“What looks remote on a map is often surprisingly accessible in reality.”
With credits from productions such as Dune, No Time to Die, Mission: Impossible, and Marvel’s Black Widow, Steve has spent years working across remote coastlines, alpine terrain, Arctic environments, and complex international shoots. Based on Norway’s west coast, he combines location scouting with field logistics, marine operations, and safety coordination, often in places where traditional infrastructure barely exists.
What stands out about filming in Norway
“What makes Norway truly unique is the variation. Within relatively short distances, productions can access fjords, mountains, coastline, and Arctic environments within the same country,” says Steve.
Beyond the landscapes themselves, Norway offers a highly reliable production environment. Experienced local crews, dependable infrastructure, and close cooperation with authorities allow even technically demanding shoots to move efficiently.
Large-scale productions such as Succession, No Time to Die, and Mission: Impossible have shot in Norway in recent years.
Locations in Norway may look remote on the map, but in practice it’s very efficient to film in the Norwegian nature. Visiting production folks are always surprised to find 5G in a tunnel at the top of a mountain.
For Arctic regions, a different level of preparation is required. In return, productions gain access to unique, untouched landscapes that are difficult to replicate anywhere else — as seen in projects such as Mission: Impossible - The Final Reckoning, partially filmed on Svalbard.
Remote productions
Working in remote environments is mostly about preparation.
While some locations have limited traditional infrastructure, productions operating in Norway often rely on flexible solutions. Marine operations, for example, are commonly used for accommodation, transport, and mobile production support in isolated fjord and Arctic environments.
“One production in Modalen involved filming on a small farm located on a roadless peninsula, separated from the mainland by the strong tidal currents of Mostraumen. There was no way to place a traditional unit base on land without it ending up visible on camera, while transporting crew and equipment back and forth by boat throughout the day would have created both logistical and filming challenges.”
To solve the problem, the production designed an entirely marine-based production setup:
“We ended up bringing in two car ferries and a large barge to function as a floating unit base. Everything from catering, generators, make-up and costume to lighting, grip equipment, production offices, and crew transport operated from the vessels to a ferry dock.”
To minimise environmental impact, the production installed a temporary low-impact scaffolding walkway through the forest, to move equipment and crew safely between the boats and the set.
“Without that solution, filming efficiently at the location probably wouldn’t have been possible at all.”
For Steve, filmmaking in these environments ultimately comes down to collaboration.
“No matter how technical or logistically demanding a production becomes, the best shoots are the ones where the crew works well together, the location feels unforgettable, and the seemingly impossible logistics fall into place.”
Safety and access
Safety is an integrated part of every production, particularly when working in demanding natural environments.
Steve regularly works alongside water safety specialists, mountain guides, and Arctic nature guides to ensure safe and controlled operations in demanding environments. He has also worked as a health and safety advisor on major productions, reflecting the high level of planning and operational standards often required on international shoots.
“The goal is always to create an environment where production can focus fully on creative work.”
Filming in Norway is generally straightforward when working with local partners. Smaller crews often benefit from flexible access to nature through the right to roam, while larger shoots typically require permits and coordination with local authorities and land owners.
“In many protected areas, there are often alternative locations nearby that offer similar visuals with simpler approvals.”
Here, he shares some of the Norwegian locations he continues to return to, both professionally and personally.
Western Norway
“Western Norway remains the region I return to the most. It’s where I grew up, where I now live, and where many international productions first discover Norway.”
What makes the region stand out is the concentration of landscapes within relatively short travel distances. Within a few hours from Ålesund and the surrounding fjord regions, productions can move between open coastline, alpine mountains, glaciers, fjords, rivers, and small towns.
“In many ways, Western Norway feels like Norway in miniature. You can shoot multiple types of landscapes without relocating an entire production across the country.”
Despite the dramatic geography, the region is often far more accessible in practice than many visiting productions expect. Ålesund has an international airport, ferry connections make the fjord regions surprisingly workable, and larger hubs such as Bergen, Stavanger, and Oslo are all within relatively short reach. Across Norway, even remote regions are often connected through a surprisingly extensive domestic airport network.
Hjørundfjorden remains one of Steve’s personal favourites. The fjord has the dramatic look many associate with Norway, but is less travelled by cruise ships than some of the more photographed locations. Nearby valleys and side fjords also offer a surprising number of less explored filming opportunities.
“The light changes constantly there. You can go from soft, almost cinematic calm to something far more dramatic within a very short time.”
The Rauma region offers an entirely different visual identity, combining Trollstigen, the Rauma River, sheer granite faces, and engineering landmarks within a compact area. Several major productions in recent years have used the area for large-scale action sequences.
“For one production, we coordinated full closure of both railway and road systems to execute complex scenes without disrupting national transport flow.” Read more about how Mission: Impossible - Dead Reckoning Part One became possible.
