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11 Secrets of Former Blockbuster Employees

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For nearly three decades, Blockbuster was the friendly neighborhood video store for movie-lovers around the United States—and its employees were our friendly neighborhood movie gurus. Though a few independent Blockbuster franchises are still bravely soldiering on around the country, the company had its heyday in the 1990s to mid-2000s, when video tapes and DVDs were still the dominant way to watch a movie. Doling out recommendations and patiently dealing with our late fee complaints, Blockbuster employees were a crucial part of our movie-watching experience, and frontline observers of the changes in our movie consumption. Mental_floss talked to a handful of former Blockbuster employees about what it was like to work at the video rental franchise from the company's heyday through its decline.

1. THEY RENTED MOVIES FOR FREE.

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Working at Blockbuster had plenty of perks if you were a movie lover. Employees not only received five free rentals a week, but got to watch new releases a week before they became available for rental. Matt, who worked at a Blockbuster in southeast Michigan from 2004 to 2009, explains that the free rental policy was really a win-win for Blockbuster and its employees. “This was actually a necessity because you’d have movie buffs and store regulars come in and ask for recommendations,” he explains. “It was a good way to catch up on movies I missed or had never heard of. I definitely dug up some oddball gems this way.”

2. THEY HATED IT WHEN YOU COMPLAINED ABOUT LATE FEES ...

Over the years, Blockbuster experimented with a range of policies regarding late fees. For a while, the store tried a “no late fees” policy, which, according to former employees, replaced late fees with a confusing “re-stocking fee.” Regardless of policy, employees say dealing with late fees was among the most annoying parts of the job.

“People proved to be astoundingly bad at math, and though they’d agree on how long they kept the movies they had and how much each of them cost for the night, they were just unable to comprehend how they owed us the amount they did,” explains Lex, who worked at Blockbuster in Scranton, Pennsylvania, from 2012 to 2013. “Dealing with people trying to get out of what they owed was basically how we interfaced with 40% of our customers on a daily basis.”

Brie, who worked at a Blockbuster in Salt Lake City from 2007 to 2008, during its “no late fees” era, explains that customers would always fight her on the store’s $1.25 restocking fee. “I would say 95% of the customers would fight me on paying them 100% of the time,” she says. “Customers would argue, ‘What is this restocking fee if not a late fee?’ You’re totally right, I know, it’s a loophole to get around saying it’s a late fee. I didn’t make it up, please don’t fight me on it.”

3. ... BUT THEY'D TRY TO HELP YOU OUT IF YOU WERE POLITE.

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When it came to getting out of late fees, there was really only one strategy that worked: Be nice. “Once I hit Shift Lead status, I would make deals with customers and try to waive a fee or two here or there if customers were regulars or particularly nice,” says Brie .

“We were able to minimize some late fees, eliminate others,” says Tim, who worked at a Blockbuster in East Greenwich, Rhode Island, from 2004 to 2007. “Come in calm and respectful and apologetic, poof, you owe $0.00. Come in hooting and hollering and it’s ‘I’m sorry, sir. There’s nothing I can do. You cannot rent another movie until you pay your $3.75.’”

4. THEY KEPT SECRET NOTES ON CUSTOMERS.

If you ever caught an employee giving you a strange look or holding back a laugh when you tried to rent, there’s a chance there was a note left on your account. Blockbuster used point of sale software that let employees look up your account information, and leave little warnings for each other if you habitually tried to worm your way out of late fees or misbehaved.

“People would constantly complain about late fees, so we had a system where you could write a note in the computer, like ‘Forgave one late fee, don’t do it again,’ or ‘This guy constantly turns in tapes late and says he paid his fees,’” says Mike , who worked at Blockbuster in Malden, Massachusetts, from 1999 to 2003. “Depending on who wrote the note, it could be very professional or sometimes it would just be like, ‘This lady is crazy.’ It would be flashing in yellow and you’d be keeping one eye on the customer, and one eye on the screen, trying to read it, and sometimes trying to keep a straight face.”

