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AFCI 2007


$5.00 : 2007


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CONTENTS FEATURES 14 WATCHING THE WILDLIFE Working with animals can be a nightmare. Any film director will tell you. They refuse to learn scripts, their timekeeping is terrible, and so often they can’t or won’t travel and you have to go to them. Is it worth it?


Dear friends, Welcome to the ASSOCIATION OF FILM COMMISSIONERS INTERNATIONAL (AFCI) world of production locations in Locations Magazine 2007. The diversity, the variety, the sheer enchantment of locations around our planet that are featured ROBIN JAMES in this magazine will surprise and delight you while President, AFCI suggesting production opportunities at every level, whether documentary, commercial, television or film. The AFCI’s commitment to the global film industry is reflected in stories ranging from Shooting Africa, a look at this emerging production location and the resources that are available, to Mean Streets, which confirms that gritty locations are always in demand by filmmakers, to Water World, where water meets land and creates the most spectacular locations on the globe. For those new to Locations Magazine and to our old friends familiar with the pages of this publication, the magazine reinforces the unique qualities that location filming brings to production, something that virtual worlds cannot match. Audiences continue to be enthralled and captivated by the natural world and the human dramas that take place in it and while CGI has added a new dimension to the cinematic experience, it complements rather than replaces location production. Similarly, the cost effectiveness of location shooting continues to surprise. Film commissions around the world now offer attractive incentive packages to production companies to encourage filming in their jurisdictions. Others, particularly in emerging locations, offer low cost production opportunities, which are also appealing to filmmakers of all kinds. The net result of these opportunities is to expand the production pie, creating benefits that may have been unheard of in the past. AFCI member commissions play their part in many different ways with services that range from financial support for development and production for local independent filmmakers, through processing of film permits, location scouts and provision of incentive packages. Co-productions, whether official or simply jointventures between producers from different regions or countries, are an interesting growth area and the AFCI will be offering training programs in the business of co-pro as part of its new Certification Program to be launched this year. In conclusion, may I recommend the AFCI’s member film commissions to you, the production industry? Their services for the most part, are at no cost. The impressive and astounding range of locations they offer are on display not only in this magazine, but on their websites and most importantly at Locations Trade Show in Santa Monica, California from Thursday, April 12th through Saturday, April 14th. Have a great year of production in 2007.

Africa is becoming an increasingly popular destination for international feature films and commercials looking for unique locations. But with the exception of a few territories, there is an insufficient number of film commissions in place. Is this detrimental to a budding industry?

59 WATER WORLD Many of the best-known movies shot in or around water rarely left the studio. Trickery and technology can mean that a devastating storm out at sea can be shot in the comfort of a water tank with effects added later. But what of the waterside locations that just cry out to be filmed? For these there are no substitutes

68 THE FILM-FRIENDLY EAST As moviegoers show a greater tolerance of foreign movies, and producers look for increasingly exotic locations in which to shoot, so a growing number of Asian territories are playing host to international productions from around the world

103 MEAN STREETS As an increasing number of current TV series and theatrical movies replace the lush backdrops of the past for the tough urban look of the new century, so demand for rough, inhospitable inner-city locations is on the rise

52 PRODUCTION PROFILE Disney’s Pirates Of The Caribbean

85 LOCATIONS IN PICTURES Location Magazine’s gallery of stunning locations around the world

MAKING A SCENE 33 83 96 113


117 128

AFCI Global Directory Advertisers Index

FRONT COVER The Dead Sea, Jordan. Some 55 km southeast of capital city, Amman, the Dead Sea is the lowest body of water on earth, the lowest point on earth, and the world’s richest source of natural salts. A popular filming area, including for a number of documentaries on the Dead Sea Scrolls. Photo: Zohrab





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AFCI Board Members

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BOARD OF DIRECTORS PRESIDENT Robin James Pacific Film and Television Commission (Australia)


Volume 20 : 2007 EDITOR

Julian Newby Boutique Editions

Glasgow Film Office (UK)

2ND VICE-PRESIDENT Walea Constantinau


Debbie Lincoln

Honolulu Film Office/Island of Oahu (USA)

SECRETARY Janice Arrington Orange County Film Commission (USA)

TREASURER Ward Emling Mississippi Film Office (USA)

DIRECTORS Sue Hayes Film London (UK)

Joan Miller Vancouver Island North Film Commission (Canada)

Mary Nelson


Marlene Edmunds, Emelia Jones, Gary Smith, Joanna Stephens PUBLICATION MANAGEMENT

Boutique Editions Ltd 117 Waterloo Road London SE1 8UL United Kingdom T: 44(0) 20 7902 1942 F: 44(0) 20 8275 0550

Virginia Film Office (USA)

Rino Piccolo Campania Film Commission (Italy)

Jay Self Savannah Film Commision (USA)

Sara Shaak Okanagan Film Commission (Canada)

Mark Stricklin Birmingham-Jefferson Film Office (USA)

Olivier-Rene Veillon Ile-de-France Film Commission (France)

Pat Swinney Kaufman (Ex Officio) New York State Governer's Office for Motion Picture & Television Development (USA)

ADVISORY BOARD Simon Barsky, Chairman Los Angeles, California

Bill Bowling Worldwide Location Executive, Warner Bros. Pictures

Steve Caplan Senior Vice-president, External Affairs, Association of Independent Commercial Producers (AICP)

Hudson Hickman Senior Vice-president, Production, MGM Television Entertainment

Ilt Jones Location Manager

Michael Lake President, Mike Lake Productions

Publisher: Richard Woolley Art Director: Christian Zivojinovic Design Management: Arnaud Paikine Designed by: A noir, Paris ADVERTISING SALES

Jerry Odlin, International Sales Director Sasha Yerkovich, Advertising Director Lisa Ray, International Sales Karen Watts, International Sales LocationsMagazine 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 : 314 N. Main Street, Helena, MT 59601 USA 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

Angela Miele Vice-president, Motion Picture Association of America INC (USA)

Matthew Miller President, Association of Independent Commercial Producers (AICP)

Morgan O’Sullivan Producer

AFCI EXECUTIVE OFFICE Bill Lindstrom, Chief Executive Officer Sue Clark-Jones, Director of Membership and Events Steve Hutchinson, Legal Counsel Kevin Clark, Operations Manager Laurie Lehmann Education Services Co-ordinator

The publisher assumes no liability for unsolicited manuscripts, photographs and artwork Copyright ©2007 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

For membership or more information about the AFCI, please contact:

Association of Film Commissioners International 314 N. Main St. Helena, MT 59601 USA Phone: 1-406-495-8040 - FAX: 1-406-495-8039 Email: - Internet:


Global Perspective : Local Impact




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Reindeer, an essential part of Northern Finland’s wildlife and cultural traditions for the Sami people living in Lapland



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WILDLIFE Working with animals can be a nightmare. Any film director will tell you. They refuse to learn scripts, their timekeeping is terrible, and so often they can’t or won’t travel and you have to go to them. Is it worth it? JULIAN NEWBY investigates

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> FEW in the film business have heeded W C Fields’

much-quoted warning “Never work with children or animals”. In fact many have done both, some at the same time, and many have made big money doing so. Ask the people at Disney if they ever considered acting on Mr Fields’ advice. Fields was talking about animals as actors—dogs or chimps that are supposed to do what you ask them to do and who, like children, often don’t. But what about animals as part of a location? What if your production requires a herd of buffalo stampeding across the horizon—a classic Wild West image—or wild reindeer in the distance, there to reinforce the message that the action is taking place in the cold north? Such requirements are certainly to be considered early in the planning stages. Clint Eastwood’s Unforgiven and Robert Duvall’s Broken Trail, both required trained horses; Brad Pitt’s Legends Of The Fall needed horses too, and bears; Anthony Hopkins starred with Pitt in Legends Of The Fall, and worked alongside bears again in The Edge. Brokeback Mountain featured a number of sheep; Good Luck Chuck, starring Jessica Alba, had penguins; Santa’s Slay starred Bill Goldberg and some buffalo. All these productions had animals in common, but they had something else in common too: they all used Alberta as a location. According to Tina Alford, a manager at Alberta Film, the commercials for the Manitoba Telephone Company have been shot in Alberta for the past nine years, the stars of the commercials being the many trained buffalo available in the province. Alberta has over 15,000 head of buffalo—3,500 with Horns—ac-

cording to Alford, as well as over 1,000 saddle horses and 600 saddle-free; thousands of cows, sheep and goats, trained bears, wolves, pigs and birds. Any production that involves animals will always require experts on hand to help. Mike Miller at the Alaska Wildlife Conservation Center (AWCC) says film producers go to Alaska because of the wildlife resources the magnificent state has to offer. “Walrus hauled out on the beaches of Round Island, brown bears catching salmon at the waterfalls of McNeil River or the fall migration of bald eagles to the Chilkat River of Haines, are all wildlife opportunities that are somewhat predictable,” Miller says. “The challenge then lies in incorporating wildlife into scripted scenes where wildlife should appear in certain locations, at certain times, and with certain people present.” Miller warns that the dangers to cast, crew and creature are many, and often unpredictable. “Whether it is a predator or prey, the danger of surprising an animal can instigate an attack,” he says. “Everyone understands the dangers associated with bears in Alaska, but moose, caribou and musk ox can also prove deadly if approached too closely. Even a Sitka black tailed deer can be dangerous during the rut. You should never compromise where safety is concerned in Alaska’s remote backcountry.” The AWCC has been called upon to assist in a wide range of productions, from commercials to television series, from features to documentary films. Filming often takes place on AWCC property in natural enclosures, where directors can position actors and wildlife together under the guidance of AWCC staff. Emmy-win- >


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FEATURE // animals

> ning wildlife filmmaker and conservationist Jeff Corwin

once asked to shoot a herd of caribou during the rutting season, in order to capture on film their natural breeding behavior. “Caribou were moved to a back enclosure at AWCC and panels were set up to provide a safe filming area for the crew,” Miller says. “Animals were then herded in front of the camera. While Jeff narrated, the bull caribou bellowed out a series of low grunts. Getting the caribou to stay in one place became a challenge that was quickly solved with a little bit of grain that was spread out through the vegetation underfoot. The female caribou appeared to be grazing and slowly moving across the screen, while the bull displayed his mating theatrics.” The Center’s animals can be moved to a new location if a production so requires. The Sean Penn-directed Into The Wild (2006) required the transportation of a bull moose, a caribou and calf, a porcupine, a bald eagle, pheasants, and red squirrels to film on location off the Denali Highway near Cantwell, Alaska. All the wildlife was provided by the AWCC, which transported the animals, set up temporary fencing and handled the animals under the observation and inspection of the Humane Society. “One scene involved the actor shooting the moose with a rifle, partially butchering the animal, then coming back later only to find the carcass had gone rancid and scavengers had taken over,” Miller says. “Filming this in the wild without the assistance of captive animals would be impractical and unethical. The AWCC provided the bull moose, which was later switched with a road-killed moose for the butchering >

Wildlife cameraman Chris Paporakis filming the mola mola, or giant ocean sunfish, for Great Ocean Adventures


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FEATURE // animals

> scene.” But there was a problem: the road-killed moose

was a cow, not a bull. “With some assistance from the props department, some synthetic antlers were quickly made. The AWCC’s bald eagle, a victim of a gunshot wound with a partially amputated wing, was brought in to scavenge the remains.” Deborah Gabinetti, director of the Film Commission on the Indonesian island of Bali, says that a big draw to her country are the “unique flora and fauna”. The Commission works closely with the national park officials, rangers and other experts in the field, in order to be able to assist with productions involving local wildlife. Recent productions shot on Bali include Great Ocean Adventures, produced by RDF Media for (ITV channel) Five in the UK and Animal Planet/Discovery; and The Snakemaster, produced by the UK’s Tigress Productions for Animal Planet. The Great Ocean Adventures series followed British diver and marine biologist Monty Hall on an expedition to eight of the most spectacular diving locations in the world. The episode shot on Bali featured the island’s most famous marine animal, the mola mola, or giant ocean sunfish. The Bali Film Commission was also involved in the production In Search Of The Komodo Dragon, an episode of The Snakemaster that was shot on the Komodo, Rinca and Flores islands of eastern Indonesia. The episode featured the famous dragon of the title, as well as the poisonous Green Tree and Russell’s vipers. Gabinetti says there are certain restrictions in place on Bali when it comes to film crews, and others, interacting with wildlife. “We are very much concerned

about the impact a large crew could have on the environment,” she says, which is why the Commission always makes emergency evacuation services and field medics available where risks are posed by wildlife or to the wildlife itself. “Crews should be physically fit and even if they are not familiar with Indonesia, they should know the behavior of the subject and the territory in which it lives,” she adds. “For us to help a producer get the best possible results, we advise them to allow us enough time to supply them complete and proper information on the subject and the environment they are interested in filming, as well as provide the necessary logistics.” The safe confine of a wildlife sanctuary is often a favored choice of the producer who would rather minimize all risks. The Currumbin Wildlife Sanctuary—a long-established wildlife park located on the Gold Coast in the heart of one of Australia’s film and television production hubs—is one such facility that has become popular with crews from all over the world. Currumbin’s list of credits span natural history, feature films and television, including Life Of Mammals, Wild Australasia, The Thin Red Line, I’m A Celebrity—Get Me Out of Here, Crocodile Dundee III, and Peter Pan, as well as local television productions and international travel programs. According to the manager, life sciences and interpretation, Matt Hingley, the Sanctuary has been the first port of call for many productions on the Gold Coast, and for a number of reasons. “We’re located on 27 hectares of natural rainforest and bushland reserves, while we also have the Gold Coast’s most spectacular rainforest hin- >


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FEATURE // animals

offers many possibilities for an international film crew. sides that, we have a spectacular collection of native Bears, wolves and local fish are all within reach and with Australian animals, as well as some of the most-commit- the right kind of training and preparation offer many ted wildlife keepers in the industry, who all have long- possibilities for filming. In a Finnish film called Mosku term experience in training and conditioning animals (2003) we had hundreds of reindeer on location, which for shows, presentations and public display. With the ex- performed really well thanks to proper training. Off perience we’ve had, we can usually find a way to work scene, one of them was even able to get up on a table around the specific requests from filmmakers to get a and eat a ginger biscuit straight from my lips! ” Tönkyrä particular animal behavior on film. Our skilled condi- says it is vital to have a professional animal wrangler and tioners are capable of identifying natural behaviors co-ordinator looking after the animals during shooting. which can be enhanced to meet the requirements of “For example, when filming wolves,” he says. “In wild they live in packs and they have a strong sense of hierarfilmmakers.” Where can an international film or media production chy. The film crew must be able to treat the animals properly in order to get the scenes as company find hundreds of reindeer, along planned.” When filming animals there are with elks, wolves, seals and eagles, all withalways surprises. “In one production there in close proximity to an international airport, good logistics and the facilities of a “THERE WERE 700 were 700 hundred reindeer and somehow 300 of them managed to escape the area modern and well-equipped city? Well, the HUNDRED during night. The shooting was due to start North Finland Film Commission claims that it has all this and more. The commis- REINDEER AND 300 the next morning and luckily, with the help sion covers a large area called the province OF THEM MANAGED of film crew and local reindeer herders, we managed to get half of them back on time.” of Oulu. This includes the cities of Oulu and Kajaani and the town of Kuusamo. The TO ESCAPE DURING The American Humane Association’s THE NIGHT" (AHA) Film & Television Unit—which has province of Oulu is situated on both sides been involved in a number of the producof the 65th parallel, and the area covers tions referred to here—is invited onto 57,000 square meters and offers a rare variety of intact forests, hills and swamps as well as sea, movie sets and locations to ensure that if there are any rivers and hundreds of lakes. The eastern part near the surprises, that they don’t result in unintentional cruel Russian border contains tree covered hills and wild acts towards animals. Officially formed in 1940 following rivers. Reindeer and moose graze on hills, rivers are full a public outcry against the death of a horse in the film of salmon, trout, arctic chars and other fish. The western Jesse James, starring Tyrone Power and Henry Fonda, area, by the sea and the city of Oulu, offers a number of the AHA Film & Television Unit has been monitoring anarctic animals of the sea. Reindeer are found in spruce imal action and taking the necessary steps to ensure that forests as well as swampy areas and they are an essential the famous end-credit “No Animals Were Harmed ...” part of Northern Finland’s wildlife and cultural tradi- can be awarded to films, television programs and comtions for the Sami people living in Lapland, who almost mercials that feature animals. According to Jone entirely depend on reindeer herding. During the sum- Bouman of the AHA’s Film & Television Unit, the organimer reindeer graze, eating hay, grass and leaves. In the zation “works proactively and collaboratively with filmwinter they wander around looking for the best places to makers by analyzing how to help the production do the pasture. With the changing seasons they move around best possible job when working with all types of aniand live with other forest animals such as elk and ea- mals. From ants to elephants, hippos to camels, sharks gles—North Finland boasts the largest eagle population and salamanders and flamingos, we work with every of the country. Hessu Tönkyrä, a Finnish location man- species and are able to speak to the individual needs of ager has organized many wildlife shoots for both each and every one.” Shooting on location where Finnish and international productions. “Wild animals wildlife rather than trained animals are concerned, reshould really be taken into account early on in the plan- quires special expertise. “Locations often present unique ning stages,” he says. “The area of Kuusamo in the East challenges to AHA’s Animal Safety Representatives, as >

> terland locations on our doorstep,” Hingley says. “Be-


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FEATURE // animals

> each location varies in terrain, climate, weather con-

cerns and indigenous specifics,” she says. “When shooting in a tropical environment, the safety representative requires a standard from the production—for example appropriately shaded rest areas, limited takes, sufficient water supply and so on—that will differ from requirements in an arctic location.” The organisation considers a range of location issues such as the risks posed by local toxic plants, water safety and the condition of the landscape. “Steep mountains, deep mud, potential rock slides are all situations in which animals are often placed and can often mean danger,” she says. “American Humane expends diligent efforts to remove dangerous debris, identify potential hazards and obstacles, and secure the entire location to protect all animals from health and life threatening situations.” The AHA has acted as a pressure group in the past, campaigning to end certain practices in filmmaking which are known to pose danger to animals. “It is by [our efforts] and the ever-growing awareness of the film community, that the horrific practice of using items such as trip wires no longer occurs, and has not for many years,” Bouman says. “Exhaustive, repeated takes, which tire and unduly stress the animal, are no longer tolerated by most everyone involved in productions. We work extensively with horses, which are paradoxically delicate, and yet often the most taxed, to make sure that they are not asked to jump dangerous depths and lengths which in the past has led to injury and death. That said, even when our guidelines are fully supported and in full effect, accidents can happen and American Humane exercises highly professional action in reviewing and determining the cause of the accident and takes whatever steps necessary to prevent these types of situations from arising again.” Examples of preventative work carried out by the AHA include the clearing of an entire rocky riverbed in Texas so that horses could perform a battle 24 //

While shooting The Nativity Story, director Catherine Hardwicke found herself working with a cow that needed the bathroom, a donkey with haemarrhoids ... and a thirsty camel

scene, to reinforcing a bridge in South Carolina to make it strong enough to support the heavy animals being used in the film. The organization also built a special temperature-controlled house for performing lab rats in Alaska. Ed Lish, the safety representative involved in the later exercise, then helped to make sure that the white rats were adopted after the shoot was over. “We estimate that approximately 75-80% of the dogs and cats used in films are rescued animals, and often the cast and crew of a production will fall in love with these animal actors and adopt them when the shoot is done,” Bouman says. The AHA played a key role on a production last year during which director Catherine Hardwicke learned just how hard it is working with un-co-operative animals. While shooting the birth of Jesus Christ for Christmas film The Nativity Story, she discovered that the cow chosen for the scene was finding it hard to co-operate because it needed to relieve itself, and one of the donkeys in the cast was so nervous it had to be replaced. Hardwicke had a four-hour window to capture the Biblical scene one night while filming in Matera, Italy. With representatives of the AHA looking on, it took 25 minutes for local farmers to persuade the cow to lie down, and then a rather jumpy donkey had to be replaced when it refused to settle down for the take, and then its replacement had to rest on a cushion because it was suffering pain from haemorrhoids. Just as Hardwicke was about to shoot her first footage, the cow stood up and relieved herself all over the floor, which led the Humane Society representative on set to announce filming was over for the night. The babies that were on set had to be home at midnight and so Harwicke had to use a rubber baby as a stand-in. In the end a real baby made it to the final take, but not without some concern from its parents, worried that it was required to lie rather too close to some of the animals on the set. It all worked out in the end... but what was that advice from W C Fields? LM

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FEATURE // animals

The Alaskan brown bear


Deborah Schildt, a director at the Alaska Film Group, has spent many years filming the Alaskan brown bear. She recently provided footage for a National Geographic documentary called Ultimate Bear, part of its Explorer series. Schildt claims that she is probably the only female out there camping with her subjects. Here she reflects on the wonders and the horrors involved when filming wild bear I HAVE had many wonderful experiences shooting in the wilds of Alaska. What many might view as hardship, I have always seen as opportunity—the chance of a lifetime, living life less down the center line, closer to the edge. These experiences leave me feeling more alive, more connected to my environment. Moving to Alaska from Los Angeles, I knew what I was leaving behind, but not necessarily what I might be getting myself into. Once I got over the initial shocks, the extremes of daylight, temperature, lack of creature comforts, I began to see all kinds of possibilities opening up in front of me. I have found when working with wildlife in Alaska that getting a great shot takes more than luck—it takes time and patience. I’m not interested in getting shots of wildlife looking at me. Too often I see camera operators and directors going through ridiculous antics trying to get wildlife to react to them, to “look at the camera and say cheese”. These are wild animals, not Hollywood-trained critters that go back into captivity each night. For me, wildlife photography at its best strives to capture natural behavior in a natural setting. Response or reaction shots are just that, and are tainted with anxiety over a perceived threat. We are the out26 //

siders here. When we move around a lot, stand up and sit down, fidget with our equipment, we are behaving in an unpredictable manner which can be viewed by many species as potentially dangerous and threatening. We ourselves use similar criteria as they do to judge suspicious-looking characters. Frequently, getting the shot means choosing your location carefully and waiting out the wildlife, the weather and your luck. One spring I waited out the shot in a remote camp for nine days, for seven of which it rained. My spirits were as damp as the equipment, and the cameras worked halfheartedly, too. Working outdoors there are always environmental factors, and in Alaska those are far more extreme than in a place like southern California. Generally, the rule is that you need to prepare for all possible contingencies, yet at the same to time travel as light as possible. There is the expense of getting your crew and your gear to your location, and in Alaska, that typically means somewhere remote, with no road access. When you’re relying on an air taxi service you need a back-up plan if they’re grounded—and you’re trapped— by the same bad weather. Satellite phones aren’t a luxury out there, they’re a necessity. Depending on where

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you are working there may be federal or state land regulations as well, which will dictate how often you need to move your camp, how you store your food and equipment, how you re-charge batteries when genies aren’t allowed and solar power isn’t adequate. If firearms aren’t allowed, what do you do for protection? There are lots of problems to solve before you head out. There are always risks to a crew working in remote locations. If something happens out there, it’s going to take you far, far longer to exit a remote location. You talk to experts that have done similar fieldwork and learn from their experience. You formulate a basic plan, several more contingencies, and all the rest is luck and karma. Talk to experts before you get on the plane north—local location scouts, park rangers, fish and game officers, and biologists. They can give you advice on when and where to find what you’re looking for, the best time to go, what to pack, and what to expect. I would also encourage producers to talk to local film companies, as the footage might already be available as stock, or in the long run it might be more cost-effective to send out a local cinematographer who has been there before. Local people will spend less time coming up to speed with


remote work and extreme conditions, giving them more time to focus on getting the shot. When you head out, pack plenty of patience, time and money so the unknowns that hit you don’t sabotage your shoot. I have spent several weeks camping and filming among Alaska’s coastal brown bears, in the spring, summer and fall over a three-year period. I work with a biologist and wildlife photographer. He has worked with coastal browns for over 15 years. His work reflects careful, studied observation. We set up our gear and sit quietly for hours. We focus on bear behavior and natural interactions with other bears. We don’t attempt or encourage interaction or response to our presence. We keep our distance and watch, staying outside the “magic circle”, a bear’s comfort zone, a place upon which no human should encroach. I am fascinated with bears. That fascination brings with it respect for them and their environment, and a sense of privilege for being out in remote Alaska among them. I hope that with each trip I gain a growing knowledge and understanding of Alaska’s coastal browns and in the process I manage to get lucky and capture some of that experience on film. LM //27

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March Of The Penguins, 2005, produced by Buena Vista International Film Production (France) and Canal+



The multi-award-winning documentary March Of The Penguins represents a perfect example of the extreme measures that sometimes need to be taken in order to film animals in their natural habitat

EVERY winter, in the ice deserts of Antarctica—some of the most inhospitable terrain on earth—emperor penguins in their thousands leave the ocean to begin their long journey across the ice into a region where no other wildlife exists at this time of year. Through blizzards and gale force winds they march in single file, driven by the instinct to perpetuate their species. On reaching their breeding ground they engage in a courtship ritual that to the human eye and ear looks and sounds like song and dance. They then pair off into monogamous couples and mate. The females stay long enough to lay a single egg and then return, back across the ruthless terrain to the ocean where they hunt for food. The males stay put for two months without food, to guard—and eventually to hatch—the eggs. They wait for the females to return before they return to the ocean to feed themselves. It’s an extraordinary story and told in full for the first time on film in 2005’s March Of The Penguins, directed by Luc Jacquet, narrated by Morgan Freeman and //29

