#2 Ask a Location Manager: Scouting the line between TV and film
When it comes to creating cinematic worlds, whether it is for a two-hour feature or an eight-episode season, location managers are the unsung architects of story. We spoke to Aaron Hurvitz (A Complete Unknown, Highest 2 Lowest) and Angus Ledgerwood (The Diplomat, The Marvels) to dig into the pace, pressure, and practicalities of scouting for both television and film. From creative compromises to logistical labyrinths, they reveal how each medium shapes the job, and why the right wall or window could make or break the scene.
Aaron Hurvitz has worked on a range of productions from high-octane procedurals to streaming juggernauts, while Angus Ledgerwood has carved out his niche in dramas with long-term arcs and big political worlds. Wit their own respective career experiences, both agree: finding the perfect location is half alchemy, half endurance.
“It’s called scouting, not finding. It takes time, patience, and sometimes the resolve to say it’s not there.”
Hurvitz recalls a mentor telling him
What’s the biggest difference between scouting for a television show versus a film?
Aaron Hurvitz:
With TV, you're always up against time in a way you're not with film. You’ve got maybe 7–15 days of prep, and often less. That means you need locations that clear fast—places that have been used before, where you can get quick contracts.
Angus Ledgerwood:
In multi-series TV, we’re always looking for locations that are repeatable over years. With features, it’s generally a one-off. That long-term consideration doesn’t change the creative process entirely, but, if the creative calls for it, we will shoot it and figure out a double in the next season if needed.
A Complete Unknown (image courtesy of Searchlight Pictures)
Does the faster pace of TV impact your ability to do the job thoroughly?
Hurvitz:
Absolutely. Managing the pressure is part of the job. You learn to pick up where you left off. Most shows need the same basics—bars, offices, homes—so you build up a database in your head and on paper. Taking notes is everything.
Ledgerwood:
Every project has a different timeline and you adapt. It’s our job to bridge the creative with real-world constraints, and still find a way to achieve the goals of the project.
“Managing pressure is part of the job. You learn when to stress and when to stay calm.”
-Hurvitz
How do recurring locations influence your scouting strategy?
Hurvitz:
When you know something is going to be a reoccurring you need to look at the logistics surrounding it a lot closer. You can get away with a tough load in once on a job, but doing it multiple times isn't going to land you in a favourable place with your crew. You really want to make sure they have the right fit for a long term relationship. This makes it extra important to vet everyone extra hard and be extra clear about what they’re getting into.
Ledgerwood:
On The Diplomat, we knew locations could return unexpectedly. So every place had to serve both now and potentially in future seasons. You always keep one eye ahead.
The Diplomat (image courtesy of Netflix)
Who tends to be more hands-on—film directors or TV showrunners?
Hurvitz:
Completely project-dependent.
Ledgerwood:
It really depends on the director or showrunner and the relationship they have with the Designer. I have had directors never go to locations before the Tech Scouts and other, most, who want to see everything in person.
How do budgets differ, and how does that affect your decisions?
Hurvitz:
Usually the budgets are smaller on TV. Mind you there are a few exceptions, but on the whole that's real. Regardless TV or film this is always a business first and foremost. You’re constantly finding yourself struggling to balance the creative and the financial. Money is a factor but I always try to bring everything to the table with the clarification that this might be out of your budget. It’s often the case the money gets found somehow if we really want it.
Ledgerwood:
It really depends on what the script is calling for and the resources that the crew need to facilitate the creative and technical. Whether it's film or TV, they all have limitations,so it's also important to consider how much is actually allocated for locations within those budgets. Even some of the largest films can have restrictive location budgets as priorities are placed on different departments.
“Even the biggest films can have tight location budgets—it’s all about what the script demands.”
—Ledgerwood
Highest 2 Lowest (image courtesy of Apple Originals)
Are there differences in permitting or approvals between film and TV?
Hurvitz:
Films definitely get more grace. They have more time to plan and can afford to shoot weekends, which opens up more options.
Ledgerwood:
Most permitting bodies treat all productions equally. But yes—having a big-name film or budget does open more doors.
How do you deal with unpredictability in TV—like future episodes or storylines not yet written?
Hurvitz:
That’s TV life. You’re always filing away cool locations. You might not know what for, but you log it anyway. That scaffolding or boarded-up shop you saw last week might be tomorrow’s hero location.
Ledgerwood:
You assume everything can come back. It’s part of the long game—you build a world that’s flexible.
Which medium gives you more creative freedom?
Hurvitz:
Contemporary work is the most freeing. You can go any style, any time period, as long as it fits the director’s vision.
Ledgerwood:
It’s more about genre than medium. Sci-fi or fantasy gives you more room to create. Period drama, meanwhile, tightens your constraints big-time.
The Marvels (image courtesy of Disney)
Do you change your approach for procedurals, limited series, indie films, or big studio productions?
Hurvitz:
I remember early in my career, while I was scouting on network television, I found my manager saying I was thinking too big. “You need to think smaller.” he’d say. With studio features, the bones that can lead to the perfect spot can be the window shape and we'll dress everything we need. On an indie, you need what is affordable and conveys the vibe, but no point in showing them something they have to fully undress and redress.
Ledgerwood:
My approach stays consistent, but scale affects everything. You don’t want to offer a dream location that’s logistically impossible. That said, I’ve seen crews do amazing things when they’re passionate.
Final Takeaway: The Scout's Philosophy
What’s one lesson you'd share with every production team?
Hurvitz:
It’s not called finding, it’s called scouting. Sometimes the perfect place doesn’t exist. Part of the job is being honest about that.
Ledgerwood:
Be flexible. Understand that creativity lives within constraints—and when everyone’s open-minded, magic still happens.
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