Remembering Carrie Fisher

January 10, 2017 § Leave a comment

Carrie Fisher in 2013

Carrie Fisher in 2013


Carrie Fisher’s death on December 27th was an unexpected tragedy: she had suffered a massive heart attack on her flight from London on December 23rd, the nightmare scenario of every frequent flier. Why December 23rd? Why London? I soon learned she was flying back from filming the Amazon series “Catastrophe,” in which she plays Rob Delaney’s mother. As for the timing, it was obvious: she had made sure to get home in time for Christmas.

The death of her mother, Debbie Reynolds, of a stroke on December 28th was shocking in its timing, though not as unexpected: Reynolds was 84 and had been in poor health. Although a mordant joke circulated that Debbie had managed to upstage her daughter one last time, her death underscored their devoted relationship: the two were next-door neighbors on a compound in Beverly Hills and in daily contact.

Both women became famous for films they made at 19: Reynolds for “Singing in the Rain” and Fisher for “Star Wars,” yet their careers couldn’t have been more different. Reynolds was a studio creation, an MGM musical star whose cabaret act lasted more than fifty years. She wanted a similar career for her daughter, bringing her onstage to sing from the age of 13, but despite an excellent voice–strong, bluesy and jazzy–Fisher blazed her own trail. After a stellar film debut in “Shampoo,” in which the 17-year-old fed, interrogated and seduced Warren Beatty in two riveting scenes, she beat out every young actress in Hollywood for the role of Princess Leia. “Star Wars” would have been enough for most people, but Fisher went on to write books: five novels (including Postcards from the Edge, which became a feature film) and three memoirs, one of which, Wishful Drinking, became a one-woman show.

Beyond her published writing, Carrie Fisher was for decades a sought-after screenwriter, not only on original work but on other people’s screenplays. Punching up scripts was her bread and butter and she did it well, adding jokes and fleshing out characters in the “Star Wars” series and in comedies like “Hook,” “Sister Act,” and “Made in America.” She also wrote for the Academy Awards, among many other TV shows. Despite her excellent acting in films like “When Harry Met Sally,” to me she was a writer first and an actress second.

It was through writing that I had my only encounter with Carrie Fisher, at a literary event in the mid-2000’s. It was a small, private gathering so I expected to meet her, but when she arrived–late, badly groomed and out of sorts–I knew it was not to be. As the anxious hosts huddled around Fisher, I sensed she would have rather been anywhere else, yet she had dragged herself to their house after sprinkling glitter in her unwashed hair. I can’t pretend that her brief reading was good, but after joking about the glitter she pushed through it, and probably with more difficulty than any of us knew. Her mother, a tireless trouper, taught her well.

Afterwards her struggles with bi-polar disorder led to hospitalization and shock therapy, which in turn led to a career resurgence–more books, the “Wishful Drinking” show, two more “Star Wars” movies and “Catastrophe.” Fisher’s late work included a documentary, “Bright Lights: Starring Carrie Fisher and Debbie Reynolds,” which aired posthumously on HBO last weekend. Intended as a tribute to her mother, the film now seems a testament to the kind of family values that aren’t supposed to exist in Hollywood. Of course they do, but the Fisher-Reynolds bond was exceptionally strong, and in the end unbreakable.

The Hollyweed Sign and Its Predecessor

January 3, 2017 § 1 Comment

The Hollywood Sign on January 1, 2017/Courtesy LA Times

The Hollywood Sign on January 1, 2017/Courtesy LA Times

Because I was out of town on New Year’s Day, I missed seeing the Hollywood Sign transformed to read “Hollyweed.” Nevertheless, I heard about it from neighbors as soon as I woke up, and shortly afterwards from every imaginable news outlet . While I was surprised that the prankster got away with it, the prank itself wasn’t new, as I knew from making my documentary “Under the Hollywood Sign.”* On New Year’s Day, 1976, less than two years before the completion of the current Sign, a prankster named Daniel Finegood did exactly the same thing to the orignal Hollywood Sign. Here’s a photo:

Courtesy Los Angeles Public Library, Security Pacific Collection

Courtesy Los Angeles Public Library, Security Pacific Collection

At the time of the first prank, the Sign was a crumbling, unguarded relic that anyone willing to climb to could access. Today, the rebuilt Sign is fenced, alarmed and off-limits to visitors without official permits. (Disclosure: I have filmed there twice, both times with permission.) Because the Sign stands below a militarized emergency communications center, trespassers are subject to arrest–or so the City claims. That whoever who transformed the Sign was able to escape notice, let alone arrest, is proof that the Sign’s alarm system failed or went unheeded. One wonders whether terrorists have taken note.