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> produced by Buena Vista International Film Produc-

tion (France) and Canal+, co-produced with APC in association with the French Polar Institute. This was no cosy little nature film project. Every member of the production team was stretched to the limit in order to be able to tell this remarkable story. Filming the emperor penguins at this time of year was a mammoth task and required a full film crew to set up camp in the Antarctic during the winter and to stay there for thirteen months, with no possibility of sea or air transportation to take them home for a break. Only one of the 40 or so colonies of emperor penguins is accessible without organizing an independent expedition, and that is the Geological Headland Archipelago colony in Adelie, very close to the French scientific center of Dumont d’Urville. The center served as the base for the shoot, and the Institute For Polar Research provided on-hand help throughout. March Of The Penguins was shot in super 16mm. According to Luc Jacquet, one of the first big decisions he and the production team made, was to give the film a platform more worthy of the task ahead and the extraordinary story they were to tell. “We all agreed ... that what was originally intended to be a television withstand 12 months of isolation and extreme cold. film needed to become a feature-length theatrical This meant, in addition to taking everything in duplifilm,” Jacquet says. “With challenges at every level of cate, that we had to choose a film camera that was as the production, this became a rare adventure. There mechanical as possible, strong enough to operate in was a huge desire to make this work, along with a de- -20°C temperatures and that we could fix easily in case termination and an energy that, at times, made the of problem.” Chalet went to Grenoble in the French alps to work with French camera manufacturer Aaton whole thing feel like a military operation.” And there were risks involved, not least for the pen- to customize one of their cameras. “After that we had a guins and their young. “For instance, if you get too medical check-up at the IPEV (Institut Français Polaire close to the colony, then hundreds of eggs can be lost. Paul Emile Victor), the French Polar Research Center that manages all the French expeditions This is something that gives you a great to the Antarctic continent, and then we sense of responsibility,” Jacquet says—alwere gone.” though there was no threat from the aniOnce established in Antarctica, the daimals themselves. “I’ve never witnessed “WITH ly routine was tough. “We would get up at anyone being attacked. This is probably CHALLENGES AT 05.30, prepare the equipment for an hour because it would cost the emperor too and a half, load four magazines of film (it much energy which he cannot afford to EVERY LEVEL OF lose, considering everything he has to THE PRODUCTION, was out of the question to do this on the ice), get dressed, and take off for a day of deal with,” he says. “The emperor penTHIS BECAME A shooting, carrying about 130 pounds of guin has a very peculiar relationship to man. One day he’ll let you approach, and RARE ADVENTURE” equipment each,” Chalet says. “Only two things ever prevented us from filming: the next he won’t. So you have to be on the weather, and running out of our daily your best behavior, because if you don’t respect him, you won’t get any images of him. You al- film stock when we were out on the ice.” Chalet’s fellow cameraman, Jérôme Maison, says the ways have to manage what’s going on. There’s a saying that goes something like this: ‘If you want to dominate team was resilient. “Physically we were impressed with our own endurance. We were even surprised how good nature, you have to obey it.’” Filming took just over a year and yielded some 120 we felt when it was -20°C! Up until the day Antarctica hours of footage—but no rushes. “Neither the men, reminded us of its existence, and then we discovered nor the footage, left the shoot before the stor y burns and frostbite.” On shooting the penguins, Maison wrapped,” Jacquet says. “It took me a year to recover. says the transfer of the eggs from the female to the male—with 7,000 penguins on location—was one of the Re-entry is a long process.” According to cameraman Laurent Chalet, time was most difficult scenes to film, “because of how discreetly not on their side and while they were at pains to en- the transaction occurs”. He adds: “We also needed to sure that all was properly prepared back home, sud- be as pertinent as possible. In order to approach the denly it was the penguins who decided when prepara- chicks to film them, for instance, we built a sort of tions would end and filming would start. “Everything scooter that could roll on the ice, on which we rigged went so fast that mental preparation took a back seat the camera. Our main concern, always, was to create to all the logistical preparations for the shoot,” Chalet the least possible disturbance.” For Maison, the payoff says. “It was probably just as well: the less time we was to see, on film, the penguins swimming at the end had, the less questions we asked ourselves. It became of the ordeal. “The result is so stunning, to be able to not so much about making choices but about prepar- see this graceful animal in his own element—water— ing a technical and logistical operation that had to after watching him endure his condition on land.” LM

“The emperor penguin has a peculiar relationship to man. One day he’ll let you approach, and the next he won’t”


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Renee Zellweger as Beatrix Potter, outside Yew Tree, disguised as Hill Top


MISS POTTER Once upon a time in the Lake District, they wanted to shoot a film about Beatrix Potter. JOANNA STEPHENS finds out what happened next

IT WAS probably the super-size pig that did it. There it is, huge snout to the ground, truffling around the yard like a porcine vacuum-cleaner. One shudders to think what a pig of that size could do to an herbaceous border or a manicured lawn. Behind the giant pig, at the door of the farmhouse, stands a woman in a homespun dress, bonnet in hand. It is Miss Potter, the subject of Phoenix Pictures’ eponymous movie about the much-loved children’s author Beatrix Potter and her struggle for independence in the claustrophobic world of Victorian England. Martin Childs, the designer for the $30m biopic starring Renee Zellweger and Ewan McGregor, takes up the story. The problem, he explains, was the location for Beatrix Potter’s Lake District home, Hill Top, which she once described as “as nearly perfect a little place as I have ever lived in”. The author’s own Hill Top, now a National Trust property, was the obvious choice. What’s more, the National Trust was keen for the idyllic 17th century farmhouse to be used—and the many millions of Potter fans around the world would undoubtedly expect it to play a starring role. The trouble was, from a filmmaking point of view, Hill Top was unworkable. “We were frustrated,” Childs says. “[Hill Top] was great

for stills photography but, for moviemaking, it was impossibly restrictive. Staging any scene—and we had many to stage—would have forced us too close to the front door and left us with nowhere to put the camera.” Outside the house, there were also complications, including barns built by Beatrix later than the time frame of the film, and a precious heritage garden. It was then that Alan Saywell, the Cumbria film liaison officer for North West Vision, the film and TV agency for the north west of England, produced Yew Tree Farm from his portfolio of Potter-friendly real estate. Saywell, whose beat includes the spectacular Lake District National Park, thought it might do as a “generic” farm for montage sequences, but Childs quickly realized he had found the equivalent of a location body double: Yew Tree was the perfect stand-in for Hill Top, give or take the odd coat of historically photogenic paint, a dry-stone wall, and a few changes in the garden and greenery department. Having photographed Yew Tree, Childs set about creating a ‘concept drawing’, which he would use to convince anyone who needed convincing that faking it was the way forward. “And the National Trust needed convincing,” he says. “Aware that they would be disappointed, I went to great lengths to show that Yew Tree could not only play Hill Top better, but it was the only farm that could play it at all. I realized I’d become stubborn when I added the pigs. Now is the time to > //33

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> confess that I drew an oversized, out-of-scale monster

pig, plus more piglets than would ever be necessary, wandering wherever they wished, simply to make the National Trust fearful that, if we were to bring them along to the real Hill Top, they would probably destroy that wonderful garden...” And so it was that, with the blessing of the National Trust and the enthusiastic support of the tenant farmers, Yew Tree was transformed into Beatrix’s beloved Hill Top. After three weeks of dry-stone walling, the greensmen—the team responsible for any vegetation, foliage or greenery on a film set—moved in to work their magic on the gardens. Fake wisteria was fixed to the walls and the lawn was dug up to make way for the livestock. “We also built a shelter for the pigs, which would be taken down when we were finished—assuming the pigs didn’t take it down first,” Childs adds. Saywell says that thes Cumbria film office had only just opened for business when Miss Potter’s location scouts came calling. But despite its Potter credentialsit was, after all, the author’s home county and the inspiration for many of her most enduring stories, Cumbria had to work hard to win the job. “It was by no means a done deal,” he says. “There was a lot of competition, both international and domestic. New Zealand and Romania were considered, as were Scotland, Wales and Ireland.”So what won it for the Lake District? “Nothing was too much trouble,” Saywell thinks. “We delivered a professional liaison service and did our best to find them everything they wanted. Apart from that, Cumbria just sold itself.” Miss Potter’s executive producer, Nigel Wooll, goes where Saywell’s modesty forbids. “North West Vision came up absolute trumps,” he says. “They provided a certain amount of finance to help us get the locations, hotels and preliminary reccies. And they stayed with us right the way through. Alan Saywell was absolutely extraordinary: everything we asked him to do, he did.” As to whether the Lake District has what it takes to compete as an international film location, Wooll has no doubts: “Absolutely. The scenery is second to none. Extraordinary stuff. And it’s very much undiscovered.” Arnie Messer, CEO of Phoenix Pictures, is another Lake District convert. “It’s gorgeous,” is his succinct opinion, his only caveat being a slight lack of sunshine. “But I think the people are wonderful and [it] hasn’t been shot that much. Every time the camera pans

Top: The vision: Yew Tree Farm as conceptualized by Martin Childs, designer for Miss Potter Bottom: Yew Tree Farm as it was...

around, you see something fresh and interesting.” The big question, of course, is what Beatrix Potter herself would have made of her big-screen debut. Would the reserved woman of letters have appreciated all the fuss? “I certainly hope so,” Messer says. “We’ve tried to make it like a love letter to her. Within the bounds of filmmaking and the bounds of the facts we have about her, we’ve tried to make the film as accurate and emotional as we can.” LM


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Africa is becoming an increasingly popular destination for international feature films and commercials looking for unique locations. But with the exception of a few territories, there is an insufficient number of film commissions in place. Is this detrimental to a budding industry? EMELIA JONES reports

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RICHARD E Grant’s farcical experience making his debut feature film in Swaziland as writer/director, is amusingly outlined in his diaries published after the world premiere of the autobiographical Wah-Wah at the Edinburgh Festival in the summer of 2005. “Like Jacobean courtiers,” says Grant, “we say to each other: ‘Everything depends on the meeting with the King’.” It is June 3, 2004, and the shooting of Wah-Wah is due to start in four days’ time. Grant, internationally recognized for his role as the world-weary, drug-zealot Withnail in Withnail And I, is sitting on a throne next to the King of Swaziland in Lozitha Palace. He has the onerous task of persuading a monarch to give his permission for filming to commence despite the lack of work permits for cast and crew. A dyspeptic Minister sits shoeless on the floor in front of the King, defending his own decision to charge the production one

Forest Whitaker as Idi Amin in The Last King Of Scotland Photo: Neil Davidson

million emalangeni ($190,000) to cover miscellaneous costs that have, curiously, only just come to light. Communication between Wah-Wah’s French producer and a South African production facilities co-ordinator has fallen short and consequently both have failed to contact the Ministry of Swaziland after initial meetings. The Ministry is angry. As Wah-Wah is the first film ever to be made in Swaziland, there is no precedent; nobody has filming experience and there is no infrastructure in place to resolve production queries. Grant is fortunate: the King of Swaziland wants the film to proceed and so waves an altruistic hand to countermand all bureaucratic obstacles and surplus charges. Rather than place blame at the feet of African bureaucracy and “inexperience”, Richard E Grant is quick to expose the ineptitude of the European producer behind Wah-Wah. His diaries certainly highlight what can go wrong if a production elects to film abroad without thorough preparation. However, choosing to shoot in Africa does pose additional challenges due to a lack of established film commissions (with the exception of South Africa, Namibia and most recently Kenya) and therefore there are no clear, informative channels for filmmakers’ to tap. Before its film commission was formed in 2005, Kenya’s measly earnings from the film industry (in comparison to South Africa and Nigeria) were largely blamed on a poor infrastructure, the unpredictable location fees (administered by opportunistic local chiefs and counsellors), unfair wages and ambiguous industry stipulations. In 2005 President Mwai Kibaki set up an Executive Order (Presidential Decree) allocating funds to establish the Kenya Film Commission (KFC). Although the Kenyan government is the driving force behind the KFC, this investment marks a significant step towards the formation of an independent, regulatory body working exclusively to promote Kenya as hospitable to the servicing of foreign films. Richard E Grant chose Swaziland because it was the country he grew up in and he wanted to re-create the story of his childhood during the last gasp of Empire. A personal journey, it was crucial for him to return, lift stones and record his past accurately. It appears such quests for authenticity are fast-changing the face of filmmaking in Africa. Increasingly the continent is being used as a setting for its own stories. Foreign productions are now intent on removing the filters and focusing on storytelling-with-integrity, embracing local > //37

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> cultures rather than presenting Africa vicariously. “I

speak of Africa and golden joys,” shouts Shakespeare’s Pistol. Africa has always symbolised an undefinable place, virgin territory yet with a submerged, phosphorus virility; the heart of an ‘other’ order and time. Pictorial interpretations of Africa in fiction have largely corresponded with colonial exploitation of Africa in reality; tribesmen were depicted as spear-wielding, uncivilised savages to bolster nineteenth century theories of racial superiority. As the first film cameras started to roll, the diverse cultures and landscapes of Africa were largely obfuscated by decades of scare-mongering simplification. It is no accident that the first filming of King Solomon’s Mines encouraged in audiences a sense of spirited adventure, a mythic interpretation of the ‘enterprising’ British Empire, where the wealth of Africa is merely a goal of the white hero’s quest. But the most recent slate of feature films to be shot in Africa are a far cry from such bald representations, focusing instead on the exciting heart of local culture in order to lend a documentary-style reality to partfictional stories about past events. Shooting Dogs, starring John Hurt and directed by Michael CatonJones—the fourth film to be made about the 1994 Rwandan genocide—was the first actually to be shot in Rwanda; and The Last King Of Scotland, directed by Kevin Macdonald, is another recent example of how a filmmaker took a logistical risk to stay true to an original text: Macdonald chose to film his fictional feature debut in Uganda, the actual location of Giles Foden’s novel about a young Scottish doctor who becomes Idi Amin’s personal physician. Both Caton-Jones and Macdonald confronted a similar challenge—to make a movie about a past, yet painfully-recent event, and to shoot in a relatively ill-equipped country, without a supporting infrastructure in place. They also wanted to contribute to the development of their chosen country rather than simply to shoot and walk away. The Last King Of Scotland opened the BFI London Film Festival in October 2006 and is the first major feature film to be shot in Uganda. The film’s producer, Charles Steel, travelled with Kevin Macdonald to Uganda, Kenya and South Africa to decide where to shoot the film: “When we first looked at the project we did consider using locations in South Africa, and also Kenya, because of the success of The Constant Gardener,” Steel says. “If you are filming a big movie, South Africa is reputed to be the only place to do it. But when Kevin saw Uganda he felt the film had to be made there. From a historical point of view it was authentic. I think this especially appealed to Kevin, perhaps due to his background in documentary filmmaking. It was also clear that people look very different in each African country.” Steel set about organizing the production in the face of nervous financiers and quickly discovered that the only way to succeed was to get permission from the top. “It took us two months to make contact with Uganda’s H.E. President Y.K. Museveni. We pitched the idea to him and his ministers with special focus on all the ways the country would benefit from us shooting there. Firstly, we would bring dollars into Uganda. We also always wanted to work with a local crew and bring new skills to the country. The President also felt that it was important to recognize the Amin years and how much the country has changed since. Giving per-

Writer/director Richard E Grant directing Nicolas Hoult on the set of Wah-Wah, filmed in Swaziland

mission to let us film was a direct and hard-hitting way of showing the world the extent of change and development in Uganda.” David Belton, producer and co-writer of Shooting Dogs, was committed to using the filmmaking process as a capacity-building exercise. Having worked as a young journalist for the highly-regarded BBC current affairs program Newsnight covering the 1994 Rwandan genocide, Belton was adamant that the film be the “Rwandans’ story” and therefore shot in their homeland. “Part of the process of making this film was in some way to contribute to what is going on in Rwanda at the moment,” Belton says. “That means investing in the country, which we were able to do, both in terms of finance and training, and allowing the film to become part of the cathartic process of learning and living with the genocide. As Rwanda President Paul Kagame said, ‘Shooting Dogs is now part of our history.’ He has categorically not said the same about Hotel Rwanda, a film about the Rwandan genocide yet shot in South Africa.” Steel also firmly believes that filming in Uganda gave The Last King Of Scotland a unique quality and atmosphere. “We very much arranged to make the film in partnership with Uganda. We brought over heads of departments but hired great local electricians, laborers, video ops, local casting directors, actors, great AD’s on the floor and so on. Some of the fine signage, reproduction and equipment (cameras and lights) were also sourced abroad but everything else was Ugandan-based. It was a united effort, a joint experience. While at times frustrating, I think the synergy of two elements—an international and Ugandan crew— is magically captured in the film.” Without a local film commission, Belton had personally to secure the Rwandan government’s support to produce Shooting Dogs. “It is true that Rwanda had no film infrastructure, but that just meant we had to build one,” he says. “Which was easy if you have a highly flexible, adaptable and professional production team coming from the West; a motivated and enthusiastic local workforce; a government that will work hard on your behalf to ensure that all help is offered to the crew as the production begins to roll out; produc- > //39

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> ers who are sensitive to the country and have devel-

oped close relationships with key administrators at the relevant ministries; and the goodwill of the local population. We had all of those.” Crispin Buxton, location manager and unit production manager on Shooting Dogs and The Last King Of Scotland, reiterates the importance of ‘presidential blessings’ when looking to work in Africa. “I understood very quickly that people like to see bits of paper in Africa—paper with an authoritative, official stamp. So, get out to the country fast, make key decisions about a right-hand man, local fixer and transport captain and make sure that you get the government’s written permission—and make plenty of copies.” For The Last King Of Scotland, H.E President Y K Museveni appointed John Nagenda, Senior Presidential Advisor, Media & Public Relations, as the film’s coordinator. “John Nagenda arranged introductions, sorted problems and acted as a go-between between ourselves and the President,” Steel says. “He also negotiated small tax breaks which were very important in terms of our budget. We were very lucky as Nagenda embodied a film commission—I’m not sure if other productions would be so fortunate.” However, both Belton and Steel agree that it would be a hugely positive step to have a team in both Rwanda and Uganda specifically dedicated to negotiating with the police, army, and government departments. “Even without a commission per se, a locally-based film production company may have worked well for us if one

had existed—just as they do in Kenya—simply because they would have a trained workforce ready to go,” says Belton. “But they are no guarantee, and I would be extremely wary if there was only one such company in existence. It’s anti-competitive. Film companies have different ways of working and filmmakers need to pick the right local production company for them rather than being forced to select from a choice of one.” Buxton believes that a film commission would play a major role in mediating between the foreign production and the local workforce: “It would ensure a smooth entrance and smooth exit. There is a terrible danger of foreign productions adopting a Western colonial attitude. It is important to respect the culture and research well before going in, reaping the harvest and then abruptly leaving.” Without the monitoring eye of a film commission in Uganda, Charles Steel was also scrupulous about making sure no transactions were clandestine—another aspect of working in Africa that deters producers from choosing to film there. “We didn’t have to make any unexpected payments,” he says. “The very fact that we were guests of the President helped us stick to our resolves. It was extremely cost-effective to shoot in Uganda. For a relatively small sum (approximately $8m), the film we produced is phenomenal. Most people when they watch it tend to name a figure that’s treble what we spent.” Chris Wilding, based in Kenya, has worked in a number of different roles on a host of features filmed >


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Forest Whitaker, Gillian Anderson and James McAvoy in The Last King Of Scotland. Photo: Neil Davidson

> across Africa, including The Last King Of Scotland

and The Constant Gardener, which was directed by Fernando Meirelles and filmed in London, South Africa, Kenya and South Sudan. Wilding was quick to discuss the challenges faced by foreign productions filming in East Africa, but was also unfaltering in his praise of the results if they prove successful. “You can find picture-postcard-style locations in South Africa—vast game parks, serenely beautiful, long stretches of coastland, and so on—and they do have a massive service industry, but what is not so easy to find is the grit: the dense, inner-workings of the African continent,” Wilding says. “East Africa, namely countries such as Kenya, Tanzania, Rwanda and Uganda, not only has incredible beauty but also some guts.” Wilding still believes Kenya is currently the most film-friendly location in East Africa. “There is no shortage of stunning and varied locations in East Africa. Kenya alone has arid, sandy deserts, rain forests, glacial ice-covered mountains, a tropical coastline, savannahs, Scottish moors, large lakes, extinct volcanoes and rapids. Uganda has the snowcapped Mountains of the Moon, the source of the River Nile and the famous Murchison Falls.

Buxton has high hopes for East Africa becoming a first choice destination for international productions. “For The Last King Of Scotland, the look of the film was key,” he says. “The director set out to make a film unlike any other film in Africa. It was neither shot in the gutters, nor in colonial Africa. Our challenge was to produce a film set in the Seventies. We went for a modernist look—an African city. Kampala, the capital of Uganda, has it all in terms of modernist architecture—we wouldn’t have found this in South Africa. I’m really excited about the style of the film.” But there were practical problems. “For example, how were we going to find thirty year-old cars in Uganda that are still in working order? However, in this case, small miracles happened: we managed to find original old Limos parked in the back of a scrap yard in Kampala, and hired local mechanics to refurbish them. We even gave them back to State House afterwards and they are now being used,” Buxton says. But he stresses that things work slowly in Uganda, and in Africa generally. “Often when foreign productions come over here, there is a clash of energies between the Western model of film production and a culture that has a completely different notion of time, with no understanding of the speed >


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> at which you are expected to respond,” he says. So al-

though Uganda has good wireless and internet capabilities in comparison with the rest of East Africa, setting up offices with internet access took a long time. Office space and suitable vehicles were also hard to find. “In Kenya, films tend to take advantage of the infrastructure already in place to accommodate the tourism industry—comfortable mini-buses and experienced catering companies for example,” Buxton says. “But Uganda does not have such a developed tourist industry, so we couldn’t even fall back on those resources to help move the production forward. We also had to bring in super silent generators from Kenya and mobile honey wagons—all at extra cost—as well as an extra construction crew, as the Ugandan carpenters did not have the skill and speed to build sets on a film timeline. Buxton feels a local film commission would play an important role in transportation. “If you want a smooth-running production it is crucial to choose the right local partner in transport. If you get it wrong, your budget can be blown very easily,” he says. “If you have a film commission or a local team organizing your transport for you, you don’t have to deal with private hire directly. And the drivers will automatically know what is required.” Buxton’s new company, Spin Film Uganda, aims to bridge the “demand-and-supply gap” in terms of film equipment and logistics across East Africa outside of Kenya. “What is so wonderful about filming in East Africa is watching the country and the local workforce develop, not only in terms of skills but also personal interest. When more Africans start making their own films from their own personal experiences, that is when it is going to get really interesting. It would be a real shame if more advanced companies in South Africa or Kenya come in and cream the ‘developing’ countries in East Africa.” Buxton adds: “It is amazing how much the different countries in East Africa have developed in terms of film over the last four years. Rwanda went from never seeing a movie camera before to hosting a number of successful major films including Sometimes In April (an HBO film directed by Raoul Peck), Shooting Dogs and Shake Hands With The Devil (a BBC film directed by Peter Rayment). When I was working on Shooting Dogs in 2005, I remember feeling that we were part of a dynamic, cul-

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David Belton, on location for the filming of Shooting Dogs: “Part of the process of making this film was in some way to contribute to what is going on in Rwanda at the moment”

tural shift, with foreign production companies coming in to make feature films. I predicted then that in three or four years, TV companies would be in Rwanda making programs and in ten years Rwandans would be making their own productions. An experienced local crew exists there now,” says Buxton, adding: “This is also the case in Uganda. After The Last King Of Scotland, you have the beginnings of an industry. For me, that is an exciting prospect.” David Belton agrees: “Rwanda is a beautiful country so it is a prime location spot. Its government is progressive and interested in the media. Its workforce is hard-working and is keen to learn. Provided that bureaucracy remains at a minimum I see no reason why Rwanda shouldn't develop its filmmaking arm—it would almost be a travesty if it didn't. And we are now getting past the point where foreign film companies are wary of the country because of 1994. It's a safe country and, unlike a lot of Africa, unencumbered with corruption.” Martin Cuff, the founder and executive director of Martin Cuff Consulting, is dedicated to creating, implementing and managing turnkey programs specifically designed for film commissions and film offices. Cuff was the first African elected to the board of the AFCI and has ten years hands-on experience in the film industry, including as director and chief of operations at the Cape Film Commission in South Africa and, most recently, as executive director of the Film Commission in Denver, Colorado. Cuff is well placed to help presidential ministries in East Africa realize the potential of a new business and understand the impact that an international hit film can have on the tourism >

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Ralph Fiennes (left) and Pete Postlethwaite (right) star in Fernando Meirelles’ The Constant Gardener, a Focus Features release

