Locations have always played a pivotal role in screen industries’ practices. Parallel to the growing political and economic interest in regional media clusters as sites of production, we have also seen an increasing interest in location as representation. Cities such as New York and Berlin have been popular film locations. What has become more apparent recently is that quality television series have adapted cinematic imageries, including landscape panoramas and spectacular location aesthetics. Nordic noir is a good example of this tendency; places are used as selling point, a distinct part of the aesthetics and the narratives, and are often emphasised in the title and the trailer. In this chapter I approach locations in screen production by focusing on four distinct but interconnected rationales that relate to locations respectively as representation and as site of production. Firstly, locations can be part of a political–democratic rationale and the representation of different places, regions, and people as a democratic value. Secondly, there is an economic–industrial rationale in supporting regional hubs and local screen productions. The third rationale is location as a selling point in film and television series. A further recent trend that has led to a renewed interest in locations is the green screen rationale, both in representation (images and stories) and sustainable ways producing television.