January 21, 2021 § Leave a comment
Twelve years have passed since I began writing Under the Hollywood Sign. Conceived to promote my documentary of the same name and to further explore Hollywood history, UTHS soon grew to include my previous documentaries, magazine work and interviews. It also spawned two collections of essays. As time went on, my focus shifted to other people’s films, books and TV shows. I also wrote visual art, architecture and Japan, where I grew up, and its rich popular culture. All of this has been a labor of love, and hundreds of posts and pages later it’s time for me to try something new.
Beginning today, I’ll be writing on Substack. In addition to regular posts, subscribers will have access to my other writing–longer non-fiction and fiction–as well new projects, literary and cinematic. Subscriptions are $5 per month, and the link is below. I look forward to seeing you there.
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December 6, 2020 § Leave a comment
Curious about the documentaries that inspired this blog? Here’s a good chance to see them at a bargain price, and to give them as holiday gifts. From now until January 1, 2021, each purchase of a full-length documentary on DVD will include a free companion documentary. Each order of “Under the Hollywood Sign” will come with “Peg Entwistle: The Life and Death of an Actress”, while each order of “Jim Thompson, Silk King, 2015 Edition” will come with “The Jim Thompson House and Art Collection.”
This offer does not apply to digital downloads. To order, please go to: http://www.hopeandersonproductions.com/dvds/
April 21, 2020 § Leave a comment
Curious about the documentaries that inspired this blog? Here’s a good chance to see them at a bargain price. Beginning today, each purchase of a full-length documentary on DVD will include a free companion documentary. Each order of “Under the Hollywood Sign” will come with “Peg Entwistle: The Life and Death of an Actress”, while each order of “Jim Thompson, Silk King, 2015 Edition” will come with “The Jim Thompson House and Art Collection.”
This offer does not apply to digital downloads and will end as soon as the lockdown ends in Los Angeles. To order, please go to: http://www.hopeandersonproductions.com/dvds/
April 13, 2020 § Leave a comment
I first met Kate Johnson in 1999, shortly after I returned from Thailand with the raw footage for my first two documentaries–a suitcase full of BetaSP tapes that logged in at more than seventy hours. Documentaries are made in the editing room, and the time spent editing far exceeds the time spent shooting, writing and researching. Thus over the next sixteen years we spent countless days working side by side, and the resulting films were a collaborative effort. Weaving together interviews, footage, archival film and stills, music, sound effects and graphics is like making a giant tapestry, and Kate always kept track of the thousands of strands.
Kate edited both “Jim Thompson, Silk King” and its companion piece, “The Jim Thompson House and Art Collection.” Then came “Under the Hollywood Sign,” and its short feature, “Peg Entwistle’s Last Walk,” which I later spun off into a separate film. Our last project was the reissue of of “Jim Thompson, Silk King,” which by 2014 had to be remastered because the original software was obsolete. For the new version, I filled the gaps in the score with new music that Kate composed and performed; it complemented the Thai classical music seamlessly. I also made two new shorts as DVD extras: one on Jim Thompson’s pre-Thailand architectural career and the other on developments on his disappearance since the release of the original documentary in 2002.
Throughout our time together, Kate was an invaluable source of ideas and guidance, providing the critical eye I needed. The fact that she was the only editor I’ve worked with says a great deal about her immense talent and range. Since she did it all, I never needed a sound editor, graphic artist or visual effects person, and only once did I use an outside composer.
In addition to editing my work and that of others, Kate was a filmmaker in her own right, and in 2015 won an Emmy for “Mia: A Dancer’s Journey.” Somehow she also found time to be a professor of Digital Media at Otis College of Art and Design, passing on her skills to a new generation of visual artists.
Because most of what I do is solitary, I found in Kate Johnson the longest and most significant working relationship of my career. My struggle to accept her passing includes the stark realization that I will never have a comparable collaboration, either in importance or duration. Brilliant and unique, she was also, for me, irreplaceable.
