action, and to shoot in greater detail. Her Royal Highness Princess Rym Ali, the executive film commissioner of the Royal Film Commission-Jordan (RFC-Jordan) is a former international correspondent who covered the early days of the Iraqi war for CNN. “Conditions have changed, the nature of war has changed and let’s not forget that the style of filming has changed as well.

Special effects and what you can do with CGI as well as the use of digital cameras makes things a lot easier and cheaper when it comes to shooting a war-themed films,” says Princess Rym. The nature of war, particularly in places like Iraq, has become more urban, and tends to involve more civilians. “But it also means that you don’t need huge productions with hundreds of extras, as a lot happens on the field,” she adds.

“If you look at the style of filming that has been used more recently, there’s a big tendency to use close-ups — the wobbly home-video-style shot is quite fashionable and brings more intimacy to the characters. Again this usually makes for a cheaper production, even though in its content [the film] may be more intense than other war movies that focus on the bigger picture.” The upshot is that it becomes much easier and more accessible for even young directors and producers with smaller budgets to make war films. And, she adds, “great and experienced directors like Brian de Palma are able to make a war movie with very reasonable budgets, as was done with

A set from 2010’s The A-Team directed by Joe Carnahan, with military camp, uniforms and vehicles provided

by Ian Fryatt’s Phoenix 1 International Film Services

Redacted, a film shot here in Jordan three years ago.”

The film Fair Game, which premiered in 2010, was shot for the most part in Jordan, with other scenes filmed in Iraq, left an indelible impression on director Doug Liman. His credentials include The Bourne Identity, Mr. And Mrs. Smith and Jumper.

Fair Game is based on CIA agent Valerie Plame’s book Fair Game: My Life As A Spy, My Betrayal By The White House, in which she charges she was deliberately outed as homosexual by Bush administration officials. “It is a story about going to war in Iraq so even if we hadn’t filmed there, it would have been very important for me to go there and see what was going on,” Liman says.

Liman and producer Avram Ludwig travelled under conditions of great secrecy into the country. Last-minute visas were arranged by the US State Department and permits signed by

LOCATIONS MAGAZINE 2011

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FEATURE SHOOTING THE ENEMY

Director Doug Liman shooting in Iraq

Iraqi Prime Minister Nouri al-Malaki himself. “I was never not terrified, from the moment we landed until we took off. It was made very clear to me that we were big fat juicy targets.” While there, the security detail of six bodyguards outnumbered the crew, which consisted of Liman, Ludwig, and Iraqi filmmaker Oday Rasheed.

“Whenever we started to film, a phone call would be made immediately during which we would be told how long we could be there. We were very aware the clock was ticking. Our bodyguards were tapped into an intelligence network and had a really good sense of where we could be and how long we could be there,” Liman says. And the immediacy of the situation changed his perspective. “I’m used to showing up at a location and having a producer give me a time frame but if I don’t meet it, it is never a matter of life and death. In this case, it was not the producer but my security detail looking at their watches. The time frames were extremely short and when the bodyguard said to me ‘You have 20 minutes’, you can believe I was finished in 15.”

Fair Game co-producer Avram Ludwig says Iraqi director Oday Rasheed did much of the prep work for the shoot and

“When the bodyguard said to me ‘You have 20 minutes’, you can believe I was finished in 15” acted as a location manager, unit production manager and additional camera crew. “We put ourselves in his hands. Because he is a director in his own right, we knew we could rely on him to find our shots for us, as we were shooting cold. He dealt with the officials at the airport and the soldiers who stopped us. He picked up the camera and shot when we were exhausted from the brutal heat.”

The story took place in pre-war Baghdad, says Ludwig, adding: “Since a lot of Baghdad is undamaged, it was no problem to find pre-war shoots. By the same token, a lot of Baghdad has also been hit by American bombs so it is easy to find scenes of devastation as well.”

Having grown up in Iraq and survived, the latter truth is something Oday Rasheed knows all too well. “He has sometimes missed explosions and bombs by just seconds,” says Furat Al Jamal, producer for Qarantina, Rasheed’s second film which had its world premiere at the Abu Dhabi Film Festival

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SHOOTING THE ENEMY FEATURE

A coconut grove — before and after dressing — featured in The Pacific. “We had teams that organized the transplantation of over 200 coconut trees, replanted on our location”

in October 2010, and its European premiere at the International Film Festival Rotterdam in January of this year. His third film, now in pre-production, is about cultural clashes between American soldiers and Iraqi citizens.

At one point during the shooting of Fair Game at an airport in Iraq, the US army wanted to stop the filming, but the Iraqi command over-rode the decision. “It’s a situation that happens a lot. The US army always demands security clearance and their security considerations always have priority — and it takes about a month to get a security clearance with the US army,” says Rasheed. He adds that shooting in Iraq works best when working with a good local producer who can make arrangements in advance with the army or the police. “In downtown Baghdad, for example, in the city center with its heavy traffic, crowded areas and government buildings, it is difficult to get permission to close down a street. Farther away, it is possible.”

While Iran’s filmmaking industry has been devastated by the war, Rasheed is at the forefront of efforts to rebuild it.

Not surprisingly, Jordan, which borders Iraq, Syria and Saudi Arabia, has architecture and geography that works well as a duplicate for Iraq, as it has done for Fair Game and Redacted, as well as The Hurt Locker and Battle For Haditha. “Directors value this artistically,” says George David, general manager of RFC-Jordan, adding that when it comes to duplicating Iraq, they can’t actually get any closer. “Bringing in major international films like Fair Game allows us to give our own film crews and students an opportunity to work with, and learn from, talented film professionals from different parts of the globe,” David says.

In Fair Game, as in The Hurt Locker, the Jordanian Armed Forces were called in to fly some of the really tight action shots involving helicopters dropping in between rows of buildings.

One such scene in Fair Game required them to drop leaflets on the streets and sidewalks. David says that such a scene would have presented no surprises. “Our commission’s on-site representatives are very experienced in locking down locations and making sure that everyone in the area is OK with what is happening. The residents not only accept but often encourage filming because it is exciting for them. We also make it a point to hire as many people local people as we possibly can.”

The big epic war films are still being made too, and within this genre many of the changes that have happened in recent years relate to what new technology will allow the filmmaker to achieve. Cost often kept filmmakers from waging allout battle scenes in the early days — and it can still carry a hefty price tag, if The Pacific, at $180m the most expensive TV series ever made, is any indication. The 10-episode series shot in 2007 and 2008 and released last year picked up eight Emmys for its depiction of the bitter battles fought in the Pacific theatre at Guadalcanal, Peleliu. Okinawa and Iwo Jima.

Executive produced by Tom Hanks, Steven Spielberg and Gary Goetzman, in association with HBO, DreamWorks, Playtone, Seven Network Australia and Sky Movies, it was intended as a follow-up to the 2001 TV series Band Of Brothers, fol-

“Extras would walk into the tent dressed like civilians and walk out at the end kitted out like soldiers” lowing the intertwined stories of three soldiers who fought in the Pacific against their enemies and the environment.

The shoots that used Queensland and Victoria as doubles for Asia Pacific “had a massive impact on the Australian production community. It was essentially the equivalent of some 20-40 local productions,” says Dean Hood, financial controller for the shoot. The production took over the entirety of the fivestage state-of-the-art Docklands Studios Melbourne for some 18 months, and simply kitting out and working with some 200300 extras per day in both states of Queensland and Victoria was a major undertaking. “Extras would walk into the tent known as The Sausage Factory dressed like civilians and walk out at the end kitted out like soldiers — completely made up, their army gear, back packs and ration packs in tow,” Hood says.

Core extras, those closest to the main cast, worked in both Queensland and Victoria and attended a brutal nine-day boot camp, along with the cast, to learn how to act and think like soldiers. Hood, who was on the front lines much of the time during the shoots says: “We had military, armory and stunt

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SHOOTING THE ENEMY FEATURE

Peleliu beach as featured in The Pacific. Trees and foliage were cut down and painted with black vegetable dyes to simulate the trees being burnt and destroyed

departments that were brought in to teach the cast and core extras, as well as six Japanese stuntmen, who were also flown in for a week.” Some 40% of the series’ budget was labor, Hood adds.

A little over 20% of the shooting took place in Queensland.

“What we offered was a variety of locations that were relatively close to each other, including rain forest, jungle, and beaches — and a highly skilled talent pool,” says Screen Queensland CEO, Maureen Barron. The Queensland production expenditure of approximately $33.6m increased economic activity by around $60.48m and created well over 1,000 jobs, she adds.

The Guadalcanal and Peleliu beach shoots called for massive scenes of devastation. Stretches of beach were blasted out by bombs, and fake coral was built to match the actual location in the Philippines where the battle took place. “The location was a 30-minute drive from Port Douglas on private property, so the action and machine gun fire couldn’t really be heard

“A person could stand in the middle of what appeared to be a bomb blast and never get hurt” too far from where it was actually happening. We had grenades, bombs and blank bullets that were created by special effects and armory departments,” Hood says, adding, “A person could stand in the middle of what appeared to be a bomb blast and never get hurt. There were thousands of explosions like this throughout the shoot.”

Karen Jones, locations manager for the Queensland shoot, has also worked on a number of war-themed films, including Beneath Hill 60 and The Thin Red Line. Her brief for The Pacific was to find locations that would span ‘before, during and after’ sequences such as the Peleliu landing. “The art department modified it over the filming months to include craters, burnt-out trees and knocked down vegetation. They brought in trees and large foliage that had already been cut down [before the terrible floods and Cyclone Larry] and painted it with black vegetable dyes to simulate the trees being burnt and destroyed,” she says.

The Queensland shoot required a number of different sets,

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LOCATIONS MAGAZINE 2011

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SHOOTING THE ENEMY FEATURE

including a coconut plantation, since the shoot was duplicating Papua New Guinea, The Pacific Islands and Guadalcanal.

“We had ‘greens’ and air department teams that organized the transplantation of over 200 coconut trees, locally sourced, dug up, loaded on flat-tray trucks and replanted on our location,” Jones says.

In comparison with other productions, the impact of the Queensland shoot on the ecosystem was quite substantial.

HBO put up a bond that set new standards for environmental accountability and, according to Hood, required some $100,000 to be spent before it was signed off.

The Pacific injected over $100m into the economy of the state of Victoria and employed more than 2,300 Victorians, says Sandra Sdraulig, CEO of Film Victoria. She says that state and federal incentives at the time were very competitive, and the exchange rate was 80 cents to the dollar, clearly one of the reasons why shooting in the area was so attractive for the production. “Originally the Pacific’s creative team came to Melbourne with the intention of shooting a single episode and then filming a few scenes up in Queensland. The fact that they shot 80% of the series here and were based in Melbourne for 18 months speaks volumes about the appeal of this state’s incentive package,” Sdraulig says.

Melbourne locations used include Flinders Street Station and Flinders Street. Victoria locations manager Drew Rhodes says there were historic and logical consistencies in having the shoot in Melbourne. “General Douglas Macarthur set up and ran the Pacific theater of operations from Melbourne. The city is steeped in history relating to that period and there are quite a number of period buildings that are largely intact.”

Docklands Studios Melbourne was where many of the big interior sets were built, including landing craft, hospital inte-

riors, a number of recurrent house sets associated with each of the main characters, as well as an exterior set of a ship, built in the studio parking lot. Studio CEO Rod Allen says: “During the shoot there was an average of 650 crew, and often two different film crews worked in parallel either on set or on location. A catering staff of 35 people alone was needed to serve everyone.”

A secure area had to be set up for weapons and pyrotechnics, since they were not part of the usual films props, says Frank Prestinenzi, facility manager for Docklands Studios. He adds that the 650-person crew also had the job of restoring old trucks and other vehicles to perfect condition. “We’d see them bring in complete wrecks and weeks later they’d emerge fully restored.”

“We would see them bring in complete wrecks and later they would emerge fully restored” With sabre rattling from North Korea and the attack last October [2010] on Yeonpyeong, South Korea needed little reminder of the 60th anniversary of the outbreak of the Korean War. It is getting it, however, with a phalanx of new war films coming out of that territory. Most are depicting a more personal viewpoint on war than earlier efforts, according Phil Choy, deputy director of South Korea’s Busan Film Commis-

LOCATIONS MAGAZINE 2011

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“Most new war films are depicting a more personal viewpoint on war than earlier efforts”

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LOCATIONS MAGAZINE 2011

sion. Busan is an hour south of Hapcheon Theme Park, where several major films have been shot and where Korean director Kang Je-Gy’s 2004 blockbuster film Tae Guk Gi (The Brotherhood Of War) was filmed. Choy says that many of the sets that were used in that shoot were left there and are being used for the newer films.

Among those is Korean director John H Lee’s 71: Into The Fire, the story of 71 students who fought North Korean soldiers in front of a middle school on June 25, 1950, being filmed for Taewon Entertainment. “I had to begin shooting in December and it is very cold here in Seoul at this time of year. I needed terrain where the trees didn’t turn color in the winter and I’d shot earlier in Hapcheon so I knew it would work for me because it had a lot of pine trees and mountainous terrain,” Lee says.

Public broadcaster KBS also shot Legend Of The Patriots last year at Hapcheon, a 20-episode TV series that cost $36,000 per episode to make. Some 13,500 extras were used for the shoot.

Executive director of subsidiary company KBS Art Vision, Soon-pil Kang says: “Hapcheon had a 1930s to 1950s set that

SHOOTING THE ENEMY FEATURE

Korean public broadcaster KBS shot Legend Of The Patriots last year at Hapcheon, South Korea

allowed Legend Of The Patriots to duplicate a street in Pyongyang in North Korea where we shot some street battles.

It provided the sets, costumes, props and some ground weapons such as tanks to KBS for free, and KBS brought in the camera crew and extras.” Hapcheon also has a mountain called Hwang-moe that is close to where the set was, where highland battles were shot.

Panda Media’s Korean War film Kogicheon wrapped in February 2011 with some 7,000 extras playing North Korean, South Korean and Chinese soldiers. Uniforms for the cast and extras were vintage period, gathered from collectors across the country for the film, says Panda Media CEO Nicolas Piccata.

“Kogicheon is a personal story told from the point of view of soldiers but set against the backdrop of the Korean war,” Piccata says. Panda Media is the international co-production arm of South Korean film outfit TPS as well as the Korean agent for France24, Luxe TV, and TV5Monde.

Piccata says that the shoots took place in three separate locations, south of Seoul, in the center of Korea and in the south east, all chosen for specific needs. “During the war, mountains were bare and trees were chopped down due to fire and other hazards, so locations had to be found around South Korea that duplicated that look,” he says.

Armaments were handled by Hong Kong outfit Props Company, which has supplied weapons and arms for some 600 films internationally, and has offices in South Korea, as well as Macau and Hong Kong.

Stephen Spielberg’s film War Horse, based on the Michael Morpurgo book and the play of the same name, was shot in the South West of England, in Dartmoor and Wiltshire, as well as Stratfield Saye House in North Hampshire, the latter the estate of the Duke of Wellington. Morpurgo tells the story of a horse which was sent to the front during the First World War, and a boy’s efforts to bring him home.

“The Dartmoor area is an open landscape that is at the same time beautiful as well as rugged, and very distinctive. On a fantastic day, it can be absolutely stunning,” says Fiona Francombe, production services manager for South West Screen, which helped liaise on some of the shoot organization. “They were originally just planning on doing a one- or two-day shoot here. It wasn’t until Spielberg saw the photos of this very deserted and atmospheric farm area that the decision was made to shoot the exteriors on Dartmoor, rather than building a set at studios near London.”

LOCATIONS MAGAZINE 2011

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SHOOTING THE ENEMY FEATURE

Castle Combe in the county of Wiltshire was blocked off for a week of shooting for War Horse — but the town and the surrounding area is used to this, according to Bryn Jones, marketing and public relations manager for VisitWiltshire. The Wiltshire area has proved far from camera shy when it comes to major TV and film shoots, with Pride And Prejudice, Robin Hood: Prince Of Thieves, and Chocolat to its credit.

“Castle Combe is a quintessentially traditional English village, with Cotswold stone houses included. A few miles away, another village called Lacock — and Lacock Abbey — have also starred in some major productions, including Emma, Moll Flanders, as well as Harry Potter and Pride And Prejudice,” Jones says.

It helps that production companies know that Bristol is just under an hour away, with its international airport and a number of production service companies that help provide support and infrastructure to shoots — and the city of Bath is even closer. “The impact of such shoots on the community involve several waves of benefits,” Francombe says. “Initially, the production company uses a lot of hotels and local restaurants, so a shoot of the scale of War Horse means a significant amount of money is coming into a region in a short space of time. Then when the film is released, a second wave of tourism follows, and that also brings more money into the community.”

The Kamloops area of British Columbia (BC) has the been location for several films duplicating the Afghan war, among them the 2010’s Afghan Luke and 2007’s Afghan Knights.

The southern part of the Thompson-Nicola region, including Kamloops, offers semi-arid desert and landscapes similar to those of Afghanistan’s rolling hills, steppes and mountains that overlook desert floors, according to Victoria Weller, executive director of film, Thompson-Nicola Film Commission.

Kamloops, Ashcroft and Cache Creek, where the films were shot, are located close to each other. “The open landscapes and dusty feel, the more than 2,000 hours of sunshine per year, as well as the seasonal summers and winters, work well with matching Afghanistan weather,” she says. “We have box canyons and rocky outcroppings whose features comprise volcanic ash and add character to the landscape. The box canyons, as well, allow for ambush scenes and 360 degrees of wilderness with no obvious signs of human beings in the area.” The area also offers a multi-ethnic population, ware-

“When the film is released, a second wave of tourism follows, and that brings more money into the community” houses, rental agencies, and editing companies that can stream dailies, she adds.

Dan Carr was the locations manager on both Afghan Luke, a satire about the Afghanistan war, and Afghan Knights, a film about rescuing a fallen comrade in Afghanistan. “The local air field is about midway between Cache Creek and Ashcroft, and it was here that we created our Afghan Military base, including the Ghenghis A Go Go, among other scenes.” He adds: “One of the most interesting sequences is when Luke witnesses the ambush from the top of a cliff, ending with his camera being shot up. It was logistically challenging in that it involved having crew both on the edge of a fragile cliff and on the river bot-

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FEATURE SHOOTING THE ENEMY

Afghan Luke, shot in Ashcroft and Cache Creek. Stunt riders came from all over Canada, and an Afghan village was built on CN Ranch, a property owned by the Canadian National railway company

“When we were shooting what was supposed to be open Afghan space we used no composite shots at all” tom far below. It’s a great scene that sets the film up for what is to come.” Afghan Luke, a film produced by Michael Volpe, Barrie Dunn and Mike Clattenburg, was shot in Ashcroft and Cache Creek. Chris Rudolph, line producer for the film, says: “At one time we had considered shooting in California but the production tax credits were in Canada. Also, I’d also worked on Afghan Knights and Battlestar Galactica in this area, so I was familiar with production logistics and what crew and equipment I might be able to find locally.”

Rudolph says that most of the equipment and props had to be brought up from Vancouver, including military jeeps, armored personnel carriers, and a humvee 50 caliber gun. “We had two scaled version remote control tanks built in the UK and shipped to Ashcroft as well for this film,” he adds.

“Stunt riders came from all over Canada to take part on their own initiative in a scene that called for the playing of an Afghan polo sport called Buzkashi. An Afghan village was also built on CN Ranch, a property owned by the Canadian National railway company, which called for some 100-150 extras of different ethnicities. We had an Afghan cultural consultant as well as stills photographer Bob Akester, who had worked on Afghan Knights, and had served two tours in Iraq as an embedded photographer, to advise us on this film.”

Afghan Knights director Allan Harmon says that the production tied mainly into BC because of the tax incentives and financing issues. He adds, however: “I’d recommend the area to producers who were looking for a good Afghan match even when their budgets didn’t constrain the locations. When we were shooting what was meant to be open Afghan space, we used no CGI composite shots at all. The area needs very little to no help selling itself as the real Afghanistan.”

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LOCATIONS MAGAZINE 2011

Castle Combe in the English county of Wiltshire was blocked off for a week of shooting for Steven Spielberg’s War Horse

Brandon K Hogan, executive producer and scriptwriter for Afghan Knights, says 90% of the film was shot in the Kamloops area, with another 10% shot in Albuquerque, New Mexico.

“Canada doesn’t have military assets such as helicopters available to filmmakers, so we were able to get them in Albuquerque and match with the shots we took in Northern British Columbia of the actual rescue mission. “ Hogan, who has worked extensively for the US Department of Defense in recording aspects of the war in Iraq and Afghanistan for historical purposes, says after flying along with some 100 Medivac missions, he feels that there is no way you can capture the actual combat experience — the sight and sound and fear in war — on film. “You hear these stories of men who are shell-shocked and 65 years later, that experience is what is on their mind.” I

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WINTER’S BONE MAKING A SCENE

REAL LOCATIONS, REAL PEOPLE Oscar-nominated and one of the best-reviewed films of 2010, the atmosphere of Winter’s Bone owes much to the authentic locations found in the Ozarks.

Robin Holabird reports

Jennifer Lawrence stars as Ree Dolly in Winter’s Bone.

Photo, Sebastian Mlynarski

W

INTER’s Bone tells the story of a teenager named Ree Dolly who finds herself on a quest to save her family home by going into the wilderness to find her father. Based on a novel by Daniel Woodrell, the movie was shot exactly where the book is set, although that was never a guarantee when Director Debra Granik began putting the project together.

“The pressure to film elsewhere was huge at the beginning, and that was not coming internally, that was coming from people who were contemplating financing the film,” says the Manhattanbased director. “They were wondering about really shopping for an incentive, and finding the best, or the second-best.”

For the backers, said Granik, incentives were “almost like the exclusive determiner”.

But then Granik stopped and took a deep breath, realizing: “We should not be doing this book if it’s going to be set somewhere else. This book was written by an Ozarks author. This is based on a

life of observation and using a region — a specific region — as a muse, and therefore it feels absurd to take it somewhere else, because the other character in the story is Ree’s land,” Granik says. “To try to impersonate that someplace else, or recreate it, felt like an absurd process.”

With or without incentives, Granik was going to film in Missouri. Then, “like a miracle, the Missouri Film Commission’s

“To try to impersonate that someplace else, or recreate it, felt like an absurd process” hard work with the legislature had gotten their film incentive to pass”. She adds: “At the end of the day we were completely ebullient because we could shoot in Missouri with no detriment. They had this wonderful production incentive and we could then be true to the book and true to the research and make this the

home.” It was what Granik dreamed of when she first looked into making a film version of Winter’s Bone, and set off with her producer Anne Rosellini, on a scout with the author Daniel Woodrell.

“We went down to his neck of the woods — which is in the West Plains area of the Ozarks — and he showed us many of the locations that had inspired him over the years, places that he’d observed closely.” This was a non-tourist visit, one that included looking at low income houses and rural businesses. “It was so clear that we had been to an extremely texture-rich area of the United States — from the kinds of brambles and vegetation, to the kind of scrabble and hill and rock, from the housing stock itself to some of the faces of people. We had definitely found a place, like so many in the United States, where the photographic elements of the region were screaming out at us.”

It’s a region that molds its main character into a young woman with a steel backbone, the kind of person director Granik was immediately drawn to when reading the book. “I found very quickly that she was somebody that I was LOCATIONS MAGAZINE 2011

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WINTER’S BONE MAKING A SCENE

rooting for. I wanted to see her make a go of her life, and I understood right away from his book that her life really had no cushions,” she says. “Whatever move she would make would be from her own resources and her own will, really, to make some future life for her and her siblings.”

As a film director, Granik immediately felt herself visualizing the story: “The descriptions of Ree’s daily life and her material world were very rich.”

Additionally, the story and its setting appealed to Granik’s personal taste for making small films. She’d already earned a reputation helping Vera Farmiga on her way to international acclaim that includes a best supporting actress Oscar nomination for 2009’s Up In The Air. Farmiga and Granik joined forces on 2004’s Down To The Bone, which won a best director award at Sundance.

“I feel like I am an aspiring neo-realist,” Granik said, explaining she’s attracted to the style because “the tradition talks about the importance of everyday life and why that can be interesting to observe and why it can be also compelling”. Dealing with everyday life becomes a harder task for Ree in Winter’s Bone because, as the title implies, she faces a difficult environment in the toughest time of year. “It’s always been harder to survive in a northern winter than any other season. The stakes for obtaining food or for heating the home are high. The actual ability to stay alive and what it takes to do so is just jacked up in a way that’s always been true,” Granik says.

The gloom of winter in the Ozarks hits traditional values and emotions for Granik. “It’s really kind of zeroing-in on the most ancient kind of dark fairy tale as one of its core structures.”

The tradition goes back to The Odyssey and other stories involving the quest to travel and discover the unknown. “It’s the idea of a person who needs to go some place they’re not sure of, and many times it’s a tale of the woods where the woods signify the unknown territory,” she says.

“Once you’re in an unknown territory, you’re unhinged. The branches crackling in the woods are unsettling. A wind is blowing fiercely and making the clothes or the smoke from a house chimney swirl — that can be almost like a sense of danger,” she said.

Besides getting these qualities from the real Ozarks in Missouri, Granik’s use of the book’s location brought an appropriate sense of people. Faces were important, but so was the flow of dialect, so Granik found herself populating about 60% of her film with locals. She took their input seriously. “Sometimes they would say, ‘Hey you know, I don’t exactly say it this way, but I would say it this way.’.”

Granik allowed the changes and, as a result, “We have eight additional dialogue

credits at the end of the film for people who became the authors of their own scene, or who made adjustments that were very critical in the dialogue to make it so they could really say it with a kind of conviction and ease and naturalness.”

Granik also benefitted from a cast of professionals who understood the region. “We had this serendipitous, beautiful fortune for the film which was that the out-of-state actors were often from related areas where there would be

the Grand Jury Prize Winter’s Bone earned at the 2010 Sundance Film Festival. “When you see that a small film is getting somewhat embraced, one cannot ask for more because, really what my colleagues and I want to do most is to make another film — and so a film that we have made getting some recognition is exactly what assists us in doing that.”

More than winning awards, Granik wants Winter’s Bone to share the feeling and essence of Ree Dolly and her world Debra Granik on the set of Winter’s Bone.

Photo, Sebastian Mlynarski

“This project was an opportunity to actually meet quite a few families that lived in the houses that I’d been driving by” some point of connection. Jennifer Lawrence, who plays the lead, was born and raised in Kentucky and the woman who plays her best friend in the film is from northern Arkansas. Dale Dickey, who plays the character of Merab, is from Eastern Tennessee. These people had an ear for the dialect and it was very easy for them to absorb, immerse, adjust, and get into it. That was something that I could have never provided to them as someone from a different region; that was sort of an endowment that I think was a true stroke of luck for this film.” It proved effective, helping to put Jennifer Lawrence’s strikingly strong performance into early running for a Best Actress Oscar nomination.

The prospect excited Granik while simultaneously making her nervous.

“When it comes to speculating or thinking about those things, I get hugely anxious,” she says, acknowledging there are benefits to winning awards, including

in the Ozarks of Missouri. “This project was an opportunity to actually meet quite a few families that lived in the houses that I’d been driving by,” Granik said, adding what she hoped to achieve was seeing “a whole, rich stream of details of life unfold”. She continues: “Instead of just judging the house and its yard from this exterior position, you finally get to know who Ree Dolly is, who her siblings are, what she cares about, what she’s trying to do in her life.

“You see how she answers, how she talks, how she teaches her brother and sister to survive, what she’s been taught by her dad. That was something very powerful for me, and of course, I think that is what’s so powerful about Daniel’s novel.”

Ultimately, says Granik, her dream was “that you’d get the sense of seeing Ree Dolly’s house and, after a few minutes, you get to meet her and then you get to meet her in a different way, and as the story unfolds, you get see her, hopefully, in a full-bodied, rich portrait.”

Granik’s achievments with this film are shown by positive response from audiences and reviewers, a success that comes from effective decisions in all aspects of filmmaking — including choosing the perfect location. I • Robin Holabird reviews movies in Reno, Nevada, where she was a film commissioner for more than 20 years LOCATIONS MAGAZINE 2011

37

FEATURE MAIN STREET USA

So many movies have used the classic American Main Street as principal location, that we often don’t think twice about this tried-and-tested narrative tool. The barber who knows the baker who knows the banker who knows the barmaid who knows the judge, because they all work close together in the same street. But is this a realistic portrayal of American life?

Do these streets really exist, and are they easy to find?

Debbie Lincoln went scouting for Main Street USA ‌

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MAIN STREET USA FEATURE

HAT’S your favorite main street in the movies? Close to top of the list for many has to be Main Street, Bedford Falls, which provided much of the setting for Frank Capra’s 1946 classic It’s A Wonderful Life. Few films better illustrate how the Main Street can be used to move a narrative along, the tragiccomic story taking leaps and bounds every time James Stewart’s immortal character George Bailey walks along the sidewalk meeting friends, neighbors and adversaries, exchanging just enough words to allow the moviegoer to know what’s happening, what has just happened, or what might happen next.

But was Main Street, Bedford Falls just another Hollywood construction, with no basis in reality? According to Stewart it wasn’t. “As I walked down that shady street the morning we started work, it reminded me of my hometown, Indiana, Pennsylvania,” said the late actor and American national treasure. “I almost expected to hear the bells of the Presbyterian church, where Mother played the organ and Dad sang in the choir. I chuckled, remembering how the fire siren would go off, and Dad, a volunteer fireman, would slip out of the choir loft. If it was a false alarm, Dad would sneak back and sort of give a nod to everyone to assure them that none of their houses was in danger.”

Bedford Falls does not — and never did — actually exist. It was in fact a 40-acre set on RKO’s Encino Ranch, which included some 75 stores and buildings, a factory district, a residential area, and a Main Street that stretched 300 yards, the equivalent of three city blocks.

But as Stewart’s memories suggest, such streets did exist — and as Locations Magazine has discovered, although we are now firmly in the era of the mall, many still do.

Walt Disney’s childhood reminiscences have been preserved for posterity in the form of Main Street USA, which provides the grand entrance to the Disneyland theme parks in Florida, California, Paris, Tokyo, and Hong Kong. Main Street USA is inspired by Disney’s hometown of Marceline, Missouri, along with Fort Collins, Colorado, the hometown of Harper Goff, the man who together with Disney designed the original Main Street USA at Disneyland in Anaheim, California. Just above the Firehouse in Disney’s Main Street USA, is Walt Disney’s personal apartment — fully furnished, but closed to visitors — where a lamp burns in the window in his memory. "For those of us who remember the carefree time it recreates, Main Street will bring back happy memories,” Disney said. “For younger visitors, it is an adventure in turning back the calendar to the days of their grandfather's youth.”