5. THEY COULD SEE YOUR ENTIRE RENTAL HISTORY.

If you rented anything embarrassing, you can bet your local Blockbuster employee noticed. “When customers brought up tapes, you’d see their previous rentals automatically,” explains Mike . “So, you’d see like, a thirteen-year-old girl renting Titanic for the twentieth time. You wouldn’t say anything, though.”

6. THEFT WAS A BIG ISSUE.

Customers were constantly finding creative new ways to steal merchandise. Matt remembered the “slashers” who would “show up with a boxcutter hidden on them and sneak around the store, slitting the spines on DVD cases and stealing discs,” while Lex recalled a guy who figured out how to remove the magnetic locking strips from DVD cases. “He’d always steal the weirdest, most arbitrary movies,” she explains. “He’d steal sequels of things and not the originals, or individual discs of TV show season collections. I don’t know if he was just trying to tear down the system slowly from the inside, or if he just had very specific interests.”

Mike, meanwhile, says the most notorious criminal to terrorize his Blockbuster location turned out to be a 10-year-old boy. “We had the full security system at Blockbuster—video cameras, security gates, magnetic locks on the cases—but somebody kept stealing video games. Our manager was totally baffled. He started to think it was an inside job,” says Mike. “It turned out it was a little ten-year-old kid. His mom found all the video games under his bed and turned him in. She brought the games back and we promised not to press charges, but the mom wanted us to scare the kid straight, like Maury Povich-style. So the manager and I ended up in the back room with this little ten-year-old kid who’s crying his eyes out. We had no idea what to do. It’s like, there’s our master thief who’s outwitting our corporate security system, and he’s just a kid.”

7. CORPORATE LOGIC WAS A BIT OF A MYSTERY.

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The employees at individual Blockbuster locations didn’t get to choose which products they ordered to rent or sell. Everything was decided by corporate headquarters, whose logic could sometimes be difficult to discern. Back in the early 2000s, that often meant receiving hundreds of copies of new releases to rent, which stores would later struggle to sell off, or receiving books and magazines that customers never even noticed were there.

Gladiator was the biggest movie that came out while I was at Blockbuster. We had so many copies, just walls and walls of Gladiator. Then, later on, we couldn’t sell them. We had like 200 copies left and nobody wanted them,” recalls Mike. “We’d also sell video game guides and magazines, and they would never sell. At the end of the month, we’d rip the cover off and throw them away. Sometimes instead of tossing them, I’d take them home—to this day, I have so many books without covers.”

8. THINGS REALLY STARTED TO UNRAVEL TOWARD THE END.

By 2012 or so, when the chain was really struggling to stay afloat, Blockbuster locations would often receive seemingly random shipments of movies to sell off, says Lex. They’d set up large tables around the store covered in DVDs for sale. “It was a completely random assortment of stuff,” recalls Lex. “We’d have, like, 50 copies of some mediocre 5-year-old romantic comedy, and then two copies of Indiana Jones and the Last Crusade (and none of the rest of the series), and then 12 copies of some obscure art-house film. There was no curation.”

“The most bizarre thing,” he concludes, “is that we had 135 copies of Dinner For Schmucks. I made it its own table. On the Black Friday I was there, we had a ‘door busters’ sale, with select, new DVDs for $5 a piece. We got 24 DVDs to sell—not 24 titles, 24 individual DVDs. Of those 24 DVDs, six were Dinner For Schmucks. The 135 copies were already selling for $3 apiece. We didn’t have much of a Black Friday rush that year.”

9. THE SWITCH FROM VHS TO DVD WAS PURE CHAOS.

Long before Blockbuster lost its showdown with streaming video, the company was faced with another seismic technological shift: the transition from VHS to DVD. According to Ben, who worked at a Blockbuster in central Pennsylvania from 2001 to 2002, the company struggled to get rid of its excess VHS tapes once the medium became obsolete. "We pulled them by the hundreds and put them on sale," he recalls. "After a few weeks, we started pulling them for destruction. It was kind of a shame, but it was fun at the same time. We just smashed the hell out of them behind the counter. I was washing through an ankle-deep layer of black plastic and magnetic tape … Later destroy pulls were authorized to instead send to local charities, but that first big one was fun.”

