The Benefits of Filming on Location

The three years that saw much of the United States, and the world, under heavy restrictions due to Covid-19 fears prompted many people to examine ways of working remotely, including actors. The move to taping auditions opened up new opportunities for working actors, who figured that if U.S. studios can fly in British, Australian, and Canadian actors - and not just the big stars - they can certainly fly in American actors from Texas, Connecticut, Idaho, or any other state. At least that's the theory. Lots of talent out there.

I've been thinking about this and the many benefits of filming on location, because an article turned up today in Cowboy State Daily that discussed the many classic Western films with stories set in the beautiful mountains of Wyoming, - Butch Cassidy and the Sundance Kid (1969),  Cat Ballou (1965), Unforgiven (1992) and Shane (1953) to name a few.  Wyoming history is full of people and events with dramatic potential: the Johnson County War, the Wagon Box Fight, the building and impact of America's Transcontinental Railroad, the Hole-in-the-Wall Gang, and the more than 5,000 women ranchers at the time it was admitted to the Union in 1890. Still, only Shane was actually filmed in Wyoming. (See Andrew Rossi's full article at Cowboy State Daily)  

Understandably, it can be costly to haul cast and crew to a remote location (although that hasn't been a problem for New Zealand.)  Bollywood has found a way to significantly cut costs on Indian films by developing effective techniques for shooting in natural light, which can save a ton on set-up time and production. If you're a filmmaker that is worth studying, as it is being adopted by some directors. (The 2015 film The Revenant, with Leonardo DiCaprio, for example, was shot in natural light.)

Weather can be a problem too. Rocky Mountain living, for example, comes with cool and unpredictable weather spring and fall. Stories set in that location would logically show that, but weather can make for continuity issues if you're shooting over multiple days. Also, weather hasn't prevented John Linson and Taylor Sheridan's wonderful series Yellowstone from being filmed in Montana and Utah. Sheridan's terrific film Wind River does show a few clips of Lander, Wyoming, although principal photography was in Utah, a long way from the Wind River and Wind River Valley of Wyoming, an area that has a very distinctive topography. I suspect that the tax incentives offered by so many other states, like Georgia, are the primary consideration, and the Wyoming legislature is loathe to follow the herd on that one.

But I have to wonder what price filmmakers can put on authentic scenery, which can add so much to the look of the finished film?  Director George Stevens was a stickler for authentic locations. Here's the trailer from Shane, which he shot near Jackson, Wyoming, at Grand Teton National Park.  It would be hard to find this kind of grandeur anywhere else - clean haze-free air, dazzling sunlight, breathtaking mountains pushing up from a level plain. The film was nominated for six Academy Awards at the 1954 Oscars, including Best Picture, Director, and Screenplay.  It won for Loyal Griggs' stunning cinematography.

And yes, I wish they still made trailers like this one. 

 

Acting Tips: Consider Your Roles Carefully

In an earlier post, I cited Helen Mirren’s take from her online Masterclass on what makes a great script and a great role. It was wonderful advice from a consummate pro, and worth reading over and over. Now that we’re going back to work (and without hazmat suits!) actors are more than ready to work as a team with other professionals to create something wonderful. The industry continues to evolve. Netflix, Paramount, Amazon, and other studios are creating series for streaming that are imaginative, big budget, and exceptionally well-done. Big stars are starting their own production companies and turning out thoughtful films with great stories. Just look at the top Oscar contenders.

It’s worth remembering, however, that, unlike decades past, anything an actor appears in today will likely be posted online, including commercials, short films, and student films, so before jumping into a project, consider where you hope to go with your career, and what the impact of each role may be long-term.  

The following, for example, might need a second look before committing yourself to the project.

Films/TV with an obscene word in the title: Take a hard look at this one and ask yourself if seeing that title in your list of credits would embarrass you. Also, if it sets the tone for the entire film or series. 

Serious distortions of history or well-known literature, especially the historical events of a country or culture that is not your own. Examine these on a case-by-case basis. Screenwriters often alter reality to create a story. They have to, because lives are not set up as literature, and a work of fiction is typically too long to put on screen. Screenwriters can make a known work better, and often do, but if the story line really goes off the rails, see if there are balancing benefits, like the chance to expand your range with a very different type of role.

Fanning the flames of political divisions: Look past your current social circle and ask yourself if you’d be seriously alienating half of your potential audience right off the bat.

Raising awareness films: This is a trend that started with serious cultural issues (The Lost Weekend, Gentlemen’s Agreement, Guess Who’s Coming to Dinner), went on to disease films (pick your illness) and really can’t be justified at a time when information on any topic can be easily researched online. Nothing wrong with raising awareness, it’s just been done and done. 

The role is a caricature/stereotype with no backstory. A film doesn’t have to include throwaway roles (watch Casablanca, where even the background actors are interesting), but for actors - early in their careers especially - this kind of role is frequently what is offered. There’s no motivation indicated for the character, they just are. The role may even be described in the audition script as “a typical ______.” If you feel you really need a credit or the money, take the audition and try to make the role interesting. 

Commercials: There’s good money to be made doing commercials, but remember that because there is no credit roll at the end, commercials can come across as reality, not acting. They can impact how you are regarded for roles in other types of projects, or cast a certain light over a long and illustrious career (think Jane Powell and June Allyson, big stars of the 1940s/1950s who became known for commercials promoting eldercare products). Fit, glamorous, sophisticated, clever, funny? Go with it.

Extraneous dialog intended to stretch a 45-minute plot into an hour and a half. Read the full script. You’ll spot it. If your character has a few good scenes and you’re likely to get a usable clip, it may still be worth your time. 

Last, and probably most important, you wouldn’t want your children/parents/significant other to ever see you in it: From time to time we see trends in films where certain elements are added simply because the director CAN and not because it makes for a better film or furthers the plot. This was especially notable from the late 1960s into the 1980s when directors got carried away with obscene dialog, bathed the screen in blood spatter, explored degraded lifestyles, etc. Actors happily went along, because it felt arty, or at least naughty. 

Okay, we get it.  But it’s rather hard to be naughty these days. It’s all out there.