Holiday Gifts from Under the Hollywood Sign: DVDs, Downloads and eBooks

December 14, 2017 § Leave a comment

Back of the Hollywood Sign/Hope Anderson Productions

Back of the Hollywood Sign/Hope Anderson Productions

In 2009 I started this blog to promote my work as a documentary filmmaker and writer, the fruits of which are available as downloads and/or DVDs. If you’ve enjoyed my blog, please support the work that inspired it.

DVDs can be shipped overseas as well as domestically. Orders of two DVDs will be shipped at the price of one; though the option doesn’t appear on the site, I refund the second DVD’s shipping cost when payment is received. Please order soon to have them arrive in time for the holidays.

Documentaries on DVD:

JIM THOMPSON, SILK KING–Remastered 2015 Version with DVD extras http://www.hopeandersonproductions.com/dvds/

THE JIM THOMPSON HOUSE AND ART COLLECTION http://www.hopeandersonproductions.com/dvds/

UNDER THE HOLLYWOOD SIGN http://www.hopeandersonproductions.com/dvds/

PEG ENTWISTLE: THE LIFE AND DEATH OF AN ACTRESS http://www.hopeandersonproductions.com/dvds/

Documentaries on Vimeo:

JIM THOMPSON, SILK KING–2015 Version with DVD extras https://vimeo.com/ondemand/silkking?utm_source=email&utm_medium=vod-vod_publish_confirmation-201408&utm_campaign=10308&email_id=dm9kX3B1Ymxpc2hfY29uZmlybWF0aW9ufGYyYjY0OTMzYjc0MTVjM2Y4ODdiY2E5ZWJjNGJmM2I0NjUwfDI1Nzc3MzE3fDE0NDI5NDU5MDV8MTAz

UNDER THE HOLLYWOOD SIGN: https://vimeo.com/ondemand/uths

PEG ENTWISTLE: THE LIFE AND DEATH OF AN ACTRESS http://vimeo.com/ondemand/17445/100467934

e-Books:

ON “BLADE RUNNER”: FOUR ESSAYS https://www.amazon.com/Blade-Runner-Four-Essays-ebook/dp/B00E8M1GW2/ref=sr_1_1?s=books&ie=UTF8&qid=1400119149&sr=1-1&keywords=on+%22blade+runner%22+by+hope+anderson

PEG ENTWISTLE AND THE HOLLYWOOD SIGN https://www.amazon.com/Entwistle-Hollywood-Sign-Hope-Anderson-ebook/dp/B00FSOGCV4/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1400119275&sr=1-1-spell&keywords=peg+entwistle+and+the+hollywoodsign+by+hope+andersonH

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Remembering the Bel Air Fire of 1961 as the Skirball Fire Rages

December 7, 2017 § 2 Comments

la-me-fw-archives-the-1961-bel-air-brush-fire-20170419

Roscomare Road, Bel Air, During the 1961 Fire, courtesy LA Times Archive

Waking to the news that the Sepulveda Pass was burning yesterday, I immediately thought of the last major wildfire to hit the area. On November 5th, 1961, the Bel Air Fire raced through the Hollywood Hills, burning 16,000 acres and destroying 484 houses. Though there were no fatalities, it was the largest fire to strike the City of Los Angeles, unrivaled until the current one began late Tuesday night.

The Bel Air and Skirball Fires began in similar conditions: fires from ignited brush were spread by Santa Ana winds at the end of an unusually long dry season. Without measurable precipitation or humidity, both catastrophes progressed quickly, flames racing from canyon to canyon along the ridge line of the Santa Monica mountains.

In Beachwood Canyon, the 1961 fire claimed 17 houses, including that of the writer Aldous Huxley and his wife Laura. When I interviewed Laura Archera Huxley in 2007, she vividly remembered being mesmerized by the flames near their house on Deronda Drive. Unable to grasp the urgency of the situation, she and Aldous waited too long to evacuate and lost nearly all their possessions as well as their home.

The Skirball Fire is being blown west instead of east, so Beachwood Canyon isn’t in danger from it. But bone dry conditions combined with tourists who smoke with impunity near the Hollywood Sign puts those of us who live here in constant jeopardy. When I learned that firefighters from our area were being deployed to fight the Skirball Fire, I started packing my bags.

Twenty-four hours later, the situation seems to be improving. But until this winter’s rains begin, fire danger remains, as does our fear. Visitors who ignore Beachwood Canyon’s No Smoking signs should know that all it takes is a single flick of a cigarette to destroy homes and lives. For those who don’t care, there’s a hefty fine for smoking. Let’s hope the City enforces it.

