Chapter 18

 

Locations

 

INTRODUCTION

 

Finding just the right locations for your show starts with a good location manager who knows how to balance the artistic vision of the director, the financial constraints of the production and the logistical requirements presented by each location site.

Usually one of the very first to be brought onto a show, the location manager will read the script and then discuss location concepts with the director, producer, production designer and sometimes the studio production executive – individuals who may have competing interests and differences of opinions. These early discussions will give the location manager a sense of who holds the power on a particular show (on a feature, it’s often the director, but not always; and on a television show, it’s most likely the executive producer or producer). So now the challenge is honoring that power while keeping everyone happy – not always an easy feat.

Once there’s interest in a specific location, it has to be decided whether the cost, time and labor involved in making it work qualify it as a feasible choice. Then there are other issues to consider. How much will it cost to shoot on these premises? Will there be payments to neighboring residents and businesses? Will approvals be required from city, county or state regulatory agencies before a permit will be granted? How much will the permit cost? How much lead time do you need to get a permit? Will you require police and fire safety officers, and if so, how many of each? Can you use an off-duty fire safety officer or must it be one on active duty? Does this location have restricted hours in which you can shoot? If you’re shooting past a certain time at night, before a certain time in the morning or plan to make a great deal of noise, will you need permission from surrounding neighbors? Will you need neighborhood consent and/or special permits for the use of firearms or special effects at this location? Will you need to close a street? Will you need additional motorcycle police officers for intermittent traffic control? If so, how many? Will you need to post for parking? Will you have sufficient parking for your cast and crew at the location or will you have to find a nearby parking lot and shuttle everyone to the location site? Will you need to provide evidence of special or additional insurance coverage for use of this location?

The answers will not only depend on the particulars associated with the individual locations but will also vary from city, to county, to state, to country – each having its own set of fees and regulations. The sphere of Los Angeles County film permits alone encompasses approximately 35 individual cities within the Los Angeles area, plus Los Angeles City and Los Angeles County, each with its own filming guidelines. Each state has its own film office, and there are approximately 56 metropolitan U. S. cities and 49 international cities (outside of the United States) that have their own film offices. These offices are set up to enforce their specific film regulations, offer information, promote filmmaking in their city and assist the filmmakers who choose to shoot in their area.

All shows require the services of a location manager, but independent location scouting services are available to help you find locations as well – most with catalogs of locations you can start with. Commercial production companies with extremely short shooting schedules will often utilize the services of such companies. There are also companies and/or individuals who represent specific properties and others who specialize in specific types of locations (only warehouses and office buildings, only mansions, only schools and hospitals, etc.).

Film permit services also exist. They’ll apply for and obtain permits for you; and for additional fees (and as the city or jurisdiction you’re shooting in requires), they’ll secure police and fire officers, post for parking and/or collect neighborhood signatures if necessary (although it’s usually the assistant location managers whose job it is to go door-to-door collecting signatures).

The number of locations you need to find, the cost of each and consideration of your budget will determine the combination of location staff and/or services you’ll have on your show.

 

THE LOCATION MANAGER

A good location manager will not only be able to help determine where each location should be, but also to ascertain the specific fees, regulations and restrictions that come with each site. Most shows will employ at least one department head location manager and one key assistant location manager, while larger shows having many locations to find and monitor may find it necessary to staff their location department with an extra key assistant and two or three additional assistants or location scouts brought on as needed. If the show is shooting in various cities, it may employ more than one location manager, each with their own assistants.

In Los Angeles and 11 western states, location managers and assistant location managers are members of the Teamsters union. In New York, they’re members of the Directors Guild. Therefore, depending on where you’re based, you can’t hire a nonunion location manager if your show is signatory to one of these union agreements. Although their duties may differ somewhat based on the needs and locales of a specific production, the location manager’s basic responsibilities remain the same. The following should give you an overall awareness of (and hopefully an appreciation for) their contribution to your film.

