Day one, you get the script and read it. Then you make a list of locations you have to find—some are obvious, like Central Park or Grand Central Terminal, and it’s just a matter of logistics and permission. Some, like “college student’s apartment” or “dank alleyway,” are more abstract. Screenwriters and directors often have a vision of New York City that doesn’t exist, so you have to offer a lot of options. I have to draw on experience, knock on every door on the block, leave flyers, and hope people call me back. getting started: I went to Columbia University for film studies—I learned a lot about appreciating films, but not as much about making films. Then I worked as a production assistant for a year and a half, and a big part of the job was finding things the stars wanted—such as a basketball court at every location for Adam Sandler. Learning how to do this is how I later switched to location scouting.