By Tom Loftus, Director of Finance & Operations

Last Updated March 30th, 2024

The US Department of Transportation has detailed an array of new funding opportunities for freight and passenger rail infrastructure projects supported by the Bipartisan Infrastructure Law (“BIL”). For Class II and Class III railroads, state and local governments, and other public organizations, exploring and applying for federal funding can be a formidable task. Planning and lead time for grant writing and funding are key, so let’s summarize some of the programs and opportunities meant for the rehabilitation and construction of rail infrastructure.

Rail Infrastructure Grant Requirements

While you may have case studies and data in hand already, the need to demonstrate the Net Economic Benefits and the Environmental Impact means your project may need additional time to research, prepare, and analyze this information before submitting it.

The two primary requirements for grant applications are:

1. demonstration of a project’s net economic benefits; and

2. determination of a project’s potential environmental impact as viewed by the National Environmental Policy Act (“NEPA”). 

Defining Benefit-Cost Analysis for Rail Projects

Net economic benefits are demonstrated in a required Benefit-Cost Analysis (“BCA”). Benefits are based on a project’s effect on the DOT’s funding priorities – improve railroad safety, efficiency and reliability; mitigate congestion at chokepoints; enhance multi-modal connections, address climate change and environmental justice, invest in low-income and underserved communities, and promote racial equity. 

NEPA requires different levels of analysis depending on the characteristics and location of the project. NEPA investigations, which can add months or years to the time needed to implement a project, must be completed before grant funds will be released. The lowest level of investigation is a Categorical Exclusion (“CE”). NEPA excludes a project from higher levels of the investigation if it meets the requirements stated in the CE worksheet. Preparing a CE can take three to four months so it would be time well spent considering the NEPA implications of projects chosen for your grant application. 

In addition to ongoing financing available through the Railroad Rehabilitation and Investment Financing (“RRIF”) program, the following are six federal grant programs available to Class II, Class III, port, and public sector-owned railroads.

Consolidated Rail Infrastructure and Safety Improvements Grant Program – CRISI GRANTS

The Consolidated Rail Infrastructure and Safety Improvements grant program (“CRISI”) is a versatile funding source. Eligible uses include fundamental railroad maintenance and upgrades such as tie and ballast renewal, surfacing, rail replacement, as well as expansion and enhancement of services like constructing a spur to an online industry or building a transload facility.

The BIL appropriated $5.0 billion for the CRISI program over five years, FY 2022 (October 2021 to September 2022) to FY 2026 (October 2025 to September 2026). On top of this, an additional $5.0 billion has been authorized subject to future appropriation. The opportunity to apply for a CRISI grant under the FY 2022 program was announced on September 2, 2022, in a Notice of Funding Opportunity (“NOFO”.

At $1.4 billion authorized in 2022, the annual funding is an enormous increase over recent appropriations. The FY 2021 appropriation was $362 million, FY 2020 was $312 million and FY 2019 was $245 million. The increased appropriation is especially important because requests for grant funds from previous CRISI programs far exceeded the funds available. 

FMW, through its consulting arm the National Rail Consulting Group, has completed multiple successful CRISI Grant Applications, including most recently a $14.7 million project in support of a short line freight railroad overhaul in Pennsylvania - details here. Contact FMW or NRCG today to learn how we can assist your company in completing a CRISI Grant Application.

Rebuilding American Infrastructure Sustainably and Equitably – RAISE GRANTS

Rebuilding American Infrastructure Sustainably and Equitably (“RAISE”) (formerly BUILD and TIGER) was appropriated $7.5 billion. On January 27, 2022, $1.5 billion was announced for the FY 2022 program with applications due April 14, 2022. $1.5 billion is a 50% increase over the FY 2021 amount. The FY 2022 NOFO, for reference, is available at https://www.transportation.gov/RAISEgrants/raise-nofo.

RAISE grant funding is available to states, tribal governments, government agencies, political subdivisions, special purpose districts, and port authorities. Short line railroads can partner with these entities to implement eligible projects. DOT’s objectives for RAISE grants are to invest efficiently and equitably, promote the competitiveness of the U.S. economy, improve job opportunities by focusing on high labor standards and equal employment opportunity, strengthen infrastructure resilience to all hazards including climate change, and to effectively coordinate with State, local, Tribal, and territorial government partners. Focus will be on projects that reduce greenhouse gas emissions, address climate change impacts and environmental justice, and target at least 40 percent of resources and benefits towards low-income communities, disadvantaged communities, communities underserved by affordable transportation, or overburdened communities. 