To put it in a nutshell, the location manager’s job is to find, rent, run and restore locations. They’re the advance men and women who to the public represent the film, the production company, the studio – the entire industry. To the location property owners, they not only represent all of these, but are also the ones who hold their hands while their homes and properties are being invaded, rearranged and transformed. Once a location is set up, they’re the ones responsible for keeping the outside world from intruding. The best of the best have great people skills, can think outside of the proverbial box, have the ability to stay one step ahead of the rest of the company, can talk their way into or out of a multitude of situations, can think on their feet and have the chutzpah to convince others to temporarily give up their homes, put up with a great deal of noise, allow explosions on or near their property, allow big trucks to block the entrances to their stores, close roads, burn down buildings and turn their quiet worlds upside down for the sake of a check and a movie. More specifically, a location manager would:

• Breakdown the script and identify all interior and exterior locations and the time of day they’re scripted to be shot. After it’s been decided which locations will be practical and which will be constructed, the next step is to discuss visual concepts of each (practical) location with the producer, director, production designer and/or art director and to share ideas and suggestions.

• After receiving a tentative schedule from the production manager or assistant director, submit a departmental budget for approval (if one hasn’t already been locked in). Budgetary considerations include:

• Location staff

• Scouting costs

• Environmental or other required reports

• Permit fees

• Location site fees, including all prep, shoot, hold and strike days

• Courtesy payments to neighboring residents and merchants

• Resident and pet relocation fees

• Costs to move out furniture and valuables and move them all back

• Parking fees

• Map services and sign making costs

• Portable restrooms

• Tents, chairs, tables (in addition to what the caterer provides)

• Heating and air conditioning

• Water supply for Effects or fire suppression

• Security

• Traffic engineering (which involves street closures and having to reroute traffic)

• Police officers (as required) – some may be off-duty, others on-duty; they control traffic for security purposes and sometimes guard state or city property

• Fire officers (as required)

• National Park Rangers (if required)

• Hard phone lines (if required)

• Fees to location site reps (this could be a building engineer, in-house security officer or management)

• Restoration costs

• Call film offices/commissioners and start gathering information. If government facilities, railroad facilities, hotels, private businesses, theme/ball parks, schools, etc. are called for, then the appropriate appointments would be set up. (These things can sometimes take months to line up and gather proper approvals for, so the process should be started as soon as possible.)

• Make arrangements for aerial scouts, if necessary.

• Assemble the following items prior to scouting: proper clothing (plan on “layered” clothing to accommodate weather changes, an extra pair of shoes and/or boots, rain gear, etc.), sunscreen, sunglasses, a hat, mobile phone/BlackBerry, flashlight, business cards, a GPS system (if one isn’t already in the car), bottled water/ snacks, maps/a map book, phone numbers of vital contacts, a notebook and pen, and most importantly, a good digital still camera and/or digital video camera.

• Start scouting.

• Present a business to the owner of potential properties or to individuals who can legally act on behalf of the owners.

• Get permission to be on properties of interest and take stills or videotape potential sites. And although it’s definitely not the preferred way to approach a potential location, there are some location managers who will, if no one is around and they’re not sure who owns the property, discretely take photos anyway. A business card is then be left behind, requesting that the owner to call at their earliest convenience.

• Initiate a discussion with the owner regarding the use of the property and how long it would be needed. Some will jump at the opportunity, yet others may be reluctant, seeing only the disruption a film crew would create in their home (or business). But a skillful location manager (despite an owner’s hesitancy) will often find a way to make it work. It doesn’t hurt that in the U.S., an IRS provision allows income to a primary residence to be tax-free for up to 14 days a year. (Unfortunately, this doesn’t apply to businesses.)

• Discuss mutually acceptable location fees and shooting parameters with property owners and/or managers. Confirm times of access; that the site can accommodate an entire shooting company; that the perimeter of the property will accommodate production vehicles (and if not, if there is an alternative parking lot nearby); that external sound factors in the area are within acceptable limits; if the interior of the property is needed, whether the ceilings are high enough (10–12 ft. or vaulted is good) and whether access onto the property is sufficient. Also check out areas that might serve as potential cover sets at the same or nearby locations. If the location is a road or highway, ascertain the relevant city/county guidelines.

• Determine how far out the area of disruption would be. Some jurisdictions allow 300 feet around the entire perimeter, which would entail the actual location site as well as all production vehicles, the catering tent,etc. So sometimes, the smaller the production’s footprint, the better. And when there are restrictions like this that can’t be met, use of a remote base camp would be called for, as base camps aren’t subject to the same restrictions.

• Ascertain all permissions that must be secured before a permit can be issued. Depending on the location of the potential site, permissions are often required of various city, county and state entities/agencies such as: Police, Fire, Building and Safety, Air Quality Management, Water Quality, Fish and Wildlife Management (if you’re shooting in or along a river), Department of Public Works, Department of Transportation, Beaches and Harbors, Flood Control Districts, the Army Corps of Engineers, etc. You might need to commission an ecological survey or a biologist’s report attesting to the fact that the production will do no harm to the surrounding land, environment or wildlife. Your film commission, permit service and/or permit office will be able to tell you what permissions are required.