The Hollyweed incident capped off a particularly frenetic holiday week, when thousands of tourists walking in the street (itself a crime) on the sidewalk-less part of Beachwood Drive endangered themselves and trapped residents in and out of their homes. Beyond the gridlock, there’s everything that comes with uncontrolled crowds: trash, public urination, defecation and sex, trespassing, illegal parking, drinking and drug use. The Hollyweed prank was the last straw–and also the event that exposed the lies and double-dealing of Mayor Eric Garcetti and City Councilman David Ryu, who have long promised to enforce the law in Hollywoodland. They haven’t and they don’t, and now it’s indisputable.

*”Under the Hollywood Sign” is available on DVD and as a digital download from http://www.hopeandersonproductions.com

Holiday Gift Ideas From Under the Hollywood Sign

December 12, 2016 § 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, I’m sure you’ll enjoy the work that inspired it.

DVDs will be shipped overseas as well as domestically. 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+anderson

Radical Solutions For Loneliness in Two German Films: “Wild” and “Aloys”

October 26, 2016 § Leave a comment

Lilith Stangenberg in "Wild"

Lilith Stangenberg in “Wild”

Georg Friedrich in "Aloys"

Georg Friedrich in “Aloys”

Though there may be some bad German films I’ve never seen one, which is remarkable given the number I’ve watched over the last thirty years. This past week’s German Currents brought to Los Angeles eight recent features and a documentary on Rainer Werner Fassbinder, whose huge oeuvre (forty-four films in the eighteen frenetic years before his death, in 1982, at thirty-seven) was my gateway into modern German cinema.

Unfortunately I could attend only the last night’s films. Both were excellent and shared a theme: social isolation in contemporary life.

In “Wild,” by writer/director Nicolette Krebitz, a solitary young IT worker named Ania (Lilith Stangenberg) is galvanized by the discovery of a large wolf in the park near her sterile apartment building. Soon she’s reading up on wolf hunting and constructing a perimeter of flags to trap the animal, which she tranquilizes, drags back to her apartment and, improbably, tames. As the wolf becomes domesticated, Ania becomes more feral, with dramatic consequences for everyone and everything around her. Stangenberg’s performance is astonishing, as is the wolf’s (apparently two animals played the role), and the ending is unforgettable.

Aloys (Georg Friedrich), the lonely protagonist of writer/director Tobias Nölle’s eponymous film, is a private detective whose misanthropy and profession have cut him off from normal human interaction. Filming and taping are Aloys’s means of expression as well as tools of his trade, and he pursues them constantly. At the start of the film, Aloys’s father and business partner has just died, leaving him completely companionless. After drinking himself into a stupor on a bus, the bereaved detective awakes to find his camera and latest videotapes gone. Soon he gets a call for ransom, which involves “telephone walking” with a mysterious woman. Through a conversational game, Aloys is gradually drawn out of his isolation and into a relationship with the thief, who turns out to be his suicidal neighbor.

Though neither “Aloys” nor “Wild” has U.S. theatrical distribution at this point, it’s likely that they will be available online in the near future. I recommend both films highly.

All About Jim Thompson (In Print and on Video)

June 29, 2016 § Leave a comment

Jim Thompson in the Living Room of his Bangkok House, circa 1967/Courtesy Jim Thompson Thai Silk Company

Jim Thompson in the Living Room of his Bangkok House, circa 1967/Courtesy Jim Thompson Thai Silk Company

A while ago I was interviewed by Martine Azoulai for her excellent article in Vanity Fair France on Jim Thompson, the subject of my first two documentaries. You can read it here: http://www.hopeandersonproductions.com/wp-content/uploads/2016/06/CO_JimThompson.pdf

If you’d like learn about this fascinating American in English, both “Jim Thompson, Silk King” and “The Jim Thompson House and Art Collection” are available on DVD on my website http://www.hopeandersonproductions.com/dvds/
“Jim Thompson, Silk King” is also available as a digital download http://www.hopeandersonproductions.com/downloads/

Related articles:

https://underthehollywoodsign.wordpress.com/2011/11/10/jim-thompsons-life-after-death/
https://underthehollywoodsign.wordpress.com/2015/07/29/jim-thompson-silk-king-newly-remastered-with-dvd-extras-is-for-sale/

Two Cinematic Tours of Los Angeles: “Knight of Cups” and “City of Gold”

March 24, 2016 § 2 Comments

At the Stahl House in "Knight of Cups"

At the Stahl House in “Knight of Cups”

Downtown Los Angeles in "City of Gold"

Downtown Los Angeles in “City of Gold”


Since the early 20th century, Los Angeles has been the city that outsiders have loved to hate, usually based on fleeting touristic impressions. But no matter what the haters say, indignant reactions from the home crowd are few and far between. There are two reasons for this: 1) Angelenos don’t care what outsiders think of Los Angeles. 2) The last thing Angelenos want for people to move here, so all deterrents are welcome.

