Jim Fenwick: Fight or Fish

At Locate we have the privilege of working with some of the world’s most interesting and experienced creative professionals. We want to shine a spotlight on some of the brilliant people we partner with on shoots and campaigns.

Jim Fenwick is a photographer based in Notting Hill, London and has been a friend of the Locate family for over 15 years. He has worked with Locate on a range of productions – including clients such as Nike, Vodafone and HSBC. However, he also loves using his commercial photography skills to give something back to under-privileged communities.

We spoke to Jim about one of his most recent personal projects: photographing young boxers from the Bukom neighbourhood of Accra, Ghana. Titled ‘Fight or Fish’, the project captures a tiny community that has produced more boxing world champions per square metre than any other place in the world.

For generations, the main vocation in Bukom has been fishing. This involves high intensity work with little rest over a prolonged period of time – it is perhaps no coincidence that boxing demands the same sort of physicality. In a deprived area like Bukom there are very limited employment opportunities, young boys are left with little choice: fish or fight. As a consequence there are over twenty boxing gyms in an area the size of four football pitches, and most of the men are connected to boxing in some way.

Jim became interested in this small neighbourhood back in 2013 and says:

‘I searched out and met the Ghanaian lightweight boxer Richard Commey. At the time he was the African champion and had a perfect record of 17 fights and 17 wins by KO. He will fight for the World Title again one day soon and I will be there. Richard Commey gives hope to many in Ghana. Hope that one can find a better future.’

It is this hope that is important to both Jim and the Locate team. Being able to use our professional experience and expertise to give back to communities like Bukom brings an added depth and meaning to our day to day work.

Jim describes how his photography work evolved into community involvement:

‘My project started out as purely documentary in nature but as I got to know Richard and his manager I crossed a line and became more and more involved. I learned about the business of boxing and saw how crazy it all was. Fighters avoiding Richard, promoters not letting him fight, you soon learn that being able to fight in the ring is only a small part of becoming a champion. I hated the injustice of it all. Utilising the tools and tricks we use daily in our commercial lives I decided to help get Richard noticed. I pulled in help and we created a logo, then one of Locate’s freelance stylists Lisa Dredge made his ringwear and custom designed fight gloves. We worked on his marketing and PR, making fight posters, press packs and image libraries we made it as easy as possible for the press and public to access Richard.

We also got involved with the wider community in Jamestown. With the help of Locate Productions we were able to run an art workshop at the orphanage school and feed the young children for a month. The child boxers of the town were also a concern to us as their equipment was so worn out and threadbare. Thanks again to our supporters we were able to donate quality new boxing gloves, head guards, gum shields and clothing to help protect the young boxers of the town.’

Working with creative individuals like Jim, who lets his personal ethos overflow into his professional life, is one of the perks of the job at Locate. We have found that developing mutual creative partnerships, based on common values, is what produces our best work.

Luckily, Jim enjoys working with us too!

‘What I love about working with Locate is that you feel like you’re talking to a human being. They have a particularly ethical side to them that you don’t normally see in this industry. They’re keen to give back. They’re hard working, and they expect others to work hard too – it brings the best out of people, I respect that. At the end of the day we’re all human beings, and if we can somehow put back into situations like the one in Bukom, then that’s fabulous!’

We are proud that we work with so many creative, adventurous professionals who are leaders in their fields. It challenges us to think differently, and maintain the high standards and quality of work we adhere to.

Take a look at more of Jim’s work on his website: www.jimfenwick.com

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Photographers’ Dining Club 014

On 1st February 2018 Locate helped organise the fourteenth Photographers’ Dining Club, held at Autumn Yard in east London.

The evening includes great food and drink as well as talks from established and emerging photographers, art buyers, and creative directors on topics relevant to image makers today.

Locate sourced the event location Autumn Yard from it’s extensive 8643947524, knowing that its relaxed, urban aesthetic and location in the creative heart of east London would create the perfect atmosphere for the evening. Its commitment to simple but delicious food was also high on our list of priorities!

The theme of the event was ‘Getting Commissioned: Unconventional Ways’, with three inspiring speakers providing insight into their own unique methods of getting work noticed.

