Brazil depicts many countries in Canadian Docu-Drama

Its common knowledge that many of the Nazil war criminals who fled justice after the war, ended up in South America. Nazi Hunters, a documentary-drama series, featuring dramatic reenactments produced by Canadian based Cineflix Productions, filmed exclusively in Brazil this past year. Rio de Janeiro with the help of Red Earth Films, was used as a convincing backdrop for a number of different countries.  Gideon Boulting, Executive Producer of Red Earth, succeeded in the challenge of recreating scenes set in Argentina, Uruguay, Bolivia, France, Germany, Italy and Brazil.

The reenactment segments for every episode were shot in five days and will eventually be mixed with archival footage and interviews with Mossad agents and relatives and friends of the Nazis featured in the series.

In order to recreate so many different countries within Brazil, there were 14 locations and a total of 24 different sets in the first two episodes, – some in Rio’s Zona Sul, some near the center of town and some on the city’s outskirts. The vast range of architectural styles in Rio enabled successful period reconstructions on a very tight budget.

“Beyond the locations, we were also able to find cars and objects from the 1950s and 60s.” states Boulting. “Red Earth Films was able to discover in Rio a rich supply of period cars and boats, as well as collectors’ items with proud owners who wanted to see their toys on screen.”

Two episodes directed by Canadian Tim Wolochatiuk were centered around such Nazi war criminals as Adolf Eichmann and Herberts Cukurs, both who fled to South America. Adolf Eichmann fled to Argentina in 1950 and was finally captured and stood trial before an Israeli court in 1961 and was consequently hanged. Herberts Cukurs, known as the “Hangman of Riga” for his alleged participation in the murders of Latvian Jews, was assassinated my Mossad agents who lured him to Uruguay from his home in Brazil.

Wolochatiuk explained the challenges, “On the first day of shooting, it became apparent this project was going to be special.  The challenges of shooting episodes set in the early to mid 1960′s are unique, especially on a tight budget.  And the production design and wardrobe departments exceeded my expectations with their meticulous attention to detail and authenticity.”

Wolochatiuk continues, “It’s amazing — You show up on set in the morning and within an hour, it’s as if you are thrown into a time machine.  Suddenly, it’s 1964.  To the naked eye, it was impressive.  And looking at the monitor, it was utterly convincing. To bring it all to life, we needed some strong acting and the talent pool in Rio was remarkably deep.”

With a shoot time frame of seven months, Boulting found many ways to please the producers. He explains “The crew consisted of 45 people but with the cast on set, this number increased to 80.  We were able to save money by hiring the crew on a monthly basis for seven months, as opposed to paying on a weekly schedule. The generous timeframe also gave us plenty of time to find locations and props at bargain prices.”

The first season of Nazi Hunters is slated to air in Spring 2010 and has already been pre-sold to the History Channel in Canada and the UK, National Geographic Latin America and Seven Network. Red Earth Films, played a part in establishing sales in Brazil.

Cineflix Productions, currently involved in the production of over 250 hours of programming for international broadcasters per year, is recognized as a leading provider of factual programming including documentary and reality TV series. With an exceptionally talented international production staff, production is spread across its offices in Toronto, London and New York. They chose to work with Red Earth after being impressed by the production values, strong cast, and diversity of locations in the Red Earth’s Brazil episode on the series Locked Up Abroad (for Raw Television)

Wolochatiuk sums up his experience shooting in Brazil, “For a Director the prospect of shooting in Brazil is a dream come true. Add to that the opportunity to work with Red Earth and you’ve got a recipe for success.”

When one thinks of Peru, Machu Picchu immediately springs to mind. And although it is a truly spectacular site, it is far from being Peru’s only draw. This unique country presents filmmakers with scores of dramatic locations that can be found nowhere else on earth. Recently, a number of film executives had a unique opportunity to learn this firsthand. PromPeru—a division under the Ministry of Foreign Trade and Tourism—hosted location scouts Lori Balton and Stuart Barter along with Line Producer Jose Ludlow on a FAM tour. Together, these 3 talented individuals have more than 100 years of experience in major feature films and high-end commercials. Karen Watts, CEO of Shoot Latin America, was also honored to be a part of the group—an entourage that included Bruno Canale and Jose Roberto Luy (Chino) as production guides and Angela Maric and Karen Martinez of PromPeru.