Nationally Significant Multimodal Freight and Highways Projects; National Infrastructure Project Assistance; Rural Surface Transportation 

Nationally Significant Multimodal Freight and Highways Projects (“INFRA”), National Infrastructure Project Assistance (“Mega”), Rural Surface Transportation (“Rural”) grant programs were appropriated $7.25 billion, $5.0 billion, and $1.0 billion, respectively. A NOFO issued on March 22, 2022, combined the INFRA, Mega and Rural grant programs into one notice with applications due on May 23, 2022. The FY 2022 NOFO makes available $1.55 billion for INFRA, $1.0 billion for Mega, and $300 million for Rural. Applicants can submit one application and indicate whether they are applying for one, two, or all three programs. The NOFO is available at https://www.transportation.gov/grants/multimodal-project-discretionary-grant-notice-funding-opportunity.

Applicant and project eligibility are similar under each program. States, tribal governments, government agencies, special purpose districts, and port authorities are eligible for grants for projects including railroad grade crossings, and multimodal freight projects. Short line railroads can partner with these entities to implement eligible projects. Each program has minor, specific differences, for example, Amtrak is eligible for the Mega program, and wildlife crossing projects are eligible for INFRA grants. 

The investment priorities for the programs are the same as for the RAISE grant program, to invest efficiently and equitably, promote the competitiveness of the U.S. economy, improve job opportunities by focusing on high labor standards and equal employment opportunity, strengthen infrastructure resilience to all hazards including climate change, and to effectively coordinate with State, local, Tribal, and territorial government partners. Focus will be on projects that reduce greenhouse gas emissions, address climate change impacts and environmental justice, and target at least 40 percent of resources and benefits towards low-income communities, disadvantaged communities, communities underserved by affordable transportation, or overburdened communities.

Railroad Crossing Elimination Grant Program

Railroad Crossing Elimination Grant Program, a new program included in the BIL, was appropriated $3.0 billion, with potentially an additional $2.5 billion to be appropriated, to eliminate safety hazards at railway/highway grade crossings. Funding is available to states, tribal governments, political subdivisions, port authorities, and metropolitan planning organizations (“MPOs”) for projects that implement grade separations (bridge, embankment, tunnel), relocate track, or improve crossing protections by installing signals, gates, and other protective devices. The NOFO release date for this program has not yet been determined.

Railroad Rehabilitation and Improvement Financing Loan Program

The Railroad Rehabilitation and Improvement Financing (“RRIF”) loan program, administered by the DOT’s Build America Bureau (“Bureau”), has up to $35 billion available for loans to support a broad range of rail investments: rail infrastructure improvements; locomotive, freight car, and equipment purchases; funding acquisitions; and repaying outstanding debt. Standard loan terms are: loans up to 35 years; low interest rates based on US Treasuries; Credit Risk Premium (“CRP”) required to offset the government’s cost to provide the loan; repayment deferred up to 5 years after project completion; no prepayment penalties; collateral not required but could reduce the CRP; CRP repaid with interest when loan is completely repaid.

Applications can be submitted at any time. The Bureau has an established application process with the first step to contact the Bureau to review the proposed project.

As of December 31, 2021, $7.1 billion had been lent in 30 transactions. RRIF has reserved "not less than" $7.0 billion for Class II and III freight railroads, of which approximately $128 million is currently outstanding. There are funds available. 

In 2020, the Bureau announced RRIF Express, a pilot program with three primary objectives: (1) encourage “increased utilization” of RRIF funding by Class II and III railroads, (2) reduce the cost of obtaining a loan, and (3) streamline the application and approval process. The time and cost of completing loan approval have often inhibited small railroads’ participation. 

RRIF Express responds to these concerns by limiting loans to a maximum of $150 million. The size limit is expected to reduce the complexity of applications and therefore the time required to complete evaluations. RRIF Express also provides up to $100,000 to offset the cost of third-party advisors and Bureau funding of the CRP up to 10% of the loan value.