Speakers at the event were Tif Hunter, a photographer with over 20 years’ experience and a specialism in creating tintypes*; Kathy Howes, Senior Creative Producer/Art Buyer at Proximity London; and dilatorily, an artist and photographer who loves to capture everyday objects, in simple compositions.

Topics discussed by speakers and guests included:

  • how to embrace Instagram and other online platforms
  • projects that stand out from the noise
  • what brands and agencies are looking for from image makers now
  • why analogue is not dead

With a 50-person guest list, the intimate evening gave guests the chance to discuss relevant and meaningful issues with like-minded creatives, and go away with renewed inspiration for their creative projects in 2018.

We love being a part of the Photographers’ Dining Club, and look forward to the next event, due to take place in Spring.

For more information and to find out more about future events, visit the 4695609512 website.

*A tintype is a photograph made by creative a direct positive on a thin sheet of metal coated with a dark lacquer or enamel and used as the support for the photographic emulsion.
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(253) 267-5739

When we heard about short film Limit of the Land, we knew it was going to be a special project and were keen to be involved. The shoot would be a little different from our usual line of work, and it presented the opportunity for us to support a British, independent film, funded by crowd-sourced donations.

Set in 1913 against the backdrop of the approaching First World War, the 15 minute film tells the story of two men who row out to relieve the keeper of an isolated lighthouse – and what happens when they discover that he is missing.

Writer and director Matthew Pritchard wrote the film as a response to Europe’s refugee crisis, and what he saw as a tide-turning moment for humanity. We knew that faithfully capturing the film’s physical setting – at the edge of sea and land, while tides are turning and storms are raging – would play a huge part in telling this story and representing Matthew’s vision well.

Creativity through partnership

The Limit of the Land project enabled us to work in partnership with lecturers and creatives from Ravensbourne College – innovators in digital media and design. While Ravensbourne College formed the film crew, Locate provided production management and support.

On Location

Shooting for the film was based in Keyhaven, a small fishing village on England’s south coast. We were fortunate to be able to shoot in such a beautiful and historic location right by the water, and with suitably unpredictable weather we had plenty of opportunity to explore and create using different visuals and camera angles.

A daily ferry took our actors, crew and equipment from the mainland to Hurst Castle and Hurst Point Lighthouse, Milford on Sea – a much more enjoyable commute than the tube at rush hour!

Safety First

Hurst Castle generously provided us with safety boats and drivers, which we were very grateful for as we were shooting scenes on one particularly rainy and windy afternoon. With waves and riptides stronger than usual, most of the crew stayed safely on land while the safety boat headed out to ensure our actor Luke was happy in his small wooden rowing boat – which had to be carefully re-positioned in the water between each take due to being buffeted around by the wind and waves!

Working with CGI

Limit of the Land involves one of the main characters – Daniel – coming across a beached whale while out looking for his father. We enlisted the help of London-based set builders Andy Knights to create a life-like whale for these scenes, to be brought alive in post-production through the magic of CGI. It requires a very specific skill to be able to imagine what the end product of your filming will look like once it is enhanced by CGI, but our team rose to the challenge and it will be exciting to see the final result!


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Bruno Wall Mural with Sky Sports

For those who were out and about in Brighton over the Autumn period, you may have noticed the creation of an exciting project showcased on one of the walls in North Laines. Working with Director Jacques Salmon, Sky Sports approached us looking for the perfect wall location in central Brighton for their new TV ident. The idea was to create a wall mural to promote the iconic football captain of Brighton & Hove Albion football club, Bruno Saltor Grau.

The bold design was inspired by a merchandised jersey of the local football team, depicting captain Bruno in a crown alongside the caption ‘El Capitan’. After researching and scouting for the ideal wall by Locate’s Location Manager, Nick Williams, it was decided that Gelato Gusto, an ice cream parlour in North Laines, was the perfect fit.







Richard Wilson from station house was the talented artist responsible for the project. Richard started off by painting the wall white for an even background. He then brought the image to life by replicating the design of Bruno from the jersey onto the wall, all the while being filmed for the ident. It was important to capture various angles of Richard at work; from filming sky high with a remote control drone, to being on the scissor lift for those essential close up shots.

