{"id":2104,"date":"2012-07-02T16:07:31","date_gmt":"2012-07-03T00:07:31","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2104"},"modified":"2014-06-04T17:06:29","modified_gmt":"2014-06-04T17:06:29","slug":"600-voices-part-4-western-region","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/600-voices-part-4-western-region\/","title":{"rendered":"600 Voices Part 4 \u2013 Western Region"},"content":{"rendered":"

Don\u2019t Fence Me In<\/strong><\/p>\n

<\/p>\n

\"\"<\/p>\n

We\u2019ve reached the end of our road trip with Local 600 members, hitching our virtual stagecoach this month in the Western Region, where we find things aren\u2019t always what they seem. Los Angeles, for example, is not Mecca anymore. Some longtime Hollywood members now report needing to travel out of town just to keep the work flowing. Southern California does have location gems still to be tapped (more about that later), but the challenges are plenty.<\/p>\n

Operator Mark LaBonge (Castle<\/em>), who has lived in the same family home near Universal Studios for more than 50 years, uses \u201clocal knowledge\u201d to get around L.A.\u2019s infamous traffic jams. \u201cAlthough I have worked all over the country in the last ten years,\u201d LaBonge relates, \u201cI\u2019ve been lucky that the majority of my work has been here. That\u2019s why I always urge crewmembers to call in their shows, so the Guild\u2019s local field reps [Vince Mata and Xiomara Comrie] can keep all work in L.A. union.\u201d<\/p>\n

Cinematographer Bruce McCleery (Battle LA, Star Trek<\/em>, Super 8<\/em>) echoes LaBonge\u2019s opinion that traffic jams are the biggest negative to being L.A.-based, as does television still photographer Danny Feld (Modern Family, Desperate Housewives<\/em>), who adds that L.A.\u2019s clogged roadways leave \u201cno time for traffic-accident surprises\u201d on the way to a job. Both Feld and McCleery live in the urban wilds of Topanga Canyon, outside of L.A. proper. But they are two of many Guild members who must live far from easy access to the studios to be able to remain a Hollywood \u201clocal.\u201d<\/p>\n

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Cinematographer Kevin Emmons, SOC, Colorado Springs\/ Garden of Gods \/ Courtesy of Sony \/ Kevin Emmons<\/figcaption><\/figure>\n

The same holds true for those Guild members trying<\/strong> to maintain a consistent work pattern in the San Francisco area, which isn\u2019t getting the big projects it once had. But there is, as Walnut Creek resident 1st<\/sup> AC Phil Bowen says, \u201ca tight community of Local 600 members here. And every one of them knows exactly where to get that beauty shot of San Francisco from the Marin headlands, a.k.a. \u2018tripod hill.\u2019\u201d<\/p>\n

The further you move from California, the more things change. Operator Andrew Nancarrow describes his life in Nevada as doing \u201cbig-city work in a small-town place.\u201d<\/p>\n

\u201cThe locals know the locations and the quirks \u2013 and not just on the strip,\u201d adds video controller Bob Cadigan. Further west in Colorado, commercial DP Kevin Emmons, SOC praises his state\u2019s \u201cunbelievable locations: mountains, plains, cities, western buttes and more. All possible to get to in one day \u2013 even moving a dozen trucks four times a day.\u201d<\/p>\n

Oregon-based camera operator Nils Benson (Grimm<\/em>) says there\u2019s a lot to do in his state besides work. \u201cLike sailing on the Columbia River, canoeing or kayaking. And the music scene in Portland never stops.\u201d Further north, Seattle Guild members working in television are \u201csurrounded by mountains and water and breathtakingly beautiful scenery,\u201d attests 1st<\/sup> AC Bob Webeck.<\/p>\n

Every region of the West – home to big skies and even bigger weather shifts – has concerns unique to that locale. Take San Francisco\u2019s quirky fog. It can be helpful and frustrating at the same time.<\/p>\n

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Camera Operator Nils Benson, Oregon location for Grimm \/ Photo by Scott Patrick Green \/ NBCUniversal<\/figcaption><\/figure>\n

\u201cLast week I was working on a car shoot up on Mount Tamalpais, a tall mountain with curvy roads through fields and forest with beautiful views of the ocean,\u201d recalls Oakland-based 2nd<\/sup> AC Anne Lee. \u201cOn the third day, the mountain was thick with fog and the DP hated the light. Our little \u2018sticks unit\u2019 drove back and forth, up and down the mountain with the DP looking at places he had scouted. It was a while until the fog broke and we were really able to get to work. The director of the shoot had been with another operator in \u2018The Edge\u2019 arm car and had loved what they shot, so it\u2019s also a matter of perspective and what look is wanted.\u201d<\/p>\n