• Determine what would be required to create access to a location site of interest if access weren’t sufficient. This could entail such things as having a road and/or bridge built or arranging for helicopter drops. What it always boils down to is a question of how badly the location is wanted and how much the producers are willing to spend to make it happen. My location manager friend, Mike Neale arranged a film shoot in the desert for the film The Scorpion King. Between cast and crew, the shooting company was comprised of 300 people, and almost all moved around in dune buggies. Their biggest challenge was making sure that the camera wouldn’t capture any tire tracks, of which there were many. So Mike hired a group of laborers who laid on the back of a lowboy flatbed trailer with brooms and rakes, manually smoothing out the sand. A helicopter would then fly overhead to create a wind effect, leaving the sand looking untouched by civilization. All of this illustrates the magic of moviemaking in creating an alternative universe and the lengths we go to use a particular location.

• If a location seems to fit all prerequisites, determine whether there are other properties in the immediate vicinity that would potentially require approvals and/or payments (neighbors, if shooting will be particularly late or early; stores whose entrances might become blocked during business hours; nearby residences, businesses, signs and anything displaying a logo that could be prominent during exterior shooting and require legal clearance; neighboring properties that might be used for additional parking, etc.). Courtesy payments to nearby residents and businesses can run as much as or more than the actual location site rental fee.

• Present photos of possibilities to the producer, director and production designer. Of those they’re interested in, make sure all elements involved (site fees, courtesy payments, permit fees, fire, safety and security needs, insurance requirements, all approvals, etc.) will fit within the show’s budget and schedule.

• Arrange preliminary location scouts to the sites that meet the previously mentioned criteria. Early scouts are generally limited to the location manager taking the production designer to the sites he or she has shown interest in. The next scout (or two) would include the director, and subsequent scouts would include the producer(s), director of photography, 1st assistant director, art director, set decorator, production manager and transportation coordinator.

• Schedule at least one tech scout (after the locations are finalized and right before the beginning of principal photography) that would include the gaffer, key grip (sometimes their best boys as well), stunt and effects coordinators – and on commercials, an agency rep or two.

• Prior to the tech scout, the location department will prepare daily itineraries for all those going on the scout (as well as copies for the production office). Sometimes, with the help of the art department, entire packets will be prepared containing information pertaining to each location, including maps, photos, site and floor plans.

• Coordinate with the production office to make sure that the vans (or bus) being used for the scout are equipped with coolers full of cold drinks and snacks.

• Once locations are selected, finalize negotiations for location fees with property owners (or legal representatives of the owners), have owners sign a location agreement, collect other approvals (if necessary) from neighboring property owners, request payments for location fees and permits and present property owners (or reps) with certificates of insurance.

• Make arrangements for: permits, police, fire safety officers, security, a cleaning service, layout board, tents, parking cones, heating/air conditioning/fans, phone lines (if required), additional power, portable restrooms, ground leveling or road building if and as needed. If there’s not a specific permit office in your city, start with City Hall. If they don’t offer film permits, you may have to apply for a business license. Apply in a timely manner, as permits in many cities have to be applied for at least 48 hours (or more) in advance.

• Work closely with the property owners. If shooting inside their home, make sure they’re well-aware of all risks (a deposit against damages is sometimes requested). Let them know that floors will be covered with layout board, unused furniture will be covered with furniture pads or drop cloths and suggest they store their valuables or anything that could easily be broken. Sometimes, all (or certain rooms full of) furnishings and valuables are temporarily moved out of the house. If their belongings are going to moved out or moved around and rooms significantly altered, suggest that set dressers take photos of the rooms before anything is done, so everything can be returned to its original state once filming has been completed. Production companies will often pay for owners to stay in a hotel (and their pets in kennels) while their house is being prepped, shot-in and struck.

• Secure parking. If there isn’t enough parking at your location site, you’ll have to negotiate for the use of space at a near-by lot (church parking lots are always a good bet during the week and may only require a small donation), and Transportation will need to arrange for vans to shuttle cast/crew members back and forth.