> industry, and international relations generally. “My ad-

vice is: listen to the experts, don’t reinvent the wheel. Don’t focus on what you and your country wants to achieve from the film industry, but rather what the film industry wants to achieve from you,” Cuff says. “Provide the opportunity for a production to spend as much of its budget with your country’s workers and businesses, and not with your government. And forget charging massive location fees. “It’s that old accounting term: opportunity cost. It’s not that film won’t come to an area without a film commission—of course it will and they do. But for governments, the presence of a film commission will ensure that there is greater awareness of a destination’s potential, and that more of the production budget gets spent locally. Without a film commission to rally the troops, too many crews and too much equipment is brought in from outside, limiting the value to the destination.” In order to develop the East African film network, Cuff believes that each country will have first to sell to South Africa’s commercial service providers. “Make them more aware of the product offering and get them to start selling Kenya (for example) alongside South Africa,” he says. “I know that Tanzania, Namibia and Mozambique have already benefited from South African companies selling the concept of an African production, and matching scripts with the locations they have on offer.” Laurence Mitchell, film commissioner at the Cape Film Commission, echoes Cuff’s point. “It is vital we don’t just sell South Africa as an island of prosperity but that we contribute to the well-being of the film industry across the continent,” he says. “We are not only keen to make Africa a leading force in film internationally, but we also want to use our experience and skills to create opportunities for other African countries. In terms of locations, Africa is just simply stunning. Sadly the world doesn’t see much of Africa except images of war, famine and AIDS victims.” Mitchell believes that cultivating a film industry across Africa will awaken the sleeping giant of socio-political commentary. “We have a saying here: ‘Unless the lions are able to tell their own 46 //

story, the hunters will always be viewed as brave people’. In Africa, film is not just about locations and pretty pictures. For us, it is much deeper, much more meaningful. It is about capacity building and germinating a seed of creativity in each nation, encouraging people to use film so they can tell their own stories. As a group endeavour, The Last King Of Scotland provides a sound model for the future for foreign productions filming in East Africa. The producer selected an international cast and crew, not only made up of Ugandans and an assortment of Western filmmakers, but also an eclectic mixture of skilled Africans from across the continent. It seems Africa is already interconnecting, even if only because the majority of countries are not yet equipped to deal with major productions without help and support from its neighbors. What is clear is that South Africa and Kenya are no longer the one-stop shop options for international productions interested in finding prime African locations. “At its simplest, the AFCI’s mission is to boost the level of capability of its member film commissions throughout the world,” says AFCI president Robin James. “It does this principally through its education programs and a range of complementary member services. The outcome is a skilled and capable network of film commissioners who are trained in the often difficult and challenging art of advising governments and implementing their policies on film production.” He adds: “Production companies filming on location yearn for consistency and predictability when dealing with governments and an AFCI-trained and certified film commissioner can help provide this even in the face of the adversities that can occur in emerging locations, or anywhere at any time for that matter.” Local film commissions will undoubtedly help to make sure there is a positive transformation of the industry on the continent. “I now often get called by other producers who are curious to hear what it was like shooting in Africa,” says Charles Steel. “My main piece of advice would be ‘Go for it! It’s great! It’s safe. The locations are beautiful and you will make the movie among some of the friendliest people on earth.’” LM

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Blood Diamond: Leonardo DiCaprio and Djimon Hounsou on the in search of the pink diamond. Photo: Warner Bros. Pictures


GLITTERING PRIZE The 2006 release Blood Diamond, starring Leonardo DiCaprio, told a shocking story of violence and corruption in Sierra Leone. Mozambique doubled for the war-torn country, as production manager JOAO RIBEIRO told Locations Magazine

BLOOD Diamond tells the story of Danny Archer (Leonardo DiCaprio), an ex-mercenary from Zimbabwe, and Solomon Vandy (Djimon Hounsou), a Mende fisherman. Both men are African, but their circumstances are as different as any can be, until their fates come together in the quest to recover a rare pink diamond. Solomon, who has been taken from his family and forced to work in the diamond fields, finds the gem and hides it, knowing that if he is discovered, he will be killed. But the diamond would provide the means to save his refugee wife and daughters as well as help rescue his son Dia from an even worse fate as a child soldier. Archer, who has made his living trading diamonds for arms, learns of Solomon’s hidden stone while in prison for smuggling. He knows that such a

diamond would be his ticket out of Africa, and mark the end of his chosen career of violence and corruption. Maddy Bowen (Jennifer Connelly), is an idealistic American journalist who is in Sierra Leone—at the height of the civil war—to uncover the truth behind conflict diamonds, and to expose the complicity of diamond industry leaders who have chosen profit over principle. Maddy, Archer and Solomon set out on a dangerous trek through rebel territory in search of the diamond, which in turn becomes a symbol of their individual quests for a better life. Directed by Edward Zwick for Warner Bros. Pictures, Blood Diamond also stars Michael Sheen, Arnold Vosloo, David Harewood, Basil Wallace and introduces Kagiso Kuypers as Dia. The screenplay was written by Charles Leavitt, from a story by Leavitt and C. Gaby Mitchell. Much of the film was shot on location in various parts of Africa, including Port Edward and Cape Town in South Africa and Mozambique—the latter chosen in part because of its similarities with Sierra Leone, where the story is set. Production manager for the Mozambique locations was Joao Ribeiro, who says > //49

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Solomon Vandy (Djimon Hounsou) in Blood Diamond. Bottom: Leonardo DiCaprio and co-star Maddy Bowen in Blood Diamond. Photos: Warner Bros. Pictures

> that line producer Kevin DeLa Noy chose the country,

in part, because of his experiences on the film Ali that was also shot there. “That experience gave him the confidence to bring this production to Mozambique, as he already knew of our local capacity to ‘digest’ a big production like this one,” Ribeiro says. “Proximity to South Africa is important and there are good roads between the borders. Local authorities are also able to help with import duty and tax rebates. We literally closed downtown Maputo (which doubled for Sierra Leone’s Freetown) for six days. That was only possible because the people and the local authorities gave their blessing to this production.” According to Ribeiro, there is no one state agency in Mozambique designated to assist with location filming. “We had to go with the wind and channel our needs and requests towards those people we believed would help. In this case the Ministry of Tourism was amazing. But we had to solve any problems on a case-by-case basis, dealing with the different authorities according to what it was we want-


ed to do at the time. We needed to close a big area of downtown Maputo, for example. And other streets needed to be closed too, in order to film certain action scenes involving vehicles, guns, lots of explosives and so on. We had to involve the police as extras to guarantee not only the security of those on the set but also the security of the local population, who needed to have confidence in what we were doing.” To facilitate the production, the team built several roads, and even an air field. “We set up base camps that were big enough for an army. We had the border opened up exclusively for us for more than 38 hours; we had to deal with more than 350 shops in downtown Maputo, as well as the local Muslim community, as there is a mosque in one of the areas we were filming and we had to make sure we only fired out AK-47s in between prayers. All these elements added up to a fairly complex production.” But Ribeiro says the local Mozambicans were a huge asset to the film. “We had a local crew of over 400 people, working in a number of roles including assistant directors, production assistants, co-ordinators, buyers, accountants, set builders, runners and drivers,” he says. “For some of them this was their first opportunity to work on a movie. For others with experience this was the first big production they had worked on. And because of that, this was a learning process for everyone, and there were ups and downs. But overall, it was a very good experience.” Blood Diamond is a Warner Bros. Pictures presentation in association with Virtual Studios. It is a Spring Creek / Bedford Falls production, in association with Initial Entertainment Group, released by Warner Bros. Pictures. The film is produced by Paula Weinstein, Edward Zwick, Marshall Herskovitz, Graham King and Gillian Gorfil. Executive producers are Len Amato, Kevin De La Noy and Benjamin Waisbren. LM //51

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IN PARADISE Pirates Of The Caribbean has turned out to be one of the most successful movie franchises of this decade. And as Disney’s BRUCE HENDRICKS told film commissioners at the 2006 Cineposium in Pasadena, it didn’t always come easy

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Pirates Of The Caribbean: Dead Man’s Chest ©Disney Enterprises, Inc. All rights reserved. Photography: Peter Mountain

IT WAS January 2004. The Bahamas film commissioner Craig Woods was flicking through the latest copy of Hollywood Reporter when he saw that Disney had announced the production of the sequel to Pirates Of The Caribbean. “I thought, well they can do that in The Bahamas,” Woods told Locations Magazine. “We have a history of pirates, we have forts, we have the sea — we have everything the film could need.” So he contacted the office of Bruce Hendricks, president of physical production at Walt Disney Studios. Along with Paul Deason and Chad Oman, Hendricks had been executive producer on the first Bruckheimer-produced Pirates movie, and would take on

the same role for Pirates Of The Caribbean: Dead Man’s Chest, as well as for the third movie in the series that was to be shot at the same time as the sequel. “I spoke to Tina Newman in Bruce’s office and pitched for the movie,” Woods said. “She was very receptive, but explained that they didn’t even have a script yet. A series of e-mail exchanges followed but with no great progress, and I started to worry that my persistence might upset the Disney people, so I stopped hassling them for a while.” Woods then took some advice from a friend, producer Cedric Scott. “He told me not to worry about upsetting them. He said that if I didn’t upset them, someone else would, so I starting writing to > //53

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> them again.” And the tactic paid off. “They eventually

When you need a pristine environment, but you also showed some interest, so I told them I would be in Los have to house 500 people and bring in 2,000 tons of Angeles for the Locations Trade Show and that I could equipment in, and you need a landing strip and all of come and see them while I was there. But they decid- that, that is not easy to find all in one place. I am now ed to come down to the show to see me, instead. So an expert in civil engineering and road construction, while we were there, Doug Merrifield, because I think we built about a dozen who was unit production manager on the roads on quite a few different islands. film, came to our booth with a locations When you are making these kinds of spec. He said that if we could fulfil all movies, there is a mad scramble at the “THE BEST WAY those requirements, they would come to beginning to find all the locations, so I TO MAKE A the Bahamas to check the place out.” want to be inundated with phone calls.” WATER MOVIE Bruce Hendricks echoes Cedric Scott’s Hendricks’ last major movie before 2003’s advice: “I want [the film commissions] to Pirates Of The Caribbean was Pearl HarIS ON LAND” call me,” he told Nevada fim commissionbor, a production of similar proportions er Robin Holabird during a lunchtime disand complexity. “I don’t know how we cussion at the AFCI’s 2006 Cineposium. “I think we would have pulled off some of these movies before scouted around 20 islands. And our requirements were there were film commissions,” he says. “And I have pretty stringent, so it was pretty hard finding places, been in the industry for 30 years, so I remember when because paradise has been paved over — they’ve put there weren’t film commissions. Without them, movies up a parking lot … there’s a song to that effect, I think. like Pearl Harbor and Pirates Of The Caribbean really >

Pirates Of The Caribbean: Dead Man’s Chest. Pirates star Johnny Depp as Captain Jack Sparrow, with director Gore Verbinski (left) and producer Jerry Bruckheimer. ©Disney Enterprises, Inc. All rights reserved. Photography: Peter Mountain


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> couldn’t have been done. When we met with the

pened they packed up everyone and shipped them Hawaii Film Commission and, importantly, the de- over to LA until it died down. It blew over after about partment of defense (for Pearl Harbor), I took some five days.” animatics of the bomb dropping to show them, and I “The production was so big, I think for The Bahamas said: ‘If we’re going to make this movie, we will have to alone our room count was 33,000 room nights,” Henshow what really happened. We are going to have to dricks says. “Our logistical requirements were huge. show a lot of destruction, and we have to film at Pearl And what’s important when you are shipping in thouHarbor because that is the title of the film. It’s very im- sands of people to a different country is to know what portant for the realism of the film that it is shot in the to do about work permits and things like that. These actual place.’ So I told them, ‘If we can’t do it here, let kinds of movies are going to be taxing on everybody, me know, because that means we won’t make the so to have someone available 24/7 is crucial. Accurate movie.’ Fortunately we got the co-operation — and I information is the key. We shot on some islands that had never experienced that level of co-operation be- had film commissions, and on some that didn’t, and it fore. It was remarkable, particularly the shooting of is always more difficult when there isn’t that kind of certain landmarks that we were able to do. infrastructure. Americans don’t travel Also, I think we were pretty good at makwell, so we show up and it’s ‘Uh, oh, what ing certain that we left places the way we v i s a d o we n e e d , h ow d o we g e t i t “THIS IS THE found them, because if you don’t, then it stamped?’ There are all these things that a creates problems for future productions.” commission can help you with, other BIGGEST Pirates Of The Caribbean: Dead Man’s than just the location.” PRODUCTION THE Chest, shot in Niagara, Nevada, Central And a production can have knock-on CARIBBEAN HAS California, Dominica, Utah, Hawaii and benefits for a region. “This is the biggest on four different islands, with the Baproduction the Caribbean has ever hostEVER HOSTED” hamas taking the lions’ share of the proed,” Craig Woods says. “The production duction. “And we even shot on an island cost close to $300m and the film made that goes under water at high tide. That was a new one over $1bn worldwide. And they spent around $40m in for me,” Hendricks says. “And we shot two movies back The Bahamas. That we took such a significant piece of to back, but we didn’t have the script for the second this production bodes well for the entire region. Busimovie when we started shooting, so during the course ness is up as a result of it. We’re getting more interest of production we were location scouting, because we from feature films — in the last three years we have were getting pages in for Pirates III. We had location hosted eight features.” scouts working the entire time.” Gold Rock Creek Enterprises is building studios in One of the islands of choice was St Vincent, “…be- the Bahamas on the back of the attention brought to cause it didn’t have much. It only accepted small the islands by the Pirates series. And a water tank that planes, so we chartered a 747 to St Lucia and then was built for Pirates II is now a permanent fixture on brought everyone over by boat,” Hendricks says: “We the island, and is available for future productions. built a fort at Marineland — which is a tourist attrac- Which will be good news for Bruce Hendricks and othtion on St Vincent — because although there are forts ers who feel the same as he does about shooting on out there, the pirates rampage and set it on fire. So the water. “All the horror stories about filming on the waexterior of the fort was built by us on St Vincent, and ter are all true,” he says. “I know last year was the the interior was in a studio on Manhattan Beach.” worst hurricane season on record and they waited for “It was a huge job, and rather overwhelming,” says us to mount a big water movie before they decided to Craig Woods. “We had a hurricane about a third of the do that. We had to evacuate twice because of the hurway into production. The total shoot for all three ricanes. Weather is always a problem when you are on countries was over 200 days and around 160 of those the water. I always say to producers and directors that were in The Bahamas. It was 40 days into the shoot the best way to make a water movie is on land. That’s when Hurricane Wilma came. And when that hap- how I like shooting water movies, all on stage.” LM


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WATER WORLD Many of the best-known movies shot in or around water rarely left the studio. Trickery and technology can mean that a devastating storm out at sea can be shot in the comfort of a water tank with effects added later. But what of the waterside locations that just cry out to be filmed? As JULIAN NEWBY reports, for these there are no substitutes

Nothern Finland: “The month of December all the way to March are the best periods to shoot on the ice”

WATER has always provided important, iconic images in filmed entertainment, so often used as a backdrop for no other reason but that water is always moving. Shoot the ocean for the opening sequence of any movie or TV episode and you have motion, beauty and even drama, and you won’t even need expensive and demanding actors to enhance the scene. Think Baywatch, Hawaii Five-0, From Here To Eternity, Jaws ...and almost any Bond movie, and the many roles that the ocean played in all those productions.California’s coastline is possibly the most filmed seaside in the world, at least according to the state’s film commissioner Amy Lemisch. And she’s probably right. “Pacific Coast Highway has been the setting for countless car commercials, television shows, feature films, and still photography,” Lemisch says. “Malibu, Big Sur and the Bixby Bridge in Monterey are some of the most requested coastal areas for filming. The Malibu area beaches and pier have been filmed repeatedly over the years including for long running TV series Summerland, Baywatch, and Charlie’s Angels. San Diego’s Imperial Beach is the setting for John From Cincinnati, a new HBO series. And of course the Golden Gate Bridge in San Francisco is a world famous icon.” Imperial Beach is a tiny seaside town and perfect for David > //59

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quirky drama that has been described as “surf noir”— part surf story, part mystery. Milch, who created HBO’s South Dakota drama Deadwood and also worked on Hill Street Blues and NYPD Blue, says the series is about surfing and the tragic, incoherent world at the border of Mexico and the United States, “where the water’s polluted, and nobody has documents”. It involves drug smuggling and bodies dredged up from the water—without the water it would be a completely different story. Drive for a few hours north of San Diego and

munities of Fire Island and some of North America’s most beautiful white sand beaches. Farther east are the beaches of the world-renowned Hamptons, where Jack Nicholson and Diane Keaton walked in 2003’s Something’s Gotta Give, and which have offered so many movies its extraordinary range of seaside mansions and vacation homes. Alongside Nancy Meyers’ Something’s Gotta Give, other movies to have used the stunning Suffolk coastlines include Joseph Rueben’s The Forgotten, Michael Gondry’s Eternal Sunshine Of The Spotless Mind, Shari Springer Berman’s Nanny Diaries

you’ll hit Monterey County, home of Big Sur, Carmel, Marina, Pebble Beach and many other waterside locations immortalized on film. It was at Big Sur where the striking beach scenes for From Here To Eternity were shot; Marina provided the backdrops for Jonathon Livingstone Seagull; Carmel was the setting for parts of The Graduate and Play Misty For Me. And with that extraordinarily rich movie history, an unusual event took place in Monterey last year, during the filming of Where’s Marty? a romantic comedy-travelog which premiered at Monterey’s Golden State Theatre on in December 2006. A feature-length film shot entirely in Monterey County and starring an all-local cast, Where’s Marty was made as a fundraiser for the non-profit Monterey County Film Commission and its film student scholarship program. Everyone involved, from extras to lead actors, made a contribution in order to be in the scenes. Nola Rocco, the film’s director and screenwriter, describes it as “a community effort”. Local businesses and product placement opportunities brought out more donations, while local stars including Betty White, George Lopez, Ken Howard and Tony Curtis made cameo appearances. Myles Williams, former member of the New Christy Minstrels and owner of Big Sur’s Post Ranch Inn, was cast as the male lead, and he contributes his vocal talents to the film. On the opposite coast, at the eastern end of Long Island, Suffolk County, NY, stretches out into the Atlantic Ocean. Its bays, coves, inlets and breaker islands together add up to some 1,000 miles of diverse coastline. Suffolk’s Atlantic coast is sheltered by the Great South Bay, the location for the beach scene in Kevin Bacon’s 2005 production of Loverboy. The chain of breaker islands that shelters the Bay includes the vacation com-

and Michael Haenke’s Funny Games. “Long Island is surrounded by water—the Atlantic Ocean on the South Shore and The Long Island Sound on the North Shore,” says Suffolk County film commissioner Michelle Stark. “We are home to the Peconic National Estuary, located between the North and South Forks of Long Island, consisting of over 100 harbors, embayments and tributaries which span more than 110,000 acres of land and 121,000 acres of surface water.” And while all of these features can provide producers with unparalleled diversity, Stark says it also can present them with “a multi-layered, bureaucratic nightmare in terms of permitting if it’s not co-ordinated properly. That’s where our contacts at every level of government can help smooth the process.” A recent case in point is the filming of Funny Games, Haenke’s remake of his own 1997 movie of the same name. “This is his first experience filming in the US. The location manager locked down the main location—a house on the water in a village called Head of the Harbor,” Stark says. “The shoot required building a temporary ‘dock’ in the harbor behind the house. The location manager had worked for weeks with New York State and its Department of Environmental Conservation to ensure that the dock met all of the necessary requirements to protect sensitive wetlands in the harbor. He met with the Mayor, police chief, and building inspector who indicated everything was in place to proceed. Then one week before prep, I got a call from a panic-stricken location manager who said the Mayor just informed him they were pulling the plug. Apparently the village attorney told the Mayor that a building permit would be required after all, after complaints were received from a couple of locals.” To make matters worse a building >

> Milch’s latest HBO creation. John From Cincinnati, a

Big Creek Bridge, Monterey Bay, California

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> permit requires approval by the Village Environmental

Conservation Board, as well as the Village Coastal Commission. “Jim Morgo, the commissioner of economic development and chairman of the film commission, and county executive Steve Levy, galvanized support from state and local elected officials and civic leaders, while I started a grass roots campaign to get the public and businesses on board,” Stark says. “After numerous informal and formal village meetings a permit was issued and filming started a week late—but miraculously, was completed on schedule.” Some producers like their sea frozen. And unless the producer is determined to lead cast and crew to the merciless Arctic for the real thing, Finnish production manager Taru Patanen recommends shooting closer to home—closer to his home, at least. “It is possible to shoot such a scene closer to all the necessary production amenities with an open view to the ice-covered sea in the city of Oulu, in Northern Finland,” he says. “Because of the Gulf Stream, the mean annual temperature in Northern Finland is actually several degrees higher than in Siberia, Greenland or the Eastern parts of Canada, which are situated on the same latitudes. The City of Oulu offers wide range of possible locations to shoot films or commercials. It is easily accessed via the airport of Oulunsalo and it is only few hours’ flight away from the central Europe, and 12 hours from New York.” At Oulu—a key port for Finland’s forestry industry—the sea is covered with rock hard one-meter-thick ice throughout the winter period. “The month of December all the way to March are the best periods to shoot on the ice,” Patanen says. “At that time the coastal scenery comes very close to Siberian tundra. Spring gets under way from April and May onwards, and that season offers another rarity, the Northern light, which grows towards mid-summer. In June and July the sun doesn’t set at all, so the long days offer great possibilities for filming. The temperature reaches up to 21 degrees centigrade in July.” By stark contrast to the frozen north of Finland, Queensland in the north east corner of Australia, offers “a vast range of signature water locations including the beaches on the world famous Gold Coast, and the world heritage listed islands and reefs on the Great Barrier Reef in the Whitsundays”, according to Kristy McConochie of the Pacific Film and Television Commission (PFTC). “The PFTC consistently gets requests from production companies looking for the most

beautiful island that you can possibly imagine, for both long-form production and reality television series,” McConochie says. “A recent production to take advantage of the stunning scenery and sunny climate was the Fox 2000 production Aquamarine, which filmed in Queensland in 2005. The film tells of two twelve-yearold girls who hang out in a dilapidated beach club near their home in Florida. After a huge storm, they discover Aquamarine, a mermaid, in the club’s swimming pool, who tells them that she needs to find love in three days. They agree to help her because helping a mermaid means you get a wish, and they decide that they can use their wish to try and stop Haley from moving to Australia. Acccording to Aquamarine producer Susan Cartsonis, “The moment the director and I laid eyes on the magnificent Queensland coastline, we knew that the film would have to be shot there. The water was stunningly blue, the terrain was a good match for a Florida location, and the local government made the prospect extremely appealing to us.” The same Queensland coastline will become a familiar sight to viewers of Big Island Pictures’s factual series Rescue Chopper, which documents the day-to-day business of the busiest helicopter rescue service in Australia, the Queensland Emergency Service. The service responds to 15,000 requests a year for medical evacuations from its three bases in Brisbane, Cairns and Townsville. The PFTC and its financing partners, the ABC, The Australian Film Commission, Discovery UK and ABC Content Sales are all involved in the series that started production in January, 2007. From the exotic to the historic, and the south west coast of Britain, where a number of >

Charlestown Harbour: “One of the most versatile film locations in the South West of England”


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> films depicting Britain’s seafaring history have been

shot. Charlestown Harbour is one of the most versatile film locations in the South West of England, according to David Shepheard of the Bristol Film Office. Situated on the relatively sheltered south coast of Cornwall near St Austell, the privately-owned Grade II listed harbor has attracted major productions to the area year on year. “The high wharf walls lining the harbor make it ideal for constructing historical sets and hydraulic lock gates mean the water levels can easily be controlled and filming isn’t disrupted by tidal variations,” Shepheard says. “All this, and a clear view from the harbor to the far horizon makes Charlestown a popular location with directors and designers.” With full co-operation from the owners, Square Sail Shipyard Ltd, Charlestown, has been transformed into World War II Alderney for The Eagle Has Landed, 18th century Bristol for the BBC TV drama A Respectable Trade, London’s busy Chatham Docks in Moll Flanders, the German city of Hamburg for Amy Foster, and the English harbor town of Portsmouth for Mansfield Park. More recently Charlestown has appeared in the Kristin Scott Thomas/Joseph Fiennes vehicle Man To Man, and Terrence Malick’s The New World. “What makes Charlestown an even more attractive proposition for filmmakers is that it is home to a fleet of tall ships also owned by Square Sail,” Shepheard says. “With experienced crews, accustomed to the idiosyncrasies of film production, dressing in costume and performing for camera, these ships have donned as

the sea

many disguises as the harbor itself, acting the part in epics such as Christopher Columbus’ 1492: Conquest Of Paradise, and the award-winning TV series Hornblower.” Square Sail’s tall ships also made a spectacular appearance in director Michael Apted’s Amazing Grace (Walden Media) but this time the location doubling for 18th century London was Gloucester Docks. Set in the cathedral City of Gloucester, north east of Cornwall, these docks are now undergoing regeneration but in 2005 they proved their worth for this eagerly awaited feature about the slave trade abolitionist William Wilberforce. Gloucester Docks has also doubled for New York in the 1995 CBS production Buffalo Girls. “The rugged cliffs of North Cornwall have inspired filmmakers for over 50 years,” Shepheard says. “One of the earliest films to take advantage of this breathtaking scenery was the MGM movie Knights Of The Round Table starring Ava Gardner and shooting at Tintagel in 1953.” The residents of the small traditional Cornish fishing harbor, Port Isaac, are so used to filming that they have adopted their own code of practice for filmmakers, developed with help from the local Screen Agency and modelled on the code of practice used by Bristol Film Office. Port Isaac provides some beautiful backdrops for the UK’s popular ITV series Doc Martin starring Martin Clunes, which has now been distributed globally. The harbor and village have also been used for several feature films including director Gillian Armstrong’s Oscar & Lucinda, Beeban Kidron’s Swept From The Sea and Nigel Cole’s Amazing Grace. LM


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Lost, shot on location in Hawaii. (c) Touchstone Television