Washington-based cinematographer Mike Vukas (Camilla Dickenson<\/em>) recalls his final day working as a gaffer on an indie movie in December. \u201cWe were scheduled for process trailer work. But it started snowing and it hadn\u2019t snowed the entire film. Now, when I say snowing, I mean 19 inches. The director insisted that we continue, so we sent the camera car out on a test drive. At the first corner it slid sideways and it took half the crew to push it out. So, the UPM finds a warehouse, the crew puts up 150 feet of blacks, the grips rig green screens, and by lunch we were up and running. We made the day, and the wrap party went on as planned. Only in Spokane.\u201d<\/p>\n

Then there are the stories about out-of-town location scouts,<\/strong> which are recounted with a smile by Denver locals, like 1st<\/sup> AC Tod Boyle. \u201cWe are at 5,280 feet,\u201d Boyle smiles. \u201cMost [out-of-town] crews can adjust fine here in town. But many times they need to shoot in the Rocky Mountain Range, which is another 3,000 to 6,000 feet in elevation. The local crews are faster at adapting to this altitude. We definitely have an advantage over crews coming from sea level. Work goes a lot slower, but we get it done.\u201d<\/p>\n

Boyle cites another example of why hiring local pays off. \u201cDenver is a short drive to some of the best skiing locations in the world, and, as a 1st<\/sup> AC, I\u2019m often required to get the gear quickly to that location,\u201d he adds. \u201cSkiing with a 50-pound pack is not easy, but it\u2019s essential to have the ability to get to places you can only ski to, to get the shot.\u201d<\/p>\n

\"\"
Cinematographer Bruce McCleery on L.A. location of Mission Impossible: Ghost Protocol \/ Courtesy of Bruce McCleery<\/figcaption><\/figure>\n

Clearly, Western Region members are made of stern stuff. Adapting to valleys, or even peaks in production patterns, like an unexpected boom in Seattle\u2019s corporate work, becomes the norm. \u201cCar chases, explosions, gun battles,\u201d Webeck grins in describing some recent jobs. \u201cI\u2019ve worked with a lion in a grocery store and was the last person to leave the Kingdome [carrying mags and batteries for my operator] before it imploded.\u201d<\/p>\n

And don\u2019t forget about L.A., thank you. Stills shooter Feld says many producers don\u2019t even realize how much untapped beauty the region still holds. \u201cI recently worked at the newly renovated AT&T building downtown on the top floor with its spectacular panorama of the downtown skyline,\u201d Feld recalls. \u201cWatching the day go by, the sun setting and eventually Los Angeles lighting up for the evening created a location ideal for photographs. I\u2019ve done shots for Parks and Recreation<\/em> at Lake Malibu and a pilot at the old cemetery in Altadena. It\u2019s not like I spend all of my time on the set of Wisteria Lane,\u201d he laughs. \u201cThere are many exciting locations throughout the Southland.\u201d<\/p>\n

As for quality of life, Boyle points to Colorado\u2019s busy beer industry and four professional sports teams within one city \u2212 Colorado Rockies, Denver Nuggets, Colorado Avalanche, Colorado Rapids, insisting that, \u201cisn\u2019t just all work here.\u201d<\/p>\n

\u201cPortland has a thriving food scene and great local breweries,\u201d Benson adds, while Vukas trumpets such Rain City hotspots as Seattle Metropolitan Grill, Wild Ginger, and Portland City Grill \u2013 \u201cnot to mention Voodoo Dougnuts.\u201d<\/p>\n

\u201cEveryone who\u2019s gone to San Francisco to work or play has been to The Cliff House,\u201d Bowen chimes in. \u201cNot to mention our incredible wine country.\u201d Emmons says his favorite Denver hangout is a jazz bar called \u201cEl Chapultepec.\u201d<\/p>\n

\"\"
October Road (ABC TV), Mountain View Cemetery, Altadena, CA \/ Photo by Danny Feld<\/figcaption><\/figure>\n

Living and eating well for Western Region members would <\/strong>not be possible without the job support they get from regional vendors. Washington\u2019s biggest gear houses are Oppenheimer Cine Rental, Koerner Camera Systems, and Pacific Grip and Lighting. In Denver, Boyle relies on LSI (Lighting Services Inc.), Cinemashot and MP&E. According to Lee and Bowen, Videofax and Chater Camera highlight San Francisco\u2019s local outlets, while LaBonge puts the legendary Panavision facility in Woodland Hills, and staffers Phil Radin and Larry Hezzelwood, at the top of his list.<\/p>\n

