It’s in the Genes: The Importance of Hollywood’s Multi-Generational Film Workers

May 2, 2019 § Leave a comment

Jessie Giacomazzi (top), Bill Hader and Stephen Root in “Barry,” