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Featuring Finalists
Michael Burmeister
Rick Schuler
Steve Mapel
John Rizzi
Develyn Watson
Eric Fierstein
Steve Woroniecki
Brian O’Neill
Mark Zekanis
CALIFORNIA ON LOCATION AWARDS
NETFLIX: CONGRATS
PUB DATE 12/17/17
TRIM: 8.375” X 10.875” BLEED: 8.625” X 11.125”
NETFLIX
PROUDLY CONGRATULATES THE
CALIFORNIA ON
LOCATION AWARDS
FINALISTS
AND SALUTES
ALL OF TONIGHT’S WINNERS
CALIFORNIA ON LOCATION AWARDS
Home of the
Proud to be the choice for on-location production since 1955!
FEATURES
COLA
CEREMONY
WHAT’S INSIDE
2017
7. Words from Governor Jerry Brown
8. Words from California Film Commission
Executive Director Amy Lemisch and FLICS
President Cassandra Hesseltine
11. COLA FLICS Committee & Show Credits
15. Hosts
15. Introduction to Judges
16. Finalists
72. About FLICS
72. Ad Index
20. Suburbicon: A Conversation with Location
Manager Michael Burmeister
26. Rick Schuler and Steve Mapel on
A Star is Born
34. Venturing o the Beaten Path with Jeep
42. Q&A with Rob Frank
44. e Air Force Elevates A Wrinkle in Time
50. Location Prole: Riverside County
55. Q&A with Carolyn Schultz
56. Working for e Weeknd with Mark Zekanis
62. Managing the One-Hour
26.
20.
34.
44.
4 California on Location Awards
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Global Communications - Creative Services
PUBLICATION: DATE:
RUN DATE: www.sonypictures.com
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All Rights Reserved.
2017 California On Location Awards
SONY PICTURES ENTERTAINMENT
Warmly Salutes
CALIFORNIA’S
LOCATION
PROFESSIONALS
MIRAFLORES WINERY OPEN DAILY 10AM TO 5PM
2120 FOUR SPRINGS TRAIL, PLACERVILLE, CA 95667
530.647.8505 www.mirafloreswinery.com
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OFFICE OF THE GOVERNOR
GOVERNOR EDMUND G. BROWN JR. • SACRAMENTO, CALIFORNIA 95814 • (916) 445-2841
December 17, 2017
California on Location Awards
I am pleased to welcome everyone gathered for the 23rd annual
California on Location Awards.
California’s endless coastlines, mild climate, and diverse geography
help create a perfect setting for movies. I salute your organization for
promoting California’s assets and bringing job growth to our
economy. I applaud your efforts to enhance the entertainment
business in our state. Thank you for your dedication to keeping our
state at the forefront of this signature industry.
My congratulations go to all the nominees and winners for their
outstanding achievements and commitment to excellence.
Sincerely,
EDMUND G. BROWN JR.
December 17, 2017
California on Location Awards
I am pleased to welcome everyone gathered for the
23rd annual California on Location Awards.
California’s endless coastlines, mild climate, and
diverse geography help create a perfect setting for
movies. I salute your organization for promoting
California’s assets and bringing job growth to our
economy. I applaud your eorts to enhance the
entertainment business in our state. ank you for
your dedication to keeping our state at the forefront
of this signature industry.
My congratulations go to all the nominees and win-
ners for their outstanding achievements and com-
mitment to excellence.
OFFICE OF THE GOVERNOR
GOVERNOR EDMUND G. BROWN JR. • SACRAMENTO, CALIFORNIA 95814 • (916) 445-2841
December 17, 2017
California on Location Awards
I am pleased to welcome everyone gathered for the 23rd annual
California on Location Awards.
California’s endless coastlines, mild climate, and diverse geography
help create a perfect setting for movies. I salute your organization for
promoting California’s assets and bringing job growth to our
economy. I applaud your efforts to enhance the entertainment
business in our state. Thank you for your dedication to keeping our
state at the forefront of this signature industry.
My congratulations go to all the nominees and winners for their
outstanding achievements and commitment to excellence.
Sincerely,
EDMUND G. BROWN JR.
Sincerely,
OFFICE OF THE GOVERNOR
GOVERNOR EDMUND G. BROWN JR. • SACRAMENTO, CALIFORNIA 95814 • (916) 445-2841
December 17, 2017
California on Location Awards
I am pleased to welcome everyone gathered for the 23rd annual
California on Location Awards.
California’s endless coastlines, mild climate, and diverse geography
help create a perfect setting for movies. I salute your organization for
promoting California’s assets and bringing job growth to our
economy. I applaud your efforts to enhance the entertainment
business in our state. Thank you for your dedication to keeping our
state at the forefront of this signature industry.
My congratulations go to all the nominees and winners for their
outstanding achievements and commitment to excellence.
Sincerely,
EDMUND G. BROWN JR.
www.californiaonlocationawards.com 7
December 17, 2017
is is a great year to recognize the achievements and
contributions of California’s dedicated location managers
working up and down the State.
Working together, the Film Liaisons in California Statewide and
the California Film Commission are more eective than ever in
attracting and retaining productions by providing exceptional
service to the production industry. e expanded Film and
Television Tax Credit Program 2.0 has helped level the playing
eld and rearm the many reasons why California is the rst
and best choice. Regions across the state have benetted from
an increase in production as incentivized productions have
taken advantage of stunning locations in Humboldt, Marin,
Orange, Solano, Santa Cruz, San Bernardino and San Diego
Counties to name a few.
e California Film Commission and Film Liaisons in
California Statewide are proud to be part of this evening’s 23rd
Annual California On-Location Awards which comes on the
heels of a banner year for production in California.
We have much to celebrate as we honor the achievements of
location managers and public employees working across the
Golden State. Congratulations to all of the nominees, and
profound thanks to each and every location manager working
in California.
Cassandra Hesseltine
Presidents, FLICS
Humboldt/Del Norte Film Commissioner
Amy Lemisch
Executive Director
California Film Commission
8 California on Location Awards
FILM LIAISONS IN CALIFORNIA STATEWIDE
FLICS
FILM LIAISONS IN CALIFORNIA STATEWIDE
COLA MAGAZINE 2017
Published by Mystic Creative
www.createmyst.com
www.californiaonlocationawards.com
All rights reserved. Reproduction in whole or part without
express written permission is strictly prohibited.
Copyright © 2017 California On Location Awards
COLA Co- Chairs:
Janice Arrington – Orange County
Charla Teeters – Imperial County
Sponsorships:
Kathleen Dodge – El Dorado/Lake Tahoe
Eric Coyne – Tulare County
Sabrina Charlson – Film Shasta
AV Follow-up:
Cassandra Hesseltine – Humboldt & Del Norte
Eddie Robinson – West Hollywood
COLA Awards:
Alicia Vennos - Mono County
Gift Baskets:
Lucy Steens – Sacramento
Accounting:
Melody Lilley – FilmL.A.
Cassandra Hesseltine – FLICS President
Film Liaisons in California Statewide (FLICS)
COLA 2017 FLICS
Committee THE
SHOW
The California on Location Awards is brought to you by FLICS.
Executive Producer/Director
Rajan Shandil - Wirere Labs
Event Designer, Nominations and Venue
Karen Marshall - Lucky Pineapple Events
Registration
Lisa Purcell-Rorick
The Beverly Hilton
Michael Robertson - General Manager
Briana Wellman-Zuziak - Senior Catering Manager
Rachel Wolfe - ENCORE, Dir. of Event Technologies
Magazine Editor
Dyana Carmella - Mystic Creative
Creative Director
Rajan Shandil
Copy Editor
Lauren Waldron
Sponsorships
Janet Spiegel - Spiegel Media
Contributing Writer
Eleni Roussos
GIFT BASKETS
Antelope Valley Film Oce
www.avlm.com
El Dorado Lake Tahoe Film & Media Oce
www.lmtahoe.com
Humboldt-Del Norte Film Commission
www.lmhumboldtdelnorte.org
Mono County Film Commission (Mammoth Mountain)
www.lmmonocounty.com
Pasadena Film Oce
www.lmpasadena.com
Placer – Lake Tahoe Film Oce
www.placer.ca.gov/lms
Shasta County Film Commission
www.lmShasta.com
Tulare County Film Commission
www.lmtularecounty.com
ON THE COVER
Location Manager
Michael Burmeister
www.californiaonlocationawards.com 11
Paramount Pictures
proudly supports the
California On Location Awards
California On Location Awards is a registered trademark of FLICS.
® & ©2017 Home Box Offi ce, Inc. All rights reserved.
TO OUR FINALISTS AT THE
CALIFORNIA ON LOCATION AWARDS
THANK YOU, FILM LIAISONS IN
CALIFORNIA, STATEWIDE
FOR YOUR RECOGNITION
™
SEASON 6
TELEVISION–HALF HOUR–LOCATION TEAM
CALEB DUFFY, LOCATION MANAGER
CLAY VALENTI, KEY ASSISTANT LOCATION MANAGER
TAYLOR ERICKSON, KEY ASSISTANT LOCATION MANAGER
JENNIFER KENNEDY, KEY ASSISTANT LOCATION MANAGER
JOHN JAMIESON, ASSISTANT LOCATION MANAGER
SEASON 4
TELEVISION–HALF HOUR–LOCATION TEAM
CAROLYN SCHULTZ, LOCATION MANAGER
NEWTON BASS, KEY ASSISTANT LOCATION MANAGER
WILL RUVALCABA, KEY ASSISTANT LOCATION MANAGER
PHILIP FRACASSI, KEY ASSISTANT LOCATION MANAGER
JOHN NABET, ASSISTANT LOCATION MANAGER
TELEVISION–ONE HOUR–LOCATION TEAM
GREGORY ALPERT, LOCATION MANAGER
HARRY MIDDLETON, KEY ASSISTANT LOCATION MANAGER
J.P. O’CONNOR, KEY ASSISTANT LOCATION MANAGER
ALEX KIVLEN, KEY ASSISTANT LOCATION MANAGER
KATHY MCCURDY, KEY ASSISTANT LOCATION MANAGER
SAM GOMEZ, KEY ASSISTANT LOCATION MANAGER
RACHEL NELSON, LOCATION DEPARTMENT COORDINATOR
JERE NEWTON, MONTEREY LOCATION LIAISON
ASSISTANT LOCATION MANAGER OF THE YEAR–TELEVISION
J.P. O’CONNOR, ASSISTANT LOCATION MANAGER
SHARP OBJECTS
CONGRATULATIONS
,
Photos by Geo Juckes
13
2
4
58
91110 12 13
1.) Jim Bouvet - Radical Media, Executive Producer/ West Coast President AICP 2.) Deven Chierighino - Location Manager 3.) Steve Dayan
- Secretary Treasurer for Studio Transportation Drivers, Teamsters Local 3994.) Ed Duy - Vice President, Teamsters Local 399 5.) Justin
Hill - Location Manager6.) JJ Levine - Location Manager 7.)Bill Macdonald - Producer/Writer 8.) Marcus Morton - Producer/Writer 9.)