The movie Main Street was filmed last year in Durham, North Carolina, with a screenplay

by Horton Foote (To Kill A Mockingbird), directed by John Doyle, and starring 2011 Oscarwinner Colin Firth with Amber Tamblyn, Orlando Bloom and Ellen Burstyn. In the film an entrepreneur is welcomed into a southern town. But it soon transpires that his business plan involves toxic waste, and the Main Street dream starts to fade.

“Horton Foote wrote the script around Durham,” says Jonah Hirsch of Fixed Point Films, the producer of Main Street. “He had visited the town previously and fell in love with it. I remember walking around with him many

years before the film was shot and listening to him compare it to some of the small towns in Texas nearby his home. He was intrigued by small towns that had been prosperous and were now struggling to reinvent themselves.”

There were practical reasons for shooting in Durham too.

“Being an independent film they needed to be conscious of their budget, so they needed a state that offered a competitive incentive, and where resources were close by. They really liked

“As I walked down that shady street, it reminded me of my hometown” James Stewart

Disney’s Main Street USA: “For those of us who remember the carefree time it recreates”

LOCATIONS MAGAZINE 2011

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MAIN STREET USA FEATURE

Crawfordville, Georgia, standing in for 1930s Tennessee in Aaron Schneider’s Get Low, produced by Dean Zanuck, and starring Robert Duvall, Sissy Spacek and Bill Murray © Dean Zanuck

what they found in Durham,” says Aaron Syrett, director, North Carolina Film Office.

“The film commission was helpful in securing locations and liaising with the local officials,” Hirsch adds. “We had excellent co-operation from the city officials and police department so they made certain everything ran very smooth for us.” Some fun stories developed around the shoot, too. “One thing that was kind of funny was the local radio station was offering an Orland Bloom Bounty for anyone that was able to get Orlando to come into the station — he was definitely the big celebrity in the small town.”

Horton Foote clearly knew what he wanted in terms of locatio some time before filming started. But what if you have an idea of the small town you want to shoot in, but don’t know where it is yet? ScoutMyTown.com is a website created by Rae Gordon and designed for location scouts. Free to use, it profiles small towns (50,000 population or less) that are open to hosting a movie or TV production, listing details and pictures as well as information about relevant film commissions. “After working for years in the motion picture industry, I moved from Hollywood to a small town in Oregon. After working for the tourism industry, I found a way to combine film and tourism, helping small towns improve their economic standing by promoting themselves as a movie location,” Gordon says. “It is a great opportunity to promote their town to an exciting and profitable industry for a small fee. If a town cannot afford the fee, we work with them to help find funding.” Rae adds: “People are looking for small towns that are not only photogenic,

but open-minded when it comes to hosting a production. A production doesn’t want to have to spend hours convincing a town to be open to the idea.”

Gordon’s home, Oregon City, is a good example of this. “Oregon has had a resurgence of businesses on Main Street. It's closeness to Portland and its international airport, a short plane trip to Los Angeles, is an added bonus. The TV series Leverage has utilized Oregon City, and the movie Management used locations in Oregon City that doubled for both Maryland and Washington states.” Oregon Film Office’s Vince Porter echoes this point. "Oregon has a great variety of small town looks, and it’s become a great advantage for our office.”

One word that comes up frequently when trying to describe what a typical American town looks like is ‘Rockwell’, or as Michigan location scout David Rumble says “the words ‘Norman Rockwell-esque’ are often used”, referring to the mid-century painter and illustrator, well-loved for his portrayal of everyday American life.

Many parts of the US are very proud of their Rockwell looks.

Gigi Gibbs, film commissioner at the Fresno County Film Commission says that her region could be “anywhere from turn of the century to the 1950/60s Americana”. She adds: “Location professionals often ask us for old fashioned businesses such as diners, hardware stores and barber shops, town squares and downtown parks — preferably with old fashioned bandshells or gazebos. The main streets in our area match a Norman Rockwell image.”

Thomas Jacob, another Michigan scout says that sometimes

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FEATURE MAIN STREET USA

such a polished version of the past can work against a town. “It can be extremely difficult is to find a Main Street that hasn't become a caricature of itself. A lot of small towns try to become like a Norman Rockwell painting. Though it's wonderful for the residents, an entire street of freshly painted storefronts takes away the character. It's a place where the corner hardware store and diner have been replaced by an abundance of handicraft and antique shops. Finding a Main Street that hasn't lost its authenticity is difficult.”

This fine balance was required for Cameron Crowe’s 2005 film Elizabethtown. “The production requested a multi-block, small-town Main Street, well-preserved yet not overdone,” says Todd Cassidy, from the Kentucky Film Office. “I drove to several communities attempting to find the one that met these needs. When all was complete, Versailles, Kentucky was cho-

“The production requested a multi-block, small-town Main Street, well-preserved yet not overdone” sen. This community is one of the state’s leaders in the Main Street Restoration Program, which encourages the historically accurate restoration of communities across the state.”

John Panzarella, locations manager for Elizabethtown says: “Cameron Crowe's artistic vision is linked to his roots as a journalist. It's important to him that he portrays as accurately as possible on the screen the reality that he has written about.

Kentucky, and the title, were chosen by him to convey a sense A spot for Italian Vogue shooting in Cass, West Virginia, using the timeless, white clapboard structures as a backdrop. (Photo Courtesy of West Virginia Film Office)

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of family and the way things used to be. Main Streets are the most likely place that reveal the nature of a community. He didn't want it to be ‘new to look old’, a newly gentrified ‘old town’.

“We wanted mom and pop stores, not national chains or tourist-trap antique and craft stores. Surprisingly, trees can really be a problem along Main Streets. When they are mature, too close or too large they may obscure the buildings. Eventually we ended up using the combination of Elizabethtown [also in Kentucky] and our film commissioner Todd Cassidy's home town, Versailles.” There they found exactly what they were looking for and shot Drew's triumphant, melancholic return to Elizabethtown as he drives down Main Street, greeted by locals gathered to welcome him home.

For Canton, Mississippi, the heart of downtown is the square around the courthouse, complemented by the availability of period homes in close proximity — a plus for filmmakers. Joel Schumacher’s 1996 movie A Time To Kill, starring Sandra Bullock, Samuel L Jackson and Kevin Spacey, shot in the city.

Jeremy Hariton, from RoadTown Enterprises, a company that works with the Canton Film Office, says: “Our town square can depict any time period from the early 1900s through the 1960s, depending on which side of the square you shoot. We most often hear from productions looking for a typical small town in Anywhere, USA, within the early to mid-1900s. We have an old 1870s jail, vintage service stations, an old 1930s high school building, and a 1926 restored train depot.” He adds: “Our office is a one-stop-shop for production. We co-ordinate locations, police support, traffic control, and utilities. The city has just opened the Mississippi Film Studios, five minutes from the Main Street, featuring a 36,000 sq ft sound stage.

Pam Haynes, director of West Virginia Film Office, has hosted many shoots in downtown locations. “What’s so great about many of West Virginia's small towns is that many 100-year

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■ ASPEN, COLORADO Liz Long, producer, Aspen Productions: “Our client was doing a lifestyle shoot and just wanted to see general town shots with views of the mountain. It was pretty cool when we turned Aspen into a snowy winter wonderland in June” © Aspen Productions

■ COLUMBIA, TENNESSEE Mark Ragland, location manager for Peter Chelsom’s Hannah Montana: The Movie:

■ PACIFIC GROVE, CALIFORNIA Karen Nordstrand, director of marketing & film production, Monterey County Film Commission:

“We converted an old hardware store into an Italian restaurant.

A lot of buzz was beginning to circulate about the ‘new’ restaurant and many were disappointed to find that it wouldn’t remain” © Mark Ragland

“Tom Hanks appeared in Turner & Hooch on the town’s streets in the Touchstone Pictures film. Entire blocks of the Main Street were given up during the filming, and existing building signage was changed”

old buildings look as good as they did a century ago.” She adds: “Comments like, ‘All we have to do is change the window sign on that business and this street will look like 1980’, or ‘Take away those parking meters and this is 1920’, are common from scouts. A top fashion magazine recently came to the state for a stills shoot. “When a photographer shooting for Italian Vogue chose Cass, West Virginia, we assumed it was because of the vintage trains that used to haul lumber, but it wasn't. The photographer sought the timeless, white clapboard structures that line the streets — a striking location, indeed,” West Virginia’s location services manager, Jamie Cope, says.

Other parts of West Virginia have provided filmmakers with the perfect small-town look. “When writer/director Eddie Mensore was looking for the perfect place to shoot his film The Deposition, he didn't have to look any further than his childhood hometown, New Martinsville,” Cope says. “These neatly-kept streets provide a film with an anywhere, anytime atmosphere,”.

He gives another example, this time for a documentary shoot: “It isn't unusual for documentaries to return to the actual location. What is unusual is when that location is 80 years old and looks similar to how it did 80 years ago. The people of Moundsville have taken great pride in preserving the town's historic storefronts, making life easy for mid- to low-budget period films, such as Allegheny Image Factory's Romeo Must Hang. Re-creating a 1930s' look was more about camera angles than expensive set dressing.”

Ariel Penn, filming manager of the City of Pasadena, suggests that because there is no one southern California style, her region is adaptable for shoots. “Most of Pasadena’s housing stock was built prior to 1920. Homeowners, for the most part, have preserved the character — traditional colonials, Tudors and bungalows double for the east coast or Midwest America. When people think ‘southern Cal’ they’re thinking palm trees and stucco. Pasadena, for the most part, doesn’t look

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FEATURE MAIN STREET USA

In 2009 the Warner Bros. film The Book Of Eli, starring Denzel Washington needed a classic Main Street to dress it in a post-apocalyptic style. Carrizozo, New Mexico was chosen ©Don Gray

“Commercial and feature film productions are continuously requesting Main Street-style locations” like that,” she says. Productions that have used the Pasadena area include: Doug Liman’s Mr. And Mrs. Smith (2005), which needed an iconic New England home; Glenn Ficarra’s Crazy, Stupid Love (2011), which used a classic bar in Old Pasadena; and Ivan Reitman’s No Strings Attached (2011), which found a classic colonial home near the Rose Bowl.

Michigan has an abundant selection of different Main Streets, according to the senior communications advisor at the Michigan Film Office, Michelle Begnoche. “For example, with 3,288 miles of lakeshore, Michigan is home to a host of quaint lakefront Main Streets,” she says. “A more rural Main Street can be found in Bad Axe, which provided a key small town setting for new Paolo Sorrentino film This Must Be The Place, starring Sean Penn. Cities such as Mason, Howell, Monroe and Charlotte all have a classic courthouse town square set-up. Scream 4 used Plymouth’s town square for the fictional town of Woodsboro.”

Susan Dorris, from the film and digital media department of Oakland County Film in Michigan, also sings the praises of the versatility of her region. “2009 and 2010 were great years for production in Michigan, thanks to the enhanced film incentives. In Oakland County, we hosted more than 30 productions.

Clint Eastwood’s Gran Torino used a barber shop in Royal Oak for one scene. Royal Oak also stood in for San Francisco in Lifetime’s Prayers For Bobby, starring Sigourney Weaver. The remake of Red Dawn took over downtown Pontiac, standing in for Spokane, Washington, for several weeks of gun battles and explosions,” Dorris says.

“Commercial and feature film productions are continuously requesting Main Street-style locations,” Lyndsey Johnson of

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LOCATIONS MAGAZINE 2011

Washington Filmworks says. “The look varies from desolate gravel towns, Western towns, to Bavarian villages — with mountains in the background or not — suburban, forested, fishing town, or even iconic city. North Bend hosted Twin Peaks; Roslyn, [TV series] Northern Exposure; and Tacoma which hosted the more suburban 10 Things I Hate About You. Recently most of the film production work has been smaller independent features which are drawn to the state from images of these iconic shows.”

Rob Raines, project manager at Tennessee Film, Entertainment & Music Commission, is also blessed with a range of Main Streets. “We have hundreds of Main Streets available, typically built in the early- to mid-20th century with brick store fronts.

Locations are cheap, and in most cases there are no permitting fees. Tennesseans always are warm and welcoming to filming productions.” Films made here include James Mangold’s Walk The Line (2005), Frank Darabont’s The Green Mile (1999), and Sam Raimi’s The Gift (2000)."

Tennessee hosted Peter Chelsom’s Hannah Montana: The Movie back in 2008. Mark Ragland, who worked as location manager, scouted several Tennessee towns before settling on Columbia. “The courthouse, which is still in use, required a temporary revolving door that was needed for the action in one scene. This meant bypassing the alarm system normally used with a guard employed 24/7 until the set was removed and the alarm reconnected — just another expense,” he says. “Shooting on South Main St. meant paying off businesses that rely heavily on walk-in traffic, and other offices for the inconvenience of not having clients able to park on the street. In one case, a hardware/sporting goods store probably benefited from having our film crew in the area, as most crew members ended up making purchases there.”

The Hannah Montana film wanted the familiar look of a home town, which is exactly what Kim Farin from Boulder Convention And Visitors Bureau says that companies ask for in her area of Colorado. But they also want interesting and aesthetically appealing, which worked for a recent commercial shoot. Jeff Petersen was location scout and location manager on a commer-

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cial for the US Army One Source, a service to off-post families. “The production company White Label contacted me and Boulder’s 16th Street immediately came to mind for the final shot of the spot. They also showed various locations I knew would be found in Boulder, such as the school and coffee shop.”

Coffee shops, clapboard houses, and small shop- and treelined streets make up only one version of America’s main street.

If you travel south west the look is very different. Don Gray, locations co-ordinator at the New Mexico Film Office says that film and commercial companies looking for Main Streets easily falls in the top 10 location requests they receive. “Not only are they looking for the classic Main Street setting, but most of the time they are trying to find locations that appear to be set somewhere other than where they are located. Most films made in New Mexico aren’t actually set there so the ability to deliver locations that could play for other places in the country is an essential part of the process. Modern American cinema (and even foreign cinema trying to tell American stories) still has a love affair with the ethos of small town America. Of course much of that ethos is being wiped away — buried under the ‘mallification’ of our hometowns. Finding a shot of Main Street without a Starbucks or a Walgreens is becoming increasingly difficult,” he says, adding: “New Mexico seems to have escaped the on-coming steamroller of modern urban blight that has plagued much of the rest of the country.”

The Warner Bros. film The Book Of Eli (2010), directed by Albert and Allen Hughes and starring Denzel Washington, not only required the classic Main Street, but also needed to dress it in a post-apocalyptic style. Carrizozo, New Mexico was chosen — both for its Main Street, as well as for the willingness of the locals to allow the crew to be there for a long period of time.

The 2007 Academy Award-winner, Joel and Ethan Coen’s No Country For Old Men, needed a small Texas border town, complete with border crossing. The production settled on Las Vegas, New Mexico. “There was the minor detail that the nearest border crossing was 380 miles south at the actual Mexican border. So the production company built a fake border crossing, the effect was completely believable — although locals had to do a lot of explaining to folks traveling through on the interstate that they hadn’t somehow miscalculated!” says Gray.

One of the best-preserved stretches of Route 66 can be found in Albuquerque, New Mexico. “The neon lights of Route 66 help reflect an iconic image of America. Downtown Albuquerque also has Gold Avenue that has been used fairly often for a Main Street look, too,” Jesse Herron, at the Albuquerque Film Office, says. “My One & Only, filmed on Central Avenue at Milton's Diner, a period piece that required 1950s cars, and No Country For Old Men, also filmed some driving shots on Central Avenue when they were faking Albuquerque as El Paso. However, in the film you can clearly see a Route 66 sign that spoils the illusion.”

Debra De Graw, film liaison official, Mendocino County, works in an area that offers small towns by the ocean or near to forested areas, “and they love the Victorian architecture of the town of Mendocino. It has a New England feel,” she says.

Famously the village of Mendocino was used in Elia Kazan’s 1955 film East Of Eden. “When you see James Dean sitting in front of a building on Main Street, that building is the Jarvis Nichols Building, and houses the town's bookstore on the corner of Main and Kasten. It hasn't changed that much from when James Dean sat in front of it in 1954.”

Monterey County Film Commission also has jurisdiction over

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Jeremy Hariton, RoadTown Enterprises, Canton, Mississippi: “Productions approach us consistently to use our downtown courthouse square area. We have seen everything from a clan march, buses, military and police vehicles to sequences with crowds waiting at the courthouse steps�

many sea-facing towns. “I am often asked for small-town looks, not all updated but instead charming and architecturally intriguing,� director of marketing and film production, Karen Nordstrand says. “In Salinas, the movie Bandits [starring Bruce Willis, Billy Bob Thornton and Cate Blanchett] found the right look for a small town with a classic, 20s-era bank.� She adds: “Pacific Grove is another popular Main Street town, and the town’s own motto is The Last Home Town in America. Victorian-style houses, walkways overlooking the ocean, and a central downtown within just a half-dozen blocks has great appeal to commercials (AT&T mobile used the area for European looks), and Tom Hanks appeared on the town’s streets with a slobbery dog in Turner & Hooch. The film’s executive producer Daniel Petri, Jr. (who also co-wrote the screenplay), remembers the shoot going smoothly with just the right looks to convey small-town.�

Lawrence Roeck’s Carmel-By-The-Sea was recently filmed around Carmel, the California village that once had Clint Eastwood as mayor. It stars Lauren Bacall, Hayden Panettiere, Josh Hutcherson, Alfred Molina and Clint’s wife Dina Eastwood, plus his son Scott Eastwood. “This film also captures the charm of the town’s setting and wooded streets via low-flies over the

coastline and town,� Nordstrand says.

Also in California, Orange County is picked as a location because it can "play as anytown USA", according to the film commission’s Janice Arrington. “The main plaza, called Old Town Orange, has a traffic circle with grass and a fountain in the center. The Coen brothers had facades painted, trees planted, and period signs installed for The Man Who Wasn't There, which was set in the early 1900s.� Television series including The West Wing and Ghost Whisperer have also used the plaza.

Paul Sitkoff, business and public affairs manager from the City of Orange adds: “Tom Hanks used our century old sodafountain, Watson’s, in That Thing You Do, and when Martin Lawrence goes home in Big Momma’s House, their house is in Orange. Orange has been hometown America for Hollywood since Otto Preminger shot here for Fallen Angel in 1945.�

So, plenty of choice for Anytown USA — but what about Anytime USA? Street dressing can be a time-consuming and costly business; a location that makes that an easy job can be top priority for some productions. Lee Thomas, director of the Georgia Department Of Economic Development has experience of this. “Sometimes scouts are looking for a street in Georgia that could double for historic Atlanta or some other large city. Or

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LOCATIONS MAGAZINE 2011

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MAIN STREET USA FEATURE

IT’S NOT ALL ROCKWELL… THERE ARE MAIN STREETS IN AMERICA THAT DON’T QUITE FIT THE BEDFORD FALLS MOLD …

■ CALEXICO, CALIFORNIA Charla Teeters, Imperial County Film Commission: “I do get requests for my Main Streets on a fairly frequent basis. The Main Streets in the cities of my county are older looking, Mexican border community, small town type streets”

■ SUPERIOR, WYOMING Colin Stricklin, Wyoming Film Office: “Wyoming small towns aren’t so neat and tidy as their New England counterparts. They’re a little off the beaten path and more than a little rough, but they’ve got a whole lot of character”

they are doubling quaint towns in New England,” he says. In 2005, director Aaron Schneider scouted Georgia for the feature Get Low. They needed a1930s main street town that would play for period Tennessee. “They thought the small town of Crawfordville was perfect. The movie was a true labor of love for producer Dean Zanuck. We kept in touch for several years while the project was in development. Finally in 2009, the film was made in Crawfordville, and turned out beautifully,” Thomas says. “We needed a street that hadn't been touched by time and modernity. After scouting the entire southeast, Crawfordville, Georgia really stood out. The town had not changed much over the past 70-80 years and it had a run-down Depression-era quality about it that really fit our story,” producer Dean Zanuck says. “We had a very limited budget so every penny we could afford went to erasing any modern trapping (light fixtures, street paint, non-period facades) that existed. We removed a number of signs, poles, awnings etc., and used dirt to cover the paved road. The Georgia Film Commission was very helpful.

Every location was well prepped and they made sure all the local officials, vendors and private establishments were made aware of our plans so the production could run smoothly, which it did.” Dean Zanuck’s father Richard Zanuck, also a filmmaker, made another great period film in Georgia, 1989’s Driving Miss Daisy.

“Many Oklahoma Main Streets are relatively untouched by time and may easily be dressed for a variety of periods,” Chris Kucharski, locations co-ordinator at the Oklahoma Film And

Music Office, says. “This one-of-a-kind look can be seen in Guthrie’s Victorian storefronts, Tulsa’s Art Deco high rises, Cordell’s Romanesque Revival town square, and Bartlesville’s Mid-Century treasures.”

1940s Harlem was the request for 2000’s Men Of Honor, directed by George Tillman Jr and starring Robert De Niro and Cuba Gooding Jr — and the producers chose Oregon. “We found a street in Old Town Portland at 3rd and Davis that had a building with the right look. This was not a trendy area in Portland, so the local businesses appreciated the clean up. We painted exteriors, hung signage and built what looked like a staircase going to a subway stop. It was great fun watching people walk up to the stair rail and look around and scratch their heads looking for the subway,” says local locations scout Doug Hobart.

Jack Gerbes, director of the Maryland Film Office is also asked for streets with the “stuck in time” feel. Berlin is on Maryland’s eastern shore and buildings on the main street are red brick and date back to the early 1900s. “What is great about this Main Street is the fact that all the utility lines were either buried or moved to behind the buildings, giving directors 360 degrees with no modern intrusions,” says Gerbes. “The street was used in Runaway Bride, Tuck Everlasting, and [new shoot] Brooklyn Brothers Beat The Best, where hundreds of tons of dirt were trucked in to cover the street.”

The American Main Street most familiar to many around the world falls into the category of Western. Marianne Virgili, pres-

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MAIN STREET USA FEATURE

ident and CEO of Glenwood Springs Chamber Resort Association & Film Commission, Colorado, says that in her area “location scouts typically are looking for a small Western town, with an old-fashioned Main Street. We do have historic buildings, several on the National Register, an historic train station and two historic hotels, one of which is over 200 years old. Flashback [1990], starring Kiefer Sutherland and Dennis Hopper filmed here. The inside of Doc Holliday’s saloon and our train station are probably the easiest locations to pick out.”

In Upstate Colorado stands the City of Cripple Creek, an historic gaming town, complete with resident donkey herd — several of which are believed to be descendants of those used and released by miners during the Gold Rush. “Old Homestead House (an old time brothel) is located on a side street off Bennett Avenue, the Main Street; and the Cripple Creek & Victor

“We had Richard gere on set, and we ended up shooting a scene at the busiest intersection in the entire city” Narrow Gauge Railroad small train can take you on a ride through some of the mining structures,” says the City’s Maria Cunningham. In Michigan it’s possible to go even further back in time, at Fort Michilimackinac, an authentic 18th century fort and trading post on the shores of Lake Michigan and Fayette State Park. Michigan Film Office’s Michelle Begnoche says that the settlement was also “a crucial community in iron ore mining. This now deserted village includes an opera house, resi-

dences, a hotel and the company store.”

Of course, a lot of the time what producers want is something that can only be described as everyday, or ordinary. In other words, a location that is the backdrop to the plot, not a character in it. David Artushin was assistant location manager and location scout for this year’s release The Double, directed by Michael Brandt, and starring Topher Grace, Odette Yustman, Richard Gere and Martin Sheen. “We ended up shooting all over the city of Detroit and outlying areas, including Ann Arbor and the University of Michigan. Filming our several downtown locations across Detroit and Ann Arbor turned out to be a huge success,” says Artushin. He adds: “For one of our shoot days, we had Richard Gere on set, and we ended up shooting a scene at the busiest intersection in the entire city of Ann Arbor, during morning rush hour to lunch, and on a weekday. To any production considering bringing their film to Michigan, I highly recommend getting in contact with the city of Ann Arbor's film commission as well as the University of Michigan's film commission. Both were a huge help with all our requests.”

Whether filming takes place on a busy intersection or takes up the sidewalks of a quiet town, the set takes some organization if the local tranquility, to say nothing of the economy, is not to be disturbed. California-based location manager Gregory Alpert, knows just how to disturb a main street. “Several years ago, a local production company was producing a commercial for a German TV station. They wanted a beautiful Main Street USA look. They loved Colorado Boulevard in Pasadena. During the tech scout the day before we shot, the director was talking about how the horse would run down the middle of the street, onto the sidewalk and in front of a store. Thinking this was an inside joke, I chimed in with ‘Why not gallop down the sidewalk instead?’ Then I realized they were not kidding at all, that they

Kay Seaser, Ann Arbor Area Film Office: “ We really do have a Main Street called Main Street.” Here Richard Gere in Main Street, Ann Arbor, on set during the shooting of The Double, directed by Michael Brandt ©Kay Seaser, Ann Arbor Area Film Office

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FEATURE MAIN STREET USA

indeed wanted to do just what they said... run a horse down the middle of Colorado Blvd… I was stunned! ” The client and producers had not realized that Alpert would have to get permission from the City, a permit for the horse, traffic control, and need to notify all the merchants, not to mention the public safety concerns. He adds: “They said, ‘OK, could you please take care of that for us?’.”

Eugene Mazzola, a Washington-based AD, line producer and executive producer, recognizes that co-operation from local people is always the challenge. “Movies or commercials come barreling into town for a day, a week or even a month, and immediately disrupt the routine of the businesses and the daily lives of the locals.

I have found that with the help of local government, co-ordinating shutting down a main street and often side streets is more about communication than money or disruption. Always, the police are required to lend assistance, and city engineering is your best friend in coming up with a reasonable plan. If businesses and citizens have an opportunity to be a part of the process and are given enough notice the problem becomes less about complaints and more about managing folks who want to watch.”

Parking can be a big issue too, according to Oregon-based scout Doug Hobart: “When you clear the parking for a block or two around the actual shoot location, you still need space for the equipment trucks and crew cars. So you tend to eat up a lot of space.” Michigan scout David Rumble agrees: “Businesses are always concerned about loss of business and lack of parking for their business.”

Crews need the least amount of distractions possible to get their work done, according to North Carolina Film Office’s Aaron Syrett, however “they know they are in a jurisdiction where locals are very interested in the process, and filmmakers try to accommodate a balance of both when possible”.

Mark Ragland experienced considerable public interest while

“Movies or commercials come barreling into town for a day and immediately disrupt the daily lives of the locals” working on the Hannah Montana movie in Tenessee. “The usual off-duty officers were hired for traffic control and barricades brought in to control the large crowd of tweenies and their mothers that would show up after school, in the hope of getting an autograph from Miley [Miley Cyrus, aka Hannah Montana]. A balloon store on the square even put out a sidewalk display of Hannah Montana balloons.” He adds: “Communication was essential to making this work as smoothly as it did. Early meetings with the mayor, city manager, and the convention and visitors bureau were followed by meetings with the Main Street merchant association. This allowed them to express their concerns — a previous film did not do a good job of communicating, and many merchants felt taken advantage of.”

Of course in situations like this, step forward the film commissions who can bring film productions and communities together.

Michigan scout Thomas Jacob can vouch for that: “The film commission has been involved in most of the shoots I've been part of; the Michigan Film Office has come to the aid of the film community on many an occasion.”

On No Strings Attached, filming in Pasadena, Gregory Alpert had to shoot a scene in a high-end dress shop, while controlling traffic and crowds. “The Pasadena film office was involved.

I always do a walk-through with the local film office or commission before the shoot and/or put in the film permit app to insure that we are all on the same page. Film offices are good at letting me know if there are people or businesses that might need some ‘special’ attention. I find that 90% of problems are avoided if you simply inform people in the immediate vicinity ahead of time.” Washington-based Eugene Mazzola concurs: “Whenever there is a film office available, I take advantage of it. It is always more productive in terms of time and effort. The film office has all the contacts at hand.”I

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OLD AMERICA SOME FILMMAKERS WANT THE OLD, CARE-WORN AMERICA AS THE BACKDROP TO THEIR MOVIES …

■ GREAT BARRINGTON, MASSACHUSETTS John Hutchinson, New York-based international location scout: “Great Barrington was a location in Pretty Poison, starring Anthony Perkins, and Alice's Restaurant, starring Arlo Guthrie. An upscale town in the Berkshire Mountains, when the railroad was built, it brought wealthy vacationers from Boston and New York — a perfect image of affluent Americana, which makes this abandoned store all the more interesting and unusual” © John Huchinson

■ PESCADERO, CALIFORNIA Brena Bailey, film commissioner, San Mateo County Film Commission: “Scenery abounds in this old Portuguese fishing village and its surrounding towns.

Pescadero is a quaint, quiet, picturesque, film friendly country town, tucked into the rolling hills just off the Pacific Ocean and near giant redwood forests” © Brena Bailey

■ NASHVILLE, INDIANA A village founded in 1851, nestled in the hills of southern Indiana, known for weather-beaten barns, clapboard churches and covered bridges. The Story Inn, formerly a turn-of-the-century general store, is full of history with a gathering place in the cellar, the Story Still, named for the area's prohibition-era bathtub gi. © Story Inn

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FEATURE MAIN STREET USA

TUPELO...

ALWAYS ON MY MIND What if your Main Street is famous for another reason? Like it’s in the hometown of possibly the biggest name in popular music history?

Would that be a plus or a minus to a visiting production?

T

UPELO, Mississippi, is the birthplace of Elvis Presley and is frequently visited by film crews. Tupelo film commissioner Pat Rasberry is well used to showing productions around the important Elvis-related locations. “The Tupelo Hardware Store is still very authentic and is where Elvis bought his first guitar — it is like stepping back in time — everything still looks like it did. Another request is just the basic B-roll of downtown, capturing this active little place,” she says.

When Michael Rose of LA-based Michael Rose Productions was producing a documentary about Elvis Presley’s early life, Pat Rasberry organized a lunch with local Elvis expert, Roy Turner and his producing partner, Jim Palmer.

