July 2, 2025 • 28 mins
Have you ever wondered if you recognize that stunning condo or picturesque community you see in a movie or TV? Take It To The Board host Donna DiMaggio Berger and Christina Labuzetta, owner of Location Resources and member of the Location Managers Guild International, pull back the curtain on the fascinating world of location scouting for private residences and communities.
For association boards and homeowners contemplating this unique revenue opportunity, Donna and Christina walk through the entire process: from initial scouting photos to contracts, logistics, and the potential earnings. They address common concerns about property protection, revealing how professional crews use protective materials and detailed documentation to ensure everything returns to its original state—their goal being to make it look "like we were never there."
From CSI Miami to Vogue Magazine and sourcing locations for Martin Scorsese's "The Irishman," Christina shares insider knowledge about what makes properties stand out to production companies. The perfect filming location isn't always about luxury or grandeur—sometimes it's the mid-century modern charm of a modest apartment complex like the one featured in "Dexter" that captures a filmmaker's imagination.
Beyond the financial incentives, there's the undeniable prestige that comes with seeing your property featured in popular media. As Christina notes, it becomes "the cocktail party factor"—something residents can point to with pride and interest for years to come.
Whether you're a board member or manager looking for alternative revenue sources for your community, a property owner curious about monetizing your space, or you are simply fascinated by film production, this episode offers valuable insights into what happens when Hollywood comes knocking.
Conversation Highlights Include:
- Types of productions that typically use private residences and buildings-you'd be surprised how many are out there
- What features or amenities make a property stand out to location scouts? It's not just luxury communities that are of interest to a film crew
- A step-by-step look at how a building can begin the process of becoming a potential filming location
- How much control homeowners have in accepting or denying film offers
- Unique challenges of getting filming approved inside community associations, especially where commercial use is restricted
- Navigating the approval process with boards, managers, and residents—addressing concerns about privacy, security, and disruption
- Beyond revenue: additional benefits of filming on-site, including brand enhancement
- Common risks and potential drawbacks boards should consider before agreeing to host a production
- Christina’s top advice for associations or homeowners approached for a shoot for the first time.
Bonus Fact: Christina sourced the location where Dexter lived-a cool mid-century modern apartment building in Miami
Locations Sourced by Christina:
- Bad Boys: Ride or Die” promo aired during the NBA final
- Rob Riggle, Pitbull throw epic Super Bowl party | FOX NFL
- 2023 Jeep Grand Wagoneer TV Spot, 'Drove All Night' Featuring Derek Jeter, Hannah Jeter T2
- Listing your Property: Location Resources Website
- Dexter Apartment: Screen Icons: The Members Only Residence ‘Where a Serial Killer Live
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Hi everyone, I'm attorney Donna DiMaggio-Berger
and this is Take it to the Board, where we speak condo and HOA.
Most of us have watched a movieor TV show filmed in a luxury
condo, a striking modern home, acozy cottage or a scenic
high-rise and wondered where isthat?
Behind the scenes, there's awhole industry dedicated to
(00:23):
finding the perfect filminglocation and more often than not
, those locations are insideprivate communities.
But what does that mean forassociations, owners, managers
and boards?
Today we're taking you insidethat world with Christina
Labuzetta, the owner of LocationResources, a company that
scouts and secures private homes, multifamily buildings and
(00:45):
commercial spaces for film andtelevision productions.
Christina is a member of theLocation Managers Guild
International and a board memberof the City of Miami Beach's
Production Industry Council.
From the legal, logistical andliability questions to the
potential perks, challenges andinevitable resident pushback, in
today's episode we are going toexplore what happens when
(01:08):
Hollywood comes calling.
So, christina, welcome to Takeit to the Board.
Speaker 2 (01:12):
Thank you very much.
I'm so honored to be able tospeak with you and give people a
little bit of an idea of whathappens.
Speaker 1 (01:19):
Yeah, well, you know we've covered a lot of topics on
this.
We're in our fourth season, butwe've never talked about
scouting for film crews, and Ithink it's such a potentially
interesting crossover with forour listening audience, who many
of them are sitting inlocations I have to imagine
would be of interest to filmcrews.
(01:39):
So I wanted you to start outtelling us how did you get
started with location resources?
Yeah, how did you get startedwith location resources?
Yeah, how did you get?
We're going to back up.
See, I'm always the one whoscrews up when he edits.
So, christina, tell us how yougot started with location
resources and what kinds ofproductions typically seek out
private residences and buildings.
Speaker 2 (02:01):
I started when I was in Key West.
I owned a restaurant and myfirst client was Playboy and
they came in and they shot awoman who was going to be the
centerfold like painting thewall.
So they kind of wanted to looklike she could do something
other than looking pretty.
First client and uh, and thenit just it went from there.
(02:24):
Um, I moved, uh to Miami and uh, you know it was pretty good
sized um film community here.
So I've just gone from thereand I've always been a
photographer and you know I likeshooting.
I mean, basically a lot oftimes when I'm working it's like
I just would be doing that if Iwas at the place.
(02:46):
You know I love, I love images.
So that's how I got started init and there's there's probably
many, probably maybe 15 locationpeople in South Florida.
Speaker 1 (02:59):
That work for you, Christina.
Speaker 2 (03:01):
Not that work for me, but that work in the industry.
Speaker 1 (03:04):
Oh, so your competition in terms of scouting
locations?
Speaker 2 (03:08):
Yeah, they're sort of competition, but we're kind of
different because we're a wholecompany that does kind of
everything for filming onlocations and we have 20,000
locations on file for ourclients to look at, which you
know is much better than themhiring a scout for a day, and
they can only get a certainamount of things shot in one day
(03:29):
, so they get thousands oflocations at their fingertips.
Speaker 1 (03:33):
I feel like it's like modeling, but for venues.
You know, when you're lookingfor a model of clients looking
and they're looking at all thedifferent headshots.
It's kind of the same thing forlocation.
So what makes a property standout to a location scout?
Speaker 2 (03:50):
A lot of times it's the uniqueness of it, you know,
or like the new modernhigh-rises, the views, you know,
the spectacularly beautifulproperties and also the ease of
working with the building or thehome, you know, because we
don't want to end up insituations that become difficult
and there's, you know, we haveto consider all of the stuff
(04:14):
that comes with it, likeespecially for the movie and TV
shoots, because we have, youknow, maybe a half mile or mile
long of trucks and we have tofind parking and we have to
normally get sign-offs and youknow, it's a, it's kind of a big
thing.