Transportation Infrastructure Finance and Innovation Act – TIFIA GRANTS

The Transportation Infrastructure Finance and Innovation Act (“TIFIA”), administered by the Bureau, was appropriated $1.25 billion over 4 years. TIFIA financing is available to state and local governments, transit agencies, railroad companies, special authorities, special districts, and private entities. Eligible rail projects include intercity passenger rail, freight rail, intermodal projects, and transit-oriented development (“TOD”). TIFIA is geared toward large value projects and is designed to fill gaps in funding. The program offers loans, loan guarantees, and standby lines of credit with minimum financing of $50 million, limited to 33% of expected project costs. The application process is similar to the RRIF loan process described earlier.

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FMW and its consulting division, the National Rail Consulting Group, offer clients extensive experience in the management, drafting, and submission of applications for federal award and rail grant requests as part of its suite of professional services for the railroad industry. Additional services include mechanical and engineering design, diesel locomotive servicing and repair, rail operations, strategic planning support, marketing, public relations, safety compliance administration, training, and alternative fuel technology research and development. For more on FMW Solutions, to request a quote, proposal, or to explore opportunities for your railroad operation, visit fmwsolutions.com, email us, or call (423) 425-9753.

CHATTANOOGA, TN – FMW Solutions, a railroad mechanical, engineering, contracting, and consulting firm, has hired railroad veterans Katie Slider as Senior Operations Manager and Roy Wullich as Manager of Operations and Finance.

“Our firm has over 60 active projects between our machine shop, engineering department, heritage work, and diesel locomotive repair efforts,” explained Davidson Ward, President of FMW Solutions. “Katie and Roy will bring valuable organizational support to not only our 30-plus employees around the country but our diverse group of clients as well. We’re humbled to have these accomplished rail industry professionals aboard.”

An award-winning Norfolk Southern employee, Katie Slider’s 24-year career saw her administer equipment planning, operating best practices, end-of-train devices, and car maintenance with senior leadership, mechanical departments, business analysts, and fleet managers. Katie also helped lead Norfolk Southern’s 21st Century Steam Program between 2011 and 2015. Her role at FMW will oversee client onboarding, project management, internal procedures, and the firm’s expanding machine shop in Soddy-Daisy, Tennessee.

With over 40 years in accounting and finance, including 20 years in rail operations, passenger car management, and historic preservation, Roy has held various senior management positions at several international companies including Intel, KPMG, and Price Waterhouse. Roy’s service in rail preservation includes leadership and advisory positions with Canadian Pacific, Railroad Passenger Car Alliance, Tom E. Dailey Foundation, Nashville Steam Preservation Society, and service with the New Kent County Sheriff’s Department.

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ABOUT FMW SOLUTIONS

FMW Solutions and its subsidiary National Rail Consulting Group offer a suite of professional services for the railroad industry, including mechanical and engineering design, diesel locomotive servicing and repair, rail operations, strategic planning support, marketing, public relations, safety compliance administration, training, and alternative fuel technology research and development. FMW is also an accomplished rail preservation resource, with expertise in the restoration and operation of historic equipment. For more on FMW Solutions, to request a quote, or proposal, or to explore opportunities for your railroad operation, email us, or call (423) 425-9753.

A blend of historic railroad attractions helps recreate a 1970s commuter train for A Man Called Otto, the latest feature film starring Tom Hanks.

Emboldened by new state tax credits and a strong filmmaking community, Pennsylvania has seen a steady increase in film and television productions – and with them have come a special set of creative challenges. In late 2021, producers for A Man Called Otto knew they needed to solve one problem very early on: they needed trains. 

While trains had played a different role in the original Swedish book and subsequent film Man Called Ove (2015), the new American adaptation featured only vestiges of the railroad element, but in a more romantic backdrop.

“The train work in this picture helps form the narrative heart of the movie, but we knew it would be very challenging to serve our specific creative ambitions while remaining both on budget and on schedule,” explains John Adkins, locations manager for the movie. “We told our local contacts in Pittsburgh that we needed a ‘train guru’ and they knew just the right person to make it work.”

Linked by the technical expertise of railroad consulting firm FMW Solutions and its movie train coordinator Kelly Lynch, the equipment and locations of the Potomac Eagle Scenic Railway, Cuyahoga Valley Scenic Railroad, and Washington DC Chapter of the National Railway Historical Society were sourced to appear in two flashback sequences.