Rose says: “They put me in touch with everyone I needed to make this happen. Amazing. It was like becoming a member of the family. Pat and her team made sure there were no obstacles in our way. With their help and support I was able to focus on the story — not the logistics. He adds: “The shoots in Tupelo were great. The people were great and I formed friendships I’ll cherish for the rest of my life. Since we were a small crew — three people — with a short schedule, the biggest challenge was just getting it all done.”

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MAIN STREET USA FEATURE

“Elvis still lives in Tupelo. You can feel it in the air, you can taste it at Johnny’s Drive In ...”

Another documentary, Church Of Elvis, was a three-part series on the spiritual world of Elvis Presley, produced by Summerhill Television in Toronto, for Canada’s Vision TV. Producer and director Scott Dobson says that people often forget that locations are as important in documentaries as they are in other films. “Locations set the tone and provide context that can help viewers travel back in time or help put them in the shoes of others to see world through another’s eyes. On a purely historical level, remaining locations may be the only visual link to the past. With the Church Of Elvis project my two big questions were: ‘Did the town of Tupelo still have any of the look from that time period?’, and ‘Could you still feel Elvis in any way?’, Dobson says. “I was also concerned about how the town had decided to honor it’s famous son. Had it been turned into a tacky tourist trap? Thankfully these sites have been respectfully restored and it comes through in my film; you really can get a feel for the world of a young boy and what influenced him spiritually and socially before he grew up and changed the world of music.”

In a location like Tupelo the usual problems of local people being disturbed, distracted or just over-interested in a film crew, are significantly lessened by the fact that crews are a regular feature of life. “The biggest challenge was shooting at the number-one destination for tourists, Elvis’s birthplace.

As a crew you are there by the kindness of the administrator and the town and part of that is respecting the privacy and experience of others. Many have come a long way to visit a place that is almost sacred. In my experience you learn to wait and plan so when a doorway or a vista clears you can quickly get three or four different shots before another group walks by,” Dobson says, adding: “Shooting in Tupelo was one of the best experiences I have had. Elvis still lives in Tupelo, you can feel it in the air, you can taste it at Johnny’s Drive In, you can stand on it in the hardware store in front of the guitar display and you hear it in songs of worship in the local churches. It is impossible to not feel something and for that ‘something’ to show up in your film,”

The Tupelo Film Commission and Pat Rasberry were heavily involved in the production, advising and suggesting locations as well as making important introductions. “She connected us with Tupelo historian Roy Turner who was so knowledgeable we put him in the film, and she and Roy chaperoned us around town. Once you have cleared things with Pat she can almost blanket-clear everything else in one swoop.

Even when we were back in Canada, Pat at the TFC followed up to make sure that there was nothing that we missed, and in fact there was. Pat arranged for a local shooter to grab a few shots. It wasn’t a show breaker but having a few extra cutaways made that part of the story come to life — extra help from TFC that I was very thankful for,” Dobson says.

And there were other reasons to be impressed by Tupelo.

“On my first day of shooting I lost my money belt, filled with petty cash and other valuable documents. Panic would be a mild way of putting it as I raced from location to location. After no luck I went back to Elvis’s birthplace where my crew was still shooting, and I saw the belt. It was sitting on the front porch under the swing! Probably a hundred people had walked right by and nobody had touched it. I said aloud in my Canadian accent that I could not believe this, and a man turned to face me and said ‘Welcome to the South’. I thought to myself, I am going to like this town.” I

Being interviewed on camera is Howard Hite, cousin of George Booth, thirdgeneration owner of the George H. Booth Hardware Store where Elvis bought his first guitar

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WHERE THE WILD THINGS ARE MAKING A SCENE

W

HERE The Wild Things Are, directed

by Spike Jonze, is an adaptation of American writer Maurice Sendak’s book about a mischievous young boy Max, as he creates his own magical world inhabited by wild creatures who crown him their ruler.

The cast includes Catherine Keener, Mark Ruffalo and Max Records as Max, and voice cast included James Gandolfini, Forest Whitaker, Chris Cooper and Catherine O’Hara. The filmmakers scoured the world for 18 months for the ideal location before choosing Victoria, Australia, as the home base.

Locations manager Russell Boyd says the brief was simply to be loyal to the script, which called for a middle-America house in a middleAmerica neighborhood. “The opening scene to the picture had the lead actor Max running down interior stairs of the house into the the street, and culminating in a large snowball fight over various front yards and fences in the street,” Boyd says.

“Australian architecture is all Victorian or Edwardian. This was by far the most challenging house location I had scouted in 20 years and 40 productions. We didn’t have the resources to build the interior on stage so it had to be one-size-fits-all, house and street.”

He found a small street in outer Melbourne where the houses contained basic American features. The builder had apparently traveled through the US prior to construction and had decided to give the houses in his development an

AMERICA DOWN UNDER The street for the film-of-the-book by Maurice Sendak, Where The Wild Things Are, had an American look, but was actually situated in Victoria, Australia. Debbie Lincoln reports

A street in Melbourne, Victoria becomes snowy Main Street USA

“The sun wasn’t going to be our friend” American look — at least enough to give the production designer KK Barret a palette to work with.

“I scheduled a neighborhood meeting to pitch our plan and as Melbourne has no snow, it meant relocating some home owners for eight weeks and covering the street and houses with 100 tons of crushed ice to replicate snow,” Boyd says. “The sun wasn’t going to be our friend. We were also environmentally cautious and couldn’t add salt or additives to the snow as it had to be safe for the cast and crew to work in, and when it melted it had to be complaint with local health laws.” He adds: “Film Victoria was exceptional in their support — directly consulting with residents and pitching at our regular street meetings.

They just know what works in their own backyard when pitching to international productions and never over-commit to what is available. That’s what is exceptional about Film Victoria.”I LOCATIONS MAGAZINE 2011

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PORTFOLIO

LOCATIONS IN PICTURES Locations Magazine has teamed up with film commissions, location scouts, and photographers, to bring you images of stunning locations around the world. Some are well-trodden by film crews, others still to be made famous on the big or small screen...

✱ TRESTLE BRIDGE ON 12TH AVENUE,

BETWEEN 125TH AND 135TH STREET IN HARLEM, NEW YORK CITY

The bridge carries the Broadway-Seventh Avenue IRT Line, and has featured in dozens of productions, including the Law And Order TV series, a Ford Focus car commercial, and a video for rap act Eve And The Ruff Ryders. The bridge also features in countless movies including 2011’s Something Borrowed with Kate Hudson, 2010’s For Colored Girls with Janet Jackson, and 2007’s Perfect Stranger with Halle Berry and Bruce Willis.

(Photo, courtesy John Hutchinson, LMGA)

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PORTFOLIO

✱ ANTWERP CENTRAL STATION, ANTWERP, BELGIUM The picture shows the entrance hall with the staircase leading to the upper platforms in the old, vast iron and glass train shed. The Chocolate Box, a 1993 episode of British TV series Poirot, starring David Suchet, shot here. Also 2003’s The Alzeimer Case, a Flemish feature by Erik Van Looy and starring Jan Decleir; and a largescale commercial for fragrance, make-up and skincare brand Guerlain, in 2010. In 2009 the American weekly Newsweek chose Antwerp Central Station as the fourth most beautiful railway station in the world.

The station was originally built between 1895 and 1905. (Photo, courtesy Bart Dewaele/Location Flanders)

✱ A LEATHER

TANNERY IN FES, MOROCCO

As well as being visually striking, this is one of several tanneries in Morocco that would appeal to filmmakers because of the fact that it has never before been used as a film location. Fes is one of Morocco’s four Imperial Cities, and a UNESCO World Heritage Site. The old walled city, Fes el Bali, has several ancient leather tanneries. The Tanneries of Fes were explored in an edition of the BBC documentary series Human Planet. (Photo, courtesy Janice Polley, LMGA)

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✱ JAPANESE GARDEN AT THE

HUNTINGTON LIBRARY, SAN MARINO, CA, NEAR PASADENA

This picture was shot in March, when the Pink Cloud flowering Japanese cherry trees on the southern slope are at their most spectacular. The Japanese Garden has been consistently popular since filming was first allowed at The Huntington in the mid seventies. In the 1974 movie Mame, Robert Preston and Lucille Ball stood together on the moon bridge — which was painted red in those days — as he sang Loving You. The crew for 2005’s Memoirs Of A Geisha built their own artificial flowering cherry tree in fall of 2004 for the scene where Ziyi Zhang and Ken Watanabe meet at the Baron’s estate. (Photo, courtesy Dinah LeHoven / The Huntington Library, Art Collections and Botanical Gardens)

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PORTFOLIO

✱ CHATEAU MARGUI, PROVENCE, SOUTH OF FRANCE

This picture was taken at Chateau Margui located in the Var, in the heart of Provence Verte, in southeastern France. A stylish 10 x 60 mins documentary series about French cuisine shot at the Chateau Margui for French arts channel ARTE. It’s a location where you can find both modern and traditional backdrops in the middle of the Provence Verte, away from the crowds but not far from the motorway between Cannes and Marseille, and just one hour’s drive from Saint-Tropez. It’s a perfect place to film because of the quality of life this area offers, as well the diversity of the locations nearby — including mountains, sea, lakes, rivers, canyons, traditional villages, forest, and vineyards. (Photo, courtesy Bernard Touillon, South of France Film Commission, Var)

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PORTFOLIO

✱ PUCKS GLEN, BENMORE,

DUNOON, ARGYLL, SCOTLAND

The special features of the glen is the atmosphere, a sense of remoteness, an almost prehistoric feel, the many species of plants, trees, lichens, mosses and ferns, and the waterfalls, rock formations and general sense of personal insignificance.

Nothing in the glen would lead you to think you are in Scotland — you could be anywhere in the world. The main town is Cowal which is only six miles (20 mins) away, and offers a wide range of hotels, B&Bs, bars and restaurants.

The only restrictions to filming might be the narrowness of paths. (Photo by Francis Lopez, courtesy Creative Scotland Locations Department)

✱ CATHEDRAL OF ZIPAQUIRÁ, SALT MINES, BOGOTA, COLOMBIA

This picture was taken in the Zipaquirá Salt Mines, located about an hour outside Bogotá.

It’s an underground catholic cathedral built in an area that used to be a salt mine. The construction has been declared a Jewel Of Modern Architecture.

The icons, ornaments and architectural details are handcarved in the halite rock. Footage for one of the most important international tourism campaigns produced in Colombia, Vive Colombia, Viaje por ella, shot some of its footage in the mine.

(Photo, courtesy Rob Aft, International Compliance Consulting)

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✱ VALLETTA,

CAPITAL CITY OF MALTA

Many productions have shot in Valletta — examples include 1973’s The Mackintosh Man, 1978’s Midnight Express, 2005’s Munich, 2010’s Murder On The Orient Express and 2008’s Agora.

Valletta is a unique Baroque city built in 1570 on a peninsula by the Knights of St John as a commemoration of their victory in the Great Siege over the Ottoman Empire. It is the earliest example of a ‘modern’ city built on a grid system, and Europe’s finest engineers, architects and artists contributed to its development under the Order of St John’s golden era. Many productions shoot in the city as it has changed little over the years, so is perfect for period shooting.

(Photo, courtesy Kurt Arrigo, Malta)

✱ KETTLE VALLEY STEAM TRAIN, OKANAGAN, BRITISH COLUMBIA, CANADA

Consolidation Engine 3716 - built in 1912 by Montreal Locomotive Works, this train has featured in a number of films including 1982’s The Grey Fox and 1985’s The Journey of Natty Gann. It also featured in two PBS series, Great Scenic Railway Journeys and North American Steam Railways.

(Photo, courtesy David Leyland)

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PORTFOLIO ✱ THE AHURIRI VALLEY, WAITAKI DISTRICT, NEW ZEALAND

This landscape has featured in many television commercials and stills shoots, including a US Gilette TVC, a Subaru Australia TVC and a Visa stills shoot. And National Geographic has shot part of a documentary here. Major productions that shot within a couple of hours drive of here include 2009’s Lovely Bones, Lord Of The Rings (20012003) and 2009’s X-Men Origins: Wolverine.

(Photo, courtesy Paul Mercer / Film New Zealand)

✱ FROLEK HOMESTEAD, KAMLOOPS, BRITISH COLUMBIA, CANADA

The movies The A-Team (2010), 2012 (2009), Shooter (2007), An Unfinished Life (2005), Afghan Knights (2007), The Sisterhood Of The Travelling Pants (2005), and Battlestar Galactica (2004-2009) all shot here. The rolling grasslands of Kamloops, partially peppered with homesteads, attract those wishing for a variety of looks within a 30-minute radius. The grasslands to the south of Kamloops and desert box canyons and arid, barren landscapes to the north and east, attract productions using Kamloops as a production hub. The open sky and beauty of the landscapes attracted Battlestar Galactica to shoot the finale depicting an idyllic new world. In spring the grasses are green and as summer progresses, they turn to gold. (Photo, courtesy Vicci Weller, Thompson-Nicola Film Commission)

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✱ ROCK FORMATION, NACHAL ZOHAR, ISRAEL The picture was shot in Nachal Zohar, near the Zohar River and the Dead Sea, Israel. An Urban Outfitters catalogue has been shot here as well an episode of the Sylvester Stallone movie franchise Rambo. Directors like this location because of the drama it adds to a scene. (Photo, courtesy Shacham Zaguri)

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PORTFOLIO ✱ ELM STREET, DALLAS, TEXAS Elm Street, the scene of the assassination of President John F Kennedy, runs from downtown into a neighborhood known as Deep Ellum. The US TV series Walker Texas Ranger(19932001) regularly shot here, as well as the NBC series The Chase (2010) and Fox series The Good Guys (2010). Paul Verhoeven’s 1987 movie Robocop also shot at the location. “Both Deep Ellum and the Bishop Arts districts are fantastic,” says the Location Manager Guild of America’s (LMGA) Claudia Eastman. “Most importantly people are excited about your filming there. They’re very welcoming. Personally and professionally I’d brave the summer’s triple digit heat to film there again.” (Photo, courtesy Claudia Eastman, LMGA)

✱ THE GALLATIN RIVER, MONTANA This is one of three Montana rivers where the fly fishing scenes of Robert Redford’s A River Runs Through It (1992) were shot.

There have been some very famous films made on Montana’s various waterways — The River Wild (1994), starring Meryl Streep, dramatized the adventure of river rafting, and Montana’s Middle Fork of the Flathead and Kootenai rivers were the location of some of the film’s most thrilling scenes.

(Photo, courtesy of the Montana Film Office)

✱ PLAZA

DE ESPAÑA, SEVILLE, SPAIN

This striking structure was built in 1928 for the Ibero-American Exposition. It is a wonderful example of Moorish Revival architecture with its exquisite tile work. Plaza de España has featured in 1977’s Star Wars as Planet Naboo and in 1962’s Lawrence Of Arabia as the Cairo Officers Club. (Photo, courtesy Lori Balton, LMGA)

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✱ DULLES AIRPORT, VIRGINIA

Dulles is one of the most iconic and recognizable of America’s airports. Some of the many films that have shot there include Airport 1975, 1999’s Forces Of Nature, 1990’s Die Hard 2 and 2008’s Body Of Lies. (Photo, courtesy of Virginia Tourism Corporation)

✱ GREEN MOUNDS, BOHOL ISLAND, PHILIPPINES This picture was taken on the popular tourist island of Bohol in the Visayan region of the Philippines.

The Chocolate Hills of Bohol —as they are fondly called by local and international visitors — are a part of a varied landscape that has not been fully maximized in terms of film production. Not many film or television productions have been shot here, and the Philippines Department Of Tourism is keen “to offer such fresh and unexpected scenery to foreign film productions”. Lush green in the wet season and golden brown in the summer, with more than a thousand of these grass-covered limestone hills scattered across the landscape, the Chocolate Hills have invoked mythological origins as well as alien theories. (Photo, courtesy of the Department of Tourism of the Philippines)

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PORTFOLIO

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✱ ABANDONED BUILDING, ICELAND’S SOUTH COAST The LMGA’s Russ Fega went to Iceland on a reccy: “While there, I wanted to see Vatnajökull, the largest glacier in Iceland. Chris Nolan, a director I’ve had the pleasure to work with on several films, shot part of Batman Begins at Vatnajökull and I wanted to see it in person. While on my way there, I came across this abandoned building on a black sand beach along the southern coast. I imagine that filmmakers are drawn to Iceland for its unique geography and vast stretches of beautiful, open space.” Some of the films that have been shot in Iceland include Die Another Day (2002), Journey To The Center Of The Earth (2008), Lara Croft: Tomb Raider (2001), and Letters From Iwo Jima (2006). (Photo, courtesy of Russ Fega, LMGA)

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PORTFOLIO

✱ NEWARK STATION, NEW JERSEY Most recently Eminem’s music video Not Afraid was shot in Newark. In addition, it has hosted a number of movies and TV shows including The Sopranos (1999-2007), Steven Spielberg’s 2005 remake of War Of The Worlds, and parts of the 2004 cult classic Garden State. New Jersey offers many locations from rural to inner city, as well as Ivy League to blue collar, and benefits, of course, from its proximity to Manhattan. (Photo, courtesy Steven Hopper, LMGA)

✱ WAT RATCHABURANA, THAILAND Located in the city of Ayutthaya, Wat Ratchaburana was built in 1424 by King Borom Rachthirat II in memory of his two elder brothers who killed each other in a duel for succession to the throne. This temple and many others are sprinkled throughout this ancient city, bringing together Muslim, Buddhist and Hindu history and cultures. The infrastructure of this city is modern enough to house and take care of a production crew wishing to take advantage of the historic sites located within a few miles of the city’s center. Ayutthaya has been used in a number of movies including 2005’s The King Maker and 1997’s Mortal Kombat: Annihilation.

(Photo, courtesy Kyle Oliver, LMGA)

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✱ RICKWOOD FIELD, BIRMINGHAM, ALABAMA Rickwood Field is reputedly America’s oldest baseball park. This view is looking from third side base towards the center section of grandstand, behind the homeplate area. Rickwood was the home park of the Birmingham Barons from 1910 to 1987. It also served as home park for the Birmingham Black Barons from 1920 to 1963. Features shot here include 1994’s Cobb and the 1996 TV movie Soul Of The Game; and commercials for ESPN, Chevrolet and Miller beer. Rickwood is a ready-made set for vintage baseball-related film, video, and print shoots. (Photo, courtesy of Birmingham Film Office)

VIENNA FILM COM MISSION

MAKING A SCENE ROBIN HOOD

THE CALM OF THE ENGLISH COUNTRYSIDE The film Robin Hood found an unlikely source of production assistance in the National Trust. Max Leonard reports

B

ACK in the 18th century, you would have hired a Gainsborough, say, to paint your house and put it on the wall.

What’s the difference between that and having Tim Burton come and photograph it?” asks Harvey Edgington, head of the Film Office at the UK’s National Trust (NT). He’s explaining how he sells his activity — facilitating location shooting at historic properties around England — to some of the Trust’s more traditional curators. “When you look at those paintings, a lot of them exaggerate a house’s features, they’re wish fulfilment.

It’s the same thing with film — just a different artistic mode of interpreting a property,” he says.

The National Trust is a charity that works to conserve and protect the buildings and countryside of England, Northern Ireland and Wales (Scotland has its own, independent National Trust).

This includes more than 700 miles (1,141km, or around 10%) of coastline, 255,000 hectares (630,000 acres) of land, and hundreds of country houses, buildings and sites of industrial heritage.

And, for filmmakers, its Film Office is the

”

It’s not all bonnets and bustles. Hellboy II and Die Another Day all filmed at National Trust locations gatekeeper to some of the UK’s most stunning landscapes and houses.

Edgington set up the Film Office in 2002 to make the National Trust more filmand TV-friendly, and it scored its first major Hollywood production with Joe Wright’s Pride And Prejudice, starring Keira Knightley. But it’s not all bonnets and bustles. Hellboy II, Harry Potter, Children Of Men and Die Another Day all filmed at National Trust locations, and Tim Burton did indeed visit a Trust property: Antony House in England’s far 80

LOCATIONS MAGAZINE 2011

Ridley Scottâ&#x20AC;&#x2122;s Robin Hood starring Russell Crowe, rampaging through the English countryside

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Russell Crowe stars as British folk hero Robin Hood in Ridley Scottâ&#x20AC;&#x2122;s 2010 film

south-western county, Cornwall was Alice In Wonderlandâ&#x20AC;&#x2122;s only â&#x20AC;&#x2DC;realâ&#x20AC;&#x2122; location. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve created a one-stop-shop,â&#x20AC;? says Lauren Taylor, Edgingtonâ&#x20AC;&#x2122;s colleague at the Film Office. â&#x20AC;&#x153;Before, filmmakers didnâ&#x20AC;&#x2122;t know whether to go to the region or the property itself, and it was very difficult to get anything done.â&#x20AC;? Taylorâ&#x20AC;&#x2122;s role when not helping film productions directly is to visit the Trustâ&#x20AC;&#x2122;s properties and talk to their managers, so she has an accurate inventory of what she has to offer if a location scout comes searching for a certain sort of staircase, entrance hall, or tree-lined hill. While some

â&#x20AC;&#x153;We negotiate all the deals and then iron out the details with the property managerâ&#x20AC;? productions, such as 2006â&#x20AC;&#x2122;s Miss Potter, are necessarily based in a certain landscape (in that case, Beatrix Potterâ&#x20AC;&#x2122;s beloved Lake District), many productions are geography-agnostic, and need help negotiating what is otherwise a bewilderingly rich range of locations.

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ROBIN HOOD MAKING A SCENE

The National Trust’s film- and TV-friendly policy scored its first major Hollywood production with Joe Wright’s Pride And Prejudice, starring Keira Knightley

“The NT has a very active and supportive film liaison unit that punches way above its weight in terms of its activity attracting film production,” says Bill Darby, location manager for Ridley Scott’s Robin Hood, which stars Russell Crowe. Darby’s scouting for Robin Hood was interrupted by the WGA strike threat, but when he resumed, the brief was wide.

“We took in every castle that was in England and Wales, and any and every ancient woodland we could find anywhere in the country,” he says. They scouted the Trust’s Lindisfarne Castle in north-east England (Ridley Scott’s home territory) and picturesque, moated Bodiam Castle in the south, but eventually built the principal castle sets on private land near to Shepperton Studios, just outside London, where the production was based.

The Film Office provided three important locations. Most extensively used was Ashridge, a huge swathe of ancient woodland located on the Berkshire and Buckingham borders, just close enough to Shepperton to be

“We took in every castle that was in England and Wales” practical. “Ashridge is a versatile location, and very used to the scale of filming we were doing,” Darby says. “They have a number of different looks on the estate, and a large variety of areas that can be used. We principally used one, called Thunderdell Woods, where we built the outlaws’ Sherwood Forest camp.” Good access and a large field next to Thunderdell established it as an important base. “We were able to spend a lot of money putting temporary roadways into the field and service the location from there. The base stayed in for more than a month, because we shot there in three blocks. We had between 250 and 300 crew, and some days we had up to 300 or 400 extras; the logistics of setting up and supporting a unit like that, LOCATIONS MAGAZINE 2011

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MAKING A SCENE ROBIN HOOD

and feeding and dressing and making them all up, is complex.” Elsewhere in Ashridge, Lady’s Walk, an avenue through mature trees, served as the old road to London.

The other two sites were further afield: Dovedale in the Peak District — several hundred miles further north — was chosen for its dramatic limestone hills, and is the meeting point for the English armies massing to fight the French.

Freshwater West beach in Wales, meanwhile, doubled for the English south coast for the climactic battle scene.

Dovedale is a National Nature Reserve, protected by Natural England, and the dunes behind Freshwater West, a Site Of Special Scientific Interest, overseen by the Welsh equivalent, CADW. In each case, the National Trust helped determine acceptable usage. This negotiation — between the technical and aesthetic demands of the production, and the needs of the Trust and other property owners, conservation agencies and regional bodies — is an important role for the Film Office.

“We’re custodians, too, so we understand what they need,” Edgington says. Taylor adds: “At Dovedale we had to clear it with Natural England that we could have 120 horses trotting through the stream. We gathered all the information from Bill [Darby], and presented it to them. They stipulated that the horses must cross the River Dove in an orderly manner, not a stampede. How you stop 120 horses crossing a river however they like, I don’t know! But everything was fine. Our staff on site always have good links with their colleagues in these organizations. They work together all the time, so it’s just another thing they have to talk to them about.”

When Robin Hood arrived at Freshwater West, the beach had just been vacated by Harry Potter And The Deathly Hallows — Bill Weasley and Fleur Delacour’s shell house, where Dobby is laid to rest, is situated there. “The

primary reason why Freshwater worked was that it’s reasonably near to Milford Haven, the port where we brought our marine unit — and in fact the boats we were using as part of the set — and launched and serviced them. We had to have a satellite base closer — at the end of the day they’d sail back there and stay overnight, and come back across the following morning,” Darby says. “Also, the beach’s orientation is right — it’s north-south, so you’re always able to shoot. And it’s a very long, flat sand beach, so that when the tide’s out you’ve got plenty of space to work on. You can

“Often they’ll find a perfect beach, reccy it and then think, ‘How am I going to get 15 trucks down this track?’ But where there’s a will, there’s a way” access it off a small road that runs behind the dunes that you can’t see from the beach.” The main unit was housed just behind the beach and, nearby, there were two more bases: one for the horses and stuntmen; the other to deal with the numerous extras — sometimes catering for 1,200 people a day.

Beaches, Taylor says, are usually straightforward, except where access is concerned. “Often they’ll find a perfect beach, reccy it and then think, ‘How am I going to get 15 trucks down this track?’

But where there’s a will, there’s a way. If they fall in love with a beach, we make it happen.”

Houses, can be more complicated, as the Trust, if it is to shut a property for filming, needs to warn potential visitors in advance. “Filmmakers are sometimes a bit shocked by the variety,” Taylor says.

“Houses are all different ages. Some have

donor families in them; some are really robust, but some are full of fragile furniture. For example, Packwood House in Warwickshire is a gorgeous manor house and famous for its yew tree garden, but back in the 1920s and 1930s it was filled with Victorian reproduction Tudor furniture. So actually it’s a great place to film compared with some others. But at Osterley Park, we have Robert Adam benches that have to be put away every time you do something.”

That said, houses such as Ham House, on the river Thames on the outskirts of London, go to great lengths to accommodate film crews. In 2010, the 17th-century house played host to Mark Romanek’s film adaptation of novelist Kazuo Ishiguro’s Never Let Me Go, a creepy, understated tale set in a dystopian recent past. It was transformed into Hailsham, a mysterious boarding school-like institution where the first half of the film is set. Producer Allon Reich explained the production’s requirements in an interview with the Trust: “We wanted something theoretically ‘gone to seed’. Close to London, and flat. No skyscrapers on the horizon,” he said. “For the interiors, we needed paneled walls, and a fairly austere, institutional atmosphere. So we took out historic artefacts, like the fire buckets and the portraits, and brought in fluorescent lighting.”

For the exteriors, the head gardener was persuaded to let the carefully groomed lawns grow, for the requisite dilapidated look, and the ornamental hedges were dressed to look overgrown.

In the six-week lead in, signs explaining the filming were posted for visitors, so they didn’t think the property was always badly maintained. Elsewhere, by contrast, Taylor arranged with English Nature for the mowing of several sections of a wildflower meadow, to create a rounders (an English, more gentle version of baseball) pitch. The visitor hut and welcome sign were removed, and the fountain garden carefully hand dug:

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ROBIN HOOD MAKING A SCENE

“Ironically, there’s no fountain there and they wanted to put one in mechanically,” Taylor says. “We had to say no, because we had no idea what was underneath, archaeologically speaking. There might have been an old house, so we had to say no to mini-diggers. They had to dig it all out by hand. That’s the sort of care and attention you have to take when dealing with such historic sites. But we always get there in the end.”

The pay-off for Trust properties is that the entire filming fee is passed to them, to spend on up-keep and improvement.

So, says Bill Darby, the vital incentive is there: “Film crews are a hassle. We turn up and need a lot of information in a short space of time and we’re continually going back on reccies. In the end, when you’re shooting, you cover those costs,

Ashridge, ancient woodland located on the Berkshire and Buckinghamshire borders borders in the south of England, used for Ridley Scott’s Robin Hood, which is set a few hundred miles further north in Nottingham

“Film crews are a hassle.

We turn up and need a lot of information in a short space of time”

but I forget how many times we went to Ashridge and were helped around. We went in every season, in all weathers.

Every time a warden accompanied us and we were always very well looked after — and it’s all speculative until you’ve signed a contract.”

In addition, after Pride And Prejudice and Alice In Wonderland, visitor numbers rocketed (in the year since Alice, Antony House received almost five times its 20,000 regular annual visits), and the Trust is capitalizing on the interest with film-related exhibits to engage with visitors and local communities. With increasing awareness of the benefits on all sides, thanks to the Film Office, bringing large film units to some of the most beautiful places in the UK, is becoming easier. I LOCATIONS MAGAZINE 2011

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FEATURE MAIN FILMING STREET ON THE USAWATERFRONT

FILMING...

ON THE WATERFRONT Cameras and water do not mix. Add in weather and logistics and waterside locations become a complex and often dangerous prospect. Debbie Lincoln asks the international film community what they look for when water appears in the script

F

ILMS rarely shoot in pouring rain; the rain is usually simulated so the production team has control; same with wind, and even snow. Water tanks are becoming more sophisticated these days, and there are more of them. But very often a director will want the real thing, be it river, lake or sea. So how does the need for water affect the choice of location, the choice of equipment and people required for the shoot — and not least, how much the shoot is going to cost?

The principal locations for Touching The Void director Kevin Macdonald’s most recent feature The Eagle, were the mountains and forests of Scotland. Set in Roman-ruled Britain, the film stars Channing Tatum, Jamie Bell and Donald Sutherland. Location manager for The Eagle Duncan Muggoch says: “Our main water scene involved two characters jumping into a river and being swept over a waterfall. Also our final battle scene was filmed in a river gorge, just outside Glasgow.”

Muggoch says that river locations are particularly tricky as the water can rise and fall quickly. He adds: “We had water safety advisors, dry suits, wet suits and waders — you must also create a warm drying area for cast and crew as close as possible. On the day chosen for the chase stunt, the river had risen and the stunt had to be changed. The original idea would have been too dangerous. There should always be a back-up plan when filming in

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Shooting The Twilight Saga: Eclipse, with Crosby Marine Services. Jason Crosby: “The challenge was choosing the appropriate boat — light enough to helicopter into the river, but big enough to support the camera, and fast enough to get the running shot”

“Our main water scene involved two characters jumping into a river and being swept over a waterfall” rivers,” Muggoch says. Another task is to take water samples to ensure that there are no bugs that could cause illness. “You need to speak with local environment agencies, as you must be sure that you do not contaminate the water.”