10. BEING A MOVIE BUFF WASN'T A JOB REQUIREMENT ...

You didn’t have to be a cinephile to work at Blockbuster. Most managers were more interested in hiring people who were reliable and punctual than employees who could recite the entire filmography of their favorite director. “You didn’t need to love movies at all,” recalls Mike. “You just had to get there on time.”

11. ... BUT MANY EMPLOYEES REALLY LOVED MOVIES.

Nevertheless, many Blockbuster employees really did love movies. “My interview basically amounted to them making sure I was a human that could read,” says Lex. “But everyone I worked there with was pretty big into games, movies, and TV, and we spent a lot of time talking about them.”

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19 Secrets of Public Librarians
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The nation's first free public lending library opened in Massachusetts in 1790 with a collection of books donated by Benjamin Franklin, and public librarians have been helping Americans figure stuff out ever since. Sure, librarians excel at matching the right novel or biography or picture book to the right reader, but their mission is broader, and rooted in a radical idea: Everyone, regardless of age, ethnicity, financial status, or any other factor, has a right to information. In honor of National Library Week, Mental Floss spoke to five public librarians to find out what they do behind the stacks to keep these local repositories of knowledge thriving.

1. THEY NEED TO HAVE AT LEAST A MASTER'S DEGREE TO GET A JOB.

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In order to score a job, librarians need a master’s degree in library science, library and information studies, or librarianship—programs in which they learn about cataloguing and organizing, statistics, research, management, and digital reference, among other essential skills. A librarian-in-training may also pick a specialty, like archival studies or rare books. Some librarians go on to earn a doctorate in library science; this degree can open the door to jobs in places like the Library of Congress and corporate research libraries.

2. THEY'RE INCREASINGLY IN DEMAND.

Librarians earn a median annual income of $60,760—about $10,000 higher than the average for all occupations nationwide. And in case you're thinking it’s a dying industry, the Bureau of Labor statistics estimates that librarian jobs of all kinds—not just those in public libraries—will increase by 9 percent by 2026. In fact, a 2017 report by the education and publishing company Pearson found that librarians, curators, and archivists were among the occupational groups with the highest probability of increased demand by 2030 [PDF].

3. THEY CAN HELP YOU WITH EVERYTHING FROM METADATA TO FILLING OUT YOUR TAXES.

Librarians are trained in accessing all sorts of information, not just what you find between two covers. Some of them, like Erica Findley, who works at the Multnomah County Library system in Portland, Oregon, specialize in metadata, which she describes as a fancy word for “how you describe a thing" (technically, it's data about other data). She focuses on making online catalogs easier for patrons to search: “We try to put ourselves in a user’s shoes—what kind of key word are you going to type into the search box?”

Her colleague Katy Ferris specializes in electronic content, and says it’s her mission to encourage patrons to “think beyond the library as a physical space where they can get the latest bestseller.” That means assembling electronic resources—e-books and audio books, digitized objects like photos and pamphlets, streaming media, and online databases.

Not sure how to tell fake news from real news? Ask a librarian. They can also help you research how to fill out tax forms, get career training, find an AA meeting, and apply for citizenship. “People think, ‘Librarians know everything!’” says Michelle Krakowski, an adult library specialist in Contra Costa County, California. “No, but we know where to look for it.”

