Among the Dead at Hollywood Forever

November 17, 2014 § Leave a comment

Hollywood Forever Cemetery 11/11/14/All photos Hope Anderson Productions

Hollywood Forever Cemetery 11/11/14/All photos Hope Anderson Productions

Last week I had a visitor from England–Heath Woodward, who I met three years ago because he was writing a musical about Peg Entwistle. Last year I visited Heath’s hometown of Margate, where I saw an early showcase of “Goodnight September” (which recently had its first performances there); this year it was his turn to visit Los Angeles. Because Heath’s previous visit was short and lacking in both a car and a guide, I was determined to show him more of the city, and I think I succeeded. In addition to Hollywood and Beverly Hills, I took him on a tour of downtown that included the Broadway theaters as well as the Belasco, where Peg Entwistle had great success starring in “The Mad Hopes” in 1932.
Johnny Ramone

Johnny Ramone

Hattie McDaniel

Hattie McDaniel

Mickey Rooney's Headstone at the Mausoleum

Mickey Rooney’s Headstone at the Mausoleum

Last Tuesday we went to Hollywood Forever, my favorite cemetery. It was an appropriately overcast day, and as we wandered through the Garden of Legends I realized that–with the exception of a screening of “Chinatown” and a Johnny Marr concert, both held at night–I hadn’t been there in twelve years. (Last time I was showing it to a friend from Hawaii; he said it was his favorite place in LA because he couldn’t hear the sound of traffic.) Although it was late afternoon when Heath and I arrived, we managed to see some of the highlights–the Fairbanks, Tyrone Power, Jr., and DeMille memorials–but not the Valentino crypt, as the mausoleum is being worked on and was locked. But its outside wall featured a new addition–a stone for Mickey Rooney, who died earlier this year. Nearby stood Johnny Ramone’s statue and Hattie McDaniel’s pink oblong stone. One headstone caught our eye simply because it was unlike any memorial we’d ever seen–a sculpture of a man lashed with steel cable to a jagged rock. Staring at the inscription, we were startled to realize that it was Tony Scott’s grave.
Heath Woodward at Tony Scott's grave

Heath Woodward at Tony Scott’s grave

By then it was getting dark, so my efforts to pay respects to John Huston, whose excellent autobiography An Open Book I’m reading, had to be postponed. Along the way we had picked up a couple of fellow travelers–a woman and her live wire four-year-old son. The little boy grabbed my sleeve, showed me his blankie and attached himself to our self-guided tour, saying “We need more people!” Unlike us, he didn’t mean dead ones.

The Fairbanks Memorial, burial place of Douglas Sr. and Jr.

The Fairbanks Memorial, burial place of Douglas Sr. and Jr.

Toto's Memorial Statue

Toto’s Memorial Statue

Visiting Hello Kitty Con and “Hello! Exploring the Supercute World of Hello Kitty” at JANM

November 4, 2014 § Leave a comment

Live Action and Film Combo at Hello Kitty Con, 10/30/14/All photos Hope Anderson Productions

Live Action and Film Combo at Hello Kitty Con, 10/30/14/All photos Hope Anderson Productions

Though I grew up in her homeland, I came late to the charms of Hello Kitty, a serious lapse of my instincts for pop culture phenomena. How did I miss Kitty’s future ubiquity as Japan’s ambassador of kawaii? Probably because I was jaded by my Tokyo years, which featured a delightful stream of childish novelties: toys, stickers, candies and rice crackers in seasonal shapes (e.g., cherry blossoms, autumn leaves, umbrellas). Japan also celebrated (and still does) three children’s holidays–Children’s Day, Doll Festival, 7-5-3 Day–surely a record unmatched by any other country.
Hello Kitty Hinamatsuri (Doll Festival) Emperor and Empress Dolls, at the Japanese-American National Museum

Hello Kitty Hinamatsuri (Doll Festival) Emperor and Empress Dolls, at the Japanese-American National Museum


Against this backdrop of national cuteness, Hello Kitty’s debut in 1974 was not earthshaking news. In fact, because my family had moved to the United States two years earlier, I didn’t see the pink sensation until my first trip back in 1980. “I don’t think this is going to catch on in America,” I remember saying. I soon knew better. But it wasn’t until early 90s, when I noticed a grown woman in the next car gripping a Hello Kitty steering wheel, that I realized how wrong I’d been.