Peru is one of the world’s most diverse geographic regions—sheltering 84 of the known 117 life zones. It is a land where one can journey through solid desert, comb more than 3,000km of beaches, climb dizzying mountain peaks, and explore lush jungles—all in a single breath.  Jose Ludlow explains, “Peru offers a great diversity of locations situated within a very limited distance of each other, most of which are relatively unknown to the entertainment world.”

Upon arriving in Lima, the FAM tour began its expedition with an early morning flight to the southern city of Arequipa and was immediately transported through the majestic Colca Canyon. Razor sharp walls rise dizzyingly from the waters of the Colca River 3,600 meters below and high deserts dot the way to the Canyon. This makes one think of settings for projects that reconstruct ancient civilizations or conjure up galactic adventures on distant planets.

The following day was spent in Arequipa. The city’s deeply ingrained architectural beauty comes mainly from the colonial period. The Santa Catalina Monastery—built in 1580 and enlarged in the 17^thcentury—is a city within a city, encompassing over 20,000 meters. Barter explains, “This would work well as a Medina in a Middle Eastern country, or any non-western country where you would need to create a chase scene, or set up a street market where you would have total control and not need to upset or pay ordinary vendors.”

That night we flew to the Puno region, with an elevation of 3,860 meters/12,421 ft. above sea level. The western portion of Lake Titicaca is located here. This body of water is the world’s highest navigable lake and by water volume, it is the largest lake in South America. Titicaca is notable for a population of people who live on the Uros, a group of roughly 42 artificial islands made of floating totora reeds (a reed that abounds in the shallows of the lake.)

From this magnificent location we flew onward to Cusco, a vibrant and mystical city that is the gateway to Machu Picchu and the historic capital of the vast Inca Empire.  As the most important colonial center in the Andes and a height of 3,399 meters/11,152ft, it is considered one of the highest cities of the world. We wandered the cobbled streets that were set against the backdrop of Inca and colonial monuments and thought how vast the potential is for this city as a location.

Surrounding Cusco is the Urubamba Valley (the Sacred Valley). This overcharged natural setting features agricultural terraces descending down steep mountainsides and picturesque villages that feature noteworthy Incan palaces on their outskirts. Sacsayuaman is considered an ancient military fortress, but others believe that it was a temple dedicated to the Sun God. The colonial towns Pisac and Ollantaytambo are famous for their ruins of agricultural terraces and tombs carved out of sheer cliffs. Balton summed it up best, “These are the most amazing collection of terraced hillsides I have ever seen—to contemplate the years and countless man-hours that went into constructing these endless stone walls is mind boggling.”

Next stop: Machu Pichu. Rediscovered in 1911 by Yale archaeologist Hiram Bingham, it is one of the most beautiful and enigmatic sites of the ancient world. Machu Pichu was recently voted as one of the new 7 wonders of the world. Its impressive profile has made this rare site the most recognizable location in foreign movies. Machu Pichu has had a starring role in scores of TV commercials and publications for many years now including the 2004 film, ‘The Motorcycle Diaries’.

After our spectacular romp through the beautiful Andes Mountains, it was off to the lush foliage of the jungle. Whereas most of the exotic jungles are found closer to the mighty Amazon River on the northeastern side of the country, we were fortunate to visit the area of San Ramon and La Merced—an easy 6-hour drive east from Lima. This area features numerous waterfalls, jungle-like forests, abundant rivers, and many other natural wonders that are perfect for any production requiring an exotic location—all without the logistical hassles of going to the Amazon. The short distance makes it so much easier, accessible, and cost friendly to transport equipment, crew and cast. No airplanes, bad weather, or delays. For VIPs, helicopters can be easily arranged from Lima. Canale summed up the area’s great advantage succinctly, “Just think you can get 360 degrees of jungle without fighting bugs, rafts, or dangerous animals!”