With his lifelong connection to the railroad world, Lynch’s film pursuits began at NBC/Universal in 2005 and have since led to a number of awards for his screenwriting, creative, and commercial work. After bringing his expertise to FMW Solutions in 2021, Lynch’s help on an Amazon television series in Pittsburgh led to the recommendation for Otto.

“Sourcing equipment that would fit the look and feel for Otto was the easiest part, but threading the needle of getting the locomotive and passenger cars where they needed to be is why we were hired,” explained Lynch. “While the original desire was to film platform exteriors at Pittsburgh Union Station and moving train work on a nearby regional railroad, the short lead time, proximity to a busy freight and passenger mainline, and other logistical limitations meant we had to explore a number of alternatives.”

Loosely inspired by the Mon Valley Commuter Rail system that served the Pittsburgh region in the 1970s, an FP-9A locomotive from Potomac Eagle and former MARC and Pennsylvania Railroad commuter cars fit the bill.

After leading a series of technical and director scouts, filming took place over three days, at three different locations. The first was a day of exterior aerial work in Romney, West Virginia featuring the Potomac Eagle’s characteristic diesel locomotive and stainless steel passenger cars, which looked visually similar to the MARC cars. A few weeks later, filming resumed in May for interior scenes aboard the Cuyahoga Valley Scenic Railroad’s passenger train set in the Cuyahoga National Park.

“During the busy tourist season, hosting a film production can be a big task, but we’re grateful to the National Park Service for helping us welcome the production to the Valley,” said Joe Mazur, President of the Cuyahoga Valley Scenic Railroad. “Our crews really enjoyed it and it created a lot of buzz for us in the community.”

For the moving train work, the production modified a former Budd Rail Diesel Car, chosen for its spartan interior to reflect the state of passenger rail in the 1970s, and operated between Jaite and Rockside, Ohio.  

“Every movie train is special, though generally, productions want either steam locomotives or modern freight or passenger trains,” added Lynch. “This is an era of passenger rail rarely seen on film. In some cases, car interiors were rejected because they were restored and looked too nice.”

In the interim, the Potomac Eagle locomotive ventured to Toledo where it would meet two former MARC commuter cars shipped in from the Cuyahoga Valley where they’d been leased for seasonal events. Lynch escorted both shipments as they moved en route over CSX, and the equipment arrived a week before production began.

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“For the Potomac Eagle, shipping one their primary locomotives out ahead of their regular season was not an easy decision, but we were fortunate to have CSX railroad crews in Cumberland, Maryland, Walbridge, Ohio, and at CSX Community Affairs to make sure this equipment would make it to and from its engagement in Toledo without issue,” detailed Lynch.

Amid pre-production, Toledo’s art-deco Central Union Terminal had been an early favorite of director Marc Forster and production designer Barbara Ling.

“The station and period trains were a perfect match,” said Louise Rosner, executive producer.

“Once we confirmed the Toledo Port Authority owned the platforms and actual trackage, we knew we had three tracks and 4,000 feet of the railroad to operate on without encumbering the nearby mainline or disrupting Amtrak’s passenger operations,” Lynch stated.

“The local Norfolk Southern crews were critical to ensuring the production could select Toledo as a location, as they worked with us to ship, switch, and position the equipment so that our teams could take over,” said Lynch. “Their level of responsive customer service was not only impressive but a great relief.”

In coordination with the Port Authority, Norfolk Southern, and Amtrak, Lynch isolated the platforms, imported station props from a nearby railroad museum, and conducted safety briefings with a cast of over 160 performers. The third day of railroad work on the production would also be the final day of principal photography.

“Even in a tightly controlled operating environment, this many people on a platform with a moving train represents safety concerns. During our production briefing, we taught everyone the signal to ‘stop,’ for instance if they saw someone trip, fall, or otherwise saw something that was unsafe. Everyone knew what our whistle signals meant in terms of train movement and direction and we had flagmen to protect performers,” explained Lynch.

Overall, the production brought a six-figure boost to the local economies in Brecksville and Toledo as a cast and crew of 300 descended on Ohio, and equipment returned without issue.

“The train work went off perfectly,” added Rosner. 

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Ultimately, the movie train work makes up approximately five minutes of total screen time, but the additional layer of authenticity and practical sets are a departure from a trend towards artificial sets or digital imagery. Of course, it also means the railroad entities involved were compensated too. 