In the years since, Hello Kitty’s reach has extended around the world and into the air. As part of Sanrio’s 40th anniversary celebration, EVA Airlines is flying to Paris in planes painted with Hello Kitty. Inside, everything is Hello Kitty-shaped or marked: food, soaps, pillows, headrest covers, and toilet paper. Another part of the 40th anniversary celebration was last week’s Hello Kitty Con, which I wouldn’t have missed. Held at the Geffen Contemporary, it was a completely sold-out four-day convention of all things Kitty: exhibits, merchandise, official and unofficial mascots, and even a live show against a filmed backdrop (above).

Next door at the Japanese-American National Museum, I toured a more subdued but even more fascinating show (which runs until April 24th) featuring Sanrio’s artifacts as well as Hello Kitty representations in fine art and fashion.

Hello Kitty Man's Suit at JANM

Hello Kitty Man’s Suit at JANM

Lady Gaga's Hello Kitty dress at JANM

Lady Gaga’s Hello Kitty dress at JANM

Hello Kitty birthday cake sculpture at JANM

Hello Kitty birthday cake sculpture at JANM

Which brings me to the perplexing news that Hello Kitty is not a cat. According to Christine Yano, the author of Pink Globalization: Hello Kitty’s Trek Across the Pacific in an interview in the LA Times:

Hello Kitty is not a cat. She’s a cartoon character. She is a little girl. She is a friend. But she is not a cat. She’s never depicted on all fours. She walks and sits like a two-legged creature.”

As if that weren’t enough, Kitty White is a British third-grader who lives with her twin sister, parents and grandparents outside London. She loves Paris–hence the EVA flights.

Nevertheless, Hello Kitty could only have sprung from Japan, the land of kawaii. As the JANM exhibit points out, the word kawaii (cute) is derived from kawaisoo, which means pitiable. It’s the powerful combination of cuteness, pity and the color pink that gives Hello Kitty her universal appeal.
IMG_2777

The Joy of Paper

October 29, 2014 § 1 Comment

In general, I abhor clutter, cleaning out my closets regularly and avoiding buying more than I need. The glaring exception is paper records, which I save by the boxful. Part of this is government-mandated: U.S. taxpayers are supposed to save at least 5 years of Federal and state returns (or is it 7?), along with receipts and other documentation. This is no small matter: careful record-keeping saved me when I was audited in the early 2000’s for a mistake my accountant made in calculating my business deductions. Because I could produce every receipt, the IRS determined that I owed no fines or penalties on the additional taxes I had to pay. But there’s another reason I save paper: as a writer, I need documentary evidence to reconstruct the past.

As a filmmaker, I need climate-controlled storage for my film and video footage, masters and hard drives, and because temperatures in my house fluctuate wildly, I have to rent a storage unit. My paper records also reside there, including all my manuscripts–or so I thought when I went through the boxes recently to try to find an old screenplay that a friend was interested in pitching for television. Although I found an early draft at home, the version I was looking for–updated a few years ago for technological reasons, i.e., cell phones–existed only on a CD. True to form, the CD was damaged, so down to storage I went to find the hard copy. An hour later, I’d opened every box, uncovering not only manuscripts but things I’d entirely forgotten I had kept: the correspondence from a brief long-distance relationship when I was 17; my high school poetry; my first attempt at a screenplay; and my abacus (lessons in which were required at my elementary school in Japan). This excavation provoked considerable grunting and cursing, to the probable consternation of the possibly homeless person who was hanging out with his possessions in the next unit. The only thing it didn’t uncover was the revised screenplay.

Because my father worked for a computer company, I’ve been hearing about the “paperless office” all my life. It’s a laughable concept in light of everything I’ve lost due to technology: short stories stored on floppies; saved mail when I’ve changed computers or servers; a novel when my computer crashed; and now this script. Clearly the answer is to keep hard copies of everything; if worse comes to worst, I can always scan or retype it.

Ironically,my travails coincided with a NYT article about Marie Kondo, a Japanese household organizing expert who, in addition to teaching folding techniques, advocates getting rid of everything that doesn’t “spark joy,” from socks to kitchen utensils. As for papers, she simply throws them all out, on the principle that “they will never spark joy, no matter how carefully you keep them.” My happiness-inspiring report cards, diplomas and awards notwithstanding, Ms. Kondo has apparently never encountered a writer, let alone the IRS, whose MO is the opposite of sparking joy. No matter: in light of the script I’m going to have to re-write again, I’m printing out everything from now on. But I am going to throw out those love letters, and maybe even that abacus.