LOST ON LOCATION With ABC’s hit series Lost, Barry Jossen, executive vice-president for production at Touchstone Television, has taken television drama to a new level. He spoke to JULIAN NEWBY

FOR SOME time now, American long-running television dramas have been enjoying a period of extended success worldwide—think of 24, Desperate Housewives, Grey’s Anatomy, Without A Trace, and the CSI Franchise. Most of them go out on location on occasions, but traditionally such long-form series anchor themselves firmly in the studio. But Lost is bucking that trend, setting itself on permanent location in Hawaii. “There is nothing else like it on TV,” says Jossen, who has been with the series since the pilot. “There are a limited number of places that American series go to— Vancouver, New York. Wilmington North Carolina—but for us to have set up in Hawaii, where the use of location and the logistics are all driven by the script, well that’s something very different.” Choosing the right location to suit the script was crucial from the outset. “Very early on we knew that we needed an exotic, tropical setting, and one of the basic requirements was an environment where there was a dense forest adjacent to the beach,” Jossen says. “But you also needed to be able to see that there were mountains beyond the forest.” The team considered locations in Los Angeles— from the Los Angeles Arboretum to Malibu—and also New Zealand, Australia, Puerto Rico, and Hawaii, where the production eventually settled. “Australia was a real possibility, but even at the best location we found, there was a two-and-a-half-hour drive between the beach and the forest. So we contacted the Hawaii Film Commission and Mayor’s Film Office in Honolulu, Waikiki and they said: ‘We have everything you need’.” Producers of a number of significant movies and series in the past would certainly agree: the long-run-

ning cop drama series Hawaii Five-O shot there, as did Magnum P.I. and the blockbuster Jurassic Park. And now the 50th state can add another worldwide hit to that list with Lost. “Donne Dawson is the Hawaii State film commissioner, and Wilea Constantinau heads up the Honolulu Film Office , and the two of them are involved every single day,” Jossen says. “We would not have gotten started as quickly, or had access to so many locations, and enjoyed the collaboration of the local community, without them. They met our team at the airport when we first went to check the place out and little over two hours after we arrived we had found the location, and that was thanks to them.” Jossen believes that Lost is a good example of how to make the best use of a location. “We do shoot on setsfor maybe one day out of five, but they are all built at the location. We never leave Hawaii, yet that show has represented locations diverse as Iraq, New York, London, Oregon, Australia and Iowa,” he says. “It’s probably the most unique example of the utilisation of one location to present many different parts of the world, all in one production.” LM

HAWAII INCENTIVES HAWAII offers a refundable tax credit based on a production company’s Hawaii expenditures while producing a qualified film, television, commercial, or digital media project. The credit equals 15% of qualified production costs incurred on Oahu, and 20% on the neighbor islands (Big Island,

Kauai, Lanai, Maui, Molokai). Qualified production costs incurred on Hawaii must total at least $200,000, and the credit is capped at $8 million per production. There is no overall or annual cap on the credit. For full details go to





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FILM-FRIEND THE vast collection of territories we call Asia is fast becoming a significant contributor to the international film industry. The growth in the number of local productions, and international co-productions, the opening of new film commissions, and the rise in pan-Asian and pan-Pacific facilities and post-production outfits are all signposts to a promising future. And directors and producers from around the world, who in the past might not have considered Asia as a possible shooting destination, are taking a second look, and some are returning time and again. In China, interest in shooting in the territory is on the increase in the run-up to the Olympics. Chinese Australian German co-production The Children Of Huang Shi started principal photography in November 2006 in Gansu province. The film stars Jonathan Rhys 68 //

Meyers, Michelle Yeoh, and Chow Yun Fat, with Chinese production and distribution outfit Qixinran coproducing. And Beijing TV and BTV Media recently announced a major new co-production initiative preOlympics that included the funding of up to 12 documentaries that will be made by foreign outfits in coproduction deals, in which China will cover 100% of the local production costs. “Interest in filming in Beijing ahead of the 2008 Olympic Games is growing enormously,” says Wei Yonggang, CEO of BTV Media. With the latest digital production and post facilities, says Wei, “BTV is uniquely positioned to work with international companies looking to China as a location for upcoming projects.” Mission Impossible III was shot, in part, in Shanghai, using sites such as the Oriental Pearl TV Tower, China’s tallest building; the




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FEATURE // asia

Top Indian director Rakesh Roshan chose Singapore to shoot Krrish

As moviegoers show greater tolerance of foreign movies, and producers look for increasingly exotic locations in which to shoot, so a growing number of Asian territories are playing host to international productions from around the world. MARLENE EDMUNDS reports


NDLY EAST Jin Mao Tower; and the Huangpu River that flows through Shanghai. Hong Kong’s local film industry has slipped from 300 to just 40 movies a year, but News Corp-backed Chinese Star Movies has set in motion a number of local Hong Kong HD productions, among them Pandora’s Booth, which began shooting in midOctober, 2006. So what does Asia have to offer over other parts of the world? Japan, China, Korea, Singapore, Thailand, Cambodia, Malaysia, Vietnam, the Philippines, and Mongolia all offer a romance that has not died out with the globalization of economy, culture or the film industry. Take Indonesia and its more than 18,000 islands, its black gold and pink and white beaches, the mummified bodies among the Toraja in Sulewasi, the 7th Century Buddhist temples at Borabodur, and 4th

Century Mongol ruins on Bali. Colonial era architecture abounds across the former Dutch colony where plantation owners, including the husband of the notorious Mata Hari, lived. The wide diversity of culture and languages, however, and lack of a cohesive infrastructure, has in the past made shooting in many parts of Asia somewhat problematic, with regulatory and bureaucratic mazes confounding even the most experienced filmmakers. But many parts of Asia are now enjoying an unprecedented period of regional co-operation and co-production, much of the latter stimulated by various film fund schemes. The experiences garnered from those liaisons are expected to create a much more mature and desirable shooting climate across the region for international > filmmakers. //69




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The number of film commissions across Asia has increased from next to nothing to close to 100, says Mako Tanaka, director of the Kobe Film Commission and vicepresident of the Asian Film Commissions Network (AFCNet). The Asian film industry has also perceptibly matured, she adds. Some problems, such as a common language interface still remain, and laws and regulations can also be stumbling blocks as they differ so widely from territory to territory. “But Asians have grown used to working together, and are gradually finding ways to compromise, or rather, ways to get the best out of our different cultures.” The formation of AFCNet in 2004 was an important landmark for the Asian locations industry. Says Deborah Gabinetti, managing director of the Bali Film Center, and AFCNet co-vice-president along with Tanaka: “Instead of individual countries trying to promote themselves, individual networks are trying to promote the region.” And the concept is working so well that New Zealand and Australia are also seeking to join AFCNet. AFCNet is looking on a regional level at cross-promotion, and the tackling of regulatory hurdles. “We want to see if there is a common thread that can be followed when it comes to regulations, customs, immigration and, even, for example, such things as nonpayment of bills by clients,” Gabinetti says. Even minor cultural stumbling blocks can hinder a location shoot, and according to Gabinetti, the film commissions are working particularly hard in this area. “For example in Asia, if you are upset, stomping and yelling does not work as a means of communication. The more someone does this, the more an Asian person will pull back,” she says. “The region has clearly become more film-friendly,” she adds. “There is an increasing awareness that, differences in customs notwithstanding, the client is coming into the region or territory to do a project, that they are there at your invitation, and that they are on a tight schedule.” With the exception of Indonesia, film commissions across Asia are funded and supported by national or local governments, but actual tax incentives for shooting in the territories are scarce. The Singapore Tourism Board offers the Film In Singapore! (FSS) scheme that gives financial support to international productions filmed in the territory. Through the $10m scheme, filmmakers or broadcasters choosing to film in Singapore may be granted financial support on a case-by-case basis. Each project is evaluated with specific focus on how the film or program will uniquely showcase Singapore’s locations. Released in June of 2006, the Hindi film Krrish was the first big production to make use of FSS. The film’s international credentials included a stunt director from China, special effects created in a Los Angeles laboratory, and a 200-plus cast and crew from China, India, Singapore and the US. Taiwan’s tax deduction scheme, modelled on the German system, was the first of its kind in Asia. It allows a mix of private cash and a 20% rebate for qualifying movies. It also requires that one one third of screen time be shot on location in Taiwan and that Taiwanese actors make up a third of the cast. The tax scheme has been passed but Taiwan’s failure to crank up its structure on time has already cost it one production. Wesley Snipes’ $16m new film Dragon, originally scheduled to shoot in Taiwan, went into principal photography in Thailand in January of 2007.

China has no subsidies friendly to foreign film, but one co-production assistance program allows foreign companies to work with local Chinese companies for a fee. Full co-productions also allow companies access to low-cost crew and facilities, with no financial ceilings applying, although they are not easy to arrange. Regionally, there has been a steady increase of coproductions between China, Korea and Japan that often end up being shot in China, according to Kevin Kang, COO of AFCNet. “It is less expensive there and it makes it easier to approach a Chinese audience,” he says. And while China-Korea co-productions don’t usually travel to Korea, they do travel to China.

Mahesh Bhatt’s 2006 movie Gangster, the first Indian movie to have been shot in the Korean capital. Here a scene is shot on the Han River

SHOOTING IN KOREA KOREA—and especially Busan—is becoming increasingly attractive to regional and international film companies. Some 100 feature films were shot in Korea in 2006, 50 of them on location in Busan. More than any other location in Korea, Busan appears to offer onestop locations support and a myriad generic sites, in//71




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> cluding mountains and harbors, as well as a plethora of

Asian and colonial architectural styles. “Blocking roads and bridges, as well as harbor and airport scenes, are all easily arranged in Busan,” Kang says. “He points to a recent two-day shoot that closed down four lanes of traffic at an intersection for six hours per day, with the help of the Busan Film Commission. “Most of the time,” says Kang, “you are able to shoot something in Busan that can’t be shot in Japan because of regulatory problems.” Phil Choy, managing director of the Busan Film Commission, says his team is looking at ways of making the place yet more film-friendly. “We are working with the government to try to create more incentives for foreign filmmakers,” he says, pointing to Busan’s various government agencies, police, fire services and other facilities that work closely with the film commission to provide support. Busan’s mild and snow-less winters are another attraction. Military security means aerial shots and visits to certain locations are more difficult to arrange, but most things can be done. “Quite a few shots involve the harbor and there are some aerial shots done here as well.” Just across the water, Japanese filmmakers are increasingly attracted to the less expensive facilities and the comparatively regulation-free environment in Busan. Some five Japanese feature films were shot on location in Busan in the first nine months of 2006. “There is also a tendency for the Japanese film business to back things Korean, including film, because of

popularity of Korean films and TV series in Japan,” Choy says. Korean filmmaker Joon-ho Bong’s latest film Gwoemul, part-backed by Japanese interests, was shot on Korean capital city Seoul’s Han River and achieved record box office with its story of a mutant that emerges from the Han and focuses its attention on attacking people. “After my film Memories Of Murder, foreign companies began to show interest in funding and financing my films,” says Bong. Korean dramas have also drawn interest to locations such as Namiseom Island, YongPyong Ski Resort and the Chuncheon area, where one of the biggest money machines in Asia over the last few years when it comes to TV and ancillary rights income, the drama Winter Sonata, was filmed. Divided by the Han River, the 600 year-old city of Seoul is currently where some 95% of all Korean film companies and facilities are located, and where 40% of Korean productions are filmed. One of the latest shoots in Seoul was with Indian outfit Vishesh Films. Mahesh Bhatt’s 2006 movie Gangster is the first Indian movie to have been shot in the Korean capital—at, among other locations, the Han River, Gyeongbokgung Palace, the Jogyesa Buddhist Temple, and nearby Jeju Island. Busan was the first film commission to launch in Korea, and the Seoul Film Commission followed several years later. Why does Seoul appeal to filmmakers? First there’s the Han river. “The 22 bridges that span the Han river all bear unique designs,” says Alex Seo, planning >



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> manager for the Seoul Film Commission. “The special

structures, surrounding scenery and the light at Banghwa, Gayang, Sungsan, Olympic, and Chungdam bridges all are attractions for directors wanting to shoot here.” The city’s picturesque herbal medicine market Gyeongdong is also a big draw, she adds. Korea’s panoply of palaces from its dynasty days is also a major attraction, but not all that easy to access for shooting. “The four

main palaces are under the jurisdiction of the Cultural Heritage Department and concerns about damage and loss are major,” says Seo. “However, it is actually easier for an overseas production team to obtain a permit than it is for a domestic team to do so.” Hanbando, directed by Kang Wooseok in 2006, was recently shot at Kyeonghui palace, one of the monuments under the aegis of the Seoul city government.

The harbor at Yokohama, a city popular with filmmakers

SHOOTING IN JAPAN OVERALL, says Mako Tanaka, director of the Kobe Film Commission, it has become much easier in the past 10 years to shoot in Japan as a result of the services provided by the film commissions in the territory. But getting permits in Japan is still no piece of cake, Tanaka admits. Hiring police to close down a street, for example, is not possible, since police are not allowed to take private work. “Laws like this cannot be changed,” says Tanaka. She adds, however, that police stations are now more understanding in issuing permits. “It is no longer considered difficult to get a permit to shoot on streets, unless there are worries about traffic jams or possible injury.” Closing down major roads, bridges, and freeways is still very difficult, says Tanaka, but government buildings, parks and public facilities are easy to access if the proper fees are paid and the correct applications made. Shopping malls and restaurants are also realizing more than ever there are promotional benefits to be had from being seen on film. The number of foreign films shot in Japan is on the increase, among them Paramount’s Babel starring Brad Pitt, and Universal Pictures’ The Fast And The Furious: Tokyo Drift, both shot in Tokyo. Earlier this year Grudge II shot in Yokahama, a location 30 minutes from Tokyo, especially popular with film crews as it has always been thought of as less regulated than the capital. Fukuoka, a city just across the waters and a short hydrofoil trip away from Busan, is hoping to target

filmmakers from Korea and Malaysia, among other territories. But the city has yet to offer really cheap shooting deals and offers no short cuts in getting around some of the permit tangles that are pervasive in Japan. Fukuoka Film Commission locations co-ordinator Haruyuki Naito sees a bright side. “If you need shots in Japan, direct flights to Fukuoka are easy.” And what’s the attraction? “It’s a big city, but we have skyscrapers, mountains and sea all in one compact area so generic > shooting here is also very attractive.”



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SHOOTING IN INDONESIA WHILE it has no tax incentive schemes, a film-friendly service industry, tax-free status for artists, and master craftsmen working at a fraction of the going rate, are among the draws to this particular Asian territory. And while the 2002 bombings cast a pall over Bali as a tourist center, Gabinetti says film people “are a special breed” and came back to Bali well before the tourists did. She adds, “Security is being taken very seriously in Bali. We have point people with the national and local police, and one of our own people goes with any film crew 24/7.” Aside from stunning locations, Gabinetti says Indonesian set builders and set designers “are master craftsmen and have the ability to recreate anything”. Indonesia also offers reasonable labor costs, inexpensive building materials, private sector support from hotels, airlines and ground transport, as well as large numbers of extras available at short notice from 350 different ethnic groups, including people of Polynesian, Central Asian, Indian, Middle Eastern, Papuan, Melanesian, Aboriginal, Portuguese and Dutch descent.

Seventh century Buddhist temples at Borabodur, once the spiritual center of Buddhism in Java, Indonesia

Singapore’s beautiful Sembawang Beach

SHOOTING IN SINGAPORE WITH the Media Development Authority inking deals right and left to pull in international filmmakers and boost local Asian talent, Singapore is seeing more shooting action than ever before. Top Indian director Rakesh Roshan chose Singapore to shoot Krrish, the sequel to his award winning science fiction flick Koi Mil Gaya. Some 60% of the film—the first to use the FSS scheme—was shot in Singapore, in and around the Esplanade, the Zoo, Pulau Ubin, and East Coast Parkway. The film had major international credentials, including a stunt director from China, special effects created in a Los Angeles laboratory and a 200-plus cast and crew from China, India, Singapore and the US. Priyanka Chopra, a former Miss World, and Indian heart throb Hrithik Roshan, starred. Ken Low, Singapore Tourist board’s acting assistant CEO for brand and communications, says the money is a well-spent promotion for the territory. “Viewership for Krrish will run into millions, not to mention the Indian diaspora around the world.” Award winning Yen Yen Woo and Colin Goh-directed Singapore Dreaming bowed September across the > territory. //77




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Pictures, the Menfond Electronic Art & Computer Design Co. and Salon films. Also a special Chinese administrative region, the exotic look of Macau has attracted a considerable amount of production in the recent past, especially following the Indiana Jones series. This year alone ONCE the major film hub in Southeast Asia, former some four films have been shot in the city, despite a British colony Hong Kong now has healthy competi- casino construction boom that has already started to tion with Korea and Thailand when it comes to loca- impact on production. Tech crews and extras are increasingly deserting the movies for work tion shooting. Movies recently shot in in the casinos, so much so that Manthe territory include the Ian Bohen stard a r i n F i l m s’ C i t y W i t h o u t Me rc y rer, Bigfoot Entertaiment’s film Irreverdropped plans to shoot in Macau in fasi, directed by Micheale Gleissner; and “MANY PARTS OF v o r o f Ho n g Ko n g b e c a u s e t h e f i l m Ja c k i e C h a n’s re c e n t c a p e r Ro b. B. ASIA ARE NOW needed 250 extras. Hood. Including film, TV and commerENJOYING AN The former Portuguese colony’s Eucials, the territor y hosted some 172 shoots last year, 40 of them local proUNPRECEDENTED roasian [European and Chinese] influence gives it an exotic atmosphere that d u c t i o n s ; Ho n g Ko n g i n i t s h e yd a y PERIOD OF includes blue and white tiled streets, cranked out some 300 movies a year. REGIONAL w i t h b o t h C h i n e s e a n d Po r t u g u e s e The industry is involved in some major names, and buildings bearing tropical naval gazing in efforts to bring back CO-OPERATION” shades of pink green and yellow. Recent business, and some of the solutions are films shot in Macau include Exiled by being sought in mainland China, particularly in the run-up to the Olympics. Certainly, on director Johnnie To, Pang Ho-cheung’s Isabella, and the production and post-production side Hong Kong Pen-Ek Ratanaruang’s Invisible Waves. The Home has a lot to offer the regional locations industry. Song Stories, by Australia’s Tony Ayres—about a Among key facilities is Shaw Studios, featuring five nightclub singer who falls in love with a Chinese illenew stages and 30 recording studios and a pack of gal immigrant in Australia—is also set for principal post-production houses that include Centro Digital photography there. LM


MISSION POSSIBLE OF ALL the cities in the world, few are as crowded, lively and just plain complicated as Hong Kong. But the city also has a thriving and robust local film industry and the show simply has to go on. "Hong Kong is one of the most densely populated cities in the world," says Patricia Wong, chief

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entertainment standards control officer at the city’s Film Services Office (FSO). "As such, a balance has to be struck between meeting the filmmaker’s need to shoot onlocation, and avoiding inconvenience to the public. This requires much liaison work and calls upon the co-ordination

service of the FSO that was established in April 1998 to promote film production in Hong Kong." In March of last year a stunt to promote Mission Impossible III—which involved a “flying DHL courier” parachuting in to Sai Yeung Choi Street to deliver the finished movie—was

cleared to take place, even though it is one of Hong Kong’s most chaotic and bustling areas. The FSO negotiated permission for the parachutist to land, and a large crew filmed the event from the ground, which was then made into a TV and cinema commercial for the movie.




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RIGHT As worldwide locations executive for Warner Bros. Pictures, Bill Bowling is an old hand at shooting in Asia. He spoke to LOCATIONS MAGAZINE about recent experiences in Thailand and Malaysia

TWO movies, Beast Of Bataan, directed by Fred Schepisi for Grand Illusions Entertainment, and They Fought Alone for Sony—both WWII movies—took Bill Bowling to a number of locations in Asia and Australasia scouting for locations, including Malaysia and Thailand. “Both countries offer great location opportunities, but each comes with challenges,” he says. “Thailand has a very well developed production support infrastructure. For years, producers have felt secure shooting in Thailand. With its skilled crews and varied locations, Thailand is especially good for jungle or Asia-based stories.” Air connections from Bangkok to the rest of the world are particularly good—and recently improved thanks to a new airport—and hotels, food and services are comparable with any major city. “There are many production service companies that offer multi-leveled support to foreign productions, and because of the amount of production in Thailand, they have experienced and skilled crews,” Bowling says. Most filming in Thailand occurs outside Bangkok, which like other huge Asian cities is jammed with people and vehicles. “Controlling city streets or public areas in Bangkok is not easy,” he says. “Thailand is a good choice for productions that need tropical and exotic environments, often with set construction, which is not expensive by western standards. Thailand also has newer post-production facilities competing for visual effects contracts. As visual effects become more prominent, there may be more stage work in places like Thailand.” Bowling advises producers to select the right partners. “The official Thailand Film Office is more a government promotion and permitting office than a ‘hands-on’ support office,” he says. “As is the case with much international production, one of the great challenges is selecting the best local production service. The Thai government can be bureaucratic and there may be quicksand on the road of wrong decisions. A script approval process is required in Thailand. It requires Thai and English language versions to be submitted for approval. Taboo subject material would include negative stories concerning the King, the Thai government, corruption, sex trade or drugs.” He says,

Bill Bowling on the backlot at Shanghai Studios, one of the locations for Beast Of Bataan


too, that there have also been problems with “misunderstanding” the tax liabilities of foreign actors and workers. “This is an example of the critical importance of having the best local production service company. They must not only be hip to all the production issues, but expert in legal and government regulations.” Malaysia offers great locations and low production costs, but there is less on offer in terms of production infrastructure. The government contact is the Multimedia Development Corporation in Cyberjaya. “This agency is committed to developing production in Malaysia but, like Thailand, it is a government office, not a production service,” Bowling says. “So, to set up filming in Malaysia, a producer needs to connect with an experienced production service, like Borneo Films in Kuala Lumpur, for example.” Since Malaysia has not hosted many large-scale feature films, its crew base is not experienced and Thai crew may be brought in to make up for this. Kuala Lumpur is an urban center, with some of the world’s tallest buildings. Other areas of Malaysia have outstanding British Colonial architecture that is hard to find elsewhere in the world. Malaysia has beautiful tropical beaches and snowy mountains. On Borneo, the area of Sabah has recently been used for remote reality television shows. “Malaysia is an untapped resource for location filming,” Bowling says. “It would be especially good for lower-budget films that need tropical locations.” And, for Bowling, the future is bright for both countries. “Both the Thai and Malaysian governments recognize the importance of film production in building their image and tourism industry,” he says. “As long as security concerns do not scare away international production, and as long as financial and tax issues are attractive, these countries will see increased international production.” LM //81


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Last Dance


SINGAPORE As the first Singapore-made feature film to be screened at the Sundance Film Festival in the US, One Last Dance is an example of the level of support now provided to filmmakers by Singapore’s Media Development Authority. LOCATIONS MAGAZINE looks at the country’s co-ordinated efforts to create an international filmmaking ‘hub’ and to sell home-grown movies on the world market

T, played by Francis Ng, on the run in One Last Dance

WRITTEN and directed by Max Makowski, and produced by MediaCorp Raintree Pictures and Ming Productions with investment from the MDA and Presto Films, One Last Dance is a Chinese triad-mafia noir thriller set and shot entirely in Singapore. Using a number of urban and exotic locations throughout Singapore, One Last Dance tells the story of a disillusioned hit man who struggles with his conscience when faced with having to choose between loyalty to his boss and crime family, and loyalty to his newly-found love. The film features an international cast including Harvey Keitel, Hong Kong’s Ti Lung and Francis Ng, Taiwan’s Vivian Hsu and Singaporean newcomer Joseph Quek. T, played by Francis Ng, is a hit man working for a mob boss desperate to find those responsible for kidnapping his son. This is to be the assassin’s last assignment, as he has fallen in love with one of the lower-level mafioso’s sister. A perfect set-up for a thrilling plot and some spectacular action scenes, which are the hallmark of the film. The film was funded in part by Singapore's Media Development Authority (MDA) through a 2003 memorandum of understanding (MOU) signed with Singapore's MediaCorp Raintree Pictures. Under the terms of the MOU, MDA committed to co-invest with MediaCorp Raintree Pictures in the development of 10 films over the course of five years. In addition to One Last Dance, the agreement

has to date brought one other film, Kevin Tong’s The Maid, to the marketplace. In addition to investing in MOUs, MDA, through its affiliated Singapore Film Commission (SFC), has established schemes to support and facilitate the different stages of filmmaking, from development (Script Development Grant and Project Development Scheme) and skills development (Short Film Grant and Film Incubator Programme) to production (SFC Co-Investment Scheme). The schemes help to cover development costs, from scripting, budgeting and casting to sourcing and securing investment and distribution commitments. Already sold to a number of territories including France, Japan, Belgium, Netherlands and Luxembourg, One Last Dance was nominated for the Grand Jury Prize in the World Cinema category at the Sundance Film Festival in January of 2006. Daniel Yun, CEO of MediaCorp Raintree Pictures and the executive producer of One Last Dance, said: "The invitation to compete at Sundance was very significant for Raintree and collectively for Singapore, as it's also an endorsement for our on-going effort to seek out new and emerging markets. The festival also served as a strong platform to promote and market this film to the Western territories. My dream is to produce borderless and global films. Before, film in Singapore was an import. We want to make it an export.” LM //83




