October 16, 2017 § Leave a comment
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.
May 18, 2015 § Leave a comment
But there’s more to Tom LaBonge’s shenanigans than Hollywoodland’s travails. Recently it came to light that he diverted $1.6 million in funds for street and sidewalk repairs and community services into salaries for his ever-growing staff. He also spent lavishly on an Elvis Presley birthday party. You can read more about it here: http://www.losfelizledger.com/article/labonge-questioned-over-misuse-of-funds/
Outsiders will find it incredible that the frontrunner in tomorrow’s election is none other than Carolyn Ramsay, the former chief of staff for LaBonge who presided over most of the transfers of money. She is also his hand-picked successor. Happily, we have an alternative: David Ryu, a Community Health Director who is untainted by scandal and refreshingly–unlike the rest of the City Council–has promised not to take developers’ money. He is our best chance for positive change, which is why I am endorsing him today.
Polls are open from 7am to 8pm. For more information, please call (888) 873-1000.
January 31, 2015 § 2 Comments
Many people have an Oscar fantasy, whether or not they have any connection to filmmaking. Most of these involve making a great speech that simultaneously expresses gratitude toward the deserving and snarkiness to the naysayers. But my Oscar fantasy concerns fashion: on the obligatory march down the red carpet, I respond to questions about my outfit and jewelry with, “They’re my own.” (Wait a minute!, you say. Writers and directors don’t wear borrowed gowns and jewels! Oh yes they do, even documentarians.)
If you’ve ever seen old newsreel footage of the Academy Awards from the days when ceremonies were held at the Roosevelt or Pantages, you’ll notice that all the actresses look gorgeous in their gowns and jewels. That’s because a) dressing well was a requirement of their contracts, and b) they’re wearing their own dresses. Even if they were lucky enough to have Edith Head or Adrian design something special for the event, actresses’ clothes were created for them, not six-foot models in Vogue.
This went until the 1960s, when the demise of the studio system coincided with a seismic shift in fashion. Suddenly it was hard to know what formal dress was anymore: long? short? pantsuit? (I’m leaving actors out of this discussion because black tie is pretty straightforward, variations in color and lapel size notwithstanding.) It was fashion chaos, and what ensued was a two-decade period where actresses came to the Academy Awards wearing everything under the sun, with memorable results. Leaving aside Cher and Bjork–because musicians tend toward outré fashion, no matter what the year–I particularly recall Kim Basinger’s 1990 white crinolined ball gown, which was strapless on one side and long-sleeved on the other. She designed it herself, and it made her look like a demented Cinderella. But it also added fun to the three-hour Oscar telecast.
This period of home-designed disasters might have gone on longer if not for the increasing power of Mr. Blackwell, a former fashion designer who found fame and fortune with his Worst Dressed List. Annually he would make the TV news with his round-up of the chief offenders of fashion, mostly actresses, though singers like Cher, Madonna and Britney Spears appeared regularly. It was a big deal. On the second Tuesday of each January, reporters from all the networks would gather at his house for live broadcasts about The List, which was widely discussed.
For sixteen years, I was Mr. Blackwell’s neighbor, living around the corner from his Italianate house on Irving Avenue. (His house happened to be down the block from the old Harold Lloyd house, which I wrote about in this post https://underthehollywoodsign.wordpress.com/2009/06/05/harold-lloyd-lived-here/) My street had houses on one side, and with only a tall hedge dividing his back yard from my street I could hear the Worst Dressed media circus. Because I had a dog that I walked around the block least twice a day, I soon struck up a superficial acquaintance with Mr. Blackwell and his longtime companion. Whenever I saw them in their front courtyard, we would say hello.
Years passed. My dog died and I got another. My son grew up. By the early 2000s, I saw Mr. Blackwell less often, and then not at all. Then in 2005 I moved–only 4 1/2 miles away, but it might as well have been to a different city. I didn’t think about Mr. Blackwell until I saw his obituary in 2008, after which I forgot about him again. Then last week Jason Sheeler published an article about Mr. Blackwell inEntertainment Weekly, and the memories came rushing back.
It’s not online, but “Mr. Blackwell: The Original Red Carpet Bitch” (EW, Jan. 30-Feb-4 2015) does a good job of summing up the life and work of Richard Selzer, a.k.a., Mr. Blackwell. There was much for me to learn: his real name, for one thing, and the fact that he was from Brooklyn and first worked as a hustler on Central Park West. From there he came to Hollywood, where he was an unsuccessful actor and a somewhat more successful agent and fashion designer. The Worst Dressed List grew out of a column he started writing in 1960 for American Weekly magazine. Originally it included the Best Dressed, but no one cared about fashion successes: everyone just wanted the failures. By 1964, he was famous, and would be for the next forty years.