Rarely “Spot On”: British Actors and Their American Accents

October 10, 2014 § 2 Comments

Michael Sheen in "Masters of Sex"

Michael Sheen in “Masters of Sex”

Michael Caine in "The Cider House Rules"

Michael Caine in “The Cider House Rules”

Eve Hewson in "The Knick"

Eve Hewson in “The Knick”

Daniel Day-Lewis in "There Will Be Blood"

Daniel Day-Lewis in “There Will Be Blood”


Clive Owen in "The Knick"

Clive Owen in “The Knick”

If you’ve spent time in London–or just read its newspapers–it won’t be long before you come across a review of a British actor playing an American character in a play, movie or TV show. “His/her accent is spot on!” the critic will invariably say, but how could he tell, not being American? In fact, the “spot on” assessment is rarely true. While most British actors can perform American accents without embarrassing themselves (unlike most American actors doing British accents), their work almost always suffers from two major problems: exaggeration and a complete absence of regionalism.

British actors supposedly find American accents easy because doing them requires “subtraction” from their native accent. (The same theory holds that American actors attempting British accents must add to theirs, addition being the harder task.) Nevertheless, most British actors playing Americans fall back on two tricks: elongating their vowels and overemphasizing their r’s. While it’s true that Midwestern vowels tend to be flatter than their Eastern or Western counterparts, they are not loooonger. As for the heavy r’s, the actors employing them sound more Irish than American. Another dead giveaway that the actor is British is speed: talking veeerrry slooowly is an actor’s crutch, not an American characteristic.

Even actors who manage to avoid exaggeration fall into the mistake of creating an accent so bleached of regionalism that it doesn’t exist, except onscreen. One would think that actors from England, Wales, Scotland and Northern Ireland would assume, given the rich variety of accents in their homeland, that a huge country like the United States would have even more. But no: the prevailing idea among British actors is that there is such a thing as a Standard American Accent. A good example is Michael Sheen playing Dr. William Masters in “Masters of Sex.” Yes, he manages to sound American, but where is his accent from? Not Cleveland, where Masters was born, or New Jersey, where he prepped, or upstate New York, where he went to college. Listening to Sheen is like meeting a Dutchman: though his English and inflections are seemingly American, his accent is untraceable.

Those actors who break the no-regional-accent rule do so with wildly varied results. Michael Caine’s Maine accent in “The Cider House Rules” sounds nothing like any American accent, New England or otherwise. At times it sounds Cockney, hardly surprising as Caine has used his own thick Cockney accent in virtually all of his movies, whether or not it made sense for the character. (See “The Quiet American,” in which he plays a Cockney-accented foreign correspondent in 1950s Vietnam, when such journalists were invariably Oxbridge types.) That he won the Oscar for “The Cider House Rules” is proof not of his success in the role but of the Academy’s tendency to give Oscars for lifetime achievement rather than nominated performances.

In sharp contrast, every accent Daniel Day-Lewis does is flawless, the product not only of his enormous talent but research and hard work–three to five years of grueling preparation for each of his roles. As Daniel Plainview in “There Will Be Blood,” he speaks in an intricate blend of Yankee, Irish and Wisconsin that explains Plainview’s origins better than any visual montage.

Notable American accents by non-Americans can be found in the new TV drama “The Knick,” set in New York at the turn of the 20th century. As Dr. Thackeray, Clive Owen speaks in Gilded Age tones that were probably inspired by Day-Lewis in “The Age of Innocence.” Though Owen does well with the accent, he is completely outshone by Eve Hewson, whose character Nurse Elkins is from West Virginia. Unlike Owen, Hewson is Irish (and the daughter of Bono and Aly Hewson), which might explain her facility with accents; her real-life speech is Dublin with trans-Atlantic overtones, though you’d never know it here. Her performance is all the more impressive because Appalachian accents are so hard to imitate (and, for natives, hard to lose)–twangy and lilting, with flattened vowels. Yet Hewson never falters, displaying a deft touch in every scene. It’s an accomplishment that can hardly be exaggerated: seamless, unforced and spot on. I’m sure Daniel Day-Lewis would agree.

