Where Was The Nun Filmed

I got a little obsessed with finding every shooting spot for 'The Phantom Heiress: Rising From The Shadows' and ended up following a trail across Europe and the UK. The bulk of the production used studio space at Shepperton Studios just outside London for interiors—think opulent manor rooms, shadowy corridors, and the mechanized trapdoors you can’t tell are fake on screen. They built the heiress’ estate there, then shipped in set dressing and period furniture to keep continuity. For exteriors, they leaned heavily on Prague’s Old Town and surrounding baroque neighborhoods to capture that continental, timeless city vibe. Those narrow alleys and ornate facades stand in for the fictional capital during the flashback sequences. The dramatic coastal scenes—cliffs, stormy seas, and the lighthouse—were filmed along the Cornwall coastline, with a handful of moody shots on the Isle of Skye. It’s a beautiful mash-up that explains why the movie feels both familiar and otherworldly, and I loved how the locations doubled for different countries so seamlessly.

When I dug into where 'Kicked Out' and 'Catch Me If You Can' were filmed, I found myself doing a little geography tour of movie-making choices. For 'Kicked Out' the production leaned heavily on real, gritty urban locations — think council estates, youth centres, and a few seaside backdrops. A lot of the exterior filming was done around south-coast towns and inner-city neighborhoods in and around London, with several interior scenes shot in a West London studio so the crew could control the cramped, emotional moments. The use of actual streets and community halls gives the film that raw, lived-in feeling that helped me connect with the characters. 'Catch Me If You Can' is a whole different travelogue. Spielberg’s crew split time between New York City for authentic street and landmark shots, Los Angeles soundstages where detailed 1960s interiors were built, and Montreal, which doubled for parts of mid-century America thanks to its period architecture and cooperative production incentives. Seeing the contrast between on-location New York exteriors and the meticulously dressed soundstages in L.A. made the movie’s era pop for me — I could almost feel the 1960s rush. It’s neat how two very different films chose locations to emphasize character grit versus stylish period sheen, and that difference is still what sticks with me.

I get a kick out of tracking where movies pick their coastal vibes, and for 'The Beach House' the most talked-about East Coast shoot was over in Nova Scotia. The 2018/2019 indie-horror version leaned into that foggy, salt-scented Atlantic atmosphere you only get up in Canada’s Maritimes — think rocky coves, low dunes and sleepy fishing towns rather than wide, car-friendly beaches. Filmmakers favored the South Shore style: stone jetties, weathered shacks, and that sort of isolated, windswept mood that sells a tense seaside story on screen. I love how the Nova Scotia coastline reads differently on camera compared to, say, the Outer Banks or Cape Cod. The light is colder, the architecture is older, and the vegetation is scrubby in a way that immediately says “remote.” If you’re imagining where the cast hung their hats between takes, picture small harbor towns, narrow coastal roads, and a couple of provincial parks where the production could set up shots without too many tourists crashing the frame. That mix made the setting feel like another character, which I always appreciate — the coast itself carries a lot of the film’s mood. I walked away wanting to visit those lighthouses and cliffs just to chase the same cinematic feeling.

Filming for 'Young Sheldon' mostly happened on studio lots in Southern California rather than out in Texas where the story is set. The bulk of interior scenes—the Cooper family home, the school sets, and other recurring locations—were built on soundstages at Warner Bros. Studios in Burbank. Those controlled environments let the crew recreate late-1980s/early-1990s Texas down to wallpaper, curtains, and period-accurate props without worrying about weather or neighborhood interruptions. You can tell a lot of care went into the production design because the sets feel lived-in and consistent across episodes. Beyond the stages, the show used various Los Angeles-area locations and backlot exteriors for occasional street scenes and neighborhood shots. For authenticity, producers sometimes sprinkle in establishing footage or stock shots of Texas towns, but the working production stayed mostly in the L.A. ecosystem. I love spotting how they blend studio polish with little real-world touches—feels cozy and convincing to me.

Got curious one weekend and did a location deep-dive into 'The Second Act: Revenge', and it turned into a little obsession — in the best way. The bulk of principal photography was shot around Vancouver, British Columbia, which is why the city’s skyline and rain-soaked streets feel so present throughout the film. You can spot Gastown’s brick alleys and vintage lamp posts in several night sequences, while Granville Island supplies that artsy market vibe for a quiet reunion scene. The production used Vancouver Film Studios for most interior sets, so a lot of the apartment interiors and the antagonist’s study were built on stage rather than being real locations. They also snuck in a few Pacific Northwest landmarks: the seawall at Stanley Park appears during the bicycle chase, and the Capilano Suspension Bridge shows up in a brief, moody montage that hints at isolation. For the big estate exterior, they filmed at Hatley Castle on Vancouver Island — it’s one of those gorgeous, slightly spooky manors that immediately reads as ‘old money’ on screen. A second-unit crew shot coastal sequences around White Rock and the Tsawwassen ferry terminal to sell the seaside escape. To round things out, the production flew a small unit down to Los Angeles for a handful of urban scenes that needed recognizably southern California architecture — a courtroom facade and a rooftop bar scene were shot in downtown LA, then blended with Vancouver footage in editing. The mixing of cities is seamless most of the time, and I loved pausing on frames to pick out the real-life spots — it makes rewatching feel like a scavenger hunt and gives the film an oddly international texture.