According to the article, toward the end of his life, Mr. Blackwell became obsessed with his legacy, and for good reason. By the time he died in 2008, the red carpet had been transformed from an amusing hit-or-miss collection of party clothes to a serious business. Kim Basinger exemplifies the change: eight years after her fashion fiasco, she won Best Supporting Actress in a celadon satin gown by Escada that received universal praise. (It had to, since it was copied from Edith Head’s stunning draped gown for Grace Kelly when she won Best Actress for “The Country Girl” in 1955.) Playing It Safe was the new rule of red carpet fashion, and still is. For the past twenty years, few, if any, actresses have worn their own clothes and jewelry to the Oscars, and a large industry has grown up around the stylists who dress them in borrowed finery.
Though there are few fashion disasters on today’s red carpets, there is also less fun and no surprise. No one wants to be laughed at, whether by Mr. Blackwell, Joan and Melissa Rivers, US Magazine or EW itself, and anything truly original would be an open invitation to ridicule. In the end Mr. Blackwell’s Worst Dressed List spawned cookie cutter gowns in safe colors, borrowed jewels from Cartier, Tiffany and Harry Winston, and an overall blandness. What a shame he isn’t around to see it.
August 20, 2012 § Leave a comment
While this might not sound like a serious problem, it is huge for those of us who live in the Canyon and have schedules to keep. Once we get stuck behind crawling tourist traffic, we are trapped for a mile. Drivers are completely unable to pass north of Graciosa, where Beachwood Drive is a narrow, two-lane ribbon. South of Graciosa, where the road is considerably wider, passing is possible but fraught with hazard. Sudden stops and swerves are common tourist driving tactics, as is road rage: How dare you pass us! seems to be the general attitude, as if no one should have anything better to do than chug up and down Beachwood Drive at 2/3 the legal speed. (I’m neglecting the fact that some tourists go even slower than 20 mph. 15 mph is common.)
The mile-long stretch between Franklin Avenue and the Gates has no stop lights and only two stop signs. At the posted speed of 30 mph, it took me 1 1/2 minutes to drive it at 6:45pm today. Yet it often takes five times as long, an inexcusable length of time for such a short distance. Getting stuck behind tourist traffic on Beachwood Drive is getting more common–and more frustrating–every day.
If you’re reading this and contemplating a visit to the Hollywood Sign, please drive at the posted speed. If you need to take a photo, please pull over, signalling first, and let the driver behind you pass. I’m thanking you in advance, not just for myself but for everyone concerned.
July 3, 2012 § 4 Comments
A few days ago, I dropped by LACMA for my first look at the newly opened Levitated Mass, Michael Heizer’s suspended granite megalith. Popularly known as The Rock when it made its arduous 11-day journey from quarry to Mid-Wilshire in March, it has been transformed into art by its placement over a sloping 456-foot-long slot that allows viewers to pass directly under it. Having passed the boulder during the construction period, I had some idea of its immensity; what I didn’t know was how it would feel to walk through the slot. I imagined the walkway would be mobbed, much as the boulder was during its trip from Riverside County, and that crowds would be part of the experience. But on a Monday afternoon visitors were sparse, allowing me to dawdle and take numerous photos.
What amazed me about Levitated Mass–aside from the peaceful aura of a piece previously described as a “rock star”–was how different the boulder looks from different vantage points in the slot. Approaching from the west, it appears Matterhorn-like, while the eastern side appears comparatively flat and squat. I found it hard to believe it was the same rock. Also interesting is the walkway itself, a smooth concrete passageway so wide you could drive through it in a large pickup truck. (LACMA’s website has an interesting video about its engineering and construction that shows a mind-blowing amount of rebar.) When I was there, many of the visitors seemed as taken by its high walls, running their hands along the canted slots that run through each.
As far as I know, Levitated Mass is the only large Land Art work to be placed permanently on the grounds of an urban museum, a fact that can hardly be overestimated. By allowing the general public access to a monumental work that normally would be open only to a handful of curators, collectors and fans, LACMA and Michael Heizer have done a boldly democratic thing. And though Levitated Mass is an impressive work of Land Art, its greater importance lies in its accessibility.
Additional Source: http://www.lacma.org
May 18, 2012 § 1 Comment
For the past week, I’ve been mesmerized by the 1940 Census records for Beachwood Canyon. A time capsule loaded with demographic information, the Census shows a neighborhood that was largely upper-middle class, yet diverse in national origins and occupations. (Unsurprisingly, there wasn’t much racial diversity; apart from a few Lebanese and Egyptians in nearby Bronson Canyon, everyone in the area seems to have been of European extraction, including live-in servants.)
As I expected, movie industry employees were well represented in the Canyon, which crawled not only with actors but directors, producers, sound engineers, cameramen, and executives. But I didn’t think musicians would be as prevalent: conductors, singers, pianists, violinists, teachers and coaches, most not connected to the movies, abounded in the Canyon. It’s a reminder of the fact that Los Angeles, with its burgeoning population of urban sophisticates, was a center for live music long before the existence of the Music Center, let alone Disney Concert Hall.
Another notable element of Beachwood’s 1940 population was the number of residents born outside California. Unsurprisingly, the largest number came from the Eastern Seaboard, with significant numbers from the Midwest, notably Ohio, Illinois and Wisconsin. Others came from Kansas, Nebraska and other Plains States. More surprising is the number of foreign-born residents, who were so common that every page I reviewed had at least one. The most common foreign birthplaces were England, Germany, Canada and Russia.
