Karen and Anton “Tony” Lang and their three young daughters had no sooner moved into their turn-of-the-century frame house in La Grange in late 1994 than Hollywood Pictures moved them out for two months, redecorated most of the first floor, and filmed certain scenes for “While You Were Sleeping,” the movie that shot actress Sandra Bullock to stardom.
The back-in-time feeling of the original varnished woodwork, the spacious, high-ceilinged rooms, the bay windows and wraparound porch with pillars that had attracted the Langs to the property also caught the eye of Don Hug, a Chicago-based free-lance location manager who was scouting for a house that would reflect the family feeling of the film. Actually, it was Hug’s second choice. His first pick was in a nearby neighborhood where a previous company’s film project had caused controversy.
“Residents reported hearing tires screeching at 2 a.m., among other things,” said Bob Pilipiszym, assistant village manager. “They were annoyed, and rightfully so. They alerted us to growing citizen concern, which led to a public information meeting at which they aired their grievances. Some said they could see no benefit in allowing commercial filming in town; they felt it was an imposition.”
Hug brought to the meeting a studio executive who, after listening to complaints, agreed to seek a different site; the locale was shifted to the Langs’ house, and cameras rolled.
“We like working with Don Hug; he knows the rules and regulations and what the village expects, and he conveys it to the film companies like an ombudsman,” said Pilipiszym, adding that La Grange adopted “Guidelines for Filming in La Grange,” a formal procedure list, in August 1994.
And Hug likes La Grange.
“It’s a place that has lots of different looks and, basically, it’s a film-friendly community,” he said.”Park Ridge, Oak Park and suburbs along the North Shore are good, too. And, of course, many scripts call for scenes in Chicago, where we’re welcomed.”
One of many experienced location managers, he combs a variety of neighborhoods for locations to suit specific films, sometimes driving around and around the same block, a routine that at times has proved embarrassing.
“Cops stop me if residents report an unfamiliar car that’s gone by again and again,” he said. “That’s OK. I think it’s good that people are alert to the possibility of stranger danger.
“I’m the eyes for the creative people, always seeking a unique quality, the look of something that really can’t be matched anywhere else. That’s what we want to photograph. Sometimes I park my car and literally go door-to-door when I find a neighborhood that looks right.”
If a homeowner answers the bell, Hug makes his “You ought to be in pictures” pitch in person. Otherwise, he leaves a flier with his phone number and an explanation of his mission. Always, he urges those interested to check his credentials with the Illinois Film Office (312-814-3600).
“For an interior shoot, the house must be large enough to accommodate equipment–sound, lights and video playback, for example, plus a minimum of 40 to 50 people. Even if only one room is being filmed, we need the entire first floor,” he said. “For an exterior scene we need the whole yard.”
Once he finds suitable houses owned by people interested in participating, the next step is to photograph exteriors and interiors.
“The film director expects to go through stacks of photos in order to find two or three places to visit, usually with a team of at least half a dozen colleagues. Sometimes it takes two or three visits before a decision is made,” he said. “At this point we’re still in the `possibility’ stage. I tell the owner, `If you don’t hear from me in a couple of weeks, we’ve moved on.’ “
Renting property to a production company is a good way to make extra cash in a short time, according to Hug.
“It’s a great way to gain home improvements, a way to gain a lot of `stuff’ plus money,” he said. “New paint and wallpaper, perhaps new lighting and plumbing fixtures–it all depends on what the script calls for. But you have to ask yourself, `Is the money worth the disruption?’ If it is, filming can be a win-win situation.”
Once the contract stage is reached, it’s important for the homeowner to make sure everything is “tied down,” Hug said.
Will it be a one-day, three-day or month-long shoot? What does the contract say about running overtime? What about insurance? What are the clean-up responsibilities? Read the contract carefully, including the fine print.
Ann Hartnett, a producer with Chicago-based Freeman Pictures Inc., said her company consults its own location files or hires location managers to scout new places, depending on the project at hand.
“We do mostly ads and corporate films. When the (story) boards for a TV commercial come in, we discuss the parameters of the project–size, ceiling heights, accessibility. Our owner, Barbara Freeman, always offers input.
“In addition to homes, we shoot a lot of schools and offices. We always look for large rooms and easy access for equipment. Oak Park, with its huge older homes, is easy; so is Hinsdale. Scouts usually present us with panoramic shots showing first one room, then the adjacent one; it’s like a floor plan on film.
“Once we’ve reached a contract agreement with the property owner, we figure out the logistics of the project–permits, parking, equipment and certificates of insurance,” Hartnett said.
The scope of a project determines the amount her company pays; it may vary from $500 to $1,000 to $2,000 per day.
“Sometimes we need only a porch and sometimes we need a lot more,” she said. “We’re careful to Polaroid everything before we start working. We protect floors and walls, and our crew and producers are there for the cleanup; we know we might want to use that location again.”
HOW TO FILE YOUR PROPERTY WITH A FILM OFFICE
Ron Ver Kuilen, managing director of the Illinois Film Office, says if you think your home or office ought to be in pictures, you can list your property with his office, a central repository that serves as a source for location managers.
“Send 3-by-5 or 4-by-6 color snapshots of the interior and exterior of your property, plus exterior shots of the neighborhood–the place across the street and those on either side of you,” he says. “You needn’t spend a lot of money on the photos.”
Include approximate room sizes, ceiling heights and a one- or two-paragraph description of anything that sets your house apart–a pool, a deck, a Victorian porch or exotic landscaping, for example.
“We file by community or by city block, and we meet weekly to consider locations,” Ver Kuilen says.
Send information to: Location Resource Coordinator, Illinois Film Office, 100 W. Randolph St., 3rd Floor, Chicago, IL 60601.
The office has two hot lines that people interested in working as film extras (312-427-3456) or crew members (312-427-9675) can call to learn where to send resumes.
Location managers are listed in Screen, The Chicago Production Bible (1997-98), published by Screen Enterprises Inc., 16 W. Erie, Chicago. The $40 book is available at area bookstores.