Richard Prince - Producer/Production Manager 10.) Nina Ruscio - Production Designer 11.) Rick Schuler - Location Manager 12.) Michael
Wesley - Location Manager
Judges
6
www.californiaonlocationawards.com 15
Hosts
Patrick FabianBailey Chase Stuart Brazell
Actor
“24: Legacy”
“Longmire”
www.baileychase.com
Actor
“Better Call Saul”
“Newsroom”
www.patrickfabian.com
TV and Digital
Host/Producer
www.stuartsays.com
NOMINEES
LOCATION MANAGER - Studio Feature Film
Valley Girl - Kristi Frankenheimer
Bright - Michael Haro
A Star Is Born - Steve Mapel
A Wrinkle In Time - Alison Taylor
LOCATION MANAGER - Television Half Hour
“Brooklyn Nine-Nine” - Kyle Alexander
“American Housewife, Season 1” - Albert Epps
“Rhett & Link’s Buddy System, Season 2” - Heather Haase
LOCATION MANAGER - Television One Hour
“I’m Dying Up Here” - Eric Fierstein
“Snowfall” - Brian O’Neill
“Get Shorty” - Steve Woroniecki
LOCATION MANAGER - Feature Film, Indie
Suburbicon - Michael Burmeister
Senior Moment - Kevin J. Collins
e Toy Box - Brian Nagel
LOCATION MANAGER - Commercial
“French Fashion”- Geo Juckes
“Truth: Anti-Smoking” - David Nakata
“Visit California Tourism” - Wilson Wu
LOCATION MANAGER - Music Video
e Weeknd, False Alarm - Mark Zekanis
Kamasi Washington- Chris Gutierrez
U2, Joshua Tree Project - Gil Evans
LOCATION MANAGER - Reality Television
“e Voice” - Alexandra Gibson
“America’s Next Top Model” - John Grant
“Top Gear” - Jennifer Sims
LOCATION MANAGER – Stills
“Four Wheeler Magazine” 2017 Truck of the Year - Ken Brubaker
“BMW X3” - Peter Orth
“Casio Watch Company” - Timothy White
ASST. LOCATION MANAGER – Television
Masters of Sex - Nick Carr
Sharp Objects - J.P. O’Connor
Bosch - Eva Schroeder
ASST. LOCATION MANAGER - Feature Film
Hotel Artemis - Lee David Lee
A Wrinkle in Time - Pedro Mata
Bright - David Park
PUBLIC EMPLOYEE – Federal
John A. Blanco – FAA Manager, LAX Flight Standards
District Oce
Capt. John W Pruitt III – United States Coast Guard (Ret).
Develyn Watson – Deputy Director Air Force
Entertainment Liaison Oce
PUBLIC EMPLOYEE – State
Marsha Feldman – Mountains Recreation & Conservancy
Authority
Ramiro Rodriguez – California State Fire Marshal
Roger San Juan – Dept. of Transportation
PUBLIC EMPLOYEE – County
Sheri Lieutenant James C. Byers – El Dorado County
Sam Chinn, Greg Graham – L.A. County Public Works
Scott Grigsby – Los Angeles County Fire
PUBLIC EMPLOYEE – City
Brian Baltazar, Pierre Riotoc, Eric Robles - City of LA
Dept. of General Services Special Events & Filming
Janice Lopez – City of Palm Springs
Captain John Sitar – Ontario Fire Department
INDIVIDUAL TEAMSTER 399 AWARDS
PUBLIC
2017
16 California on Location Awards
NOMINEES
ASST. LOCATION MANAGER – Television
Masters of Sex - Nick Carr
Sharp Objects - J.P. O’Connor
Bosch - Eva Schroeder
ASST. LOCATION MANAGER - Feature Film
Hotel Artemis - Lee David Lee
A Wrinkle in Time - Pedro Mata
Bright - David Park
TEAM [work]
TEAMSTER 399 AWARDS
LOCATION TEAM - Feature Film, Studio
Battle of the Sexes
Chris Baugh – Location Manager
Aurora Quinones – Key Asst. Location Manager
Darrin Cummings – Key Asst. Location Manager
Sophia Ochoa – Key Asst. Location Manager
Rick Poyner – Key Asst. Location Manager
Kim O’Brien - Jordan – Asst. Location Manager
Lori Balton – Location Scout
Jimmy Hang - Location Assistant
Bright
Michael Haro – Supervising Location Manager
Becky Brake – Location Manager
Earl West - Location Manager
Nancy Bruno – Key Asst. Location Manager
Rich Heichel – Key Asst. Location Manager
Ben McCrea – Key Asst. Location Manager
J.P. O’Connor – Key Asst. Location Manager
David Park – Key Asst. Location Manager
Daniel Alvarez – Asst. Location Manager
Chris Beal – Asst. Location Manager
Anthony Carillo – Asst. Location Manager
Mario Rene Hernandez – Asst. Location Manager
Phillip Oglesby – Asst. Location Manager
Peter Martorano – Key Location Manager, 2nd Unit
Dale Dreher – Location Manager, 2n d Unit
George Alvarezzo – Key Asst. Location Manager, 2nd Unit
William Jorgenson – Key Asst. Location Manager, 2nd Unit
Star Is Born
Steve Mapel – Location Manager
Rick Schuler – Location Manager
Scott Fitzgerald – Key Asst. Location Manager
Kirk Worley – Key Asst. Location Manager
Scott Kradolfer – Key Asst. Location Manager
Suzanne Shugarman - Asst. Location Manager
LOCATION TEAM – Television Half Hour
“Transparent” Season 4
Mandi Dillin – Location Manager
Keomanee Vilaythong - Key Asst. Location Manager
David Park - Key Asst. Location Manager
Rich Streeter - Key Asst. Location Manager
Ben Holley - Key Asst. Location Manager
Tommy Woodard - Asst. Location Manager
Sonia Villerias - Asst. Location Manager
Mike Barry – Additional Location Manager
James Gierman – Additional Key Assistant Location Manager
Devin Wilson - Assistant Location Manager
“VEEP,” Season 6
Caleb Duy – Location Manager
Clay Valenti – Key Asst. Location Manager
Taylor Erickson – Key Asst. Location Manager
Jennifer Kennedy - Key Asst. Location Manager
John Jamieson – Asst. Location Manager
“Silicon Valley,” Season 4
Carolyn Schultz – Location Manager
Newton Bass – Key Asst. Location Manager
Will Ruvalcaba – Key Asst. Location Manager
Phillip Fracassi – Key Asst. Location Manager
John Nabet – Asst. Location Manager
LOCATION TEAM - Feature Film, Independent
Suburbicon
Michael Burmeister – Location Manager
Rich Bokides - Key Asst. Location Manager
Brian Kalata - Key Asst. Location Manager
Alex Kivlen - Key Asst. Location Manager
Jason Neudecker - Key Asst. Location Manager
Perri Fichtner - Key Asst. Location Manager
Don Mann - Key Asst. Location Manager
Ken Haber - Location Scout
Sandy Wexler
Rob Frank – Location Manager
Gregory Alpert – Location Manager
Peter Costelli - Location Manager
Je Hunter – Key Asst. Location Manager
Harry Middleton – Key Asst. Location Manager
Eric Mills – Key Asst. Location Manager
Jason Stowell – Key Asst. Location Manager
Bryan Shaw – Asst. Location Manager
Jason Neudecker – Asst. Location Manager
Tom Lackey – Location Scout
Shelly Armstrong – Location Department Coordinator
An Evening with Beverly Lu Linn
Emily Shen – Location Manager
Anibal Polanco - Asst. Location Manager
Continued...