In 1940 the United States was still emerging from the Great Depression, an economic reality that was reflected in Beachwood’s households. Multigenerational families were common, not only where adult children lived with their parents, but in households containing three generations. For example, the house next door to mine, notable for having been designed by a famous architect, housed not only the architect’s sister, her husband and two sons but her widowed mother and middle-aged brother, as well as a maid from England. Although they undoubtably were the richest family on the block–the husband was a manufacturing executive with an income in excess of $5000 per year, the highest category on the Census, and his wife worked as an apartment manager–the house is far from palatial. A family of three lives there today, and the house doesn’t seem too big for it.
Another significant difference between Beachwood then and now is the number of households with live-in servants. Maids were common in 1940, as were trained and practical nurses, most in charge of babies and toddlers. Other households listed lodgers–which, ironically, are common again in today’s tough economy. The prevalence of rented rooms in circa 1940 Hollywoodland belies the idea that houses above the Gates were intended as single-family homes: lodgers, it seems, have always lived here.
The Census contains a last surprise, one that puts to rest the idea of Los Angeles as a way station for vagabonds. It asks respondents where they resided five years earlier, on April 1, 1935. Overwhelmingly, Beachwooders responded “same place.”
Next time: Discovering the original owner of my house.
May 6, 2012 § 3 Comments
Last week’s anniversary of the Los Angeles Riots brought a flood of programming, all of which helped to bring the chaos of 1992 into historical perspective. Like others who lived through the events, I found myself remembering things I had suppressed during the intervening years, when moving on seemed more important than dwelling on the violence and terror of those days. One vaguely recalled memory, so frequently overshadowed by the Rodney King verdict, was the Riots’ other inciting incident: the shooting death of 15-year-old Latasha Harlins by Soon Ja Du, a Korean convenience store owner, in March of 1991. Although Soon claimed self-defense in shooting the girl, an African-American high school student she had accused of stealing a carton of orange juice, she was found guilty of voluntary manslaughter in November of that year. The jury recommended a 16-year prison term, but Judge Joyce Karlin sentenced Soon to 5 years probation, with 400 of community service and a $500 fine. Outrage over the absurdly lenient sentence set the stage for violence. The King verdict the following April was like a match tossed on a pool of gasoline, and the city erupted.
Not surprisingly, Korean-owned businesses were heavily targeted by rioters. These included not only convenience stores in South Los Angeles but stores throughout downtown Los Angeles and Koreatown, particularly along Western Avenue from Pico to Beverly. At the time, I lived on the eastern edge of Hancock Park, at 6th and Bronson. Six blocks away, a half-dozen fires raged at strip malls along Western, including the one pictured above. Many stores that escaped the fires were vandalized and looted. Those of us who lived nearby were under curfew for several days, during which National Guard troops arrived in tanks. Heavily armed, they patrolled the streets and used the Masonic Temple on Wilshire as a garrison.
Amid the strangeness of this quasi-war zone, we resumed our daily lives. The kids went back to school and everyone adopted a keep-calm-carry-on attitude. One day several weeks later, my son and I visited a shoe store in the mini-mall at Wilshire and Grammercy, one that carried all the latest sneakers. It was owned by a young Korean couple, and the husband had gone out of his way to be friendly and kind to us. Now we were shocked to see him emerge from the stock room with a bruised face and broken arm, injuries suffered at the hands of looters. He seemed remarkably unembittered, but the business never recovered and closed six months later.
Among the commentary I heard last week, a statement by a Korean-American professor had particular resonance. Before the Riots, she said, Koreans immigrants in Los Angeles always referred to themselves as Koreans. Afterwards they began to refer to themselves as Korean-Americans, seeing themselves as part of the multi-cultural fabric of the city instead of a separate community. Though I hadn’t registered the shift, I remember a series of post-Riots meetings between Korean business owners and members of the African-American community, in which long-simmering cultural differences were discussed for the first time. One source of friction was the Korean store owners’ practice of putting their customers’ change on the counter instead of in their hands. That their customers universally regarded the practice as rude and racist was a revelation to the store owners, who were simply doing what they had done in Korea.
20 years later, it’s hard to describe the mood of distrust that simmered before the Riots, because it no longer exists. This is not to say that the different racial and ethnic communities live in perfect harmony: resentments still abound, but in a much more open and integrated atmosphere. If post-Riots Los Angeles had a civic motto, it would be We’re All In This Together.
For the Korean community, the Riots–still referred to as 4:29–were a shattering experience, but they also served to speed the inevitable and necessary process of assimilation. At the end of my block in Hancock Park, there stood an apartment building that was entirely occupied by Korean immigrant families. As I walked by with my dog each evening, I could hear–amid the sounds of household chores and music practice–kids screaming as their fathers administered stiff corporal punishments. As the ’90s went on, the music lessons continued unabated, but I no longer heard the beatings. Like the bullying my son endured at the hands of his Korean classmates, such punishment was a thing of the past.