After the jungle, we ended up back in Lima. This colorful city offers great potential for TV commercial locations. Its historic downtown was declared a World Heritage site by UNESCO in 1991. Ludlow, an experienced commercial producer stated, “The city of Lima can duplicate practically all Latin American major cities, and in certain areas it can also duplicate Europe and the United States.” The district of Miraflores, lying on the shores of the Pacific Ocean facing both the open sea and modern life, reminded Lori Balton of Santa Monica. She explains, “Lima itself was a microcosm of Peru, with open country nearby, delightfully faded barrios and Miraflores, which was like being home in Santa Monica.”                                                                                                                             By Karen Watts

The commercial starts simply enough; two Irish pub patrons raise their glasses of stout to toast the 250-year legacy of Guinness founder, Arthur Guinness. Their toast, “To Arthur!” is picked up by a nearby crowd standing slightly out of hearing range who echo the sentiments earnestly—but incorrectly—shouting “To Martha!” The mistaken toast continues to morph, as a group of farmers raise their glasses proclaiming “To Farmers!” This chain reaction of mistaken toasts gains momentum as it spreads first around Ireland, and then finally around the world. In the process, the toast changes from “farmers” to “barbers” to “parsnips” and finally to “Martians” as the ending shot looks down on our planet from outer space.

Filmed on location in Ireland, Brazil and Chile, the stunning backdrops and spot-on casting blend seamlessly to create a spot that’s both magical and funny. Saatchi and Saatchi, London and Partizan, UK wanted the authentic feel of an international cast and worldwide locations, so they turned mostly to South America. Sao Paulo and the mountains of Chile were ideal backdrops for the global settings and provided solutions for the international casting challenges. Service provider, Paradiso Films based in Sao Paulo served as producer for the scenes in South America.

Brazil has earned a reputation for its diverse locations and broad range of casting capabilities, and this production was a perfect example of the diversity this country has to offer. The producers at Partizan UK had worked closely with Paradiso on previous projects and were pleased to see that after filming in Ireland wrapped, the South American production proceeded smoothly, thanks to careful pre-production groundwork.

Marcos Menescal, Producer with Paradiso Films, explained, “There were some interesting challenges in casting, which needed to be done in Mandarin, Quechua, and several African dialects to satisfy the client’s demands for authenticity.” The casting was part of a two-month preparation window, with every extra having to be approved by the agency.

Menescal continues, “Sao Paulo was able to offer 3 ethnic groups and provide the backdrop for locations ranging from Africa, to China, to Russia, as well as a varied international metropolis. Filming took place in a favela (shanty town) with 75 Nigerians who recently arrived in Brazil and didn’t speak Portuguese—which provided the authenticity the agency craved. A Chinese group of 75 extras filmed against a big city backdrop also presented a language challenge, necessitating the hiring of a Mandarin translator.”

After shooting the big generic city scenes in Sao Paulo, the crew proceeded to the mountains of Chile to recreate a scene from Tibet. They worked with the local Alto Plano Indians who were recruited from nearby farms in the Maipo valley.  The stunning locations featured the backdrop of the snow-covered Andes Mountains.

Paradiso Films, who regularly work with Partizan UK, loved the challenge that this Guinness production presented, which included the logistics of shooting in 2 countries and in 4 languages (English, French, Portuguese and Spanish). Director Antoine Bardou-Jaquet, from Paris, fell in love with Brazil and the incredible possibilities that this diverse region offers international filmmakers.

Everywhere you turn, a beautiful location awaits the vision of a producer in this enchanting city in northern Colombia on the Caribbean coast. I was honored to be a guest of Cartagena recently in March 2007. In all my incredible travels in Latin America, I continue to be pleasantly surprised. Stunning film-friendly locations are in every country and Colombia is no exception. Colombia has so many incredible un-tapped locations it literally blew me away! Cartagena is by far one of the most beautiful location driven cities in the world.