Sadly, there are also longtime vendors that have fallen off the production map because of shifts in technology or a decrease in tax incentives, which, along with digital piracy, ranks among the major issues for Guild members in the West.<\/p>\n

\u201cWe still have a great tax incentive here in Oregon,\u201d says Benson. \u201cSo what concerns me more is the impact of digital piracy on the industry. I recently worked with Local 600 by appearing in a PSA that will run in movie theaters statewide in which we urged Senator Ron Wyden to not filibuster the bill and to support it.\u201d Feld says he\u2019s been upset to see \u201cthe information about tightening piracy laws on the Internet being twisted and mischaracterized. Creative copyright is very important to us,\u201d he declares.<\/p>\n

L.A.-based 1st<\/sup> AC Michael Endler (Revenge, Brothers & Sisters, Battle Los Angeles<\/em>) agrees, adding, \u201cintellectual property and how to be compensated for it remains a \u2018mindset\u2019 for many consumers. Look what happened to the music business. We have to create ways to track our property.\u201d<\/p>\n

\"\"
Oakland-based 2nd AC Anne Lee \/ Courtesy of Rich Gunderman<\/figcaption><\/figure>\n

\u201cIncentives killed Spokane\u2019s market,\u201d states Vukas, turning to the other concern. \u201cI\u2019ve had to spend a great deal of time working in Portland because they still have their incentives and are working to keep them.\u201d<\/p>\n

\u201cColorado is one of the most overlooked states for locations, vendors and crews,\u201d says Emmons, \u201cbut the State never wants to pass incentives; therefore, neighboring states have ten times the work. I believe Colorado would be a better location for numerous reasons, including the proximity of an international airport [DIA].\u201d<\/p>\n

Incentives are also the big issue in Washington, according to Webeck. \u201cThere\u2019s a lack of awareness on the part of our state government of the advantages of promoting a healthy film industry locally,\u201d he rails. \u201cWe\u2019ve had to sit back for years and watch other states aggressively pursue incentives and rebates. When we finally passed our own in 2008, it was hugely successful in creating more jobs and awareness. It expired last year after failing to come up for a vote in the State House. We\u2019re currently lobbying to get it renewed this year, but it will be especially challenging in our current economy.<\/p>\n

\u201cOne of the unique pieces of our incentive program was the requirement of all participating productions to provide health insurance to all their workers,\u201d he adds. \u201cThat helped unionize our crews, and several of our local commercial houses.\u201d<\/p>\n

Even Los Angeles is fighting the battle. McCleery has been involved in the effort to raise awareness about increasing and preserving Golden State incentives. \u201cI work to document this issue,\u201d he shares, \u201cby capturing interviews, and participating in rallies, meetings and petitions. We need to convince legislators to extend the current incentive program [from one year] to five years, and to offer incentives to television shows that originate here, not just to those who start elsewhere and consider moving here.\u201d<\/p>\n

\"\"
1st AC Mike Vukas \/ Washington State \/ Courtesy of Mike Vukas<\/figcaption><\/figure>\n

Western Region members all agree they need a little help<\/strong> in adapting to changing times, and, in that respect, some areas are just luckier than others.<\/p>\n

\u201cA nice thing about being in Los Angeles is that you have the opportunity to constantly educate yourself,\u201d says local DIT Andy Lemon. \u201cVendors often put on seminars to help crews get up to speed on their new technologies, and the rental houses are open to you stopping by to look at and test new gear. It\u2019s smart business for them as this free training time pays back as crews recommend these companies to producers.\u201d<\/p>\n

Training in other parts of the West can be harder to come by. In Washington, for example, Vukas says IATSE Local 488 Studio Mechanics has been trying to get something going, but there\u2019s still a gap. Emmons says there just isn\u2019t anything in place in Colorado, at least not yet.<\/p>\n

How would a diary of our final road trip destination conclude? Living and working local in the Western Region means being in a constant state of flux. Technology, incentives and the fickle hand of production assure it will always be so. That\u2019s why we asked longtime L.A. shooter Feld to put it all in perspective.<\/p>\n

\u201cWe have to remember we\u2019re working in an industry whose purpose is purely entertainment,\u201d he says. \u201cWe\u2019re working with great crews and always finding a familiar face on the set. For me, that\u2019s icing on the cake. So is just laughing at the humor and the wonderful actors that bring scripts to life. It\u2019s a special privilege \u2013 wherever you are.<\/p>\n

\u201cWhat other job allows you to have such a good time at work?\u201d<\/p>\n

By Pauline Rogers.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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