April 9, 2017 § 1 Comment
Those who’ve seen my documentary, “Under the Hollywood Sign,” will remember my interview with the musician Alan Brackett, a longtime Hollywoodland resident who also contributed the song that accompanies the end credits. Brackett has just published an illuminating memoir, Almost Famous: Journey to the Summer of Love, about his early life in Santa Barbara, where he was a child performer, and his subsequent musical career in Los Angeles during the 1960’s.
“I believe I helped kill [folk music] with…over-exposure,” he writes refreshingly. Brackett isn’t kidding: before founding the seminal psychedelic band the Peanut Butter Conspiracy, he was a successful folk musician, most notably in the Hillside Singers, a quartet that toured the country during the height of the folk craze in the early 1960’s, when he was still a teenager.
The other reason for folk’s demise, of course, was the British Invasion, whose seismic influence Brackett grasped as he enlisted in the Marines in 1964, ahead of being drafted. After six months of service he returned to a changed world, musically and socially: the 60’s had begun in earnest. His new band (first called The Young Swingers, then The Ashes) played rock, and after a few more incarnations and personnel changes became the Peanut Butter Conspiracy in 1966. The band signed with Columbia, cut an album and quickly became famous. Brackett, who played bass, was its main songwriter.
PBC had a woman as its lead singer, Barbara “Sandi” Robison, which probably contributed to its rivalry with the Jefferson Airplane, which was led first by Signe Anderson and then Grace Slick. (Beyond that fact, the Airplane’s drummer, Spencer Dryden, had been a member of The Ashes.) In an affecting aside, Brackett talks about manager Bill Graham’s reaction to the PBC’s getting better reviews than the Jefferson Airplane did: he kept the band off any bill that included the Airplane, effectively cutting off the PBC’s chances to play festivals and large venues across the country.
While “Almost Famous” will appeal most to those who remember the Peanut Butter Conspiracy and its heyday, anyone can appreciate the whirlwind atmosphere of the late 1960s music scene. Within a few months of its founding, the PBC not only had a major label recording contract but was billed with every famous band and musician of the day. The Doors, the Association, Iron Butterfly and the Byrds are a few of the bands Brackett knows well, and Bob Dylan, Janis Joplin, Elvis Presley and Frank Zappa enliven his anecdotes. His memories are all the more affecting because many of these musicians are gone, along with the Los Angeles they inhabited so brightly.
“Almost Famous” has some drawbacks: it’s heavy on childhood reminiscences and light on Brackett’s later life, including a stint in music publishing and a longer career as a Hollywood prop master. It also could have benefitted from a cleanup of the spelling, punctuation and grammar. Nevertheless, the book is a valuable account of an important time in American culture, and well worth reading.
January 3, 2017 § 1 Comment
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:
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
December 12, 2016 § Leave a comment
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
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
December 24, 2015 § Leave a comment
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.
December 11, 2015 § Leave a comment
Today I’m launching a new website to showcase my films, books and future projects. In celebration, I’m selling all my DVDs at half price for the rest of the year. If you’ve enjoyed this blog, please support the work that inspired it at http://www.hopeandersonproductions.com
Many thanks to Heath Woodward http://www.wdcreation.co.uk/ for building my website.
October 23, 2015 § 1 Comment
Lately my workdays have consisted of moving from writing project to writing project in monastic solitude. Although this suits me fine, others might compare it to self-imposed house arrest, despite my occasional escapes to the gym and grocery store. Yesterday would have been more of the usual, except that I spent the morning in front of the camera for an interview with two Miami-based French journalists for the TF1 program “50 Minutes Inside.”
Regular readers might recall my previous French TV interview, which took place at the Hollywood Sign in 2012. Not only was I overcome with vertigo but the rough terrain did something to my ankle that has never resolved itself. Even during the interview I realized it was the last time I would rappel down Mt. Lee to the letter H, and I was only slightly sorry about it. https://underthehollywoodsign.wordpress.com/2012/06/29/going-back-to-the-hollywood-sign-this-time-as-an-interviewee/
Fortunately, this time the director was amenable to interviewing me at home, so after making myself presentable (sympathies to everyone who has to have camera-ready hair, makeup and clothes daily), I spent some time pretending to work at my computer before answering a lot of questions about the Hollywood Sign, its origins and its meaning.