I was shown the city and all of its spectacular locations on a bike escorted by an experienced location manager, Gerardo Nieto. Gerardo knew everyone and everyone seemed to know him. Having just completed filming of “Love in the Time of Cholera” directed by Mike Newell, screenplay by Ronald Harwood and staring Javier Bardem, Caitlyn Sandino Moreno, Benjamin Bratt, Giovanna Mezzogiorno and John Leguizamo. The story written by native son and noble prizewinner, Gabriel García Márquez, is set in this magical city and it seems like the inhabitants of the city all worked on it! There is such enthusiasm for filmmakers in this city it is heartwarming. They love their cinema and it shows with the annual Cartagena Film Festival, which is one of the oldest festivals in the world.

I started my first ever trip to Colombia in the beautiful city of Bogota. I was immediately impressed by the cleanliness of the city and the feeling of pride that Colombians have in their city. South America’s specialty is putting its capitals on top of big mountains and Bogotá is no exception, set at 2,600m above sea level.

Down town was full of modern buildings next to shack-type old buildings and grand colonial churches. The Northern suburbs smacked of wealth with mansions and hundreds of swanky restaurants. Colombia obviously has as much poverty as other SA countries, but the difference is that here you don’t see it unless you look for it. The whole place had quite a cosmopolitan feel to it and was rich in western culture – full of museums, exhibitions and theatres. I saw many locations that could have easily been “anywhere Europe.”

Invited by Warren (Zulu) Keuning of Tribu International, the only production service company that truly specializes in working with international productions, I was shown the best by his beautiful and excellent English speaking assistant Angela, in a very short time and was truly impressed. I’m quite picky about hotels and prefer the boutique style over the chain hotels. My first stay was at what felt like, an art gallery. The name, Art Suites hotel describes it well since it is a vision for the eyes everywhere. Fantastic modern art adorns the lobby, the dining area and each large suite room has its own design and art. With great service, fair prices and an excellent location, it’s a dream hotel for a production crew. Another hotel I had the pleasure of staying at was the Windsor Hotel, a full service boutique style hotel with a fantastic location, gym, excellent service and a really large bathtub! One of my pleasures of life!

Only a short 1 hour flight to Cartagena from the local airport in Bogota, it amazed me how different the 2 worlds were. But after Zulu explained to me all of the incredible locations that are all within a few hours by car of plane, this was to be expected. It seemed Cartagena had severalof these locations all in one; a city skyline looking just like Miami, San Felipe Fort an old fort protecting the city restored beautifully and ready to be shot on, a very colorful old city surrounded by a wall, mansions of every architecture style, fancy hotels on or near the beach, miles of coastline, a complete jungle location owned by Enrique Piñeres, a harbor system with 53 ports and its only a 2 ½ hour flight from Miami. Casting possibilities are endless with a great number of people of mixed race (Spaniard, Indian and African races) which is reflected on its music, gastronomy, Arts and on the kindness and the extrovert personality of its people. Founded on June 1^st, 1533, it was named as a “Cultural Heritage of Mankind” in 1984.

As a guest of Hotel Caribe and it general manager, Patricia Restrepo, my stay in Cartagena was such a joy. Dina, her secretary showed me around this beautiful old and restored colonial style hotel that is used for the Catagena film festival each year. Built in the 1940’s, it occupies 35,000 sq. meters filled with exotic trees and tropical gardens. Five-star comfort wafts through its 363 rooms and all possess a fabulous view of the Caribbean Sea. I especially loved the gardens and the little zoo.

Restaurants in the old city were so quaint and the food was fabulous especially the fish. As par the hospitality of this great city, I was honored to be a guest of Guillermo Martinez, President of Tourism at the restaurant Mar de Juan one night and at Café Santisimo, another night. Another excellent restaurant with incredible ambiance was La Casa de Socorro. The owner Hector greeted us and Gerardo told me tales of feeding the cast and crew of “Love in the time of Cholera” at a moments notice.

One question that Gerardo finally told me to stop asking was, “Can you really film here”? You can film everywhere it seemed. In lovely colonial mansions, at the San Felipe fort, in the theatre Teatro Heredia that was breathtakingly gorgeous, in private homes such as the fascinating home of talented painter Rafael Ortiz and the magnificent Casa de los Suenos or House of Dreams. Definitely a dream house especially for filming at or staying at during a shoot!