4. THERE'S PLENTY OF RESEARCH BEHIND THEIR RECOMMENDATIONS.

What does a librarian want most? "To give someone the perfect book,” says Gia Paolini, a Contra Costa County community library manager. That said, no one, or 10, or 100 librarians can read every book published in a year. So, they do their own research in blogs and trade publications like Publishers Weekly, attend training sessions and webinars, and consult librarians-only subscription databases like NoveList.com, which offers book recommendations by librarians, for librarians. Rakisha Kearns-White, a young adult specialist at a large library in New York City, says she belongs to a committee whose members read several books every school semester, then present talks on them to their peers. Still, they read a lot—Kearns-White says "some colleagues read 1000 books a year, which is amazing. I don’t know how they do that."

5. THEY LOVE HELPING TO SETTLE A BET.

There’s a mundane occurrence to delight every librarian. “Especially if there are language barriers, I love when someone musters the courage to ask me a question and we can go back and forth to make sure I connect them to the right resources,” Krakowski says. For Paolini, it’s when “someone comes in nervous, expecting us to be mean, then they tell me, ‘You guys are so nice … and I didn’t know you had e-books!”

But Paolini's favorite thing of all is getting a call at the phone reference desk from a sports bar where two buddies are arguing over player stats: “I’m like, ‘This is great that you’re calling the library to settle a bet!'”

6. THEIR JOBS ARE OFTEN DEPENDENT ON TAXES.

Funding for public libraries is complex and varies place by place, but the bulk often comes from city or county allocations or property taxes, supplemented with state or federal dollars, as well as private donations. The nature of these sources can make them inconsistent from year to year, which means librarians' jobs are often subject to uncertainty. Paolini says the economic crash of 2008 was "awful." She explains, "We’re funded mostly by taxes, so when home values completely crashed we were looking at layoffs and [shortening] the hours we were open.”

Sometimes libraries have to get creative to fill budget shortfalls: The Carnegie Library in Pennsylvania raised money to fill some of a $5.5 million funding gap in 2010 by selling seasonal ornaments, according to the Pittsburgh Post-Gazette, and other libraries have been forced to get similarly inventive by hosting fun runs, wine tastings, mini-golf, and even Scrabble tournaments at the library.

The good news, though, according to Paolini, is that despite the occasional politician who thinks libraries waste public money and should be abolished, “99 percent of people [seem to] love libraries and are happy to fund them. We’re not going anywhere.”

7. PLEASE DON'T ASK THEM FOR "BOY BOOKS."

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Every librarian has their own set of pet peeves (not reading the posted hours, leaving books randomly in the stacks), but Kearns-White says that one of hers is when people come in and ask for "boy books" or "girl books." Her response: "Our books have no gender—I can recommend a good story about XYZ." Asking for books by gender, she says, "perpetuates unnecessary gender stereotypes and also perpetuates the idea that boys don’t like to read books written by women or starring women, and it’s really not true."

Another pet peeve? Parents who think their kids are reading the "wrong" kinds of books—comic books, say, instead of Shakespeare. In that case, Kearns-White will go above and beyond to get kids the books they want. “I’ll take the kid into a section where the [parent] can’t hear and say, ‘Listen, I can see you don’t like fiction but your mom isn’t going to get off my back about it. I’ll grab a book that seems like it could be remotely interesting to you, while you go get the book you really want. I’ll convince your mom to let you get both.’”

8. LIBRARIAN STEREOTYPES FROM POP CULTURE MAKE THEM ROLL THEIR EYES.

Negative images of librarians abound in pop culture—most recently, in the Netflix series Stranger Things. “The librarian [in one episode] is like, ‘You can’t have any more books because you’ve already got three out,’ and she’s so nasty about it,” Paolini says. “Every single librarian I know would say, ‘I’ll make you a deal.’”

The portrayal of librarians as dowdy spinsters gets another eye-roll, as does a messy library. “The library in No Man of Her Own (1932) with Carole Lombard looks like an apocalyptic nightmare. No librarian would ever let that happen,” Paolini says.

9. THEY WISH YOU WOULDN'T USE BACON AS A BOOKMARK ...

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Librarians find all kinds of objects wedged between the pages of books—$100 bills, Broadway tickets, condoms, paychecks, love letters, drugs, hatchets, knives, and even a vial labeled “smallpox sample.” Messiest of all, though, might be the food left in books, like crumbled Cheetos, slices of pickles, and whole strips of bacon (both cooked and raw).