“Tourist railroads and museums are great assets that can usually be very accommodating within reason,” Lynch furthered. “We filmed a drone scout for the aerial film crew on a Friday so the director could pick out locations, and less than a day later we were on board the passenger train to travel to the spots that had been selected, and then filmed until we ran out of daylight. Even for cost-conscious shows, there’s still a lot that’s very achievable and can be accomplished safely, quickly, and creatively.”

“With trains, you have all the complications of props, locations, safety, stunts, vintage vehicles, and more rolled up into one. FMW not only helped all of us wrap our heads around what was achievable, but they went out and made it possible,” explained Adkins.

FMW Solutions was also assisted by Mid America Railcar, Carload Express, Mad River & NKP Railroad Museum, Horizon Rail, Fort Wayne Railroad Historical Society, McRail Insurance, Brian Smith, and Chris Homco.

“It really means a lot to marry two remarkably complex industries,” said Lynch. “But it’s also immensely satisfying to call up our network of partners and connect the dots together for a project like this. Railroad magic and movie magic really aren’t that much different from one another.”

A Man Called Otto is now available on streaming. 

FMW Solutions LLC (“FMW”), a railroad mechanical, engineering, contracting, and consulting firm, has hired two industry veterans to further its continued growth in General Electric and Electro-Motive diesel locomotive repair, as well as expand its services in short line and industrial railroad development.

Bruce Crawford has joined FMW as its Director of Short Line Services. In this role, Bruce is responsible for overseeing projects related to short line and industrial railroad mechanical, safety, and operational practices.

Doug Crawford has joined to serve as FMW’s Director of Motive Power Services. In this new position, Doug will leverage his expertise in diesel-electric locomotive maintenance and electrical systems to expand FMW’s short line and industrial locomotive maintenance services.

“We're boosting our services for General Electric diesel locomotive troubleshooting, repair, and electrical support work, with a specific focus on Dash 7, Dash 8, and related models,” explained FMW Vice President – Mechanical Shane Meador. “Along with our experience with diesel-electric locomotives of all kinds, the addition of the Crawfords allows us to provide prompt locomotive inspection, maintenance, and repair services across the Southeastern United States, and beyond.”

The addition of Bruce and Doug Crawford will bolster FMW’s short line services division, including mechanical, regulatory, operations, and inspection areas. Bruce Crawford manages both consulting and mechanical work related to FMW’s growing industrial and short line client base. Similarly, Doug Crawford oversees short line and diesel-electric locomotive services, with a particular focus on diesel-electric locomotive maintenance, including GE and EMD products.

To learn more about FMW Solutions or National Rail Consulting Group, visit fmwsolutions.com and nationalrailconsulting.com. Our team can also be reached at 423-425-9753 or via email.

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BRUCE CRAWFORD – DIRECTOR OF SHORT LINE SERVICES

As Director of Short Line Services, Bruce Crawford offers clients rail safety reviews, and regulatory compliance audits, as well as provides operations training and he will be a key member of the FMW rail mechanical team. He maintains a deep knowledge of rail operations, safety, mechanical, and regulatory matters.

Mr. Crawford is qualified in a plentitude of short line services, including as a Designated Supervisor of Locomotive Engineers, a Remote Control Locomotive Trainer, a Conductor and Conductor Program Administrator, a Hazmat Trainer, a Track Inspector, a Locomotive Mechanical Inspector, and a Track Signal Inspector. He holds a BS in Physics and Biological Sciences from the University of Colorado.

Most recently, Mr. Crawford was Operations Manager of the Huntsville & Madison County Railroad, where he was responsible for a variety of short line-related activities. Prior to his tenure at HMCR, Mr. Crawford co-founded the Tishomingo Railroad in Luka, Mississippi, where he was responsible for managing all start-up-related tasks and ongoing operations/business development activities. During the same time, Mr. Crawford also organized the Gadsden Switching Services, an industrial railroad in its namesake Alabama town, where he served as its President and General Manager. Mr. Crawford began his railroad career at New York Regional Rail, where he served as General Manager of the cross-harbor freight rail operation in New York City.