Since Cartagena is situated on the Caribbean coast, a trip here would not be complete without seeing the white sand islands and crystal clear sea that surround this magical city. A 45 minute comfortable boat ride took us out to this paradise. On the way, I glanced up to see an isolated spectacular fort over looking the sea and as usual excitedly asked Gerardo, “Can you film there?” And again he politely told me, “Yes, Karen, you can film there”. He had to reiterate this to me again and again, especially when I saw all of the islands that make up the Islas del Rosario. We docked for a while at the Isla Pirata, where there stands a hotel and a sweet little restaurant, all on white sand. This time, Gerardo caught me even before I could ask my famous question, “yes, Karen you can film here too!”

I can’t finish this story without mentioning the obvious question that most everyone has on their minds when you mention Colombia. What about the crime situation? Colombia does suffer from a serious image problem. The guerillas and the cartels are still there but many of the major ring-leaders have been dead for years and Colombia is struggling to shake its dodgy reputation. The scenery alone is enough to bring you here – mountains, jungle, Caribbean and Pacific beaches plus 15,000 years of history and ruins. Although it’s beautiful it really is the people that make Colombia so special. Constantly lively, positive and warm, though their lives are often dictated by danger, they are inspirational. I have never met people with such spirit and you only need look at a Colombian to receive a heart-warming smile back. Eventually their optimism and happiness just has to rub off on you. Despite all its troubles, ask any Colombian where he would rather live and he will say Colombia. I don’t blame them.

http://www.hotelcaribe.com

www.104artsuites.com

www.tribu.com.co

gerardonietoco@yahoo.com

Imagine filming in Bolivia, Haiti and the Congo all within a few hours of each other! Now add to that; low costs, no taxes, great weather, experienced crews, virgin locations and a government that welcomes you with open arms.  This is exactly what the new Bond film “Quantum of Solace”, has been taking advantage of in Panama.

Produced by UK based Eon Productions, QUANTUM OF SOLACE is scheduled for release November 2008 and will be directed by Marc Forster.

According to a website dedicated to the Bond Films, www.mi6.co.uk, Daniel Craig and Gemma Arterton were recently shooting scenes for “Quantum of Solace” in the Santa Ana district of Panama City. Depicting Bolivia, in the narrow streets were a hundred extras, some as indigenous Bolivians wearing coats, hats, and wool ponchos in line with the fictional setting. Market stalls selling fruit, trucks loaded with bananas and vehicles with Bolivian registration plates completed the scene.

More filming will take place in the province of Colón, north of Panama City. A seaport city on the Caribbean coast of Panama, it is near the Atlantic entrance to the Panama Canal and traditionally been known as Panama’s second city. Hundreds of Panamanian extras were needed for the shoot, which is to be a scene based in Haiti.

Several other feature films have shot in Panama such as the Tailor of Panama, Basic Instinct and the End of the Spear. With all the recent activity, the department of the Minister of Commerce and Industry has now formed the new Panama Film Commission.

One of the biggest benefits of filming there is that no payroll taxes need to be paid for the Panamanian crew. Others include the US dollar as the main currency, work permits/visas completed over the internet, approximately 30 to 50% less on crews, easy customs and no fees for police/fire

Panama has a rich US history, at one point there were thousands of US citizens placed at the many US bases. These bases, now closed have great potential as locations. English is widely spoken and there is certain sophistication in Panama City that reminds one of being in Miami. The dense skyline is spectacular with many highrise apartment buildings and hotels. It is very modern yet the juxtaposition of the old Colonial part of the city, Casco Viejo, connected yet jutting out to the sea makes for a fascinating and spectacular city unlike any others.

Panama City is an important hub for international banking and commerce. It has an advanced communications service, Internet use is widespread; and Panama City’s Tocumen International Airport offers daily flights to international destinations.

With tropical rain forests close by the city, mountains, volcanoes, the Pacific and Atlantic Ocean within hours of each other, pristine islands in the sun and even a desert; Panama is a dream location.