So, um, that's basically whatwe have to be in consideration
with when we're doing something.
(04:35):
And then the proximity to otherlocations.
So, especially for episodic tv,it's very fast, so they set up
a base camp and then try to findlocations right around that
area and we all people thatscout, we all were always on the
lookout, we all, you know, findsomething.
(04:55):
You're just driving down thestreet and it's like whoa, I
never saw that.
Speaker 1 (04:58):
You know something that's interesting that piques
your interest.
So there was a home in mycommunity I live in a homeowners
association guard gated andthis home for years would be
used as a location for the frontgate catalog.
And what was interesting aboutit is I live in South Florida
but this house really had a verynorthern feel to it.
(05:21):
It actually looked like itcould have been just dropped
there from Williamsburg,virginia.
Okay, and it's a unique homeand there's a lot.
And I do remember there wouldbe just once or twice a year
there'd be a big, a big van.
There'd be a lot of vehicles.
You could tell they were movingstuff in and out In my
(05:42):
neighborhood.
We thought it was kind of cool.
I could see in otherneighborhoods that they would
think not so cool to have a filmcrew.
And I want to ask you a littlelater about the commercial usage
because that is a particularlyimportant sticking point for a
lot of associations.
But there's so many communities, whether it's a homeowners
association with single familyhomes or we've got homeowners
(06:06):
with attached townhomes thatlook like it could be.
You know Bourbon Street in NewOrleans.
We've got these brand newunbelievable high rises in
Miami-Dade and Broward County.
If we've got a community that'slooking right now and listening
to this and thinking you knowwhat?
(06:27):
We've got rising costs in ourbudget.
They're always looking for ways, christina, to kind of offset
these costs.
Right, these are not-for-profitassociations, but it really does
help.
A lot of them will lease theirrooftop space to sell towers.
That helps, but there's only somuch they can do.
I think many, many of them havenot thought about offsetting
(06:49):
costs by sourcing themselves asa potential location for a film
crew.
What would be the first steps?
Association board listens tothis and goes yeah, you know
what?
I think our building or ourclubhouse or our recreational
facilities would be a greatlocation.
What's the first steps?
How do they get involved withthis?
Speaker 2 (07:10):
It would be to reach out to a company like our
company, Location Resources.
Also, they could contact theirlocal film office.
You're in Broward and sothere's a Broward film office
and you can send pictures toBroward film office, and those
are some images we may find aswell when we're looking
(07:30):
specifically in Broward Countyfor something.
Yeah, the contacting locationcompanies and location location
companies is probably the bestway directly.
Speaker 1 (07:42):
So they?
So they contact you.
Then what do you tell them?
What do you need from them?
I assume you need good picturesof the location.
Speaker 2 (07:49):
We ask them to take some photos, even with their
iPhone, so we just get a senseof it, to see whether or not
it's worth it to make the trekand take the photos.
So we at least kind of get alittle bit of an idea of what
you know what the place lookslike and whether to expend the
(08:09):
time and energy to go and scoutit.
Speaker 1 (08:12):
Okay, and let's say they get past that.
You get the amateur iPhonephotos.
Then do you send out aprofessional crew to take better
photos of the location.
Speaker 2 (08:22):
Yeah, sometimes we do and sometimes we can manage to
make the iPhone photos work onour website.
We have a great digital tech.
Then if we really think it's anexceptional location, then
normally I will go out and shootit and then we'll put it on our
website.
So we'll have professionalpictures on the website that
(08:45):
help sell it better.
Speaker 1 (08:46):
So are there any costs to the association or the
homeowner at this point?
Like you know, models have topay for their headshots.
Are there any costs if they saycome on out and take a photo?
Speaker 2 (08:58):
Depends.
It depends on what we the timewe think it may take to get to
the place, shoot the place, andsometimes we do do a small fee
not it's nothing major and uh,you know.
So that helps, you know, getthe whole thing started.
Speaker 1 (09:13):
So does the homeowner sign a contract with location
resources, with the productioncrew or both?
Speaker 2 (09:21):
Uh, with the production crew for the shoot
itself?
Yes, so we have contracts thatwe send to the homeowners to
sign.
We send them all the details ofwhat the potential project is
and then they can decide whetherthey want to do it or not.
We let them know when it is,how many hours, how many people.
(09:44):
So size and scope is somethingthat matters to people.
You know, that's kind of howthings are priced, depending on
what the impact is on thelocation, and then we work on
getting the permits done.
When they're shooting we'llsend a location manager out to
supervise.
We arrange all the parking andtake care of all the loose ends.
(10:11):
We use cardboard and ram boardto protect floors and walls.
We do whatever we can toprotect furniture, maybe putting
pads over furniture, whateverwe can do to make sure it's best
protected well, I wanted to askyou about that.
Speaker 1 (10:28):
So in a typical and I know this is going to vary
depending on the nature of theshoot, but a lot of times
they're looking at these,whether it's a building or it's
a home, and they're going towant to change things right.
They're going to want to moveaway some of the private you
know, personal mementos that areon the walls and the artwork
and take all that down and putup what they need for the shoot,
(10:48):
correct?
Speaker 2 (10:50):
That does happen on the larger productions.
Yes, so you know we takepictures of, you know a lot of
pictures of how the house isbefore we start, so that at the
end it looks the same.
Some people get a littlefreaked out and it's like my
house is never going to look thesame and then they say it's
going to by tomorrow morning ortonight it's going to look like
(11:11):
we were never here.
That's our, that's our.
Speaker 1 (11:13):
Our goal is to look like we never were there that
house I there was another housethat had a shoot.
They painted the outside of thehouse.
I think the homeowner liked itbecause they kept the color.
So I would imagine that happenssometimes too.
Speaker 2 (11:26):
In your neighborhood, that area I'm not sure which
house that was, but yeah, andthere's a brick house in your
neighborhood people love becausethat looks like it could be New
England or anywhere.
Speaker 1 (11:36):
That's the one, but there's another one where they
painted it.
That one looks a little moreCalifornia.
But my point is, sometimes theydo actually do some significant
changes.
Speaker 2 (11:49):
Depends on what they're shooting and what they
need, you know, and the largerthe production is, the more
changes they may make.
Speaker 1 (11:57):
So talk to us about the productions.
Who's looking for this?
Is it TV commercials?
Is it, you know, episodicseries?
Is it a film crew?
Speaker 2 (12:09):
It could be anything.
It really, you know, we do allkinds of stuff here.