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IL-QOLLA L-BAJDA, GOZO. The island is just north of Malta, and forms part of the Maltese islands. Malta is home to the Mediterranean Film Studios which provide services to productions using the island’s stunning locations for filming. Recent productions to shoot in Malta include The Da Vinci Code, Adrift, Munich and Troy. Photo: Kurt Arrigo //85





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THE GOVERNOR’S PALACE, Colonial Williamsburg, West Virginia, completed in 1722. The Colonial Williamsburg Foundation describes the area as: “The world’s largest living history museum, the restored 18th-century capital of Britain’s largest, wealthiest, and most populous outpost of empire in the New World.” John Adams, a miniseries produced by Tom Hank’s company Playtone, and HBO, is to be shot here. Photo: Kent Eanes 86 //




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ROGALAND COUNTY on the western coast of Norway, close to the city of Stavanger. Feistein lighthouse is in the far background of the picture. The Norwegian feature Monsterthursday (Monstertorsdag ) was shot in this area. The film is by Arild Ă˜stin Ommundsen, and stars Danish actor Kim Bodnia. Photo: Willy Haraldsen //87





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REEDS BAY, IN HILO ON THE BIG ISLAND OF HAWAII. The Big Island is officially called Hawaii Island, but locals started calling it The Big Island some years back because visitors confused the island with the state as they shared the same name. Reeds Bay adjoins a series of beautiful Japanese Gardens. Photo: Bob Coello for the Big Island Film Office

THE SAN PEDRO CHAPEL in the Historic Fort Lowell District, Tucson, Arizona. This chapel is non-denominational and does not hold weekly services, which makes it easier for a filmmaker’s schedule. Because it’s private property, permits are not needed. Rarely filmed to date, it offers the look of Old World Mexico, without the need to cross the border. Photo:

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HUECO RANCH, EL PASO, TEXAS. Walter Hill’s Last Man Standing, starring Bruce Willis, was shot here. The location offers various desert looks, mountains, lonely roads, wide-open spaces, stunning sunrises and sunsets, as well as a working ranch with bunkhouse, corrals, barn and cattle. The owner is receptive to film production; the ranch covers 47,000 acres, of which around 35,000 are undeveloped. Photo: R. Michael Charske






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BRISBANE CITY, QUEENSLAND, AUSTRALIA. This area is popular with filmmakers for a number of reasons including, depth of local talent, sub-tropical climate and its close proximity to Warner Roadshow Studios on the Gold Coast. Productions shot in the area include Scooby Doo, Inspector Gadget, The Marine, The Condemned, Aquamarine and House Of Wax. Photo: Marty Pouwelse Photography

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THE ALASKAN PENINSULA. In 2006 the upcoming Sean Penn film, Out Of The Wild, was shot in part here, as well as a second-unit shoot of Andrew Davis’ The Guardian. In 2005, Werner Herzog’s Grizzly Man was shot, in part, here. Alaska has more coastline than the entire US, and is roughly two-thirds the size. Photo: Deborah Schildt, Alaska Film Services

THE CLIFFS AT GLASSY, Greenville, South Carolina. The area is famous for beautiful mountain vistas, and world class golf. The city of Greenville is the home base for the Universal/Smoke House feature Leatherheads, starring George Clooney and Renee Zellweger, and directed by Clooney. Photo: courtesy of The Cliffs Communities

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EL MÉDANO BEACH, Granadilla, Tenerife, Canary Islands, Spain. A popular location for photo shoots and commercials. It is located next to a Natural Protected Area, where windsurfers and kite-surfers sail all year round. It also has the look of a desert because of the dunes at the end of the beach. Photo, Roger MÊndez, Tenerife Film Commission






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THE HOH RIVER TRUST, near Forks, Washington State. The timeless northwest rainforest look with old-growth forest was perfect for the Imax movie T-Rex: Back To The Cretaceous directed by Brett Leonard, that was shot here. The location has a remote look to it, but is easily accessed. Photo: Washington State Film Office 94 //




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An extra in Perfume, walking down Barcelona’s Ferran Street



The process of adapting Patrick Süskind’s novel Perfume to the big screen was so complex that they made a movie about how complex the process was, before they made the actual movie. JULIAN NEWBY visits Catalunya in Spain which, for the sake of the movie, is 18th century France

JAKOB Windisch has written a number one best-selling novel. Uhu Zigeuner is to direct the film adaption. Zigeuner is on the hunt for the perfect woman to play the lead, and ruthless producer Oskar Reiter wants to buy the film rights at all costs. This, in brief, is the plot of the film Rossini, a satire on the process of turning the book, Perfume, into a movie. Yes, transferring Perfume to the big screen was such a long drawn-out business that back in 1997 filmmaker Helmut Dietl, along with Perfume author Patrick Süskind, made a movie about it. The best-selling book —full title Perfume: The Story Of A Murderer, or in German, Das Parfum—was written back in 1985 and instantly there was interest in the film rights. In the 21 years that have passed between the publishing of the book and the release of the film, such cinema luminaries as Martin Scorsese, Milos Forman and Tim Burton have been named as possible directors. All of these, and others, dropped out at various stages and for various reasons and the adaptation only really gathered momentum when producer Bernd Eichinger, who had already adapted Umberto Eco’s The Name Of The Rose and Joachim Fest’s Downfall to the big 96 //

screen, convinced Süskind to sell the rights. Eichinger decided on director Tom Tykwer, and suddenly the film of the book that so many believed was unfilmable, looked a possiblity. Set in 18th century France, Perfume tells the story of Jean-Baptiste Grenouille, who was born lacking a personal odour, but endowed with an extraordinary sense of smell. Grenouille is apprenticed to a perfumer and becomes obsessed with finding the perfect scent that will make him fully human. In the process, he seeks and creates perfumes that powerfully manipulate human emotions, murdering 25 women in the process. Produced by German company Constantin Film Produktion, distributed by DreamWorks and written and directed by Tom Tykwer, Perfume: The Story Of A Murderer, was filmed on location in the Catalunya district of northern Spain. According to Edmon Roch, delegate producer on the film and director of Ikuru Films, the area was used because “it contained a unique combination of historical sites and landscapes that fit the story”. The production used Barcelona as Paris and Girona as Grasse, a hillside town in the south of France and the country’s perfume capital. >




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Jean Baptiste Grenouille sees a perfume shop for the first time

> “The river Ebre in south Catalunya served as the

Seine, and Grimal’s Tannery was entirely shot in the Figueres Castle,” Roch says. “Grasse Cathedral was a combination of Girona Cathedral and the Església de Sant Just I Pastor in Barcelona. The final scene in the square Grasse, where the people are making love, was shot in Pueblo Espanyol, in Barcelona.” Perfume shot for 12 weeks on location in Catalunya, and for two weeks at Bavaria Studios in Munich, where interiors for the perfumery of Giuseppe Baldini (Dustin Hoffman) were re-created. A second unit shot for a few days in Provence, southern France, closer to where much of Süskind’s story actually takes place. “Paris and Grasse were considered, but neither has fully preserved their 18th century facades, and it was quite complicated to recreate Perfume at either location,” Roch says. “There were scouts in Italy and Croatia, but nowhere had the facilities that were found in Catalunya.” Contact between local production company, Ikiru Films, and the Barcelona city council was first

made in March 2005, six months before shooting started. And that led to a relationship between the production and the Barcelona-Catalunya Film Commission. “It would have been completely impossible to shoot a film like Perfume without the total support and co-ordination of the Commission,” Roch says. “They were involved from the outset. We would never have got the permission to shoot a period film in the heart of a modern city without their help. They were also around to solve the everyday problems we faced on location.” Barcelona-Catalunya film commissioner Julia Goytisolo says the Commission’s role was to remove any obstacles that might have hindered filming. “The shooting of such a complex film requires the unconditional support of local authorities and an agency playing a co-ordinating role between all the parties,” she says. “This agency [in this case the Film Commission] has to establish the dates to shoot in the various locations and to organize meetings with any local people who might be affected by the production. A movie, set in the 18th century and filmed in more than 20 locations —most of them in the heart of the city and very close from historical monuments and government institutions—cannot happen without very thorough scheduling, taking into account all the problems that may > //99




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The production team works on turning Barcelona’s Ferran Street into a Parisian boulevard

> arise.” She adds: “Landscapes may not change much,

but cities and towns change rapidly. Even a movie that is set in the recent past requires the removal of certain elements like street-signs and vehicles—so the extent of the changes required to film a movie like Perfume, telling a story that takes place in two French cities over two centuries ago, is enormous. You have to change practically everything.” An added problem for Roch was that some of the historic monuments that were used had to be adapted to get the right look for the film. “Some of them had to be dirty or wet for certain scenes,” he says. “At one point the streets and buildings of Grasse had to be covered in flowers. So we had to work shoulder-toshoulder with the people who are responsible for the preservation of historic monuments in the various places we shot. We contracted a local company that specializes in the restoration and preservation of Historical Monuments—Barceloa-based ArtisPlus—to design various scientific means by which to alter the look of some of the monuments without any danger of damaging them.” To enable this, a complete study of all the monuments concerned was carried out. “The most common procedure was to cover all monuments with a thin layer of latex that would protect them from the organic elements that we would place on top. After the shoot it was easy to remove, and 100% safe.” And there were other, unforeseen problems posed by the historical nature of Perfume. “The film was shot at exactly the same time, and in very close proximity to, another movie that was set in the present day,” says Julia Goytisolo. “In one of the scenes of this other movie, the main character was sitting in a bar. It was

Horses and carriage in Ferran Street

an interior shot, but the camera also filmed a bit of the street outside. And suddenly all these characters dressed in medieval costumes appeared in shot. They were Perfume extras on a break, walking across town to the catering zone.” Roch says that a number of the locals so enjoyed going back in time and living in a city without streetlights, electricity cables, and rubbish bins, that they asked the city council if they would leave it as it was, and not reverse any of the alterations made for the production. Director Tom Tykwer says Catalunya and its people made a very real contribution to Perfume. “I have had the best time of my life filming in Barcelona and Catalonia,” he says. “The Film Commission gave us access to all the most beautiful spots both in the cities as in the countryside. We had the pleasure or working with incredibly gifted craftspeople; we shot the most memorable mass sequence of my career with hundreds of passionate and devoted extras; and all the incredible effort was handled with beautiful lightness, generosity, and fun. I am eternally grateful that Catalonia has given the gift of its beauty to Perfume, and I am proud that it shines so bright and colorful on screen.” LM //101




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FEATURE // urban

Turning London into a dystopian city for Universal Pictures’ Children Of Men


As an increasing number of current TV and theatrical movies replace the lush backdrops of the past for the tough urban look of the new century, so demand for rough, inhospitable inner-city locations is on the rise. GARY SMITH reports

THE 2002 feature film 8 Mile, starring rapper, songwriter and producer Marshall Mathers—Eminem to his vast fan base—is a benchmark for down-and-dirty, in-your-face urban cinema. It was shot in Mather’s home city of Detroit, and from the outset, production designer Philip Messina decided that the film should celebrate Detroit’s moody cityscape, and use it to the full. Parts of the city have had strange things done to it in the name of progress—old office buildings have become condos; churches have been turned into restaurants—the city is mixing the old with the new. Messina cites the example of Detroit’s former Michigan Theater, which has been a supper club, a nightclub and is now a parking garage. “The theater was literally gutted from the roof down, with about a quarter of its proscenium intact with tattered curtains hanging over it. We really fell in love with it and it became a key location.” The Chin Tiki bar and restaurant, famous in the Sixties, was also re-discovered—closed and abandoned—and resurrected for the film. Says Messina: “It was almost as if someone had just walked away from it on a Saturday night. There were still liquor bottles at the bar, and matchbooks out.” Producer Brian Grazer says it was important to shoot the film in Detroit, “particularly for Curtis [Han- > //103


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FEATURE // urban

> son, the director], who wanted it to feel as authentic as

it possibly could. And after seeing the film, you can see that it couldn’t have been shot in any other place.” Says Hanson: “Everywhere you looked you’d see evidence of the city that used to be—the city that promised a future to all who came there and now appeared to promise nothing. It was the perfect setting both visually and thematically for our story.” Director of the Michigan Film Office, Janet Lockwood, says the moody movie image of Detroit is somewhat different from reality. “We had no problems with safety whatsoever,” she says. “The Detroit PD did a great job, the teamsters helped with security too, along with a very good security company.” And while the city can look as dark and as ominous as any in the world, there were “no issues” that had to be dealt with by the on-hand security. “Except for some guy wanting money to stop banging garbage can lids together,” Lockwood say. “And we had that fellow arrested.” Moving ahead to 2005 and the Samuel L Jackson starrer Coach Carter relied on a similar dark and heavy urban setting for its story and its message. A Paramount Pictures presentation directed by Thomas Carter and set in Richmond, California, the film tells the true story of controversial high school basketball coach Ken Carter, played by Jackson, who won praise, criticism and notoriety when he benched his entire team—up until then undefeated—as punishment for poor academic performance. The message was clear: the boys were from a tough part of town and they

Paramount Pictures’

needed to work extra hard to earn their way out of Coach Carter there, and out of trouble. Essential to the verisimilitude of the film were realistic basketball scenes— hence the recruitment of skilled players—and the choosing of the right locations to suit the film’s mood. For Carter’s family home, location manager Kokayi Ampah chose a location in the West Adams district of Los Angeles. “When (the real Coach) Carter walked into the house we’d selected he sat on the couch and told us it looked just like his place in Richmond,” Ampah says. “We really wanted to get it right and he’s the kind of a guy who would let us know if we didn’t.” Universal Pictures’ 2006 release Children Of Men tells of a >





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> time 20 years hence, when children are no longer born

and the world’s youngest citizen has just died, aged 18. The film was shot in and around Central and South London, and included scenes filmed at the disused Battersea Power Station, the building featured on Pink Floyd’s famous Animals album cover. Another location was Greenwich High Street—a thriving South London shopping area—made over to look like the end of the world, a process that involved a lot of negotiating with shop owners and a huge amount of overnight work for the crew. “It’s the first time that I’ve seen London filmed as a dystopian city,” Sue Hayes, Film London film commissioner, says. “Parts of Dulwich and Greenwich looked like an enormous painting, and Admiralty Arch (close to Buckingham Palace) was dressed as a fortress. We had camels, zebras and performing dogs all over The Mall (the wide boulevard leading up to the Palace).”

Universal Pictures’

Another urban tale set in London is 2004’s Bullet Boy, Children Of Men a BBC Films picture set in Hackney in the north of the city-one of the English capital’s toughest neighborhoods. When 18-year-old Ricky-played by Ashley Walters, also known as Asher D of rap act So Solid Crew, is released from a youth offenders institute, he tries to avoid falling back into his criminal past, but almost immediately he gets caught up in a road rage incident involving his best friend and a local rival. “It was one of the most tense sets I’ve been on,” Hayes says. “The film had huge potential to go wrong, mainly due to the presence of gangs from South London who were accompanying Asher D on the set. At the time there was a lot of inter-gang squabbling, and of course the presence of a crew from the other side of town exacerbated this. We needed a constant police presence on the set and they were really superb, given the sensitivity of the situation. We really learned a lot about handling people on that shoot.” Shooting in major cities brings a very particular >





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Asher D in BBC Films’ Bullet Boy

set of challenges for crew and location managers, especially when the set is in the middle of a neighborhood where the locals regard outsiders as prey. But even the roughest parts of any given town or city are going to find themselves featured in high-profile productions from time to time. A good example is Paint, Sony Bravia’s spectacular follow-up to its iconic Balls commercial. The former was shot on the gentrified streets of San Francisco; Paint could not have found a more opposite, and indeed apposite, location in the form of a

section of run-down housing estate (project) in Toryglen, one of the Scottish city of Glasgow’s livelier areas. The production company Academy Films, and director Jonathan Glazer needed buildings that could be paint-bombed, and had already conducted an initial search of the potential sites in the UK when they were contacted by the Glasgow Film Office proposing Toryglen. “Everyone was well aware of the challenges involved, and of the need for good security around the set,” Jenny Williams, acting director, Glasgow Film Office, says. “But it was mainly a question of having plenty of fencing around the location, which was taken care of by the location manager from Academy Films. The locals were curious, but they loved having such a big production happening in their area.” Given that 70,000 litres of paint was to be blasted up and around the buildings—which, although due for demolition were surrounded by several others that were still occupied, the community was given every opportunity to have its say. “A meeting was held to explain what was going to be happening and to see if there were any objections, which I think is quite normal given the scale of the production,” Williams says. “Then when the crew arrived in July, the filming of the paint explosions took longer than expected because they needed the maximum amount of sunlight to get the best from the colors, and we had quite a few cloudy days.” Although Glasgow is often in the running when locations scouts are looking for an earthy backdrop, the city has changed considerably since the >





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The Sony Bravia Paint shoot, which involved 250 people, left behind a highly colorful aftermath that a further 60 people spent five days cleaning up. “In fact it’s not paint at all,” Jennifer Williams reveals. “It is food dye mixed with a nontoxic gel that was mixed on the site.” Paint used 70,000 liters of colored gel (or paint), around 700 bombs to trigger the paint explosions, 358 meters of weld, 330 meters of steel pipe, and 57 km of copper wire.

> early Nineties. “We used to focus on the multiplicity of

choice of rough and ready urban locations,” Williams says. “But Glasgow was chosen as the European City Of Culture in 1990 and then in 1999 we had the Year Of Architecture. Both of those events drew a lot of funding, which in turn resulted in significant amounts of urban renewal. Nowadays we emphasize the beauty of Glasgow, as much as its earthiness.” Robert Parente, director of the Miami Mayor’s Office of Film, Art & Entertainment, says that tough urban scenes are disappearing from his ever-booming city. “One of the funny things about Miami,” Parente says, “is that tourists come here and are disappointed by the lack of pimps, hookers, drug dealers and the like. But in fact Miami does have some gritty neighborhoods. The area down by the river has some quite run-

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down industrial sections, and trailer parks that were used in the Miami Vice film. And most of those locations also require a police presence when filming takes place. I think it’s fair to say that most urban environments have an edge of some sort these days.” The same areas of Miami have been used recently in the Showtime series Dexter, about a serial killer who is also a policeman. “We also get a lot of requests for music video locations. They usually ask for places that are tagged, covered with graffiti,” Parente says. He adds: “Since Mayor Diaz came to office, many of the city’s more down-at-heel sections have been renovated. Recently a producer who knows Miami really well came scouting and couldn’t find a ghetto location—and it must be said that a lot of the Miami of the original Miami Vice TV series has been cleaned up.” LM




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Shooting stunts for Torrente 3 in the middle of downtown Buenos Aires

Argentina’s film commission is on a fast learning curve as visiting productions and a booming service industry are combining to make Buenos Aires a production hot spot. Gary Smith reports

THE BUENOS Aires-based Argentinian Film Commission is gearing itself up to play a greater role in helping the country’s audiovisual sector—which currently employs 20,000 people—to grow further and internationalize. “The year 2007 is like a new beginning for us,” Film Commission vice-president Guillermo Saura, says. “Until this year our office didn’t have an annual budget, which obviously hampered our activities. We are changing a lot of things. We’re in the process of discussing the possibility of tax incentives, we’re hiring English speakers and we’re consulting with representatives from the audiovisual sector to see what they need from us.” Animation in particular is an area the film commission believes has huge potential. “Our animators are superb and producing here costs a fraction of what it would in the US,” Saura says. “Plus we have some of the best pyrotechnic effects companies in the world, and we want it to be easier for foreign films to come here and take advantage of these assets. That is why we are also discussing making the process of obtaining work permits easier. Currently there are no clear and detailed guidelines, and getting a work permit can be difficult. But this will change.” By way of indication as to what Argentinian technicians and directors are capable of, some of the scenes shot for Spanish blockbuster Torrente 3 and a TV com-

mercial, provide excellent pointers. Buenos Airesbased Stunt FX was responsible for the production of the action scenes of the Spanish film Torrente 3 in Argentina. During the shoot, the company carried out a car chase in the middle of downtown Buenos Aires, involving a number of vehicles and a trailer. “Ten city centre blocks were closed off and three car rolls were set up, these rolls combined explosions, a helicopter for the aerial shots as well as several camera cars,” Stunt FX managing director Gonzalo Mora says. “We then filmed at the El Palomar Air Force base where a >


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> Boeing 707 was rented to film the air accident that

kicks off this comedy. We shot inside the plane for three days, where Air Force personnel assisted in the removal of the plane’s seats to set up the flat dollies and the camera crane.” For a further eight days the crew also filmed at La Rural, a modern convention center in Buenos Aires, where they mocked-up the World Ecology Forum, and where several more action scenes took place, among more than 300 extras. The Village TV spot, produced by Peluca Films for the Chevrolet Corsa, was shot to look like it was set in New Mexico. “The location in which we shot the Chevrolet spot is 60 km from Buenos Aires, near a town called San Vicente,” director Adriana Laham says. “In fact the location is a private field, where we were allowed to build the sets exactly as we wanted.” Those sets included a movable village peopled by pyromaniac locals. “Thanks to the hard work of the location and production crews, we managed to do exactly what we had planned in the discussions with the agency,” says Laham, “which was to create an open landscape rather like the pampas plains, which would allow us to addin the mountains later. We also needed a sense of space because we wanted to put across the idea that the car had traveled a long distance. But most important was that everything had to be as realistic as possible and to achieve this we built the sets to scale.” There are currently six committees looking into the needs of the various elements of the local production

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sector on behalf of the film commission. “Each aspect of the industry, whether it’s animation, fiction, commercials or video, has very specific needs, which is why we’ve created these committees,” Saura says. “They all include company owners and industry leaders in order that we can learn exactly what we need to do in order to help them grow.” LM

Corsa spot, shot outside Buenos Aires in a private field, where sets were built to give the impression of a remote village

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COMISION ARGENTINA DE FILMACIONES Victor Bassuk Lima 319 - 8th floor.Office 801 Buenos Aires 1073 Argentina Phn: 54-11-6779-0987

BAHAMAS FILM COMMISSION Craig A. Woods King & George Streets, Nassau Ct, PO Box N-3071 Nassau N.P. Bahamas Phn: 242-322-8744 Fax: 242-322-8749

AUSTRALIA AUSFILM INTERNATIONAL Tracey Montgomery 2049 Century Park East, 19th Floor Los Angeles California 90067 United States Phn: 310-229-4833 Fax: 310-201-8410

NEW SOUTH WALES NEW SOUTH WALES FILM & TELEVISION OFFICE Robin Clifton Level 7, 157 Liverpool Street, PO Box 1744 Sydney NSW 2000 Australia Phn: 61-2-9264-6400

QUEENSLAND PACIFIC FILM & TELEVISION COMMISSION Robin James Level 15, 111 George Street, PO Box 15094 Brisbane Queensland 4002 Australia Phn: 61-7-3224-4114 Fax: 61-7-3224-6717

SOUTH AUSTRALIA SOUTH AUSTRALIAN FILM CORPORATION Helen Leake 3 Butler Drive, Hendon Common Hendon South Australia 5014 Australia Phn: 61-8-8348-9300

VICTORIA MELBOURNE FILM OFFICE Caroline Pitcher Level 7, 189 Flinders Lane, PO Box 4361 Melbourne Victoria 3000 Australia Phn: 61-3-9660-3200 Fax: 61-3-9660-3201

AUSTRIA LOCATION AUSTRIA Arie Bohrer Opernring 3/2 Vienna A-1010 Austria Phn: 43-1-588-580 Fax: 43-1-5868659

TIROL CINE TIROL Laila Reischer Maria-Theresien-Str. 55 Innsbruck Tirol A-6010 Austria Phn: 43-512-5320-182


ANTWERP CITY FILM OFFICE Wim Cassiers Kipdorp 48 Antwerp Antwerp 2000 Belgium Phn: 32 3 201 31 25 Fax: 32-3-201-31-85 OOSTENDE

OOSTENDE FILM OFFICE Pieter Hens (INTERIM MEMBER) Monaco Pleiu 2 Oostende 8400 Belgium Phn: 32-59-25-53-16 Fax: 32-59-70-34-77

BRAZIL AMAZONAS AMAZONAS FILM COMMISSION Sergio Jose de Andrade Rua Quintino Bocaiuva 462 Manaus Amazonas 69005-110 Brazil Phn: 55-92-622-4897

MINAS MINAS FILM COMMISSION Eleonora Santa Rosa Secretaria De Estado De Cultuira De Minas Gerais Praca Da Liberdade S/N Belo Horizonte Minas Gerais 30140-010 Brazil Phn: 55-31-3272-8674 Fax: 55-31-3272-5619 RIO DE JANEIRO

RIOFILME COMMISSION JosĂŠ Wilker Rua Leite Leal, 11 - Laranjeiras, Casas Casadas Rio de Janeiro RJ 22240-100 Brazil Phn: 55-21 2225-7082 Fax: 55-21-2557-6210

BRITISH VIRGIN ISLANDS BRITISH VIRGIN ISLANDS FILM COMMISSION Rhodni Skelton P. O. Box 134 Road Town Tortola British Virgin Islands Phn: 284-494-4119 Fax: 284-494-3866

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


Dan Chugg ALBERTA FILM COMMISSION 5th Floor, 10155-102 Street, Commerce Place Edmonton Alberta T5J 4L6 Canada Phn: 780-422-8584 Fax: 780-422-8582


NORTHERN BRITISH COLUMBIA FILM COMMISSION Karen Cameron 201-1300 First Avenue Prince George British Columbia V2L 2Y3 Canada Phn: 250-649 3207 Fax: 250-649-3200 OKANAGAN