And last but not least, “Our country is a naturally disaster free country” exclaims Carmen Gisela Vergara, the film commissioner!

www.filmpanamanow.com

The availability and quality of film and video equipment in Latin America is excellent, offering state-of-the-art film & digital cameras, lighting, grip and related production equipment that is maintained impeccably.

“We have the know-how and experience with the production side of the film industry. We have extensive knowledge about what’s involved in coordinating production situations; evaluating and resolving every detail of each aspect of your production.” states the opening of ‘About Us’ on the website of Equipment and Film Design (EFD) www.efdusa.net based in Mexico and California.

“Our company, Equipment and Film Design, is the result of a committed effort to satisfy all your production needs” Owned by Georgina Teran Gilmore, EFD is one of the largest in all of Latin America and has an office in Spain.

In comparing the Latin companies with those in the US or Europe, Carlos Congote of Congo Films www.congofilms.tv based in Colombia states, “We very rarely do not have a piece of equipment a client requires, but if we don’t we offer to get it elsewhere. The biggest difference is price, as we are lower priced. Ernesto Musitelli, of Musitelli Film & Design in Montevideo, www.musitelli.com Uruguay confirms “We have state of the art equipment and most importantly, our staff’s commitment is to offer the best service customers will experience. Satisfaction is our goal”

Mario Graziano, of Fabrica Brasileira de Imagens www.fabricabrasileiradeimagens.com based in Sao Paulo, Brazil adds “Foreign productions can count on us for any support related to camera movement. Our equipment is the same used abroad with American, Italian and German brands.”  Juan Pablo Fabres, owner of J.P.F. Cine S.A. www.jpl.cl based in Santiago, Chile, states “We are a lot smaller but we carry a good base on all departments. We can provide a good 95% of any US/European request, but there is that missing 5%.  Honesty is vital with no false promises. We are open 24/7 to meet needs, solve problems and back up our Customers.”

Keeping up-to-date on the newest technology is vital. Musitelli talks about their newest score, “We have just acquired Red One Cameras, Cooke Panchro Lenses, Service Vision Scorpio Remote Hot Head, and we are taking delivery of a huge package of Avenger Grip equipment plus more ARRI Lighting to add to our rental fleet.”

At Fabrica, they are excited about their latest purchase, “An amazing Secced Telescopic Crane (also known as retractable crane) of which they have two different sizes: 6 meters and 12 meters.” states Graziano. Congo Films just acquired a  Stabilized Flight Head and F-35. At JPF Cine, Fabres explains his latest ‘toys’, “An Arri 235 camera,new Video assist play back system and Marshall’s ultra bright monitors,new 5 pieces of Cooke S4′s (to complete a 11 pc. set) and three new trucks. Not bad for a year under crisis!”

“How deep in projects can the equipment and crews be used for?” I asked these equipment houses. Congrote of Congo Films explains, “We could serve 3 large feature films, ten TV spots and a few TV series at the same time.”

Uruguay’s  Musitelli states, “It really depends of the size of the projects however,  it is usual to service 3, 4, or 5 commercials at the same time, easily”

The committment, quality and passion for the business is there. EFD eloquently explains their passion, “Our objective comes from our love of film; to convert your concepts into cinematic reality.”

For 10 years it has been nearly impossible to get a shooting permit for a big production in one of the Seven Wonders of the World, Machu Picchu. This ban is a result of an accident that damaged part of a ruin, 10 years ago. However, Bruno Canale from APU Productions based in Peru and Los Angeles was able to negotiate with the Peruvian government and overcome thisban. Canale states, “We were able to get a crane inside the ruins as well as a big crew. The costs involved in getting the permits, consisted of $6,000 US plus the processing costs that included two trips to the city of Cuzco.”

During the location scout the Director, S. Shankar knew that Machu Picchu was the place to shoot. Even though they visited all of the ruins in the Cusco area, they were deeply impressed by the grandeur of Machu Picchu.