• Whether parking is available at or near your location or a remote parking lot is necessary – create a basecamp that will accommodate some (or all) of the following (depending on the scope of your show):

• Trucks and trailers for Camera, Grip/Electric, Sound/Video, Props, Set Dressing, Props, Special Effects, Hair/Makeup and Wardrobe

• A gas truck, water truck and stand-by ambulance

• Cast dressing room trailers, buses and/or motor homes

• Special star trailers (in addition to their own), which might be outfitted to accommodate a gym and trainer, a personal chef, an assistant or two, a nanny and children

• Some actors come with their own compounds; other perk packages might include a basketball court

• Producer(s) and director’s trailers

• A holding area (if not the catering tent) and dressing rooms for extras

• A school room (often half of a double-banger dressing room trailer) l Screening room trailer

• Catering truck and tent

• Video village

• Honeywagon(s)

• Buses

• Shuttle vans

• VIP cars

• Arrange to have the area posted ahead of time, so the space will be available when production vehicles arrive. This is called “Post for Parking,” and it’s arranged through the permit process.

• In addition to parking, procure an area for catering to set up tables, chairs and tents from which to serve meals. Also secure an area for background players.

• Providing a remote communications system is sometimes the domain of Location, sometimes Production, sometimes Transportation and sometimes an individual hired solely to handle all things within the realm of telecommunications. Depending on where you’re shooting, how long you’ll be there and what your budget can accommodate, setting up a wireless communication system so computers can be utilized while on location can be as easy as installing a series of wireless hubs. For more remote locations, possibly a satellite system. And then there are those few actors and directors who insist on having hard phone and Internet lines (run into their trailers) when on location. A word of warning, though:even if doing this is possible, find out how much it’s going to cost and how long it’s going to take before you start the process. When it comes to communication systems of all kinds, the technology is continuing to advance by leaps and bounds, so talk to your telecommunications expert to explore all your latest options – no matter which department is responsible for setting it up.

• If not done by Production or Transportation, line up a water truck if any scheduled production activities could result in fire (specific trucks used for this purpose holding 2,000-4,000 gallons of water). Arrangements need to be made with the local water department and a fee paid for hooking into fire hydrants if necessary.

• Also if not done by Production, reserve a standby ambulance for heavy stunt days.

• Make detailed maps of how to get from the production office to each location site. Copies of maps should be available in the production office, given to prep crews and attached to the backs of call sheets whenever appropriate.

• Determine closest major hospital with emergency facilities that would be open during filming operations (trauma centers are the best if there’s one in the area). This emergency medical information should be indicated on site maps and all respective call sheets. If scheduled shooting activities include dangerous stunts and/or effects, the hospital should be contacted in advance and made aware of potential concerns. Many location managers routinely contact hospitals (regardless of stunts and effects) to inform them of upcoming filming activities in the area.

• Scout local hotels/motels in the vicinity of location sites (if necessary). There are times when even local locations might be considered far for certain cast and crew members – especially for those given exceptionally early calls or after night shoots when after wrap, many would prefer a hotel room to a long drive home in heavy traffic. Most hotels and motels will give film companies group rates (whether rooms are being paid for by the company or individuals) and will hold a block of rooms for you. Information about the hotels/motels should be released a week in advance of shooting at a location (usually by way of a memo attached to a call sheet). The memo should include a map, address, phone number, contact person and cost per night for each. This information is often offered as a courtesy even when the production is not paying for the rooms, and the production office will often make reservations for those wanting rooms.

• Have signs made with the name (or initials) of your show (and directional arrows) to be strategically posted leading up to each location. Some municipalities will charge extra for the privilege and will have their people remove the signs once filming in the area has been completed.

• Secure off-lot stage space when required. This could be a warehouse or other large work area.

• Distribute notification letters to residents and businesses in the area where the company will be filming – detailing shooting dates and times, any street closures and a name and number to contact if there’s a question or problem. (See sample at the end of the chapter.)

• Prepare a schedule that would place him/herself or an assistant location manager at each location site (with all permits in hand) during all filming activities, making sure that prepping and wrapping activities are also well-monitored.

 

FILMMAKER’S CODE OF CONDUCT

If location work is set up properly, with all members of the shooting company knowing up front what’s expected of them, residents who reside in the area where you’re filming are not unreasonably infringed upon. When filming in a commercial or industrial area, there should be little or no disruption to normal business activities, customer access and parking and the rights of the businesses to operate without interference should be protected.