The town centre was very busy that day so safety barriers were put all around the area to avoid the public getting too close. However, that didn’t stop people from taking selfies and snaps of Richard at work; in a matter of hours, the wall mural was trending on both Instagram and Twitter!

See a time lapse of the project below, filmed by Sky Sports.

To see the Sky Sports ident, please visit our 317-616-6688 or our 530-352-8552 page.

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A Day in the Life of a Location Manager

Darren Pratt has worked for Locate for more than four years. Here, he talks us through the two sides of his job; from location scouting to managing the location on set. Whether he’s allocating parking or location hunting door to door, Darren talks us through his varied role fueled by adrenaline.

Lights up at 5am

In film, people like to arrive early, which means – as the person there to ensure everything goes off without a hitch – I have to get there even earlier than they do. On a shoot day, I’ll arrive on location at around 5am, let the caterers in, work out where everyone will park, and set up signage. The rest of the crew start to arrive around 7am, by which point I should already be set up. It makes for a long day, but it’s worth it. Scouting days are different; they sometimes allow for a later start and have an entirely different vibe. While set days often work to a formula, scouting is a mixed bag – you can never be sure what you’ll get.

Two sides 

It’s nice to have the routine of a day on set, and to get stuck in. There’s definitely a lot more creative input on scouting days, but the two sides of the job each have their perks. On set, I’m the first one there – laying protective coverings and ensuring the owner’s belonging are safe – and the last one to leave, after making sure everyone is happy. When I’m scouting, the days can be more unpredictable. It’s surprisingly easy to switch between the two responsibilities, though, as I enjoy both aspects.

An in-built guidance system

Google is extremely useful. I don’t know how location scouts found anywhere before the internet, especially when just starting out. Over time, I’ve developed a kind of built-in mental guidance system, and am more aware of different spaces and their restrictions – I’ve also created a contact list of useful people to talk to when a certain space is needed, which is important. There’s a lot of research and admin to finding a location, and there can be let downs – there’s no point setting your heart on somewhere that fits the brief looks wise but can’t fit the crew, for example. Mainly, though, it’s exciting. I go and seek out possible locations, and then it can be as simple as knocking on someone’s door and saying ‘hello, we’d be interested in using your house for a shoot.’

Film set vs reality

The most important aspect of my day to day role is delivering what the director/ photographer/ agency wants, whilst at the same time making logistics work. It’s my job to make sure the film world (the crew) works with the real world (everyone else) in a way that lets everyone get what they want and need. It’s also important that locations are left as we found them, and relationships are kept on track. Sometimes location owners need a bit of hand-holding as they may be new to the industry and not sure what to expect. I must do everything in my power to make sure there is nothing but good feelings when we leave.

A mobile workspace

Being a Location Manager can get lonely, but it also opens doors to meeting a lot of different people. That’s one of my favourite parts of the job. It’s interesting to get to know so many characters from all walks of life and to travel so much while doing it. The Locate team are a great bunch to work with, too, everyone is happy to lend a hand if needed. On scouting days, I’m generally on my own – my car is my office.

Powered by adrenaline

Before I worked in locations, I had no idea this type of role even existed. When I learned about this line of work my basic reaction was ‘no way! That sounds cool!’ … and it is. It can be exhausting but it’s a great job. I really think you have to be an adrenaline junkie to do it, though. There are really long days, and I sometimes find myself thinking I need a rest, only to then immediately begin pondering/planning the next assignment. I love it. It’s a great feeling seeing the work come together, and to watch TV and be able to say ‘I worked on that!’


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Have you ever found yourself wondering about the houses you see on screen, or in your favourite magazine? ‘Where do they find them?’ ‘Is it just a set, or an actual home?’ At Locate, we use real houses owned by real people for our shoots, and are always open to discovering new locations to add to our location library.

If you’re curious about how it all works, or would like to register your own home with us, read on…

Being a shoot location owner can be extremely rewarding. Not only are you allowing yourself the opportunity to generate income from your property, you’re opening yourself up to meeting talented cast and crew members, and to seeing what goes on behind the scenes at a shoot. No two shoots are the same, and while there will of course be the more every-day shoots, the excitement that accompanies a day on set with a much loved household brand is incomparable. Not to mention the perk of possibly becoming a temporary home to leading talent – Andrex puppies, for example, or George Clooney and his beloved Nespresso.