I'd say that what gets shot themost here is fashion, um, after
that maybe products like coughmedicine or something you know,
pharmaceuticals, um, but yeah, Iwould say mostly it's fashion.
Those are pretty easy ones.
There's not not a lot of thingsthat they move around and, uh,
(12:33):
they usually don't need to havetoo much staging space.
They may ask the homeowner fora room to do hair, makeup and
wardrobe in.
So the fashion shoots arereally the easiest ones, and we
always have a location manageron set.
So they're watching out for thehomeowner and they take
(12:55):
pre-existing photos prior to theproduction coming in.
So there's no guess of oh, wasthat scratch there or was it not
there?
Speaker 1 (13:04):
can the homeowners stick around when they're
shooting?
Speaker 2 (13:06):
yeah, they can.
Some, some do some, don't.
You know some people, I guessit depends what they're doing.
Speaker 1 (13:12):
I have a.
I have friends where they usetheir home for the victoria
Secret catalog.
They wanted to stick around.
They wanted to stay for thatshoot, I don't know why.
Speaker 2 (13:25):
Sounds boring so yeah , some people stay, some people
go.
You know they don't stickaround.
They trust us, they don't haveto worry about it, so they know
that we're looking out for themall right.
Speaker 1 (13:43):
So now we have to talk money.
How much money can can peoplemake, whether it's an
association and I'm going totalk to you about that in a few
minutes but let's say it's anassociation that has a fantastic
pool area okay, and you'regoing to do a fashion shoot out
there how much can they make?
Speaker 2 (14:00):
um, like you're talking about, like a large pool
area yeah, it's, it's fantastic.
You could do a whole runwayshow there so I would say it
would probably start with, Idon't know, maybe six, seven
thousand for the day, the 12hour day.
Speaker 1 (14:19):
And if it was a, if it was a film crew, have you
ever done, have you ever doneshoots where it's it's multiple
days?
Speaker 2 (14:26):
Yeah, I have.
Yeah, yeah.
So if it's, if it's for a show,then depending on the impact of
how many people and what areaspeople are going to shoot, if
it's inside, outside, then itcan go up to around $10,000 a
day.
Speaker 1 (14:43):
And I'm going to tell our listeners this is a
contract that you will want tohave reviewed by counsel,
because you will need to ensurethat you're getting properly
indemnified for any damages andthat there's insurance and all
the rest of it.
This is not a contract that youwill necessarily want to want
to just sign out the dotted line, but it is a very interesting
(15:05):
option for a lot of ourcommunities.
Now, it doesn't have to be avery upscale building, does it,
Christina?
I would imagine sometimesyou've got people looking for
more modest locations.
Speaker 2 (15:17):
Well, it can be anything.
You know it's like whereverpeople live, you know there's
stories that go with them orthere's things that they want to
advertise.
So it, you know, it doesn'thave to be super upscale.
We did for years, we did Dexterand Bay Harbor Islands, which
was an area that was mostlybuilt in the 1960s.
(15:38):
So we've gone back to thatplace over and over again.
Speaker 1 (15:42):
Wait, I remember that location that little.
It was like a two-storyapartment complex.
Speaker 2 (15:47):
Exactly, you did that one.
Yeah, I did it for two, threeyears.
I worked on the show, yeah.
So it's a really cute complex.
So Dexter's apartment was allthe way in the back by the water
and then the front side of ithas like a staircase that goes
up the front.
So it's a really uniquemid-century modern building.
Speaker 1 (16:10):
I always thought that was a sound.
Did they actually shoot in theunit?
Because I always thought it wasa sound stage and they just did
exterior shots yeah, well, thethe for the inside of the
apartment was a sound stage.
Speaker 2 (16:22):
This department is not very big, you know for him,
but then we also, like, everytime they came, he'd see, you'd
see him walking up and down thecatwalks or down by the pool.
So, yeah, so it was.
Yeah, because the apartment wasso small, it wasn't.
They couldn't do that much, sothey rebuilt it in the
soundstage.
Speaker 1 (16:42):
So that was an older, charming, modest location.
Oh, wow, okay.
Well, let me ask you this howmuch control does the owner have
?
So let's say somebody's you gothrough it, you love their home
or the or the building.
They sign up, a crew looks atthem and says we want them.
(17:03):
Can the client say no, I don'twant that particular crew to
come out and shoot.
I would imagine there's apossibility there.
Speaker 2 (17:12):
The condo association owns it or a homeowner owns a
specific apartment.
They, you know they're notobligated to do a shoot, but if
they do decide they do want todo it, that they can't back out
after signing the contract right, well, without penalties, yeah,
which goes gets me back to myfirst suggestion.
Speaker 1 (17:35):
Make sure you get it reviewed.
In a lot of our condos we'venow got these magnificent units,
especially the penthouse units,which could really accommodate
a great fashion shoot or a filmcrew you name it.
Do you check, or does theproduction crew check, to make
sure that the owner hasassociation approval to do the
(17:55):
shooting inside that unit?
Speaker 2 (17:57):
We yeah, we normally do.
We don't want to get stuck, youknow, with not knowing.
I mean we we're not going to goin.
We're not going to go in abuilding without talking with
the management and they have afee or they need certain certain
insurance language.
So, yeah, we don't.
We always talk to the HOA.
Speaker 1 (18:18):
That's I'm going to tell you bravo, because we see
this with Airbnb a lot, that youknow.
Owners will list their unitsfor short-term rentals and
short-term rentals are notpermitted under the documents
and then the guests show up.
They've already, you know,listed the unit, they've already
paid their deposit.
They show up and the front deskor the guard gate says I'm
(18:40):
sorry, you know not going to letyou in.
So you know, when you'retalking about units inside
multifamily buildings, it'sabsolutely crucial.
Also applies to homeownersassociations, not as much
because normally there's notthat prohibition against
commercial usage or it's alittle more hands off with a
homeowner association whenyou're dealing with single
(19:01):
family homes, but certainly inthe multifamily buildings
there's that typical unit canonly be used for single family
residential usage.
Think that if this businessmodel appeals to associations
and to owners, I think you cando a carve out for this,
assuming that there's not aninordinate amount of noise or
(19:23):
other inconvenience associatedwith the shoot.
Speaker 2 (19:27):
Yeah, no, it's definitely been done.
You know, there's certainbuildings we've shot quite a bit
on, like on Biscayne Boulevard.
A lot of them have set uppolicies and there's a whole
procedure that we go through andthen, like, they let us know,
you know, can we use an elevator, or what hours can we use the
elevator and can we get space inthe loading dock and put the
(19:49):
trucks in?