February 21, 2019 § Leave a comment
This week marks the tenth anniversary of this blog, which I started to promote my third documentary feature film, Under the Hollywood Sign. At that point, UTHS was in post-production, and my editor Kate Johnson and I were shaping scores of interviews, around eighty hours of footage and hundreds of archival images into a cultural history of Beachwood Canyon.
Wanting to explore the film’s many topics in greater depth, I wrote about the Theosophists, film stars and oddball characters who populated the Canyon in the early 20th century. I described Beachwood’s natural beauty and wildlife, and the California holly that blooms in the hills each December. I detailed the creation of Hollywoodland, California’s oldest hillside planned community, from its granite walls, gates and stairs to its most famous features: the Hollywood Sign and Lake Hollywood.
After exhausting Beachwood Canyon’s history, I moved on to present-day matters. By then neighborhood was becoming a mecca for GPS-guided tourism, and between 2010 and 2015 the number of visitors in search of the Hollywood Sign surged. Crowds overwhelmed the narrow streets, eroded the trails and drove the wildlife back into Griffith Park. Hollywoodland’s narrow streets, tricky to navigate in the best conditions, became chaotic and frequently gridlocked. Until permit parking was instituted a couple of years ago, residents were frequently trapped in or out of their houses by vehicular and pedestrian traffic that also blocked emergency vehicles. Writing about these issues brought me a slew of hostile comments, the gist of which was our right to use your neighborhood for recreation trumps your right to live here. Long after I stopped writing about local issues, angry and even threatening letters continued to roll in.
These days I write mostly about film–not mine but other people’s. I also write about Japan, where I grew up and whose history and culture I’ve studied for most of my life. As for documentary filmmaking, I’ve stopped. I’ll explain why in my next post.
April 24, 2014 § Leave a comment
The documentary that inspired this blog is now available as a download, either for purchase ($18) or rent ($5). Under the Hollywood Sign explores the history and present-day life of Beachwood Canyon in historical pictures, new footage and interviews. Here’s the link:
To purchase a DVD, please go to: http://www.underthehollywoodsign.com
January 11, 2013 § 7 Comments
His vast collection includes many well-known images and many more I had never seen before. Series of postcards depict the long-gone Hollywood mansions of Silent and Early Talkie movie stars, Hollywood streets (including such fascinating subsets as Hollywood Boulevard at Christmastime and the defunct Hollywood Flower Parade), the Krotona Colony and Hollywood churches. His knowledge of Hollywood history is encyclopedic, encompassing not only the development of the movie industry but the lives of its denizens over the past century. Dangcil, who was born and raised in Hollywood and attended Hollywood High, says he first became interested in Hollywood history by watching old movies on television. After graduating from college, he became a lighting technician and has spent over twenty years making movies including, “The Master,” “The Bourne Legacy” and “The Dark Knight Rises.”
Another book is in the works; in the meantime, Tommy has graciously allowed me to reproduce some of his images in my blog. As the first rule of historical documentaries is no words without pictures, I’m grateful in advance for these artifacts of Old Hollywood.
Books by Tommy Dangcil:
Hollywood 1900-1950 in Vintage Postcards, Arcadia, 2002
Hollywood Studios, Arcadia, 2007
September 8, 2012 § Leave a comment
For the Theosophical Society, Beachwood Canyon’s mild, frost-free climate was the deciding factor in its relocation here in 1911. The Theosophists wanted nothing less than to create a new Garden of Eden, and their colony, Krotona, was dotted with gardens. After the Theosophists moved to Ojai in 1926, their gardens became houses, forgotten except for a map and a few photographs.
Recently I decided that my living room needed a better view, so I planted four banana trees with red-green fronds outside. They instantly provided shade, color and movement, transforming the house as well as the hillside on which they were planted. Watching the fronds wave gracefully in the breeze has been a respite for me in an otherwise vacationless summer.
Because I was focused on appearance, I chose trees that produce a flower but no edible fruit. But my next purchase will be a fruiting banana–if possible the Lacatan, which produces small, creamy-textured bananas with red skins. (I don’t like the Cavendish, the yellow banana that has been the world’s commercial crop since the 1930s, but know it will grow in Southern California.) In time, I hope to have a small grove of banana trees–a living reminder of what the Canyon once was.