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Meeting the criteria

While every property is unique and beautiful in its own right, not every property is suitable as a location. For this reason, we can’t guarantee inclusion within our location library to everyone that gets in touch.

As a rough guideline, our ideal property features the following:

  • Open plan space. This allows room for multiple camera angles, movement of equipment and a bigger crew
  • Good accessibility. Crews will often be bringing along heavy equipment, so a 10th floor flat with no lift access would prove problematic!
  • Good parking, either on the driveway, or nearby. Cannot be on a red route

If your property fits this outline, you may be perfect for us. Don’t worry if you’re unsure, though, or have something a little more unusual, we always assess on a case by case basis.

What to expect from a day on set?

If we do confirm a shoot with you, please be aware of the following:

  • No two shoots are the same, so your experience with one client may differ from your experience with another
  • Changes may be made to your home – often you won’t recognise your own home when used in a campaign. Our team are with you every step of the way, however, and will always ensure you are happy with certain changes being made. Upon leaving, crews will reinstate the property, so it is left as they found it
  • Crew numbers will vary greatly dependent on the style of the shoot – TV shoots will require more hands than an editorial shoot, for example. We will work with you to determine what you’re comfortable with
  • The possibility of 12 hour days, sometimes more (sometimes less!)
  • We ensure the client provides pubic liability insurance, in case of accidents. We advise that valuables be put aside, to avoid any upset should a breakage occur. While accidents are rare, they do sometimes happen – any issues will be fully dealt with by our team, in a way that you are happy with
  • When a client has hired your home, they will need access to it as pre-agreed. This doesn’t mean you can’t be at home, it just means the client will expect free reign in the agreed areas

While some enquiries can be slow moving and may not result in a confirmed booking, others will be keen to begin within a few days, or even that afternoon – we will always keep you informed throughout the process, so there will be no surprises.

What our location owners have to say

Sara – Location #8136

“Now that our kids are a bit older, it was time for me to think about going back to work. However, being a location owner allowed me to stay at home and keep on top of looking after the house and garden whilst still earning an income.

Working with Locate has been such a pleasure. Both Jo and Katie are always fun and friendly but also incredibly professional, offering advice and guidance where needed and dealing with any issues (which are rare) post shoot. I would really recommend Locate to anyone who is thinking of using their house for shoots.”

Jim – (413) 282-5095

“I retired a while ago and was pleasantly surprised by what I can earn per day from a shoot. The cast and crew from Locate are always cheerful and friendly, and I enjoy seeing how it all happens behind the scenes.

The most challenging aspect of hiring out my home is when the shoots go into overtime and need the house for 12 hours or more. Locate will ensure payment for overtime, though, so I can’t complain!”

Get in touch

To speak to a member of our team about becoming a shoot location owner, send us an e-mail at locate@locateproductions.com or call us on 0207 978 1688.

We look forward to hearing from you!

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Sharing ‘the nation’s joint problem’ with Arthritis Research UK

Did you know, Arthritis impacts over 10 million adults in the UK? Not just people that are personally suffering, either. Arthritis puts a strain on friends and family, as well as colleagues and employers. Earlier this year, we collaborated with Arthritis Research UK on a campaign to raise awareness of the condition, and we’re very happy with the results.

Working with M&C Saatchi and photographer 778-363-6066, our production team were given a detailed scouting brief; finding locations that are usually busy, to be shot when devoid of life and movement.

This shot of Oxford Street is one we are particularly proud of. Notoriously difficult to catch at a time without people, we arrived at 03:45 and left at 06:00, with only around half an hour of good shooting conditions in-between. The aim was to not to get a single soul in frame and, for authenticity, had to make sure the sun had risen and it didn’t look like dawn. Logistically, it was a challenging job, but the photographer was able to shoot some fantastic images, all of which captured the scene beautifully.

We’re proud of what we achieved, and to be a part of something we care so much about!