10. ... OR LEAVE WEIRD THINGS IN THE BOOK DROP.

People also love to stuff strange items in the book drop, whether it's a dozen doughnuts—how thoughtful?—or a live raccoon. Librarians have also found fireworks, eggs, and dead rabbits and fish, both of which required carefully cleaning the book drop as well as the books that had been inside. Dewey Readmore Books, a library cat from Iowa, was originally deposited as a kitten in the night drop box, then became an international celebrity.

11. THEY NEVER TALK TO MANY OF THEIR PATRONS ...

Between online catalogs, self-serve check-out stations, and e-books and audiobooks that are accessed with the OverDrive app from home, “We never even interact with most of our users,” Ferris says. The surge in online usage doesn’t mean actual books and periodicals have become irrelevant, though; they’re just as in-demand as they ever were. “As librarians, it’s important for us not to dictate what libraries should be,” Krakowski says. Online services “help us support the diverse needs of our communities.”

12. ... BUT IF YOU'RE WEIRD, THEY MIGHT GIVE YOU A NICKNAME.

Librarians meet plenty of characters. Brooke McCarley documented her (brief) interlude working in a library for ThoughtCatlog.com; among her most memorable patrons was a man who gifted her a bag of used teddy bears "in case I could use them." Reddit’s libraries subreddit is also filled with librarians sharing stories about visitors bringing in kittens, reciting erotic poetry, showing up with cotton balls in their ears and noses—and smelling of everything from urine to gasoline. If you're particularly memorable, staff might make up a special name for you—according to redditor Greenjourney, one character at a small rural library has been nicknamed "Prince Valiant" by the staff for his bowl-shaped haircut and "medieval bathing habits."

13. THEIR JOB CAN COME WITH UNEXPECTED HAZARDS.

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Librarians get yelled at, hit on, and insulted. “Sitting out there at a desk opens you up to all kids of micro-aggressions,” Kearns-White explains. But even on an average day, programs can go a little … sideways. “I remember holding up a big tarantula and all the kids screaming,” Paolini says about her years running programs as a children’s librarian. “We also lost a boa constrictor once.”

Most public libraries have a code of conduct in place so librarians can eject anyone who’s intoxicated or acting abusively. These behaviors can lead to suspensions, although, Paolini says, “Most of us look at being in this space as a human right. You’d have to be an incredibly bad person—tried to hurt children or something—to get banned for life.”

14. SOMETIMES PATRONS JUST WANT TO TALK.

Some patrons need validation for their parenting skills, or a sympathetic ear to complain to. “Since public libraries are one of the few spaces you can go where nothing is asked of you, you get a lot of folks in crisis looking for help,” Ferris explains.

Other resources librarians may provide, depending on the needs and desires of their patrons: summer lunch programs for low-income kids; maker spaces; musical events; and access to on-site social workers.

15. THEIR GOAL IS TO MAKE LIFELONG LEARNERS—OF PATRONS, AND THEMSELVES.

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Between 1883 and 1929, steel mogul Andrew Carnegie funded thousands of public libraries around the world—including 1795 in the U.S. “The history of the Carnegie free libraries is still with us,” Krakowski says. “This is one of the few places in the world where you can walk in and go through the stacks, and there’s no gatekeeper."

It’s just this freedom and openness that attracts so many librarians to their profession. “We love information, and most of us are lifelong learners,” Krakowski continues. “What I love most is when people ask me questions from a different sort of life context [or background]. I’m excited to say, ‘I never thought about that! Let’s find out together.’”