Film units that have little regard for the location where they’re shooting or the surrounding neighborhood not only make it difficult for the next production company wanting to shoot at that location, but their behavior negatively affects the entire industry. Individual property owners and entire communities who have had poor experiences with film companies have ceased to allow any further filming activities on their premises or in their neighborhoods.

In an effort to improve the standards of the film industry and to endorse better community relations and location preservation, leaders within the industry came together to formulate the Filmmaker’s Code of Professional Responsibility for location filming. These guidelines are being promoted by all the major studios and many unions, guilds and industry-related organizations. They’ve become an (unofficial) industry standard. The program needs to be encouraged and implemented throughout the film community, worldwide and extending to the smallest of film units.

Copy and distribute copies of the following to your entire cast and crew, and attach additional copies to daily call sheets when necessary.

 

Filmmaker’s Code of Conduct

 

• When filming in a neighborhood or business district, proper notification is to be provided to each merchant or neighbor who’s directly affected by the company (this includes parking, base camps and meal areas). Attached to the filming notification distributed to the neighborhood, the following should be included:

• Name of company

• Name of production

• Kind of production (e.g., feature film, movie for television, TV pilot, etc.)

• Type of activity and duration (i.e., times, dates and number of days, including prep and strike)

• Company contacts (first assistant director, unit production manager, location manager)

• Every member of the crew shall wear a production identification pass/badge when issued.

• No alcohol should be consumed on location.

• Production vehicles arriving on location in or near a residential neighborhood shall not enter the area before the time stipulated in the permit, and shall park one by one, turning off engines as soon as possible. Cast and crew shall observe designated parking areas.

• Production vehicles may not block or park in driveways without the express permission of the driveway owner or local municipal authority.

• The removal, moving or towing of residents’ vehicles is prohibited without the express permission of the owner or local municipal authority.

• All members of the cast and crew must make every effort to keep noise levels to a minimum. Placement of the generator, honeywagon and catering truck should take neighbors into consideration.Motors should never be left running unless a vehicle or generator is actually in use. Yelling and bullhorns should be minimized, especially at night. Simulated gunfire should be used sparingly and judiciously; full load blanks should be avoided.

• Do not trespass onto other neighbors’ or merchants’ property. Remain within the boundaries of the property that has been permitted for filming.

• The removal, trimming and/or cutting of vegetation or trees is prohibited unless approved by the permit authority or property owner.

• Crew members must wear shirts and shoes at all times, unless otherwise directed. Articles of clothing that do not display common sense or good taste must not be worn to work.

• Cast and crew will refrain from the use of lewd or improper language within earshot of the general public.

• Observe designated smoking areas and always extinguish cigarettes in butt cans.

• The cast and crew shall not bring guests or pets to the location, unless expressly authorized in advance by the company.

• Cast and crew meals shall be confined to the area designated in the location agreement or permit. Individuals shall eat within their designated meal area, during scheduled crew meals.

• Remember to use the proper receptacles for the disposal of all napkins, plates and coffee cups that you may use in the course of the working day.

• All catering, crafts service, construction, strike and personal trash must be removed from the location.

• Crew members shall not display signs, posters or pictures on vehicles that do not reflect common sense or good taste (i.e., pinup posters).

• All signs erected or removed for filming purposes will be removed or replaced upon completion of the use of that location unless otherwise stipulated by the location agreement or permit. Also remember to remove all signs posted to direct the company to the location.

• The company will comply with the provisions of the parking permit.

In addition to the code of conduct guidelines as listed here, remind your crew to operate with great care when shooting inside of someone’s home or office. Be especially aware of potential dents, scratches and stains that could easily occur while setting up and moving equipment. Protect walls, doors, floors, and carpeting to the best of your ability and cover furniture not being used.

 

Once filming has been completed and a location wrapped, the location manager or assistant location manager schedule a post shoot walk-through with the property owner(s). At this time, if all location fees have been paid and the property has been cleaned, repaired and returned to a condition at least as good as before the company arrived, the owner is asked to sign a Location Release. This form formally releases the production from any further obligations to the owner, whether it be for location fees or restoration to the property.

 

SAMPLE NOTIFICATION LETTER

 

Here’s a sample notification letter donated by my pal Ned Shapiro, who wrote it for one of the pictures he was on. I’ve removed some of the details, but you’ll get the gist of it. And as you’ll see, it makes much more sense to customize notification letters, making them specific to the needs of both the production and the neighboring residents and business owners. They’re much more personal and effective than form letters.

I’d like to thank my two favorite location managers, Ned Shapiro and Michael Neale, for their help with this chapter.