www.californiaonlocationawards.com 17
20TH CENTURY
FOX TELEVISION
&
FOX21 TELEVISION
STUDIOS
are proud to sponsor the
CALIFORNIA
ON LOCATION
AWARDS
and congratulate
all of the fi nalists
fox_cola_ad_cfo.indd 1 10/10/17 5:56 PM
LOCATION TEAM - Commercials
Nike “Equals”
Jenny Caloca – Location Manager
Wilson Wu – Supervising Location Scout & Manager
Peter Kwong - Location Scout
Mike Wilson – Location Scout
Beth Tate – Location Scout
Cadillac “Carry,” “Pioneers,” “Pedestal”
David Ferdig – Location Manager
Aric Bednarik - Location Manager
Robert Bonk - Location Manager
omas Holaday - Location Manager
Kent Matsuoka - Location Manager
Beth Melnick – Location Scout/Manager
Matt Prisk - Location Manager
Staci Buckley - Location Scout
Wendy Donovan - Location Scout
Jeep Compass “Recalculating”
John Rizzi – Location Manager
Errol Reichow - Location Scout & Manager
Carrie L.A. - Location Scout
Barbara Miller – Location Scout
Stuart Barter – Location Scout
Pat Riley – Location Scout
omas Holaday – Location Scout
Brian Deming – Location Scout
LOCATION TEAM – Television One Hour
“Big Little Lies”
Gregory Alpert – Location Manager
Harry Middleton – Key Asst. Location Manager
J.P. O’Connor – Key Asst. Location Manager
Alex Kivlen – Key Asst. Location Manager
Kathy McCurdy – Key Asst. Location Manager
Sam Gomez – Key Asst. Location Manager
Rachel Nelson – Location Department Coordinator
Jere Newton – Monterey Location Liaison
“Snowfall”
Brian O’Neill – Location Manager
Justin Hill – Location Manager
Dylan Kirkland – Location Manager
Tisha Jeerson – Key Asst. Location Manager
David Marmolejo – Key Asst. Location Manager
Caitlyn McCarty – Key Asst. Location Manager
Eric Mills – Key Asst. Location Manager
Alex Moreno – Key Asst. Location Manager
Jason Sallee – Key Asst. Location Manager
Eddie Santillan – Key Asst. Location Manager
Josh Vignery – Key Asst. Location Manager
Will O’Brien – Asst. Location Manager
Tommy Woodard – Asst. Location Manager
“Bosch
Paul Schreiber – Location Manager
Robert Paulsen – Location Manager
Claudia Eastman – Key Asst. Location Manager
Sam Gomez – Key Asst. Location Manager
David McKinney - Key Asst. Location Manager
JT Panzarella - Key Asst. Location Manager
Eva Schroeder - Key Asst. Location Manager
Brad Warden - Key Asst. Location Manager
Shelly Wilson - Key Asst. Location Manager
Oscar Ibarra – Assistant Location Manager
Kimberly Lynn - Assistant Location Manager
TEAM [work]
Continued
www.californiaonlocationawards.com 19
The Cookie-Cutter 1950s Look
A Conversation with Location Manager
SUBURBICON:
of
Michael Burmeister
BY DYANA CARMELLA
Matt Damon, le, poses next to George Clooney, center, on the set of Suburbicon.
Photo courtesy of Paramount Pictures
Finding a pristine 1950s street look in 2017 can pose a tough
challenge for a period production, but veteran Location Man-
ager Michael Burmeister was more than ready to re-create that
idyllic era for the crime comedy Suburbicon. Written by Joel
and Ethan Coen and directed by George Clooney, the lm stars Matt
Damon, Julianne Moore and a 1950s Pennsylvania town complete with
cookie-cutter tract houses and manicured lawns. e story centers on
a quietly conservative all-white neighborhood that implodes when an
African-American family moves to town.
Burmeister and Clooney have a solid working relationship
aer lming the period comedy Leatherheads in 2008. For this new pe-
riod piece, one of the central locations created a complex shoot because
Damon’s character’s house and his neighbor’s home had to be lmed in
three separate cities.“If you walk from the front of Matt Damon’s house
through his house to the yard and then to the neighbor’s yard to the
front of the neighbor’s house, you went from Carson to canyon country
to Fullerton,” Burmeister explains. “e two backyards were shot up in
Canyon Country, and the front of the hero houses were in Carson and
Fullerton. Our production designer Jim Bissell did all that. at was a
big deal to sew together because there was a lot of connective tissue.”
Since Suburbicon takes place in the 1950s, the backyards had
to be very specic. Burmeister mostly drew inspiration from his work
on Edward Scissorhands, a lm that also features tract housing. “is
[story] had that kind of feel,” says Burmeister. “In the ’50s there [were
seven suburban developments called] Levittown. Aer the war, the
developer [William] Levitt found these huge tracts of land which had
nothing on them, [and] they put in roads and sidewalks and dropped in
these cookie-cutter homes with no trees or bushes or anything. To nd
something like that in Los Angeles today is virtually impossible [but]
Location Scout Ken Haber actually found the perfect street in Fuller-
ton. It’s one straight block where they had cut down all the trees because
of sewer or sidewalk issues. e city was going to plant new trees, [and
Haber] caught it just before they planted new saplings. We said ‘Hey,
can you delay putting in the trees for 3-4 months?’ …and they were up
for it so the city held o.”
Another challenge involved a nighttime protest scene that
required the production team to lm 200 extras in a residential area
in Fullerton. “We hired local people who lived in the neighborhood,”
recalls Burmeister.“It was kind of fun. We took over a whole neighbor-
hood and lit everything up. We had people banging drums, blowing
hornsand yelling and screaming. It took a lot of prep work because
you’ve got to talk to a lot of neighbors and get them all on board.” e
perfect hero house in Carson also involved a glitch. “We were going
to lm a night scene in this one Carson neighborhood that never had
lming [so] the neighbors were a little skeptical,” Burmeister recalls.
“ere was this one guy who lived directly next door [and] this gentle-
man was on his lawn so I started talking to him. He really wasn’t enjoy-
ing the lming experience [and] said he didn’t want us here. George no-
ticed, walked over and said ‘Hi, I’m George Clooney and I’m shooting a
movie. I’m the director. What’s your name?’ ey started talking about
lming [before George said] ‘is is Mike. He’s our location guy. We
want to shoot here and have a good experience for everyone.’ e guy’s
attitude turned around 180 degrees [and] he turned into our biggest
advocate for lming. In fact, he called me aer we nished lming to
A Conversation with Location Manager
SUBURBICON:
Michael Burmeister
www.californiaonlocationawards.com 21
tell me he was sad we le. I’m pretty much a silver-tongued
devil but Clooney beat me out because he’s a genuinely nice
guy [who’s] incredibly calm, friendly and engaged.”
Surburbicon producers were eager to lm in Full-
erton under the new FilmL.A. permit service. “We started
prepping the movie and Fullerton was handling its own lm
permits,” Burmeister explains. “And between our prep day
and our lm day FilmL.A. took over its permitting, so we
were the rst project to lm in Fullerton under the auspices
of FilmL.A. We started with the city then we had to shi
and talk with FilmL.A., so it became a little challenging to
thread the needle. ey were putting guidelines into place
as we were prepping.”
Despite the lm’s high-prole cast, Surburbicon was
an independent production so Burmeister was adamant
about not being the one to blow the budget. “I was out in
the middle of Irvine talking to this developer who owned
a housing track,” recalls Burmeister. When the developer
mentioned he was working for George Clooney and shoot-
ing a major feature lm, one of Burmeister’s team members
found the track and made a verbal deal.“I put on my sport
coat, a nice shirt and slacks to go out there and do a for-
mal presentation, and the owner then tripled the price be-
causehe gured it’s George Clooney and we have unlimited
money,” says Burmeister. “e thing I learned over the years
is as much as I loved that location, and we put a lot of blood,
sweat and tears into it, I knew we couldn’t aord to pay
three times what we originally anticipated. When I le that
meeting I had the whole burden of the movie on my back,
knowing I was missing a huge piece of the lm’s locations. I
knew I didn’t want to blow the budget and I knew I had to
gure something out that could be just as good, if not better.
And I did. I found something that turned out to be better.I
learned that no matter how bleak things look, when you re-
ally think about it, work hard and don’t freak out, you can
solve it. I learned not to give in. When I made the call to the
developer, telling him we found a better deal that was with-
in our budget, that was a great feeling to tell him, ‘ank
you but no thank you,’ because he thought he had me over
a barrel, which I didn’t like. ere’s always dark before the
dawn, and there is always a way out, so don’t freak out and
lose your mind.”
Burmeister scouted areas in Orange County, L.A.
County, Ventura County and San Bernardino County,
and mainly worked with Janice Arrington and the Orange
County Film Commission as well as representatives in Full-
erton. He was also in constant contact with the California
Film Commission and noted the rapport amongst the de-
partments. “When you work on a lm, there is either a de-
partment or person that’s a pain in the butt for whatever
reason. For this lm, Barbara Hall did the hiring and much
of the crewhad all worked with George before, but you’re
waiting for the person or the department that’s going to be a
pain and it never materialized. Everyone was a pro.”
Burmeister also praises his location crew, includ-
ing Ken Haber, Brian Kalata, Alex Kivlen, Jason Neudecker,
Perri Fichtner and Don Mann. “In terms of management
style, I think of everyone in my department as a chess piece,”
he says. “What I mean by that is when you have a sta of
people, each one has unique talents and abilities. When you
are playing checkers, every piece is the same, each move is
the same. In chess, every piece is dierent and each piece
has dierent moves associated with it. Each person isgood
at dierent things. I had to take each person and move them
around like in chess to have them do specic tasks. You try
to bring out their strengths and try to minimize their weak-
nesses.It worked out really well.”
Location Manager Michael Burmeister
on location in Sherman Oaks, Calif.
22 California on Location Awards
Produced by:
FILM LIAISONS IN CALIFORNIA STATEWIDE
FLICS
SATURDAY, MAY 5, 2018
LA Center Studios
Downtown Los Angeles
www.filmcalexpo.com
SAVE THE DATE!
Location Managers Rick Schuler and Steve Mapel at the
Shrine Auditorium in Los Angeles
26 California on Location Awards
A STAR IS BORN
In May 2018, Actor Bradley Cooper will make his di-
rectorial debut with the Warner Bros. remake of the
1937 musical romantic drama A Star Is Born. e lm
will star Cooper and Stefani Germanotta (aka Lady
Gaga) in a story about a movie star who helps an aspiring
actress to nd fame before alcoholism sends his career into
a downward spiral. Location Managers Rick Schuler and
Steve Mapel were up to the challenge of bringing this be-
loved classic into the 21st century, as it required shooting at
some of Los Angeles’s most iconic and crowd-fueled land-
marks.