Related articles:

https://underthehollywoodsign.wordpress.com/2014/04/15/why-we-freak-out-when-you-smoke-in-beachwood-canyon/

https://underthehollywoodsign.wordpress.com/2012/07/22/setting-our-house-on-fire-hollywood-sign-tourists-and-their-cigarettes/

In the Ongoing Sexual Abuse Scandal, the Myth of the Studio System Endures

November 13, 2017 § 6 Comments

Louis B. Mayer in his Office

Amid the daily revelations of sex abuse and harassment by entertainment executives, I’ve noticed a large number of online commentators asking, “Why aren’t all meetings held in offices at the studios?”, and “Why don’t actresses refuse to meet producers/directors/actors in hotel rooms?” The implication that everyone has an office in a studio is laughable; a couple of years ago, I read an article by a producer who worked out of his car, which he recommended because he was always driving from one office to the next. As for actors being able to refuse a meeting in a hotel, it’s hardly possible when agents send them there via written instructions on agency letterhead. That these assumptions exist at all is proof the enduring myth of the studio system.

From 1911–the year the Nestor Company set up shop at Sunset and Gower–until the early 1960’s, studios were vertically integrated businesses containing everything necessary for the creation of movies. Each studio owned its equipment– cameras, lighting, props and costumes. Crew members, actors, screenwriters, directors and producers were full-time studio employees. (This explains why credit sequences on old movies are so short: you don’t need a credit if you have job security.) If stars and directors wanted to make films elsewhere, they had to be “loaned out” by the studios that held their contracts. If they were not allowed, which was often the case, they had no recourse. The studio system favored those who preferred steady work to feast-or-famine opportunities. Though it often stifled creativity, it also fostered teamwork, consistency and an impressively large output.

Regardless of its merits and drawbacks, studio system has been dead for over fifty years, replaced by an army of freelancers, yet it’s alive and well in people’s minds. Until I convinced my mother that screenwriters now work at home, she thought they wrote in groups in cramped studio offices, probably on typewriters, but at least she’s old enough to remember when that was true. On social media, people with no memory of the studio system assume that “studios are mini-cities” where actors report for screen tests and meetings. In fact, casting is done by agencies, while meetings take place wherever people happen to be: at film festivals and press junkets, and on location. For a mobile population whose real office is often at home, doing business in hotels is unavoidable.

But let’s assume for the sake of argument that all meetings could take place in studio offices, as in days of yore. When Shirley Temple was summoned to Louis B. Mayer’s impressive office at MGM as a twelve-year-old, she probably thought she was safe. But Mayer, after telling Temple she would be the studio’s biggest star, promptly exposed himself to her.

Creepy Hollywood A-Listers: A Personal History

October 16, 2017 § Leave a comment

Mike Ovitz

Kevin Costner

Ben Affleck

I first worked in the entertainment industry as a story analyst at CAA, a job I did part-time from late 1989 to around 1992. Though it paid horribly–$25 per script and $50 per book, as I recall-it was a good way to find out what other people were writing (crap, for the most part). Because this was before PDF’s, I had to go to Beverly Hills to pick up my assigned scripts, which I would read, synopsize and analyze overnight. Arriving at CAA’s brand new, I.M. Pei-designed building at Wilshire and Santa Monica, I would announce myself at the desk and wait under the giant Roy Lichtenstein painting until I was allowed to go down to the Story Department, a cramped warren of basement rooms that, in addition to unrelentingly tense CAA atmosphere, led me to refuse a staff position.

One night, after a last-minute call to pick up scripts, I had to bring my five-year-old son with me. As we crossed the lobby toward the elevator, I saw Mike Ovitz, then CAA’s Chairman. Peering out from behind a column, he was staring at me stonily. I glanced back; more staring ensued. Years later, I read that CAA employees were instructed to avert their eyes in Ovitz’s presence, but I never got that memo. Ovitz continued to stare until the elevator doors closed.

At that point Mike Ovitz was the most powerful and feared man in Hollywood, threatening, cajoling, and making and breaking careers. He also had an uncanny knack of being everywhere, including many of the places I went. Soon I was receiving the Ovitz stare at the Forum during a Lakers Game, and during lunch at Locanda Veneta and Maple Drive. Both Ovitz’s ubiquity and his staring came to an end when he left CAA for Disney, at which point he also lost his power. But before that fateful move, he presided over some staring by a client, Kevin Costner.