CALGARY FILM COMMISSION Beth Thompson 731 - 1 Street SE Calgary Alberta T2G 2G9 Canada Phn: 403-221-7868 Fax: 403-221-7828

OKANAGAN FILM COMMISSION Sara Shaak 1450 KLO Road Kelowna British Columbia V1W 3Z4 Canada Phn: 250-717-0087 Fax: 250-868-0512 THOMPSON-NICOLA


EDMONTON FILM COMMISSION Patti Tucker 9990 Jasper Avenue Edmonton Alberta T5J 1P9 Canada Phn: 780-917-7627 Fax: 780-425-5283

BRITISH COLUMBIA BRITISH COLUMBIA FILM COMMISSION Susan Croome Suite 201 - 865 Hornby Street Vancouver British Columbia V6Z 2G3 Canada Phn: 604-660-2732 CARIBOO-CHILCOTIN

CARIBOO-CHILCOTIN FILM COMMISSION Alan Madrigga 450 Mart Street Williams Lake British Columbia V2G 1N3 Canada Phn: 250-392-1764 Fax: 250-392-4408 CHILLIWACK

CHILLIWACK FILM COMMISSION Netty Tam #201-46093 Yale Road Chilliwack British Columbia V2P 2L8 Canada Phn: 604-792-7839 Fax: 604-792-4511 COLUMBIA SHUSWAP

COLUMBIA SHUSWAP FILM COMMISSION Adelheid Bender 781 Marine Park Drive NE, PO Box 978 Salmon Arm British Columbia V1E 4P1 Canada Phn: 250-832-8194 GREATER ISLAND SOUTH

GREATER VICTORIA FILM COMMISSION Rod Hardy PO Box 34, #201, 468 Belleville St Victoria British Columbia V8W 1H2 Canada Phn: 250-386-3976 Fax: 250-386-3967

THOMPSON-NICOLA FILM COMMISSION Victoria Weller 300-465 Victoria St. Kamloops British Columbia V2C 2A9 Canada Phn: 250-377-8673 VANCOUVER ISLAND NORTH

VANCOUVER ISLAND NORTH FILM COMMISSION Joan Miller Suite 203/ 871 Island Highway Campbell River British Columbia V9W 2C3 Canada Phn: 250-287-2772

MANITOBA MANITOBA FILM & SOUND Carole Vivier 410 - 93 Lombard Avenue Winnipeg Manitoba R3B 3B1 Canada Phn: 204-947-2040



NEW BRUNSWICK NEW BRUNSWICK FILM Roger Y. Cyr P.O. Box 6000 Fredericton New Brunswick E3B 1B0 Canada Phn: 506-453-2402 Fax: 506-453-2402

NEWFOUNDLAND NEWFOUNDLAND & LABRADOR FILM DEVELOPMENT CORPORATION Chris Bonnell 12 King's Bridge Road St. John's Newfoundland & Labrador A1C 3K3 Canada Phn: 709-738-3456 Fax: 709-739-1680

NORTHWEST TERRITORIES NORTHWEST TERRITORIES FILM COMMISSION Carla Wallis Scotia Centre - 4th Floor, Box 1320 YellowknifeNorthwest Territories X1A 2L9 Canada Phn: 867-920-8793 Fax: 867-873-0101


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AFCI MEMBERS NOVA SCOTIA NOVA SCOTIA FILM DEVELOPMENT CORPORATION Ann MacKenzie/Jennifer MacIntyre 1724 Granville Street, 2nd Floor Halifax Nova Scotia B3J 1X5 Canada Phn: 902-424-7177 Fax: 902-424-0617

ONTARIO ONTARIO MEDIA DEVELOPMENT CORPORATION Donna Zuchlinski 175 Bloor St. East, South Tower, Suite 501 Toronto Ontario M4W 3R8 Canada Phn: 416-314-6858 BRAMPTON

BRAMPTON FILM OFFICE, CITY OF Norine Richardson 33 Queen St. West Brampton Ontario L6Y 1L9 Canada Phn: 905-874-2657 DURHAM

ARGENTEUIL LAURENTIANS FILM AND TV COMMISSION Dany Brassard 430, rue Grace, bureau 205 Lachute Quebec J8H 1M6 Canada Phn: 450-562-2446 MONTREAL

MONTREAL FILM & TELEVISION COMMISSION Daniel Bissonnette City of Montreal, Bureau of Business Development 303 Notre-Dame East, 6th Floor Montreal Quebec H2Y 3Y8 Canada Phn: 514-872-2883 QUÉBEC

QUEBEC CITY FILM AND TV COMMISSION Lorraine Boily 43, Buade Street, 3rd Floor - Suite 310 Québec Quebec G1K 6G7 Canada Phn: 418-641-6766 Fax: 418-691-5777


DURHAM REGION FILM OFFICE Jennifer Jones (INTERIM MEMBER) P.O. Box 623, 605 Rossland Rd East Whitby Ontario L1N 6A3 Canada Phn: 800-706-9857 Fax: 905-666-6228

SASKFILM & VIDEO DEVELOPMENT CORPORATION Susanne Bell 1831 College Avenue Regina Saskatchewan S4P 3V7 Canada Phn: 306-798-3456



HAMILTON FILM OFFICE, ONTARIO, CANADA Jacqueline Norton 1 James Street South, 8th Floor Hamilton Ontario L8P 4R5 Canada Phn: 905-546-2424 Ext. 4122 Fax: 905-546-4107

YUKON FILM & SOUND COMMISSION Iris Merritt P.O. Box 2703 Whitehorse Yukon Y1A 2C6 Canada Phn: 867-667-5400 Fax: 867-393-7040


MISSISSAUGA FILM OFFICE Carmen L. Ford 4141 Living Arts Drive Mississauga Ontario L5B 4B8 Canada Phn: 905-306-6150 Fax: 905-306-6101 TORONTO

TORONTO FILM AND TELEVISION OFFICE Rhonda Silverstone 100 Queen St. West, Main Floor, North Rotunda Toronto Ontario M5H 2N2 Canada Phn: 416-392-7570 Fax: 416-392-0675

QUEBEC QUEBEC FILM & TELEVISION COUNCIL 204 Rue Du St-Sacrement, Suite 500 Montreal Quebec Canada Phn: 866-320-3456 Fax: 514-499-7018

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DOMINICA NATIONAL DEVELOPMENT CORPORATION Anita Bully Valley Road, PO Box 293 Roseau, Dominica Phn: 876-978-2852 Fax: 876-978-2852

FIJI FIJI AUDIO VISUAL COMMISSION Taniela Bolea Ground Floor, Civic House, New Town Hall Rd Suva PO Box 18080 Fiji Phn: 679-330-6662 Fax: 679-331-4662



SOUTH OF FRANCE FILM COMMISSION - VAR Michel Brussol Avenue du Général de Gaulle Boite Postale 15 83991 Saint-Tropez France Phn: 33-4-94 54 81 88 Fax: 33-4-94 97 76 06


FFF FILM COMMISSION BAVARIA Anja Metzger Sonnenstrasse 21 Munich Bavaria 80331 Germany Phn: 49-89-544-602-16 Fax: 49-89-544 602 -24 BERLIN

EAST FINLAND FILM COMMISSION C/O NORTH CARELIA POLYTECHNIC Virva Torni Lansikatu 15 Joensuu North Karelia 80110 Finland Phn: 358 50 409 6022

BERLIN BRANDENBURG FILM COMMISSION Christiane Raab August-Bebel- Str. 26-53 Potsdam-Babelsberg 14482 Germany Phn: 49-331-743-87-30 Fax: 49-331-743-87-99



NORTH FINLAND FILM COMMISSION Pauliina Hujanen PO Box 42 Oulu Oulu 90015 Finland Phn: 358-8-558-47532

HAMBURG FILM COMMISSION Christiane Scholz/Alexandra Luetkens Friedensallee 14-16 Hamburg 22765 Germany Phn: 49-40-398-37-14 or -15 Fax: 49-40-398 37-10


ARTS ACADEMY Mikko Korte Linnankatu 54-6 Turku 20100 Finland Phn: 358-105-535-241



FILM COMMISSION NORDRHEINWESTFALEN Andrea Baaken KaistraBe 14 Dusseldorf 40221 Germany Phn: 49-211-930-500

FILM FRANCE, THE FRENCH FILM COMMISSION Patrick Lamassoure 33, rue des Jeûneurs 75002 Paris France Phn: 33-1-53-83-9898 Fax: 33-1-53-83-9899


HONG KONG FILM SERVICES OFFICE, TELA Camy Mak 40/F. Revenue Tower, 5 Gloucester Rd Wan Chai Hong Kong SAR Phn: 852-2594 5757 Fax: 852-2824-0595



GUATEMALA TOURIST COMMISSION Ana Smith 7th Avenue 1-17, Zone 4 Guatemala City Guatemala Phn: 502-332-0099


THE COLOMBIA FILM COMMISSION Silvia Echeverri Proimagenes En Movimiento Calle 35 No. 4-89 Bogota, Distrito Capital Colombia Phn: 57-1-2870103 Fax: 57-1-2884828


ORESUND FILM COMMISSION Ulrik Bolt Jorgensen Gammel Kongevej 1 Copenhagen 1610 Denmark Phn: 45 33 86 34 00

AQUITAINE TOURNAGES Cite Mondiale - 23 Parvis des Chartrons 33074 Bordeaux France Phn: 33-5-56-01-7870 PARIS

ILE DE FRANCE FILM COMMISSION Olivier-Rene Veillon 11 rue, du Colisee 75008 Paris France Phn: 33 1 56 88 12 88 Fax: 33-1-56-88-12-19

FILM COMMISSION REGION STUTTGART Marianne Gassner Breitscheidstrasse 4, Stuttgart Baden-Wuerttemberg 70174 Germany Phn: 49-711-259-443-0


HUNGARY MOTION PICTURE PUBLIC FOUNDATION OF HUNGARY Aniko Navai Skorka 38 Varosligeti Fasor Budapest 1068 Hungary Phn: 361-461-1300 Fax: 361-352-8789

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



PECS FILM OFFICE Keresnyei Janos 7621 Pecs, Lyceum u. 7. Pecs Baranya County 7621 Hungary Phn: 36-72-533-830

ICELAND FILM IN ICELAND Borgartun 35 Reykjavik IS-105 Iceland Phn: 354 5615200 Fax: 354-5114040


BALI FILM COMMISSION Deborah Gabinetti Jalan Merta Sari 10-B Sanur Bali 80228 Indonesia Phn: 62 361 744 4246 Fax: 62-361-286-425

IRELAND IRISH FILM BOARD Naoise Barry The Priory, John Street West Dublin 8 Ireland Phn: 353-91-561-398 Fax: 353-91-561-405 DUNDALK COUNTY

THE LOUTH, NEWRY & MOURNE FILM COMMISSION Mairtin de Barra County Hall, Millennium Centre Dundalk County Louth Ireland Phn: 353-42-9324126 - General Fax: 353-42-933-4549 WICKLOW COUNTY

COUNTY WICKLOW FILM COMMISSION Vibeke Dijkman Wicklow County Council County Buildings, Station Road Wicklow Town County Wicklow Ireland Phn: 353-404-20257 Fax: 353-404-62136

ITALY ITALIAN FILM COMMISSION Fortunato Celi Zullo 1801 Avenue of the Stars, Ste 700 Los Angeles, California 90067 United States Phn: 323-879-0950 ext. 11 Fax: 310-203-8335

CAMPANIA CAMPANIA FILM COMMISSION Rino Piccolo Via Lago Patria 200, Lago Patria Giugliano in Campania Napoli 80014 Italy Phn: 39-081-5091533 Fax: 39-081-5098470


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EMILIA-ROMAGNA EMILIA-ROMAGNA FILM COMMISSION Claudia Belluzzi viale Aldo Moro 64 Bologna 40127 Italy Phn: 39-051-283-646 Fax: 39-051-283-370



KOBE FILM OFFICE Mako Tanaka c/o Kobe Convention & Visitors Association 6-9-1, Minatojima Nakamachi, Chuo-Ku Kobe 650-0046 Japan Phn: 81-78-303-2021 NASU

FILM COMMISSION TORINO PIEMONTE Giorgio Fossati Via Cavour 17 Torino 10123 Italy Phn: 39-011-566-01-77

NASU FILM COMMISSION Junichi Igarashi 182 Yumoto Nasu-machi Nasu-gun Tochigi-ken 325-0301 Japan Phn: 81-287-76-2619 81-287-76-3355



JAMPRO/JAMAICA FILM, MUSIC Del Crooks 18 Trafalgar Road Kingston 10 Jamaica Phn: 876-978-7755 ext. 2234 Fax: 876-978-0140


FUKUOKA FILM COMMISSION Hiroshi Yoshida Cultural Promotion Section, Fukuoka City Hall 1-8-1 Tenjin Chuo-ku Fukuoka City Fukuoka 810-8620 Japan Phn: 81-92-733-5171 Fax: 81-92-733-5595 HAGI


2-31 Niage Machi Oita Oita, Japan Phn: 81-97-537-5663 Fax: 81-97-536-4044 OSAKA

OSAKA FILM COUNCIL Takao Ohno 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

MALAYSIA MULTIMEDIA DEVELOPMENT CORPORATION Kamil Othman MSC Headquarters Cyberjaya Selangor, Darul Ehsa 63000 Malaysia Phn: 603-8311-2170

MALTA MALTA FILM COMMISSION Oliver Mallia Enterprise Centre San Gwann SGN 09 Malta Phn: 356-21-497970 Fax: 356-21-499568

MEXICO NATIONAL FILM COMMISSION - MEXICO Sergio Molina Av. Division Del Norte #2462, 5topiso, Col. Portales C.P. 3300 Mexico Phn: 52-55-5688-0970 Fax: 52-55-5688-7813

MORELOS MORELOS' STATE FILM COMMISSION Luciana Cabarga Rufino Tamayo No. 46 Col. Acapantzingo Cuernavaca Morelos 62440 Mexico Phn: 52-777-312-92-15

HAGI FILM COMMISSION Masanori Kogawa The Tourism Division – Hagi City Office 510 Emukai Hagi-shi Yamaguchi-ken 758-855 Japan Phn: 81-838-25-3139 Fax: 81-838-26-0716



TOKYO LOCATION BOX Tomoyuki Minegishi 2-8-1 Nishishinjyuku Tokyo 163-8001 Japan Phn: 81-3-3344-0005

SINALOA FILM COMMISSION Venustiano Carranza No. 7, Centro Historico Mazatlan Sinaloa 82000 Mexico Phn: 52-669-981-0001


YOKOHAMA FILM COMMISSION Yu Yokoyama 1st Floor, Sanbo Center Bldg 2 Yamashita-cho, Naka-ku Yokohama Kanagawa 231-0023 Japan Phn: 81-45-211-1200 _english/index.html

HIMEJI FILM COMMISSION Fumiko Tanaka Himeji City Tourism Promotion Department 68 Honmachi Himeji 670-0012 Japan Phn: 81-792-87-3653 HIROSHIMA

HIROSHIMA FILM COMMISSION Tomoko Nishizaki 1-1 Nakajima-cho, Naka-ku Hiroshima, Japan Phn: 81-82-247-6738 Fax: 81-82-247-6917 KITAKYUSHU

KITAKYUSHU FILM COMMISSION Akihiro Oda Public Information Office 1-1 Jonai, Kokurakita Kitakyushu Fukuoka Prefecture 803-8501 Japan Phn: 81-93-582-2236

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


JORDAN ROYAL FILM COMMISSION OF JORDAN Samer Mouasher PO Box 811991 Amman 11181 Jordan Phn: 962-6-464-22-66 Fax: 962-6-464-22-99

KENYA KENYA FILM COMMISSION Wachira Waruru PO Box 76417 Nairobi, Kenya 00508 Africa Phn: 254-020-6752947 Fax: 254-020-3866117


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NAMIBIA NAMIBIA FILM COMMISSION Edwin Kanguatgivi PO Box 22749 Windhoek Namibia Phn: 264-61-256051 Fax: 264-61-256054


ROTTERDAM FILM FUND & ROTTERDAM FILM COMMISSION Jacques van Heijningen Rochussenstraat 3c Rotterdam 3015EA Netherlands Phn: 31-10-436-0747 Fax: 31-10-436-0553

NEW ZEALAND FILM NEW ZEALAND Judith McCann 23 Frederick Street P. O. Box 24142 Wellington 6142 New Zealand Phn: 64-4-385-0766 Fax: 64-4-384-5840


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FILM QUEENSTOWN Lee Harris Queenstown Lakes District Council Private Bag 50072 Queenstown Otago 9197 New Zealand Phn: 64-3-441-0499 Fax: 64-3-442-7334

JEONJU FILM COMMISSION Kim Euie Seuk 470-4 Jungnosong-dong Wansan-gu Jeonju Jeollabuk-Do Republic of Korea Phn: 82-63-286-0421 Fax: 82-63-266-0422

BARCELONA-CATALUNYA FILM COMMISSION Julia Goytisolo Palau de la Virreina, La Rambla 99 Barcelona 08002 Spain Phn: 34-93-454-8066 Fax: 34-93-323-8048


FILM SOUTH NEW ZEALAND Jacqui Wood 103 Worcester Street, Level 2 Christchurch New Zealand Phn: 64-3-365-5865 Fax: 64-3-365-5097

SEOUL FILM COMMISSION Ki Sung Hwang #202, 1-28 Jeong-dong, Jung-gu Seoul 100-120 Republic of Korea Phn: 82-2-777-7092



FILM VENTURE TARANAKI Peter Avery 41-43 Molesworth Street PO Box 670 New Plymouth New Zealand Phn: 64-6-759-5150 Fax: 64-6-759-5157 WELLINGTON

Jean Johnston Level 9, Baldwins Centre, 342-352 Lambton Quay PO Box 10-347 Wellington New Zealand 6039 New Zealand Phn: 64-4-494-2546 Fax: 64-4-494-2569


NORWEGIAN FILM COMMISSION Truls Kontny Georgernes Verft 12 Bergen N-5011 Norway Phn: 47-55-56-43-43


Avenida Arriaga, 18 Funchal Madeira 9004-519 Portugal Phn: 351-291-211-9333 Fax: 351-291-231-569

SINGAPORE SINGAPORE FILM COMMISSION Seto Lok Yin (INTERIM MEMBER) 140 Hill Street, #04-01 MICA Building Singapore 179369 Singapore Phn: 65-6837-9943 Fax: 65-6336-1170



WESTERN NORWAY FILM COMMISSION Torill Svege Georgernes Verft 12 Bergen N-5011 Norway Phn: 47-55-56-05-10 Fax: 47-55-56-03-55


DURBAN FILM OFFICE Mandle Ndimande PO Box 1203 Durban KwaZulu Natal 4000 South Africa Phn: 27-31-336-2680 Fax: 27-31-336-2632



BUSAN FILM COMMISSION KwangSu Park 2F Busan Cinema Studios, 1392 Woo 1-dong, Haeundae-gu Busan 612-824 Republic of Korea Phn: 82-51-743-7531/6

GAUTENG FILM OFFICE Terry Tselane PO Box 61840, 56 Main St Marshalltown Gauteng 2108 South Africa Phn: 27-11-833-8750 Fax: 27-11-834-6157



GYEONGGI FILM COMMISSION Hyeon-Seung Lee 9th Floor, Meritzfire Building 446-3 Sang-Dong, Wommi-Gu Bucheon Gyeonggido Republic of Korea Phn: 82-32-223-1066 Fax: 82-32-223-1078

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ANDALUCIA FILM COMMISSION Carlos Rosado Cobian Av. Matematicos Rey Pastor y Castro s/n Pabellon Canal Sur, Isla de la Cartuja Sevilla 41092 Spain Phn: 34-95-446-73-10

SWEDEN FILM COMMISSION Lars Lundberg Soder Malarstrand 77 Stockholm S-118 25 Sweden Phn: 46-8-556 061 00 Fax: 46-8-556-06105



CARMONA FILM OFFICE Juan Ignacio Caballos Gutiérrez Ayuntamiento de Carmona\\nAlcazar de la Puerta Sevilla, s/n Carmona Sevilla 41410 Spain Phn: 34-954-19-09-55

FILM I DALARNA Mimmi Forss Kaserngarden 13 Falun Dalarna 791 40 Sweden Phn: 46-23-262-77



DONOSTIA-SAN SEBASTIAN FILM COMMISSION Lorea Hernandez Hurtado Palacio Goikoa, c/Ijentea 6 Donostia-San Sebastian Gipuzkoa 20003 Spain Phn: 34-943-48-19-08

SWEDISH LAPLAND FILM COMMISSION Berit Tilly Filmpool Nord AB, Kronan A2 Lule 974 42 Sweden Phn: 46-920-43-4599 Fax: 46-703-330-4599


FILM LOCATION SWITZERLAND Cyril Jost Place de la Gare 3 Vevey 1800 Switzerland Phn: 41-21-648-0380 Fax: 41-21-648-0381

MADRID FILM COMMISSION Manuel Soria De La Fuente Luis Bunuel, 2-2 Edificio Egeda, Ciudad De La Imagen Pozuelo De Alarcon Madrid 28223 Spain Phn: 34-91-518-65-22


CAPE FILM COMMISSION Laurence Mitchell 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




MALAGA FILM OFFICE Salomón Castiel C/Ramos Marin 2, 1-C Malaga 29012 Spain Phn: 34-952-60-17-36 Fax: 34-952-60-36-98

THAILAND FILM OFFICE Wanasiri Morakul Office of Tourism Development, Ministry of Tourism and Sports Rama 1 Road, Pathumwan Bangkok 10330 Thailand Phn: 662-216-6907 Fax: 662-216-6656




SALAMANCA FILM COMMISSION Plaza Mayor, 32 1 8 Salamanca 37002 Spain Phn: 34-923-27-24-08 Fax: 34-923-27-24-07 SANTIAGO DE COMPOSTELA

SANTIAGO DE COMPOSTELA FILM COMMISSION Dimas Gonzalez Rúa do Vilar, 68 - 1º Santiago De Compostela A Coruna 15705 Spain Phn: 34-981-58-0499 Fax: 34-981-55-4128 TENERIFE

TENERIFE FILM COMMISSION Concha Díaz Ferrer C/Alcalde José Emilio García Gómez, 9 Santa Cruz Tenerife 38005 Spain Phn: 34-922-23-7871 Fax: 34-922-23-7872

TRINIDAD & TOBAGO FILM COMMISSION Carla G. Foderingham Suite 015, Bretton Hall 16 Victoria Avenue Port of Spain Trinidad Trinidad and Tobago Phn: 868-625-3456 Fax: 868-675-8851


UK FILM COUNCIL Alison Small 10 Little Portland Street London W1W 7JG United Kingdom Phn: 44-20-7861-7861 BRISTOL

BRISTOL FILM OFFICE Natalie Jones 1st Floor, Amelia Court, Pipe Lane Bristol England BS1 5AJ United Kingdom Phn: 44-117-922-3958 Fax: 44-870-912-0460

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



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ISLE OF MAN FILM COMMISSION Hilary Dugdale 1st Floor, Hamilton House, Peel Rd Douglas Isle of Man IM1 5EP United Kingdom Phn: 44-1624-687-173

SCOTTISH HIGHLANDS AND ISLANDS FILM COMMISSION Trish Shorthouse Inverness Castle, Castle Hill Inverness Scotland IV2 3EG United Kingdom Phn: 44-1463-710221


FILM LONDON Sue Hayes The Tea Building, Suite 6.10 56 Shoreditch High Street London England E1 6JJ United Kingdom Phn: 44-20-7613-7676 Fax: 44-20-7613-7677 NORTH WEST

NORTH WEST VISION Lynn Saunders BBC New Broadcasting House Oxford Road Manchester England M60 1SJ United Kingdom Phn: 44-870-609-4481 Fax: 44-151-708-2984

SCOTLAND SCOTTISH SCREEN BelleDoyle 249 West George Street Glasgow Scotland G2 4QE United Kingdom Phn: 44-141-302-1724 Fax: 44-141-302-1711 ABERDEEN

ABERDEEN CITY & SHIRE FILM OFFICE Samantha Foley Woodhill House, Westburn Rd Aberdeen Scotland AB16 5GB United Kingdom Phn: 44-1224-665-093 Fax: 44-1224 664713 AYRSHIRE

AYRSHIRE FILM INFORMATION Adrienne Howard Suite 1005 Prestwick International Airport Prestwick, Ayrshire Scotland KA9 2PL United Kingdom Phn: 44-1292-678-666 Fax: 44-1292-678-667


SOUTH WEST SCOTLAND SCREEN COMMISSION Mark Geddes Gracefield Arts Centre, 28 Edinburgh Rd Dumfries Dumfriesshire D91 1JQ United Kingdom Phn: 44-1387-263-666 Fax: 44-1387-263-666

WALES WALES SCREEN COMMISSION Mike Wallwork Unit 6g Science Park Cefn Llan, Aberystwyth Ceredigion Wales SY23 3AH United Kingdom Phn: 44-1970-626831 Fax: 44-1970-617942


ALABAMA FILM OFFICE Linda Swann 401 Adams Avenue, Suite 616 Montgomery Alabama 36104 United States Phn: 334-242-4195 Fax: 334-242-2077 BIRMINGHAM