In L.A.-bashing, as in most matters, context is crucial. When Woody Allen wrote that L.A.’s “only cultural advantage is being able to make a right turn on a red light,” he was a non-driving visitor to Beverly Hills and the Sunset Strip. How could he know about either local culture or driving? And when David Bowie said, “The fucking place should be wiped off the face of the Earth,” he was referring to his near-fatal cocaine abuse in Los Angeles. (Never mind that his addiction began years earlier, in London.) Ironically, Bowie spent a fair amount of time in Los Angeles over the course of his long career, making movies, collecting awards, appearing on talk shows and recording one of his best albums, “Station to Station,” in Hollywood. Yet he clung to the opinions he formed while high in the back of limos and darkened hotel rooms.

I was thinking about all of this as I watched the new Terrence Malick film, “Knight of Cups.” The plot, such as it is, concerns Rick (Christian Bale), an improbably attractive screenwriter who meanders around Los Angeles (with side trips to Death Valley and Las Vegas), his mind veering back and forth in time. Rick covers a lot of miles, yet he never writes a word. In fact, the closest he comes to working is meeting up with his agents, twice at CAA (Century City) and once at (I think) the Warner Bros. back lot (Burbank). But who has time for writing when there are so many women to recall? Apart from Cate Blanchett and Natalie Portman, most of Rick’s paramours are young models who wear filmy dresses (or less) and extremely high heels. (FYI, Terrence Malick: real L.A. women favor pants and shoes they can walk in.)

Fortunately, the places in the movie are decidedly real. Even the most over-the-top party (hosted by Antonio Banderas, though for me the highlight was the appearance of Joe Lo Truglio) takes place in well-known location: a massive Versailles-like mansion in Beverly Hills. Rick goes downtown (Broadway, the Bonaventure, etc), to the beach (constantly), to LACMA (Mid-Wilshire) and the Huntington Gardens (San Marino). He lives in a well-known industrial-looking apartment (the Gallery Lofts in Marina Del Rey), although I’m pretty sure that no one has seen a naked woman in six-inch heels talking on the phone on the balcony. Among the many visual highs are a twilight photo shoot at the Stahl House (Pierre Koenig’s Case Study House #22), gorgeous shots of Venice and PCH, and footage of the L.A. River and the tracks at Union Station. In short, it’s a film is by Emanuel Lubeski, with tiny amounts of dialogue and large amounts of voiceover written by Malick.

As the film washed over me, I was surprised at how many of the locations I had visited, not only architectural gems like the Broadway Theaters, the Stahl House and the Annenberg Beach House but a street in Hancock Park three blocks from where I used to live. For outsiders, “Knight of Cups” is a dream-like look at a great swath of Los Angeles–at least the rich, white, show biz side of it. But for those of us who live here, it’s much more: a trippy, deluxe home movie shot by three-time Oscar-winning cinematographer.

Coincidentally, I saw “Knight of Cups” on the same weekend as “City of Gold,” the new documentary about the Pulitzer Prize-winning food critic Jonathan Gold. Like the Malick film, “City of Gold” provides a beautiful, in-depth tour of Los Angeles, though a less rarefied one–e.g., no naked women in towering designer shoes and many ordinary people, all of whom have jobs. Gold is a native Angeleno whose knowledge of L.A. is profound and inclusive. Intrepid and expert in most of the world’s cuisines, he takes us to a wide variety of notable restaurants, two of which happen to be food trucks. The wonderful street scenes in “City of Gold” show the real Los Angeles: a multi-racial, multi-cultural vibrant megacity. The documentary also contains this truth: Los Angeles is beyond the grasp of those who, in Gold’s words, “come for a couple of weeks, stay in a hotel in Beverly Hills, take in what they can get to within ten minutes in their rented car and [then] explain to you what Los Angeles is.”

Merry Christmas from Under the Hollywood Sign

December 24, 2015 § Leave a comment

IMG_1642

The photo above shows California holly (toyon) in bloom in the Hollywood Hills. Some believe this plant inspired the name Hollywood, although it was more likely a random choice by Daeida Wilcox, who met a woman on the cross-country train with a vacation house of that name. You can read more about California holly here: https://underthehollywoodsign.wordpress.com/2010/11/13/the-hills-are-alive-with-california-holly/

This is the seventh Christmas for Under the Hollywood Sign. As regular readers know, I began the blog to promote my documentary of the same name. That film, as well as my others, is now on sale at half price (that’s $12.50 for features; $6 for the short) on my website http://www.hopeandersonproductions.com The sale continues through the end of the month; please check it out.

Where Am I?

You are currently browsing the Documentaries category at Under the Hollywood Sign.