To give the remake a fresh look, Cooper and Cin-
ematographer Matthew Libatique (Mother!, Straight Outta
Compton, Black Swan) planned a very reality-based aesthet-
ic. “[Cooper] wanted it to be about Lady Gaga’s life and mu-
sic,” explains Schuler. “Parts of the story will remind fans of
events or places in Stefani’s own life, but labeling the movie
as autobiographical would be grossly misleading –– there
is a thin overlay of Lady Gaga’s own life experiences that
subtlyinforms the story.”
e production consisted of 12 weeks of prep and
a 45-day shooting schedule. e lm’s pivotal Los Ange-
les locations are well known for their prestige and history,
including the Greek eatre, Shrine Auditorium, Chateau
Marmont, Biltmore, Forum, Hollywood Walk of Fame and
Village Recording Studio. e production also shot in Cal-
abasas and Angelino Heights before moving to Coachella
Valley to shoot the Coachella and Stage Coach music fes-
tivals near Palm Springs. “For many oftheselocations, we
had extensive lighting and staging rigs, which needed to
be prepped and wrapped in limited periods of time due to
the availability of the venues,” says Mapel. “Additionally,
in some cases, there were overlapping union jurisdictions,
which required signicant planning and coordination.Con-
cert tours are accustomed to setting up and taking down
their rigging quickly to keep up with their tour schedule,
andthere was a bit of learning curve on our part with these
quick turnarounds.It is a world not all that dierent from
moviemaking yet, from a technical and logistical level, there
are big dierences.”
Rick Schuler
Steve Mapel
FIND ICONIC LOCALES FOR
&
STORY AND PHOTOS BY DYANA CARMELLA
www.californiaonlocationawards.com 27
Warner Bros. Entertainment
proudly supports the
23rd Annual COLA Awards
and
warmly congratulates
all the 2017 honorees
In working with a new director, Schuler was im-
pressed by Cooper’s willingness to learn and listen. “[Coop-
er] is a friendly, easygoing guy who’s also smart and engag-
ing,” says Schuler.“He knew what he wanted the locations
to look like and was very generous in his praise for our
department’s eorts in nding and then coordinating the
shooting. What impressed me the most was his willingness
to ask for assistance or clarication — if he was unsure what
was being said, he could be heard saying,‘Explain it to me
as if I don’t know anything.’ He was very collaborative in
his approach to lmmaking, asking us what we thought of
a certain location or shot, and he genuinely listened to what
was oered up.”
Schuler recalls how the schedule was revised con-
tinually throughout the production — even on the last day
of shooting, a lane closure was requested. “At some level,
all the locations seemed challenging, either because we had
to t them into our ever-changing schedule to allow for
enough prep, shoot and strike days; or because we wanted to
shoot all night with amplied sound, as we did at the Greek
eatre for four days; or because we invited Lady Gaga’s
fans along with extras to participate as the audience at most
of the venues, ranging from 2,000 at the Greek to 600 at the
Regent; or because of the number of days and the serious
impact to residential neighborhoods, such as in Calabasas
or in Angelino Heights; or because we had to fend o a gag-
gle of ever-present paparazzi,” Schuler explains.Clearly, the
crew didn’t relax until they nally heard “at’s a wrap!”
Coordinating the shoot on the stages of the
CoachellaFestival proved to be challenging from a logistical
standpoint. “While our inquiries to lm there were initially
spurned, fortune had it that we would not be denied,” says
Schuler. “When Beyoncé pulled out of Goldenvoice, they
asked if Lady Gaga was interested in headlining the event,
and the producers jumped in and negotiated a deal where
they would get our actress in return for use of the facility
between the two festival weekends with minimal cost to the
production company. In addition, we were able to coordi-
nate being on stage with Stefani during her performances as
well as between setups with Willie Nelson.”
Mapel was fascinated by the world of major con-
cert staging.“e setup at Coachella was enormous,” he re-
calls.“We were at the Polo Grounds in Indio, where the fes-
tival takes place, just a couple weeks before the festival and
there were just a few groundskeepers mowing grass.When
we returned to shoot, the setup was huge. We lmed on
dark days between the two Coachella weekends and then
did some 2nd unit work on the actual performance week-
Location Manager Steve Mapel
www.californiaonlocationawards.com 29
ends when Lady Gaga was performing at the festival.”
e location team on the lm consisted of Schuler,
Mapel, Scott Fitzgerald, Kirk Worley and Suzanne Shu-
garman. “I have the best team on the planet,” says Schul-
er, “ey are hard working and very talented at what they
do.ey can scout and manage their own locations, which
they do with ease on every project. ey work out the deals,
the permit, the parking, the signatures, etc. while I simply
check in with them along the way to make sure things are
progressing smoothly. I greatly respect them as co-workers
and as friends. I cannot heap enough praise upon them for
what they mean to me. I simply would not be where I am
in my career if it had not been for their loyalty, work eth-
ic and skills.And as it concerns Mapel, who is deservedly
nominated for Location Professional of the Year for A Star
is Born, I owe a huge amount of gratitude for his relentless
work and success at pulling o dicult shooting locations
with ease.”
Schuler and his location team worked with Palm
Springs and Riverside lm commissioners who were “very
engaged, accommodating, and helpful,” according to Schul-
er. “We could not have asked for a better working relation-
ship,” he adds “because the schedule and the locations were
changing ever so rapidly due to script rewrites and/or ac-
tor availability. We ended up at the Riverside Convention
Center with little time to prep, but, as is oen the case in our
business, things got done with some give and take here and
there.”
For Schuler, working on A Star is Born was a re-
minder of why he does what he does. “e experience did
remind me once again of how much I enjoy the challenge of
nding the right locations and working out the sometimes
incredibly complex logistics,” he says. “e best part for me,
however, is always developing working and personal rela-
tionships with new people from dierent walks of life and
professions.”
Location Managers Rick Schuler and Steve Mapel
30 California on Location Awards
PASADENA
CONGRATULATES
YOU
Pasadena Film Office • (626) 744-3964 • www.filmpasadena.com
photo: Jaime Pham
NEW MANAGEMENT!
SAME TRUSTED SECURITY COMPANY
WWW.EXECUTIVEASSURANCE.COM
OFFICE@EASECURITY.US
818.755.5055
CONGRATULATIONS
ALISON TAYLOR
A Wrinkle in Time
EMILY SHEN
ANIBAL POLANCO
An Evening with Beverly Luff Linn
filmhumboldtdelnorte.org
32 California on Location Awards
CONGRATULATIONS
FINALISTS & WINNERS
FROM DP/CAMERAMAN
www.californiaonlocationawards.com 33
VENTURING
OFF
THE
BEATEN
PATH
WITH
JEEP
STORY AND PHOTOS BY DYANA CARMELLA
34 California on Location Awards
PATH
Location Manager John Rizzi
J eep is all about freedom, passion and adventure
–– the brand aims to motivate us to discover new
roads, which is also one of the duties of a location
manager.Nominated this year in the commercial
category, Location Manager John Rizzi has trave-
led o the beaten path to nd a wide range of stand-out
locations for Jeep’s latest commercial. e production show-
cases a gorgeous road trip that inspires us to recalculate our
direction in life with the new 2018 Jeep Compass. “It was
really a campaign for the millennial,” says Rizzi. “It was shot
by a young director and a young DP. ey were hungry. ey
didn’t sacrice anything and made it all about the creative.”
When Rizzi was handed the job everything had to
move swily, as the commercial had a fast-approaching air-
date. “ere was no time to think too logistically,” he re-
calls. “At the beginning we were director scouting instead
of location scouting. at’s more and more how commer-
cial jobs are. ere is no time to prep.” Rizzi admits that the
shoot was one of the most challenging jobs he has done in
23 years. “e jobs are all really crazy, brave and ambitious
with no timeframe,” he explains. “is Jeep job was special
because it was very important for sunrises and sunsets for
both the director and DP. We were able to give them that on
our crazy schedules and all our traveling. at’s what makes
the spot so beautiful. I was so glad the production company
backed this director and DP and just held to their vision
and how they thought it should be. [Location managing]
is a feel-good yet work-really-hard job. is one was very
rewarding. It’s one of the better-looking commercials I’ve
seen in a long time.”
Location Manager Errol Reichow assisted Rizzi
on the project, and he has noticed that the way of shoot-
ing commercials is shiing. “e progression in style has
a lot to do with the creative element in commercials,” says
Reichow. “If you want to be top dog, you have to do things
a little dierently and oer that uniqueness that denes you
and/or the product. We used to use helicopters and now
everyone is using drones, cable cams, GoPros and the next
best toy to get that angle, cut, shot that brings it to a dier-
ent level while also fullling the expectations of the client
as they wish the public to receive the message. e bar is
always being set higher and, in ve years with technology,
one can only imagine, but it isthe essenceof imagination
that got us here in the rst place and will take us to the next
phase.”
e commercial features a wide range of beautiful
(L-R): Errol Reichow, John Rizzi, Carrie L.A., Barbara Miller, Brian Deming, omas Holaday
in downtown Los Angeles
36 California on Location Awards
www.californiaonlocationawards.com 37
U.S. locations, but every single scene was shot in Califor-
nia.To achieve this, Rizzi and his team were constantly on
the move shooting multiple cities in one 24-hour period.
“In one day we started in Los Angeles and moved to Califor-
nia City then to Mojave then to Jawbone Canyon, and then
we nished our day in Tehachapi. e next day we woke up
in Tehachapi then lmed our way back through Bakerseld
and ousand Oaks, and then we nally watched the sun
drop over the PCH. It was just insane.”
A production in constant motion is sure to hit a few
road bumps along the way, but Rizzi says the most daunt-
ing obstacle involved cattle.While lming driving scenes at
Big Sky Ranch, Rizzi was asked if the production could do
anything to keep the cattle o the roadto protect the crew
and animals. “It was recommended we hire a wrangler,” he
recalls. “e crew was driving and shooting a sunset shot,
and out of nowhere comes a herd of cattle. And they were all
over the road. It was drama with the sun coming down and
getting the shot, and on top of that all the fog started roll-
ing in. It was disaster aer disaster but we persevered, and
at the end we were bummed because we thought we didn’t
get what we wanted because it was supposed to be a beauti-
ful vista shot.is scene ended up being the most beauti-
ful shot within the whole commercial.e fog that rolled
in added a mysterious-looking scene that was never drawn
in. We later had to go back because we weren’t anticipating
shooting cattle, so we had to get the Humane Society in-
volved and document what happened. ere were so many
dierent variations to the cut, but they eventually aired the
director’s cut with the cattle and the fog. It’s magic.”
e concept for the shoot required Rizzi to deliver
the look of a far-reaching travelogue, and he found one key
location in an unexpected place. “I found this reservoir at
the top of Mount Waterman that looks like somewhere in
Colorado,” he explains. At the very top of Mount Waterman
is an old reservoirwhere they used to make snow because of
Location Manager Errol Reichow
Location Manager John Rizzi in Westlake
38 California on Location Awards
Congratulations to the 2017
COLA NOMINEES!