Hjørundfjorden
* Alpine fjord with steep peaks rising directly from the sea
* Less traffic than more well-known fjords
* Strong vertical compositions and changing light
* Proven location for international productions such as Black Widow, The Woman in Cabin 10, More Than Ever and Fjord
Rauma / Trollstigen
* Iconic hairpin mountain road with dramatic elevation
* Gondola access into alpine terrain
* Combines road, river and vertical landscapes
* Scenic railway through the valley
* Strong for action, outdoor and extreme sport productions
* Proven location for international productions such as Mission: Impossible - Dead Reckoning, Black Widow, Apex
Atlantic Ocean Road
* Road built directly into the ocean with bridges jumping between islands
* Frequently used for commercial and high-end productions
* Combines accessibility with weather-driven visuals
* Efficient for production logistics
* Proven location for international productions such as Succession and No Time to Die
Northern Norway
Northern Norway offers a very different character from the fjord regions further south. Lofoten, Senja, and Finnmark each have distinct visual identities shaped by Arctic light, open sea, and rapidly changing weather.
The landscapes are more exposed, the horizons are wider, and the light changes constantly throughout the seasons. From dramatic coastal mountains and fishing villages to vast tundra and Arctic wilderness, the region offers a remarkable range of locations. While often grouped together, Lofoten, Senja, and Finnmark each bring their own visual identity and atmosphere to the screen.
Kjerkfjorden (Lofoten)
* Hidden fjord location within the dramatic landscapes of Lofoten
* Steep granite formations, Arctic light, and boat-based access
* Combines the cinematic character of Lofoten with a more secluded atmosphere
* Particularly well suited for smaller or marine-supported productions
Senja
* Raw Arctic coastline with strong visual variation
* Less crowded than Lofoten in peak tourism season
* Ideal for agile productions working with changing weather and natural light
Finnmarksvidda
* Vast tundra landscape with a powerful sense of scale
* Strong Sámi cultural presence and reindeer herding traditions
* Requires local knowledge and careful coordination
Reindeer migration routes, grazing areas, and seasonal movement patterns require local knowledge, close coordination with herders, and a willingness to adapt the production plan around the landscape. The region is particularly well suited to smaller, agile productions, while larger shoots may face logistical and operational constraints due to the landscape and reindeer herding activities.
“Filming alongside large reindeer herds means adapting to the landscape and natural movement rather than trying to control it.”
Productions working in Sámi areas are to collaborate closely with local communities and follow established best practices for filming in Indigenous territories. The International Sámi Film Institute’s Pathfinder Guidelines provide practical guidance on respectful collaboration, cultural understanding, and responsible production methods when working in Sápmi.
Svalbard
* Polar desert, glaciers, and dramatic Arctic landscapes
* Vast national parks and visually unique geological formations
* Accessible by snowmobile in winter and boat during summer
* Recently used for productions including Vigil Season 3, Superman, and Mission: Impossible – The Final Reckoning
Working in Svalbard with Steve and the team from True West was a fantastic experience. They combined fabulous local knowledge and experience with a desire to really understand what we were trying to achieve for our show. Steve really contributed to the look and feel of our show by finding ways to practically achieve things that we didn’t think would be possible when we first set out to recce.
Svalbard offers some of the most visually distinct landscapes available to filmmakers anywhere in the world. Glaciers calving directly into the sea, abandoned mining settlements, remote research stations, and vast treeless valleys create an environment that feels closer to another planet than mainland Europe.
“There’s a scale and silence on Svalbard that’s very difficult to find anywhere else,” says Steve. “The geology and the Arctic light can’t be found anywhere else.”
Despite its remote location north of the Norwegian mainland, many productions can operate effectively relatively close to the settlements, the surrounding fjords, or the limited road network that connects parts of the island.
“For larger productions, it’s often more practical to stay relatively close to the infrastructure around Longyearbyen or work from ships,” Steve explains. “You can still achieve extraordinary visuals without pushing too far into remote terrain.”
Smaller specialist crews and plate units can sometimes travel further into the Arctic environment with the proper preparation and local expertise.
“Some shoots involve travelling for hours by snowmobile into remote areas. We’ve crossed glaciers and sea ice in changing weather with satellite communication, glacier rescue equipment, and full polar bear safety setups. These kinds of expeditions are more suitable for small crews teamed up with experienced guides with proper Arctic training.”
Filming outside the settlements often requires permits, Arctic safety procedures, and experienced local support. The combination of strict environmental protections, vast distances, and rapidly changing weather means productions need to approach Svalbard carefully and realistically, with planning that often resembles an expedition more than a conventional location shoot.
“If you work with experienced local people and respect the environment, the possibilities are incredible. Visually, there are very few places like it.”
Svalbard gets under your skin. I keep finding reasons to return—sometimes for productions, sometimes simply to experience the light, the wildlife, the landscape and the people. There are few places in the world that stay with you in quite the same way.
About Steve
Based in Ålesund, though rarely in one place for long, Steve Røyset works as a location scout and manager, production logistics coordinator, marine coordinator, and health and safety advisor for national and international film and television productions throughout Norway.
Before moving fully into film production, he worked for the Norwegian Coastal Administration, in the tourism sector, and as a captain on smaller vessels. This background provided valuable experience that later proved highly relevant to production logistics in remote locations.
Growing up on Norway’s west coast, Steve developed an early interest in photography, travel, and exploring remote environments. That curiosity eventually took him around the world by motorcycle, boats and horseback before leading him into film production.
My advice: Start early, scout properly, and work with local expertise. Norway may look wild, but with the right preparation it’s an incredibly rewarding place to film.