SAMPLE NOTIFICATION LETTER

(on production letterhead)

Dear Neighbor,

_________________________Productions is planning to film scenes for the feature film, (name of film) at (location). The scheduled dates for filming will be _________________________. We will be filming night scenes, so we will be working late both nights. Right now, the approximate filming hours will be 3:00PM until 3:00AM on Thursday and 3:00PM until 4:00AM on Friday into Saturday morning. We apologize for the late hours, but these are night scenes, and we have scheduled them for late in the week, especially Friday, so the fewest of you will be affected by having to get up for work or for school the next morning. We will make every effort to be as quiet as possible.

We will be parking our production trucks on (street) to keep them out of our shots. In order to keep disturbances to a minimum, we would like to leave our trucks on the street on Friday. We will be removing them very early Saturday morning.

On Thursday, we will be coming from another location, arriving around 2:00 or 3:00 in the afternoon. We will shooting a car stunt in which the car will travel southbound on______________________________________ Street and make a left onto____________________ and drive up on the front lawn of________________________________ That is all that is scheduled for Thursday. Friday will have interior and exterior filming, with the bulk of it being interiors.

On both nights, we will be using movie lights to light up the exterior scenes. As a rule, these lights are not invasive. We use them for a moonlight effect. Occasionally, one will “hit” a bedroom window. Curtains or shades are usually enough to correct any problem. If they don’t, then we can provide a darker, denser cloth to block the light entirely.

We will be asking some of you to leave some lights on in your homes so the neighborhood will look “alive.” We may even ask if we can put a small movie light in your home. In both cases, you will be compensated.

These scenes we will be shooting will be depicting (name of city) in (year). When we are filming our exterior shots, we will put our own “period” cars on the street with (name of state) license plates on them. We also may ask some of you if we can place one of these cars in your driveway for use in the movie. We may also ask you to move your personal car either to the rear of the driveway, or some other place out of camera range. Again, we will compensate you for this inconvenience.

We realize we are guests in your neighborhood and will do everything we can to make this a great experience for all of you and for all of us.

If you have any questions or concerns, please feel free to call me.

Sincerely,

(location manager’s name)

Location Manager

(name of film)

(location manager’s cell number)

 

FORMS IN THIS CHAPTER

 

• Location Agreement – standard form securing permission to enter and film on a property.

• Non-Filmed Location Agreement – this form secures permission for use of a property for the purpose of parking, holding, serving meals, staging or other nonfilming activity.

• Location Release (explained earlier)

• Location Information Sheet

• Location List

• Request to Film During Extended Hours

 

LOCATION AGREEMENT

 

Dear Ladies and Gentlemen:

1. I, the undersigned owner or agent, whichever is applicable, hereby irrevocably grants to [NAME OF PRODUCTION ENTITY] (“Producer”), and its agents, employees, contractors and suppliers, the right to enter and remain upon and use the property, both real and personal, located at: [ADDRESS AND/OR DESCRIPTION OF PROPERTY LOCATION] (the “Property”), including without limitation, all interior and exterior areas, buildings and other structures of the Property and owner’s name, logo, trademark, service mark and/or slogan, and any other identifying features associated therewith or which appear in, on or about the Property, for the purpose of photographing (including without limitation by means of motion picture, still or videotape photography) said premises, sets and structures and/or recording sound in connection with the production, exhibition, advertising and exploitation of the [TYPE OF PRODUCTION, SUCH AS THEATRICAL FEATURE, TV SHOW, ETC.] tentatively entitled [TITLE OF PROJECT] (the “Picture”).

2. Producer may take possession of said premises commencing on or about [ENTER DATE] subject to change because of weather conditions or changes in production schedule, and continuing until the completion of all scenes and work required.

3. Charges: As complete and full payment for all of the rights granted to Producer hereunder, Producer shall pay to Owner the total amount of $[ENTER AMOUNT], broken-down as follows:

All charges are payable on completion of all work completed, unless specifically agreed to the contrary. Producer is not obligated to actually use the property or produce a [TYPE OF PRODUCTION] or include material photographed or recorded hereunder in the Picture. Producer may at any time elect not to use the Property by giving Owner or agent 24 hours written notice of such election, in which case neither party shall have any obligation hereunder.

