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Plenty of films open with an establishing shot of a city's iconic skyline, or of a few iconic barns, only to go on and use the location as an anonymous backdrop. But few and far between are films that actually use the specificity that comes from location shooting to express something about the city's history, the characters, and the story itself. The cover story of our July/August issue is the Safdie Brothers\u2019 Good Time\u2014a New York film through and through\u2014and in the same issue\u2019s Art and Craft column, we asked veteran location manager Ken Lavet to reflect on the art of scouting for Steven Soderbergh and other filmmakers. "It always starts with the story\u2014whether it's in a beat sheet form or a script or a treatment of some kind,\u201d Lavet writes. \u201cHopefully I get some description from the screenwriter\u2014of, say, a house, or an apartment building, or an office. And I start looking with that in mind." In this episode, Film Comment contributors Nick Pinkerton, Eric Hynes, and Margaret Barton-Fumo join Digital Producer Violet Lucca to discuss a film shot in their hometown, and access how each film interfaces with their lived experience of those places.