As some have noticed, I’ve avoided writing about Hollywood Sign-related tourism issues for the past couple of years, but not because of email from readers hellbent on lighting the Sign at night. What did it was the howls of neighbors who disagreed with what I wrote, accusing me of trying to “speak for” them. (Note to those neighbors: write your own blog.) Nevertheless, I agreed to be interviewed because I wanted to show that the Hollywood Sign’s present status is a very recent, GPS-fueled phenomenon, and that whatever symbolism it possesses today appeared not only decades after its origins in 1923 but well after its reconstruction in 1978. I also wanted to explain the Sign’s beginnings as a billboard for Hollywoodland real estate, as well as its kinship to other municipal signs that, for lack of a mountain or evocative name, decorate water towers and hillsides across America, attracting no one.
No doubt all of this proved disappointing to Adrien Rappoport, my interviewer. “What do you feel when you see those letters?” he kept asking, as if I still might be capable of an epiphany about the Sign. Unfortunately, any charm I felt toward it when I moved here in 2005 faded long ago. Now that the Hollywood Sign is inextricably tied to noise, trash, bumper-to-bumper traffic and a complete lack of street parking on weekends, what I usually feel is annoyance. That emotion has its limits, so I moved on to the feelings of people who happily come here each day to pose for pictures. “I’m a star,” their expressions say, which explains the Hollywood Sign’s appeal: instead of making people feel small, it makes them feel big. Ultimately, the letters on Mt. Lee are a blank screen on which countless individual dreams are projected. As for the Sign’s meaning, it’s whatever people want it to be.
My interview on “Cinquante Minutes Inside” will be broadcast in France in February. Information about online availability to come.
April 25, 2015 § 2 Comments
In the late 90s, I took a UCLA Extension course in directing whose instructor declared, “There is no more objective truth in documentaries than [in] feature films.” I couldn’t have disagreed more. Documentary films–as opposed to the opinion piece or docu-drama–are the converse of feature films, with a distinct set of rules:
1. Don’t make things happen. Rather than forming an opinion and then trying to prove it, documentary filmmakers shoot first and organize later.
2. The script comes last. Any narration is based on the footage, as is the structure of the film. Documentaries are made in the editing room.
3. Don’t mess with the timeline. With the exception of interviews, events are shown in the order of occurrence.
4. No pictures, no story. All narration must be illustrated by images, preferably moving images, followed by still photos and illustrations. Re-enactments, if any, are a last resort.
Because I’ve followed these rules in all my documentaries, I’ve had to make hard choices, particularly where images are concerned. When Jim Thompson’s heir failed to follow through on his promise to let me use family photographs, I had to cut short the section on Jim’s youth. Later, a total lack of photographs of Peter the Hermit, the original Hollywood costumed character, led me to drop his story from “Under the Hollywood Sign.” In the same film, I reluctantly made a re-enactment of Peg Entwistle’s final hour because I lacked photos and artifacts. In both Peter and Peg’s cases, I later received a flood of photographs and information, some of which can be found on this blog, but in Peter’s case it came too late to be included in the film.
While I don’t regret my strict approach, it doesn’t jibe with recent trends. The preferred model for new documentaries is the three-act screenplay, which requires a dramatic arc. Stories unfold like police procedurals, with satisfactory conclusions, while unrecorded events are generously re-enacted, often in lurid slow-motion. All of this makes for compelling entertainment, but is it real?
Alex Gibney’s “Going Clear: Scientology and the Prison of Belief,” is a good example of the new approach. Essentially a filmed version of Lawrence Wright’s book of the same name, the film employs traditional elements–interviews, archival footage, B-roll of Scientology landmarks. But it is also loaded with re-enactments that tell L. Ron Hubbard’s story and those of his disaffected followers. So we see recreated auditing sessions using the E-Meter, typewriters, explanatory charts and lots and lots of stars (the planetary kind, though there are archivals of John Travolta and Tom Cruise as well).
Absolutely nothing is left to the viewer’s imagination. To illustrate his subjects’ retelling of Scientology’s creation myth, Gibney creates a colorful montage of 1950s Americana, spaceships, volcanoes and planets. And in case the term “Operating Thetan” proves too difficult to comprehend, he inserts a shot the words, neatly typed, on a piece of paper. The paper is still in the typewriter, one of many such shots, lest we forget that L. Ron Hubbard was a writer.
Gibney’s treatment of the interviews is curious. Though his interviewees–who include not only Wright but former Scientologists Paul Haggis, Jason Beghe and Spanky Taylor–are without exception eloquent, compelling and worthy of screen time, Gibney does everything possible not to show them talking. When not cutting to re-enactments, he cuts to graphics–anything to avoid screen time for a talking head. The result is an undermining of the interviewees, whose stories, after all, are the crux of “Going Clear.”
Next time: “The Jinx.”