It was the Pembrokeshire coastline of Wales that provided locations for two recent movies, Harry Potter And The Deathly Hallows and Robin Hood, starring Russell Crowe. “Astonishingly, they arrived within a week of each other to use the same sand dunes;

and what had been the location for Dobby’s house [in Harry Potter] was transformed into a medieval battlefield with armies, cavalry and an invasion fleet,” Katherine Thomas, film officer at Wales Screen Commission, says. “A sandy beach was essential for the horses to gallop along and the director, Ridley Scott, wanted high waves which, as a well-known surfing beach, Freshwater West was able to offer.”

Anders Barlebo, a first AD in Denmark worked on a 2008 film for Nordisk Film Production called Karla And Katrine, a pre-teen film about two girls spending a summer holiday in a house near a lake. “In the story a jetty on the lake was a key element. We fell in love with a house near a lake, but the lake did not have a jetty,” Barlebo says. “The house was owned by a fund and the lake was state property so we had to go to the Forest And Nature Agency.

It took a lot of talking to get permission to build our jetty. We wanted a crane shot where the camera tracks close to the water’s

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FILMING ON THE WATERFRONT FEATURE

surface, and we had underwater constructors build a platform for our crane. Again we were restricted on what we were allowed to put in the water and how long the platform could remain there.”

Having the camera so close to water was also a concern.

In Canada, productions are spoiled for choice when it comes to water. Central Canada around Toronto and the province of Ontario has something approaching one fifth of the globe's fresh water, according to Toronto film commissioner Peter Finestone.

“The Ontario wilderness is dotted with thousands of lakes and rivers, some very large like Nipigon, Lake Of The Woods, Lac Seul, Lake Abitibi and Lake Nipissing that together would submerge most of the states of Delaware and Rhode Island,” he says.

The harbor and docks of the UK’s city of Bristol have hosted many waterfront shoots. “You can take a ferry through the city and see it at its best, including the Suspension Bridge and the docks,” Esther Mars, film liaison officer at Bristol Film Office, says.

Bristol is centred around a floating harbor which was put in place in 1809 to control the tides, allowing the port to thrive until 1975.

It is now a backdrop to bars, cafes, restaurants and galleries, and a number of houseboats. A houseboat provided a key location in The Truth About Love, John Hay’s 2005 movie about a married woman who sends an anonymous Valentine’s card to her husband to see if he keeps it a secret. The film stars Jennifer Love Hewitt and Dougray Scott, who lives on the houseboat.

A number of films have shot over the years in the archipelago surrounding the city of Turku in West Finland. “Our archipelago is by some definitions the largest in the world, by the number of islands, although the islands are small and tightly clustered.

The larger islands are inhabited and connected by ferries and bridges. There is a midsummer festival and in the autumn the gorgeous colors in the archipelago cannot be beaten. The first snow and the thin film of ice between the rocks touch even the hardened soul,” says West Finland Film Commission’s Teija Raninen.

Recently a successful series of films about private eye Jussi Vares has put the landscapes of the Turku archipelago on the map.

Series producer from Helsinki-based Solar Films, Marcus Selin says: “We had earlier shot two Vares movies that had only a few shooting days in Turku. Now that Turku has shown real interest in movie-making and has got excellent people to run location and other services we shot all of our 124 shooting days in the Turku area. All the Vares books are set there and its great sea, river and lake environment.”

Selin adds: “Water can be a very difficult element in which to shoot, but Turku is unique in many ways. The city is dissected by the Aura river, the sea is close and you can find lakes five minutes from your hotel. We were so impressed that we founded a new company in Turku.”

Dramatic coastline locations have been a big feature of the filmography of states on either side of the North American continent. Chris Bonnell, film commissioner at Newfoundland & Labrador Film Development Corporation says that his region is “an old beauty with peculiar charms. Old fishing villages as well as modern ports shelter in bays along the coast. Movies that have made the most of this include: Contact, starring Jodie Foster, filmed in Western Brook Pond; The Shipping News filmed in the Trinity Bite area; and Outlander filmed in York Harbour.

Spectacular marine locations can also be found on the other side of the continent. Gordon Hardwick, manager of community affairs at British Columbia Film Commission says: “Vancouver and Victoria are both surrounded by the waters of the Pacific Ocean. All regions of BC have extensive networks of lakes and rivers. Howe Sound is a natural fjord and is dotted with islands.

The Sea-to-Sky Highway winds its way along the steep shores of this spectacular waterway.” Some of the features filmed here include: Double Jeopardy (1999), Charlie St. Cloud (2010), Free Willy (1993), The A Team (2010), and The Twilight Saga: Eclipse (2010).

Over the past 25 years the British Columbia-based company Crosby Marine Film Services has been asked to look for many waterside locations including underwater work, rivers, lakes and oceans. The company’s founder Jason Crosby says that sometimes producers have not taken marine elements of the shoot fully into consideration when choosing a location that includes

water. “We prefer to be involved during the scouting process so that we can help pick a location that is visually appropriate, but also practical,” Crosby says.

“There are many elements to take into consideration while filming in BC waters, including 16ft tide swings, currents, water temperature, water depth, local weather patterns, marine traffic, and many other details,” he adds.

One of the biggest recent ocean shoots for Crosby Marine was for the US TV series Psych. Crosby says: “The script called for a ferry leaving Santa Barbara. We had to find a location that could double as Santa Barbara and also give us that open ocean look.

We chose a location where we often shoot ‘open ocean’ scenes, called Passage Island, between West Vancouver and Bowen Is-

Dougray Scott lives on a houseboat in Bristol, UK, in John Hay’s 2005 feature The Truth About Love, co-starring Jennifer Love Hewitt

Filming the Vares series of detective films in the archipelago around Turku, Finland. Solar Films’ Marcus Selin: “All the Vares books are set there and it’s great sea, river and lake environment”

land. One of the challenges with this scene was the amount of boats that had to be in shot — a large passenger ferry, police, coast guard and fireboats, not to mention all the support boats and barges necessary to film the scene. There were about 20 boats to co-ordinate as well as two large support barges. The barges were anchored so that they would not drift around in the strong currents, which in itself is no small task,” Crosby says.

Iceland is pretty near the top of the world and, unsurprisingly working in cold, frozen or near-frozen water proves challenging.

Iceland film commissioner Einar Tomasson says: “Iceland has so many different varieties in terms of waterfront shots that it is a strong selling point for us. We offer the Glacier Lagoon and the Blue Lagoon, black sand beaches, waterfalls, frozen and un-frozen lakes.”

Leifur Dagfinnsson, founding partner and executive producer at Truenorth Productions was asked to find the beach landing for

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FILMING ON THE WATERFRONT FEATURE

Clint Eastwood’s Flags Of Our Fathers filming on a black sand beach in Iceland

Clint Eastwood’s Flags Of Our Fathers (2006), and the frozen Jokulsarlon lake for the car chase in James Bond film Die Another Day. For Dagfinnsson filming waterside is “always a big challenge.” He adds: “A local person is always a great resource, and is mandatory for all location work in Iceland. Whether it is a farmer or experienced sailor … they know better than the scientific forecast and reports. On Flags we had 1,000 people working on the beach and in all kinds of watercrafts. In Bond we had 150 people on the frozen lake. On both films safety came first; never save money on safety.”

The North Finland Film Commission takes in water areas from the Gulf of Bothnia eastwards to the Russian border. “The water areas vary a great deal depending on the season,” Maija Laine, deputy film commissioner at the North Finland Film Commission (NFFC), says. “During summer especially, the western area by the sea is exceptionally beautiful. An island called Hailuoto has a picturesque fishing village with red cottages. There is not a bridge to the island, the journey to the mainland is by ferry and in the depths of winter, there is a 7km-long ice road to the island.”

Laine adds: “The Finnish transport administration monitors the thickness of the ice roads carefully. The ice has to be more than 40 centimetres thick to be safe for drving. The thicker the ice is, more weight is allowed.”

Tapani Launonen, Finnish line producer from Klaffi Productions, worked in the region on The Hell Of ’63 (2009), a Dutch film about a skating competition. “We built a little piece of the Netherlands. On the ice of Bay Of Bothnia we built rivers, canals, and a copy of the Bartleheim bridge. We work with a person holding a master of science in engineering for snow and ice. When planning the shoot we are also aware that working in snow and ice is slower compared to land. The speed limits for cars are strict on ice. We really endorse having a professional crew that is also ‘ice literate’,” Launonen says.

All the planning in the world can’t prepare you for mother nature’s surprises. Capt. Lance Julian, founder of Marine Team International, was involved in the 2006 movie starring Kevin Costner and Ashton Kutcher, The Guardian, which needed a large fishing boat for the concluding scene that was originally to be filmed in New Orleans. “We located several vessels in Buras, Louisiana, and commenced negotiations to purchase one, as the vessel would have to be drastically altered for filming requirements. Most of the interested fishermen were playing hardball but one was ready to sell and offered a good deal. We paid the

“Sometimes the film commission is involved due to the sensitivity of filming in the waters of such highly-sensitive areas as the Panama Canal” captain his money and he steamed the boat to a shipyard further north to commence with the alterations,” says Capt. Julian. One week later Hurricane Katrina made landfall in Buras, Louisiana, devastating the area. “Turns out the vessel we bought ended up being the only vessel from Buras to survive Hurricane Katrina intact.”

Warm waters prevail off the west coast of California, around Catalina Island, a location with a long Hollywood history. Marketing manager and film liaison for the island’s Chamber of Commerce & Visitors Bureau, Donna Harris says: We have been a stand-in for locations in the Mediterranean, Hawaii, the South Pacific and other island settings. The Island has served as location for more than 225 films.” These go back to Treasure Island in 1918, and include Mutiny On The Bounty (1935), The Glassbottom Boat (1966), Jaws (1974), Waterworld (1995), and Amistad (1997). More recently, aerial shots of the island were featured in Disney’s Pearl Harbor (2001).

Further south in the Central American country of Panama, Laura Emerick, director of the Panama Film Commission says: “Because of our geographic location on an isthmus one can visit the Pacific and Atlantic Oceans in the same day. We have tropical, Caribbean waters that are fabulous for diving, snorkeling and fishing and Pacific waters that are great for deep-sea fishing. Two big fishing productions that filmed here were the TV series The Best & Worst Of Tred Barta and Cabela’s Fisherman’s Handbook.”

Emerick adds: “We have over 1,800 islands and beaches of white and black sand. Our other main attraction is the eighth wonder of the world, the Panama Canal. Currently there are productions documenting the expansion of the Canal.”

Marine Team International has experience working in Panama.

“Sometimes the film commission is involved due to the sensitivity of filming in the waters of such highly-sensitive areas as the Panama Canal. A good film commission will advise local author-

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FILMING ON THE WATERFRONT FEATURE

Pacific island state Niue’s film commissioner Frank Sioneholo: “This is the biggest small place on earth. Niue’s crystal clear water and its pristine marine life are just so close”

A Crosby Marine shoot for US TV series Psych. Jason Crosby: “We had to find a location that could double as Santa Barbara. We chose a location that we often shoot ‘open ocean’ scenes, called Passage Island, between West Vancouver and Bowen Island” ©Crosby Marine Services

“Our main problems are the deterioration of the cameras due to salt water, changes in temperature, condensation and humidity” ities and act as a good-faith liaison between the production company and the community, including government, military, civilian and commercial sectors,” says the company’s founder Capt.

Lance Julian.

In the south-eastern region of South America stands Uruguay.

The Film Commission & Promotion Office’s Lucila Bortagaray says that they have experience promoting waterside locations, both to local and international shoots. Pepi Goncalvez from Motor Films says his company has worked on coastal shoots in Uruguay as well as Miami Beach and Malibu. He says one obsta-

cle can be the wind, “which can be pretty strong on the ocean and from time to time it really blows on the River Plate”.

Local producer Magdalena Rodríguez says that filming on the beach is also exhausting: “Coming and going across the sand to the set is very tiring and ideally we have four-wheel drive vehicles to help us. Kafka Films’ Estela Naya says that four-wheel drive vehicles are essential. “When you are filming in coastal areas, transporting equipment is more complicated and you have to take everything with you.”

Daniel Pérez from Al Aire Libre TV has been shooting a weekly programme for national TV in Uruguay non-stop since 1998, featuring mainly nautical sports in the natural environment. “We film both here and abroad following our top sports people when they travel. Some of our more important shoots have included several editions of the Rolex Sailing Regatta in Buenos Aires, Punta del Este, Ilhabella and Buzios; the South American rounds of Optimist [single-handed boat class] races in places like Cartagena de Indias in Colombia, Paracas in Peru and Montevideo; the Optimist World championships in Turkey and Italy; hundreds of shows featuring sport fishing around South America, Taiwan and South Korea, plus both the national and global championships for aquatic cars.

“Our main problems are the deterioration of the cameras due to salt water, changes in temperature, condensation and humidity. In order to be able to film sporting events, nature and animals, the shoot has to run smooth; we don't have a choice, even when the conditions are awful we just have to get on and do the job.”

La Jolla Films’ Ximena says: “Piriapolis is only 100 kilometers from Montevideo and we often film there for the hills, beaches and the port. We serviced a shoot for a Spanish beer in Aguas Dulces where we had to recreate a Caribbean look, so one day we were filming at Laguna Negra on beaches with palm trees, and the next we were shooting rastas surfing in Aguas Dulces.”

You would hope to find calmer waters in Indonesia. Bali Film Center represents filming throughout Indonesia, across more than 17,000 islands. The Center’s Deborah Gabinetti, says: “The diverse and unique water-based locations are an important part of our promotions.”

A third of the story for 2010’s Eat Pray Love, directed by Ryan Murphy, is set on the island of Bali. The film follows a woman (Julia Roberts) who, after a painful divorce, takes a round-the-world trip. Neil Ravan, who worked on locations for the film, says he had to find a beachside reggae bar location, and eventually using Padang Padang beach. A location for the final shot of the movie where characters sail off into the sunset, was filmed in the channel between Bali and Nusa Penida Island. He says challenges included: “Access, safety, keeping the general public at bay while not upsetting them, building sets around tidal flows, weather, communication between the ADs and boats, and continuity.

“We had a pier built for a climactic scene between Julia Roberts and Javier Bardem,” Gabinetti says. “When the Regent of Badung, Bali, attended the premiere during Balinale International Film Festival, he didn’t recognize the locations — in particular, he questioned us on where the pier was located.” She adds: “Tourists now coming to Bali seeking locations featured in Eat Pray Love are a bit disappointed to find that some of them were only sets created for the film.”

Some 1,500 miles northeast of New Zealand, in a triangle between Tonga to the southwest, the Samoas to the northwest, and the Cook Islands to the southeast, lies the island nation of Niue.

Here water takes on crystal quality according to film commissioner Frank Sioneholo. “Being a coral atoll with no rivers or streams, Niue boasts some of the clearest waters in the world, and deep ocean is just 50 meters from the reef. Only in Niue can you watch whales from the roadside, and while sitting on the limestone cliffs you can hear them calling to each other.” He adds: “We always want to help filmmakers capture the unique waterfront scenery and sea, in features and documentaries.”

According to Delia Shanly, manager at Film Wellington in New Zealand, the city’s waterfront is “one of the jewels in our crown” for film production. “As one of the first ports in New Zealand our waterfront is historically interesting.”

Players (at press time still in production) — a Bollywood remake of The Italian Job — was a recent international film pro-

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The harbor in Wellington, New Zealand was the location for feature Players. Line producer, Nirang Desai: “The shortcuts we received to these amazing locations saved us time and inspired the creative process”

duction using the waterfront, starring two of Bollywood’s biggest actors Abhishek Bachchan and Sonam Kapoor, and a crew of over 100. Line producer Nirang Desai says: “Players required extensive waterside locations, involving car and motorbike stunts — the minis action sequences were inspired after we had seen the locations, and we did a two-wheeled stunt over the Frank Kitts Lagoon bridge. As a large part of the story is about a getaway vehicle going off-road in order to avoid the authorities and traffic gridlock, Wellington provided the perfect escape route alongside their beautiful and accessible harbor. Film Wellington was fantastic at finding and facilitating locations and permits.”

The Catlins coastal area at the south of New Zealand’s South Island was the setting for Two Little Boys, set for release in 2012.

Auckland-based producer Murray Francis says: “The issues were mainly weather which, on any coast is unpredictable — we also had to have water safety equipment and safety boats, specialized safety personnel which we mainly sourced from local surf clubs, and Department Of Conservation rangers also were on set to ensure that the terms of our film permits were adhered to as we had much interaction with the local wildlife such as sea lions, which become very aggressive when strangers invade their turf.” One of these creatures gave the crew an experience to remember. “One of the sea lions took a shine to one of the cameras. The local D.O.C ranger advised our crew to abandon the camera and move away.

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“The marine world and the film world were really not meant to collide” We nervous producers watched in horror as it kissed the camera then lay down beside it — it was many heart-stopping minutes before we could regain control of the camera.”

Crosby Marine’s Jason Crosby articulates what by now may seem blindingly obvious: “When planning for certain scenes on the water I'm often reminded that the marine world and the film world were really not meant to collide. But it's the challenges that we are faced with and the challenges that the marine department overcomes that keep it interesting for all of us.

He adds: “We take pride in knowing that we keep the marine scenes rolling along. I think a lot of people show up to set and see where we work and are envious. But they're fortunate not to be there when we're setting up before the sun rises and taking it away after it's gone. I like the fact that most people don't think too much as to how all the equipment gets to set or how it stays in one spot, and are able to focus on their tasks. Marine locations can be very challenging, but are often breathtaking.” I

R I O : T H E B E S T L O C AT I O N S A WA I T Y O U R S C R I P T !

Whatever your script may be, filming in Rio is like entering a magical setting – for its striking luminosity, breathtaking natural beauty, warm people, or fascinating stories. So, it’s no surprise that Rio has been elected the Happiest City in the World, that it is one of the states selected for the 2014 World Soccer Cup, and that it will be the host city of the 2016 Olympics. In every corner of Rio you will find the perfect angle to shoot your script. After all, Rio’s unique setting and diversity make for a winning combination!

Contact information Rua México, 125/13º | Rio de Janeiro | RJ | Brazil | 20031-145 55 (21) 2333-1373 | 55 (21) 2333-1349 | rfc@riofilmcommission.rj.gov.br www.riofilmcommission.rj.gov.br

Bring your film to Rio. You’ll be surrounded by inspiration.

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he beauty shots you expect, with the diversity of locations you don’t.

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©2011 United States Virgin Islands Department of Tourism.

MY BAREFOOT FRIEND MAKING A SCENE

RUNNING FOR YOUR LIFE The world’s first feature-length documentary shot with Canon’s DSLR 5D Mark II, My Barefoot Friend, was filmed over 10 years and follows a group of rickshaw drivers as they run barefoot through the streets of Calcutta to make a living. Liza Foreman reports on this extraordinary piece of location filming

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Barefoot friends — stars of the film

E

VERY day, 20,000 human feet run the streets of Calcutta serving customers who prefer not to walk. None of those feet are wearing shoes. Korean director Lee Seong-gyou built up longstanding relationships with rickshaw drivers over the 10 years it took to take My Barefoot Friend from an idea to a feature-length documentary, shooting extensively in Calcutta and the povertyridden state of Bihar, where most of the drivers come from.

The story revolves around husband and father Shallim. For Shallim, his old, tired rickshaw has been his family’s only means of income. He has run thousands of miles with it in order to save enough money to buy the auto-rickshaw that would be the answer to his dreams — a house for his family.

When Shallim’s wife and son are taken ill, and the hospital bills start to grow, Shallim’s dream is on the verge of collapse. Yet he takes on the task of mentoring Manoj, an unstable young man who’s inability to deal with the city’s grueling demands causes him to return to the countryside and reveals a heartbreaking tragedy — which, by chance Lee Seong-gyou made a film about in his

Bihari village 10 years earlier. Other characters followed in the film include Mohammed, a lovable trickster who more often fails than succeeds, and Hussein the street sage, who knows everything there is to know about Calcutta.

Although footage was shot over 10 years, the bulk of the film was shot over a 100-day period, from the end of June to the beginning of October in 2009.

“In India trust is more important than skills for setting up local crews” Flashback footage was used from the director’s archives shot between March 1999 and August 2006.

“I didn’t intend to shoot as much as I did, but I ended up shooting 20,000 minutes worth of film for My Barefoot Friend,” Lee says.” Most of the footage was shot with Canon’s DSLR 5D Mark II. The production used four camera bodies and a number of Canon lenses. The core crew of 10 included a director, assistant director, DOP, second camera, and

sound recordist from Korea; those from India included a translator, a fixer and two camera assistants. Among the Indian crew was Ashisi Divedic, a professional fixer specialized in casting and location scouting. Ashisi is an influential Brahman from Northern India with five years’ experience in this field; other Indian staff were nonprofessional.

“We have known them for long enough to trust each other,” Lee said of the local people he worked with on the film. “In India trust is more important than skills for setting up local crews.” He adds: “Canon’s 5D Mark II was a good choice. It doesn’t look like a film camera and a lot of the time even the protagonists didn’t really know that we were video taping.”

But there were some technical difficulties. “For example, we needed to change lenses all the time, and because of the camera’s limitations, we were not able to shoot for longer than 15 minutes maximum. But we used four cameras so we were able to solve most problems.”

He adds: “If you watch the film, you will notice that the people act so naturally.

That was only possible because they didn’t notice that we were making a film.”

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Manoj, who is mentored by Shallim

Calcutta where most facilities were on hand. However, “we often experienced electricity cut-offs and voltage changes, so using a voltage stabilizer is a must for production in India,” says producer MinChul Kim. Clean air-conditioned hotel rooms on Calcutta’s Sudder Street — known locally as Backpacker Street — cost around $50 a night. “Most filming was done on this street so we didn’t need to move around much, but we used trains or buses to follow the protagonists when visiting their hometowns in Bihar or Mumbai.” He says that as most of the film was about following the rickshaw pullers — who work exclusively outdoors — filming was always a challenge. “We were suffering from the bad weather conditions because it was monsoon season. Often lenses got foggy and we could not find a solution to this problem.”

And there were other challenges.

“Indians are generally curious people and they are not shy about interrupting another person’s business. So you can imagine what would happen when they see a big crew film with some cool equipment, like a big camera on a track dolly, or a big boom microphone on a long pole that you’ve only seen on news reports about Bollywood or something,” Lee says. “For a documentary production shot in India, how you deal 102

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“In the end we minimized the equipment to make it look more like we were shooting stills” with the curious locals on the street can be more important than in other places, in terms of getting the natural reactions of the people whose stories you are trying to tell. In the beginning, all our equipment was on show, but we soon realized that it’s not possible to shoot without those curious Indians interfering in the frames, day and night.

So in the end we minimized the equipment to make it look more like we were shooting stills than a movie. When there was no shooting, all the crews were hanging out with the locals on the street as if we were some backpackers temporarily settled there. As the locals got used to us, we started to enjoy a bit more creative freedom, with fewer people coming up and saying, ‘What are you doing?’ out loud, while we were trying to capture important conversations.”

New techniques were developed for the film. “For steadier shots with the

Canon, while following running rickshaws in the middle of busy streets without any traffic control, the crew combined the Glidecam 2,000, a lightweight camera stabilizing system, with the Easyrig Turtle (a backpack camera support)” Lee says.

There are no AFCI-affiliated film commissions in India and the producers didn’t approach the Indian government for financial or any other kind of support — location scouts or permits, for example — as the local producer/fixer advised them that an attempt to get permission could often make it harder.

“Instead, we were able to shoot under the connivance of local policemen. It is often more important in India to cooperate with the influential locals or community leaders than to seek official permission,” says Lee. “I have got to know the local people here over the last 10 years, and almost every year I have offered a cash donation for their annual festival. So getting the permission was not a problem at all because I am not so much a foreigner, but a familiar face to them. For shooting in India, homeless people, beggars or gangs can be annoying but I have built a good relationship with these groups and that really helped.”

Most of the rickshaw pullers now know Lee, including the protagonists, from

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MY BAREFOOT MAKING AFRIEND SCENE MAKING BAREFOOT A FRIEND SCENE

some of his previous documentary films about Bihar, where most rickshaw pullers come from. “They liked the film and they were happy to participate. We were able to discuss what to shoot and what not to shoot. The number of official local Indian staff was four but almost the whole rickshaw-puller community was supporting us and they even solved some conflicts we had with other Indians from outside of Sudder Street,” says Lee. During the 100-day shoot in India in 2009, the crew also shot 15 days in Bihar; 10 days in Shallim’s hometown; five days in Manoj’s hometown; and three days in Mumbai where Shallim’s son works.

“Of course there were so many more days I shot in India to get to 20,000 minutes of film, but I mostly used footage from the 2009 filming,” says Lee, adding that it was a huge learning experience.

“To make a long story short, I must say that you need patience to do anything in India. Shooting is not an exception.

Nothing goes as planned in India. You can make a detailed schedule, plan B or C and a series of back-ups, but the turn-out will always surprise you and often disappoint you. Whenever we were in trouble I had to say to myself: ‘Wait, don’t expect anything but don’t give up either.’

It’s not easy to practice, but patience is a highly valued virtue although it often doesn’t help. Sounds like a guru? You will

“There is a new generation of Korean directors out there who are making remarkably strong documentaries” become a guru too when you have 20,000 minutes of documentary footage from India.”

My Barefoot Friend was 100% funded

by Korean companies, although it was 100% shot in India. The total production budget was $350,000. Around $175,000 came from KOCCA — the Korea Creative Content Agency, which promotes Korean content with international potential. $150,000 came from private investor/coproducer Sigong Tech. My Barefoot Friend is Sigong Tech’s first feature documentary film.

With My Barefoot Friend, KOCCA has supported a documentary in the television movie category for the first time. The film received WON200m ($170,000), more than 50% of its production budget, from KOCCA to begin with. After the film’s selection for IDFA’s (International Documentary Film Festival Amsterdam) feature-length

competition in November 2010, KOCCA awarded an additional grant of $45,000 for the film’s international marketing and publicity.

“There is a new generation of Korean directors out there who are making remarkably strong documentaries. We are very proud that KOCCA is recognizing their international potential by supporting a feature-length creative documentary such as My Barefoot Friend,” Min-Chul Kim says.

Korean documentaries have been doing well internationally. Kim also produced Iron Crows by Bong-Nam Park, which picked up last year’s IDFA award for best mid-length documentary — and has already secured funding for his next feature-length project, Planet Of Snail by Seung-Jun Yi, from Korea.

Another international co-production is Motosoul about disaffected motorcycle gangs in Seoul, to be directed by Ho-Yeon Won (Korea) and Ari Matikainen (Finland). Liisa Juntunen, also from Finland, will produce. I

THE DIRECTOR, LEE SEONGGYOU BORN in Chuncheon, South Korea, in 1963, Lee Seong-gyou studied social welfare before beginning his professional career as a radio writer.

He soon began making documentary films for television and then made a number of television documentaries about migrant workers in Korea who come from India, Nepal and Bangladesh.

“My experiences as a backpacker searching for spiritual learning in India in my 20s and 30s guided me to make this film,” he said. Among the dozen or so documentaries Lee has directed and produced are 2008’s Children Of God, which won the Netpac Award (www.netpacasia.org ) and Telly Award (www.tellyawards.com) in that year.

Director Lee Seong-gyou, on location with the Easyrig Turtle

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THE THIRD

DIMENSION Does anyone remember a world pre-Avatar? A world where everything was in 2D and you could go to the movies without having to borrow a pair of somebody else’s glasses in order to be able to see the screen? So what does the new post-Avatar 3D world mean to the people on the ground — the people who have to deal with the day-to-day business of shooting on location? Julian Newby investigates

A

WAVE of concern rippled through a certain group of people within the movie business when, in 2009, James Cameron’s Avatar became the biggest movie of all time. ‘The actors aren’t real, neither are the locations.

We’re all out of a job!’

But as with 1995’s Toy Story before it (‘The actors aren’t real, and there are no locations. We’re all out of a job!)’ the panic calmed quickly. Avatar was shot on location and the avatars were played by actors. What Avatar actually did as far as the history of the film industry is concerned — apart from set new box office records — was to move 3D technology further than anyone might have imagined was possible. The story goes that James Cameron’s movie had to wait for its director, and the good people at Sony, to invent the new technology before it could be made — 10 years in total. And whether or not Avatar is a great movie is immaterial: it changed cinema forever.

Pre-Avatar almost nobody was making 3D movies. Look at the post-Avatar list: Toy Story 3; Voyage Of The Dawn Treader; Pirates Of The Caribbean; Tron: Legacy — a tiny selection of the many major movies that have been made (or even re-made) in 3D since the success of Avatar. When the making of the third Narnia movie Voyage Of The Dawn Treader was chronicled in this magazine back in 2009, it wasn’t even billed as an up-coming 3D movie; the 3D for that one was something of a retro-fit — of which, incidentally, James Cameron highly disapproves.

Addressing the Digital Entertainment Group in Hollywood at the end of 2010, Cameron highlighted the fact that some produc-

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ers had attempted to enter the 3D world at the eleventh hour. "I maintain you can't do a good conversion of a two-hour movie with high quality in a few weeks like they tried to do with [2010 re-make] Clash Of The Titans,” Cameron said. "I don't mean to throw that movie under the bus because my buddy Sam [Worthington, star of Avatar] is in it, but I think everybody realized that this was a point at which people had gone too far." He continued: "You see another stumble with the most recent Harry Potter movie, from the same studio making the same mistake — except

“If you want to release a movie in 3D, make it in 3D” really getting spanked for it now because they didn't get the film done. They announced it in 3D, threw a bunch of money trying to convert it to 3D in post-production and it simply didn't work. They just didn't get it done." It had been announced just a few weeks earlier that Warner Bros. could not complete the 3D conversion of Harry Potter And The Deathly Hallows: Part 1 in time for its November 19, 2010, UK and US release date. Warner Bros. said it did not want to keep fans waiting for the film."Unless you have a time machine to go back and shoot it in 3D, you have no other choice. The best alternative is if you want to release a movie in 3D, make it in 3D,” Cameron said.