DOUG CRAWFORD – DIRECTOR OF MOTIVE POWER SERVICES

As Director of Short Line Services, Bruce Crawford offers clients rail safety reviews, and regulatory compliance audits, as well as provides operations training and he will be a key member of the FMW rail mechanical team. He maintains a deep knowledge of rail operations, safety, mechanical, and regulatory matters.

Mr. Crawford is qualified in a plentitude of short line services, including as a Designated Supervisor of Locomotive Engineers, a Remote Control Locomotive Trainer, a Conductor and Conductor Program Administrator, a Hazmat Trainer, a Track Inspector, a Locomotive Mechanical Inspector, and a Track Signal Inspector. He holds a BS in Physics and Biological Sciences from the University of Colorado.

ST. LOUIS, MO (July 14th) - A historic Wabash Railroad turntable has been rescued from obscurity and will be preserved as part of a planned steam-driven tourist railroad in South Central Florida.

MetroLink, a light rail system serving the greater St. Louis region, had sought a new home for the historic structure for over 25 years. As MetroLink cleared the area for redevelopment, the turntable’s fate was uncertain. Earlier this year, representatives from FMW Solutions LLC, an industry contractor with expertise in rail preservation and logistics, approached MetroLink with several options to save the structure.

Since February, FMW has worked with MetroLink to clear the site and turntable, removing and salvaging structural components and wood, and even managed to save two newborn kittens that were living in the turntable pit. Nicknamed “Link” and “Wabash,” the kittens were turned over for adoption at the local humane society.

The 90-foot long, 62-ton turntable will make a thousand-mile journey from St. Louis to Clewiston, Florida, where plans call for it to ultimately be restored and used as part of the Sugar Express, a regional tourist train operation in the Lake Okeechobee region.

“The installation of this turntable will be an important step toward our future goal of offering public excursions on the Sugar Express, where passengers will be able to see South Florida farming operations firsthand aboard an historic steam locomotive-driven railroad,” said Scott Ogle, General Manager of the Sugar Express. “We appreciate the staff at FMW Solutions for helping to relocate the turntable as we make plans for its installation near Clewiston.”

Built in 1917 by the American Bridge Company, the turntable was used to orient locomotives at the railroad’s facility at Vanteveter Avenue roundhouse and almost exclusively served the line’s storied steam and diesel passenger locomotives throughout its history. In the ensuing years, the roundhouse was demolished and the property was absorbed by Norfolk & Western, and later owned by Norfolk Southern until 1989 when the adjoining railroad line was deemed secondary and later sold to Bi-State Development as it began construction of MetroLink. 

For more information on Sugar Express, visit sugarexpress.com. For more information on the Metropolitan Saint Louis Transit Agency, metrostlouis.org.

FMW Solutions and its subsidiary National Rail Consulting Group offer a suite of professional services for the railroad industry, including mechanical and engineering design, diesel locomotive servicing and repair, rail operations, strategic planning support, marketing, public relations, safety compliance administration, training, and alternative fuel technology research and development. FMW is also an accomplished rail preservation resource, with expertise in the restoration and operation of historic equipment.

Movie Trains and "Train Wranglers" help filmmakers bring the railroad industry to life with authenticity, accuracy and above all – safety

Written By Kelly Lynch, Director of Special Projects | Railroad Technical Consultant & Coordinator

In recent years, the infusion of railroad culture and imagery to the motion picture industry has visibly increased, as historic steam locomotives, passenger cars, stations, and more have woven their way onto the screen for films like 3:10 to Yuma, There Will Be Blood, Indiana Jones, Leathernecks, Appaloosa, Reservation Road, and of course the AMC television series Hell on Wheels. The railroad – or at least a reasonable facsimile of one – was the main character in the runaway train action film Unstoppable and in Disney’s The Lone Ranger, where full-size steam locomotive replicas, a 1:1 scale model railroad, and a five-mile loop were constructed to become the centerpiece for a number of sequences.

In an industry where a digital artist can recreate entire worlds from nothing, filmmakers are finding it easier and more satisfying to rely on the “movie train.”

Milwaukee Road No. 261’s brief cameo in Public Enemies. Shot on Metra’s commuter platforms in Chicago’s Union Station, the locomotive is accompanied by former Montreal commuter cars painted in Pullman green which were staged at camera left and right to block out modern surroundings. Universal Pictures.