16. SOMETIMES THEY NEED TO WEAR COSTUMES.

A large part of a librarian’s job is to get libraries recognized as community resources. For Krakowski, that means forging connections with organizations involved in animal services or workforce development, for example. “They may have experts who provide specialized services to the community, and we can support them by bringing certain [tools] into the library,” she says. For job development, that might mean things like training seminars, books about how to make a career change, and linking to national databases of jobs, like the U.S. Department of Labor's CareerOneStop.com

Children’s librarians also get requests to read at daycare centers and schools—and often, to dress up like characters such as Pete the Cat or one of the Wild Things. “Sometimes you think, ‘I didn’t go to library school for this,’” Paolini says. But that kind of outreach gives librarians the opportunity to introduce the library to new readers, promote summer reading programs, and get kids to sign up for their own library cards.

17. THEY HAVE A CODE OF ETHICS.

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In 1939, the American Library Association, the leadership body for professional librarians, adopted a 28-point Code of Ethics, which has been foundational to the mission of librarians ever since. It’s been amended three times since it was first adopted, and cut from 28 points to 8, but its basic tenets remain the same—serving as a mission statement of “general ambition” in dealing with censorship, privacy, and how a librarian should juggle her private views when they differ from those of her employing institution. Privacy especially, Krakowski says, is "an important thing to think about now, with discussions about the privacy of information and user data. Librarians are at the forefront of this, and understanding what privacy is, since we see people as individuals—not data sets.”

The Code of Ethics are just guidelines, however—they're not legally binding, so violating them won't get a librarian fired.

18. THEY MIGHT HIDE THE OFFICE SUPPLIES.

Most librarians are highly educated professionals who take their job very seriously. That said, they're humans, too, and the Tumblr Librarian Shaming collects some anonymous confessions from librarians who have behaved less-than-perfectly. That might mean getting garlic butter on the books, refusing to check out DVDs that are hard to find, transferring phone calls from abusive patrons to other libraries, or hiding the tape dispensers ("because people think that using ‘a little bit of tape’ means taking about a foot").

19. THEY DON'T WANT YOUR OLD MAGAZINES.

“We love to talk to you and answer your questions, so please interrupt us, and don’t think of us as scary,” Krakowski says. “You are our first priority, and libraries would not exist if not for you!”

There is one notable exception to this rule, however. “Please do not ask us if we want your moldy, outdated set of Encyclopedia Britannicas, or your mother’s collection of Better Homes and Gardens,” Paolini notes. The answer to that question will always be a resounding “No!”

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11 Behind-the-Scenes Secrets of Location Scouts
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When regular people watch movies, they might focus on the plot, the dramatic dialogue, or the eye-popping sets. But when location scouts—the people whose job it is to find perfect filming sites—sit down for a film, all they see are logistics. Where did they shoot that? Who gave them access to that part of town? How did they shut down Times Square for that entirely empty shot in Vanilla Sky (2001)?

A location scout might spend an entire film typing out notes on their phone, only later realizing that the movie ended and they missed most of the actual plot. Mental Floss chatted with a couple of these professionals to learn more about their job—like just how many times they have to watch a film before they can enjoy it. (At least twice.)

1. THEY MIGHT START OUT IN CRAFT SERVICES.

Location scouts usually start their careers low in the production food chain. Audra Duval, a scout based in New York, has worked on film and TV projects such as The Greatest Showman (2017), The Knick, and The Blacklist, but she began her career as a unit production assistant, cleaning toilets and taking out garbage. "You never just jump into [being] a scout, or not that I've ever heard of," she says.

Lori Balton—who is based in Los Angeles and has been scouting for 30 years on dozens of major productions including A Wrinkle in Time (2018), The Young Pope, and Inception (2010)—began in craft services, cutting slices of cheesecake and pouring cups of coffee for members of the crew. "At the time I had a masters degree, so it was a humbling experience to be told how well I could cut cheesecake. You learn to smile, be grateful, and ask if they would like a cup of joe," she says.

2. THEY HELP EACH OTHER OUT.

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Once they work their way up the ladder, location scouts become part of a tight-knit group with its own resources. They join large group texts or private Google Groups just for location scouts. Duval says that when people get stuck, they send out specific requests: "'Hey guys, this is what we're looking for. Does anyone know where this is or a good area for me to start looking in?’"

