I sent a much longer email to Robin, but thought I’d share a brief version of lessons learned from working as a Site Coordinator during film shoots at a heritage property:

 

DO:

·         Have a detailed discussion with your staff and board as to what can and cannot happen during the shoot – make sure that all staff know what is and isn’t being allowed, so that you present a consistent message to the crew and production staff.

·         Get a legal agreement in place before any shooting or production work begins. This should be reviewed by (if available) a collections manager, property manager, lawyer, and (at the very least) senior management. The agreement should include the rental charges, insurance coverage, damage fees, site restrictions and guidelines, key contacts, and supervisory requirements.

·         Try to get a shoot supervisor to assist museum staff during the time the crew is on-site. Having a film industry person (ie: someone who has experience in film production management) on-site and on your payroll is great because they watch for things you wouldn’t even dream of as a museum person, can liaise easily with the crew, and are able to be the “bad cop” when it comes to enforcing site rules.

·         Having said this, make sure you have a dedicate museum staff member to supervise the shoot (or at least check in every hour). Staff familiar with the collections, property, and site policies are essential to addressing the multitude of questions and issues that can come up during the shoot day.

 

DON’T:

·         Trust the crew. It sounds harsh, but these are not museum-trained professionals who know how to work in a heritage setting, nor do they have your collections’ or site’s best interests at heart. Be vigilant! (also this is where the shoot manager/supervisor comes in handy!).

·         Plan any programs or events on-site during the shoot, depending on the size of your facility and infrastructure. Most shoots take over the entire site, so be prepared to be in lockdown mode for the duration. Make sure that all staff are aware of the shoot and any quiet zones or restricted areas.

·         Tweet or promote the fact that the shoot is happening until you get the go-ahead from the production company. They tend to keep a tight lid on shoots (especially if it’s a big/well-known production), and can be pretty angry if you let the cat out of the bag. Check with them before you mention it to non-staff.

 

The most important lessons learned during my experiences with film/television shoots at heritage sites were all about sourcing the appropriate support network – you can be on-site the entire time, but might not anticipate potential issues or damage if you’re not familiar with a shoot environment. Having a site supervisor who’s familiar with film production, relevant labour laws, and your site is a HUGE help. In addition, having a strong contract at the outset really helps keep the production company in line – if they’re worried about their crew breaking anything because it will cost them a lot, you can bet they’ll be on their best behaviour.

 

Best of luck,

 

Alison Little

Program Manager  |  Ontario Historical Society

34 Parkview Ave.  Willowdale, ON  M2N 3Y2  |  416.226.9011

www.ontariohistoricalsociety.ca  |  Follow the OHS on Facebook!

 

 

I have been contacted by a location scout for the possible use of our historic house museum/grounds in a TV movie.  I’d be interested in hearing any advice or feedback from folks who have been through this process.  What are the pitfalls and benefits? Have you allowed a movie team to  film in your interior spaces?

 

Thanks,

Robin

 

--------------------

Robin H. Gabriel

Executive Director

Kaminski House Museum

Georgetown, SC 29440

www.kaminskimuseum.org

 

 

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