So we have to work closely withthe management of the building.
We don't just show up.
Speaker 1 (19:56):
Yeah, no, I would say that would definitely be
advisable.
You know I have to say,christina, when I'm contacted by
a client about filming in thecommunity by an owner in the
unit or on the limited commonelement balconies, nine times
out of 10, it's an adult filmproduction that's going on that
(20:17):
no one knew about and the boardgets tipped off and obviously
it's not something we wanthappening inside the community
because it's not a good look.
Obviously it's not a good lookand it doesn't help enhance
their brand.
But I would think that you know, having the new James Bond
movie filmed in your buildingmight enhance your brand.
(20:42):
So I was going to ask you,other than just the location fee
, which is not huge, nobody'sgoing to get rich off of it from
one or two shoots.
But if you use the location, Iwould say, consistently, it
might be a nice source ofrevenue.
But what other benefits arethere?
I mean, I got to imagine thatin some cases it might just be
the cool factor, right?
Speaker 2 (21:02):
Definitely is, and it's the cocktail party factor
as well Something to talk aboutat the next cocktail party.
So so there's definitely thatscouting a house recently and
the woman told me she was at acocktail party in Connecticut
and they were talking about mycompany and that they had shoots
in their house.
They, they met there and youknow.
(21:23):
Very strange coincidence, butyeah, so I think people like it
because it's cool, it's, it'svery interesting.
You know, people that work inthe film industry generally come
from all walks of life.
They're, you know, intelligent,educated people, and watching
the process of how the sausageis made is interesting.
Speaker 1 (21:45):
It could open you up to just a whole other network of
people that you meet via thisexperience of opening up your
building or your unit or yourhome to a production crew.
Speaker 2 (22:00):
Yeah, we become friends.
I mean some of these, somehouses that we shoot in, I've
been shooting in for likedecades, and they'll sell the
house and they'll tell the newowner, hey, you can make money
off of your house.
And they'll give them a phonenumber and keeps going on the
house.
And they'll tell the new owner,hey, you can make money off of
your house.
And they'll give them a phonenumber and it keeps going on and
on and on.
Speaker 1 (22:15):
What have been some of your favorite homes or units
where productions have beenfilmed?
Speaker 2 (22:21):
Strangely enough, Dexter, because I'm just a
mid-century modern nut and Ijust love that.
I just love that complex andit's a real gem.
Speaker 1 (22:32):
Do you source elsewhere, or is it just in
Florida?
Christina?
Speaker 2 (22:37):
It's generally just in Florida, but different places
down in the Keys.
I've had jobs where they sentme to places like Italy and
Morocco and where else.
Speaker 1 (22:49):
Well, the Keys.
Did you see that new show withVince Vaughn Bad Monkey.
Was it called Bad Monkey?
I think?
Speaker 2 (22:55):
We worked on that, yes.
Speaker 1 (22:56):
Oh, you worked on that.
Yeah, that was a cool buildingand a not-so-cool kind of ugly
new home going up next door.
Speaker 2 (23:04):
Yeah, I think that was.
I didn't watch the show.
I think that was the point.
Speaker 1 (23:11):
It was the point that he felt that the new
construction going up next doorwas a monstrosity.
So he kind of did everything hecould to dissuade people from
from buying it yeah, no, thatwas it, and that's kind of what
it's like in the keys.
You know, people don't want abig, big ugly house next to them
so do you have any excitingprojects in the works right now
(23:31):
you can talk about?
Speaker 2 (23:33):
um, what's coming up now?
We've got fashion shoot withtom brown.
Um, I think we're doing anothershoot with megan thee stallion
I think you sent me this withmegan thee stallion.
Speaker 1 (23:47):
You did the.
Was it the?
The Swimsuit?
Sports Illustrated Swimsuitcover.
Speaker 2 (23:52):
Where did you shoot that Golden Beach near your
friends.
Was it my friend's house.
No, it wasn't Okay, it was anew modern house that was built
and kind of just when you'redriving north on Ocean Bowl,
little little like a 200 block,I think it was, and uh yeah I
(24:13):
see you sent me some notes theirishman martin scorsese's film.
Speaker 1 (24:18):
You you sourced location for that we did.
Speaker 2 (24:21):
We did, um, some of the oddball locations.
Um, there was supposed to beone of the kennedys watching tv
under his portico and that was ahouse on north bay road.
And um, there was a, there wasa field, a field of corn, that I
(24:41):
came upon and it was verygraphic, the light in the
afternoon and there was a wholestrand of trees that were about
a mile long the road and so theyshot that.
That was one of the shots thatthey they used and I think the
dog track, I think they may haveshot a dog track, I think south
(25:03):
florida has no end ofinteresting locations, I'm sure
oh for sure I to get you out tomy neighborhood.
Speaker 1 (25:11):
I want you.
We have like a tree canopy downthe main street, which is kind
of what drew us to the communityin the first place that every
home in there was completelydifferent and, yeah, I can see
somebody with your eye lookingaround at different, at
different spots, it's it.
It could be, depending on howyou film, it could look like it
(25:32):
was somewhere else in the south,Because there's a gazebo and a
park and live oak trees and awhole alley of trees.
I could see that You've beenout to our neighborhood, haven't
?
Speaker 2 (25:46):
you.
I think we shot there recentlyat that brick house.
I don't know the own currentowners names.
Speaker 1 (25:54):
Um I won't say it on here.
Speaker 2 (25:56):
They may not want me to yeah, so we shot at that
house.
Um, they had a number of ofshoots in that neighborhood over
the years and I think I, youknow, I think I first met you,
at least over the phone, waslike I don't know.
Speaker 1 (26:12):
It was a while ago, it's been.
It's been a minute because, Iremember I got your name and
then you did a shoot in ouroffice, where we are now in
downtown Fort Lauderdale.
Speaker 2 (26:22):
Really amazing office .
We got to go back.
Speaker 1 (26:25):
Yeah, well, you know what I think that as attorneys
it was, uh, a little disruptive.
We did a, it was a makeup, itwas some sort of makeup shoot, I
think, but it was in our, itwas in our, um, our conference
level uh floor, which had thatbeautiful conference with the,
with the light coming in and theviews.
So, yeah, I'd have to convincemy managing partner to do that
(26:47):
again.
I'm not sure.
I'm not sure he's ready for thehubbub.
Yeah, probably not, probablynot.
Well, any listen, christina, isthere anything that I didn't
ask you that I should have askedyou about location, resources
and what you do and what, howpeople should think about what
you do?