To view the campaign in action, visit (707) 765-2092.

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Everyone celebrates the start of the night. We want to shift the focus to the end of the night. Because how you end the night is the ultimate manifestation of stylish drinking.

For those that haven’t yet had the pleasure, Haig Club is a single grain scotch whisky with a ‘character and style that sets it apart.’ Part of the Scottish Haig whisky family, it aims to put a youthful spin on the whisky market which is traditionally known as more of an ‘old boys club’. The drink boasts an iconic blue bottle and an urban feel; two qualities which the brand were keen to emulate in their latest digital campaign.

Locate Productions worked closely with creative agency, MullenLowe and photographer, Liam Goslett to capture the candid stills. The brief for the campaign centered on the importance of responsible drinking, and required lively London streets popular with young people on a night out.

Utilising the experience and the know how of our location scouts, we found the perfect setting in three different spots – Shoreditch, Hoxton and Soho. Heavily involved with the casting as well as the locations, we took to the streets to cast talent, with extra models cast through an agency as back up.

Despite the driving rain that fell on both nights, we were able to find willing ‘real people’ to stand in as models, and to create something special that fit the brief. We’re proud to have been a part of this project, and had a lot of fun working on it!

To view the rest of the campaign, please visit the Haig Club website.

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A Day In The Life of a Production Assistant

Working in production, no two days are the same. From taking charge of the tea round to handling the talent, Production Assistant Rosie Portal sees it all. Having worked at Locate for over a year, here, she takes us through her day.

Mornings begin at 4am

Working hours are typically 9 – 6, but in this world, nothing is that predictable. We really don’t know what will be thrown at us at the last minute, so rigidity isn’t an option – there are a lot of late nights and early mornings, and on a shoot day we can be on set as early as 4am!


A close-knit team

One of the things I love about my job is how well we all get on. We tend to eat lunch together most days, and there’s always someone to lend a hand or an ear if needed. It’s nice to be in such an open and friendly environment. Outside of the core Locate team I spend a lot of time working with new people on set, which is a great way to really immerse myself in whatever project we’re doing. Situations like these really highlight the importance of being a team player, and of being able to adapt to different environments and situations.

Keeping the client happy

A big part of my job is ensuring the client is happy, which is obviously hugely important. I go to a lot of castings and so spend a fair bit of time liaising with casting directors and stylists etc, ensuring everyone involved in the process has read the brief, understood it, and is happy with next steps. A lot of things I do for the client can be quite time consuming, but more often than not a lot of fun. There’s a lot of pressure to get things done, and a lot of expectations to be met. I always try to go above and beyond, and will get the client whatever they need to feel comfortable. If they need a red car for a recce, for example, I will do everything in my power to get my hands on that red car. Sounds simple, but when no car companies have a red car in, it becomes quite a task!

Organisation is key

I look after a lot of models and talent, making sure everyone turns up on time, has places to park, and know what they need to bring on the day. I’m in charge of creating call sheets and scheduling time to ensure cast and crew know exactly where they need to be, what day and what time. I also research and book hotels to ensure everyone has somewhere to stay, and when we do car shoots, I find parking and overnight security for the vehicles. We do a lot of these types of shoots and it is super important to make sure that the ‘hero’ cars are secure. This can all be trickier for international shoots, as there are often different customs and time zone constraints to be aware of, but I always make sure it gets done!

A good cup of tea is very important

Set days are brilliant; it’s so nice to see all of your pre-production work coming to life, and to see everyone knuckling down and getting stuck in. A shoot day is very hands on, with a lot of responsibility. It’s important to never underestimate how much work goes into these things. Even getting the smallest task done can have so much impact to someone else’s schedule. There are a lot of logistics to work out on set days, and a lot of running around, but the energy of the team is great. There’s nothing quite like it. A word of advice I’d give to anyone looking to take on this kind of role is to just give your all, even if all you’re doing is making cups of tea – a good cup of tea is very important on set.

No day is the same

Life in this job alters drastically depending on whether we are on set or in the office. It’s never monotonous and there’s always something new to work on, which I like – there’s never a risk of being bored or having nothing to do. I can’t stress this enough, there’s so much variety. From day to day I can be doing anything from location research alongside our scouts, taking part in conference calls with new clients, and running around on set making sure everyone is fed and watered. There are perks to both working in the office and being on set, but personally I most enjoy being out in the thick of it.