Placer-Lake Tahoe Film Office
placer.ca.gov/films
Thanks for filming here,
there, and everywhere.
www.californiaonlocationawards.com 39
40 California on Location Awards
all the rain that lled it up. It was my instinct of [thinking]
‘What’s around the next corner?’ [that got me] to the sum-
mit, and,to my surprise, I found a freaking lake up there.
at was my favorite: nding Colorado in the zone.” Rizzi
appreciates how well the job went while working closely
with his location team. “is team was a dream team for
me,” he says. “ey all took this project to heart. It was an
extremely dicult job that had a good atmosphere about it.
What made it possible was the whole team because there
was no time and we had to get the director everywhere
quickly.”
When it comes to location scouting, every loca-
tion manager has his or her own expectations and way of
working. “Everyone outside our industry thinks we have
the best job in the world, while the ones in our industry
wouldn’t touch it with a 10-foot pole,” says Reichow. Rizzi,
on the other hand, loves the quickness and uniqueness of
each project. “I love working fast,” he said.“My whole ca-
reer I’ve been all about taking out the u. I’ve always been
about showing the things that are right, and I don’t waste
time spinning upper wheels on something that you would
never ever do. I’m all about the fast, accurate information;
living and dying by the fast accurate information.”
Rizzi talked about how the times are changing for
the locations department. “In the beginning [producers and
directors] used to ask me very specic questions. ‘Where
would we do this? How much would it cost?’ ey would
want exact detail. But now more and more they are backing
in from a number. e have a set budget and try to make
it work from that.” Rizzi mentioned you would think this
would make decisions more specic and lean on location
professionals more for advice because they don’t charge
for it. “is last project they didn’t call at all because there
was no time and they were backing in from a number. e
real change in the location department is that we are get-
ting involved later in the project because they are doing a
lot of their research so quickly that they’re just doing it o
of Google. So when you nally do come on board you have
to clue them into the fact that what they thought they were
going to do they can’t possibly do, like shoot downtown L.A.
with full closures during the week or whatever it is because
they haven’t asked that. I think it’s the dawning of the digital
golden age and you’renot going to make omelets without
breaking a few eggs. But I think slowly the dinosaur that
is our industry is forced into the eciencies of this digi-
tal golden age. And I think the more we see that beingem-
braced full-heartedly, I think we are going to see the pos-
sibility of doing more and more lming.”
Congratulations to
the nominees and
winners of the
2017 California on
Location Awards!
FilmSanmateoCounty.Com
www.californiaonlocationawards.com 41
What is a quality you love most in a director?
A big thinker that has the passion to follow their vision.
What is a quality you love most in a producer?
Being a good listener who embraces creative solutions to pro-
ductions many challenges.
ree favorite lms?
Wizard of Oz, Forrest Gump, and e Shawshank Redemption.
Place you go to unwind?
Maui/Kauai
Craziest demand someone has asked of you?
To call the tower at LAX and ask them to divert ights around
our lm set.
Your biggest inspiration?
My Mother Fran who was the hardest working and kindest
person I have ever met.
Favorite movie scene?
Young Frankenstein, “It’s Alive!” scene.
What lm reboot would you love to work on?
Old School starring Will Farrell.
ree words to describe the entertainment industry?
Challenging, intense and exciting.
Best life advice you were ever given?
Practice makes perfect and treat others the same way that you
want to be treated.
Most inuential person in your life?
My Uncle Mort who taught me the value of a dollar and
integrity.
In this business how do you keep your sanity?
Keeping a level head, keeping things in perspective and to re-
main calm.
Person in your life you could thank over and over?
My Mom and wife Dee Dee for all of her incredible support.
Which word or phrase do you most overuse?
Go out that door to victory!
If you weren’t location managing, what would you be doing?
School Principal and Camp Director.
What is your motto?
Kill them with kindness.
Supervising Location
Manager Rob Frank is
nominated this year for his
work on Sandy Wexler,
directed by Steven Brill and
stars Adam Sandler and
Jennifer Hudson. Find out
what inspires him, the best
advice he was ever given
and craziest demand ever
asked of him.
QA
&
42 California on Location Awards
www.californiaonlocationawards.com 43
Inside a C-17 Military Aircra
The Air Force
ELEVATES
A Wrinkle in Time
STORY AND PHOTOS BY DYANA CARMELLA
In March 2018, Walt Disney Studios will release A Wrin-
kle in Time, a sci- fantasy lm based on the 1962 novel
by Madeleine L’Engle.Directed by Ava DuVernay from
a screenplay by Jennifer Lee, the lm stars Oprah Winfrey,
Reese Witherspoon, Mindy Kaling, Gugu Mbatha-Raw, Mi-
chael Peña, Storm Reid, Zach Galianakis and Chris Pine.
When the fantastical story required one residential location
to have a herd of lookalike houses, the U.S. Air Force came
to the rescue.
e Air Force’s Entertainment Liaison Oce han-
dles entertainment projects on Air Force locations while
also protecting the Air Force brand in television, lms,
video games and web content.Assigned to the oce as a
military Reserve ocer in 1998, Develyn J. Watson is now
the deputy director and secretary of public aairs, and she
provides the continuity between active-duty military per-
sonnel and entertainment companies.is year, Watson is
nominated for Public Employee of the Year – Federal for
herinvaluable aid on the production ofA Wrinkle in Time.
e specications for lming with the Air Force are
dierent than those for privately owned properties. “e
minimum requirements for working with the Air Force or
any of our Department of Defense partners is ensuring that
the production has funding and distribution, [and] then we
have to determine if the project has an Air Force depiction,”
Watson explains.“To make this determination, we insist on
reviewing a script in its entirety or, if unscripted, we look
at a treatment/outline to see how the Air Force brand will
be utilized.Once we make these initial determinations, we
make a recommendation to the Department of Defense at
the Pentagon and determine whether or not to provide sup-
port.”
For A Wrinkle in Time, the production wanted to
scout and shoot within a section of military housing at a Los
Angeles Air Force Base. “Most military base housing homes
are built similarly and look the same throughout,” says Wat-
Develyn J. Watson in her oce in Westwood
46 California on Location Awards
son. “Here, the production
wanted to create a look that
required uniformity among
all the structures. Because
most of the homes looked
exactly alike, the produc-
tion was able to achieve
the look it wanted for the
lm.” Watson found the
project to be exciting as
well as exhausting. “is
was the rst time our oce
had lmed on this proper-
ty,” she says.“Typically, we
work on active duty bases
where we can ‘direct’ com-
pliance once we have ap-
proval for lming. Working
with the residents, however,
required patience and com-
promise. You can imagine
what it’s like to have a lm crew invade your neighbor-
hood.Well, with military housing due to security, the only
people you expect to see are people you know. e sheer
amount of [production] people caused quite a bit of angst
among the residents. We had to work daily to engender
trust and cooperation.”
Location Manager Alison Taylor helmed the loca-
tions for A Wrinkle in Time and was nominated for her work
in the Feature Film Category. “I found out we went to the
same college back in the day,” says Watson.“Working with
her was a fantastic experience.” Watson also appreciated
DuVernay and the diversity of the production. “[DuVernay]
spent time with the residents, which made a more pleasant
experience,” Watson recalls. “From the text scout to lming,
she was very accessible. is was [also] a production with a
high number of people of color and women in roles usually
dominated by white men. is was the rst time I worked
with a group of people like me.”
Taylor also praised Watson and her tireless work
on the lm. “e location for which we were scouting re-
quired a very specic look,” recalls Taylor.“ We needed all
of the homes to be identical but also unidentiable - as in
they could be anywhere. In our lm, the location isn’t just
‘anywhere USA,’ it is ‘anywhere in the universe.’[Dev] went
above and beyond from beginning to end.is location had
not had any lming previously, so we had to be very careful
in our handling of all the details. Dev worked tirelessly to
make things work for us! I am sure that I pushed her to the
edge more than once, but she remained gracious and made
everything work. e location is one of the best in the lm
and we never would have had it happen were it not for Dev!
She rocks!”
While the Air Force and Department of Defense
don’t oer perks to the lm industry, they alsodon’t charge
a location fee or require lming permits, and they typically
can provide secure locations free from the unwelcomed
press and/or gawkers. Additionally, aircra are available to
lm projects shot on Air Force locations –– productions can
have access to a range of jets and planes, anything from C-
17s and F-16s to F-35s and F-22s. “You can’t borrow a plane
because you think it’s pretty,” Watson explains. “e rst
question I will always ask is, ‘What is the Air Force depic-
tion?’ And we need to see a full script.”If a production wants
to utilize a plane in ight, the Liaison Oce will try to pair
the shooting days with a training mission, which will lower
the cost. However, to direct a ight for lming purposes, the
Oce sets the standard price placed by the government.
“As far as locations, the U.S. Air Force is located
throughout the world,” says Watson. “If there is a base
where you want to lm, we can help. We are more than loca-
tions.We are your partners in helping making your produc-
tion a success.We are a small group of military profession-
als and civilians who can provide you with subject matter
experts, [and] can help add realism and production value to
your lm, and help you navigate the bureaucracy of lming
on Department of Defense property.Further, our advice is
at no cost to the production.”