Speaker 2 (27:05):
I think, just to be open to it.
If, like, somebody knocks ontheir door or maybe we hunt them
down, you know to have adiscussion about it and you know
see if it's something that's agood fit for them and you know
it's a good way to make money.
There's an IRS rule that if youuse your house 14 days or less
(27:28):
than a year, you don't have topay income tax on it.
But I'm not a tax expert, soyou can't take that as gospel.
Speaker 1 (27:34):
But Nor am I.
I would say consult youraccountant.
Speaker 2 (27:38):
So a lot of people take advantage of that.
Speaker 1 (27:41):
Fantastic, well, okay , how do people find you?
Speaker 2 (27:44):
Locationresourcescom.
Speaker 1 (27:46):
Couldn't be easier.
I'm going to go home.
Well, actually, my home isn'tdisarray right now.
We're changing out the flooring, but after we're done, I'm
going to take some pictures.
I'm going to send them to you.
Speaker 2 (27:55):
Okay, that sounds great.
I look forward to it.
Speaker 1 (27:58):
Okay, christina, thanks so much for joining us.
Speaker 2 (28:02):
Thank you for having me Appreciate it.
Speaker 1 (28:13):
Thank you for joining us today.
Don't forget to follow and rateus on your favorite podcast
platform, or visitTakeItToTheBoardcom for more
ways to connect.
Hi everyone, I'm attorney Donna DiMaggio-Berger
and this is Take it to the Board, where we speak condo and HOA.
Most of us have watched a movieor TV show filmed in a luxury
condo, a striking modern home, acozy cottage or a scenic
high-rise and wondered where isthat?
Behind the scenes, there's awhole industry dedicated to
(00:23):
finding the perfect filminglocation and more often than not
, those locations are insideprivate communities.
But what does that mean forassociations, owners, managers
and boards?
Today we're taking you insidethat world with Christina
Labuzetta, the owner of LocationResources, a company that
scouts and secures private homes, multifamily buildings and
(00:45):
commercial spaces for film andtelevision productions.
Christina is a member of theLocation Managers Guild
International and a board memberof the City of Miami Beach's
Production Industry Council.
From the legal, logistical andliability questions to the
potential perks, challenges andinevitable resident pushback, in
today's episode we are going toexplore what happens when
(01:08):
Hollywood comes calling.
So, christina, welcome to Takeit to the Board.
Speaker 2 (01:12):
Thank you very much.
I'm so honored to be able tospeak with you and give people a
little bit of an idea of whathappens.
Speaker 1 (01:19):
Yeah, well, you know we've covered a lot of topics on
this.
We're in our fourth season, butwe've never talked about
scouting for film crews, and Ithink it's such a potentially
interesting crossover with forour listening audience, who many
of them are sitting inlocations I have to imagine
would be of interest to filmcrews.
(01:39):
So I wanted you to start outtelling us how did you get
started with location resources?
Yeah, how did you get startedwith location resources?
Yeah, how did you get?
We're going to back up.
See, I'm always the one whoscrews up when he edits.
So, christina, tell us how yougot started with location
resources and what kinds ofproductions typically seek out
private residences and buildings.
Speaker 2 (02:01):
I started when I was in Key West.
I owned a restaurant and myfirst client was Playboy and
they came in and they shot awoman who was going to be the
centerfold like painting thewall.
So they kind of wanted to looklike she could do something
other than looking pretty.
First client and uh, and thenit just it went from there.
(02:24):
Um, I moved, uh to Miami and uh, you know it was pretty good
sized um film community here.
So I've just gone from thereand I've always been a
photographer and you know I likeshooting.
I mean, basically a lot oftimes when I'm working it's like
I just would be doing that if Iwas at the place.
(02:46):
You know I love, I love images.
So that's how I got started init and there's there's probably
many, probably maybe 15 locationpeople in South Florida.
Speaker 1 (02:59):
That work for you, Christina.
Speaker 2 (03:01):
Not that work for me, but that work in the industry.
Speaker 1 (03:04):
Oh, so your competition in terms of scouting
locations?
Speaker 2 (03:08):
Yeah, they're sort of competition, but we're kind of
different because we're a wholecompany that does kind of
everything for filming onlocations and we have 20,000
locations on file for ourclients to look at, which you
know is much better than themhiring a scout for a day, and
they can only get a certainamount of things shot in one day
(03:29):
, so they get thousands oflocations at their fingertips.
Speaker 1 (03:33):
I feel like it's like modeling, but for venues.
You know, when you're lookingfor a model of clients looking
and they're looking at all thedifferent headshots.
It's kind of the same thing forlocation.
So what makes a property standout to a location scout?
Speaker 2 (03:50):
A lot of times it's the uniqueness of it, you know,
or like the new modernhigh-rises, the views, you know,
the spectacularly beautifulproperties and also the ease of
working with the building or thehome, you know, because we
don't want to end up insituations that become difficult
and there's, you know, we haveto consider all of the stuff
(04:14):
that comes with it, likeespecially for the movie and TV
shoots, because we have, youknow, maybe a half mile or mile
long of trucks and we have tofind parking and we have to
normally get sign-offs and youknow, it's a, it's kind of a big
thing.
So, um, that's basically whatwe have to be in consideration
with when we're doing something.
(04:35):
And then the proximity to otherlocations.
So, especially for episodic tv,it's very fast, so they set up
a base camp and then try to findlocations right around that
area and we all people thatscout, we all were always on the
lookout, we all, you know, findsomething.
(04:55):
You're just driving down thestreet and it's like whoa, I
never saw that.
Speaker 1 (04:58):
You know something that's interesting that piques
your interest.
So there was a home in mycommunity I live in a homeowners
association guard gated andthis home for years would be
used as a location for the frontgate catalog.
And what was interesting aboutit is I live in South Florida
but this house really had a verynorthern feel to it.
(05:21):
It actually looked like itcould have been just dropped
there from Williamsburg,virginia.
Okay, and it's a unique homeand there's a lot.
And I do remember there wouldbe just once or twice a year
there'd be a big, a big van.
There'd be a lot of vehicles.
You could tell they were movingstuff in and out In my
(05:42):
neighborhood.
We thought it was kind of cool.
I could see in otherneighborhoods that they would
think not so cool to have a filmcrew.
And I want to ask you a littlelater about the commercial usage
because that is a particularlyimportant sticking point for a
lot of associations.
But there's so many communities, whether it's a homeowners
association with single familyhomes or we've got homeowners
(06:06):
with attached townhomes thatlook like it could be.