Costner, then at the height of his career, was having lunch with Ovitz at the latter’s special booth at Maple Drive on a day I was there for a business lunch. The booth was lozenge-shaped, allowing Ovitz almost total privacy and his client a view of the room. The woman I was meeting was an hour late, and I was too naive to take this as a sign and leave. Between the wait and the lunch, I spent nearly four hours at Maple Drive that day, making three trips to the ladies’ room. To get there I had to pass Ovitz’s booth, and each time I walked by Costner would stop talking and watch me. This was no flirty glance or admiring gaze but a fixed, unblinking stare, reptilian in its intensity and impossible to ignore.

Years passed, and I assumed my days of being stared at like prey by Hollywood stars were over. Then, in 2000, it happened again. This time I was having lunch with my then teenage son in the courtyard of Pinot Hollywood. It was a hot August day and most of the patrons had finished, leaving us and the couple at a neighboring table. At some point I realized the man had been staring at me for some time, and showed no signs of stopping. “That guy is making me very uncomfortable,” I said to my son, who turned around to look at him. “Mom,” he said, “That’s Ben Affleck, and he’s with Gwyneth Paltrow.” Affleck was wearing a baseball cap; his hair, dyed for “Pearl Harbor,” had masked his appearance, and all I could see of Paltrow was her blonde hair. In time they got up and left, leaving me to wonder why a movie star who was having lunch with his movie star girlfriend would bother staring at me.

More than two years later, I was stopped at a long red light at the corner of Rossmore and Beverly. Though it was a cold day, the young man in the convertible to my right had the top down. He wore a grey watch cap, and he was staring at me so intently that if he had been a cartoon character his eyes would have been out on stalks. His car was uncommonly beautiful and expensive for a young person, and I was about to roll down my window and say, “Hey guy, nice car–is it your dad’s?” when I realized it was Ben Affleck. The convertible was the blue Bentley Azure given him by Jennifer Lopez, who was then his fiancée. I said nothing, and a moment later the light changed. He turned right and I went straight, already certain he was never going to marry Lopez.

Though I haven’t seen Affleck since, the creepiness of these encounters has stayed with me. To the horror of my boyfriend at the time, I once tried to hide under a table at Matsuhisa when I spotted someone who resembled the actor. Even worse, my subsequent boyfriend’s parents lived next directly next door to Affleck, who by then was married to Jennifer Garner. Though walls and trees blocked all views of their property, I half expected him to appear out of thin air and start staring at me again.

Last week Affleck made news by claiming not to know anything about Harvey Weinstein’s sexual abuse of women. He was then accused of lying by Rose McGowan, who reported not only telling Affleck that Weinstein raped her but his response: “Goddamnit! I told him to stop doing that.” This, and the allegation that Affleck groped Annamarie Tendler after the Golden Globes in 2014, brought back memories his fixed stare, and not fond ones.

Harvey Weinstein, Bully For All Seasons

October 13, 2017 § Leave a comment

Harvey Weinstein

I’ve been out of town for the past week; what’d I miss?

Just kidding! The news of Harvey Weinstein’s rampant sexual abuse reached far beyond New York and Los Angeles. It spread like molten lava, and each new day brought another fiery stream of damning evidence against him. The list of women who have been assaulted in one way or another is enormous and stretches back decades. Was I surprised? Only at the way it happened, with an exposé in the New York Times unleashing an explosion of accounts from actresses, models, employees–in short, any woman who came within Weinstein’s thuggish reach.

I’ve only encountered Harvey Weinstein once, in a crowded screening room at the Cannes Film Festival in 1995. I was sitting next to a young man whose name I no longer remember; as I recall, he worked in acquisitions for one of the studios. When Harvey Weinstein sat down in the next row with his entourage, he turned to me and loudly said something like, “Hope, have you ever seen such an ugly man in your life? I mean, look at him” “Shh,” I muttered, “He can hear you.” At that point, Weinstein turned and glared menacingly at the man. Though that might have been his usual expression, I was terrified he would start a fight. Fortunately the lights dimmed, and Weinstein turned his head toward the screen. I never saw the either man after that festival, though I’ve often wondered what prompted the comment–and my involvement.

That year at Cannes, Weinstein bought scores of films, far more than he could release in the next couple of years. The rumor was that he bought many simply to spite other distributors, which only added to his growing list of enemies. Though I never heard anything about sexual abuses, the fact that Weinstein was already a feared and loathed bully made the allegations easy to believe. He was so powerful that he could make or break careers, which is why he got away with so much.

In the years since, I’ve often wondered why certain actresses, all promising and successful in their early and mid-twenties, seemed to work very little in what should have been their prime. It made no sense to me that Gwyneth Paltrow, Rosanna Arquette, Mira Sorvino and Rose McGowan had careers that stalled; now it does.

