BEHIND THE SHOOT: HOW PRODUCER GAVIN THORNBERRY TURNS LOCATIONS INTO STORYTELLING POWERHOUSES
For producer Gavin Thornberry of Bad Coyote, creativity happens on a foundation of solid logistics – the schedule, the load-in, the layout of a room. His work includes projects for Electric Ireland and other brands that have filmed at SoScout locations. We sat down with Gavin to talk inspiration, problem-solving, and why the right location can completely transform a project.
DINNER WITH A CREATIVE GENIUS
“If I could pick anyone’s brain, it’d be Christopher Nolan,” Gavin says. “He’s so involved across every element of his productions, not just directing.”
What he’d want to know most? Regardless of budget, what’s the one problem that always comes up – and how does he solve it?
“Producing is all about problem-solving,” he adds. “As Clint Eastwood says, things are going to go wrong; it’s how you react when they do.”
SYSTEMISING INSPIRATION
This year, Gavin completely overhauled how he collects inspiration.
“I used to have links scattered across Vimeo, Instagram, LinkedIn – everywhere. Now I track everything in a Notion database. I can tag content by client or theme, so when a new brief lands, I can instantly pull ideas I’ve saved over the past year. It’s made my process so much faster and more intentional.”
(Note from the Scouts – Austin Kleon wrote about an analogue version of this, referencing Twyla Tharp’s The Creative Habit – link)
WHEN A LOCATION CHANGES EVERYTHING
One standout example was The Dublin Terrace.
“The client wanted a series of POV shots from inside appliances. We thought we’d have to use a green screen for some shots. But after some testing, chopping pots and pans with an angle grinder, with our DP, Callum Murphy, in my home kitchen we realised we could pull it off practically.
“When we recced The Dublin Terrace, everything lined up – dishwasher, washing machine, oven – all perfectly placed. We shot the whole thing in one day without a need for any green screen setups. The lighting from Conor McGuinness tied it together beautifully. That house made the production.”
WHEN THE LOCATION BECOMES A CHARACTER
Last year’s shoot with Zoo. for ESB and Science Blast needed a school – a challenge in itself.
“My wife’s a teacher, so she asked her principal if we could use their building. It’s over a hundred years old, and the room looked incredible on camera,” Gavin says. “David Christopher Lynch, our DP, set up the shots and it immediately felt real – we didn’t have to ‘sell’ it as a school.
“When a location is perfect, nobody notices, but it adds so much authenticity. Aoife and Michelle from Zoo., our art and creative directors, elevated it even further. It was my favourite-looking shoot of the year.”
PRECISION, PLANNING, AND THE MYTH OF ‘ON-TIME BY LUCK’
Bad Coyote has a reputation for smooth productions – and Gavin is quick to point out it’s not by chance.
“We always wrap on time or early – and it’s not luck. It’s planning. People don’t realise how much goes into that: the load-in, the meal breaks, even pre-ordering coffee. On one Monday shoot, I had everyone’s coffee and lunch picked on Friday. No time wasted, no interruptions. That’s my creative process – the numbers, the figures, the timelines. That way the creatives, the DP, the gaffer etc can do their job properly.”
He laughs: “I’ve always been on time. If I’m late, my mates assume something’s seriously wrong.”
BEYOND THE BOARDROOM: USING LOCATIONS TO TELL STORIES
Helping clients see a location as more than just a backdrop is a big part of Gavin’s role.
“It’s about pushing them past the obvious. The dreaded ‘boardroom shot’ comes up all the time – huge mahogany table, no flexibility. That’s why recces are vital.”
He recalls a shoot interviewing apprentice electricians:
“The client suggested filming in an office, but we pushed for the workshop. It was colder, sure, but visually it made sense – they were talking about their craft, surrounded by transformers and tools. It sold the story instantly.”
THINKING ABOUT LOCATION EARLY
“For me, location talk starts on the first call. What should it look like? What’s the budget? The backdrop can make or break a shoot.”
Gavin often brainstorms with clients live on calls, sometimes pulling options straight from SoScout’s platform.
“On the Electric Ireland Superhomes project, the brief called for a New York-style loft – not easy to find in Dublin. Then The Meeting House appeared on SoScout’s newsletter. I sent the link with two words: ‘maybe this.’ That was it. We picked the location before scripts or crew were finalised because it was just perfect.”
SCOUTING LIKE A PRODUCER
When translating a brief into spatial needs, Gavin looks for flexibility and practicality.
“Can we shoot multiple setups in one space? Is there a green room? Parking? Food nearby? You can’t underestimate those things.”
He shares one cautionary tale:
“On a recent project we didn’t get a recce – no street parking, three flights of stairs, no lift. Sixty minutes just to carry gear up. Compare that to the Electric Ireland Super Homes shoot – easy access, lift straight up, perfect day. David Christopher Lynch taught me early that a bad load-in can break a day.”
And creatively? “Location choice really clicks once the script or storyboard’s locked. If things are open-ended, I’ll show clients three very different options to get ideas flowing.”
ADVICE FOR ANYONE STARTING OUT
“I’ve got two pieces of advice,” he says.
“First, be sound. This job’s supposed to be fun. Clients don’t get to be on set often – help them enjoy it. No egos.”
“Second, expect things to go wrong. They always do. What matters is how you react.”
And for more established producers, he has this piece of advice:
“Trust your freelancers. Don’t micromanage – that’s why you hired them.”
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