You know Bourbon Street in NewOrleans.
We've got these brand newunbelievable high rises in
Miami-Dade and Broward County.
If we've got a community that'slooking right now and listening
to this and thinking you knowwhat?
(06:27):
We've got rising costs in ourbudget.
They're always looking for ways, christina, to kind of offset
these costs.
Right, these are not-for-profitassociations, but it really does
help.
A lot of them will lease theirrooftop space to sell towers.
That helps, but there's only somuch they can do.
I think many, many of them havenot thought about offsetting
(06:49):
costs by sourcing themselves asa potential location for a film
crew.
What would be the first steps?
Association board listens tothis and goes yeah, you know
what?
I think our building or ourclubhouse or our recreational
facilities would be a greatlocation.
What's the first steps?
How do they get involved withthis?
Speaker 2 (07:10):
It would be to reach out to a company like our
company, Location Resources.
Also, they could contact theirlocal film office.
You're in Broward and sothere's a Broward film office
and you can send pictures toBroward film office, and those
are some images we may find aswell when we're looking
(07:30):
specifically in Broward Countyfor something.
Yeah, the contacting locationcompanies and location location
companies is probably the bestway directly.
Speaker 1 (07:42):
So they?
So they contact you.
Then what do you tell them?
What do you need from them?
I assume you need good picturesof the location.
Speaker 2 (07:49):
We ask them to take some photos, even with their
iPhone, so we just get a senseof it, to see whether or not
it's worth it to make the trekand take the photos.
So we at least kind of get alittle bit of an idea of what
you know what the place lookslike and whether to expend the
(08:09):
time and energy to go and scoutit.
Speaker 1 (08:12):
Okay, and let's say they get past that.
You get the amateur iPhonephotos.
Then do you send out aprofessional crew to take better
photos of the location.
Speaker 2 (08:22):
Yeah, sometimes we do and sometimes we can manage to
make the iPhone photos work onour website.
We have a great digital tech.
Then if we really think it's anexceptional location, then
normally I will go out and shootit and then we'll put it on our
website.
So we'll have professionalpictures on the website that
(08:45):
help sell it better.
Speaker 1 (08:46):
So are there any costs to the association or the
homeowner at this point?
Like you know, models have topay for their headshots.
Are there any costs if they saycome on out and take a photo?
Speaker 2 (08:58):
Depends.
It depends on what we the timewe think it may take to get to
the place, shoot the place, andsometimes we do do a small fee
not it's nothing major and uh,you know.
So that helps, you know, getthe whole thing started.
Speaker 1 (09:13):
So does the homeowner sign a contract with location
resources, with the productioncrew or both?
Speaker 2 (09:21):
Uh, with the production crew for the shoot
itself?
Yes, so we have contracts thatwe send to the homeowners to
sign.
We send them all the details ofwhat the potential project is
and then they can decide whetherthey want to do it or not.
We let them know when it is,how many hours, how many people.
(09:44):
So size and scope is somethingthat matters to people.
You know, that's kind of howthings are priced, depending on
what the impact is on thelocation, and then we work on
getting the permits done.
When they're shooting we'llsend a location manager out to
supervise.
We arrange all the parking andtake care of all the loose ends.
(10:11):
We use cardboard and ram boardto protect floors and walls.
We do whatever we can toprotect furniture, maybe putting
pads over furniture, whateverwe can do to make sure it's best
protected well, I wanted to askyou about that.
Speaker 1 (10:28):
So in a typical and I know this is going to vary
depending on the nature of theshoot, but a lot of times
they're looking at these,whether it's a building or it's
a home, and they're going towant to change things right.
They're going to want to moveaway some of the private you
know, personal mementos that areon the walls and the artwork
and take all that down and putup what they need for the shoot,
(10:48):
correct?
Speaker 2 (10:50):
That does happen on the larger productions.
Yes, so you know we takepictures of, you know a lot of
pictures of how the house isbefore we start, so that at the
end it looks the same.
Some people get a littlefreaked out and it's like my
house is never going to look thesame and then they say it's
going to by tomorrow morning ortonight it's going to look like
(11:11):
we were never here.
That's our, that's our.
Speaker 1 (11:13):
Our goal is to look like we never were there that
house I there was another housethat had a shoot.
They painted the outside of thehouse.
I think the homeowner liked itbecause they kept the color.
So I would imagine that happenssometimes too.
Speaker 2 (11:26):
In your neighborhood, that area I'm not sure which
house that was, but yeah, andthere's a brick house in your
neighborhood people love becausethat looks like it could be New
England or anywhere.
Speaker 1 (11:36):
That's the one, but there's another one where they
painted it.
That one looks a little moreCalifornia.
But my point is, sometimes theydo actually do some significant
changes.
Speaker 2 (11:49):
Depends on what they're shooting and what they
need, you know, and the largerthe production is, the more
changes they may make.
Speaker 1 (11:57):
So talk to us about the productions.
Who's looking for this?
Is it TV commercials?
Is it, you know, episodicseries?
Is it a film crew?
Speaker 2 (12:09):
It could be anything.
It really, you know, we do allkinds of stuff here.
I'd say that what gets shot themost here is fashion, um, after
that maybe products like coughmedicine or something you know,
pharmaceuticals, um, but yeah, Iwould say mostly it's fashion.
Those are pretty easy ones.
There's not not a lot of thingsthat they move around and, uh,
(12:33):
they usually don't need to havetoo much staging space.
They may ask the homeowner fora room to do hair, makeup and
wardrobe in.
So the fashion shoots arereally the easiest ones, and we
always have a location manageron set.
So they're watching out for thehomeowner and they take
(12:55):
pre-existing photos prior to theproduction coming in.
So there's no guess of oh, wasthat scratch there or was it not
there?
Speaker 1 (13:04):
can the homeowners stick around when they're
shooting?
Speaker 2 (13:06):
yeah, they can.
Some, some do some, don't.
You know some people, I guessit depends what they're doing.
Speaker 1 (13:12):
I have a.
I have friends where they usetheir home for the victoria
Secret catalog.
They wanted to stick around.
They wanted to stay for thatshoot, I don't know why.
Speaker 2 (13:25):
Sounds boring so yeah , some people stay, some people
go.
You know they don't stickaround.
They trust us, they don't haveto worry about it, so they know
that we're looking out for themall right.
Speaker 1 (13:43):
So now we have to talk money.
How much money can can peoplemake, whether it's an
association and I'm going totalk to you about that in a few
minutes but let's say it's anassociation that has a fantastic
pool area okay, and you'regoing to do a fashion shoot out
there how much can they make?