Feelings of jet lag

We sometimes have a few shoots back to back, so after work I tend to just relax and catch up on sleep. It’s a funny feeling coming off a shoot, especially. I often find my mind stuck in organisation mode, full of adrenaline. I can be lying there trying to unwind and just be going over and over everything in my head, it’s a little like having jet lag. You really do have to adjust to a busy working environment in this job as it can be very full on, but it’s worth it. I wouldn’t have it any other way.

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When location scouting for your production, remaining within London is often the easiest option. Limit yourself to just one area of the UK, however, and you could be missing out on the perfect spot for your project.

Travelling outside of the M25 opens your eyes to a variety of unique, stunning locations, and using our 8644255183, we’ve compiled a list of 10 UK sites that will change your mind about leaving London.

Brighton Villa – BN1

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Light and airy, this beautiful southern villa was made for summertime shoots. With 7 bedrooms in the main house and a separate 2-bed apartment, this location benefits from a private swimming pool and Jacuzzi, with stunning countryside views.

Distance from Central London: 52 miles, via M23 and A23

See more of this location, here.

Lake Manor – GU8

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Most recently utilised by (908) 851-7589, this expertly finished manor house boasts beautifully tended grounds, a private lake and forest, an authentic boathouse and well maintained outbuildings. Multiple locations in one!

Distance from Central London: 40 miles, via A3

See more of this location, here.

Cherry House – HP2

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With extra large windows and ample space for a large production, the colourful and contemporary Cherry House is located just outside the M25. As chic as it is modern, the four-bedroom location provides a beautiful backdrop for stills and filming.

Distance from Central London: 26 miles, via M1

See more of this location, here.

Bunker – RG14

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Expertly camouflaged, this authentic ex-military bunker provides a glimpse into army life. Complete with tunnels, scrubland and large storage sheds, the unique site is perfect for a large scale action production.

Distance from Central London: 63 miles, via M4

See more of this location, (909) 213-3342.

White Beach House – BN43

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A tropical destination with a UK postcode, this location boasts Mediterranean glamour and calm, without the need to board a plane. Reminiscent of a Spanish hotel, the location was last year used in a poolside shoot for 9738189524, providing a convenient alternative to international shooting.

Distance from Central London: 60 miles, via M23 and A23

See more of this location, here.

Modern Wood – TN31

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Presented in a scandi-style, this contemporary home features bright interiors in a woodland setting. Perfect for those wishing to create a feeling of distance within the UK, the location is popular with international clients seeking Scandinavian charm.

Distance from Central London: 67 miles, via A21

See more of this location, (318) 932-5789.

Firestone House – HP18

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Commissioned by Lord Rothschild and set within the English Countryside, this location is a true triumph in modern architecture. With feature steps built into the exterior of the property, the design allows easy roof access for views across private land. Quirky and artistic, the property provides the perfect setting for a fashion editorial.

Distance from Central London: 52 miles, via A40

See more of this location, here.

Derelict Slate – LL41

5L5A6824 2(734) 223-9515

In a setting you wouldn’t find within the confines of London, this derelict ghost town is set within the Welsh mountains. Abandoned and left to ruin, the impressive slate quarry provides a backdrop perfectly suited to a gripping thriller, or a haunting tale of natural disaster.

Distance from Central London: 223 miles, via M1

See more of this location, (414) 586-5383.

Rambling Manor – OX7

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Built in 990, this impressive location was once home to a 10th Century Archbishop of Canterbury. A derelict manor on a private estate, this crumbling property is a picture of raw charm and potential.

Distance from Central London: 76 miles, via M40

See more of this location, here.

Grand Modernista – GU27

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With modernist architecture and vibrant interiors, this unusual location is a vision in contemporary design. An all white construct with teal detailing, this property provides a unique backdrop for your production.

Distance from Central London: 44 miles, via A3

See more of this location, here.

For more locations outside of London please visit our location library, or get in touch with the library team.

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