BIRMINGHAM-JEFFERSON FILM OFFICE Mark Stricklin 500 Beacon Parkway West Birmingham Alabama 35209 United States Phn: 205-912-5978 Fax: 205-942-7319 MOBILE

MOBILE FILM OFFICE, CITY OF Eva Golson 164 St. Emanuel Street (36602), PO Box 1827 Mobile Alabama 36633 United States Phn: 251-438-7100



EDINBURGH FILM FOCUS Ros Davis 20 Forth Street Edinburgh Scotland EH1 3LH United Kingdom Phn: 44-131-622-7337

ALASKA FILM GROUP Bob Crockett PO Box 92008 Anchorage Alaska 99509 United States Phn: 907-561-6445


STATE OF ALASKA FILM PROGRAM Caryl McConkie PO Box 110804 Juneau Alaska 99811-0804 United States Phn: 907-465-5478 Fax: 907-465-3767

GLASGOW FILM OFFICE Jenny Williams City Chambers Glasgow Scotland G2 1DU United Kingdom Phn: 44-141-287-0424

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

ARIZONA ARIZONA FILM COMMISSION Harry Tate 1700 W. Washington, Suite 220 Phoenix Arizona 85007 United States Phn: 602-771-1193 COTTONWOOD

COTTONWOOD FILM COMMISSION Donna Schmidt (INTERIM MEMBER) 1010 S. Main Street Cottonwood Arizona 86326 United States Phn: 928-634-7593 FLAGSTAFF

FLAGSTAFF FILM COMMISSION Meg Roederer (INTERIM MEMBER) Flagstaff CVB, 211 W.Aspen Ave Flagstaff Arizona 86001 United States Phn: 928-779-7645 Fax: 928-556-1305 PAGE-LAKE POWELL

PAGE-LAKE POWELL FILM COMMISSION Steve Ward 100 Lakeshore Drive, PO Box 1597 Page Arizona 86040 United States Phn: 928-645-1001 Fax: 928-645-5175 PEORIA

PEORIA FILM COMMISSION Helen Mc Cready 10601 N 83rd Dr Peoria Arizona 85345 United States Phn: 623-979-3601 Fax: 623-486-4729 PHOENIX

PHOENIX FILM OFFICE, CITY OF Phil Bradstock 200 W. Washington, 10th Floor Phoenix Arizona 85003 United States Phn: 602-262-4850 Fax: 602-534-2295 PRESCOTT

PRESCOTT, AZ FILM OFFICE Karen Greenspoon 201 N. Cortez, PO Box 2059 Prescott Arizona 86302 United States Phn: 928-777-1204 Fax: 928-777-1255 SEDONA

SEDONA FILM OFFICE Judy Schultz P.O. Box 478 Sedona Arizona 86339 United States Phn: 928-204-1123


SIERRA VISTA/COCHISE COUNTY FILM OFFICE Kay Daggett Mailing: 1011 N. Coronado Dr Office: 3020 E. Tacoma Street Sierra Vista Arizona 85615 United States Phn: 800-288-3861 Fax: 520-417-4890 TUCSON

TUCSON FILM OFFICE Shelli Hall Metropolitan Tucson Convention and Visitors Bureau, 100 South Church Avenue Tucson Arizona 85701 United States Phn: 520-770-2126 WICKENBURG

WICKENBURG FILM COMMISSION Julie Brooks 216 North Frontier Street Wickenburg Arizona 85390 United States Phn: 928-684-5479 YUMA

YUMA FILM COMMISSION Yvonne Taylor 850 West 32nd Street, Suite 6 Yuma Arizona 85364 United States Phn: 928-314-9247

ARKANSAS ARKANSAS FILM OFFICE Joe Glass 1 Capitol Mall, Room 4B-505 Little Rock Arkansas 72201 United States Phn: 501-682-7676


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OZARK-FRANKLIN COUNTY FILM COMMISSION Sandra Key 300 West Commercial Ozark Arkansas 72949 United States Phn: 479-667-5337

CALIFORNIA CALIFORNIA FILM COMMISSION Amy Lemisch 7080 Hollywood Boulevard, Suite 900 Hollywood California 90028 United States Phn: 323-860-2960 Fax: 323-860-2972 ALAMEDA

ALAMEDA FILM COMMISSION Sue Russell 950 W Mall Square Alameda California 94501 United States Phn: 510-749-5834 Fax: 510-749-5808 BERKELEY

BERKELEY FILM OFFICE Barbara Hillman 2015 Center Street Berkeley California 94704 United States Phn: 510-549-7040


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CALAVERAS COUNTY FILM COMMISSION Lisa Reynolds PO Box 637, 1192 South Main St Angels Camp California 95222 United States Phn: 209-736-0049 Fax: 209-736-9124

MALIBU CITY FILM COMMISSION Kimberly Collins-Nilsson 23815 Stuart Ranch Road Malibu California 91360 United States Phn: 805-495-7521

INLAND EMPIRE FILM COMMISSION SheriDavis 1201 Research Park Drive, Suite 100 Riverside California 92507 United States Phn: 951-779-6700 Fax: 951-779-0294

SANTA MONICA MOUNTAINS NRA Brad Baker 401 West Hillcrest Dr. Thousand Oaks California 91360 United States Phn: 805-370-2308



MENDOCINO COUNTY FILM OFFICE Debra De Graw 332 N. Main Street Fort Bragg California 95437 United States Phn: 707-961-6302 Fax: 707-964-2056

SACRAMENTO FILM COMMISSION Lucy Steffens 1608 I Street Sacramento California 95814 United States Phn: 916-808-7777


CATALINA ISLAND FILM COMMISSION Linda McCloud #1 Green Pier, PO Box 217 Avalon California 90704-0217 United States Phn: 310-510-7645 Fax: 310-510-7606



EL DORADO LAKE TAHOE FILM & MEDIA OFFICE Kathleen Dodge 542 Main Street Placerville California 95667 United States Phn: 530-626-4400 FRESNO COUNTY

FRESNO COUNTY FILM COMMISSION Gigi Gibbs 2220 Tulare St, 8th Floor Fresno California 93721 United States Phn: 559-262-4271 Fax: 559-442-6969


1150 9th Street, Suite C Modesto California 95354 United States Phn: 888-640-8467 Fax: 209-526-5586


MONTEREY COUNTY FILM COMMISSION Karen Nordstrand PO Box 111, 801 Lighthouse Avenue, Suite 104 (Zip Code: 93940) Monterey California 93942 United States Phn: 831-646-0910


HUMBOLDT COUNTY FILM COMMISSION Barbara Bryant 1034 Second Street EurekaCalifornia 95501-0541 United States Phn: 707-444-6633 IMPERIAL COUNTY

IMPERIAL COUNTY FILM COMMISSION Susie Carrillo P. O. Box 1467 El Centro California 92244 United States Phn: 760-337-4155 Fax: 760-482-3380


OAKLAND FILM OFFICE Ami Zins 150 Frank H. Ogawa Plaza, #8215 Oakland California 94612 United States Phn: 510-238-4734 ORANGE COUNTY

ORANGE COUNTY FILM COMMISSION Janice Arrington CSUF - P. O. Box 6850 Fullerton California 92834-6850 United States Phn: 714-278-7569


SAN FRANCISCO FILM COMMISSION Stefanie Coyote 1 Dr. Carlton B. Goodlett Place #473 San Francisco California 94102 United States Phn: 415-554-6241 SAN LUIS OBISPO

SAN LUIS OBISPO COUNTY FILM COMMISSION Jonni Biaggini 811 El Capitan Way, Ste 200 San Luis Obispo California 93401 United States Phn: 805-541-8000 SAN MATEO COUNTY

SAN MATEO COUNTY FILM COMMISSION Brena Bailey 111 Anza Blvd., Suite #410 Burlingame California 94010 United States Phn: 650-348-7600 SANTA BARBARA

KERN COUNTY BOARD OF TRADE Rick Davis 2101 Oak Street Bakersfield California 93301 United States Phn: 661-868-5376 Fax: 661-861-2017


PASADENA FILM OFFICE Ariel Penn 175 North Garfield Avenue Pasadena California 91101 United States Phn: 626-744-3964

SANTA BARBARA CVB & FILM COMMISSION Martine White 1601 Anacapa Street Santa Barbara California 93101-1909 United States Phn: 805-966-9222 ext. 110




LONG BEACH OFFICE OF SPECIAL EVENTS & FILMING Tasha Day One World Trade Center, Ste 300 Long Beach California 90831 United States Phn: 562-570-5399 LOS ANGELES COUNTY

FILML.A., INC. Steve MacDonald 1201 West 5th St, Suite T-800 Los Angeles California 90017 United States Phn: 213-977-8600

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SAN DIEGO FILM COMMISSION Cathy Anderson 1010 Second Avenue, #1500 San Diego California 92101-4912 United States Phn: 619-234-3456 Fax: 619-234-4631

PLACER - LAKE TAHOE FILM OFFICE Beverly Lewis 175 Fulweiler Avenue Auburn California 95603-4543 United States Phn: 530-889-4091

SANTA CLARITA VALLEY FILM OFFICE Jason Crawford 23920 Valencia Boulevard, Suite 235 Santa Clarita California 91355-2175 United States Phn: 661-284-1425 Fax: 661-286-4001


RIDGECREST REGIONAL FILM COMMISSION 139 Balsam Street Ridgecrest California 93555 United States Phn: 760-375-8202 Fax: 760-375-9850


SANTA CRUZ COUNTY FILM COMMISSION Christina Glynn 1211 Ocean Street Santa Cruz California 95060 United States Phn: 831-425-1234 ext. 112


SHASTA COUNTY FILM COMMISSION Sherry Ferguson 777 Auditorium Drive Redding California 96001 United States Phn: 530-225-4105 SIMI VALLEY

SIMI VALLEY FILM OFFICE Janet Waitkus 2007 Sebring Avenue Simi Valley California 93065 United States Phn: 805-526-6480 Fax: 805-526-6480 SONOMA COUNTY

SONOMA COUNTY FILM OFFICE Colette Thomas 401 College Ave. Suite D- EconDevBoard Santa Rosa California 95401 United States Phn: 707-565-7170 Fax: 707-565-7231 TRI-VALLEY

TRI-VALLEY FILM AND VIDEO COMMISSION Karie Geiger 349 Main St, Suite 203 Pleasanton California 94566-6663 United States Phn: 925-846-8910 TULARE COUNTY

TULARE COUNTY FILM COMMISSION Loretta Feldstein 5961 S. Mooney Boulevard Visalia California 93277 United States Phn: 559-733-6653 ext. 4308 Fax: 559-730-2591 TUOLUMNE COUNTY

TUOLUMNE COUNTY FILM COMMISSION Jerry Day 542 Stockton Road, PO Box 4020 Sonora California 95370 United States Phn: 209-533-4420 Fax: 209-533-0956 VALLEJO/SOLANO COUNTY

VALLEJO/SOLANO COUNTY FILM OFFICE Jim Reikowsky 289 Mare Island Way Vallejo California 94590 United States Phn: 707-642-3653

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



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COLORADO FILM COMMISSION Kevin Shand Advance Colorado Center, 1625 Broadway, Suite 950 Denver Colorado 80202 United States Phn: 303-592-4065 Fax: 303-592-4061

CHARLOTTE COUNTY FLORIDA FILM OFFICE Liane Crawford 18501 Murdock Circle, Suite 502 Port Charlotte Florida 33948 United States Phn: 941-743-1900

MIAMI/DADE COUNTY OFFICE OF FILM & ENTERTAINMENT Jeff Peel 111 Northwest 1st St., Suite 2540 Miami Florida 33128 United States Phn: 305-375-3288





BOULDER COUNTY FILM COMMISSION Kim Farin 2440 Pearl St. Boulder Colorado 80302 United States Phn: 303-938-2066 Fax: 303-938-2098

COLLIER COUNTY FILM COMMISSION Maggie McCarty 755 8th Avenue South Naples Florida 34102 United States Phn: 239-659-3456 EMERALD COAST


GLENWOOD SPRINGS FILM COMMISSION Marianne Virgili 1102 Grand Avenue Glenwood Springs Colorado 81601 United States Phn: 970-945-6589 Fax: 970-945-1531

EMERALD COAST FILM COMMISSION OF NW FLORIDA Wendy Griffin 1540 Miracle Strip Parkway Ft. Walton Beach Florida 32548 United States Phn: 850-651-7644 FLORIDA KEYS

CONNECTICUT FILM DIVISION, CONNECTICUT COMMISSION ON CULTURE AND TOURISM Mark Dixon 805 Brook Street, Building # 4 Rocky Hill Connecticut 06067 United States Phn: 860-571-7130 Fax: 860-721-7088

FLORIDA KEYS & KEY WEST FILM COMMISSION Rita Brown 1201 White Street, Suite 102 Key West Florida 33040-3328 United States Phn: 305-293-1800

NEW LONDON FILM COMMISSION New London City Hall, 181 State St New London Connecticut 06320 United States Phn: 860-447-5201 Fax: 860-447-7971



WASHINGTON, DC - OFFICE OF MOTION PICTURE & TV Crystal Palmer 441 4th Street, NW, Suite 760 North Washington D.C. 20001 United States Phn: 202-727-6608 Fax: 202-727-3246

JACKSONVILLE FILM & TELEVISION COMMISSION Todd Roobin 220 East Bay Street, 14th Floor Jacksonville Florida 32202 United States Phn: 904-630-2522

DELAWARE DELAWARE FILM COMMISSION 99 Kings Highway Nikki Boone Dover Delaware 19901 United States Phn: 302-672-6857 Fax: 302-739-2028

FLORIDA FLORIDA GOVERNOR'S OFFICE OF FILM & ENTERTAINMENT Paul Sirmons (INTERIM MEMBER) Executive Office of the Governor 400 S. Monroe Street, The Capitol, Suite 2001 Tallahassee Florida 32399-0001 United States Phn: 877-352-3456 Fax: 850-410-4770


PALM BEACH COUNTY FILM AND TELEVISION COMMISSION Chuck Elderd 1555 Palm Beach Lakes Blvd., Suite 900 West Palm Beach Florida 33401 United States Phn: 561-233-1000 Fax: 561-233-3113 SARASOTA COUNTY

FILM SARASOTA COUNTY Jeanne Corcoran 2601 Cattlemen Road, Suite 201 Sarasota, Florida 34232 United States Phn: 941-309-1200 Fax: 941-309-1209


FORT LAUDERDALE/BROWARD COUNTY FILM COMMISSION Elizabeth Wentworth 110 East Broward Blvd. Suite 1990 Fort Lauderdale Florida 33301 United States Phn: 954 627-0122


METRO ORLANDO FILM & TELEVISION COMMISSION Jennifer Pennypacker 301 East Pine Street, Suite 900 Orlando Florida 32801-2705 United States Phn: 407-422-7159 Fax: 407-841-9069


MIAMI MAYOR'S OFFICE OF FILM, ART & ENTERTAINMENT Robert Parente 2700 S. Bayshore Drive Miami Florida 33133 United States Phn: 305-860-3823 Fax: 305-859-2128 MIAMI BEACH

THE CITY OF MIAMI BEACH, OFFICE OF FILM AND EVENT PRODUCTION MANAGEMENT Graham Winick 1700 Convention Center Drive Miami Beach Florida 33139 United States Phn: 305-673-7070 Fax: 305-673-7063

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


ST. PETERSBURG-CLEARWATER AREA FILM COMMISSION Jennifer Parramore 13795 58th Street North, Suite 2-200 Clearwater Florida 33760 United States Phn: 727-464-7240 Fax: 727-464-7277

HAWAII HAWAII FILM OFFICE Donne Dawson P.O. Box 2359 Honolulu Hawaii 96804 United States Phn: 808-586-2570 Fax: 808-586-2572 BIG ISLAND

BIG ISLAND FILM OFFICE Marilyn Killeri 25 Aupuni Street, Room 109 Hilo Hawaii 96720 United States Phn: 808-327-2663 Fax: 808-935-1205 HONOLULU

HONOLULU FILM OFFICE/ ISLAND OF OAHU Walea L. Constantinau City & County of Honolulu 530 S. King Street, Suite 306 Honolulu Hawaii 96813 United States Phn: 808-527-6108 Fax: 808-527-6102 KAUAI

KAUAI FILM COMMISSION Art Umezu 4444 Rice Street, Suite 200 Lihue Hawaii 96766 United States Phn: 808-241-6386 Fax: 808-241-6399 MAUI

MAUI COUNTY FILM OFFICE Benita Brazier One Main Plaza, 2200 Main St, Ste 305 Wailuku Hawaii 96793 United States Phn: 808-270-7415 Fax: 808-270-7995


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TAMPA BAY FILM COMMISSION Krista Soroka 401 East Jackson St, Suite 2100 Tampa Florida 33602-5803 United States Phn: 813-342-4058 Fax: 813-229-6616

GEORGIA GEORGIA FILM, VIDEO & MUSIC OFFICE Bill Thompson Georgia Department of Economic Development 75 Fifth St, Suite 1200 Atlanta Georgia 30308 United States Phn: 404-962-4052 Fax: 404-962-4053

IDAHO IDAHO FILM BUREAU Peg Owens Idaho Commerce and Labor 700 West State Street, Box 83720 Boise Idaho 83720-0093 United States Phn: 208 334-2470 Fax: 208-334-2631

ILLINOIS ILLINOIS FILM OFFICE Betsy Steinberg 100 West Randolph, 3rd Floor Chicago Illinois 60601 United States Phn: 312-814-3600



SAVANNAH FILM COMMISSION Jay M. Self P.O. Box 1027 Savannah Georgia 31402 United States Phn: 912-651-3696 Fax: 912-651-0982

CHICAGO FILM OFFICE Richard Moskal 121 North LaSalle Room 806 Chicago Illinois 60602 United States Phn: 312-744-6415 Fax: 312-744-1378


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KANKAKEE COUNTY CONVENTION & VISITORS BUREAU Deborah Hutson, CMP 1 Dearborn Square, Office 521 National City Bank Building Kankakee Illinois 60914 United States Phn: 815-935-7390 Fax: 815-935-5169

NEW ORLEANS OFFICE OF FILM & VIDEO Stephanie Dupuy Mayor's Office of Economic Development 1340 Poydras St. 10th Floor New Orleans Louisiana 70112 United States Phn: 504-658-0912 Fax: 504-658-0934



IOWA FILM OFFICE Tom Wheeler 200 East Grand Avenue Des Moines Iowa 50309 United States Phn: 515-242-4726 Fax: 515-242-4718

NORTHEAST LOUISIANA FILM COMMISSION C.J. Sartor PO Box 14092 Monroe Louisiana 14092 United States Phn: 318-324-1644 Fax: 318-324-1645



EASTERN IOWA FILM COMMISSION Matt Krug Cedar Rapids Area CVB, 119 First Ave SE Cedar Rapids Iowa 52401 United States Phn: 319-398-5009 ext.127




KANSAS FILM COMMISSION Peter Jasso 1000 S.W. Jackson Street, Suite 100 Topeka Kansas 66612-1354 United States Phn: 785-296-4927 Fax: 785-296-3490


P.O. Box 1761 Shreveport Louisiana 71166 United States Phn: 318-222-9391



MISSISSIPPI FILM OFFICE Ward Emling P. O. Box 849 Jackson Mississippi 39205 United States Phn: 601-359-3422 Fax: 601-359-5048

NEBRASKA FILM OFFICE Gary Hamer Dept. of Economic Development, PO Box 94666 Lincoln Nebraska 68509-4666 United States Phn: 402-471-3746



CANTON FILM OFFICE Jo Ann Gordon Box 53 Canton Mississippi 39046 United States Phn: 601-859-1307 TUPELO

TUPELO FILM COMMISSION Pat Rasberry 399 East Main Street, PO Box 47 Tupelo Mississippi 38802-0047 United States Phn: 662-841-6521


NEVADA NEVADA FILM OFFICE - LAS VEGAS Charles Geocaris 555 East Washington Avenue, Suite 5400 Las Vegas Nevada 89101-1078 United States Phn: 702-486-2711 Fax: 702-486-2712

MAINE FILM OFFICE D. Lea Girardin 59 State House Station Augusta Maine 04333-0059 United States Phn: 207-624-7631

MISSOURI FILM COMMISSION Jerry Jones 165 McReynolds Hall University of Missouri Columbia Missouri 65211 United States Phn: 573-882-1046 Fax: 573-882-2490

NEVADA FILM OFFICE - RENO/TAHOE Robin Holabird 108 E. Proctor Street Carson City Nevada 89701-4240 United States Phn: 800-336-1600




WICHITA CONVENTION & VISITORS BUREAU, GREATER Olivia Reynolds Simmons 100 South Main, Suite 100 Wichita Kansas 67202 United States Phn: 316-265-2800 Fax: 316-265-0162

MARYLAND FILM OFFICE Jack Gerbes 217 E. Redwood Street, 9th Floor Baltimore Maryland 21202 United States Phn: 410-767-6340 Fax: 410-333-0044

FILM COMMISSION OF GREATER KANSAS CITY Susan Blanco 1100 Main Street, Suite 2200 Kansas City Missouri 64105 United States Phn: 816-691-3879 Fax: 816-691-3880

NEW HAMPSHIRE FILM AND TELEVISION OFFICE Matthew Newton 20 Park Street Concord New Hampshire 3301 United States Phn: 603-271-2220 Fax: 603-271-3163


KENTUCKY KENTUCKY FILM COMMISSION Todd Cassidy 500 Mero Street, 2200 Capitol Plaza Tower Frankfort Kentucky 40601 United States Phn: 502-564-3456 Fax: 502-564-7588

BALTIMORE OFFICE OF PROMOTION & THE ARTS ; DIVISION OF FILM, VIDEO, AND TEL Hannah Lee Byron 7 East Redwood St., Suite 500 Baltimore Maryland 21202 United States Phn: 410-752-8632 Fax: 410-385-0361

LOUISIANA LOUISIANA GOVERNOR'S OFFICE OF FILM AND TELEVISION DEVELOPMENT Alex J. Schott 800 Distributors Row, Suite 101 Harahan Louisiana 70123 United States Phn: 504-736-7282 Fax: 504-736-7287 BATON ROUGE

BATON ROUGE FILM COMMISSION Amy Mitchell (INTERIM MEMBER) 730 North Boulevard Baton Rouge Louisiana 70802 United States Phn: 225-382-3563 Fax: 225-382-3590




SAINT LOUIS FILM OFFICE J. Kim Tucci c/o St. Louis CVC #1 Metropolitan Square, Suite 1100 Saint Louis Missouri 63102 United States Phn: 314-992-0629

NEW JERSEY MOTION PICTURE/TV COMMISSION Joseph Friedman 153 Halsey Street, PO Box 47023 Newark New Jersey 7101 United States Phn: 973-648-6279



MICHIGAN FILM OFFICE Janet Lockwood 702 W. Kalamazoo Street, PO Box 30739 Lansing Michigan 48909 United States Phn: 517-373-0638

ST. JOSEPH CVB - FILM DIVISION Beth Whitchurch 109 South 4th Street St. Joseph Missouri 64501 United States Phn: 816-233-6688 Fax: 816-233-9120

FILM OFFICE OF THE ATLANTIC CITY CONVENTION & VISTITORS AUTHORITY Heather Colache 2314 Pacific Avenue Atlantic City New Jersey 8401 United States Phn: 609-449-7151 Fax: 609-345-2200



MINNESOTA FILM & TV BOARD Lucinda Winter 2446 University Ave. W. Suite 100 St. Paul Minnesota 55114 United States Phn: 651-645-3600 Fax: 651-645-7373

MONTANA FILM OFFICE Sten Iversen 301 S. Park Avenue Helena Montana 59620 United States Phn: 406-841-2876 Fax: 406-841-2877


124 //

GREATER OMAHA FILM COMMISSION Kathy Rocco 1001 Farnam-on-the-Mall, Suite 200 Omaha Nebraska 68102 United States Phn: 402-444-7737

NEW MEXICO NEW MEXICO FILM OFFICE Lisa Strout The Jean Cocteau, 418 Montezuma Ave Santa Fe New Mexico 87501 United States Phn: 505-827-9810

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



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ALBUQUERQUE FILM OFFICE Ann Lerner PO Box 1293, One Civic Plaza NW Albuquerque New Mexico 87103 United States Phn: 505-768-3283 Fax: 505-768-3280

NASSAU COUNTY OFFICE OF CINEMA/TV PROMOTION Debra Markowitz Eisenhower Park Adminstration Building 1899 Hempstead Turnpike East Meadow New York 11554 United States Phn: 516-572-0012

EASTERN NORTH CAROLINA FILM COMMISSION Frank Dooley (INTERIM MEMBER) 1645 East Arlington Boulevard Suite C Greenville North Carolina 27858 United States Phn: 252-756-0176 Fax: 252-756-0717

TULSA FILM & MUSIC OFFICE Judy Lane (INTERIM MEMBER) 200 Civic Center Tulsa Oklahoma 74103 United States Phn: 918-596-7413 Fax: 918-596-9010



LAS CRUCES FILM COMMISSION Ted Scanlon 211 North Water Street Las Cruces New Mexico 88001 United States Phn: 505-541-2444 LUNA COUNTY

LUNA COUNTY FILM OFFICE Bridget Kelly (INTERIM MEMBER) PO Box 8 Deming New Mexico 88031 United States Phn: 505-546-2674 Fax: 505-546-9569 OTERO COUNTY

OTERO COUNTY FILM OFFICE Joan Griggs 1301 N. White Sands Blvd. Alamogordo New Mexico 88310 United States Phn: 505-437-2214 RIO RANCHO