Next time: Encounters with A-List Hollywood Creeps

Remembering Hugh Hefner

September 28, 2017 § Leave a comment

Hugh Hefner and Me, Post-Interview/Hope Anderson Productions

My first and only meeting with Hugh Hefner, who died yesterday at 91, took place in 2008, when I interviewed him for my documentary “Under the Hollywood Sign.” Our meeting took place at the Playboy Mansion, in a room that was permanently lit and dressed for filming. It was an afternoon of rules and rituals: after announcing myself at the hidden intercom outside the gate (“talk to the rock,” in “Entourage” parlance) I was instructed to stand with my crew in the courtyard until the PR rep admitted us. Peacocks wandered by as we waited, and noises from unseen animals eminated from the zoo. Once we were inside and set up, Hugh Hefner appeared in his trademark silk smoking jacket. He sat down in a throne-like chair and the interview began.

It was a strange, yet not entirely unfamiliar, experience. At fifteen, I toured Buckingham Palace with my family, a visit made possible by a former employee of my father’s company who was then Keeper of the Privy Purse. After watching the Changing of the Guard from inside the gates, we trooped through the Palace’s public rooms, all of them vast and a hundred years behind the times in their decor. The Playboy Mansion, with its protocol and fusty oak paneled rooms, was the closest I’ve come to revisiting Buckingham Palace, though unlike the Queen, Hugh Hefner was present. He was also gracious. After the interview, I told him that reading my father’s Playboy magazines as a child had given me an excellent sex education, which didn’t surprise him in the least. We posed for a picture, he exited and I was soon outside the gates again, in the real world.

“Under the Hollywood Sign” is available on DVD and streaming at http://www.hopeandersonproductions.com

Related article:

https://underthehollywoodsign.wordpress.com/2010/04/28/hef-saves-the-hollywood-sign-again/

How “Blade Runner” Became a Cinematic Classic

September 20, 2017 § Leave a comment

As the countdown to “Blade Runner 2049” continues, it’s worth remembering that the original “Blade Runner” wasn’t met with the kind of reverence it enjoys now. When it came out in 1982, I was living in Berkeley and saw it in a packed theater on what I’m pretty sure was opening night. From the first scene–explosions over an ominous-looking Los Angeles–I knew “Blade Runner” was a masterpiece. I loved the dystopian future it depicted, from the constant rain to the Japanese-influenced motifs. I loved the fact that Deckard was an updated Raymond Chandler detective who lived in a famous Frank Lloyd Wright house. I loved the fact that the climactic chase scene was filmed in the Bradbury Building, George Herbert Wyman’s 1893 iron-and-glass masterpiece that, like the film itself, was years ahead of its time.

I was surprised, to put it mildly, when the critics didn’t share my enthusiasm. Janet Maslin, though she praised the movie’s special effects, called “Blade Runner” “a mess, at least as far as its narrative is concerned.” On their TV show “At the Movies,” Gene Siskel called it “a waste of time,” while Roger Ebert gave it a thumbs up only for the effects. Twenty-five years later, Ebert reappraised it positively, in part because the once-futuristic lighted billboards had become a reality: “the story benefits…by seeming more to inhabit is world than be laid on top of it.” (Siskel died in 1999, so there’s no way of knowing whether he would have changed his mind.) The Hollywood Reporter called it “a Felliniesque journey into Dante’s Inferno, with Micky Spillane in tow,” though it also called it “mesmerizing.” Thanks to its decidedly mixed critical reception, “Blade Runner” was a box office dud.

The film’s reputation started changing with the release of Ridley Scott’s director’s cut in 1992. Shorn of its voice-over narration, “Blade Runner” gained a new following and began to be regarded as a science fiction classic. The lack of narration–tacked onto the original because some thought the story confusing–gives the film greater dynamism, as did additional footage that seems to affirm the theory that Deckard himself is a replicant. In 2007, the Final Cut, which I haven’t seen, expanded the unicorn dream sequence, remastered the haunting Vangelis score and added three scenes.

On October 6th, we’ll finally get the sequel: “Blade Runner 2049,” starring Ryan Gosling and Harrison Ford. Directed by Denis Villeneuve, it looks worthy of the original and will draw a massive audience of fans, including me. As for the critical reception, it’s safe to assume a much better response than the original received in 1982.

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My ebook on “Blade Runner” is available here:

http://www.barnesandnoble.com/s/BLADE-RUNNER–FOUR-ESSAYS?keyword=BLADE+RUNNER%3A+FOUR+ESSAYS&store=ebook