The movie, Endhiran produced by Ayngaran International and Sun TV is a sci-fi movie full of special effects. The music is by A.R. Rahman, who recently won a Golden Globe for Slumdog Millionaire. The two main actors are Aiswarya Rai playing an archeologist and super star Rajinikanth playing a scientist. Bruno Canale explains, “We shot a musical dream sequence with over sixty dancers, where the archeologist takes her newlywed husband through an unforgettable dream trip in an ancient ruin.”

The producers wanted to surprise the Indian audience with a location never been seen before. In the words of the director they needed a location that wasn’t only good; it had to be “spectacular” in order to impress the demanding Indian audiences.

Even though logistically Machu Picchu is extremely difficult, the production went very well. Canale explains, “We were able to transport two containers worth of equipment, costumes and props by airplanes, trucks, trains and by foot (using over 20 porters.) And we arranged the transportation and accommodations for a total crew of 150 people during the tourist high season of September. After working 15-hour days in high altitude climbing mountains every day for eight days, the Indian crew went home very satisfied and with more footage then they had planned.”

Director S. Shankar states, “Thanks to the help of APU Productions we were able to achieve all of our shooting goals. Even though we were shooting inside a sacred ruin site with many restrictions, we were able to achieve stunning scenes that will impress the Indian audiences.” All of this was possible because of the full support received from the Indian and Peruvian government in all instances. This included the Indian Ambassador in Peru, Peruvian Commercial Attaché in India, Peruvian Foreign Trade & Tourism Ministry, and local authorities from the INC (National Culture Institute) Cusco.

The travel coordinator Natarajan Ramakrishnan said “Being the first Indian production in Peru, I foresee a wave of productions coming here. This country is very attractive both for its locations as well as for the cost-efficient local production support.”

Canale is confident that Peru is like a hidden jewel full of surprises that has yet to be discovered by international filmmakers. He states, “Peru may well be one of the world’s most geographically diverse countries. A vast coastline, mountains, sand deserts, lakes, waterfalls, valleys, ancient ruins and the Amazon jungle are some of the locations available to filmmakers. Peru has reverse seasons, allowing filmmakers to shoot winter scenes during the north’s summer and vibrant summer landscapes during northern winters. Trade agreements are favorable, Peru’s time zone lays in Eastern Time, air travel is easy, no unions and a standard working day in Peru is 10-12 hours.” With a great exchange rate and a stable economy, it’s no wonder The Economist magazine has described Peru as Latin America’s fastest growing economy in 2008.

Located in a privileged spot smack in the middle of the Americas, Guatemala with is about the size of Tennessee and a little larger than the size of Portugal. Rich in locations with both the Pacific and Atlantic Oceans within a 5 hour drive of each other, this country also offers Mayan ruins (including the spectacular and film friendly ruins of Tikal), Spanish Colonial cities, local Indian villages, volcanoes, lakes, jungles, crops, vegetation and all kinds of architecture from neoclassic to modern.

Gregg Koenigsberger of Producciones 921, the largest and most qualified production company and production services exclaims, “Our locations are second to none, we have available talent and equipment and whatever we don’t have we can bring in.  Accommodations and amenities are first rate and the few producers who have came and worked here recommend us with no reservations.”

Gregg goes on to explain the budget breakdown of an under $10,000 shooting day. “Figure about US $3,000 a day for a full equipment truck with lighting (HMIs), full grip equipment including dolly and boom and a generator.  $2,000 a day for a full crew including camera asssistant, gaffer and 4 grips.  A field producer will run about US$800 a day and locations are about US$1,000 at the most.  So basically you can shoot in Guatemala just about anywhere with a full complement of equipment and personnel for under US$10,000 a day.”

The potential for this sweet little country is enormous, but as with many other countries in this region, there is still an enigma. Gregg states, “We haven’t been able to find a way to project ourselves as a viable, attractive and most importantly a cost effective option for US and European film makers.” The challenge, he points out, is “making US filmmakers aware of these many resources, which extend beyond the aesthetic to the economic.”

With the state of the economy and budgets shrinking rapidly, maybe filmmakers will realize that these emerging countries can offer excellent value for the money. However, filming in Guatemala can be a rather daunting task for those without access to the local resources, insider contacts and experience. It is vital for a producer to make contact with an internationally experienced production service company such as Producciones 921.