The Newly Announced Peg Entwistle Biopic

October 5, 2014 § Leave a comment

Still from "Peg Entwistle's Last Walk"/Copyright 2007 and 2014, Hope Anderson Productions

Still from “Peg Entwistle’s Last Walk”/Copyright 2007 and 2014, Hope Anderson Productions

I was in New York a couple of weeks ago when two friends emailed within an hour of each other to tell me that a feature film on the actress Peg Entwistle had been announced in the trades. Tony Kaye (“American History X”) is slated to write and direct the film, and producer Arthur Sarkissian promises the result will be “in the vein of…Vertigo and…Seven.” http://deadline.com/2014/09/actress-death-hollywood-sign-movie-jumped-off-h-peg-entwistle-836778/

When I started researching Peg Entwistle’s life for my documentary Under the Hollywood Sign in 2006, the accurate public record of her life was tiny, consisting of three or four photos, her nationality at birth (English) and her suicide from the Hollywoodland Sign in 1932. The amount of erroneous information, however, was enormous. It included her career (she was not a wannabe starlet but a successful and accomplished Broadway actress); her background (she was brought up not in England but as a naturalized American in New York and Hollywood); her motivations for suicide (which were not as much professional as existential). Among the falsehoods was the assumption that Peg’s choice of the Hollywoodland Sign was a message to the film industry. It’s a great bit of symbolism, except that the Sign was nothing more than a billboard for the Hollywoodland tract at the time. Because I knew the history of the Sign and live along the route she took, it was obvious that Peg chose the Sign for two simple reasons: it was high enough to do the job and in 1932 so isolated that no one was likely to stop her. As I progressed in my research, the misinformation kept coming. Even the date on her death certificate was wrong–it appears as September 18th, the date her body was discovered. But because Peg went to the Sign on the evening of September 16th and could not have survived her fall for long, the date of her death was clearly September 16th.

Many of the lies about Peg came straight from Kenneth Anger’s Hollywood Babylon , whose chapter on her tragic end was accepted as fact until I set about correcting it. I identified the book’s half-nude portrait of Peg as a fake, which should have been obvious since the only feature the model shared with Peg was her platinum blond bob, a ubiquitous hairstyle in Hollywood at the time. Yet everyone, including her family, had taken Anger’s word for it.

As a way of telling Peg’s story, I made a short feature film about her fateful climb to the Sign called Peg Entwistle’s Last Walk, incorporating the footage into my documentary Under the Hollywood Sign. After I put the short on YouTube in 2007, it caught the attention of tens of thousands of viewers, including James Zeruk, Jr., who was researching her life for a book. James helped me to find Peg’s family, who generously made available a trove of playbills, photographs and documents about her life. Most importantly, I was able to interview Peg’s half-brother, Milt Entwistle, then 92 and the only living person with direct memory of her.

Under the Hollywood Signwas released in 2009. Peg Entwistle’s Last Walk remained on YouTube until this year, when I pulled it off to release it on DVD and Vimeo, along with her biography, as Peg Entwistle: The Life and Death of An Actress. http://hopeandersonproductions.com/?page_id=3361

Last year I published an ebook consisting of Entwistle family photos, the script of the biographical documentary and the production diary of Peg Entwistle’s Last Walk. http://www.amazon.com/Peg-Entwistle-The-Hollywood-Sign-ebook/dp/B00FSOGCV4
Zeruk’s book Peg Entwistle and the Hollywood Sign Suicide was also published last year.

Biopics can’t be entirely invented, and I can’t imagine whose work Tony Kaye will draw on for his script if not mine and James Zeruk’s. Because alternative secondary sources don’t exist and many of the primary sources can only be found in the Entwistle family’s archive, I await Kaye’s film, assuming it gets made, with considerable interest.

Learning To Say No

September 24, 2014 § Leave a comment

di85A5o9T Today I said no to writing a script based on a promising story that interested me very much. My reasons were two-fold. First, my vision for the project–a thriller set in a specific timeframe–clashed with that of the man who proposed the project, who seemed increasingly to want a biopic based on his life. Second, it became clear that although he’s not a writer he expected to collaborate on the script, despite the fact that (as I told him at the outset) I write alone. Turning down the offer was the right thing to do, as anyone could see. But the fact that I should have said no sooner wasn’t obvious to me, and that’s what this post is about.