Speaker 2 (14:00):
um, like you're talking about, like a large pool
area yeah, it's, it's fantastic.
You could do a whole runwayshow there so I would say it
would probably start with, Idon't know, maybe six, seven
thousand for the day, the 12hour day.
Speaker 1 (14:19):
And if it was a, if it was a film crew, have you
ever done, have you ever doneshoots where it's it's multiple
days?
Speaker 2 (14:26):
Yeah, I have.
Yeah, yeah.
So if it's, if it's for a show,then depending on the impact of
how many people and what areaspeople are going to shoot, if
it's inside, outside, then itcan go up to around $10,000 a
day.
Speaker 1 (14:43):
And I'm going to tell our listeners this is a
contract that you will want tohave reviewed by counsel,
because you will need to ensurethat you're getting properly
indemnified for any damages andthat there's insurance and all
the rest of it.
This is not a contract that youwill necessarily want to want
to just sign out the dotted line, but it is a very interesting
(15:05):
option for a lot of ourcommunities.
Now, it doesn't have to be avery upscale building, does it,
Christina?
I would imagine sometimesyou've got people looking for
more modest locations.
Speaker 2 (15:17):
Well, it can be anything.
You know it's like whereverpeople live, you know there's
stories that go with them orthere's things that they want to
advertise.
So it, you know, it doesn'thave to be super upscale.
We did for years, we did Dexterand Bay Harbor Islands, which
was an area that was mostlybuilt in the 1960s.
(15:38):
So we've gone back to thatplace over and over again.
Speaker 1 (15:42):
Wait, I remember that location that little.
It was like a two-storyapartment complex.
Speaker 2 (15:47):
Exactly, you did that one.
Yeah, I did it for two, threeyears.
I worked on the show, yeah.
So it's a really cute complex.
So Dexter's apartment was allthe way in the back by the water
and then the front side of ithas like a staircase that goes
up the front.
So it's a really uniquemid-century modern building.
Speaker 1 (16:10):
I always thought that was a sound.
Did they actually shoot in theunit?
Because I always thought it wasa sound stage and they just did
exterior shots yeah, well, thethe for the inside of the
apartment was a sound stage.
Speaker 2 (16:22):
This department is not very big, you know for him,
but then we also, like, everytime they came, he'd see, you'd
see him walking up and down thecatwalks or down by the pool.
So, yeah, so it was.
Yeah, because the apartment wasso small, it wasn't.
They couldn't do that much, sothey rebuilt it in the
soundstage.
Speaker 1 (16:42):
So that was an older, charming, modest location.
Oh, wow, okay.
Well, let me ask you this howmuch control does the owner have
?
So let's say somebody's you gothrough it, you love their home
or the or the building.
They sign up, a crew looks atthem and says we want them.
(17:03):
Can the client say no, I don'twant that particular crew to
come out and shoot.
I would imagine there's apossibility there.
Speaker 2 (17:12):
The condo association owns it or a homeowner owns a
specific apartment.
They, you know they're notobligated to do a shoot, but if
they do decide they do want todo it, that they can't back out
after signing the contract right, well, without penalties, yeah,
which goes gets me back to myfirst suggestion.
Speaker 1 (17:35):
Make sure you get it reviewed.
In a lot of our condos we'venow got these magnificent units,
especially the penthouse units,which could really accommodate
a great fashion shoot or a filmcrew you name it.
Do you check, or does theproduction crew check, to make
sure that the owner hasassociation approval to do the
(17:55):
shooting inside that unit?
Speaker 2 (17:57):
We yeah, we normally do.
We don't want to get stuck, youknow, with not knowing.
I mean we we're not going to goin.
We're not going to go in abuilding without talking with
the management and they have afee or they need certain certain
insurance language.
So, yeah, we don't.
We always talk to the HOA.
Speaker 1 (18:18):
That's I'm going to tell you bravo, because we see
this with Airbnb a lot, that youknow.
Owners will list their unitsfor short-term rentals and
short-term rentals are notpermitted under the documents
and then the guests show up.
They've already, you know,listed the unit, they've already
paid their deposit.
They show up and the front deskor the guard gate says I'm
(18:40):
sorry, you know not going to letyou in.
So you know, when you'retalking about units inside
multifamily buildings, it'sabsolutely crucial.
Also applies to homeownersassociations, not as much
because normally there's notthat prohibition against
commercial usage or it's alittle more hands off with a
homeowner association whenyou're dealing with single
(19:01):
family homes, but certainly inthe multifamily buildings
there's that typical unit canonly be used for single family
residential usage.
Think that if this businessmodel appeals to associations
and to owners, I think you cando a carve out for this,
assuming that there's not aninordinate amount of noise or
(19:23):
other inconvenience associatedwith the shoot.
Speaker 2 (19:27):
Yeah, no, it's definitely been done.
You know, there's certainbuildings we've shot quite a bit
on, like on Biscayne Boulevard.
A lot of them have set uppolicies and there's a whole
procedure that we go through andthen, like, they let us know,
you know, can we use an elevator, or what hours can we use the
elevator and can we get space inthe loading dock and put the
(19:49):
trucks in?
So we have to work closely withthe management of the building.
We don't just show up.
Speaker 1 (19:56):
Yeah, no, I would say that would definitely be
advisable.
You know I have to say,christina, when I'm contacted by
a client about filming in thecommunity by an owner in the
unit or on the limited commonelement balconies, nine times
out of 10, it's an adult filmproduction that's going on that
(20:17):
no one knew about and the boardgets tipped off and obviously
it's not something we wanthappening inside the community
because it's not a good look.
Obviously it's not a good lookand it doesn't help enhance
their brand.
But I would think that you know, having the new James Bond
movie filmed in your buildingmight enhance your brand.
(20:42):
So I was going to ask you,other than just the location fee
, which is not huge, nobody'sgoing to get rich off of it from
one or two shoots.
But if you use the location, Iwould say, consistently, it
might be a nice source ofrevenue.
But what other benefits arethere?
I mean, I got to imagine thatin some cases it might just be
the cool factor, right?
Speaker 2 (21:02):
Definitely is, and it's the cocktail party factor
as well Something to talk aboutat the next cocktail party.
So so there's definitely thatscouting a house recently and
the woman told me she was at acocktail party in Connecticut
and they were talking about mycompany and that they had shoots
in their house.
They, they met there and youknow.
(21:23):
Very strange coincidence, butyeah, so I think people like it
because it's cool, it's, it'svery interesting.