And so things have started to calm down. The big boys are us-

Under The Sea 3D. ŠMichele, Howard Hall

FEATURE THE THIRD DIMENSION

Helena BonhamCarter as The Red Queen, in husband Tim Burton’s 2010 move Alice In Wonderland

a November 2011 release.

Adapted from the children’s bestseller by Brian Selznick, the film tells the story of Cabret, a young orphan who lives in a Paris train station, and his encounter with a toy salesman who turns out to be Georges Méliès. Scorsese’s film, in part, is a tribute to Méliès, one of the founders of film and one of the first masters of special effects.

Benefiting from TRIP — the Tax Rebate For International Productions — Scorsese re-created the Paris of the Thirties with the assistance of the Ile de France Film Commission, the film taking in historic locations including the Sorbonne, the Bibliothèque Sainte-Geneviève and rue Edouard VII. Logistical support from the commission included a consideration specific to filming 3D on location — the need to find and make available properly equipped theaters for viewing the rushes in 3D. That Scorcese was entranced and energized by the experience of shooting in 3D might surprise some. A living cinema legend, one might be under the misapprehension that there are few other challenges left for the man. Instead he has likened the experience of shooting with the new 3D technology to cubism, and the way in which Picasso and Braque were inspired by the early cinema of Méliès and the Lumière brothers. "If you look closely at some of the portraits from cubism at the time, you'll find a portrait of a woman that is really a projector," Scorcese says. When you’re shooting in 3D, “every shot is re-thinking cinema, re-thinking narrative — how to tell a story with a picture. Now, I'm not saying we have to keep throwing javelins at the camera, I'm not saying we use it as a gimmick, but it's liberating. It's literally a Rubik's Cube every time you go out to design a shot, and work out a camera move, or a crane move. But it has a beauty to it also. People look like … like moving statues. They move like sculpture, as if sculpture is moving in a way. Like dancers."

James Cameron may not have fully approved of the techniques used on Tim Burton’s 2010 3D interpretation of Alice In Wonderland, but while it was actually shot with standard HD cameras and converted in post production, filming was done with 3D in mind from the outset.

Almost the only real-life location used on the film was Antony House in Cornwall, England, in Burton’s words: “A perfect, pocket-

“Tim Burton likes a fluid production, to play around and see what angles he can get, and maneuvering this rig was challenging”

ing the technology properly and making the right choices. Of course Disney has to make the fifth Pirates Of The Caribbean (at press time shooting in Hawaii, London and elsewhere) in 3D; and of course Steven Spielberg and Peter Jackson have to make The Adventures Of Tin Tin: Secret Of The Unicorn, in 3D. Jackson, incidentally, is adamant that not all his movies will automatically be shot in 3D — The Hobbit, for example. "[Director] Guillermo [Del Toro] wants to shoot in 35mm, old-fashioned film," Jackson says, "which suits me, because he wants to keep it in the same space as the original trilogy." James Cameron would be proud.

It’s not all swashbuckling and comic-book blockbusters that are moving into the third dimension. As the skies clear and the hype dies down we see more measured approaches to 3D filmmaking, for example with Baz Luhrmann’s adaptation of F Scott Fitzgerald’s New York novel The Great Gatsby which starts shooting in the Summer of 2011; and Martin Scorsese’s first 3D film, the period mystery Hugo Cabret which is in the can and set for

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sized mansion; something beautifully symmetrical, with intimate interiors, wide views and landscaped gardens.”

“Even though we ended up shooting ‘normally’, when we were thinking about doing 3D, there were implications for my side of things,” says Emma Pill, the location manager who oversaw the six weeks prep and nine days filming. “We were going to shoot upstairs in one of the bedrooms, and the two camera heads [required for 3D filming] may have caused an issue — the weight of all the equipment might have been too much for the floor and the almost-cantilevered staircase of the ancient house.”

“There is a slight amount more to think about in terms of equipment,” says Corey Turner, stereographer and stereoscopic 3D supervisor at Sony Imageworks, who handled the film’s visual FX. “Taking one camera out on set is one thing, but if you’re taking two cameras, and the mechanisms involved to make sure they work together seamlessly, there’s a more demanding technical need, and more personnel. But we could have shot Alice stereoscopically; there wouldn’t have been huge technical issues and we would have ended up with imagery that was beautiful as well.

The funny thing was that we were going to do Alice in native 3D photography. We were testing this huge bulky rig and it was pretty cumbersome for Tim — just being on set, regardless of location,” Turner says. ”Since then, technology has helped the rigs get a lot smaller, but ours were fairly large. Tim likes a fluid production,

Photo by Paul Mercer

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FEATURE THE THIRD DIMENSION

to play around and see what angles he can get, and maneuvering this rig was challenging in such a small controlled space.

We were also trying out a number of other achievements that made stereoscopic photography even more complicated, and it became a slight distraction to Tim, as he wanted to concentrate more on the story and the actors’ performances, and less on the technology.”

Turner worked on set, first leading some innovative real-time compositing work, and then on planning the eventual 3D movie with Burton and senior visual effects supervisor Ken Ralston. The 3D conversion took place over an 11-month period, simultaneously with the visual effects work — which, on Alice, was so extensive that it outstripped any demands made by the 3D team for good raw material for 3D conversion. Turner worked closely with Burton throughout, presenting work-in-progress in 3D with varying amounts of texture and color work done for his approval.

3D, says Turner, adds an extra layer of storytelling to cinema — something experienced rather than understood — and it has exciting potential to enhance the feeling of depth in a location. “It’s going to allow you to add a sense of scale and perspective to an environment that can be challenging when shooting in 2D. If you want to shoot in the jungle and you want the jungle to feel vast and expansive, in 2D you have to use as many camera angles as you can, and clear out brush, to avoid it feeling condensed or compressed. In 3D, you can add a sense of scale to a scene. Or just look down a street: when you’ve got a row of trees lining the street, shoot it stereo. Those trees are going to be an awesome natural depth reference. It will tell you how long the street is, or what’s going on in the environment. And if you’re shooting in a city jam-packed with traffic, you’re not going to just see a whole load of cars on the street, you’re going to sense and feel it.”

Hanna Barbera’s classic cartoon character Yogi bear finally made it to the big screen in 2010 — and, of course, in glorious 3D. Dan Aykroyd and Justin Timberlake play Yogi and sidekick Boo-Boo, and Eric Brevig directs. In the film a documentary filmmaker travels to Jellystone Park to shoot a project and soon crosses paths with Yogi, Boo-Boo, and Ranger Smith.

Principal locations were on New Zealand’s South Island. Shannon Winn, film office coordinator at Film Auckland said: “Hosting the Yogi Bear shoots was a fantastic challenge for the Auckland screen production industry as it was an opportunity to work on a large scale exterior 3D shoot, something which is still in its infancy.” She adds: “The shoot required a whole range of considerations especially for the scale of the equipment required for 3D production. Working alongside the producers and production managers, we were able to facilitate some of the biggest urban road closures in NZ to date.”

One of the producers on the movie was Nukuhau Productions' Tim Coddington, a founding member of Film Auckland, and who, back then, was new to 3D. “I have done two films in 3D, both last year — Yogi was my first,” Coddington says. “The 3D cameras are highly technical and not robust. Most use split beams through a mirror which is the most fragile component. Then you need to be able to record raw to codex and this usually means that the codex machines need to be on an independent power supply and climate controlled — in a truck or van. So one is limited by access to the locations.” He says accessibility is the key consideration when shooting in 3D. “You need to be able to get close with trucks. The limiting factor is having to get the computer equipment, and the electrical supply for the cameras and codex towers, close to the set.”

Cost and practicality have always been challenges on the production side of 3D filming, according to Alexander Low, producer at the Stephen Low Company, based in Quebec, Canada. And he should know, Stephen and Alexander’s father Colin Low was an early pioneer of 3D and IMAX filming. Stephen Low’s first 3D Imax movie was The Last Buffalo, shot for the 1990 Expo in Osaka, Japan, and among the first live-action IMAX 3D movies ever produced. Alexander Low says 3D filming not only requires bigger, more cumbersome equipment as compared with 2D, it also requires a different approach to storytelling.

“The technology is only one element when it comes to filming in 3D. The other vital element is technique; the decisions made while on location, and the approach to editing. The more aggres-

Dressing the streets of Paris for Martin Scorcese’s Hugo Cabret

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10-time world surfing champion Kelly Slater gets up close to the 3D rig in The Ultimate Wave Tahiti

“The more aggressive the 3D, the more time a viewer needs to process it” sive the 3D, the more time a viewer needs to process it. Having the right technology does not really guarantee a successful 3D film.”

The Stephen Low Company is known for its documentary productions — one of the most recent of which is Rescue.

Filmed for presentation in IMAX 3D and 2D, Rescue documents the work of the Canadian Navy and its international counterparts as they respond to major disasters and emergencies around the world. “When making a documentary, you have to go where the story takes you, but you are also looking for ways to utilize the 3D medium — otherwise why bother? A lot of films are made now in 3D simply because it’s the trend, but they don’t necessarily have stereoscopic value,” Alexander Low says. “For Rescue, the urban environment and rescue action offered lots of possibilities, but also continuous challenges in terms of getting the camera and subject matter together.”

Another recent project, The Ultimate Wave Tahiti, took Stephen Low and crew into the ocean to shoot extreme surfing action. “It was a challenge getting the camera in the water with some of the largest waves on the planet,” Alexander Low says. “On that shoot we were using four different camera systems. In general, we’re shooting with very wide angle lenses for the giant screen. The camera and subject have to be near each other in a serious way. When you shoot with longer lenses, you loose the 3D. For key material on The Ultimate Wave, it helped to have surf specialist Mike Prickett handling the camera and 10-time world champion Kelly Slater as the subject who could bring his surfboard right up to the camera while coming off a wave.”

If shooting on the water in 3D isn’t a tough enough proposition, how about going under the water? 2009’s Under The Sea 3D is directed by Howard Hall, narrated by Jim Carrey. And shot in the waters around Bali, Indonesia. Hall directed 1993’s Into The Deep, the first-ever underwater IMAX 3D film. Since its release in 1994, Into The Deep has grossed more than $70m and

has become one of the five highest-grossing IMAX 3D features.

“Working in 3D is much more complicated than working in 2D regardless of capture format,” Hall says. “The size and bulk of the equipment is much greater. An underwater IMAX 2D camera system goes into the water weighing about 250 pounds — and is neutrally buoyant underwater. Two strong men can lift and carry it.” The underwater IMAX 3D camera system, on the other hand, weighs over 1,200 pounds. “It must be moved with a crane. The overall package of gear is similarly increased when shooing in 3D. It requires shipping of more weight, larger boats, and more personnel.”

To make Under The Sea 3D Hall and his team shipped some 8,200 pounds of equipment to Bali. “The gear was loaded onto our boat, The Seven Seas, and we spent five weeks filming around Komodo and in the Banda Sea. The gear was then returned to Bali via trucks from Maumere.”

The logistical planning had to be meticulous, Hall says. “At each stage and at very remote locations, we had to have machines available to lift and move pieces that could not be lifted by hand. Making our logistical plan work would have been impossible without the help of Deborah Gabinetti at the Bali Film Center and Gary Hayes of Syzygy Productions.

“Working in the open ocean and often in substantial currents was very challenging,” he says. “The 2,000 feet of 70mm film loaded into the camera runs for only three minutes before the camera must be returned to the surface and reloaded. This turn around takes between 20 minutes and an hour.”

One incident during the making of Under The Sea 3D illustrates perfectly the difference between shooting 2D and 3D. “We filmed giant garden eels near the Sangeang Volcano. These were, by far, the largest garden eels I have ever seen,” Hall says. “Some rose more than seven feet tall from their holes in sand. The area was often swept by strong currents. We brought down ropes and sand anchors so that we could tie the camera down against the current. After the anchors were in place, we dropped the camera upstream and floated it down over the eels and tied it to the anchors. All this activity disturbed the eels who then retreated into their holes. We then waited nearly three hours for the eels to re-emerge. Each time we shot a three-minute load, we had to repeat this process. It took us three days to get good footage of the eels, but the scene in Under The Sea was more than worth it.” I

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MAKING A SCENE MURDOCH MYSTERIES

ON THE MYSTERY TRAIL Finding suitable locations to film period crime drama Murdoch Mysteries took considerable time and effort, scouring the countryside of Canada. But the meticulous effort to recreate nineteenth-century Toronto has paid off.

Emelia Jones reports

Y

OU would be forgiven for not thinking of Canada as your first location choice for filming a period television drama. All those classic images of late nineteenth century urban landscapes — dreaming spires, grey old colleges and architecture with Victorian symmetrical layouts, facades with decorative features — seem incongruous with Canada in our mind’s eye: that monumental place ‘with more lakes than people and more forests than lakes,’ ever-threatened by architectural imperialism blowing in from small town America.

However, they haven’t just ‘paved paradise and put up a parking lot’ as Joni Mitchell once lamented. Canada’s unique history has endowed the country with an array of buildings that have risen out of land tussles between colonising countries and the consequent waves of new immigrants arriving on her shores.

The English and Europeans brought with them new masonry techniques, exploiting the agricultural hinterland and developing certain characteristic building traditions which have given Canada a truly original melange of architectural styles — all of which are now highly protected by heritage movements.

Many cities still cherish the older buildings that characterized the original Main Street or Rue Principale: the bank building, the shops, the old hotel, the post office, the city hall. In Canada, it’s possible to find eighteenth-century French stone buildings, erected for ecclesiastical, public and military purposes; or elegant examples of classical French woodcarving and plasterwork. There is nineteenth-century refined, domestic Georgian architecture introduced by the British, and also rich, interior architectural decoration, more reflective of Victorian tastes.

The team behind Murdoch Mysteries, Shaftesbury Films’ Canadian drama series featuring a police detective working in Toronto, Ontario in the late 1890s, has fine-combed Canada’s countryside to find appropriate heritage

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Murdoch Mysteries stars Yannick Bisson (Detective Murdoch) and Thomas Craig (Inspector Brackenreid) on location in Balls Falls Conservation Area in St. Catherine’s, Ontario © Stephen Scott

locations in order to successfully resurrect the past. Based on a series of novels by Maureen Jennings, the resulting episodes are a testament to the country’s diverse, architectural treasures.

And a spin-off to the production’s meticulous attention to detail is a period location database that any film commission would envy. Acclaimed for its well-researched scripts, fascinating yet relatable characters, and its commitment to authenticity, Murdoch Mysteries is a show that weaves together historical facts, dramatic fiction and elements of Sherlock Holmes and Miss Marple, with fast-moving plots characteristic of shows like CSI. “Peeling back 110 years of modernity to try and get a believable look has been a constant challenge, but we do pride ourselves on accuracy,” says Murdoch Mysteries’ location manager Greg McMaster. “We’ve been pulled up for not having an authentic tea cup, which gives an indication of just how scrupulous our fans are. However, I would always choose to work on a period drama — it’s very rewarding. I’m constantly marvelling at the innate craftsmanship in the buildings

“We’ve been pulled up for not having an authentic tea cup, which gives an indication of just how scrupulous our fans are” I discover and I enjoy watching how a special location in some way informs the characters that are introduced to it.”

Both McMaster and his assistant, Robin Greavette, first used the Ontario Media Development Corporation’s database to scout for locations. However, by the fourth series this source was exhausted. “We began to conduct original scouting missions based on advice from Local Architectural Conservation Advisory Committees (LACAC), museum associations and, of course, our own knowledge and scouting skills,” McMaster says. “Google Earth and extensive internet searching also helped locate certain things, like period boats and harbours or landforms with specific features such as train bridges or waterfalls.” Although set in Victorian-era Toronto, only a small proportion of the show was actually shot in the city. To qualify for the generous Regional Bonus (an Ontario tax credit) available for LocationS Magazine 2011

113

MAKING A SCENE MurdOCh MySTerieS

On location in Balls Falls Conservation Area in St. Catherine’s, Ontario © Stephen Scott

Canadian productions, only 15% of location days are eligible to be filmed within the Greater Toronto Area — which, in this case, works out to four location days per season. As most of Toronto’s satellite towns with architecture over 100 years old were built within a reasonable distance of the city center, this rules out a significant portion of possible locations for the show. Greg McMaster says that his main challenge has been scouting for locations situated within the Ontario Film & Television Tax Credit (OFTTC) eligibility bracket.

Consequently, choosing a location has required a high level of foresight, creativity and planning. “It’s not like you can step out of the office and start shooting,” McMaster says. “We do a lot of traveling. Most directions it is about an hour before we can even start scouting.

However, traveling a production beyond two hours from the Toronto union zones becomes too costly or eats into a director’s production day. So even though there may be locations further away (like London, Windsor, Stratford or Kingston) we have to decide if the location merits the time and costs. The result is that we are usually restricted to a ‘scouting zone’ between an hour to an hour-and-a-half travel time from Toronto. It’s a thin ribbon of territory that we have become very familiar with!”

Shaftesbury Films’ Laura Harbin, one of the producers on the show, says that monetizing key tax incentives has been pivotal to the success of Murdoch 114

LOCATiOnS MAgAzine 2011

“We are usually restricted to a ‘scouting zone’ between an hour to an hour-and-a-half travel time from Toronto” Mysteries — even when set against the costs of travelling outside the Greater Toronto Area (GTA). “In the end it was a creative decision as much as a financial one,” she says. “It has proved a much harder task to find preserved locations outside the major center, but we have consequently experimented with other technologies like green screen to establish nineteenth-century Toronto authentically, using archive photographs taken from that period. We have been developing and working with CGI techniques over recent years and the result has given the show a unique, stylized look.”

Cal Coons, Murdoch Mysteries’ executive producer, writer and director, has confronted the challenges of period shooting from varying perspectives since the series premiered in Canada in 2008.

“With this show it’s particularly necessary to find good locations and keep viewers interested visually — the story is always in danger of feeling claustrophobic if clues keep marching into the police station. It’s also important to keep a

consistent standard throughout each series.” Coons explained how writing for the show has required flexibility in order to work in harmony with each location, even using a location’s original features to inspire and complement the story. “From a writing point of view we had to be realistic about what we could find and what we could afford. We were never going to find a palace or a period prison because they just don’t exist here. We might find a critically important location for the story, but right next door there would be a modern convenience store.

We wanted a mansion but we could only find Victorian stately homes — and they’re never that big; once you have cameras, lights and actors in a room we were always working in a small, confined area. We often had to be creative with space by creating quick impressions or even readjust scripts on the fly. I remember finding this wonderful period property that happened to have palatial French gardens featuring reflective pools.

I knew immediately that we had to include them in the scene.”

For Coons, the key challenge was finding a way to stockpile scenes and use each location to its full potential: “So, we’ve found this beautiful house in the middle of nowhere. But how do we make the most of it — from dealing with all the minutiae (losing the smoke detectors, making telephone wires disappear or hiding tatty, century-old wallpaper) to looking around that house and into the surrounding area to work out how we can

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MAKING A SCENE MURDOCH MYSTERIES

shoot more than one episode in that single location? There are continually both small and large obstacles which can make the process quite an exasperating grind.” The production was often met with trepidation; both the owners of private estates or the museum curators responsible for protecting buildings and their contents, feared that opening their doors to a film crew might cause damage.

“Glanmore National Historic Site in Belleville and the Cathedral of Christ the King in Hamilton are two examples of places that had never been filmed in before,” McMaster says. “The latter building is the Diocese of the Bishop of Hamilton, so we had to get his permission — and we were successful in part because we have such a good track record, and also because our main character, William Murdoch, is a good Catholic! Reputation is key in terms of securing period locations; once you damage one of these historic places there is no going back, so we have to be particularly vigilant and work conscientiously with people to allay their fears. It is also important to tread carefully and realize you are never going to get completely free access.” Laura Harbin agreed that, especially in small communities, reputation always precedes permissions: “At Shaftesbury, we have been working over twenty years to make sure we are visibly responsible; we now have a good reputation which we can use to our advantage — especially in terms of securing the more sensitive, heritage sites.”

Once outside the GTA, film offices are few and far between, so many of Murdoch Mysteries’ locations have been secured by the approval of dedicated city departments in the individual municipalities. Over the years, Murdoch Mysteries has been returning to film in small cities such as Cambridge and Hamilton, both of which boast a number of historical buildings, bridges and streetscape settings.

“Generally we find that in cities with a good economic backbone, like a former mill town situated along a river, people will have maintained their buildings in their original style,” McMaster says.

“Cambridge has been a great place to film streetscapes and it has hugely helped to work with Debbie Fee, the City of Cambridge’s special projects officer, who has her finger on the pulse of the city and acts as a one-stop-shop for filming permissions and logistically organizing a shoot in the public domain.”

Fee organizes everything from street sign and street furniture removal to procuring the city parking lots, and even reserving street parking with city traffic cones — a job all the more important when a modern street has to be covered in dirt and flanked with wooden sidewalks. “Having a designated staff 116

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PRIME MINISTER ON SET TO ACKNOWLEDGE the success of Murdoch Mysteries, and to pledge his commitment as a long-time fan, Canadian Prime Minister Stephen Harper visited the set to meet with the cast and crew back in 2010.

Pictured clockwise: Rachel Harper (seated); Prime Minister Stephen Harper; Phil Lind, vice-chairman, Rogers Communications; and Christina Jennings, chairman and CEO, Shaftesbury Films. (Photo, Steve Wilkie)

person to work closely with the production companies has proven advantageous for both the municipality and the production company,” Fee says.

“Decisions can be made in a timely manner and resources obtained quickly — and we can liaise between city officials, business owners, homeowners and tenants to resolve any issues that might arise.”

Hamilton Film And Television Office’s Jacqueline Norton explains how Murdoch Mysteries has cleverly utilized what Hamilton has to offer. “There are a good 25 locations that they have used in the city — some more than once. They use different angles and re-use spaces over and over, even using ‘no access’ buildings to shoot establishing exteriors and then filming the interiors elsewhere.

We permit everything across a big geographic area; although people do think of Hamilton as being an industrial center, 60% of our land mass is rural.

Murdoch Mysteries has taken advantage of all that we can offer here, especially

favoring the locations with on-site parking — like historic farms — and also old churches, industrial buildings and parks in the city.”

Since filming started in Cambridge in 1997, over 10 period film projects have been undertaken, and in the past Hamilton has managed over 100 production shoots in one year — but not all municipalities are so well-versed.

“We shot in a small town called St. George in Brandt County and we wanted a road closure because we were hoping to stage a pretend fire,” McMaster says. “I had to go and make a presentation before the city council to request the mayor to create a new law to permit it. But it all worked out great and the mayor even thanked us for bringing the show to his municipality.”

Much in the same way Murdoch uses his intelligence to solve an intriguing case, so the team behind Murdoch Mysteries has had to employ rigorous detection methods to find obscure, period-correct locations. And it has paid off. Initially adapted for television as three made-for-TV movies produced by Shaftesbury in 2004 and 2005, the fourth series of Murdoch Mysteries is currently broadcast on Citytv in Canada and is licensed in over 100 territories worldwide.

It’s a winning formula for Canada — not only are bad guys always caught by the handsome, enigmatic detective (Yannick Bisson) and the plotlines intelligently shaped against the course of nineteenth-century social and political events, but the show also captures — and preserves — on screen, both Canada’s avenues of fine old maples, and the hidden, charming old cities and period buildings that celebrate its ethnocultural diversity. I

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AFCI MEMBERS ARGENTINA Victor Bassuk Comision Argentina De Filmaciones Lima 319 - 8th floor.Office 801 Buenos Aires 1073 Argentina Phn: 54-11-6779-0987 caf.info@incaa.gov.ar www.caf.gov.ar

BUENOS AIRES Ana Aizenberg Buenos Aires Film Commission Villarino 2498 (Barracas) Buenos Aires C1273 AEB Argentina Phn: 54 11 4126 2950 int 3112 bacf@buenosaires.gob.ar bacf.mdebuenosaires.gob.ar

AUSTRALIA TraceyVieira Ausfilm 2029 Century Park East, Suite 3150 Los Angeles California 90067 USA Phn:1 310-229-2362 Fax: 1 310-201-8410 tracey.vieira@ausfilm.com.au www.ausfilm.com

NEW SOUTH WALES Paul de Carvalho Screen NSW Level 13, 227 Elizabeth Street Box 1744 GPO (Postal Code: 1043) Sydney NSW 2000 Australia Phn: 61-2-9264-6400 Fax: 61-2-9264-4388 info@screen.nsw.gov.au www.filminsydney.com

SOUTH AUSTRALIA Kath McIntyre South Australian Film Corporation 3 Butler Drive Hendon Common Hendon South Australia 5014 Australia Phn: 61-8-8348-9300 safilm@safilm.com.au www.safilm.com.au

VICTORIA Kate Marks Film Victoria Level 7, 189 Flinders Lane GPO Box 4361 Melbourne Victoria 3000 Australia Phn: 61-3-9660-3200 Fax: 61-3-9660-3201 kate.marks@film.vic.gov.au www.filmmelbournenow.com

AUSTRIA TIROL

Johannes Koeck Cine Tirol Maria-Theresien-Str. 55 Innsbruck Tirol A-6010 Austria Phn: 43-512-5320-182 Fax: 43-512-5320-200 johannes.koeck@tirolwerbung.at www.cinetirol.com

VIENNA Marijana Stoisits Vienna Film Commission Karl-Farkas-Gasse 18 Vienna 1030 Austria Phn: 43-1-4000-87000 Fax: 43-1-4000-87003 office@viennafilmcommission.at www.viennafilmcommission.at

BAHAMAS Craig A. Woods Bahamas Film Commission Bolam House, Nassau Court King & George Streets; PO Box N-3701 Nassau N.P. Bahamas Phn: 242-322-8744 Fax: 242-322-8749,242-356-5904 cwoods@bahamas.com www.bahamasfilm.com

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BELGIUM ANTWERP Ira Guilini Antwerp City Film Office Francis Wellesplein 1 Antwerp Antwerp 2018 Belgium Phn: 32 3 338 31 47 Fax: 32 3 338 31 47 acfo@stad.antwerpen.be www.antwerpen.be/filmoffice

BRUGGE Jean-Pierre Drubbel Brugge City Film Office Toerismehuis Sint-Jan, Mariastraat 40 Postbus 744 Brugge B-8000 Belgium Phn: 32-50-44-46-46 Fax: 32-50-44-46-45 jean-pierre.drubbel@brugge.be www.brugge.be/cityfilmoffice

BRUSSELS Christian de Schutter Location Flanders Flanders Film House Bischoffsheimlaan 38 Brussels BE-1000 Belgium Phn: 32 2 226 06 30 Fax: 32 2 219 19 36 cdeschutter@vaf.be www.locationflanders.com

BELIZE Nigel Miguel Belize Film Commission 69 Albert Street Belize City Belize Phn: 501-663-0110 Fax: 501-207-1050 nigelmiguel@gmail.com www.nichbelize.org Interim Member

BRAZIL AMAZONAS Oscar Ramos Amazonas Film Commission/ Casa do Cinema Rua Ferreira Pena, 145 ñ Solar Georgette Manaus Amazonas 69010-140 Brazil Phn: 55-92 3232-0864 amazonasfilmcommission@culturama zonas.am.gov.br Interim Member

RIO DE JANEIRO Steve Solot Rio Film Commission Rua MÈxico, 125/13o Centro Rio de Janeiro RJ 20031-145 Brazil Phn: 55 21 2333 1349 Fax: 55 21 2333 1415 rfc@riofilmcommission.rj.gov.br www.riofilmcommission.rj.gov.br

BRITISH VIRGIN ISLANDS Rhodni Skelton British Virgin Islands Film Commission P. O. Box 134 Road Town Tortola British Virgin Islands Phn: 284-494-4119 Fax: 284-494-3866 rskelton@bvitourism.com www.bvitouristboard.com

CANADA ALBERTA Jeff Brinton Alberta Film 140 Whitemud Crossing 4211 - 106 Street Edmonton Alberta T6J 6L7 Canada Phn: 1 780-422-8584 Fax: 1 780-422-8582 jeff.brinton@gov.ab.ca www.albertafilm.ca

CALGARY

VICTORIA

Luke Azevedo Calgary Film Commission 731 - 1 Street SE Calgary Alberta T2G 2G9 Canada Phn: 1 403-221-7868 Fax: 1 403-221-7828 lazevedo@calgaryeconomic development.com www.calgaryeconomic development.com

Kathleen Gilbert Greater Victoria Film Commission #100-852 Fort Street Victoria British Columbia V8W 1H8 Canada Phn: 1 250-386-3976 Fax: 1 250-386-3967 admin@filmvictoria.com www.filmvictoria.com

EDMONTON Brad Stromberg Edmonton Film Commission 9990 Jasper Avenue Edmonton Alberta T5J 1P9 Canada Phn: 1 780-917-7627 1 780-426-0535 bstromberg@edmonton.com www.edmonton.com

BRITISH COLUMBIA Susan Croome British Columbia Film Commission Suite 201 - 865 Hornby Street Vancouver British Columbia V6Z 2G3 Canada Phn: 1 604-660-2732 susanc@bcfilmcommission.com www.bcfilmcommission.com

CAMPBELL RIVER Joan Miller Vancouver Island North Film Commission #900 Alder Street Campbell River British Columbia V9W 2P6 Canada Phn: 1 250-287-2772 film.commission@infilm.ca www.infilm.ca

MANITOBA Carole Vivier Manitoba Film & Sound 410 - 93 Lombard Avenue Winnipeg Manitoba R3B 3B1 Canada Phn: 1 204-947-2040 Fax: 1 204-956-5261 explore@mbfilmsound.ca www.mbfilmsound.ca

NEWFOUNDLAND & LABRADOR Chris Bonnell Newfoundland & Labrador Film Development Corporation 12 King’s Bridge Road St. John’s Newfoundland & Labrador A1C 3K3 Canada Phn: 1 709-738-3456 Fax: 1 709-739-1680 info@nlfdc.ca www.nlfdc.ca

NORTHWEST TERRITORIES Carla Wallis Northwest Territories Film Commission Scotia Centre - 4th Floor Box 1320 Yellowknife Northwest Territories X1A 2L9 Canada Phn: 1 867-920-8793 Fax: 1 867-873-0101 nwtfilm@gov.nt.ca www.iti.gov.nt.ca/nwtfilm/index.htm

CHILLIWACK Netty Tam Chilliwack Film Commission #201-46093 Yale Road Chilliwack British Columbia V2P 2L8 Canada Phn: 1 604-792-7839 Fax : 1 604-792-4511 info@chilliwackfilmcommission.com www.chilliwackfilmcommission.com

KAMLOOPS Victoria Weller Thompson-Nicola Film Commission 300-465 Victoria St. Kamloops British Columbia V2C 2A9 Canada Phn: 1 250-377-8673 vweller@tnrd.bc.ca www.tnrdfilm.com

KELOWNA Jon Summerland Okanagan Film Commission 1450 KLO Road Kelowna British Columbia V1W 3Z4 Canada Phn: 1 250-717-0087 Fax: 1 250-868-0512 info@okanaganfilm.com www.okanaganfilm.com

SALMON ARM Robyn Cyr Columbia Shuswap Film Commission 781 Marine Park Drive NE P.O. Box 978 Salmon Arm British Columbia V1E 4P1 Canada Phn: 1 250-832-8194 Fax: 1 250-832-3375 rcyr@csrd.bc.ca www.filmcolumbiashuswap.com

NOVA SCOTIA Ann MacKenzie Film Nova Scotia Collins Bank Building - Historic Properties 1869 Upper Water Street, 3rd Floor Halifax Nova Scotia B3J 1S9 Canada Phn: 1 902-424-7177 Fax: 1 902-424-0617 stewarja@gov.ns.ca www.filmnovascotia.com

ONTARIO Donna Zuchlinski Ontario Media Development Corporation 175 Bloor St. East, South Tower, Suite 501 Toronto Ontario M4W 3R8 Canada Phn: 1 416-314-6858 Fax: 1 416-314-6876 dzuchlinski@omdc.on.ca www.omdc.on.ca

HAMILTON Jacqueline Norton Hamilton Film Office, Ontario, Canada 1 James Street South, 8th Floor Hamilton Ontario L8P 4R5 Canada Phn: 1 905-546-2424 Ext. 4122 Fax: 1 905-546-4107 jnorton@hamilton.ca www.hamilton.ca/film

MISSISSAUGA Carmen L. Ford Mississauga Film Office 4141 Living Arts Drive Mississauga Ontario L5B 4B8 Canada Phn: 1 905-306-6150 Fax: 1 905-306-6101 carmen.ford@mississauga.ca www.mississauga.ca

TORONTO Peter Finestone Toronto Film and Television Office Toronto City Hall, Main Floor, West 1 100 Queen Street West Toronto Ontario M5H 2N2 Canada Phn: 1 416-338-FILM (3456) Fax: 1 416-392-0675 pfinesto@toronto.ca www.toronto.ca/tfto

QUEBEC Hans Fraikin Quebec Film & Television Council 204, St-Sacrement Street, Suite 500 Montreal Quebec H2Y 1W8 Canada Phn: 1 866-320-3456 (FILM) Fax: 1 514-499-7018 info@qftc.ca www.qftc.ca

SASKATCHEWAN

ORESUND

Ulrick Bolt Jorgensen Oresund Film Commission - Denmark Gammel Kongevej 1 Copenhagen 1610 Denmark Phn: 45 33 86 34 00 bolt@oresundfilm.com www.oresundfilm.com/

DOMINICA Anita Bully Dominica Film Commission 1st Floor Financial Center Kennedy Avenue Roseau Dominica Phn: 866.522.4057 Fax: 767.448.5840 filmdominica@dominica.dm www.discoverdominica.com/site/filming. cfm

FIJI

Susanne Bell SaskFilm & Video Development Corporation 1831 College Avenue Regina Saskatchewan S4P 4V5 Canada Phn: 1 306-798-3457 bell@saskfilm.com www.saskfilm.com

Florence Swamy Fiji Audio Visual Commission Ground Floor, Civic House New Town Hall Road, Suva GPO Box 18080 Fiji Phn: 679-330-6662 Fax: 679-331-4662 favc@fijiaudiovisual.org.fj www.fijiaudiovisual.com

YUKON

FINLAND

Iris Merritt Yukon Film & Sound Commission P.O. Box 2703 F-3 Whitehorse Yukon Y1A 2C6 Canada Phn: 1 867-667-5400 Fax: 1 867-393-7040 info@reelyukon.com www.reelyukon.com

CAYMAN ISLANDS

Dax Basdeo Cayman Islands Film Commission 27 Hospital Road Cayman Corporate Centre George Town Grand Cayman KY1-1001 Cayman Islands Phn: 345-945-0943 Fax: 345-945-0941 info@cifilm.ky www.cifilm.gov.ky

CHILE

INTERIM MEMBERS are film commissions working to achieve AFCI education requirements.