4. Producer may place all necessary facilities and equipment, including temporary sets, on the Property, and agrees to remove same after completion of work and leave the Property in as good condition as when received, reasonable wear and tear from uses permitted herein excepted. Signs on the Property may, but need not, be removed or changed, but, if removed or changed, must be replaced. In connection with the Picture, Producer may refer to the Property or any part thereof by any fictitious name and may attribute any fictitious events as occurring on the Property. Owner irrevocably grants to Producer and Producer’s successors and assigns the right, in perpetuity, throughout the universe, to duplicate and recreate all or a portion of the Property and to use such duplicates and recreations in any media and/or manner now known or hereafter devised in connection with the Picture, including without limitation sequels and remakes, merchandising, theme parks and studio tours, and in connection with publicity, promotion and/or advertising for any or all of the foregoing.

5. Producer agrees to use reasonable care to prevent damage to the Property and will indemnify and hold Owner harmless from and against any claims or demands arising out of or based upon personal injuries, death or property damage (ordinary wear and tear excepted), suffered by such person(s) resulting directly from any act of negligence on Producer’s part in connection with the work hereunder.

6. All rights of every nature whatsoever in and to all still pictures, motion pictures, videotapes, photographs and sound recordings made hereunder, shall be owned by Producer and its successors, assigns and licensees, and neither Owner nor any tenant, or other party now or hereafter having an interest in said property, shall have any right of action against Producer or any other party arising out of any use of said still pictures, motion pictures, videotapes, photographs and or sound recordings, whether or not such use is or may claimed to be, defamatory, untrue or censurable in nature. In addition, neither Owner nor any tenant, nor any other party now or hereafter having an interest in the Property, shall have any right of action, including, but not limited to, those based upon invasion of privacy, publicity, defamation, or other civil rights, in connection with the exercise of the permission and/or rights granted by Owner to Producer. If there is a breach by Producer hereunder, Owner shall be limited to an action at law for monetary damages. In no event shall Owner have the right to enjoin the development, production, distribution or exploitation of the Picture.

7. Force Majeure: If because of illness of actors, director or other essential artists and crew, weather conditions, defective film or equipment or any other occurrence beyond Producer’s control, Producer is unable to start work on the date designated above and/or work in progress is interrupted during use of the Property by Producer, then Producer shall have the right to use the Property at a later date to be mutually agreed upon and/or to extend the period set forth in Paragraph 2, and any such use shall be included in the compensation paid pursuant to Paragraph 3 above.

8. At any time within six (6) months from the date Producer completes its use of the Property hereunder, Producer may, upon not less than five (5) days prior written notice to Owner, reenter and use the Property for such period as may be reasonable necessary to photograph retakes, added scenes, etc. desired by Producer upon the same terms and conditions as contained in this agreement.

9. Owner warrants neither he or anyone acting for him, gave or agreed to give anything of value, except for use of the Property, to Producer or anyone associated with the production for using said Property as a shooting location.

10. Owner represents and warrants that he/she is the owner and/or authorized representative of the Property, and that Owner has the authority to grant Producer the permission and rights granted in this agreement, and that no one else’s permission is required. If any question arises regarding Owner’s authority to grant the permission and rights granted in this agreement, Owner agrees to indemnify Producer and assume responsibility for any loss and liability incurred as a result of its breach of the representation of authority contained in this paragraph, including reasonable attorneys’ fees.

11. If there is a dispute between the parties, Owner’s remedies will be limited to an action at law for money damages, and in no event will Owner have the right to seek injunctive or equitable relief or to otherwise enjoin the production distribution, marketing or exploitation of the Picture.

This agreement constitutes the entire understanding between the parties, supersedes any prior understanding relating thereto and shall not be modified except by a writing signed by the parties.

NON-FILMED LOCATION AGREEMENT

To the Producer:

I, the undersigned owner or agent, whichever is applicable, hereby irrevocably grants to Producer, its employees, agents, contractors and suppliers, and such other parties as it may authorize or designate, to enter and use, for the purpose of: [INDICATE WHETHER PARKING, HOLDING, SERVING MEALS, STAGING, ETC.] the Property located at the address set forth above hereinafter referred to as the “Property” which Property consists of: [ADDRESS AND/OR DESCRIPTION OF PROPERTY LOCATION] (description), which permission includes access to and from the Property and the rights to bring and utilize thereon personnel, personal property, material and equipment. Producer shall leave the Property in substantially as good condition as when received by Producer, excepting reasonable wear and tear and use of the Property for the purposes herein permitted.

