“From Vilnius Old Town, you can reach Kaunas Old Town within an hour, and just a couple of hours later find yourself in Nida – a completely different world. This concentration and diversity is one of our country’s greatest strengths,” says Jonas Špokas, founder of the location management team Baltic Locations. Speaking to the Vilnius Film Office, he talks about working with Lithuanian and international filmmakers, building relationships with local communities, and shares insights into Lithuania’s image within the global film industry.
– Jonas, what does location scouting mean in filmmaking?
– Every story told in a film, series, or music video takes place somewhere. A location manager is the person who translates that story into a physical space.
Each project brings different challenges, so location needs are constantly changing. Sometimes a director comes with only a general idea; other times the location is described very precisely in the script, leaving little room for improvisation or creative freedom. We often joke that the most difficult task is when a director has no clear vision and says that it could be “almost anything.”
In reality, location scouting never really stops in a filmmaker’s mind. There are times when you search for a location, find it, film everything – and a year later discover a place that would have worked even better. It’s a continuous process.
– Does every location work for filming, or must it meet certain technical and physical requirements?
– The term film industry includes the word industry for a reason. More than half of the filming process consists of technical work. The creative side is fascinating and crucial, but it quickly runs into limitations such as budget, time, and practical circumstances. That’s why very down-to-earth considerations often have to be addressed already during the creative phase.
Filming in a specific location has to be practically feasible. For example, even if you find a perfect, highly cinematic apartment, if it’s on the tenth floor, filming is unlikely to happen due to equipment transport, time constraints, or safety issues. Similarly, a great location near a kindergarten may pose problems because of ambient noise.
However, there is one aspect that I consider especially important: the desire to film where you are welcome. In a small country, a small city, and a small film industry, human connection is incredibly significant. When that connection exists, technical challenges are much easier to solve – together you can overcome many nuances and add that extra one percent of success to a film.
– Lithuania hosts many international productions. Do you think our country has already formed a certain image within the global film industry? Are there specific natural or urban features that attract foreign filmmakers?
– I believe a certain image – even a stereotype – has already formed, and I want to believe it’s a positive one. When it comes to location heritage, I’m rather skeptical. If international filmmakers chose locations solely based on beauty or grandeur, it would be difficult for us to compete. We must admit that we don’t have an abundance of extraordinary natural landmarks or something like the Palace of Versailles.
Our strength lies in how we use the resources and elements we do have – and we do that very well. What I hear most often from our clients is that Lithuania is a place where you can achieve more than elsewhere. This applies to location flexibility, the industry itself, the high quality of local film professionals, tax incentives, and even strong English-language skills.
One American producer once told me that with the level of work we demonstrate here in Lithuania, we could go very far in Hollywood. That gives us confidence that we have a clear and competitive standard.
Another major advantage of Lithuania is its scale and diversity. From Vilnius Old Town, you can reach Kaunas Old Town in an hour, and just a few hours later be in Nida – a completely different world. This concentration and diversity is one of our greatest strengths.
– Speaking of architecture, what makes Vilnius stand out?
– Twenty-first-century Vilnius features a lot of Scandinavian-inspired architecture and atmosphere. This feels familiar to Nordic filmmakers – they feel at home here. On the other hand, Soviet-era architecture, both early and late periods, often resembles environments found in German or British cities.
There have been cases where in the morning we filmed Moscow for a TV series in Vilnius, and just a few hours later – a Parisian or Berlin street. In this sense, Vilnius is truly a chameleon city.
– How much do other film departments influence the visual identity of a location?
– The art, costume, and lighting departments play an extremely important role in shaping the overall atmosphere. In fact, you can take a random street in Vilnius Old Town, place an actor next to a French-style kiosk, have a period-appropriate car drive by, and the audience will believe the scene takes place in Paris.
– Film crews are not always welcomed enthusiastically by residents. How do you find common ground, especially when filming sensitive or complex scenes?
– Challenges always arise, but communication is key. The filming process itself is usually not very long or severely disruptive. Problems occur when residents are not informed or don’t understand what is being filmed and why.
I remember filming a movie about January 13 near the Vilnius TV Tower, which required a tank on set. At the time, there were far fewer communication channels than today, so I personally went door to door in nearby apartment buildings in Karoliniškės, explaining the filming to residents.
Certain symbols – such as Soviet or Nazi imagery – understandably trigger painful associations. That’s why it’s essential to provide broader context and explain why a particular story is being told.
We filmed the documentary “The Rise of the Nazis” in Vilnius. During filming, Nazi flags were used, and an actor portraying Hitler walked through the streets. This coincided with Donald Trump beginning his first term as U.S. president, and the film compared his rise to power with Hitler’s. People are educated and thoughtful – when you explain the story you’re telling, they understand why such elements are necessary.
Wherever filming takes place – in a private home or a neighborhood street – you always approach the local people first. They are the hosts. You try to show them that the story you’re telling is worth telling. After all, we all go home after work and watch films that move us emotionally. We try to share that emotion with people even before pressing the record button.
– Cities are constantly changing – older locations close, new ones emerge. How do you view this evolution of urban spaces and filming locations?
– I used to be asked this question very often, so I thought about it a lot. Cities change, but so do people, filmmakers, and the stories they tell. Because of that, I stopped worrying. Of course, it’s natural to feel nostalgic about locations that close and the projects filmed there. But urban change happens organically and naturally.
The goal is to match the right location with the right story at the right time. Buildings live their own lives – new spaces appear, while older ones gradually lose their original function.
– Could modern technologies such as CGI, artificial intelligence, and studio filming eventually eliminate the need for real locations?
– Certain technologies are already extremely useful. For example, when filming scenes inside a car, there’s no longer a need to drive through city streets – studios allow precise control of lighting and speed, improving safety and practicality.
However, cinema audiences want to see real people, and real people function best in real environments.
So while CGI and AI can replace many things today – and their role may grow even further in the future – there is one element that I believe will never disappear: the need for authenticity.
– Thank you for the conversation.