“This was [also] a production with a high number of
people of color and women in roles usually dominated
by white men. This was the rst time I worked with a
group of people like me.”
www.californiaonlocationawards.com 47
T H E
HOLLYWOOD REPORTER
is a proud supporter of the
PRINT | DIGITAL | MOBILE | SOCIAL | EVENTS
CALIFORNIA ON
L O CAT I O N AWA R D S
48 California on Location Awards
T H E
HOLLYWOOD REPORTER
is a proud supporter of the
PRINT | DIGITAL | MOBILE | SOCIAL | EVENTS
CALIFORNIA ON
L O CAT I O N AWA R D S
www.californiaonlocationawards.com 49
REACHING
NEW HEIGHTS
Throughout
RIVERSIDE COUNTY
Story and Photos by Dyana Carmella
Riverside County has been making quite a name for itself as a prime
lm location. Spanning miles from Riverside to Joshua Tree to Palm
Springs to the Salton Sea, the county is quickly becoming one of the top
lming destinations in California. e California Film Commission (CFC) is
solidly promoting the Riverside County not only to lmmakers and content
creators, but also to local residents in order to pave the way toward a smooth
production process for all.
In 2013, the Riverside County Board of Supervisors amended a lm
ordinance that would allow lming in county-owned properties, roads and
land with no location fee and lm permit fee. At that time the Board also
tasked the Riverside County Economic Development Agency (EDA) with cre-
ating a lm oce to promote lming with these new incentives. Less than two
years later, Riverside County brought the Commission’s duties in-house and
was certied as the regional lm partner to the CFC.
Riverside County has 7,000 square miles and 28 cities that oer eve-
rything from wine country in Temecula and a forested mountain community
in Idyllwild to vacant iron mines in the remote region of Desert Center. e
county may be best known for its meandering desert and mountain roads that
are perfect for every type of car commercial and still photography, and its mid-
century-modern architecture has been a mainstay in the Palm Springs region.
Every area of Riverside County is cinematic as well as production friendly. “I
have already seen production resources grow in the area with production stu-
dios, crews and services, and look forward to seeing our local resources grow,”
says Film Commis-
sioner Bettina Breck-
enfeld. “With the great
relations we have built
with other government
agencies and local of-
ces, we have been able
to accommodate major
shoots, for example, the
closing of a major free-
way for several days for
action scenes in a com-
mercial.”
e Riverside
County Film Commis-
sion is a proud mem-
ber of Film Liaisons in
California Statewide
(FLICS), and the oce has hosted hundreds of productions with notable di-
rectors, producers and talent. Showrunner Kurt Sutter (“Sons of Anarchy”)
recently came to Riverside County to lm the pilot for his upcoming TV dra-
Film Commissioner
Bettina Breckenfeld
NEW HEIGHTS
Throughout
52 California on Location Awards
ma series “Mayans MC.” Actor Bradley Cooper also utilized
Riverside for his directorial debut A Star Is Born, a musical
lm remake starring Cooper and Stefani Germanotta (aka
Lady Gaga). When the lm remake of Ben-Hur needed
plate shots aer shooting in Italy, the production found ex-
actly what was needed in a remote canyon area of Mecca,
Calif. Showrunner Shonda Rhimes and her producing part-
ner Betsy Beers found the perfect historic courthouse in the
City of Riverside for their legal drama pilot “For the People,”
and Hemet, Calif. came to the rescue when “Master Chef
Jr. with Gordon Ramsay” needed to feed a gaggle of rst
responders on an airport runway.
“Local residents and businesses are embracing the
added inux of productions that are coming in,” says Breck-
enfeld. “Crews that are based here and lm school graduates
are excited to work closer to home, and the buzz we have
created is paying o for local residents. I foresee more large-
scale major shoots, such as action, gaming and car com-
mercials, taking advantage of these relationships we’ve been
able to build.” With increasing demand for lm infrastruc-
ture outside of the L.A. region, Riverside County is rapidly
becoming “East Hollywood.”
e region is busy creating multiple studios and in-
creasing its pool of experienced crew, lm programs and in-
itiatives at local colleges and universities, such as UCR. e
county also provides ample parking space for production
vehicles, while hotels oer great lm rates and conference
rooms as production oces. Riverside’s standout locations
include the Mission Inn, a lm-friendly hotel that boasts
amazing locations within the structure, and the St. Francis
Chapel, which boasts a rotunda stairwell and catacombs
where parties and speakeasies were held during Prohibi-
tion. And no zombie apocalypse would be complete without
a vacant county animal shelter, and one such facility will
soon be up for sale in the region. With so much to oer to
industry professionals, Riverside County will be luring in
productions for years to come.
To learn more about lming in Riverside County, visit:
http://www.lmriversidecounty.com
www.californiaonlocationawards.com 53
What is a quality you love most in a director?
A positive, friendly disposition.
What is a quality you love most in a producer?
e ability to make decisions quickly.
Current favorite place in California to shoot/work?
I enjoy working in neighborhoods and meeting the community.
ree favorite lms?
Shawshank Redemption, One Flew Over theCuckoos Nest and
Before Sunset.
Most memorable work moment to date?
Succeeding in lming a Data Center with many challenges to
overcome and had never been lmed before.
Place you go to unwind?
e beach or traveling anywhere out of the city.
Craziest demand someone has asked of you?
To stop birds from chirping.
Your biggest inspiration?
My Mom - she has an unbelievable amount of determination,
strength and heart.
What lm reboot would you love to work on?
Before Sunset.
ree words to describe the entertainment industry?
Fun, ever-changing and rewarding.
Best life advice you were ever given?
ink rst.
In this business how do you keep your sanity?
A solid circle of friends and family...and SoulCycle.
Person in your life you could thank over and over?
My mom and grandmother.
What is your motto?
Take one step at a time.
If you weren’t location managing, what would you be doing?
Teaching 3rd or 4th grade.
Goal for 2018?
Travel more.
Location Manager
Carolyn Schultz,
nominated this year
for her work on HBO’s
“Silicon Valley,”
Season 4, reects on
her most memorable
work day, the
entertainment
industry and her love
for Soul Cycle.
QA
&
WORKING FOR THE
Location Manager
MARK ZEKANIS
on the Chaotic Artisry
of “False Alarm”
Superstar Recording Artist e Weeknd has reached the pinnacle of suc-
cess — his songs are a mainstay on Billboard’s Top 100 and his third studio
album Starboy is certied double platinum. e album’s third song “False
Alarm” is a polarizing track that needed an equally polarizing video to accom-
pany its release, and Russian Filmmaker Ilya Naishuller chose Location Manager
Mark Zekanis to help him execute his vision.
e music video begins in the middle of a bank robbery: two men in
skull masks are stung stacks of cash into a due bag inside a large safe. e
point of view is somewhat voyeuristic, but it isn’t until seconds later — when the
bag of money is tossed at the camera — that we realize the video is being shot
from a rst-person perspective. e chaos continues to unfold through the eyes
of this one assailant. As the bank’s customers cower in fear on the oor, police
arrive on the scene — one robber shoots a security guard while another takes a
woman hostage — and that’s all within the video’s rst 45 seconds. e video’s
violent, quick-paced and turbulent ride has racked up over 72 million views (and
counting) on the Weeknd’s ocial YouTube channel.
Zekanis took an intricate role in shaping this ambitious concept, and he
had his work cut out for him when bringing the video to life. e majority of the
production team started working on the project roughly ve weeks before lm-
ing, but the location department got a later start. “I basically had a little less than
ve days to put it all together,” says Zekanis. “It was a mad scramble but I did it.
And I was the only location person, so it was just me.” e project was also chal-
lenging because of the complexity of the concept — the entire music video was
to be stitched together to give the appearance of a single take. And to capture the
rst-person POV, a camera was rigged to a helmet for lming, a visual trick that
Story by Eleni Roussos & Photos by Dyana Carmella
www.californiaonlocationawards.com 57
“We had several stunts and they were the big ones,
where we had to explode a couple of vehicles and
crash one and ip one, so those were probably the
most challenging nights…. There is so much
rehearsal and preparation and everything that goes
into crashing and blowing things up.”
MARK ZEKANIS
We celebrate you, the dreamers, the creators and the
lay-it-all-on-the-liners. Your passion for the game is
displayed on every screen, wherever we turn.
Keep that fire burning.
Rajan Shandil
Emmy Award Winning Producer and Director of the
California On Location Awards
@wirefirelabs
rajanshandil@gmail.com
ON YOU
ALL EYES ARE
Location Manager Mark Zekanis in Hollywood
Location Manager Mark Zekanis
Naishuller implemented on his 2015 lm Hardcore Henry.
Every stunt and shot in the video was planned
carefully in advance to showcase various locations around
Los Angeles, including Anderson Street in East L.A., an old
art deco building and the L.A. River. “It was denitely like a
giant puzzle as we were trying to put it all together,” Zekanis
explains. “We had several stunts and they were the big ones,
where we had to explode a couple of vehicles and crash one
and ip one, so those were probably the most challenging
nights…. ere is so much rehearsal and preparation and
everything that goes into crashing and blowing things up.
at type of thing I had not really experienced in the com-
mercial world, which is what I’ve mainly been in, so that
was kind of a new deal for me, but the whole process was
fun. I enjoyed it all.”
e action behind the camera was just as fast paced
as the scenes that were being lmed — a looming sunrise
threatened the production as every stunt was rehearsed in
between takes, so reviewing footage was a luxury that the
crew couldn’t aord. “ere really wasn’t the time to do
playback,” Zekanis recalls. “We did have monitors set up so
people could see the shots as they happened, but that was
it.” Zekanis worked with Film L.A., the L.A. City Council
and local law enforcement to make sure that all the stunts,
gunre, explosions and car ipping ran like clockwork. “I
understood the realism behind this whole project,” he says.
“It’s great but I wanted us to be safe so I hired a lot of PD
and we had good police presence, which was denitely a
big help. Because of what we were doing, the PD had to
be notied of where we were lming so they knew not to
respond…. Obviously, everyone was concerned about the
safety of everything and nobody got hurt, so it came out
really well as far as no injuries. e crew was safe and eve-
rything worked out perfectly.”