And while they can tap fellow scouts, as well as friends, they also have access to location-scouting databases. The New York City Mayor's Office of Media and Entertainment, for example, maintains an online location library of possibilities, while the database Easy Locations, run by an independent producer, covers the LA area. Other websites, like LocationsHub.com (in which property owners share details about sites they have to offer) as well as real estate sites like StreetEasy, can also come in handy.

"A lot of the times it's cold scouting, where you just walk into a building by yourself and start knocking on random people's doors," Duval says. "Or you think of a place that you've filmed before, or some of your friends have filmed before, and just kind of go through the networking or resources that we have."

3. THEY PRACTICALLY LIVE IN THEIR CARS.

Scouting assignments come from a project’s director and production designer, who usually have an idea for what they want a location to look like based on what's written into the script—say, a condo in Queens that looks like it’s actually in Detroit. On bigger productions, they may even send over a very rough animation of what the set should end up looking like, called a previs. Scouts will start out by Googling the areas and looking at real estate websites from home, and then begin driving around. They may have months to explore if they're working on a movie, or just a few hours before shooting begins if it's a television show.

Either way, scouts pack their cars full of gear to help them take detailed notes and photographs, which then get relayed to the locations department. Duval always carries a notebook, phone, phone chargers, extra batteries for her phone, computers, a camera, and hard drives. "[It's] basically everything that I could live in my car with," she says. Balton carries multiple DSLR cameras and a tripod, which helps when shooting dark interiors by keeping everything stable and reducing blur.

4. THEY HAVE TO BE CREATIVE, BUT ALSO REALISTIC.

Ffilming The Invention of Hugo Cabret on street
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Once a scout is in the field, they try to balance what the director and production designer have asked for with what's actually feasible. "Most scouts cast a pretty wide net looks-wise," Duval says.

That's because locations can often appear ideal but fall through logistically. There could be a sound issue—maybe airplanes frequently fly overhead. There could be a lighting issue: Maybe an environment looks completely different at night than during the day. There could be a transportation issue—maybe an elevator is out and the camera crew can’t lug equipment up 10 flights of stairs. That's why scouts always prepare a list of backup locations.

“You never know if you've found the perfect location, because so many people need to weigh in on it, for a wide variety of reasons,” Balton says. “But I do get a feeling of ‘this is perfect!' frequently. And almost as frequently I am incorrect and one of my lesser choices gets chosen.”

For example, while scouting the movie Noah (2014) for Darren Aronofsky, Balton was traveling through Iceland looking for landscapes that appeared prehistoric. But setting up a cast and crew in the middle of Iceland isn’t practical. “You need to be based around a city, even if it's a small town movie, especially for a big feature,” she told Condé Nast Traveler. "You need to have the big hotels that can accommodate you, the production houses, the rental cars. It's a difficult thing.” The cast ended up filming mostly in the Reykjanes Peninsula, which is near Reykjavik—as well as in several spots in New York City.

5. PERIOD PIECES CAN BE A CHALLENGE.

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While working on The Greatest Showman, which was set in the early 20th century, Duval dealt with a clash between architecture and fashion. “We had this great location, but the actress had to wear a hoop dress,” she says. “In the early 1900s they had tiny door frames because people were smaller. But this woman was in this huge dress and she couldn’t fit through the door.”

In the end, the wardrobe department had to get her a different dress. “You have to think about those tiny logistical things when you’re scouting,” Duval says.

6. THEY’RE PUBLIC RECORDS SLEUTHS.

In order to help “clear” a location for filming, scouts must collect contact information for property owners or managers, who need to sign contracts with the crew. Sometimes one person owns a building, while another owns the parking lot. To sort out who owns what, scouts search public record databases—such as ACRIS, the New York City Register’s system—which list owners of lots, blocks, and individual buildings. Local historic societies can also be useful in tracking down the necessary information. Duval says she'll also spend time researching records when she's working on period pieces and needs to know more about a certain time in history, and she'll sometimes contact local tax assessors for more information about specific properties. "I get into such deep holes of Google, it's crazy."