Driving south from Rio to Paraty along this lush green corridor between the sea and the mountains, you see poverty and wealth side by side. You get a sense of true hope and clearly prosperity slowing is taking over and life seems tranquil. This is the side of Brazil and Rio that you don’t see in the news. Yes, Rio has its problems but so does every city anywhere around the world, no matter how prosperous or poor. Brazil is a magnificent country with so much to offer and seeing Paraty and this area proves this point.

Situated just a short and easy 3 hours plus drive south of Rio de Janeiro and a 4 hours plus drive north of Sao Paulo, the town of Paraty offers one of the best examples of colonial style in South America. It is nestled between the turquoise waters of Ilha Grande Bay and vast swathes of un- spoilt Atlantic rainforest. It was once the port from which most of Brazil’s gold was shipped to the Old World and a refuge for pirates in the sixteenth century.

Sauntering along the narrow cobbled streets, you are immersed in a landscape of perfectly renovated dwellings and baroque churches, a heritage that recalls the pomp of the seventeenth and eighteenth century. The jetty, the sea, the churches, the hills and the sky complement shades of white, grey and blue. You will walk amongst a collection of small low houses from the eighteenth century and twenty-two cobblestone streets that forbid the entry of cars.

The Bay of contains over 300 tropical islands and dozens of beaches, each offering something different that is lush and colorful year round. I had the pleasure of being escorted in a motorboat out on a 4 hour tour of this emerald coast on a beautiful sunny day.  Along for the ride was Carlos Alberto Silva, nicknamed Dinho, a location manager and skipper based in Paraty and in Spain. In our “Portunalish” (a little Portuguese, Espanol and English) we were able to converse enough, so that I could get a good feel of this area as a location.

Since it was a Saturday, many of the beautiful beaches were inhabited by bikini wearing Brazilian tourists. However, Dinho explained that in the early mornings, these exquisite beaches are deserted and are very available and accessible for film crews.

Many Brazilian commercials have filmed in and around Paraty and the many islands that dot the sea. Other commercial productions coming from Holland and England have also discovered this paradise. For photo shoots, this is truly an exquisite canvas to work with. However, for the US this area is still completely undiscovered. What a shame!

Sérgio Felipe Gomes Pedrosa, the Secretary of Tourism and Culture for Paraty, talks about filming in his beautiful city. “Paraty has a considerable tradition in film making and has been a location for 26 feature films, 9 short films, many commercials, several video clips, (including one with Mick Jagger) over 20 novels, fashion shoots and hundreds of reports on tourism.”

He speaks about the town’s ‘film friendliness’, “The people of Paraty, besides being naturally friendly are used to movie crews walking around the city, which is a reason for pride. Movie activities in Paraty are very welcomed and we are all aware of their importance in terms of the city’s publicity.”

One movie that was shot entirely in Paraty was the 1983 film Gabriela, with Marcello Mastroianni and Sonia Braga. Set in 1925, the town plays a major role. The 1985 film, The Emerald Forest, staring Powers Booth and based on a true story, used Paraty and the surrounding area as the Amazon rainforest, where an American man believes an Indian tribe has kidnapped his son and goes searching for him but ends up sympathizing with the natives.

Justin Bird of Utopia Films, an international production service company based in Rio de Janeiro, knows the potential this area has. He states, “Last summer we shot a commercial for Areva in the region of Paraty. We weren’t able to highlight the charm of the quaint old town or the magnificent beauty of the lakes, waterfalls or forests but we filmed along the main road between Paraty and Angra and caught the morning mist as a backdrop over the mountain peaks. We filmed at a beach close to Paraty where enormous rocks lie at odd angles spread over areas of sand.”

Bird continues, “There are 360 islands in this region and we shot a part of a campaign for Sothebys at one of the private islands in the bay close to Paraty. The house was designed and built by a famous Brazilian architect Claudio Bernardes. It is an extraordinary, Balinese bamboo, 6,000 sq. ft. structure, close to the water with wide open spaces and blissful views from every angle.” Anyone interested in purchasing your own private island in Paradise!