THE REBIRTH OF THE MOVIE TRAIN

In the Golden Age of Hollywood, many motion picture back lots corralled their own stable of railroad equipment for use, but today when productions require railroad elements, they turn directly to museums, short lines, or tourist railroad operators, or call upon a small group of insiders known as railroad coordinators, or train wranglers, who specialize in liaison work between the two industries.

“It’s a niche vocation now since the studios disbanded their equipment and their knowledgeable personnel,” explains railroad coordinator Stan Garner, a now-retired industry veteran who helped orchestrate the railroad scenes for 3:10 to Yuma and There Will Be Blood.

“Now you have people that want to use the train and they don’t know the first thing about them. Class 1’s don’t have the time to deal with studios and museums normally don’t have any idea. Having someone with experience on both sides goes a long way.”

J. David Conrad of the Valley Railroad in Essex, Connecticut explains that railroad coordinators “understand both sides of the equation. They are the liaison to make things authentic, but to understand the wants and needs of everyone involved.”

Often the wrangler will work with every department of the production and in tandem with railroad personnel, with special focus on budget, production, and equipment needs. “I spend more time doing that than I do on set,” jokes Garner.

Like railroading, film can be filled with a variety of challenging unknowns, he explains. “You can’t turn the production company loose. You have to be ready for anything to happen because if a director changes his mind, the weather might. Plan for every contingency.”

Garner and his crew survived a sudden 38-inch snowfall the night before the climactic shootout and subsequent arrival of the title train in 3:10 that delayed filming for over a week.

HBO repurposed one of The Lone Ranger locomotive props for scenes in Westworld. These million-dollar props leave a little to be desired for purists, and cost almost as much as a historic steam locomotive restoration – but they are easily transportable, cost-effective solutions for productions in the Western-genre. HBO Television.

NOT ALWAYS A DOCUMENTARY

The inclusion of historic rail equipment into a film’s period setting seems like a perfectly fitted glove, but that isn’t always the case.

“Museums need to know that something may be one way historically, but it can have nothing to do with what things need to look like for the film,” asserts Conrad.

In addition to wrangling the necessary equipment, railroad coordinators are there to help present filmmakers with the available options, information and research available to help tell their story and help achieve a particular look, a feel, and a vision. While some creative choices may cause purists or railroad forums to object, ultimately they are deliberate choices being made in service of the narrative.

The relationship between filmmaker and railroader/preservationist can be tenuous for this reason, but Conrad offers that the two trades are not all that dissimilar, “It’s hard work to create a vision and authenticity will give way to art, which for some in railroading can be hard to appreciate, but many are surprised at how much work goes into creating a few seconds of film, just like many on the film side have very little understanding of the craftsmanship required on this side to keep up steam.”

For instance, history advocates decried the grungy, weathered look of the locomotive props created for Hell on Wheels, but the production intentionally set out to create a rough-and-tumble, lived-in world where few things looked as good as the proudly gleaming, spit-and-polished real-life and traditionally spotless steam engine Jupiter. In other words, the historically appropriate look would have not fit the established production and art design.

Constructed largely from styrofoam and wood and powered by a railcar mover, the Hell on Wheels props did their part, but to anyone who has spent time around a real steam locomotive, it’s obviously missing some of the dynamic presence, movement, and weight of the real thing, and whereas a real locomotive would exhaust powerful vapor plumes from its smokestack, these props only emit lazy wafts into the frame – hardly the stuff Henry David Thoreau would write home about. For an expensive television series constantly on the move, the props were a cost-effective solution – and this approach also meant that no historic 1800s locomotive would be subjected to arduous television service for years on end and the production could easily relocate their section of track from location to location. Nevertheless, the sound design of Hell on Wheels was delightfully full of a near-constant swooning bellow of locomotive whistles and steam exhaust even when the props were off-screen – another way railroad preservationists can ensure the real things can still bring life to a film set, even if only via sound effects.

Railroad film work is full of spectacle – but can be as hazardous and logistically challenging as stunt work.

CREATING A CULTURE OF SAFETY ONBOARD – AND ON SET

The gap of misunderstanding between filmmakers and railroaders is one that must be covered quickly, especially where safety is concerned. This stark reality was highlighted in the tragic death of camera assistant Sarah Jones during the attempted filming of Midnight Rider in 2014.