“False Alarm” was clearly a demanding music vid-
eo, both visually and logistically. But despite the intensity of
the shoot and the challenges created by the short prep time,
Zekanis was able to complete the project with a smile on his
face. “It was 11 days of my life,” he says. “I didn’t get a lot of
sleep, but it was one of those jobs that was all adrenaline.
It was so consuming just to be wrapped up in it, but it was
fun. It was really a fun time.”
www.californiaonlocationawards.com 61
Conversations with Eric Fierstein,
Steve Woroniecki & Brian O’Neill
MANAGING the
ONE-HOUR SERIES:
Story by Eleni Roussos
62 California on Location Awards
This year’s COLA nominees for Location Manager of
the Year – One-Hour Television have all explored Los
Angeles, but during different decades throughout their
esteemed careers, Location Managers Eric Fierstein,
Steve Woroniecki and Brian O’Neill have showcased
many facets of L.A., and their amazing work
represents the best of the City of Angels.
ONE-HOUR SERIES:
www.californiaonlocationawards.com 63
“I’m Dying Up Here” – Location Manager Eric Fierstein
e Showtime comedy series “I’m Dying Up Here”
stars Academy Award-winner Melissa Leo, Ari Graynor,
Clark Duke and Michael Angarano as it explores the
standup comedy club circuit in Los Angeles during the
early 1970s. For this project, Location Manager Eric Fi-
erstein had his work cut out for him. Primarily using areas
in Echo Park, Silver Lake, North Hollywood and Van Nuys,
Fierstein was able to re-create bygone areas of Sunset Boule-
vard and other places around Hollywood that have changed
drastically aer the early ’70s. “ere was a lot of research
that went into the project on our end in trying to nd par-
ticular architecture that still existed and that would give that
feel,” explains Fierstein. “Mostly we were nding stu that
fell into the 1950s and, more importantly, the 1960s because
the show takes place just a few years aer 1970. So we had
to nd architecture that didn’t live within the overall ’70s-
going-into-the-’80s, but really the ’60s carrying into the
early ’70s. So that was a real challenge. And they did not
want to fall back into the classical Los Angeles studio age of
the 1930s and 1940s. ey really wanted structures where it
would have been new architecture and new construction at
the time.”
In addition to nding period-appropriate architec-
ture, there was also the issue of visual scale. “e [show’s
creators] really wanted to create a large visual piece, so do-
ing tight shots was not something that they wanted,” says
Fierstein. “ey really wanted, even though it was on televi-
sion, a feature kind of look. And it was a lot of exterior work
that went into this project. ere were huge blocks that we
had to clear to give that overall appearance, with either sig-
nage or picture cars or whatever, to maintain that visual
feeling…. It would even include the smallest of things, like a
parking meter [which] didn’t exist then. So we had to gure
out how to either remove parking meters or cover them in
some interesting way.”
e condensed areas of Silver Lake and Echo Park
also created challenges. “Just getting clearance for wide
shots and close-ups was a very, very dicult process,” Fi-
erstein recalls. “Echo Park as a whole is very limited on their
parking and we had to clear streets. We had to be always
in touch with city council [members], who were fantastic,
to make sure that we were doing it right and really mak-
ing it clear that we were supporting the neighborhood and
the tenants who lived there. It seemed to work out really
great, but that was a huge challenge.” ankfully, Fierstein
had plenty of assistance. “I had a very large location team,
and they were incredibly helpful,” he says. “e majority
of them have been with me for a very long time. Overall,
we were doing two to three moves a day on this show, so a
normal day was two moves. An abnormal day was being in
one place. We were never just in one place; we were always
on the move. It was a constant shi.
ere was so much needed and I
had to have people everywhere.”
All of the hard work involved in
the production came with a silver
lining. “ere is a quote that says
‘A smooth sea never made a skilled
sailor,’ and that’s exactly what this
show was,” says Fierstein. “I think
there was so much that had to go
in, even if you feel like you are an
expert at your job [and] even if you
feel you know everything (even
though you never do). is was
one of those shows that consist-
ently surprised me, and I consist-
ently learned how to do things dif-
ferently. And I think that it helped
me going forward. Even though I
thought that I had known every-
thing I could know, this was one of
those jobs that allowed me to grow even more as a location
manager.”
“Snowfall” – Location Manager Brian O’Neill
e Netix show “Snowfall” focuses on the origin
of the crack cocaine epidemic of the early 1980s in South
L.A. e drama series follows the lives of several characters,
including a teenage drug dealer (played by Damson Idris), a
CIA operative (Carter Hudson) and the niece of a Mexican
crime lord (Emily Rios). “What we strive to do on the series
‘Snowfall’ is show that in 1983, South L.A. was not a bad
place,” explains Location Manager Brian O’Neill. “And it’s
Location Manager Eric Fierstein
64 California on Location Awards
TM
LOCATION MANAGERS GUILD
INTERNATIONAL
LOCATION MANAGERS GUILD
www.californiaonlocationawards.com 65
what the ve-year arc of this series will show, the demise of
the community because of crack. In 1983, it was still nice.
ere was a respect and honor to your neighborhood and
to your property and to your family. And there was and still
is this great family community within South L.A. and East
L.A., and the show basically depicts the beginning of a really
bad decade.”
O’Neill and his locations team did a lot of work to
bring these neighborhoods back to their former glory. “Our
goal was to show, as realistically as we could, every bit of
South L.A.,” explains O’Neill. “at meant taking current
structures back to 1983, which was almost 35 years ago.
Going into our neighborhoods, everyone has bars on their
windows and fences up. We removed fences and bars o the
windows, and we put more owers and plants in front of
every house. Every single time we went on location, there
was no turnkey location that was just lmed because it nev-
er looked proper for 1983. We probably spent three to ve
days at every single location trying to bring it back to what
it was.”
O’Neill’s team (also nominated for a COLA for Lo-
cation Team of the Year – One-Hour Television) helped him
to transport viewers back to 1983. e demands of the show
kept each member busy with executing the decisions made
by the production. “My team was awesome,” recalls O’Neill.
“I’m pretty sure there are members of my team that never
met each other except for in passing. I don’t think there was
ever a moment when my entire team was in one place. at’s
how demanding this show was. [Everyone] was always con-
stantly running in one direction or another…. I needed a
very ethnically diverse team. I needed Spanish speakers. I
needed people that could assimilate to these various com-
munities, and it took a full team eort…. We had so many
folks on the team. ey made me look good and they made
us be successful, and I can’t thank them all enough.”
O’Neill worked closely with Film L.A. and the
LAPD to help bring the series to life, but he frequently con-
sulted with another group to make sure that the production
was working safely and respecting the neighborhoods. “We
had a great outreach to the local gangs, to be quite honest,”
says O’Neill. “And we explained to them what we were doing
and that we wanted to employ their members, if you will,
as our local security. So we spent a lot of the time [getting]
cooperation and assistance from all the various gang organi-
zations within South L.A., East L.A., etc. And I know some
people might say we’re playing into or aiding and abetting
their activity, whereas I completely and utterly disagree, in
that what we were doing was to try and keep the locals hap-
py. We were on their land or their turf, if you will, and we
wanted them to feel included, not excluded. We didn’t want
66 California on Location Awards
Congratulations
TO ALL 2017 COLA AWARD NOMINEES
SHASTA COUNTY FILM COMMISSIONER
SABRINA JURISICH
SABRINA@VISITREDDING.COM
(530) 225-4103 | FILMSHASTA.COM
www.californiaonlocationawards.com 67
Of the 2017 California On Location Awards
CONGRATS
TO THE
NOMINEES
STEVE MORRISON
MAMMOTH LOCATION SERVICES
760.914.0359 • MAMMOTHFILMLOCATIONS.COM
68 California on Location Awards
this Hollywood production to come in and feel entitled.
We relayed it to the entire crew that we were guests in their
neighborhood and we were going to do things their way,
and we are going to retell this story that many of them re-
member. Some of the elder members of these gang organi-
zations were a part of this 35 years ago, and they appreciated
the fact that we wanted to retell this as accurately and truth-
fully as possible…. Truth be told, once the community feels
like they are a part of the equation, and not just a subject of
it, once you incorporate and involve everybody, they in turn
will feel a part of it and want to help. We’re all on the same
page in trying to tell the same story.”
“Get Shorty” – Location Manager Steve Woroniecki
Inspired by the 1990 novel and 1995 lm of the
same name, the Epix TV series “Get Shorty” follows a mob-
ster hitman (played by Chris O’Dowd) who decides to be-
come a Hollywood movie producer. Since the darkly comic
show requires an entertainment industry backdrop with an
old Hollywood feel, Location Manager Steve Woroniecki
utilized myriad locations around Hollywood, Burbank,
Studio City and Hollywood Hills, as well as three dierent
studios — Paramount, Warner Bros. and Sony. “[e show]
has unique locations [and] they’re not the normal everyday
ones so everything was unique,” Woroniecki explains. “at
can be a challenge in securing the buildings with very lit-
tle time, the speed of getting information and being able to
permit and process location agreements. Just how fast the
speed was and keeping up with the permit process was just
the biggest challenge.”
Shooting an industry-based show in an industry
town has its perks, and L.A. oers plenty of lming resourc-
es to help get the job done. “We used Film L.A. here, and
they were fantastic and really helped us out immensely,” says
Woroniecki. “What we were asking was really pushing the
envelope, and they came through for us every single time.”
One thing the series demanded was to showcase the dier-
ent sides of Hollywood. Luckily, Director and Co-Executive
Producer Adam Arkin was a guiding force. “Adam Arkin
grew up in Hollywood; his dad’s famous [and] he’s famous,”
says Woroniecki. “He was really instrumental in keeping it
real, whether it was ‘cool, hip Hollywood’ or ‘studio Hol-
lywood’ or the ‘sleazy producer Hollywood,’ he made sure
that location-wise, actor-wise, set dressing-wise, everything
had to be perfect in the realm that it was in because we had
several dierent layers…. e show’s success is a testament
to him and his vision … and keeping it ‘real Hollywood’
is kind of a subtext as to which Hollywood you’re talking
about. So since we had to change each time we shot, Adam
was really good about leading the pack on that.”