RIO RANCHO CONVENTION & VISITORS BUREAU Judi Snow PO Box 15550 Rio Rancho New Mexico 87174-0550 United States Phn: 505-891-7258 SANTE FE

SANTA FE FILM OFFICE Lisa Van Allen Sante Fe CVB - Box 909 Sante Fe New Mexico 87504 United States Phn: 505-955-6211 Fax: 505-955-6223

NEW YORK NEW YORK STATE GOVERNOR'S OFFICE FOR MOTION PICTURE & TV DEVELOPMENT Pat Swinney Kaufman 633 Third Ave., 33rd Floor New York New York 10017 United States Phn: 212-803-2330 BUFFALO

BUFFALO NIAGARA FILM COMMISSION Tim Clark 617 Main Street, Suite 200 Buffalo New York 14203-1496 United States Phn: 716-852-0511 ext. 227 Fax: 716-852-0131

ROCHESTER/FINGER LAKES FILM & VIDEO OFFICE, INC. June Foster 45 East Avenue, Suite 400 Rochester New York 14604-2294 United States Phn: 585-279-8308 Fax: 585-232-4822


PIEDMONT TRIAD FILM COMMISSION Rebecca Clark 7025 Albert Pick Drive, Suite 303 Greensboro North Carolina 27409 United States Phn: 336-393-0001 WESTERN NORTH CAROLINA


CAPITAL-SARATOGA (NY) FILM COMMISSION Jennifer Joseph (INTERIM MEMBER) 28 Clinton St. Saratoga Springs New York 12866 United States Phn: 518-584-3255 Fax: 518-587-0318 SUFFOLK COUNTY

SUFFOLK COUNTY FILM COMMISSION Michelle Isabelle - Stark H. Lee Dennison Bldg, 2nd Floor 100 Veterans Highway Hauppauge New York 11788-0099 United States Phn: 631-853-4834 Fax: 631-853-4800 YONKERS

YONKERS MAYOR'S OFFICE FOR FILM AND TELEVISION DEVELOPMENT Richard Halevy 40 South Broadway / City Hall Yonkers New York 10701 United States Phn: 914-377-6083

NORTH CAROLINA NORTH CAROLINA FILM OFFICE Joan Alford 301 N. Wilmington Street 4324 Mail Service Center Raleigh North Carolina 27699-4324 United States Phn: 919-733-9900 Fax: 919-715-0151

WESTERN NORTH CAROLINA FILM COMMISSION Mary Trimarco 3 General Aviation Drive Fletcher North Carolina 28732 United States Phn: 828-687-7234 Fax: 828-687-7234

THE CHARLOTTE REGIONAL FILM COMMISSION Beth Petty 1001 Morehead Square Drive, Suite 200 Charlotte North Carolina 28203 United States Phn: 800-554-4373 DURHAM

DURHAM FILM OFFICE Carolyn Carney 101 East Morgan Street Durham North Carolina 27701 United States Phn: 919-680-8313

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

OREGON FILM & VIDEO OFFICE Steve Oster 121 SW Salmon Street, Suite 1205 Portland Oregon 97204 United States Phn: 503-229-5832 Fax: 503-229-6869

PENNSYLVANIA PENNSYLVANIA FILM OFFICE Jane Shecter Commonwealth Keystone Bldg 400 North Street, 4th Floor Harrisburg Pennsylvania 17120-0225 United States Phn: 717-783-3456 Fax: 717-787-0687 PHILADELPHIA


WILMINGTON REGIONAL FILM COMMISSION, INC. Johnny Griffin 1223 North 23rd Street Wilmington North Carolina 28405 United States Phn: 910-343-3456 Fax: 910-343-3457


GREATER CINCINNATI & NORTHERN KENTUCKY FILM COMMISSION Kristen J. Erwin 602 Main St. Ste 712 Cincinnati Ohio 45202 United States Phn: 513-784-1744 Fax: 513-768-8963 CLEVELAND

GREATER CLEVELAND FILM COMMISSION Christopher Carmody 1301 East 9th Street, Suite 120 Cleveland Ohio 44114 United States Phn: 216-623-3910 Fax: 216-623-0876

GREATER PHILADELPHIA FILM OFFICE Sharon Pinkenson 100 South Broad Street, Suite 600 Philadelphia Pennsylvania 19110 United States Phn: 215-686-2668 Fax: 215-686-3659 PITTSBURGH

PITTSBURGH FILM OFFICE Dawn Keezer D.L. Clark Building, 503 Martindale Street, 5th Floor Pittsburgh Pennsylvania 15212 United States Phn: 412-261-2744 Fax: 412-471-7317

PUERTO RICO PUERTO RICO FILM COMMISSION Luis Riefkohl 355 F.D. Roosevelt Ave, Suite 106, PO Box 362350 San Juan PR 00936-2350 United States Phn: 787-758-4747 ext. 2251 Fax: 787-756-5706


GREATER COLUMBUS FILM COMMISSION Gail Mezey PO Box 12735 Columbus Ohio 43212-0735 United States Phn: 614-264-2324 Fax: 614-486-5860

RHODE ISLAND FILM & TELEVISION OFFICE Steven Feinberg (INTERIM MEMBER) One Capitol Hill, 3rd Floor Providence Rhode Island 02908 United States Phn: 401-222-3456 Fax: 401-222-3018



OKLAHOMA FILM & MUSIC OFFICE Jill Simpson 120 N. Robinson, 6th Floor Oklahoma City Oklahoma 73102 United States Phn: 800-766-3456 Fax: 405-230-8641

SOUTH CAROLINA FILM COMMISSION Jeff Monks 1201 Main Street, 16th Floor Columbia South Carolina 29201 United States Phn: 803-737-0490 Fax: 803-737-3104




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Liz Mitchell PO Box 910 Beaufort South Carolina 29901 United States Phn: 843-986-5400 ext. 23 Fax: 843-986-5405

AMARILLO FILM OFFICE Jutta Matalka 1000 S. Polk Street Amarillo Texas 79101 United States Phn: 806-374-1497

TEXAS PANHANDLE FILM COMMISSION Brent Cantwell 5107 Pico Blvd. Amarillo, TX 79110 United States Phn: 806-679-1116 Fax: 806-367-9375



CENTRAL VIRGINIA FILM OFFICE Kenneth W. (Ken) Roy c/o New Millennium Studios One New Millennium Drive Petersburg Virginia 23805 United States Phn: 804-216-2772 Fax: 804-862-1200

AUSTIN FILM COMMISSION Gary Bond 301 Congress Avenue, Ste 200 Austin Texas 78701 United States Phn: 512-583-7229 Fax: 512-583-7282

UTAH FILM COMMISSION Aaron Syrett City Hall/ Capital Hill, 300 North State St Salt Lake City Utah 84114 United States Phn: 801-538-8740 Fax: 801-538-1397

SOUTH DAKOTA SOUTH DAKOTA FILM COMMISSION Wanda Romkema (INTERIM MEMBER) 711 East Wells Avenue Pierre South Dakota 57501-3369 United States Phn: 605-773-3301 Fax: 605-773-3256

TENNESSEE TENNESSEE FILM, ENTERTAINMENT & MUSIC COMMISSION Perry Gibson 312 8th Avenue North, 9th Floor Nashville Tennessee 37243 United States Phn: 615-741-3456 Fax: 615-741-5554


BROWNSVILLE BORDER FILM COMMISSION Peter Goodman (INTERIM MEMBER) PO Box 911, City Hall Brownsville Texas 78520 United States Phn: 956-548-6176


CHATTANOOGA FILM COMMISSION Missy Crutchfield (INTERIM MEMBER) 399 McCallie Ave Chattanooga Tennessee 37402 United States Phn: 423-425-7823 EAST TENNESSEE

EAST TENNESSEE TELEVISION & FILM COMMISSION Michael Barnes 17 Market Square, #201 Knoxville Tennessee 37902 United States Phn: 865-246-2633 Fax: 865-523-2071 MEMPHIS & SHELBY COUNTY

MEMPHIS & SHELBY COUNTY FILM & TELEVISION COMMISSION Linn Sitler 50 Peabody Place, Suite 250 Memphis Tennessee 38103 United States Phn: 901-527-8300 Fax: 901-527-8326


DALLAS FILM COMMISSION Janis Burklund 325 N. St. Paul Street, Suite 700 Dallas Texas 75201 United States Phn: 214-571-1050 Fax: 214-665-2907 EL PASO

EL PASO FILM COMMISSION Susie Gaines #1 Civic Center Plaza El Paso Texas 79901 United States Phn: 915-534-0698 HOUSTON

HOUSTON FILM COMMISSION Rick Ferguson 901 Bagby, Suite 100 Houston Texas 77002 United States Phn: 713-437-5248 SAN ANTONIO


NASHVILLE MAYOR'S OFFICE OF ECONOMIC AND COMMUNITY DEVELOPMENT Tessa Atkins 222 Second Avenue North, Ste 418 Nashville Tennessee 37201 United States Phn: 615-862-4701

TEXAS TEXAS FILM COMMISSION Bob Hudgins PO Box 13246 Austin Texas 78711 United States Phn: 512-463-9200 Fax: 512-463-4114

126 //

SAN ANTONIO FILM COMMISSION Drew Mayer-Oakes 203 S. St. Mary's Street, 2nd Floor San Antonio Texas 78205 United States Phn: 210-207-6730 Fax: 210-207-6843

HAMPTON ROADS FILM OFFICE W. Jeffrey Frizzell 430 World Trade Center Norfolk, VA 23510 United States Phn: 757-625-4696 Fax: 757-625-4684



KANAB/KANE COUNTY FILM COMMISSION "Cowboy" Ted Hallisey 78 S 100 E Kanab Utah 84741 United States Phn: 435-899-1102 Fax: 435-644-5923

WASHINGTON STATE FILM OFFICE Suzy Kellett 2001 6th Avenue, Ste 2600 Seattle Washington 98121 United States Phn: 206-256-6151 Fax: 206 256-6154



MOAB TO MONUMENT VALLEY FILM COMMISSION Ken Davey P.O. Box 640 Moab Utah 84532 United States Phn: 435-259-6388

SEATTLE, CITY OF - MAYOR'S OFFICE OF FILM AND MUSIC James Keblas 700 Fifth Avenue, Suite 5752, PO Box 94708 Seattle Washington 98124-4708 United States Phn: 206-684-0903 Fax: 206-684-0379


PARK CITY FILM COMMISSION Sue Kapis (INTERIM MEMBER) 1910 Prospector Avenue, PO Box 1630 Park City Utah 84060 United States Phn: 435-658-9622 Fax: 435-649-4132 UTAH VALLEY

UTAH VALLEY FILM COMMISSION Blain Wilkey 111 South University Ave. Provo Utah 84604 United States Phn: 801-851-2105

VERMONT VERMONT FILM COMMISSION Danis Regal 10 Baldwin Street, Drawer #33 Montpelier Vermont 05633-2001 United States Phn: 802-828-3618


SOUTH PADRE ISLAND CVB FILM COMMISSION Mary Hancock 7355 Padre Blvd South Padre Island Texas 78597 United States Phn: 956-761-3005


VIRGINIA VIRGINIA FILM OFFICE Rita McClenny 901 East Byrd Street Richmond Virginia 23219-4048 United States Phn: 800-854-6233 Fax: 804-545-5531

WEST VIRGINIA WEST VIRGINIA FILM OFFICE Pamela Haynes 90 MacCorkle Avenue, SW South Charleston West Virginia 25303 United States Phn: 866-698-3456 Fax: 304-558-1662

WYOMING WYOMING FILM OFFICE Michell Howard I-25 at College Drive Cheyenne Wyoming 82002-0850 United States Phn: 307-777-3400 Fax: 307-777-2877

VENEZUELA VENEZUELA FILM COMMISSION Alexandra Aranda Av. Diego Cisneros, Edif. Centro Monaca, Ala Sur, Piso 2, Of. 2-B, Los Ruices Caracas, 1071 Venezuela Phn: 58-212-237-8630 Fax: 58-212-239-4786

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

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AFCI DIRECTORY INDEX 121 121 121 121 117 125 126 117 120 117 118 118 121 121 118 117 126 121 117 119 124 120 124 126 121 118 123 121 123 118 120 117 117 126 125 120 121 117 121 119 124 120 125 117 120 122 126 123 126 123 117 117 123 123 117 118 117 121 119 126 123 118 120 120 125 118 118 126 124 125 121 117 121 126 123 119 118 118 118 124 118 119 123 118 120 119 120 121 119 124 120 123 120 120 120 122 121 123 123 123 122 119 120 123 121 123 125 125

Greater Columbus Film Commission Greater Omaha Film Commission Greater Philadelphia Film Office Greater Victoria Film Commission Guatemala Tourist Commission Gyeonggi Film Commission Hagi Film Commission Hamburg Film Commission Hamilton Film Office, Ontario, Canada Hampton Roads Film Office Hawaii Film Office Himeji Film Commission Hiroshima Film Commission Hong Kong Film Services Office, TELA Honolulu Film Office/Island Of Oahu Houston Film Commission Humboldt County Film Commission Idaho Film Bureau Ile de France Film Commission Illinois Film Office Imperial County Film Commission Inland Empire Film Commission Iowa Film Office Irish Film Board Isle of Man Film Commission Italian Film Commission Jacksonville Film & Television Commission JAMPRO/Jamaica Film, Music Jeonju Film Commission Kanab/Kane County Film Commission Kankakee County Convention & Visitors Bureau Kansas Film Commission Kauai Film Commission Kentucky Film Commission Kenya Film Commission Kern County Board of Trade Kitakyushu Film Commission Kobe Film Office Las Cruces Film Commission Location Austria Long Beach Office of Special Events & Filming Louisiana Governor's Office of Film and Television Development Luna County Film Office Madeira Film Commission Madrid Film Commission Maine Film Office Malaga Film Office Malibu City Film Commission Malta Film Commission Manitoba Film & Sound Maryland Film Office Maui County Film Office Melbourne Film Office Memphis & Shelby County Film & Television Commission Mendocino County Film Office Metro Orlando Film & Television Commission Miami Mayor's Office of Film, Art & Entertainment Miami/Dade County Office of Film & Entertainment Michigan Film Office Minas Film Commission Minnesota Film & TV Board Mississauga Film Office Mississippi Film Office Missouri Film Commission Moab To Monument Valley Film Commission Mobile Film Office, City of Modesto/Stanislaus County Film Commission Montana Film Office Monterey County Film Commission Montreal Film & Television Commission Morelos' State Film Commission Motion Picture Public Foundation of Hungary Multimedia Development Corporation Namibia Film Commission Nashville Mayor's Office of Economic and Community Development Nassau County Office of Cinema/TV Promotion Nasu Film Commission National Film Commission - MEXICO Nebraska Film Office Nevada Film Office - Las Vegas Nevada Film Office - Reno/Tahoe New Brunswick Film New Hampshire Film and Television Office New Jersey Motion Picture/TV Commission New London Film Commission New Mexico Film Office New Orleans Office of Film & Video New South Wales Film & Television Office New York State Governor's Office for Motion Picture & TV Development Newfoundland & Labrador Film Development Corporation North Carolina Film Office North Finland Film Commission North West Vision Northeast Louisiana Film Commission Northern British Columbia Film Commission Northwest Territories Film Commission Norwegian Film Commission Nova Scotia Film Development Corporation Oakland Film Office Oita City Location Office Okanagan Film Commission Oklahoma Film & Music Office Ontario Media Development Corporation Oostende Film Office Orange County Film Commission Oregon Film & Video Office Oresund Film Commission Osaka Film Council

125 124 125 117 118 120 119 118 118 126 123 119 119 118 123 126 122 123 118 123 122 122 124 119 121 119 123 119 119 126 124 124 123 124 119 122 119 119 125 117 122 124 125 120 120 124 120 122 119 117 124 123 117 126 122 123 123 123 124 117 124 118 124 124 126 121 122 124 122 118 119 118 119 119 126 125 119 119 124 124 124 117 124 124 123 124 124 117 125 117 125 118 121 124 117 117 120 118 122 119 117 125 118 117 122 125 118 119

Otero County Film Office Ozark-Franklin County Film Commission Pacific Film & Television Commission Page-Lake Powell Film Commission Palm Beach County Film and Television Commission Park City Film Commission Pasadena Film Office Pecs Film Office Pennsylvania Film Office Peoria Film Commission Phoenix Film Office, City of Piedmont Triad Film Commission Pittsburgh Film Office Placer - Lake Tahoe Film Office Prescott, AZ Film Office Puerto Rico Film Commission Quebec City Film and TV Commission Quebec Film & Television Council Rhode Island Film & Television Office Ridgecrest Regional Film Commission Rio Rancho Convention & Visitors Bureau RioFilme Commission Rochester/Finger Lakes Film & Video Office, Inc. Rotterdam Film Fund & Rotterdam Film Commission Royal Film Commission of Jordan Sacramento Film Commission Saint Louis Film Office Salamanca Film Commission San Antonio Film Commission San Diego Film Commission San Francisco Film Commission San Luis Obispo County Film Commission San Mateo County Film Commission Santa Barbara CVB & Film Commission Santa Clarita Valley Film Office Santa Cruz County Film Commission Santa Fe Film Office Santa Monica Mountains NRA Santiago de Compostela Film Commission SaskFilm & Video Development Corporation Savannah Film Commission Scottish Highlands and Islands Film Commission Scottish Screen Seattle, City of - Mayor's Office of Film and Music Sedona Film Office Seoul Film Commission Shasta County Film Commission Shreveport-Bossier Film Office Sierra Vista/Cochise County Film Office Simi Valley Film Office Sinaloa Film Commission Singapore Film Commission Sonoma County Film Office South Australian Film Corporation South Carolina Film Commission South Dakota Film Commission South of France Film Commission - VAR South Padre Island CVB Film Commission South West Scotland Screen Commission St. Joseph CVB - Film Division St. Petersburg-Clearwater Area Film Commission State of Alaska Film Program Suffolk County Film Commission Sweden Film Commission Swedish Lapland Film Commission Tampa Bay Film Commission Tenerife Film Commission Tennessee Film, Entertainment & Music Commission Texas Film Commission Texas Panhandle Film Commission Thailand Film Office The Charlotte Regional Film Commission The City of Miami Beach, Office of Film and Event Production Management The Louth, Newry & Mourne Film Commission Thompson-Nicola Film Commission Tokyo Location Box Toronto Film and Television Office Trinidad & Tobago Film Commission Tri-Valley Film and Video Commission Tucson Film Office Tulare County Film Commission Tulsa Film & Music Office Tuolumne County Film Commission Tupelo Film Commission UK Film Council Utah Film Commission Utah Valley Film Commission Vallejo/Solano County Film Office Vancouver Island North Film Commission Venezuela Film Commission Vermont Film Commission Virginia Film Office Wales Screen Commission Washington State Film Office Washington, DC - Office of Motion Picture & TV West Virginia Film Office Western North Carolina Film Commission Western Norway Film Commission Wichita Convention & Visitors Bureau, Greater Wickenburg Film Commission Wilmington Regional Film Commission, Inc. Wyoming Film Office Yokohama Film Commission Yonkers Mayor's Office for Film and Television Development Yukon Film & Sound Commission Yuma Film Commission

125 121 117 121 123 126 122 119 125 121 121 125 125 122 121 125 118 118 125 122 125 117 125 119 119 122 124 120 126 122 122 122 122 122 122 122 125 122 120 118 123 121 121 126 121 120 122 124 121 122 119 120 122 117 125 126 118 126 121 124 123 121 125 120 120 123 120 126 126 126 120 125


Aberdeen City & Shire Film Office Alabama Film Office Alameda Film Commission Alaska Film Group Alberta Film Commission Albuquerque Film Office Amarillo Film Office Amazonas Film Commission Andalucia Film Commission Antwerp City Film Office Aquitaine Tournages Argenteuil Laurentians Film and TV Commission Arizona Film Commission Arkansas Film Office Arts Academy Ausfilm International Austin Film Commission Ayrshire Film Information Bahamas Film Commission Bali Film Commission Baltimore Office of Promotion & The Arts ; Division of Film, Video, and Tel Barcelona-Catalunya Film Commission Baton Rouge Film Commission Beaufort Film Commission Berkeley Film Office Berlin Brandenburg Film Commission Big Island Film Office Birmingham-Jefferson Film Office Boulder County Film Commission Brampton Film Office, City of Bristol Film Office British Columbia Film Commission British Virgin Islands Film Commission Brownsville Border Film Commission Buffalo Niagara Film Commission Busan Film Commission Calaveras County Film Commission Calgary Film Commission California Film Commission Campania Film Commission Canton Film Office Cape Film Commission Capital-Saratoga (NY) Film Commission Cariboo-Chilcotin Film Commission Carmona Film Office Catalina Island Film Commission Central Virginia Film Office Charlotte County Florida Film Office Chattanooga Film Commission Chicago Film Office Chilliwack Film Commission Cine Tirol Collier County Film Commission Colorado Film Commission Columbia Shuswap Film Commission Colombian Film Commission Comision Argentina De Filmaciones Cottonwood Film Commission County Wicklow Film Commission Dallas Film Commission Delaware Film Commission Dominica National Development Corporation Donostia-San Sebastian Film Commission Durban Film Office Durham Film Office Durham Region Film Office East Finland Film Commission c/o North Carelia Polytechnic East Tennessee Television & Film Commission Eastern Iowa Film Commission Eastern North Carolina Film Commission Edinburgh Film Focus Edmonton Film Commission El Dorado Lake Tahoe Film & Media Office El Paso Film Commission Emerald Coast Film Commission of NW Florida Emilia-Romagna Film Commission FFF Film Commission Bavaria Fiji Audio Visual Commission Film Commission Nordrhein-Westfalen Film Commission of Greater Kansas City Film Commission Region Stuttgart Film Commission Torino Piemonte Film Division, Connecticut Commission on Culture and Tourism Film France, The French Film Commission Film I Dalarna Film In Iceland Film Location Switzerland Film London Film New Zealand Film Office of the Atlantic City Convention & Vistitors Authority Film Queenstown Film Sarasota County Film South New Zealand Film Venture Taranaki Film Wellington FilmL.A., Inc. Flagstaff Film Commission Florida Governor's Office of Film & Entertainment Florida Keys & Key West Film Commission Fort Lauderdale/Broward County Film Commission Fresno County Film Commission Fukuoka Film Commission Gauteng Film Office Georgia Film, Video & Music Office Glasgow Film Office Glenwood Springs Film Commission Greater Cincinnati & Northern Kentucky Film Commission Greater Cleveland Film Commission

123 119 117 119 118 120 122 121 122 125 122 124 120 126 126 122 117 126 126 126 121 126 123 126 126 120 124 121 125 126 119 125 118 121


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ADVERTISER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE NO AFCI Locations Trade Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Alabama Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Argentina Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Association of Film Commissioners International . . . . . . . . . 10, 66, 128 AusFilm International . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Bahamas Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Barcelona-Catalunya Film Commission . . . . . . . . . . . . . . . . . . . . . . . . 98 Belgium-Flanders Film Cities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Berlin Brandenburg Film Commission . . . . . . . . . . . . . . . . . . . . . . . . 106 Birmingham Film Office . . . . . . . . . . . . . . . . . . . . . . . . Inside Back Cover Boutique Editions Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 British Columbia Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Busan Film Commission. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Chilean Trade Commission. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Dubai Media City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Durban Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Fiji Audio Visual Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Film Brazil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Florida Governor's Office of Film & Entertainment . . . . . . . . . . . . . . . 62 France, Commission Nationale du Film France . . . . . . . . . . . . . . . . . . 48 FX Stunt Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Gauteng Film Office. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Georgia Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Guatemala Tourist Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Honolulu Film Office . . . . . . . . . . . . . . . . . . . . . . . . . Outside Back Cover Jamaica Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Jordon, Royal Film Commission of . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Kodak Imagecare. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Korda Studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Louisiana Film Office. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Madrid Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Malta Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Maryland Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 MDM Film Commission, Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Melbourne Film Office. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Mississippi Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Nevada Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 New Brunswick Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 New South Wales Film & Television Office . . . . . . . . . . . . . . . . . . . . . . 18 New York State Governor's Office for Motion Picture and TV Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 New Zealand Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 North Carolina Film . . . . . . . . . . . . . . . . . . . . . . . . . . Inside Front Cover North West Vision, England . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 North Finland Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Northwest Territories Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Norwegian Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Oklahoma Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Pacific Film & Television Commission, Queensland . . . . . . . . . . . . . . 61 Paris, Ile de France Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . 11 Park City, Utah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Pegasus-Panarctica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Peluca Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Puerto Rico Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 RioFilme Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Rochester/Finger Lakes Film and Video Office Inc . . . . . . . . . . . . . . . 82 Rotterdam Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 San Antonio Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 San Francisco Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Savannah Film Office. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Scottish Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Singapore Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 South New Zealand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 South Padre Island . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 South West Screen, England . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Studio Babelsberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Suffolk County Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Sunset Marquis Hotel and Villas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Swedish Lapland Film Commission. . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Tenerife Film Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Trinidad & Tobago Film Commission. . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Tucson Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Virginia Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 19, 21 VisionNet Locations Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 116 Vojvodina Film Commission Board . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Wales Screen Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Warner Roadshow Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Washington DC Office of Motion Picture & TV . . . . . . . . . . . . . . . . . . 104 Wellington New Zealand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 West Virginia Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Wyoming Film Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

128 //

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AFCI Locations Magazine 2007  

AFCI Locations Magazine is the official magazine of the Association of Film Commissioners International. Film commissions are everywhere an...

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