I work as a location scout for film and television, taking part in international productions where spaces are not simply settings, but an essential part of the narrative.

My role is to find, develop, and adapt locations that meet both the creative vision and the technical demands of each project. From the earliest stages of the search process to on set coordination, I am part of a department that helps build the story visually, often in ways that remain unseen.

Throughout my career, I have worked on productions such as The Witcher, Cruella, Slow Horses, Enola Holmes, and Catherine Called Birdy, collaborating with international teams on large scale projects.

I began my career in the audiovisual industry as an assistant director, but it was through an experience on a production from the Bourne franchise that I discovered the locations department and decided to focus my path in that direction. Since then, I have developed my work between Spain and the United Kingdom, taking part in projects that require a constant combination of aesthetic sensitivity, management skills, and adaptability.

My work covers the entire locations process: scouting, negotiation, permit management, coordination with the different departments, and adapting real spaces to the needs of the production. Each project presents a new challenge, where logistics and narrative must coexist with precision.

On Slow Horses, the work of the locations department was recognised with the award for Best Locations Department at the Liverpool Film Office Awards, as well as a nomination for the LMGI Awards, a recognition of the collective work behind every production.

I see locations as a narrative tool. A space can define the tone of a scene, reinforce a character, or even become part of the story being told.

This work has deeply influenced the way I understand storytelling, and it is also the origin of my work as a writer under the name Lucy Alvarez.

Projects