December 7, 2017 § 2 Comments
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.
November 13, 2017 § 6 Comments
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.
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.
September 28, 2017 § Leave a comment
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
September 12, 2017 § Leave a comment
In the years since our interview, Hargobind married, closed his business and moved with his wife Dalveer to New York. Soon afterwards, he was diagnosed with brain cancer. The last time I saw him was in 2015, during a visit to Los Angeles while he was in remission. More surgeries followed, and today he came to the end of his life after a brave two-and-a-half year battle.
Though he became a New Yorker, I will always think of Hargobind in Hollywoodland, a place he loved. In addition to local history, he learned about the wildlife and was able to identify birds by their calls. He led so many people up the Hollywoodland stairs that he grew noticeably thinner and more muscular, yet he was always respectful of us residents. I was lucky to be among his and Dalveer’s friends, a group that spans the world and today remembers him fondly.
September 9, 2017 § Leave a comment
It’s hard not to be puzzled by recent director changes in the “Star Wars” series. The latest to be fired is Colin Trevorrow, who was supposed to direct “Star Wars: Episode IX.” He follows Phil Lord and Chris Miller, who were fired during production on the untitled Han Solo film (and replaced by Ron Howard), and Josh Trank, who was either supposed to direct the Han Solo movie or the Luke Skywalker one–no one seems to know for sure. Then there’s Gareth Edwards, who received directorial credit for “Rogue One” but was relieved during production by its screenwriters, Chris Weitz and Tony Gilroy. Because Weitz and Gilroy did extensive reshoots and fixed the third act, they are widely credited with the success “Rogue One.”
Producer Kathleen Kennedy’s formula for directors seems to be: find them at Sundance, give them a bigger picture and then move them up at warp speed to “Star Wars.” Hence Trevorrow, whose successful indie film “Safety Not Guaranteed” led him to direct “Jurassic World.” The critical and box office failure of his latest, “The Book of Henry,” sealed his fate on “Star Wars: Episode IX,” but shouldn’t have been his modest resume? Phil Lord and Chris Miller’s animated hit “Cloudy With a Chance of Meatballs” led them to “21 Jump Street” and “The Lego Movie,” but none of the three predicted a successful transition to the world’s biggest franchise. Josh Trank’s indie hit “Chronicle” gave him the director spot on “Fantastic Four,”–again, not an obvious pathway to “Star Wars” glory.
As every knows, there has never been an experienced woman director of a “Star Wars” film, much less one with as little directing experience as these men. Women with critically successful first films tend to spend years trying to finance their second, not juggling action film offers from major studios as their male peers do. Often they wind up directing TV shows–hardly the purgatory it used to be, but not the same as having their name on the poster of the big summer movie. I can think of three excellent women directors with long resumes off the top of my head–Kathryn Bigelow, Mimi Leder and Ava DuVernay. All have successful action and effects films to their credit, but were they even considered for “Star Wars”? It’s easy to say they wouldn’t want the oversight that comes with the job, but I wonder if any of them were asked.
As it happens, Ava DuVernay–fresh off her Oscar nomination for “13”–is already directing the forthcoming “A Wrinkle in Time” for Disney, which owns “Star Wars.” She is the favorite candidate of many fans for “Star Wars: Episode IX” and a likely choice. Let’s hope Kathleen Kennedy thinks so too.
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.