 

Access to the Property is granted for [AMOUNT OF DAYS/WEEKS], commencing approximately [START DATE] (the “Term”).

 

As consideration for the rights herein granted, and provided Producer actually does so enter and remain upon said Premises, Producer agrees to pay Licensor the total sum of $[AMOUNT TO BE PAID] as payment in full therefore.

 

In the event that any loss and liability is incurred as a direct result of any property damage to the Property occurring on the Property caused by Producer in connection with the aforementioned use of the Property, Producer agrees to pay for all reasonable costs of actual and verifiable damage. In this connection, the undersigned agrees to participate in a walk-through of the Property with Producer’s representative (Location Manager) to inspect the property so damaged.

 

Producer further agrees to hold the undersigned harmless from any and all third-party suits, claims, or loss or liabilities caused by Producer in connection with the aforementioned use of the Property.

 

If there is a dispute between the parties, Owner’s remedies will be limited to an action at law for money damages and in no event will Owner have the right to seek injunctive or equitable relief or to otherwise enjoin the production distribution, marketing or exploitation of the Picture.

 

This Agreement may not be altered except by a written instrument signed by both parties. This Agreement shall be binding upon and inure to the benefit of the undersigned and Producer and their respective successors and assigns.

 

The undersigned warrants that the undersigned has the full right to enter into this Agreement and that the consent of no other party is necessary to effectuate the full and complete permission granted herein.

LOCATION RELEASE

 

To the Producer:

I, the undersigned owner or agent (collectively, “Owner”) hereby acknowledges that the Property as referred to in the LOCATION AGREEMENT between Producer and Owner dated [DATE INDICATED ON LOCATION AGREEMENT], (the “Agreement”) has been returned to Owner in substantially the same condition as it was in prior to Producer’s use thereof:

 

Owner hereby acknowledges that:

(a) all payments required under the Agreement have been paid;

(b) no additional restoration work is required in connection with the Property;

(c) Owner and any individual who entered the Property at the invitation or on behalf of Owner, suffered no personal loss or damage in connection with the use of the Property by Producer; and

(d) Producer has no other rsponsibilities in connection with the Property other than to continue to hold Owner harmless from any and all third-party suits, claims, or loss or liabilities directly resulting from Producer’s use of the Property.

Owner hereby releases and forever discharges Producer, its parent, subsidiary, affiliated and associated companies and its and their officers, employees and agents, and their successors and assigns of and from any and all claims, debts, demands, liabilities, obligations, costs, expenses, damages, actions and causes of action of whatsoever kind or nature, whether known or unknown, which Owner has ever had, now has or which Owner or any of its successors or assigns hereafter can, shall or may have against Producer based on or arising out of, relating to or in connection with the Agreement.

 

Producer may assign, transfer, license, delegate and/or grant all or any part of its rights, privileges and property hereunder to any person or entity. This Agreement shall be binding upon and shall inure to the benefit of the parties hereto and their respective heirs, executors, administrators, successors and assigns. This Agreement and Owner’s rights and obligations hereunder may not be assigned by Owner.

 

ACCEPTED & AGREED TO:

 

 

REQUEST TO FILM DURING EXTENDED HOURS

 

Dear Resident

 

This is to inform you that XXY PRODUCTIONS will be shooting a film entitled “HERBY’S SUMMER VACATION” in your neighborhood at the following address: 12353 Rose Street. Filming activities in residential areas is normally allowed only between the hours of 8:00 a.m and 8:00 p.m. in order to extend the hours before and/or after these times. the City requires that we obtain a signature ofapproval from the neighbors. The following information pertains to thedates and times of our scheduled shoot and any specific informating you may need to know regarding our filming activties.

we have obtained or applied for all necessary City permlts and maintain all legally required liabiliy insurance. A copy of our film permit will be on file at the City Film Office and will also be available at our shooting location.

FILMING DAYS/HOURS REQUESTED: on August 3rd and 4th, 19XX

from 10:00 a.m to 10:00 p.m

and August 5th and 6th, 19XX

from 12:00 noon to 12:00 midnight

THE FOLLOWING ACTIVITIES ARE PLANNED THE EXTENDED HOURS:

A backyard party to include approximately 80 extras, a minimal amount of loud music and a stunt where ten guests fall into the swimming pool.

We appreciate your hospitality and cooperation. We wish to make fliming on your street a pleasant experince for both you and us. if you have any questions or concerns before or during the filming, please feel to call our Production Office and ask for me or the Production Manger.