You know, people that work inthe film industry generally come
from all walks of life.
They're, you know, intelligent,educated people, and watching
the process of how the sausageis made is interesting.
Speaker 1 (21:45):
It could open you up to just a whole other network of
people that you meet via thisexperience of opening up your
building or your unit or yourhome to a production crew.
Speaker 2 (22:00):
Yeah, we become friends.
I mean some of these, somehouses that we shoot in, I've
been shooting in for likedecades, and they'll sell the
house and they'll tell the newowner, hey, you can make money
off of your house.
And they'll give them a phonenumber and keeps going on the
house.
And they'll tell the new owner,hey, you can make money off of
your house.
And they'll give them a phonenumber and it keeps going on and
on and on.
Speaker 1 (22:15):
What have been some of your favorite homes or units
where productions have beenfilmed?
Speaker 2 (22:21):
Strangely enough, Dexter, because I'm just a
mid-century modern nut and Ijust love that.
I just love that complex andit's a real gem.
Speaker 1 (22:32):
Do you source elsewhere, or is it just in
Florida?
Christina?
Speaker 2 (22:37):
It's generally just in Florida, but different places
down in the Keys.
I've had jobs where they sentme to places like Italy and
Morocco and where else.
Speaker 1 (22:49):
Well, the Keys.
Did you see that new show withVince Vaughn Bad Monkey.
Was it called Bad Monkey?
I think?
Speaker 2 (22:55):
We worked on that, yes.
Speaker 1 (22:56):
Oh, you worked on that.
Yeah, that was a cool buildingand a not-so-cool kind of ugly
new home going up next door.
Speaker 2 (23:04):
Yeah, I think that was.
I didn't watch the show.
I think that was the point.
Speaker 1 (23:11):
It was the point that he felt that the new
construction going up next doorwas a monstrosity.
So he kind of did everything hecould to dissuade people from
from buying it yeah, no, thatwas it, and that's kind of what
it's like in the keys.
You know, people don't want abig, big ugly house next to them
so do you have any excitingprojects in the works right now
(23:31):
you can talk about?
Speaker 2 (23:33):
um, what's coming up now?
We've got fashion shoot withtom brown.
Um, I think we're doing anothershoot with megan thee stallion
I think you sent me this withmegan thee stallion.
Speaker 1 (23:47):
You did the.
Was it the?
The Swimsuit?
Sports Illustrated Swimsuitcover.
Speaker 2 (23:52):
Where did you shoot that Golden Beach near your
friends.
Was it my friend's house.
No, it wasn't Okay, it was anew modern house that was built
and kind of just when you'redriving north on Ocean Bowl,
little little like a 200 block,I think it was, and uh yeah I
(24:13):
see you sent me some notes theirishman martin scorsese's film.
Speaker 1 (24:18):
You you sourced location for that we did.
Speaker 2 (24:21):
We did, um, some of the oddball locations.
Um, there was supposed to beone of the kennedys watching tv
under his portico and that was ahouse on north bay road.
And um, there was a, there wasa field, a field of corn, that I
(24:41):
came upon and it was verygraphic, the light in the
afternoon and there was a wholestrand of trees that were about
a mile long the road and so theyshot that.
That was one of the shots thatthey they used and I think the
dog track, I think they may haveshot a dog track, I think south
(25:03):
florida has no end ofinteresting locations, I'm sure
oh for sure I to get you out tomy neighborhood.
Speaker 1 (25:11):
I want you.
We have like a tree canopy downthe main street, which is kind
of what drew us to the communityin the first place that every
home in there was completelydifferent and, yeah, I can see
somebody with your eye lookingaround at different, at
different spots, it's it.
It could be, depending on howyou film, it could look like it
(25:32):
was somewhere else in the south,Because there's a gazebo and a
park and live oak trees and awhole alley of trees.
I could see that You've beenout to our neighborhood, haven't
?
Speaker 2 (25:46):
you.
I think we shot there recentlyat that brick house.
I don't know the own currentowners names.
Speaker 1 (25:54):
Um I won't say it on here.
Speaker 2 (25:56):
They may not want me to yeah, so we shot at that
house.
Um, they had a number of ofshoots in that neighborhood over
the years and I think I, youknow, I think I first met you,
at least over the phone, waslike I don't know.
Speaker 1 (26:12):
It was a while ago, it's been.
It's been a minute because, Iremember I got your name and
then you did a shoot in ouroffice, where we are now in
downtown Fort Lauderdale.
Speaker 2 (26:22):
Really amazing office .
We got to go back.
Speaker 1 (26:25):
Yeah, well, you know what I think that as attorneys
it was, uh, a little disruptive.
We did a, it was a makeup, itwas some sort of makeup shoot, I
think, but it was in our, itwas in our, um, our conference
level uh floor, which had thatbeautiful conference with the,
with the light coming in and theviews.
So, yeah, I'd have to convincemy managing partner to do that
(26:47):
again.
I'm not sure.
I'm not sure he's ready for thehubbub.
Yeah, probably not, probablynot.
Well, any listen, christina, isthere anything that I didn't
ask you that I should have askedyou about location, resources
and what you do and what, howpeople should think about what
you do?
Speaker 2 (27:05):
I think, just to be open to it.
If, like, somebody knocks ontheir door or maybe we hunt them
down, you know to have adiscussion about it and you know
see if it's something that's agood fit for them and you know
it's a good way to make money.
There's an IRS rule that if youuse your house 14 days or less
(27:28):
than a year, you don't have topay income tax on it.
But I'm not a tax expert, soyou can't take that as gospel.
Speaker 1 (27:34):
But Nor am I.
I would say consult youraccountant.
Speaker 2 (27:38):
So a lot of people take advantage of that.
Speaker 1 (27:41):
Fantastic, well, okay , how do people find you?
Speaker 2 (27:44):
Locationresourcescom.
Speaker 1 (27:46):
Couldn't be easier.
I'm going to go home.
Well, actually, my home isn'tdisarray right now.
We're changing out the flooring, but after we're done, I'm
going to take some pictures.
I'm going to send them to you.
Speaker 2 (27:55):
Okay, that sounds great.
I look forward to it.
Speaker 1 (27:58):
Okay, christina, thanks so much for joining us.
Speaker 2 (28:02):
Thank you for having me Appreciate it.
Speaker 1 (28:13):
Thank you for joining us today.
Don't forget to follow and rateus on your favorite podcast
platform, or visitTakeItToTheBoardcom for more
ways to connect.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.