DENMARK

Patricio Parraguez ProChile Teatinos 180 10th Floor Santiago Chile Phn: 56-2-827-52-62 Fax: 56-2-827-54-69 pparraguez@prochile.cl www.chileinfo.com Bettina Bettati Valdivia Film Commission Perez Rosales 787 E Valdivia Los Rios 5110652 Chile Phn: 56-63-249073 Fax: 56-63-213556 bettina@comisionfilmicavaldivia.org www.comisionfilmicavaldivia.org

CHINA

HONG KONG Elliot Au Film Services Office, Create Hong Kong 40/F. Revenue Tower, 5 Gloucester Rd Wan Chai Hong Kong SAR Phn: 852-2594 5743 Fax: 852 - 2824 0595 info@fso-createhk.gov.hk www.fso-createhk.gov.hk

COLOMBIA Silvia Echeverri Colombian Film Commission Calle 35 No. 4-89 Bogota, D.C. Colombia Phn: 57-1-2870103 Fax: 57-1-2884828 silvia@filmingcolombia.com www.filmingcolombia.com

EAST FINLAND Marika Turkia East Finland Film Commission c/o North Carelia Polytechnic EFFC Lansikatu 15 Joensuu North Karelia FIN-80110 Finland Phn: 358 50 4096026 effc@effc.fi www.effc.fi

FINNISH LAPLAND Johanna Karppinen Finnish Lapland Film Commission Viirinkankaantie 1 Rovaniemi 96300 Finland Phn: 358-40-571 7061 Fax: 358-16-362-662 johanna.karppinen@leofinland.fi www.filmlapland.fi

NORTH FINLAND Pauliina Eronen North Finland Film Commission PO Box 42 Oulu Northern Finland 90015 Finland Phn: 358 44 703 75 25 Fax: 358-8-558-4733 info@nffc.fi www.nffc.fi

TURKU Teija Raninen Turku Region Development Centre P.O. Box 355 Turku Fl 20101 Finland Phn: 358-2-262-7549 teija.raninen@turku.fi www.turku.fi Interim Member

FRANCE Patrick Lamassoure Film France, The French Film Commission 21 rue d’Hauteville Paris 75010 France Phn: 33-1-53-83-9898 Fax: 33-1-53-83-9899 film@filmfrance.net www.filmfrance.net

ILE DE FRANCE, PARIS Olivier-Rene Veillon Ile de France Film Commission 30, rue Saint Augustin Paris 75002 France Phn: 33-1-56-88-12-88 Fax: 33-1-56-88-12-19 or.veillon@idf-film.com www.iledefrance-film.com

SOUTH OF FRANCE Michel Brussol South of France Film Commission - VAR Avenue du GÈnÈral de Gaulle - Boite Postale 15 Saint-Tropez Var 83991 France Phn: 33-4-94 54 81 88 Fax: 33-4-94 69 33 76 michel.brussol@wanadoo.fr www.filmvar.com

GERMANY BAVARIA Anja Metzger FFF Film Commission Bavaria Sonnenstrasse 21 Munchen Bayern 80331 Germany Phn: 49-89-544-602-16 Fax: 49-89-544 602 -24 location@fff-bayern.de www.film-commission-bayern.de

BERLIN BRANDENBURG Christiane Raab Berlin Brandenburg Film Commission c/o Medienboard Berlin-Brandenburg Gmbh August-Bebel- Str. 26-53 Potsdam-Babelsberg D-14482 Germany 49-331-743-87-30 Fax: 49-331-743-87-99 location@medienboard.de www.bbfc.de

HAMBURG Christiane Scholz Hamburg Film Commission Friedensallee 14-16 Hamburg 22765 Germany 49-40-398-37-15 Fax: 49-40-398 37-10 hamburg@ffhsh.de www.fchsh.de

STUTTGART Christian Dosch Film Commission Region Stuttgart Breitscheidstrasse 4 Stuttgart Baden-Wuerttemberg D-70174 Germany Phn: 49 711-259443-0 Fax: 49 711-259443-33 film@region-stuttgart.de www.film.region-stuttgart.de

HUNGARY Aniko Navai Skorka Motion Picture Public Foundation of Hungary 38 Varosligeti Fasor Budapest1068 Hungary Phn: 361-461-1300 Fax: 361-352-8789 mmk2@axelero.hu www.mmka.hu

ICELAND Einar Tomasson Film In Iceland Borgartun 35 Reykjavik IS-105 Iceland Phn: 354 511 4000 Fax: 354 5114040 info@filminiceland.com www.filminiceland.com

IRELAND Naoise Barry Irish Film Board 14 - 16 Lord Edward Street Dublin 2 Ireland Phn: 353-404-20257 Fax: 353-404-62136 wfc@wicklowcoco.ie www.wicklowfilmcommission.com

WICKLOW TOWN Vibeke Dijkman County Wicklow Film Commission Wicklow County Council County Buildings, Station Road Wicklow Town County Wicklow Ireland Phn: 353 91 561 398 Fax: 353 91 561 405 locations@irishfilmboard.ie www.irishfilmboard.ie

ITALY Carlo Angelo Bocchi Italian Film Commission 1801 Avenue of the Stars, Ste 700 Los Angeles, California, United States, 90067 USA Phn: 1 323-879-0950 ext. 11 Fax: 1 310-203-8335 losangeles@losangeles.ice.it www.filminginitaly.com/

APULIA Silvio Maselli Apulia Film Commission Cineporto c/o Fiera del Levante Lungomare Starita, 1 Bari 70132 Italy Phn: 39 080 9752900 Fax: 39 080 9147464 email@apuliafilmcommission.it www.apuliafilmcommission.it Interim Member

EMILIA-ROMAGNA Claudia Belluzzi Emilia-Romagna Film Commission viale Aldo Moro 64 Bologna 40127 Italy Phn: 39-051-283-646 Fax: 39-051-283-370 filmcom@regione.emilia-romagna.it www.regione.emilia-romagna.it/cinema

ROMA & LAZIO Cristina Priarone Film Commission Roma & Lazio Via Caio Mario, 7 Rome192 Italy Phn: 39-06-32656778 info@romalaziofilmcommission.it www.romalaziofilmcommission.it Interim Member

TORINO PIEMONTE Giuliana Tessera Film Commission Torino Piemonte Via Cagliari 42 Torino 10153 Italy Phn: 39 011 2379201 Fax: 39 011 2379299 tessera@fctp.it www.fctp.it

JAMAICA Kim Marie Spence Jamaica Film Commission 18 Trafalgar Road Kingston 10 Jamaica Phn: 876-978-7755 Fax: 876-978-0140 film@jamprocorp.com www.filmjamaica.com

INDONESIA

JAPAN

Bali Deborah Gabinetti Bali Film Commission Jalan Merta Sari 10-B Sanur Bali 80228 Indonesia 62 361 744 4246 Fax: 62 361 286 425 contact@balifilm.com www.balifilm.com

Hiroshi Yoshida Fukuoka Film Commission Cultural Promotion Section, Fukuoka City Hall 1-8-1 Tenjin Chuo-ku Fukuoka City 810-8620 Japan Phn: 81-92-733-5171 Fax: 81-92-733-5595 info@fukuoka-film.com www.fukuoka-film.com

FUKUOKA CITY

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AFCI MEMBERS HAGI-SHI

OSAKA

LA CIUDAD DE MEXICO

WELLINGTON

Masanori Kogawa Hagi Film Commission The Tourism Division 単 Hagi City Office 510 Emukai Hagi-shi Yamaguchi-ken 758-855 Japan Phn: 81-838-25-3139 Fax: 81-838-26-0716 1236@city.hagi.yamaguchi.jp www.city.hagi.yamaguchi.jp

Masahiro Nadamoto Osaka Film Council c/o Osaka Chamber of Commerce and Industry 2-8, Hommachibashi, Chuo-ku Osaka Osaka Prefecture 540-0029 Japan Phn: 81-6-6944-6333 Fax: 81-6-6944-6330 info@osaka-fc.jp www.osaka-fc.jp

Delia Shanly Film Wellington Level 5, 50 Manners Street, Wellington 6011 PO Box 10-347 Wellington New Zealand 6143 New Zealand Phn: 64-4-382-0078 Fax: 64-4-382-0098 delia@filmwellington.com www.filmwellington.com

HIMEJI

SAPPORO

Fernando Uriegas Vazquez Comision De Filmaciones De La Ciudad De Mexico A. De La Paz No. 26 Col. Chimalistac Mexico, D.F. Distrito Federal 1070 Mexico Phn: 52 55 17-19-30-00 x 1008 Fax: 52 55 17193000 x 1801 cine@cultura.df.gob.mx www.cfilma.cultura.df.gob.mx Interim Member

Fumiko Tanaka Himeji Film Commission Himeji City Tourism Promotion Department 68 Honmachi Himeji 670-0012 Japan Phn: 81-792-87-3653 fc@city.himeji.hyogo.jp www.city.himeji.hyogo.jp/fc/

Toshihiko Inoue Sapporo-Hokkadio Contents Strategy Organization Room220B Intercross Creative Center Toyohira 1-12-1-12,Toyohira-ku Sapporo Hokkaido 062-0901 Japan Phn: 81-11-805-1200 Fax: 81-11-805-2240 all@shocs.jp www.shocs.jp/

MORELOS

Afolabi Adesanya Nigerian Film Corporation No 218T Liberty Dam Road P.O. Box 693 Jos Plateau State 930001 Nigeria Phn: 234-73-463519 Fax: 234-73-461233 md@nigfilmcorp.com www.nigfilmcorp.com Interim Member

HIROSHIMA Tomoko Nishizaki Hiroshima Film Commission 1-1 Nakajima-cho, Naka-ku Hiroshima Japan Phn: 81-82-247-6916 Fax: 81-82-247-6917 film@fc.hcvb.city.hiroshima.jp www.fc.hcvb.city.hiroshima.jp

KITAKYUSHU Akihiro Oda Kitakyushu Film Commission Public Information Office 1-1 Jonai, Kokurakita-ku Kitakyushu 802-0001 Japan Phn: 81 93 582 2235 Fax: 81 93 582 2243 kfc@kitakyu-fc.com www.kitakyu-fc.com

KOBE Mako Tanaka Kobe Film Office c/o Kobe Convention & Visitors Association 6-9-1, Minatojima Nakamachi, Chuo-Ku Kobe 650-0046 Japan Phn: 81-78-303-2021 film@kcva.or.jp www.kobefilm.jp

NAGOYA Masumi Arakawa Nagoya Location Navi Nagoya Chamber of Commerce and Industry Building, 11F 2-10-19, Sakae, Naka-ku Nagoya 460-0008 Japan Phn: 81-52-202-1143 Fax: 81-52-231-0922 marak@ncvb.or.jp www.ncvb.or.jp/location_e

NASU-GUN Junichi Igarashi Nasu Film Commission 2109 Mayunosato 861-41 Takaku-otsu Nasumachi Nasu-gun Tochigi-ken 325-0303 Japan Phn: 81 287 74 3767 Fax: 81 287 74 3767 jigarashi2008@gmail.com www.nasukogen.org/nasufc/

OITA CITY Yoko Yukishige Oita City Location Office 2-31 Niage Machi Oita City Oita 870-8504 Japan Phn: 81-97-537-5663 Fax: 81-97-536-4044 info@oita-location.net www.oita-location.net

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TOKYO Kanako Kobayashi Tokyo Location Box 2-8-1 Nishishinjyuku Tokyo163-8001 Japan Phn: 81-3-3344-0005 ml-tlb@section.metro.tokyo.jp www.sangyorodo.metro.tokyo.jp/tlb/index_e.html

JORDAN Samer Mouasher Royal Film Commission of Jordan PO Box 811991 Amman 11181 Jordan Phn: 962-6-464-22-66 Fax: 962-6-464-22-99 info@film.jo www.film.jo

Alicia Castillo Morelos State Film Commission Ave. Morelos Sur #187 Col. Las Palmas Cuernavaca Morelos 62050 Mexico Phn: 52-777-312-92-15 actillo@yahoo.com.mx

NAMIBIA Edwin Kanguatgivi Namibia Film Commission PO Box 40715 Windhoek Namibia Phn: 264-61-381900 Fax: 264-61-256054 info@namibia-film-commission.com www.namibia-film-commission

NETHERLANDS ROTTERDAM Saskia Kagchel Rotterdam Media Commission Lloydstraat 11H Rotterdam 3024 EA Netherlands Phn: 31-10-221-4080 s.kagchel@rmc.rotterdam.nl www.rmc.rotterdam.nl/

NEW ZEALAND

Timothy Owase Kenya Film Commission PO Box 76417 Nairobi 508 Kenya Phn: 254-020-27 14 073 Fax: 254-733 650 068 info@filmingkenya.com www.kenyafilmcommission.com

Gisella Carr Film New Zealand 165 Tory Street P. O. Box 24142 Wellington 6142 New Zealand Phn: 64-4-385-0766 Fax: 64-4-384-5840 info@filmnz.org.nz www.filmnz.com

MALAYSIA

AUCKLAND

KENYA

Kamil Othman Multimedia Development Corporation MSC Headquarters Cyberjaya Selangor, Darul Ehsa 63000 Malaysia Phn: 603-8311-2170 kamil@mdec.com.my www.mdec.com.my

MEXICO Carla Raygoza Mexican Film Commission Insurgentes Sur #674, 2nd Floor Col. del Valle Mexico, DF 3100 Mexico Phn: 52 55 5448-5383 Fax: 52 55 5448-5381 locations.mexico@imcine.gob.mx www.comefilm.gob.mx

BAJA Gabriel del Valle Borquez Baja California State Film Commission 1572 Edificio Rio 3er piso, zona rio Tijuana California 22320 Mexico Phn: 52-664-682-33-67 Fax: 52-664-682-33-31 infofilm@baja.com.mx www.bajafilm.com Interim Member

Michael Brook Film Auckland P.O. Box 5561 Wellesley Street Auckland 1141 New Zealand Phn: 64-9-979-7052 Fax: 64-9-979-7080 michael@filmauckland.com www.filmauckland.com

NEW PLYMOUTH Peter Avery Film Venture Taranaki 9 Robe Street PO Box 670 New Plymouth New Zealand Phn: 64-6-759-5150 Fax: 64-6-759-5157 peter@venture.org.nz www.filmventuretaranaki.com

QUEENSTOWN Kevin (KJ) Jennings Film Queenstown Queenstown Lakes District Council Private Bag 50072 Queenstown Otago 9197 New Zealand Phn: 64-274-425-268 Fax: 64-3-442-7334 kevinj@qldc.govt.nz www.filmqueenstown.com

NIGERIA

NORWAY Truls Kontny Film Commission Norway Norwegian Film Institute P. Box 482 Sentrum Oslo 105 Norway Phn: 47-22-47-45-00 post@norwegianfilm.com www.norwegianfilm.com

MID NORDIC Eskil Roekke Mid Nordic Film Commission Kjopmannsgata 35 Trondheim 7410 Norway Phn: 47 91589898 eskil.roekke@midnordicfilm.com www.midnordicfilm.com

ROGALAND Oyvind Hollo-Klausen Filmkraft Rogaland AS PO Box 130 Physical: Arkitekt Echoffsgate 1 Stavanger Rogaland N-4001 Norway Phn: 47 5151 6972 hollo-klausen@filmkraft.no www.filmkraft.no

WESTERN NORWAY Sigmund Elias Holm Western Norway Film Commission Georgernes Verft 12 Bergen N-5011 Norway Phn: 47-55-56-05-10 Fax: 47-55-56-03-55 post@wnfc.no www.wnfc.no

PANAMA Laura Emerick Panama Film Commission Edison Plana, 3rd Floor Ricardo J. Alfaro Avenue & El Paical Panama City 1119 Panama Phn: 507-560-0638 Fax: 507-560-0638 cgrazier@mici.gob.pa www.panamafilmcommission.gob.pa

PHILIPPINES Yas Coles Film Development Council of the Philippines 20th Floor, The Centerpoint Building, Julia Vargas Avenue Corner Garnet Road, Ortigas Center Pasig City 1605 Philippines Phn: 63-2-632-9512 Fax: 63-2-638-2739 fdcphil@yahoo.com www.filmdevcouncilph.org Interim Member

SERBIA

Lodz Jaroslaw Olbrychowski Lodz Film Commission City of Lodz, Dept. of Culture 102 Piotrkowska Str. Lodz 90-926 Poland Phn: 48 42 638 59 29 Fax: 48 42 638 4485 office@lodzfilmcommission.com www.lodzfilmcommission.com Interim Member

Ana Ilic Serbia Film Commission Dalmatinska 17 Belgrade 11000 Serbia Phn: 381 11 32 92 024 Fax: 281 11 32 92 378 info@filminserbia.com www.filminserbia.com

Carmelo Romero Malaga Film Office Area de Cultura. Archivo Municipal Alameda Principal 23, Planta Baja-Izq Malaga 29001 Spain Phn: 34 952 60 17 36 Fax: 34 952 60 36 98 info@malagafilmoffice.com www.malagafilmoffice.com

SINGAPORE

SALAMANCA

Michelle Lui Media Development Authority Singapore 3 Fusionopolis Way #16-22 Symbiosis Singapore 138633 Singapore Phn: 65-6837-9958 Fax: 65-6336-1170 mda_media_services@mda.gov.sg www.smf.sg

Enrique Cantabrana Salamanca Film Commission Plaza Mayor, n19,1 Salamanca Salamanca 37002 Spain Phn: 34 923 27 24 08 Fax: 34 923 27 24 07 sfc@salamancafilmcommission.com www.salamancafilmcommission.com

PORTUGAL Faro Paulo Pereira Algarve Film Commission Rua 1 de Maio, 15-1 Faro Algarve 8000-411 Portugal Phn: 351 289 098 208 Fax: 351 289 828 881 info@algarvefilm.com www.algarvefilm.com

REPUBLIC OF KOREA Busan KwangSu Park Busan Film Commission 2F Busan Cinema Studios, 1392 Woo 1-dong, Haeundae-gu Busan 612-824 Republic of Korea Phn: 82-51-743-7531/6 bfc@bfc.or.kr www.bfc.or.kr

SOUTH AFRICA CAPE TOWN Laurence Mitchell Cape Film Commission 6th Floor, Waldorf Arcade; 80 St. George’s Mall PO Box 5047 Cape Town Western Cape 8001 South Africa Phn: 27-21-483-9070 Fax: 27-21-483-9071 abby@capefilmcommission.co.za www.capefilmcommission.co.za

JECHEON Kevin Chang Cheongpung Film Commission 110 2nd Fl. Jecheon Media Center Jecheon Chungcheongbuk-do 390-897 Republic of Korea Phn: 82 43 645 4995 Fax: 82 43 645 4996 ibfunny@gmail.com www.cpfc.or.kr

GYEONGGI Jae-hyun Cho Gyeonggi Film Commission 9th Floor, 202 dong, Chunui Techno Park II 202 Chuni-dong, Wonmi-gu Bucheon-si Gyeonggi-do 420-120 Republic of Korea Phn: 82-32-623-8041 Fax: 82-32-623-8080 ggfc@ggfc.or.kr www.ggfc.or.kr

JOHANNESBURG Terry Tselane Gauteng Film Office PO Box 61601 56 Main St. Marshalltown Johannesburg 2107/2108 South Africa Phn: 27-11-833-0409 Fax: 27-11-833-0282 info@gautengfilm.org.za www.gautengfilm.org.za

SPAIN BARCELONA-CATALUNYA Julia Goytisolo Barcelona-Catalunya Film Commission Palau de la Virreina La Rambla, 99 Barcelona 8002 Spain Phn: 34 93 454 8066 Fax: 34 93 323 8048 info@barcelonafilm.com www.bcncatfilmcommission.cat

JEONJU

INTERIM MEMBERS are film commissions working to achieve AFCI education requirements.

MALAGA

POLAND

Eui Suk Kim Jeonju Film Commission 502, Girin Officets 155-1, Gosa-dong, Wansan-gu Jeonju-si Jeonbuk 560-706 Republic of Korea Phn: 82-63-286-0421 Fax: 82-63-266-0422 jeonjujjfc@naver.com www.jjfc.or.kr

CARMONA

SEOUL

DONOSTIA-SAN SEBASTIAN

Mark Siegmund Seoul Film Commission Inseong Bldg. 2F, 51-3 Chungmuro-2-ga, Jung-gu Seoul 100-861 Republic of Korea Phn: 82 2 777 7184 Fax: 82 2 777 9097 mark@seoulfc.or.kr eng.seoulfc.or.kr

Irene Murillo Garcia Donostia-San Sebastian Film Commission Alto de Errondo 2, Edificio Morlans Donostia-San Sebastian Gipuzkoa 20009 Spain Phn: 34-943-48-34-88 Fax: 34-943-44-47-94 filmcommission@donostia.org www.sansebastianfilm commission.com

RUSSIAN FEDERATION Nikolai Tretyakov Russia’s Cultural Foundation of Interregional Cinematography 14 Boris Galushkin St, Building 1, Suite 55 Moscow 129301 Russian Federation Phn: 7 499 2492530 Fax: 7 495 6861888 info@rusfilmcom.com www.rusfilmcom.com/en/contact

Juan Ignacio Caballos GutiÈrrez Carmona Film Office Ayuntamiento de Carmona\\nAlcazar de la Puerta Sevilla, s/n Carmona Sevilla 41410 Spain Phn: 34 954 19 09 55 turismo@carmona.org www.turismo.carmona.org

MADRID Manuel Soria De La Fuente Madrid Film Commission Luis Bunuel, 2-2 Edificio Egeda, Ciudad De La Imagen Pozuelo De Alarcon Madrid 28223 Spain Fax: Phn: 34-91-518-65-22 msoria@madridfilmcommission.com www.madridfilmcommission.com

SANTIAGO DE COMPOSTELA Dimas Gonzalez Santiago de Compostela Film Commission R˙a do Vilar, 68 - 1 Santiago De Compostela A Coruna15705 Spain Phn: 34-981-58-0499 Fax: 34-981-55-4128 scfc@santiagoturismo.com www.compostelafilm.com

SEGOVIA Rosa Portillo Figueroa Segovia Film Office C/Juderia Vieja, 12 Segovia Segovia 40001 Spain Phn: 34-921-460354 Fax: 34-921-466708 info@segoviafilmoffice.com www.segoviafilmoffice.com

TENERIFE Antje Groch Tenerife Film Commission C/Alcalde JosÈ Emilio GarcÌa GÛmez, 9 Santa Cruz Tenerife 38005 Spain Phn: 34-647-34-6462 Fax: 34-922-23-7872 film@webtenerife.com www.tenerifefilm.com

SWEDEN Lapland Berit Tilly Swedish Lapland Film Commission Filmpool Nord AB, Kronan A2 Solna Stockholm 16940 Sweden Phn: 46 8 70 50 441 ingrid.rudefors@frsm.se www.stofilm.com

ORESUND Ingrid Rudefors Film Region Stockholm-Mälardalen Film Commission Greta Garbos vag 11 SE-271 39 Ystad Sweden Phn: 46 707 163 202 Fax: 46 411 559 740 svensson@oresundfilm.com www.oresundfilm.com

TRINIDAD & TOBAGO Carla G.Foderingham Trinidad & Tobago Film Company Ltd. Suite 015, Bretton Hall 16 Victoria Avenue Port of Spain Trinidad Trinidad and Tobago Phn: 868-625-FILM (3456) Fax: 868-624-2683 cfoderingham@ttfc.co.tt www.trinidadandtobagofilm.com

UNITED ARAB EMIRATES David Shepheard Abu Dhabi Film Commission P.O. Box 2380 Abu Dhabi Abu Dhabi United Arab Emirates Phn: 971 2 4012713 Fax: 971 2 4011701 david@film.gov.ae www.film.gov.ae

UNITED KINGDOM Amelie Truffert UK Film Council 10 Little Portland Street London W1W 7JG United Kingdom Phn: 44-20-7861-7861 amelie.truffert@ukfilmcouncil.org.uk www.ukfilmcouncil.org.uk

ENGLAND BATH Jenni Wagstaffe Bath Film Office Abbey Chambers Abbey Churchyard Bath BA1 1LY United Kingdom Phn: 44-1225-477711 Fax: 44-1225-396442 bath_filmoffice@bathnes.gov.uk www.visitbath.co.uk/film-office

BRISTOL Natalie Moore Bristol Film Office 1st Floor, Colston 33 Colston Avenue Bristol BS1 4UA United Kingdom Phn: 44 117 922 3958 Fax: 44 870 912 0460 natalie@filmbristol.co.uk www.filmbristol.co.uk

LONDON Sue Hayes Film London The Tea Building, Suite 6.10 56 Shoreditch High Street London E1 6JJ United Kingdom Phn: 44-20-7613-7676 Fax: 44-20-7613-7677 info@filmlondon.org.uk www.filmlondon.org.uk

MANCHESTER

Mikael Svensson Oresund Film Commission - Sweden Sixten Sparres gata 1 Lule 974 42 Sweden Phn: 46-920-43 45 99 Fax: 46-920-43 40 79 berit.tilly@slfc.se www.slfc.se

Lynn Saunders North West Vision & Media BBC New Broadcasting House Oxford Road Manchester M60 1SJ United Kingdom Phn: 44 870 6094481 Fax: 44 161 244 3755 info@northwestvision.co.uk www.northwestvision.co.uk

THAILAND

BRISTOL

STOCKHOLM

Wanasiri Morakul Thailand Film Office Office of Tourism Development, Ministry of Tourism and Sports Rama 1 Road, Pathumwan Bangkok 10330 Thailand Phn: 662-216-6907 Fax: 662-216-6656 film@thailandfilmoffice.org Thailandfilmoffice.org

Fiona Francombe South West Screen St. Bartholomews Court Lewins Mead Bristol BS1 5BT United Kingdom Phn: 44 117 952 9977 Fax: 44 117 952 9988 fiona.francombe@swscreen.co.uk www.swscreen.co.uk