7. THEY DO A LOT OF WAITING.

After finding their ideal locations and figuring out who owns them, scouts have to get in touch with that individual. Residential property owners are usually at work during the day, so scouts “flyer” their doors. They leave a piece of paper that explains the project they’re working on and says they’re interested in the property. Then, they wait patiently for the owners to call them back. “We know we’re inconveniencing people in their everyday lives; we're not trying to be jerks,” Duval says.

8. NOT EVERYONE LOVES THEM.

Location scouts have to be especially diplomatic because they're the first people the outside world comes into contact with from the set. They have to build relationships with property owners, even ones who aren’t so friendly. Certain blocks in New York are notorious for having unfriendly residents, so scouts tend to avoid them. In addition, the New York mayor’s office regularly releases a list of “hot zones” where crews aren’t allowed to shoot that month because filming has been active there recently and the residents need a break from the cameras.

It's a similar situation in Los Angeles. Productions who want to film in the city must go through FilmLA, which is affiliated with the city government. Before being awarded a permit, FilmLA surveys residents and business owners to find out if there are any objections to the filming taking place [PDF]. If there are serious concerns, they won't grant a permit.

Of course, property owners who do allow in film crews are usually compensated for their time and trouble—perhaps $2500 for a one-day commercial shoot, and up to $10,000 for a movie, according to one location manager.

9. THEY DON’T OFTEN TRAVEL FAR.

Columbus Circle in Manhattan
iStock

Duval says she got into the field thinking she was going to travel a lot, but quickly realized how local the job is. Scouts in New York are limited to a 30-mile radius from Manhattan, which includes parts of New Jersey and Connecticut. More specifically, it's 30 miles from Columbus Circle as the crow flies. Once production moves outside of “the zone,” as they call it, crew members have to start being paid more (a union rule). In Los Angeles, this 30-mile radius is often called the “studio zone” and it begins at the intersection of West Beverly and North La Cienega Boulevards.

Some location scouts with big studios, however, such as Balton, are sent to check out faraway locations. But that's not always as glamorous as it sounds. “Trust me, like anything else, international travel gets old really fast,” she says. “There is something indescribably wonderful about sleeping in your own bed. On a good many films, I virtually travel the world, and then the budget reality hits and we end up on a stage in Georgia.”

10. THEY LEARN THE STRANGEST THINGS.

Scouts don’t only look at apartments and office buildings; they’re also tasked with finding bridges, tunnels, and marble quarries. Before they know it, they’re well-versed in dimensional stone, panes of glass, and sconces.

“I’m a nerd at heart and love that my job takes me to unusual places where I learn fascinating, albeit generally useless, information,” Balton says. “When I scouted steam trains [in the UK] for [Tim Burton's upcoming live-action remake of] Dumbo, I learned that the train geeks refer to themselves as foamers, because they are literally rabid about anything to do with trains. ... Each job involves learning a new language, depending on what I’m looking for.”

11. THEY NEVER STOP SCOUTING.

Everyday hobbies take on new meaning when you're a location scout. Watching a movie becomes a different activity altogether: “If I know a friend or a friend-of-a-friend worked on it, I’ll text them, ‘hey, where did you shoot that?’” Duval says. Sometimes, it turns out to be a location she already knows, but one the production designer dressed up to look totally unrecognizable. This often happens with period pieces; for The Greatest Showman, the crew turned a little science center in Prospect Park into a 1900s-era hospital.

When scouts go out to eat at a cool restaurant, they grab a business card to reference later. But it’s funny, Duval says, because she can scout 20 bars in a week and then go blank when it comes to picking one to drink at Friday night. “I do that every year for my birthday,” she says. “It all merges in your brain.”

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