In the last few years when we mentioned the possibility of shooting abroad, we all immediately characterized this option as “runaway production.” Last year, more than 20 percent of American production companies shoot days took place outside the U.S., and it is true that the most frequent reason to go and shoot somewhere else has been costs. Political and economic circumstances have given strong advantages to countries around the globe that can offer very low production costs and, at the same time, decent–and often excellent–structures, crew and equipment.
However, I believe that we should consider the international approach of a production from the creative angle, and not only from the “saving money” perspective. In the last several years, I shot in more than 30 countries on all the continents, and I am sure that in most of cases, the creative impact of the international choice was stronger than the budgetary one.
A location is like a good wine: it has a specific color, a unique taste, a peculiar smell. If these elements can make the idea grow, this is not “runaway,” it is the search for the best, the fight for excellence. Our business is based on these concepts.
Some time ago, we were working on a project. The agency was looking for a European atmosphere, a classical and elegant look, and a nostalgic mood. The example proposed was Paris. Nevertheless, we suggested a different place: Lisbon, Portugal. I don’t think that any other European city can offer the same feeling: the terraces of Alfama, the climbing streets of Barrio Alto, the stones, the tiles, the flowers, the walls. Everything evokes old times, elegance and romanticism. It is not the glamorous, sexy look of Paris, the imperial elegance of Vienna, the flamboyant and charming sensuality of Rome, the mysterious solidity of Prague or the contagious happiness of Seville. It is the dreamy grace of Lisbon, defined by the “Fado” music, the smell of the carnations, the blue color of its tiles, the flavor of an old wine from Porto.
In this same way, the pinkish stones of the palaces of the Knights in la Valletta (Malta), the foggy humidity of Dover (England) or the black crater of the Irazu Volcano (Costa Rica) can make the difference when the camera starts rolling. Or the golden light of the Wat Mahathat in Sukhothai (Thailand), the blue Lake Wakatipu (New Zealand), the yellow dunes of Merzouga (Morocco) and many other places around the globe.
The need for the perfect location goes much further than the quest for a specific type of geographic environment or an appropriate climate. It is a much more delicate, subliminal and creative approach. We shouldn’t look, for instance, for an “ancient European city” because thousands of places fit that description: Pompeii, Bath, Tour, Koblenz, Sigüenza, Budapest, Istanbul, Olympia, etc. We should, on the contrary, concentrate our quest on finding that unique atmosphere, texture, tone of color, type of light or shape that can make the commercial different, memorable, relevant.
Instead of exploring new territories, very often we are moved to go back repeatedly to the same places: if we go to Italy, we shoot in Tuscany, and in France, the spot is La Côte d’Azur. Why not Piedmont, Liguria or Trentino? Why not the Loire region, Provence or Alsace? Why not Spain, Belgium or Luxembourg instead? Why not Costa Rica, which I believe is the best-kept secret in Latin America as a production destination?
Putting the location exclusively on the creative side of the equation will indeed give a more consistent meaning to the international approach of a production. The quest for excellence is in this sense the antithesis of the runaway production concept.
By the way, this hunt for the best works both ways: European clients very often come to shoot in the U.S. After all, where else in the world can you get a place like the Bisti Badland (New Mexico), Ecola Park (Oregon) or Calle Ocho (Florida)?
L.A. Location Lensing Declines In 2024 Despite Uptick In 4th Quarter
FilmLA, partner film office for the City and County of Los Angeles and other local jurisdictions, has issued an update regarding regional filming activity. Overall production in Greater Los Angeles increased 6.2 percent from October through December 2024 to 5,860 Shoot Days (SD) according to FilmLA’s latest report. Most production types tracked by FilmLA achieved gains in the fourth quarter, except for reality TV, which instead logged its ninth consecutive quarter of year-over-year decline.
The lift across all remaining categories came too late to rescue 2024 from the combined effects of runaway production, industry contraction and slower-than-hoped-for post- strike recovery. With just 23,480 SD filmed on-location in L.A. in 2024, overall annual production finished the year 5.6 percent below the prior year. That made 2024 the second least productive year observed by FilmLA; only 2020, disrupted by the global COVID-19 pandemic, saw lower levels of filming in area communities.
The continuing decline of reality TV production in Los Angeles was among the most disappointing developments of 2024. Down 45.7 percent for the fourth quarter (to 774 SD), the category also finished the year down 45.9 percent (to 3,905 SD), which placed
it 43.1 percent below its five-year category average.
The two brightest spots in FilmLA’s latest report appeared in the feature film and television drama categories. Feature film production increased 82.4 percent in the fourth quarter to 589 SD, a gain analysts attribute to independent film activity. The
California Film & Television Tax Credit Program also played a part, driving 19.2 percent of quarterly category activity. Overall, annual Feature production was up 18.8 percent in 2024, though the... Read More