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AFCI MEMBERS SCOTLAND Belle Doyle Creative Scotland 249 West George Street Glasgow G2 4QE United Kingdom Phn: 44-141-302-1724 44-141-302-1711 belle.doyle@creativescotland.com www.scottishscreenlocations.com

GLASGOW Jennifer Reynolds Glasgow Film Office City Chambers Glasgow G2 1DU United Kingdom Phn: 44-141-287-0424 info@glasgowfilm.com www.glasgowfilm.com

WALES Allison Dowzell Wales Screen Commission 33-35 West Bute Street Cardiff Bay Cardiff CF10 5LH United Kingdom Phn: 44-2920 435385 Fax: 44-29 2043 5380 allison.dowzell@wales-uk.com www.walesscreencommission.co.uk

UNITED STATES ALABAMA

Brenda Hobbie Alabama Film Office 401 Adams Avenue, Suite 170 Montgomery Alabama 36104 United States Phn: 1 334-242-4195 Fax: 1 334-242-2077 brenda.hobbie@tourism.alabama.gov www.alabamafilm.org

BIRMINGHAM Mark Stricklin Birmingham-Jefferson Film Office 505 North 20th Street Suite 200 Birmingham Alabama 35203 United States Phn: 1 205 241-8125 Fax: 1 205 324-2847 mstricklin@birminghambusinessalliance. com www.filmbirmingham.org

MOBILE Eva Golson Mobile Film Office, City of 164 St. Emanuel Street (36602) P. O. Box 1827 Mobile Alabama 36633 United States Phn: 1 251-438-7100 golson@cityofmobile.org

ALASKA Dave Worrell Alaska Film Office 550 West 7th Avenue, Suite 1770 Anchorage Alaska 99501 United States Phn: 1 907-269-8491 Fax: 1 907-269-8125 david.worrell@alaska.gov www.Film.Alaska.gov

ANCHORAGE Susan Sommer Film Anchorage 524 W 4th Ave Anchorage Alaska 99501 United States Phn: 1 907-276-4118 Ext 375 Fax: 1 907-278-5559 ssommer@anchorage.net www.anchorage.net/film

ARIZONA Ken Chapa Arizona Film Office 1700 W. Washington, Suite 220 Phoenix Arizona 85007 United States Phn: 1 602-771-1116 kenc@azcommerce.com www.azcommerce.com/film

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FLAGSTAFF

LITTLE ROCK

IMPERIAL COUNTY

Heather Ainardi Flagstaff Film Commission Flagstaff CVB 211 W. Aspen Ave Flagstaff Arizona 86001 United States Phn: 1 928-779-7645 Fax: 1 928-556-1305 hainardi@flagstaffaz.gov www.filmflagstaff.com

Gary Newton Little Rock Film Commission One Chamber Plaza Little Rock Arkansas 72201-1618 United States Phn: 1 501-377-6007 Fax: 1 501-374-6018 gnewton@littlerockchamber.com www.littlerockfilmcommission.com

Charla Teeters Imperial County Film Commission P. O. Box 1467 El Centro California 92244 United States Phn: 1 760-337-4155 Fax: 1 760-337-4144 filmhere@sbcglobal.net www.filmimperialcounty.com

OZARK

LONG BEACH

Steve Ward Page-Lake Powell Film Commission PO Box 2280 Page Arizona 86040 United States Phn: 1 928-640-1150 Fax: 1 928-645-4440 sward@apmlp.com

Sandra Key Ozark-Franklin County Film Commission 300 West Commercial Ozark Arkansas 72949 United States Phn: 1 479-667-5337 Fax: 1 479-667-0248 mainstreetozark@centurytel.net mainstreetozark.com

PHOENIX

CALIFORNIA

Tasha Day Long Beach Office of Special Events & Filming City Managerâ&#x20AC;&#x2122;s Office/ City of Long Beach 211 E. Ocean Blvd., Suite 410 Long Beach California 90802 United States Phn: 1 562-570-5333 tasha.day@longbeach.gov www.filmlongbeach.com

PAGE

Phil Bradstock Phoenix Film Office, City of 200 W. Washington, 19th Floor Phoenix Arizona 85003 United States Phn: 1 602-262-4850 Fax: 1 602-534-2295 philip.bradstock@phoenix.gov www.phoenix.gov/filmphx

Amy Lemisch California Film Commission 7080 Hollywood Boulevard, Suite 900 Hollywood California 90028 United States Phn: 1 323-860-2960 Fax: 1 323-860-2972 alemisch@film.ca.gov www.film.ca.gov

PRESCOTT

BERKELEY

Wendy Bridges Prescott, AZ Film Office 201 N. Cortez P.O. Box 2059 Prescott Arizona 86302 United States Phn: 1 928-777-1204 Fax: 1 928-777-1255 wendy.bridges@prescott-az.gov www.cityofprescott.net/business/film/

SEDONA Lori Reinhart Sedona Film Office P.O. Box 478 Sedona Arizona 86339 United States Phn: 1 928-204-1123 lreinhart@sedonafilmoffice.com www.sedonafilmoffice.com

TUCSON Peter Catalanotte Tucson Film Office Metropolitan Tucson Convention and Visitors Bureau 100 South Church Avenue Tucson Arizona 85701 United States Phn: 1 520-770-2126 shall@visittucson.org www.filmtucson.com

WICKENBURG

Barbara Hillman Berkeley Film Office 2030 Addison St. #102 Berkeley California 94704 United States Phn: 1 510-549-7040 Fax: 1 510-644-2052 film@visitberkeley.com www.filmberkeley.com

LOS ANGELES Paul Audley Film L.A., Inc. 1201 West 5th St Suite T-800 Los Angeles California 90017 United States Phn: 1 213-977-8600 info@filmlainc.com www.filmlainc.com

MENDOCINO Debra De Graw Mendocino County Film Office 217 S. Main Street Fort Bragg California 95437 United States Phn: 1 707-961-6302 Fax: 1 707-964-2056 debra@filmmendocino.com www.filmmendocino.com

CATALINA ISLAND Donna Harris Catalina Island Film Commission #1 Green Pier PO Box 217 Avalon California 90704-0217 United States Phn: 1 310-510-7649 Fax: 1 310-510-7607 dharris@catalinachamber.com www.CatalinaChamber.com

EL DORADO-LAKE TAHOE Kathleen Dodge El Dorado-Lake Tahoe Film & Media Office 542 Main Street Placerville California 95667 United States Phn: 1 530-626-4400 film@eldoradocounty.org www.filmtahoe.com

FRESNO

Julie Brooks Wickenburg Film Commission 216 North Frontier Street Wickenburg Arizona 85390 United States Phn: 1 928-684-5479 info@wickenburgchamber.com www.wickenburgchamber.com

Gigi Gibbs Fresno County Film Commission 2220 Tulare St, 8th Floor Fresno California 93721 United States Phn: 1 559-600-4271 Fax: 1 559-600-4549 ggibbs@co.fresno.ca.us www.filmfresno.com

ARKANSAS

HUMBOLDT COUNTY

Christopher Crane Arkansas Film Office 1 Capitol Mall, Room 4B-505 Little Rock Arkansas 72201 United States Phn: 1 501.682.7676 Fax: 1 501.682.3456 ccrane@arkansasedc.com www.arkansasedc.com

Cassandra Hesseltine Humboldt County Film Commission 1385 8th Street, Suite F Arcata California 95521 United States Phn: 1 707-520-0018 filmcom@filmhumboldt.org www.filmhumboldt.org Interim Member

MONTEREY Karen Nordstrand Monterey County Film Commission PO Box 111 801 Lighthouse Avenue, Suite 104 (Zip Code: 93940) Monterey California 93942 United States Phn: 1 831-646-0910 Fax: 1 831-655-9250 karen@filmmonterey.org www.filmmonterey.org

OAKLAND Ami Zins Oakland Film Office 150 Frank H. Ogawa Plaza, #8215 Oakland California 94612 United States Phn: 1 510-238-4734 filmoakland@filmoakland.com www.filmoakland.com

ORANGE COUNTY Janice Arrington Orange County Film Commission CSUF - P. O. Box 6850 Fullerton California 92834-6850 United States Phn: 1 657-278-7569 Fax: 1 657-278-7521 jarrington@fullerton.edu www.filmorangecounty.org

PASADENA Ariel Penn Pasadena Film Office 175 North Garfield Avenue Pasadena California 91101 United States Phn: 1 626-744-3964 apenn@cityofpasadena.net www.filmpasadena.com

PLACER-LAKE TAHOE

SANTA CRUZ

GLENWOOD SPRINGS

MIAMI BEACH

Beverly Lewis Placer-Lake Tahoe Film Office 175 Fulweiler Avenue Auburn California 95603-4543 United States Phn: 1 530-889-4091 blewis@placer.ca.gov www.placer.ca.gov/films

Christina Glynn Santa Cruz County Film Commission 303 Water Street Santa Cruz California 95060 United States Phn: 1 831-425-1234 ext. 112 cglynn@santacruz.org www.santacruzfilm.org

RIDGECREST

SHASTA

Kevin Shand Glenwood Springs Film Commission 1102 Grand Avenue Glenwood Springs Colorado 81601 United States Phn: 1 970-945-6589 Fax: 1 970-945-1531 marianne@glenwoodchamber.com www.glenwoodfilmcommission.com

Douglas Lueck Ridgecrest Regional Film Commission 139 Balsam Street Ridgecrest California 93555 United States Phn: 1 760-375-8202 Fax: 1 760-375-9850 racvb@filmdeserts.com www.filmdeserts.com

Jenny Zink Shasta County Film Commission 2334 Washington Ave. Suite B Redding California 96001 United States Phn: 1 530-225-4105 sherry@visitredding.org www.visitredding.org

Graham Winick The City of Miami Beach, Office of Film and Event Production Management 1700 Convention Center Drive Miami Beach Florida 33139 United States Phn: 1 305-673-7070 Fax: 1 305-673-7063 grahamwinick@miamibeachfl.gov www.filmiamibeach.com

SONOMA COUNTY SACRAMENTO Lucy Steffens Sacramento Film Commission 1608 I Street Sacramento California 95814 United States Phn: 1 916-808-7777 lsteffens@cityofsacramento.org www.filmsacramento.com

Colette Thomas Sonoma County Film Office 401 College Ave. Suite D- EconDevBoard Santa Rosa California 95401 United States Phn: 1 707-565-7170 1 707-565-7231 film@sonoma-county.org www.sonomacountyfilm.com

SAN DIEGO Cathy Anderson San Diego Film Commission 1010 Second Avenue, #1500 San Diego California 92101-4912 United States Phn: 1 619-234-3456 Fax: 1 619-234-4631 info@sdfilm.com www.sdfilm.com

TULARE COUNTY Eric Coyne Tulare County Film Commission 5961 S. Mooney Boulevard Visalia California 93277 United States Phn: 1 559 624.7072 Fax: 1 559 730.2591 lfeldste@co.tulare.ca.us www.co.tulare.ca.us

SAN FRANCISCO Susannah Greason Robbins San Francisco Film Commission City Hall, Room 473 One Dr. Carlton B. Goodlett Place San Francisco California 94102 United States Phn: 1 415-554-6241 Fax: 1 415-554-6503 film@sfgov.org www.filmSF.org

SAN LUIS OBISPO Jonni Biaggini San Luis Obispo County Film Commission 811 El Capitan Way, Ste 200 San Luis Obispo California 93401 United States Phn: 1 805-541-8000 baxterb@sanluisobispocounty.com www.sanluisobispocounty.com

INTERIM MEMBERS are film commissions working to achieve AFCI education requirements.

SAN MATEO Brena Bailey San Mateo County Film Commission San Mateo County Convention & Visitors Bureau 111 Anza Blvd., Suite #410 Burlingame California 94010 United States Phn: 1 650-348-7600 Fax: 1 650-348-7687 brena@smccvb.com www.filmsanmateocounty.com

TUOLUMNE COUNTY Jerry Day Tuolumne County Film Commission 2 South Green Street Sonora California 95370 United States Phn: 1 209-533-6911 Fax: 1 209-533-0956 info@tcfilm.org www.tcfilm.org

VALLEJO/SOLANO COUNTY Jim Reikowsky Vallejo/Solano County Film Office 289 Mare Island Way Vallejo California 94590 United States Phn: 1 707-642-3653 film@visitvallejo.com www.visitvallejo.com/filmoffice/index.php

VENTURA Jim Luttjohann Film Ventura 101 S California St Ventura California 93001 United States Phn: 1 805-648-2075 Fax: 1 805-648-2150 jim@ventura-usa.com www.filmventura.com

CONNECTICUT George Norfleet Connecticut Office of Film, Television and Digital Media 505 Hudson Street 4th Floor Hartford Connecticut 6106 United States Phn: 1 860-270-8088 Fax: 1 860-270-8032 george.norfleet@ct.gov www.ctfilm.com

MIAMI/DADE

NEW LONDON

SARASOTA

Margaret Curtin New London Film Commission New London City Hall 181 State Street New London Connecticut 6320 United States Phn: 1 860-447-5201 Fax: 1 860-447-7971 gmckissick@ci.new-london.ct.us www.filmnewlondon.com

DISTRICT OF COLUMBIA Crystal Palmer Washington, DC - Office of Motion Picture & TV Development 3007 Tilden Street, NW Pod-P Washington D.C. 20008 United States Phn: 1 202-727-6608 Fax: 1 202-727-3246 film@dc.gov www.film.dc.gov

FLORIDA Lucia Fishburne Florida Governorâ&#x20AC;&#x2122;s Office of Film & Entertainment The Capitol 400 S. Monroe Street, Suite 2001 Tallahassee Florida 32399-0001 United States Phn: 1 877-FLA-FILM Fax: 1 850-410-4770 lucia.fishburne@myflorida.com www.filminflorida.com

Jeff Peel Miami/Dade County Office of Film & Entertainment 111 Northwest 1st St., Suite 2540 Miami Florida 33128 United States Phn: 1 305-375-3288 film@filmiami.org www.filmiami.org Jeanne Corcoran Sarasota County Film & Entertainment Office 2601 Cattlemen Road, Suite 102 Sarasota Florida 34232 United States Phn: 1 941-309-1200 Fax: 1 941-309-1209 jeanne@filmsarasota.com www.filmsarasota.com

ST. PETERSBURG-CLEARWATER Jennifer Parramore St. Petersburg-Clearwater Area Film Commission 13805 58th Street North, Suite 2-200 Clearwater Florida 33760 United States Phn: 1 727-464-7240 Fax: 1 727-464-7277 jp@floridasbeachfilm.com www.floridasbeachfilm.com

GEORGIA Lee Thomas Georgia Film, Music & Digital Entertainment Georgia Department of Economic Development 75 Fifth Street, NW, Suite 1200 Atlanta Georgia 30308 United States Phn: 1 404-962-4052 Fax: 1 404-962-4053 lthomas@georgia.org www.georgia.org/fmde

SAVANNAH COLLIER COUNTY Maggie McCarty Collier County Film Commission 755 8th Avenue South Naples Florida 34102 United States Phn: 1 239-659-3456 collierfilm@aol.com

FORT LAUDERDALE / BROWARD

SANTA BARBARA

COLORADO

Geoff Alexander Santa Barbara CVB & Film Commission 1601 Anacapa Street Santa Barbara California 93101-1909 United States Phn: 1 805-966-9222 Ext. 110 geoff@filmsantabarbara.com www.filmsantabarbara.com

Marcia Morgan Colorado Office of Film, Television, & Media 1625 Broadway, Ste. 2700 Denver Colorado 80202 United States Phn: 1 303-592-4075 info@coloradofilm.org www.coloradofilm.org

Noelle P. Stevenson Greater Fort Lauderdale / Broward Film Commission 100 East Broward Blvd., Suite 200 Fort Lauderdale Florida 33301 United States Phn: 1 954-767-2440 Fax: 1 954-765-4681 nstevenson@broward.org www.sunny.org/film Interim Member

SANTA CLARITA

BOULDER

JACKSONVILLE

Jessica Freude Santa Clarita Valley Film Office 23920 Valencia Boulevard, Suite 100 Santa Clarita California 91355-2175 United States Phn: 1 661-284-1425 Fax: 1 661-286-4001 film@santa-clarita.com www.filmsantaclarita.com

Kim Farin Boulder County Film Commission 2440 Pearl St. Boulder Colorado 80302 United States Phn: 1 303-938-2066 Fax: 1 303-938-2098 kim.farin@bouldercvb.com www.bouldercoloradousa.com

Todd Roobin Jacksonville Film & Television Commission 1 West Adams Street, Ste 200 Jacksonville Florida 32202 United States Phn: 1 904-630-2522 Fax: 1 904-630-2919 troobin@coj.net www.filmjax.com

Jay M.Self Savannah Film Commission 24 Drayton Street, Ste. 630 Savannah Georgia 31402 United States Phn: 1 912-651-3696 Fax: 1 912-651-0982 jay_self@savannahga.gov www.savannahfilm.org

HAWAII

HILO JOHN

Georja Skinner Hawaii Film Office P.O. Box 2359 Honolulu Hawaii 96804 United States Phn: 1 808-586-2570 Fax: 1 808-586-2572 info@hawaiifilmoffice.com www.hawaiifilmoffice.com Mason Big Island Film Office 25 Aupuni Street, Room 109 Hilo Hawaii 96720 United States Phn: 1 808-327-3663 (Kona) Fax: 1 808-327-3667 film@bigisland.com www.filmbigisland.com

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AFCI MEMBERS ­ HONOLULU

KANSAS

SHREVEPORT-BOSSIER

WATERFORD

Walea L. Constantinau Honolulu Film Office/Island Of Oahu City & County of Honolulu 530 S. King Street, Suite 306 Honolulu Hawaii 96813 United States Phn: 1 808-768-6100 Fax: 1 808-768-6102 info@filmhonolulu.com www.filmhonolulu.com

Peter Jasso Kansas Film Commission 1000 S.W. Jackson Street, Suite 100 Topeka Kansas 66612-1354 United States Phn: 1 785-296-4927 Fax: 1 785-296-3490 eschroeder@kansascommerce.com www.filmkansas.com

Pam Glorioso Shreveport-Bossier Film Office 505 Travis Street Shreveport Louisiana 71101 United States Phn: 1 318-673-7515 Fax: 1 318-673-5085 arlena.acree@shreveportla.gov www.shreveport-bossierfilm.com/

James Dingeman Oakland County Film 2100 Pontiac Lake Road Waterford Michigan 48328 United States Phn: 1 877-651-3456 1 248-452-2039 film@oakgov.com www.oaklandcountyfilm.com

WICHITA

WEST BATON ROUGE

WEST MICHIGAN

Sharon Boudreaux-Stam West Baton Rouge Film Commission 2750 N. Westport Drive Port Allen Louisiana 70767 United States Phn: 1 225-332-2517 1 225-933-5011 sstam@westbatonrouge.net www.westbatonrouge.net

Rick Hert West Michigan Film Office 741 Kenmoor Ave., Suite E Grand Rapids Michigan 49546 United States Phn: 1 616-245-2217 Fax: 1 616-954-3924 rick@wmta.org www.wmta.org

MAINE

MINNESOTA

LIHUE Art Umezu Kauai Film Commission 4444 Rice Street, Suite 200 Lihue Hawaii 96766 United States Phn: 1 808-241-6386 Fax: 1 808-241-6399 info@filmkauai.com www.filmkauai.com

WAILUKU Brianne Savage Maui County Film Office One Main Plaza 2200 Main St Ste 305 Wailuku Hawaii 96793 United States Phn: 1 808-270-7415 Fax: 1 808-270-7995 filmmaui@mauicounty.gov www.filmmaui.com

IDAHO Peg Owens Idaho Film Office Idaho Film Office, Idaho Department of Commerce 700 W State St, Box 83720 Boise Idaho 83720-0093 United States Phn: 1 208 334-2470 Fax: 1 208 334-2631 peg.owens@tourism.idaho.gov www.filmidaho.com

ILLINOIS Betsy Steinberg Illinois Film Office 100 West Randolph 3rd Floor Chicago Illinois 60601 United States Phn: 1 312-814-3600 Fax: 1 312-814-8874 betsy.steinberg@illinois.gov www.illinoisfilm.biz

CHICAGO Richard Moskal Chicago Film Office 121 North LaSalle Room 806 Chicago Illinois 60602 United States Phn: 1 312-744-6415 Fax: 1 312-744-1378 filmoffice@cityofchicago.org www.cityofchicago.org/filmoffice

KANKAKEE Larry Williams Kankakee County Convention & Visitors Bureau 1 Dearborn Square, Office 521 National City Bank Building Kankakee Illinois 60914 United States Phn: 1 815-935-7390 Fax: 1 815-935-5169 larry@visitkankakeecounty.com www.visitkankakeecounty.com Interim Member

INDIANA Erin Newell Film Indiana c/o IEDC One North Capitol, Suite 700 Indianapolis Indiana 46204 United States Phn: 1 317-234-2087 Fax: 1 317-232-4146 filminfo@iedc.in.gov www.filmindiana.com

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Wichita Film Commission Go Wichita Convention & Visitor’s Bureau 515 S Main Street, Suite 115 Wichita Kansas 67202 United States Phn: 1 316-265-2800 Fax: 1 316-265-0162 wfc@gowichita.com www.gowichita.com Interim Member

KENTUCKY Todd Cassidy Kentucky Film Office 500 Mero Street 2400 Capital Plaza Tower Frankfort Kentucky 40601 United States Phn: 1 502 564-3456 Fax: 1 502 564-1512 todd.cassidy@ky.gov www.KyFilmOffice.com

LOUISIANA Chris Stelly Louisiana Governor’s Office of Film and Television Development P.O. Box 94185 Baton Rouge Louisiana 70804-9185 United States Phn: 1 225.342.5403 Fax: 1 225.342.5349 cstelly@la.gov www.lafilm.org

D. Lea Girardin Maine Film Office 59 State House Station 111 Sewall St, third floor Augusta Maine 04333-0059 United States Phn: 1 207-624-7631 Fax: 1 207-287-8070 lea.girardin@maine.gov www.filminmaine.com

MARYLAND Jack Gerbes Maryland Film Office 401 East Pratt Street, 14th Floor Baltimore Maryland 21202 United States Phn: 1 410-767-6340 Fax: 1 410-333-0044 filminfo@marylandfilm.org www.marylandfilm.org

BALTIMORE BATON ROUGE Amy Mitchell Baton Rouge Film Commission 359 Third Street Baton Rouge Louisiana 70806 United States Phn: 1 225-382-3563 Fax: 1 225-346-1253 brfilm@brgov.com www.filmbatonrouge.com

JEFFERSON Jennifer Van Vrancken Jefferson Louisiana Film Office 1221 Elmwood Park Blvd., Suite 1002 Jefferson Louisiana 70123 United States Phn: 1 504-736-6412 Fax: 1 504-736-6638 jvanvrancken@jeffparish.net www.filmjeffersonla.com Interim Member

Debbie Donaldson Dorsey Baltimore Film Office 7 East Redwood St., Suite 500 Baltimore Maryland 21202 United States Phn: 1 410-752-8632 Fax: 1 410-385-0361 ddorsey@promotionandarts.com www.baltimorefilm.com

MICHIGAN Carrie Jones Michigan Film Office 300 N. Washington Square - 4th Floor Lansing Michigan 48913 United States Phn: 1 800-477-3456 Fax: 1 517-241-0867 mfo@michigan.org www.michiganfilmoffice.org

Katie Gunnell New Orleans Office of Film & Video Mayor’s Office of Cultural Economy 1340 Poydras St. 10th Floor New Orleans Louisiana 70112 United States Phn: 1 504-658-0923 kagunnell@cityofno.com www.filmneworleans.org

NORTHEAST LOUISIANA Sheila Snow Northeast Louisiana Film Commission PO Box 1436 West Monroe Louisiana 71294 United States Phn: 1 800-843-1872 Fax: 1 318-324-1752 ssnow@monroe-westmonroe.org www.nelafilm.org

MISSISSIPPI Ward Emling Mississippi Film Office P. O. Box 849 Jackson Mississippi 39205 United States Phn: 1 601-359-3297 Fax: 1 601-359-5048 wemling@mississippi.org www.filmMississippi.org

CANTON Jo Ann Gordon Canton Film Office Box 53 Canton Mississippi 39046 United States Phn: 1 601-859-1307 jgordon@cantontourism.com www.cantontourism.com

TUPELO Pat Rasberry Tupelo Film Commission 399 East Main Street P.O. Box 47 Tupelo Mississippi 38802-0047 United States Phn: 1 662-841-6521 prasberry@tupelo.net www.tupelo.net

MISSOURI

Kay Seaser Ann Arbor Area Film Office 120 W Huron Ann Arbor Michigan 48104 United States Phn: 1 734-995-7281 Fax: 1 734-995-7283 kseaser@annarbor.org www.filmannarbor.org

Jerry Jones Missouri Film Commission 165 McReynolds Hall University of Missouri Columbia Missouri 65211 United States Phn: 1 573-522-1288 Fax: 1 573-882-2490 mofilm@missouri.edu www.mofilm.org

DETROIT

KANSAS CITY

Xenia Castillo-Hunter Film Detroit 211 W. Fort Street Suite 1000 Detroit Michigan 48226 United States Phn: 1 877-478-7883 Fax: 1 313-202-1968 xhunter@filmdetroit.com www.filmdetroit.com

Susan Blanco Film Commission of Greater Kansas City 1100 Main Street, Suite 2200 Kansas City Missouri 64105 United States Phn: 1 816-691-3879 Fax: 1 816-691-3880 sblanco@visitkc.com www.kcfilm.com

ANN ARBOR NEW ORLEANS

Lucinda Winter Minnesota Film & TV Board 401 N. 3rd Street, Suite 440 Minneapolis Minnesota 55401-2316 United States Phn: 1 612-767-0095 Fax: 1 612-767-2425 lucinda@mnfilmtv.org www.mnfilmtv.org

SAINT LOUIS

ALBUQUERQUE

ROCHESTER

OHIO

J. Kim Tucci Saint Louis Film Office c/o St. Louis CVC 701 Convention Plaza, Ste 300 Saint Louis Missouri 63101 United States Phn: 1 314-992-0629 gschurk@explorestlouis.com www.stlfilm.com

Ann Lerner Albuquerque Film Office PO Box 1293 One Civic Plaza NW Albuquerque New Mexico 87103 United States Phn: 1 505-768-3283 Fax: 1 505-768-3280 alerner@cabq.gov www.cabq.gov/film

June Foster Rochester/Finger Lakes Film & Video Office, Inc. 45 East Avenue, Suite 400 Rochester New York 14604-2294 United States Phn: 1 585-279-8308 Fax: 1 585 232-4822 jfoster@visitrochester.com www.filmrochester.org

Ohio Film Office 77 South High Street PO Box 1001 Columbus Ohio 43216-1001 United States Phn: 1 614-644-5156 Fax: 1 614-644-0108 jeremy.henthorn@development.ohio.gov www.discoverohiofilm.com Interim Member

MONTANA Sten Iversen Montana Film Office 301 S. Park Avenue Helena Montana 59620 United States Phn: 1 406-841-2876 Fax: 1 406-841-2877 montanafilm@mt.gov www.montanafilm.com

NEBRASKA Gary Hamer Nebraska Film Office Dept. of Economic Development P.O. Box 94666 Lincoln Nebraska 68509-4666 United States Phn: 1 402-471-3746 gary.hamer@ded.ne.gov www.filmnebraska.org

INTERIM MEMBERS are film commissions working to achieve AFCI education requirements.

NEVADA

SUFFOLK COUNTY FILM LINCOLN COUNTY Curt Temple Film Lincoln County, NM 115 Kansas City Rd. Ruidoso New Mexico 88345 United States Phn: 1 575-258-5934 Fax: 1 575-258-5938 planning@tularosa.net filmlcnm.org/

NORTH CAROLINA LAS CRUCES Bill McCamey Las Cruces Film Commission Film Liaison City of Las Cruces P.O. Box 20000 Las Cruces New Mexico 88004 United States Phn: 1 575-541-2387 bmccamey@las-cruces.org www.lascrucescvb.org/html/contact_the_ film_office.html

Charles Geocaris Nevada Film Office - Las Vegas 555 East Washington Avenue Suite 5400 Las Vegas Nevada 89101-1078 United States Phn: 1 702-486-2711 Fax: 1 702-486-2712 lvnfo@bizopp.state.nv.us www.nevadafilm.com

OTERO COUNTY

NEW HAMPSHIRE

SANTA FE

Matthew Newton New Hampshire Film and Television Office 20 Park Street Concord New Hampshire 3301 United States Phn: 1 603-271-2220 Fax: 1 603-271-3163 film@nh.gov www.nh.gov/film

Lisa van Allen Santa Fe Film Office Santa Fe CVB - Box 909 Santa Fe New Mexico 87504 United States Phn: 1 505-955-6211 Fax: 1 505-955-6223 lisa@santafefilm.org www.santafe.org

NEW JERSEY

NEW YORK

Steven Gorelick New Jersey Motion Picture/TV Commission 153 Halsey Street P.O. Box 47023 Newark New Jersey 7101 United States Fax: 1 973-648-6279 njfilm@njfilm.org www.njfilm.org

ATLANTIC CITY Heather Colache Film Office of the Atlantic City Convention & Vistitors Authority 2314 Pacific Avenue Atlantic City New Jersey 8401 United States 1 609-449-7151 Fax: 1 609-345-2200 hcolache@accva.com www.atlanticcitynj.com

NEW MEXICO Jennifer Schwalenberg New Mexico State Film Office Santa Fe University of Art and Design 1600 Saint Michael’s Drive Santa Fe New Mexico 87505 United States Phn: 1 505-476-5600 Fax: 1 505-476-5601 info@nmfilm.com www.nmfilm.com

Michelle Isabelle - Stark Suffolk County Film Commission H. Lee Dennison Bldg, 2nd Floor 100 Veterans Highway Hauppauge New York 11788-0099 United States Phn: 1 631-853-4834 Fax: 1 631-853-4800 michelle.stark@suffolkcountyny.gov www.suffolkcountyny.gov/exec/econ

Jan Wafful Otero County Film Office 1301 N. White Sands Blvd.

