Written by Miranda Carnessale on Dec 18, 2024. Posted in Contributors

Framing the West: Scouting from Moab to Monument Valley

The Red Rock landscapes of Moab and Monument Valley have long held a special place in my heart, a sentiment rooted in summers spent at my family’s cabin in Sedona. It was this love of desert terrain that drew me to Moab during a week off in October, armed with my camera gear, drone, and a sleeping pad in the back of my Jeep. My goal was to explore the diverse geologic features of the region, uncovering how they offer filmmakers avenues to craft their stories out of the existing landscape.

 

 

First stop: lunch with Bega Merzer, the charismatic film commissioner for the Moab to Monument Valley Film Commission. We met at a cozy Thai café on the main drag, where her artful earrings and exuberant curls matched the energy of her personality. “I treat every project, big or small, with equal dedication,” Bega said over lunch. “It’s part of what sets us apart. I run a one-person office that functions as a full-fledged production house, providing support from pre-production to post—all at no cost to filmmakers.”

 

Bega’s commitment to the craft is evident in her track record. Major productions like Horizon: An American Saga filmed extensively throughout the region, using locations such as Castle Valley, Bates Ranch, and the La Sal Mountains to bring their sweeping frontier narrative to life. Netflix’s The Electric State captured the unique landscapes of Potash Road, Kane Creek, and Fisher Towers for its dystopian vision, while Marvel’s Thunderbolts took advantage of Corral Canyon and Crescent Junction for its high-octane action sequences.

 

 

“These productions highlight how versatile the region is,” Bega explained. “We have everything from iconic red rock deserts to lush mountain valleys, and our goal is to showcase this diversity to filmmakers around the world.”

 

With the warm glow of fall casting light over the colorful terrain, I set out with my itinerary in hand to experience this versatility for myself.

 

 

TRACING THE LANDSCAPE

I began on Highway 128, winding through sandstone cliffs and stopping at Ida Gulch before ending the day photographing Fisher Towers, their rippled spires softening as the sun dipped below the horizon. I could see why Bega insisted I go there, and why these formations had drawn the attention of productions like The Electric State.

 

The next morning, I explored Sand Flats Recreation Area, its voluptuous desert-scapes undulating along every curve of the road. At Porcupine Rim Campground, I momentarily questioned the destination—until a short hike to the lookout revealed Castle Valley in all its topographical glory. It wasn’t hard to imagine why Horizon had chosen this dramatic expanse to capture its sweeping Western vistas.

 

 

From there, I ascended into the La Sal Mountains, where a mirror-like Warner Lake reflected the symmetry of golden aspens in peak color. Bega was right: the La Sals were a hidden gem. “People think of Moab as just desert,” she had said, “but the diversity of landscapes here is extraordinary. The La Sal Mountains offer stunning vistas and can stand in for so many different settings.”

 

Driving south, I stopped in Monument Valley, its lookout point now eponymous with the title Forrest Gump after the film’s iconic running scene. Along the way, I scouted towns like Monticello and Mexican Hat, but Bluff stole my heart. Nestled against pink rock formations, its unique architecture and thriving artist community felt like discovering buried treasure, waiting to have a story written for it. “These small towns in San Juan County are so rich with character,” Bega had noted. “They provide an authentic and relatable backdrop for storytelling.”

 

On my last day, I drove through the Valley of the Gods, marveling at its monolithic formations, before returning again to Bluff for coffee at Cow Canyon Café. Far from just a café, it was a true artist’s destination, featuring gallery-worthy pieces you’d want on your own walls. The space was anchored by an astonishing canoe exhibit, with a beautifully crafted wooden vessel suspended in the gallery. The locals who ran the cafe brought a warmth and passion that made the experience unforgettable.

 

CHARTING THE FUTURE

While scouting the region, I formed a deep admiration for the work Bega and her office are doing to elevate Moab and Monument Valley as a premier filming destination. Her goals for the film commission go beyond simply attracting productions; they’re about building a sustainable, community-focused film industry.

 

“Our landscapes are stunning, but it’s the people here who make the region special,” Bega said. One of her top priorities is engaging the local community, ensuring they benefit both economically and culturally from productions in the area. This includes fostering local talent through training programs and providing opportunities for filmmakers, actors, and crew members to get involved in projects.

 

 

Another key goal is marketing the region to a broader audience. “There are so many places here that haven’t been explored on screen,” Bega explained. By highlighting under-filmed locations like Bluff and the La Sal Mountains, her office is working to showcase the area’s diversity to filmmakers across the globe.

 

Finally, Bega is focused on building partnerships—with other film commissions, tourism boards, and industry stakeholders—to create a supportive network for productions. “Collaboration is essential,” she said. “It’s how we ensure that filmmakers have everything they need to succeed while also protecting the integrity of our landscapes and communities.”

 

 

YOUR STORY WAITING TO BE TOLD…

With Moab’s bustling outdoor community and locations that challenge filmmakers to problem-solve in rugged terrain, the area is well-equipped to handle projects large and small with ease. As it continues to complement its booming tourism industry, and with Bega at the helm, Moab is poised to thrive as a key player in the next frontier of filmmaking.

 

 

Images courtesy of Miranda Carnessale

 

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