Location Manager Brian O’Neill
www.californiaonlocationawards.com 69
Congratulations to all 2017
COLA Nominees and Award Winners
A place perfectly
different...
MARIN COUNTY
70 California on Location Awards
Another bonus is the show’s pedigree, which helped
to grease the wheels of the production. “If anything, [the
job] was easier because of the show’s name and title,” Woro-
niecki admits. “Everyone kind of, from either their past or
growing up, had known [the lm version of] Get Shorty and
loved it…. Everyone was very inquisitive and very open and
wanted to be part of [the show] because they loved the mov-
ie.” Still, if there’s one thing that a veteran location manager
knows, it’s that no one can do the job on their own. “[TV
shows] seem to get harder and harder,” Woroniecki laments.
“ey shorten the prep… and, in that shortening, you re-
ally have to depend on having logistics meetings and permit
meetings and just making sure everything is covered. [It’s
about] keeping really broad, active conversations with eve-
ry group because you never know when someone doesn’t
know something, or they know something you don’t. It
takes many people and having the right players [and], be-
cause things are so fast, it becomes a group eort…. It all
boils down to the team across the board, so you need to
make sure you have good relationships with everybody.”
Location Manager Steve Woroniecki
Location Manager Steve Woroniecki
18 20th Century Fox Television
33 Aero Mock-Ups
32 Agua Dulce Movie Ranch
65 Antelope Valley Film Commission
3 e Beverly Hilton
68 Big Sky Movie Ranch
73 Blue Cloud Ranch, LLC
14 California Film Commission
73 California State University Northridge
32 Executive Assurance Security
10 FilmL.A.
25 Film in California Conference
53 Filmis!
9 FLICS
71 Golden Oak Ranch
13 HBO
49 e Hollywood Reporter
32 Humboldt-Del Norte Film Commission
43 Inland Empire Film Services
32 Jerrold Ridenour
40 Joe’s Auto Parks
24 LA Center Studios/Hollywood Locations
65 Location Managers Guild International
70 Location Portal
33 Lucky Pinnaple
48 LUNCHBOX Transportation
43 Malibu FIlm Commission
68 Mammoth Mountain Ski Area, LLC
70 Marin Convention & Visitors Bureau
6 Miraores Winery
76 Morongo Casino Resort and Spa
66 Mystic Creative
2 Netix
54 Newhall Film
39 Orange County Film Commission
74 Pacic Production Services
12 Paramount Pictures
31 Pasadena Filming & Event Oce
39 Placer-Lake Tahoe Film Oce
48 Plan A Locations
73 Reel Security Corp
39 Reel Waste & Recycling
23 Real to Reel Locations
41 Riverfront Stages
52 Riverside County Film Commission
73 RSI Locations
41 San Mateo County/Silicon Valley Film Commission
59 Santa Clarita Film Commission
67 Shasta County/ Redding Convention and Visitors Bureau
5 Sony Pictures Entertainment
75 Teamsters Local 399
43 Film Tulare County
28 Warner Bros. Entertainment, Inc.
60 Wirere Labs
INDEX
e Film Liaisons in California, Statewide (FLICS) wish to thank everyone joining with us to celebrate the 23rd
Annual California on Location Awards! Your loyalty and support over the years has helped the
COLAs to grow and to honor ttingly the location professionals, production companies, and public
employees whose work makes California the best lming location.
FLICS is the professional organization of 41 lm oces and commissions that work cooperatively with the California Film
Commission to attract, retain and facilitate lm production. Please meet them now:
Antelope Valley/North L.A. County Film Oce – Pauline East
Berkeley Film Oce – Barbara Hillman
Beverly Hills Film Oce – Scott Lipke
Calaveras County Film Commission – Lisa Boulton
Catalina Island Film Oce – Jim Luttjohann
El Dorado Lake Tahoe Film Oce – Kathleen Dodge
FilmL.A. – Paul Audley
Fresno County Film Commission – Gigi Gibbs
Humboldt - Del Norte Film Commission – Cassandra Hesseltine
Imperial County Film Commission – Charla Teeters
Inyo County Film Commission – Chris Langley
Kern County Film Commission – David Chavez
Livermore Valley Film Oce – Jeannie Haigh
Long Beach Oce of Special Events & Filming – Tasha Day
Malibu Film Commission – Kimberly Collins-Nilsson
Marin Film Resource Oce – Deborah Albre
Mendocino County Film Commission – Sharon Davis
Modesto/Stanislaus County Film Oce – Cynthia Birdsill
Mono County EDC (Mammoth Mountain) – Alicia Vennos
Monterey County Film Commission – Karen Nordstrand
Orange County Film Commission – Janice Arrington
Pasadena Film Oce – Rochelle Branch
Placer - Lake Tahoe Film Oce – Beverly Lewis
Ridgecrest Regional Film Commission – Doug Lueck
Riverside County Film Commission – Bettina Breckenfeld and
Stephanie Stethem
Sacramento Film Commission – Lucy Steens
San Francisco Film Commission – Susannah Greason Robbins
San Luis Obispo County Film Commission –Kylee Corliss
San Mateo County/Silicon Valley Film Commission – Marie Ivich
Santa Barbara County Film Commission – Geo Alexander
Santa Clarita Film Oce – Evan omason
Santa Cruz County Film Commission – Christina Glynn
Shasta County Film Commission – Sabrina Charlson
Sonoma County Film Oce – Katie Parrish
South Pasadena Film Oce – Joan Aguado
Tulare County Film Commission – Eric Coyne
Tuolumne County Film Commission – Lisa Mayo
Vallejo/Solano County Film Oce – Jim Reikowsky
Ventura County Film Commission – Bill Bartels
West Hollywood Film Oce – Eddie Robinson
Yosemite/Madera County Film Commission – Dave Wolin
72 California on Location Awards
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(661) 510-6873 info@bluecloud.com
www.californiaonlocationawards.com 73
74 California on Location Awards
Presenting Teamsters Local 399 Finalists for the 2017 California On Location Awards.
We wish our nominated Members the best of luck!
Honoring Teamsters Local 399 Winners from the 2016 California On Location Awards.
Congratulations on your Accomplishment!
Ted Alvarez
Newton Bass
Greer Bishop
Deven Chierighino
Tristan Dauossis
David Ferdig
Scott Fitzgerald
Philip Fracassi
Diane Friedman
Karen Gilbert
Chris Gutierrez
Kenton Harris
Kelly Harris
Ron Haynes
Justin Hill
Tom Hogan
Alex Kivlen
Scott Kradolfer
JJ Levine
Stephen Mapel
Mandy Marion
Edward Mazurek
Murray Miller
Jill Mitchell
Michael Parisi
Nathan Polatin
Matt Prisk
Adam Robinson
Rick Schuler
Carolyn Schultz
Je Shepherd
Jack Tate
Nate Taylor
Marta Tomkiw
Scott Trimble
Michael Wesley
Brett Williams
Kirk Worley
Michael Wesley
Scott Trimble
Frank Yoshikane
Kyle Alexander
Gregory Alpert
Daniel Alvarez
Jorge Alvarez
Shelly Armstrong
Lori Balton
Mike Barry
Stuart Barter
Newton Bass
Chris Baugh
Chris Beal
Arik Bednarik
Rich Bokides
Robert Bonk
Becky Brake
Nancy Bruno
Stacy Buckley
Michael Burmeister
Jenny Caloca
Anthony Carillo
Nick Carr
Peter Costelli
Darrin Cummings
Brian Deming
Mandi Dillin
Wendy Donovan
Dale Dreher
Caleb Duy
Claudia Eastman
Albert Epps
Taylor Erickson
Gil Evans
David Ferdig
Perri Fichtner
Eric Fierstein
Scott Fitzgerald
Philip Fracassi
Rob Frank
Kristi Frankenheimer
Alexandra Gibson
James Gierman
Sam Gomez
Chris Gutierrez
John Grant
Heather Haase
Ken Haber
Mike Haro
Rich Heichel
Mario Hernandez
Justin Hill
Thomas Holaday
Ben Holley
Je Hunter
Oscar Ibarra
John Jamieson
Tisha Jeerson
William Jorgenson
Geo Juckes
Brian Kalata
Jennifer Kennedy
Dylan Kirkland
Alex Kivlen
Scott Kradolfer
Carrie L.A.
Tom Lackey
David Lee
Kimberly Lynn
Don Mann
Steve Mapel
David Marmolejo
Barbara Miller
Eric Mills
Alex Moreno
John Nabet
Brian Nagel
David Nakata
Rachel Nelson
Jason Neudecker
Will O'Brien
Kim O'Brien
J.P. O'Connor
Brian O'Neill
Sophia Ochoa
Peter Martorano
Pedro Mata
Kent Matsuoka
Caitlyn McCarty
Ben McCrea
Kathy McCurdy
David McKinney
Beth Melnick
Harry Middleton
Pat Riley
John Rizzi
Will Ruvalcaba
Jason Sallee
Kirk Worley
Steve Woroniecki
Mark Zekanis
Eddie Santillan
Paul Schreiber
Eva Schroeder
Rick Schuler
Carolyn Schultz
Brian Shaw
Suzanne Shugarman
Jason Stowell
Rich Streeter
Beth Tate
Alison Taylor
Clay Valenti
Josh Vignery
Keomanee Vilaythong
Sonya Villerias
Earl West
Shelly Wilson
Mike Wilson
Devin Wilson
Tommy Woodard
Phillip Oglesby
Peter Orth
JT Panzarella
David Park
Robert Paulson
Rick Poyner
Matt Prisk
Aurora Quinones
Errol Reichow
Teamsters Local 399 takes great pride in acknowledging our
Members for their outstanding performance and professionalism while
lming in the State of California.
Teamsters Local 399
www.ht399.Org
www.californiaonlocationawards.com 75
Congratulations
To All of the Nominees & Winners of
The California On Location Awards
MORONGOCASINORESORT.COM • 888.MORONGO
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