Thirty years into my career, it still seems more natural to say yes than no, a fact I attribute to my gender and upbringing. Women are socialized to be agreeable, to say not only yes but thank you for every morsel they’re offered in life and for years I did, to my detriment. Before striking out on my own professionally, I didn’t get promotions or raises. This was not because I was undeserving but because I had no idea of how to ask for them, or even that I should. Saying yes was the default setting in my personal life as well, which explains why I stayed in relationships that weren’t working–for me, that is. As recently as few years ago, I was talked into serving on the Hollywood Homeowners’ Association, a brief disaster that could have been avoided if I’d simply followed my instincts and said no.

It wasn’t until my son was growing up that I realized how different males are in this regard. When answering the question “Do you want…?,” he would automatically say no, and nearly every time. Though he often reversed himself immediately, his default setting was refusal. At the time I thought it was funny but in retrospect it seems quite serious: saying no gives you power, even if you happen to have very little of it.

These days I say no much more than yes. In fact, I just did it again, on a much smaller business matter. The asker seemed unperplexed by my refusal, which probably means it was no big deal for him. But it was for me.

In a Time of Drought, Remembering Hollywood’s Brief Independence

September 14, 2014 § Leave a comment

Clausen's Ranch, at the foot of Beachwood Canyon, c. 1895/ Courtesy Los Angeles Public Library, Security Pacific Collection

Clausen’s Ranch, at the foot of Beachwood Canyon, c. 1895/ Courtesy Los Angeles Public Library, Security Pacific Collection

When I was making my documentary “Under the Hollywood Sign,” I was surprised at how many of the people who signed my releases wrote “Hollywood” rather than “Los Angeles” as their address. A century after its incorporation into Los Angeles, Hollywood’s history as an independent city seemed to endure in the minds of residents, whether or not they were fully aware of it.

Hollywood went from mostly unsettled land to a metropolis in a matter of two decades. Most of what is now the district of Hollywood was purchased in 1877 by Harvey and Daeida Wilcox, a wealthy Kansas couple who came west to Los Angeles and, after the death of their only son, went looking for a rural retreat. After laying out streets and building a home, they deeded property to churches and enticed other like-minded Christians to move to their town. New residents opened businesses and grew citrus and exotic fruits like pineapples and avocados. But by the turn of the century, Hollywood was more than a farm village: it had become a resort for city dwellers who came by bicycle and streetcar from downtown Los Angeles. Two restaurants catered to daytrippers, and the rather grand Hollywood Hotel provided lodging for those who wanted to stay longer. Among the town’s charms was its microclimate: noticeably cooler than downtown Los Angeles, Hollywood was known for its ocean breezes. (In spite of Hollywood’s tall buildings, these can still be felt near Sunset and Vine, and sometimes carry a whiff of salt.)

In 1903, Hollywood was incorporated as a dry, Godly city: the un-Los Angeles. Its first laws were sumptuary: no alcohol for any purpose, either at home or in businesses; no gambling, no brothels. Its dryness was absolute: liquor going west from downtown had to be transported around Hollywood, a substantial detour that pleased neither merchants nor the Los Angeles City fathers. Though Harvey Wilcox, the stricter of Hollywood’s founders, died in 1891, his widow Daeida (despite her remarriage to Philo Beveridge, a bon vivant who enjoyed flouting the law by drinking wine) kept up her husband’s teetotaling tradition.

Things might have continued along these lines for a while longer if not for the problem of water. Hollywood had very little, and more often than not found itself in drought. The start of construction on the Los Angeles Aqueduct in 1905 allowed City Hall to present the town with an ultimatum: either become part of Los Angeles or make do without its water. Knowing the town wouldn’t survive without access to the Aqueduct, Hollywood gave up its independence, becoming part of Los Angeles in 1910. Today, in the fourth year of a severe drought, it’s difficult to argue with the decision.

Lake Hollywood, Jewel of the Los Angeles Aqueduct

Lake Hollywood, Jewel of the Los Angeles Aqueduct


Yet Hollywood still feels distinct from Los Angeles, even in the midst of its current building boom. In 2000, a referendum was launched to return Hollywood to independence, but Los Angeles fought hard against it and it failed. Today Hollywood’s seven years as an incorporated city are remembered through its bylaws, which reside in bound volumes the Los Angeles City Archives. But Hollywood’s larger legacy is quotidian: its customary use by residents when giving their address.

Related articles:

https://underthehollywoodsign.wordpress.com/2010/06/21/hollywood-before-the-movies-part-i-ranches-orchards-and-laws/

http://underthehollywoodsign.wordpress.com/2010/06/30/hollywood-before-the-movies-part-ii-city-of-churches/

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