The filming location for 'The Expat' is quite intriguing! The movie was primarily shot in Colombia, which the filmmakers chose for its stunning landscapes and vibrant culture. It's fascinating how filmmakers often select locations that not only serve as backdrops but also enrich the storytelling experience. In the case of 'The Expat', Colombia perfectly encapsulates the essence of the story, transforming what could have been just another action film into a visually striking experience. The decision to film in Colombia is especially significant because it offers a mix of urban and rural settings that can evoke a wide array of emotions and atmospheres. From the bustling streets of Bogotá to the lush greenery of the countryside, every shot feels alive and teeming with character. I can't help but appreciate how location scouting can influence the overall vibe of a movie; it’s almost a character in itself! Plus, the culture, the color, and the warmth of the Colombian people really shine through, making the film feel authentic. Additionally, this choice highlights the growing trend of filmmakers seeking to head to countries that are often overlooked for major productions. Colombia has some truly unique landscapes and historical sites that many audiences might not immediately associate with a modern thriller. It's like uncovering a hidden gem; once you see it, you can’t help but want to explore more. I think it’s such a testament to how storytelling and location can intertwine beautifully in film, creating something memorable and unique. Isn't it amazing how a film can do more than just entertain? It can also transport us to places we've never been, broadening our horizons! I always walk away from these movies feeling not just entertained, but educated, especially about the culture and geography of their settings. It's exciting to see what future productions might choose to showcase next.Different regions have so much to offer, and I really love getting a little glimpse into them through film. Overall, 'The Expat' reaffirms my belief in the power of great cinematography paired with stunning locales!

Exploring the cinematic landscape of Rome is like walking through a historical tapestry woven with stunning visuals and unforgettable stories. One film that immediately comes to mind is 'Roman Holiday,' starring Audrey Hepburn and Gregory Peck. This classic tells the tale of a princess escaping her royal duties for a day of adventure in Rome. Imagine cruising on a Vespa through the cobbled streets, visiting the iconic Trevi Fountain, and indulging in gelato—it’s nothing short of magical! The way the film captures the essence of the city is nostalgic and romantic, making you wish to experience that same freedom. Another gem is 'Eat Pray Love,' which follows Elizabeth Gilbert on her journey of self-discovery, showcasing breathtaking locales like the stunning Piazza Navona and the enchanting Vatican City. I was really struck by how the film beautifully blends Rome’s vibrant culture with themes of self-exploration. Then there’s 'The Great Beauty,' a visual feast that brilliantly portrays Rome’s decadent lifestyle and artistic legacy, prompting viewers to reflect on beauty and life's fleeting moments. Just watching it feels like a deep philosophical dive while taking in the stunning backdrops. It's an experience that stays with you long after the credits roll, making it a personal favorite of mine. Each of these films encapsulates a different facet of the Eternal City, and they collectively embody exactly why Rome is such a renowned cinematic backdrop!

Mohenjo Daro was filmed in a variety of locations in India, notably around the town of Bhuj in the state of Gujarat. One of the key reasons for this choice is its proximity to the historical Indus Valley Civilization. The landscapes there closely resemble what ancient Mohenjo Daro would have looked like, with the arid desert terrain and architecture resembling ancient structures. The film's director, Ashutosh Gowariker, aimed to capture the authenticity of the era, and Bhuj provided a brilliant canvas for that vision. The cinematography shines through with sweeping shots of the vast landscapes and elaborate sets constructed to bring the ancient civilization to life. The filmmakers also used local resources, which gave a sense of genuine historical representation. Recording in Gujarat meant that the team could also reflect the rich culture in the visual aesthetics, enhancing the overall historical narrative they wanted to convey. Plus, the weather conditions in that region were favorable for shooting. While some might argue that filming could have taken place in locations more closely identified with archaeological sites, choosing Bhuj kept logistical costs lower and allowed for the film to integrate regional artistic elements that might have been missed elsewhere. It’s fascinating how location can deeply influence the storytelling and atmosphere in films like 'Mohenjo Daro'. Bringing out that connection with the land is something I think truly adds depth to the historical narrative.