Alamogordo New Mexico 88310 United States Phn: 1 505-434-5882 Fax: 1 505-437-7139 jan@filmotero.com www.filmotero.com

Pat Swinney Kaufman New York State Governor’s Office for Motion Picture & TV Development 633 Third Ave. 33rd Floor New York New York 10017 United States Phn: 1 212-803-2330 nyfilm@empire.state.ny.us www.nylovesfilm.com

BUFFALO Tim Clark Buffalo Niagara Film Commission 617 Main Street, Suite 200 Buffalo New York 14203-1496 United States Phn: 1 716-852-0511 ext 227 Fax: 1 716-675-3307 clark@buffalocvb.org www.FilmBuffaloNiagara.org

NASSAU COUNTY Debra Markowitz Nassau County Office of Cinema/TV Promotion Executive Building One West Street Mineola New York 11501 United States Phn: 1 516-571-3168 Fax: 1 516-571-6195 dmarkowitz@nassaucountyny.gov www.LongIslandFilm.com

Aaron Syrett North Carolina Film Office 301 N. Wilmington Street Raleigh North Carolina 27601 United States Phn: 1 919.733.9900 Fax: 1 919-733-8582 aaron@ncfilm.com www.ncfilm.com

CHARLOTTE Beth Petty Charlotte Regional Film Commission 550 South Caldwell Street Suite 760 Charlotte North Carolina 28202 United States Phn: 1 800-554-4373 bpetty@charlottefilm.com www.charlottefilm.com

PIEDMONT TRIAD Rebecca Clark Piedmont Triad Film Commission 416 Gallimore Dairy Road, Suite M Greensboro North Carolina 27409 United States Phn: 1 336-393-0001 info@piedmontfilm.com www.piedmontfilm.com

RESEARCH TRIANGLE PARK Rob Shoaf Triangle Regional Film Commission PO Box 13041 Research Triangle Park North Carolina 27709-3041 United States Phn: 1 919-682-2222 triangleregionalfilm@gmail.com

WESTERN NORTH CAROLINA Pam Lewis Western North Carolina Film Commission 134 Wright Brothers Way Fletcher North Carolina 28732 United States Phn: 1 828-687-7234 Fax: 1 828-687-7552 film@awnc.org www.wncfilm.com

WILKES Terri Parsons Wilkes Film Commission Wilkes Chamber of Commerce PO Box 727 North Wilkesboro North Carolina 28659 United States Phn: 1 336-838-8662 Fax: 1 336-838-3728 terri@filmwilkes.com www.filmwilkes.com Interim Member

WILMINGTON Johnny Griffin Wilmington Regional Film Commission, Inc. 1223 North 23rd Street Wilmington North Carolina 28405 United States Phn: 1 910-343-3456 Fax: 1 910-343-3457 commish@wilmingtonfilm.com www.wilmingtonfilm.com

CINCINNATI Kristen J. Erwin Greater Cincinnati & Northern Kentucky Film Commission 602 Main St. Ste 712 Cincinnati Ohio 45202 United States Phn: 1 513-784-1744 Fax: 1 513-768-8963 info@filmcincinnati.com www.filmcincinnati.com

CLEVELAND Ivan Schwarz Greater Cleveland Film Commission 812 Huron Road East Suite 690 Cleveland Ohio 44115 United States Phn: 1 216-623-3910 Fax: 1 216-623-0876 jdrake@clevelandfilm.com www.clevelandfilm.com

COLUMBUS Gail Mezey Greater Columbus Film Commission PO Box 12735 Columbus Ohio 43212-0735 United States Phn: 1 614-264-2324 Fax: 1 614-486-5860 info@columbusfilmcommission.com www.filmcolumbus.com

OKLAHOMA Jill Simpson Oklahoma Film & Music Office 120 N. Robinson, 6th Floor Oklahoma City Oklahoma 73102 United States Phn: 1 800-766-3456 Fax: 1 405-230-8640 filminfo@oklahomafilm.org www.oklahomafilm.org

OREGON Vince Porter Oregon Film & Video Office 1001 SE Water Ave., Suite 430 Portland Oregon 97214 United States Phn: 1 503-229-5832 Fax: 1 503-229-6869 shoot@oregonfilm.org www.oregonfilm.org

PENNSYLVANIA Jane Shecter Pennsylvania Film Office Commonwealth Keystone Bldg 400 North Street, 4th Floor Harrisburg Pennsylvania 17120-0225 United States Phn: 1 717-783-3456 Fax: 1 717-787-0687 jsaul@state.pa.us www.filminpa.com

PHILADELPHIA Sharon Pinkenson Greater Philadelphia Film Office One Parkway Building 1515 Arch Street, 11th floor Philadelphia Pennsylvania 19102 United States Phn: 1 215-686-2668 Fax: 1 215-686-3659 mail@film.org www.film.org

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AFCI MEMBERS ­ PITTSBURGH

AMARILLO

SOUTH PADRE ISLAND

UTAH VALLEY

Dawn Keezer Pittsburgh Film Office Century Building 130 7th Street, Suite 202 Pittsburgh Pennsylvania 15222 United States Phn: 1 412-261-2744 Fax: 1 412-471-7317 info@pghfilm.org www.pghfilm.org

Jutta Matalka, CTP, TDM Amarillo Film Office 1000 S. Polk Amarillo Texas 79101 United States Phn: 1 806-342-2012 jutta@visitamarillotx.com www.visitamarillotx.com

Mary Hancock South Padre Island CVB Film Commission 7355 Padre Blvd South Padre Island Texas 78597 United States Phn: 1 956-761-3005 maryk@sopadre.com www.sopadre.com

Lee Adamson Utah Valley Film Commission 111 South University Ave. Provo Utah 84601 United States Phn: 1 801-851-2110 lee@utahvalley.com www.filmutahvalley.com

PUERTO RICO Luis Riefkohl Puerto Rico Film Commission 355 F.D. Roosevelt Ave Suite 106 P.O. Box 362350 San Juan PR 00936-2350 United States Phn: 1 787-758-4747 ext. 2251 Fax: 1 787-756-5706 lriefkohl@puertoricofilm.com www.puertoricofilm.com

RHODE ISLAND Steven Feinberg Rhode island Film & Television Office One Capitol Hill 3rd Floor Providence Rhode Island 2908 United States Phn: 1 401-222-3456 Fax: 1 401-222-3018 steven@arts.ri.gov www.film.ri.gov

SOUTH CAROLINA Tom Clark South Carolina Film Commission 1205 Pendleton Street Room 225 Columbia South Carolina 29201 United States Phn: 1 803-737-0490 tclark@scprt.com www.FilmSC.com

TENNESSEE Perry Gibson Tennessee Film, Entertainment & Music Commission 312 Rosa L. Parks Avenue, 9th Floor Nashville Tennessee 37243 United States Phn: 1 615-741-3456 Fax: 1 615-741-5554 tn.film@tn.gov tn.gov/film

CHATTANOOGA Missy Crutchfield Chattanooga Film Commission 399 McCallie Ave Chattanooga Tennessee 37402 United States Phn: 1 423-425-7823 crutchfield@mail.chattanooga.gov www.chattanoogaeac.org

MEMPHIS Linn Sitler Memphis & Shelby County Film & Television Commission 50 Peabody Place, Suite 250 Memphis Tennessee 38103 United States Phn: 1 901-527-8300 1 901-527-8326 linn@memphisfilmcomm.org www.memphisfilmcomm.org

TEXAS Evan Fitzmaurice Texas Film Commission P.O. Box 13246 Austin Texas 78711 United States Phn: 1 512-463-9200 Fax: 1 512-463-4114 film@governor.state.tx.us www.governor.state.tx.us/film

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AUSTIN Gary Bond Austin Film Commission 301 Congress Avenue Ste. 200 Austin Texas 78701 United States Phn: 1 512-583-7229 Fax: 1 512-583-7282 gbond@austintexas.org www.austinfilmcommission.org

US VIRGIN ISLANDS Allegra Kean Moorehead U.S. Virgin Islands Department of Tourism PO Box 6400 St. Thomas 803 United States Virgin Islands.

Phn: 1 340-774-8784 Fax: 1 340-774-4390 akmoorehead@usvitourism.vi www.filmusvi.com Interim Member

BROWNSVILLE Peter Goodman Brownsville Border Film Commission PO Box 911, City Hall Brownsville Texas 78520 United States Phn: 1 956-548-6176 peter@cob.us www.brownsvillefilm.com

CORPUS CHRISTI Kimberly Lemley Corpus Christi Film Commission 101 N. Shoreline Blvd., #430 Corpus Christi Texas 78401 United States Phn: 1 361-881-1888 Fax: 1 361-888-4998 klemley@cctexas.org www.corpuschristicvb.com Interim Member

DALLAS Janis Burklund Dallas Film Commission 1500 Marilla St., 2C North Dallas Texas 75201 United States Phn: 1 214-671-9822 Fax: 1 214-670-4773 janis.burklund@dallascityhall.com www.filmdfw.com

EL PASO Susie Gaines El Paso Film Commission #1 Civic Center Plaza El Paso Texas 79901 United States Phn: 1 915-534-0698 Fax: 1 915-532-2963 sgaines@elpasocvb.com www.visitelpaso.com/film

HOUSTON Rick Ferguson Houston Film Commission 901 Bagby Suite 100 Houston Texas 77002 United States Fax: 1 713-437-5248 rferguson@ghcvb.org www.houstonfilmcommission.com

MCALLEN Nancy Millar Rio Grande Valley Film Commission 1200 Ash Ave. McAllen Texas 78501 United States Phn: 1 956-682-2871 Fax: 1 956-631-8571 nmillar@mcallencvb.com www.rgvfilmcommission.com Interim Member

SAN ANTONIO Drew Mayer-Oakes San Antonio Film Commission 203 S. St. Mary’s Street, 2nd Floor San Antonio Texas 78205 United States Phn: 1 210-207-6730 Fax: 1 210-207-6843 filmsa@filmsanantonio.com www.filmsanantonio.com

UTAH Marshall Moore Utah Film Commission Council Hall 300 North State Street Salt Lake City Utah 84114 United States Phn: 1 801-538-8740 Fax: 1 801-538-1397 mdmoore@utah.gov film.utah.gov

DAVIS AREA John Wilson Davis Area Film Commission 748 W. Heritage Park Blvd.

Suite 201 Layton Utah 84041 United States Phn: 1 801-774-8200 Fax: 1 801-774-8335 john@davisareacvb.com www.davisareacvb.com

KANAB Kay Giles Kanab/Kane County Film Commission 78 South 100 East Kanab Utah 84741 United States 1 435-644-5033 Fax: 1 435-644-5923 kaygiles@kaneutah.com www.kaneutah.com

MOAB Tara Penner Moab To Monument Valley Film Commission 217 East Center Street Moab Utah 84532 United States Phn: 1 435-259-4341 Fax: 1 435-259-4135 tara@moabcity.org www.125filmmoab.org

OGDEN Joni Wall

OGDEN WEBER CONVENTION & VISITORS BUREAU 2438 Washington Blvd.

Ogden Utah 84401 United States Phn: 1 801-778-6253 Fax: 1 801-399-0783 joni@ogdencvb.org www.ogden.travel

PARK CITY Sue Kapis Park City Film Commission 1910 Prospector Avenue P.O. Box 1630 Park City Utah 84060 United States Phn: 1 435-658-9622 Fax: 1 435-649-4132 sue@parkcityinfo.com www.parkcityinfo.com/static/index.cfm?a ction=group&contentID=26

VIRGINIA Rita McClenny Virginia Film Office 901 East Byrd Street Richmond Virginia 23219-4048 United States Phn: 1 800-854-6233 Fax: 1 804-545-5531 vafilm@virginia.org www.film.virginia.org

NORFOLK W. Jeffrey Frizzell Hampton Roads Film Office 430 World Trade Center Norfolk Virginia 23510 United States Phn: 1 757-625-4696 Fax: 1 757-625-4684 filmoffice@hrp.org www.filmhamptonroads.com

MARTINSVILLE Felicia Rupert Martinsville-Henry County Film Office P.O. Box 631 134 E. Church St., Suite 200 (24112) Martinsville Virginia 24114-0631 United States Phn: 1 276-403-5940 Fax: 1 276-403-5941 frupert@visitmartinsville.com www.visitmartinsville.com

WASHINGTON Amy Lillard Dee WashingtonFilmWorks 1218 Third Ave., Suite 1709 Seattle Washington 98101 United States Phn: 1 206-264-0667 info@washingtonfilmworks.org www.washingtonfilmworks.org

WEST VIRGINIA Pamela Haynes West Virginia Film Office 90 MacCorkle Avenue, SW South Charleston West Virginia 25303 United States 1 866.6WV.FILM Phn: 1 304.558.1662 pamela.j.haynes@wv.gov www.wvfilm.com

WYOMING Michell Howard Wyoming Film Office 1520 Etchepare Circle Cheyenne Wyoming 82007 United States Phn: 1 307-777-3400 Fax: 1 307-777-2877 info@filmwyoming.com www.filmwyoming.com

URUGUAY Lucila Bortagaray Uruguay Film Commission & Promotion Office Juan Carlos Gomez 7276 Montevideo 77000 Uruguay Phn: 598 29766797 lucila@audiovisual.com.uy www.uruguayfilmcommission.com.uy

VENEZUELA Mildred Medina Venezuela Film Commission Av. Francisco de Miranda, calle los laboratorios, edif. Quorum Piso 1. ofic. 1-F. Los Ruices Caracas 1071 Venezuela Phn: 58-212-239-4857 Fax: 58-212-235-2194/238-0570 filmcommission@cnac.gob.ve www.cnac.gob.ve

AFCI DIRECTORY INDEX ABU DHABI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 ALABAMA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 ALASKA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 ALBERTA FILM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 ALBUQUERQUE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 ALGARVE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 AMARILLO FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 AMAZONAS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 ANN ARBOR AREA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 ANTWERP CITY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 APULIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 ARIZONA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 ARKANSAS FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 AUSFILM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 AUSTIN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 BAHAMAS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 BAJA CALIFORNIA STATE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 BALI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 BALTIMORE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 BARCELONA-CATALUNYA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 BATH FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 BATON ROUGE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 BELIZE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 BERKELEY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 BERLIN BRANDENBURG FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 BIG ISLAND FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 BIRMINGHAM-JEFFERSON FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 BOULDER COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 BRISTOL FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 BRITISH COLUMBIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 BRITISH VIRGIN ISLANDS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 BROWNSVILLE BORDER FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 BRUGGE CITY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 BUENOS AIRES FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 BUFFALO NIAGARA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 BUSAN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 CALGARY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 CALIFORNIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 CANTON FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 CAPE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 CARMONA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 CATALINA ISLAND FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 CAYMAN ISLANDS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 CHARLOTTE REGIONAL FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 CHATTANOOGA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 CHEONGPUNG FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 CHICAGO FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 CHILLIWACK FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 CINE TIROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 COLLIER COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 COLOMBIAN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 COLORADO OFFICE OF FILM, TELEVISION, & MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 COLUMBIA SHUSWAP FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 COMISION ARGENTINA DE FILMACIONES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 COMISION DE FILMACIONES DE LA CIUDAD DE MEXICO . . . . . . . . . . . . . . . . . . . . . . . . . . .120 CONNECTICUT OFFICE OF FILM, TELEVISION AND DIGITAL MEDIA . . . . . . . . . . . . . .123 CORPUS CHRISTI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 COUNTY WICKLOW FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 CREATIVE SCOTLAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 DALLAS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 DAVIS AREA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 DOMINICA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 DONOSTIA-SAN SEBASTIAN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 EAST FINLAND FILM COMMISSION C/O NORTH CARELIA POLYTECHNIC . . . . . . . .119 EDMONTON FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 EL DORADO-LAKE TAHOE FILM & MEDIA OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 EL PASO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 EMILIA-ROMAGNA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FFF FILM COMMISSION BAVARIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FIJI AUDIO VISUAL COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM ANCHORAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 FILM AUCKLAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILM COMMISSION NORWAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILM COMMISSION OF GREATER KANSAS CITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 FILM COMMISSION REGION STUTTGART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM COMMISSION ROMA & LAZIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM COMMISSION TORINO PIEMONTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM DETROIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 FILM DEVELOPMENT COUNCIL OF THE PHILIPPINES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILM FRANCE, THE FRENCH FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM IN ICELAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM INDIANA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 FILM L.A., INC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 FILM LINCOLN COUNTY, NM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 FILM LONDON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 FILM NEW ZEALAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILM NOVA SCOTIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 FILM OFFICE OF THE ATLANTIC CITY CONVENTION & VISTITORS AUTHORITY 125 FILM QUEENSTOWN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILM REGION STOCKHOLM-MÄLARDALEN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . .121 FILM SERVICES OFFICE, CREATE HONG KONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FILM VENTURA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 FILM VENTURE TARANAKI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILM VICTORIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 FILM WELLINGTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FILMKRAFT ROGALAND AS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 FINNISH LAPLAND FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 FLAGSTAFF FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 FLORIDA GOVERNOR’S OFFICE OF FILM & ENTERTAINMENT . . . . . . . . . . . . . . . . . . . . . .123 FRESNO COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 FUKUOKA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

GAUTENG FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 GEORGIA FILM, MUSIC & DIGITAL ENTERTAINMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 GLASGOW FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 GLENWOOD SPRINGS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 GREATER CINCINNATI & NORTHERN KENTUCKY FILM COMMISSION . . . . . . . . . . . . .125 GREATER CLEVELAND FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 GREATER COLUMBUS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 GREATER FORT LAUDERDALE / BROWARD FILM COMMISSION . . . . . . . . . . . . . . . . . . . .123 GREATER PHILADELPHIA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 GREATER VICTORIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 GYEONGGI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 HAGI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 HAMBURG FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 HAMILTON FILM OFFICE, ONTARIO, CANADA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 HAMPTON ROADS FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 HAWAII FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 HIMEJI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 HIROSHIMA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 HONOLULU FILM OFFICE/ISLAND OF OAHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 HOUSTON FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 HUMBOLDT COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 IDAHO FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 ILE DE FRANCE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 ILLINOIS FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 IMPERIAL COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 IRISH FILM BOARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 ITALIAN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 JACKSONVILLE FILM & TELEVISION COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 JAMAICA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 JEFFERSON LOUISIANA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 JEONJU FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 KANAB/KANE COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 KANKAKEE COUNTY CONVENTION & VISITORS BUREAU . . . . . . . . . . . . . . . . . . . . . . . . . . .124 KANSAS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 KAUAI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 KENTUCKY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 KENYA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 KITAKYUSHU FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 KOBE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 LAS CRUCES FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 LITTLE ROCK FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 LOCATION FLANDERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 LODZ FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 LONG BEACH OFFICE OF SPECIAL EVENTS & FILMING . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 LOUISIANA GOVERNOR’S OFFICE OF FILM AND TELEVISION DEVELOPMENT . .124 MADRID FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 MAINE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MALAGA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 MANITOBA FILM & SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 MARTINSVILLE-HENRY COUNTY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 MARYLAND FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MAUI COUNTY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MEDIA DEVELOPMENT AUTHORITY SINGAPORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 MEMPHIS & SHELBY COUNTY FILM & TELEVISION COMMISSION . . . . . . . . . . . . . . . . .126 MENDOCINO COUNTY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 MEXICAN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 MIAMI/DADE COUNTY OFFICE OF FILM & ENTERTAINMENT . . . . . . . . . . . . . . . . . . . . . . .123 MICHIGAN FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MID NORDIC FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 MINNESOTA FILM & TV BOARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MISSISSAUGA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 MISSISSIPPI FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MISSOURI FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 MOAB TO MONUMENT VALLEY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 MOBILE FILM OFFICE, CITY OF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 MONTANA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 MONTEREY COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 MORELOS STATE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 MOTION PICTURE PUBLIC FOUNDATION OF HUNGARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 MULTIMEDIA DEVELOPMENT CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 NAGOYA LOCATION NAVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 NAMIBIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 NASSAU COUNTY OFFICE OF CINEMA/TV PROMOTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NASU FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 NEBRASKA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NEVADA FILM OFFICE - LAS VEGAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NEW HAMPSHIRE FILM AND TELEVISION OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NEW JERSEY MOTION PICTURE/TV COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NEW LONDON FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 NEW MEXICO STATE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NEW ORLEANS OFFICE OF FILM & VIDEO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 NEW YORK STATE GOVERNOR’S OFFICE FOR MOTION PICTURE & TV DEVELOPMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NEWFOUNDLAND & LABRADOR FILM DEVELOPMENT CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 NIGERIAN FILM CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 NORTH CAROLINA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 NORTH FINLAND FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 NORTH WEST VISION & MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 NORTHEAST LOUISIANA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 NORTHWEST TERRITORIES FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 OAKLAND COUNTY FILM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 OAKLAND FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 OGDEN WEBER CONVENTION & VISITORS BUREAU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 OHIO FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 OITA CITY LOCATION OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 OKANAGAN FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 OKLAHOMA FILM & MUSIC OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 ONTARIO MEDIA DEVELOPMENT CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 ORANGE COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 OREGON FILM & VIDEO OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

ORESUND FILM COMMISSION - DENMARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 ORESUND FILM COMMISSION - SWEDEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 OSAKA FILM COUNCIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 OTERO COUNTY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 OZARK-FRANKLIN COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 PAGE-LAKE POWELL FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 PANAMA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 PARK CITY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 PASADENA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 PENNSYLVANIA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 PHOENIX FILM OFFICE, CITY OF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 PIEDMONT TRIAD FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 PITTSBURGH FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 PLACER-LAKE TAHOE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 PRESCOTT, AZ FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 PROCHILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 PUERTO RICO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 QUEBEC FILM & TELEVISION COUNCIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 RHODE ISLAND FILM & TELEVISION OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 RIDGECREST REGIONAL FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 RIO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 RIO GRANDE VALLEY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 ROCHESTER/FINGER LAKES FILM & VIDEO OFFICE, INC. . . . . . . . . . . . . . . . . . . . . . . . . . . .125 ROTTERDAM MEDIA COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 ROYAL FILM COMMISSION OF JORDAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 RUSSIA’S CULTURAL FOUNDATION OF INTERREGIONAL CINEMATOGRAPHY . . . .121 SACRAMENTO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SAINT LOUIS FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 SALAMANCA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 SAN ANTONIO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 SAN DIEGO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SAN FRANCISCO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SAN LUIS OBISPO COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SAN MATEO COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SANTA BARBARA CVB & FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SANTA CLARITA VALLEY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SANTA CRUZ COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SANTA FE FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 SANTIAGO DE COMPOSTELA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 SAPPORO-HOKKADIO CONTENTS STRATEGY ORGANIZATION . . . . . . . . . . . . . . . . . . . . . .120 SARASOTA COUNTY FILM & ENTERTAINMENT OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SASKFILM & VIDEO DEVELOPMENT CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 SAVANNAH FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SCREEN NSW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 SEDONA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 SEGOVIA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 SEOUL FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 SERBIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 SHASTA COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SHREVEPORT-BOSSIER FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 SONOMA COUNTY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 SOUTH AUSTRALIAN FILM CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 SOUTH CAROLINA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 SOUTH OF FRANCE FILM COMMISSION - VAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 SOUTH PADRE ISLAND CVB FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 SOUTH WEST SCREEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 ST. PETERSBURG-CLEARWATER AREA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . .123 SUFFOLK COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 SWEDISH LAPLAND FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 TENERIFE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 TENNESSEE FILM, ENTERTAINMENT & MUSIC COMMISSION . . . . . . . . . . . . . . . . . . . . . .126 TEXAS FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 THAILAND FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 THE CITY OF MIAMI BEACH, OFFICE OF FILM AND EVENT PRODUCTION MANAGEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 THOMPSON-NICOLA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 TOKYO LOCATION BOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 TORONTO FILM AND TELEVISION OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 TRIANGLE REGIONAL FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 TRINIDAD & TOBAGO FILM COMPANY LTD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 TUCSON FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 TULARE COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 TUOLUMNE COUNTY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 TUPELO FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 TURKU REGION DEVELOPMENT CENTRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 U.S. VIRGIN ISLANDS DEPARTMENT OF TOURISM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 UK FILM COUNCIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 URUGUAY FILM COMMISSION & PROMOTION OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 UTAH FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 UTAH VALLEY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 VALDIVIA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 VALLEJO/SOLANO COUNTY FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 VANCOUVER ISLAND NORTH FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 VENEZUELA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 VIENNA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 VIRGINIA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 WALES SCREEN COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 WASHINGTON, DC - OFFICE OF MOTION PICTURE & TV DEVELOPMENT . . . . . . . . .123 WASHINGTONFILMWORKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 WEST BATON ROUGE FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 WEST MICHIGAN FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 WEST VIRGINIA FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 WESTERN NORTH CAROLINA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 WESTERN NORWAY FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 WICHITA FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 WICKENBURG FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 WILKES FILM COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 WILMINGTON REGIONAL FILM COMMISSION, INC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 WYOMING FILM OFFICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 YUKON FILM & SOUND COMMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

LOCATIONS MAGAZINE 2011

127

ADVERTISERS INDEX ABU DHABI FILM COMMISSION ........................................................................................................................................................................16 ALABAMA FILM OFFICE .........................................................................................................................................................................................46 ALASKA FILM OFFICE ......................................................................................................................................................................................20, 21 ALBERTA FILM .............................................................................................................................................................................................................115 ARGENTINA .......................................................................................................................................................................................................................4 ASIAN FILM COMMISSIONS NETWORK ........................................................................................................................................................22 AFCI ..............................................................................................................................................................................................................................10, 12 AUSFILM INTERNATIONAL INC .........................................................................................................................................................................49 BARCELONA-CATALUNYA FILM COMMISSION.........................................................................................................................................84 BAVARIA FILM GROUP ............................................................................................................................................................................................82 BREAKDOWN SERVICES .........................................................................................................................................................................................34 BUFFALO NIAGARA FILM COMMISSION ......................................................................................................................................................92 CAST AND CREW ENTERTAINMENT SERVICES .......................................................................................................................................33 CHILE ................................................................................................................................................................................................................................128 COLOMBIAN FILM COMMISSION .........................................................................................................................................................................5 CREATIVE SCOTLAND ..............................................................................................................................................................................................84 DIREKTOR S.A.S..........................................................................................................................................................................................................115 DURBAN FILM OFFICE ............................................................................................................................................................................................36 EASTMAN KODAK COMPANY ..............................................................................................................................................................................34 EMERALD COAST FILM COMMISSION ...........................................................................................................................................................94 FAIRPLEX..........................................................................................................................................................................................................................54 FILM DETROIT................................................................................................................................................................................................................13 FILM NEW ZEALAND......................................................................................................................................................................................45, 109 FILM VENTURA.............................................................................................................................................................................................................22 FILM VICTORIA’S MELBOURNE FILM OFFICE ..........................................................................................................................................62 FLORIDA GOVERNOR’S OFFICE .........................................................................................................................................................................90 HONOLULU FILM OFFICE ........................................................................................................................................OUTSIDE BACK COVER ILE DE FRANCE FILM COMMISSION.................................................................................................................................................................11 JEFFERSON PARRISH FILM OFFICE..................................................................................................................INSIDE FRONT COVER LOCATION FLANDERS ..............................................................................................................................................................................................86 MADRID FILM COMMISSION ...............................................................................................................................................................................52 MALAYSIA, NATIONAL FILM DEV CORPN (FINAS) .............................................................................................................................103 MALLORCA FILM COMMISSION.........................................................................................................................................................................94 MALTA FILM COMMISSION...................................................................................................................................................................................96 MAUI COUNTY FILM OFFICE ...............................................................................................................................................................................27 MAURITIUS FILM DEVELOPMENT CORPORATION ..............................................................................................................................104 MEGABUS.........................................................................................................................................................................................................................64

128

LOCATIONS MAGAZINE 2011

MEXICAN FILM COMMISSION.............................................................................................................................................................................59 MISSISSIPPI FILM OFFICE ...................................................................................................................................................................................53 MONTANA FILM OFFICE.........................................................................................................................................................................................56 MONTEREY COUNTY FILM COMMISSION ...................................................................................................................................................40 MOTORCITY CASINO HOTEL ................................................................................................................................................................................42 NAMIB FILMS..............................................................................................................................................................................................................104 NAMIBIA FILM COMMISSION ...........................................................................................................................................................................100 NATIONAL TRUST .......................................................................................................................................................................................................83 NBC UNIVERSAL STUDIOS ......................................................................................................................................................................................9 NEVADA FILM OFFICE .................................................................................................................................................................................................1 OAKWOOD SUITES ......................................................................................................................................................................................................31 OKLAHOMA FILM & MUSIC OFFICE...................................................................................................................................................................7 ORANGE COUNTY GREAT PARK.......................................................................................................................................................................25 PHILIPPINES, FILM DEVELOPMENT COUNCIL .........................................................................................................................................24 PHOENIX 1 INTERNATIONAL FILM SERVICES ..........................................................................................................................................29 PUERTO RICO FILM COMMISSION ..................................................................................................................................................................50 RIO FILM COMMISSION ..........................................................................................................................................................................................97 SAN FRANCISCO FILM COMMISSION............................................................................................................................................................42 SARASOTA COUNTY FILM & ENT OFFICE.................................................................................................................................................104 SCREEN QUEENSLAND.............................................................................................................................................................................................18 SINGAPORE, MEDIA DEVELOPMENT AUTHORITY .................................................................................................................................26 SOUTH DAKOTA FILM COMMISSION..............................................................................................................................................................56 SOUTH PADRE ISLAND CVB FILM COMMISSION...................................................................................................................................52 STUDIO AIR-CONDITIONING ...............................................................................................................................................................................46 SUFFOLK COUNTY FILM COMMISSION .........................................................................................................................................................51 THAILAND FILM OFFICE ........................................................................................................................................................................................30 TORONTO & ONTARIO MEDIA DEVELOPMENT CORP. .........................................................................................................................117 TUPELO FILM COMMISSION..............................................................................................................................................................................104 US VIRGIN ISLANDS ...............................................................................................................................................................................................98 UTOPIA FILMS .............................................................................................................................................................................................................115 VIENNA FILM COMMISSION ................................................................................................................................................................................79 VIRGINIA FILM OFFICE .................................................................................................................................................INSIDE BACK COVER WARNER ROADSHOW STUDIOS .......................................................................................................................................................................2/3 WYOMING FILM OFFICE .........................................................................................................................................................................................54

from asia to africa in under an hour generous tax credits experienced crews stunning locations