June 7, 2012 § 2 Comments
The 1940 Census is numbered sequentially only to a point; it jumps from street to street on any given page, making the search for specific names and addresses time-consuming and difficult. Fortunately, I’ve been able to locate some of the notable Beachwooders who appear in my documentary “Under the Hollywood Sign.”
First among them is Charles Entwistle. After the actress Peg Entwistle’s suicide off the Sign in 1932, her adoptive parents–her paternal Uncle Charles and his wife Jane–remained in their house, which still stands, at 2428 N. Beachwood Drive. In 1940, Charles was 75; Jane was 55. Both were retired from their acting careers, listing no occupation or income on the Census. The other resident of the house was their younger nephew Robert Entwistle. At 21, he was working as a bookkeeper in a bank and earning $898 annually, $14,758 in today’s terms. His older brother Milt was not listed; at 23 he had left the household, possibly for the Navy, in which he served during WWII.
A half-mile southwest of the Entwistles lived the Theosophists Henry Hotchenor, aged 58, and his wife Marie, aged 69, at 6139 Temple Hill Drive. Marie Russak Hotchenor, the architect of Moorcrest, also designed their Moorish-Spanish stucco house, which stands directly across the street from Moorcrest. Interestingly, Henry listed his occupation as “manager of own real estate,” while Marie claimed no occupation.
Finally Albert Kothe, caretaker of the Hollywood Sign and Wolf’s Lair, appears at the address where he lived from the mid-1920s until about 1960, when his dwelling was torn down: 3200 N. Beachwood Drive. His home, a foreman’s cabin dating from the days when Hollywoodland’s stone masons lived in tents on the property (1923-1925)–was located at the northern edge of Beachwood Drive, where the dirt road to Sunset Ranch begins. The certainty of his address should lay to rest the enduring myth that Kothe “lived in a shack behind the Hollywood Sign.” In the Census, Kothe listed his occupation as laborer for a private employer; he earned $800 a year ($13,148 today).
Background information about the Entwistles, Hotechenors and Mr. Kothe can be found in previous posts.
September 30, 2011 § 1 Comment
While doing research for my documentary “Under the Hollywood Sign,” I found my way to the Los Angeles City Archives, which keeps bound volumes of the many laws enacted by Hollywood during its brief period (1903-1910) as an incorporated, self-governing city. While I was there, I also studied early 20th-century Hollywood maps, and was fascinated to see the area north of Franklin between Beachwood and Gower labeled “The Pineapple Tract.”
The name refers to the tract’s former incarnation as the farm of J.B. Rapp. (See photo below.) He began as a lemon grower but expanded into more exotic fruits–dates, avocados and pineapples, among others. Although it is likely that these fruits had their origins on local ranchos, Rapp was among the first to grow them commercially. At a time when oranges and lemons were rare delicacies for most Americans, pineapples and avocados must have caused a sensation.
Hollywood’s frost-free climate made the cultivation of these crops possible, but it took vision to grow things for which there was little apparent demand. Rapp succeeded on several levels: he grew and created a market for exotic fruits, while in the process enhancing Hollywood’s reputation–and property values–as an American Garden of Eden. Among those drawn by the promise of year-round fresh produce was the Theosophical Society, which established itself just north of the Pineapple Tract in 1911. In a letter to Annie Besant, A.P. Warrington, head of the American Branch, rhapsodized about the Canyon’s farming potential:
We can make the spot a veritable Garden of Eden, because….the region we have chosen happens to be one of those rare spots that are [sic] absolutely frostless, and so we can raise anything….
Unbeknownst to Warrington, Beachwood also boasted thin soil and an abundance of produce-devouring wildlife. This may explain the fact that the Krotona Colony’s map shows several ornamental gardens and a decided lack of farm plots. As a resident whose efforts to grow vegetables have been thwarted by squirrels and tree rats, I sympathize.
Next time: bananas!