Jones, a tireless and talented crew member, was killed by debris when the film crew trespassed on an active, Class 1 railroad line, and a freight train crashed through their illegal attempt to stage a scene. The incident, which also injured other crew members, invigorated calls for a renewed safety culture and revised practices within the film industry, but it is not the only fatality as a result of filmmakers, vloggers, and photographers “stealing” a shot on railroad property without permission or supervision from industry professionals.

In addition to senselessly exposing artists and crew members to unnecessary dangers, incidents like these also have the onerous distinction of placing the railroad industry in a tremendously negative light and increasing the likelihood that railroad entities will not participate in film or television production and have undue effects on the costs of liability insurance for motion picture companies. In the case of Midnight Rider, the production company, the director, the railroad, and even the adjoining property owners were all part of an intense and lengthy lawsuit. The director was sentenced to two years in prison and fined $20,000.

Scenes with operating railroad equipment are no different than stunts or action sequences. Because of this, railroad coordinators will work with the production’s safety director to inform them of the unique dangers inherent with railroading, and safety meetings should be held regarding different camera setups and scenes.

Garner’s method on There Will Be Blood afforded all departments a blue flag for whenever they worked on the train, “They knew the train would not move unless their department’s blue flag was taken down.”

“Make it so you are contractually obligated to stop or alter a scene only if it’s unsafe,” informs Nick Kallas of the Illinois Railway Museum.

Photographers, marketing agencies, and film shoots are frequently looking for industrial or historical settings, and railroad museums and tourist operations can easily fit the bill – but the productions must be coordinated and supervised by professionals who understand both worlds.

GETTING THE SHOT – AND PROTECTING THE ASSETS

Kallas’ experience ranges from the simple on-site shoot to moving entire train sets across the mainline to meet a production’s needs. He maintains that the safety of your personnel and the equipment are top priorities, as is ensuring the contract favors your operation.

“Protect yourself and don’t get starry-eyed,” he warns, recalling that after the filming of Flags Of Our Fathers, a Louisville & Nashville diner which had been dressed as a Boston and Maine passenger car, was damaged when a contractor tried to remove vinyl appliqués with a hairdryer on a cold day. $25,000 later the entire car was repainted at the studio’s expense.

FOR WHEN HOLLYWOOD COMES CALLING

While the Illinois Railway Museum and other operations like California’s Filmore & Western Railway are known entities to the industry, a location scout or production company can’t locate a railroad organization if they don’t know it exists. Museums and railroads open to this line of work should contact their state film office to make sure they’re listed as a resource or location.

As productions seek out states with tax incentives and multiple resources to offset costs, a studio may already be looking for opportunities in your backyard. List on your website and brochure that your equipment or operation are available for film work and designate a member of your staff to handle these inquiries, which oftentimes may require non-disclosure agreements and next-to-little information at first. “Everybody involved is important, and everyone wants to be a part of the movie, but that’s not always possible,” reminds Kallas.

As a part of that reality check, it’s also important to keep in mind that, paradoxically, railroad work and film work also tend to have a lot in common: they both feature long wait times, brief flurries of action, and generally unglamorous, thankless work, but when the action gets going, things really come together. A crew may wait in the wings for hours before a take gets underway, endure repeated technical rehearsals, alternate takes and set ups, endless runbys – all for a few feet (or gigabytes) of usable, precisely coordinated footage, some of which may not even make its way into the fine cut of the production. It’s a common misconception that filmmaking is easy work – and anyone who has spent a day on set will tell you it can be arduous.

While Conrad suggests that movies don’t necessarily mean increased exposure and visitors, he does believe that their appearance in Indiana Jones elevated the operation in the eyes of the community.

“There’s a better appreciation in the area for the railroad and people were impressed that the reason Steven Spielberg was here was for the Valley Railroad. It built up a lot of camaraderie for us.” But it’s not just mechanical performance or good feelings that keep the wheels rolling. We had over $50,000 in the bank that wasn’t there the year before.”

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FMW Solutions is an experienced Railroad Transportation Coordinator and Technical Consultant for TV and Film Productions. For help on sourcing a movie train and coordinating the right railroad equipment for your production or for assistance working with a production company interested in using your equipment, contact FMW Solutions.

Director of Special Projects Kelly Lynch is an accomplished rail-industry consultant, steam locomotive preservationist, and filmmaker. Portions of this article originally appeared in Trains Magazine.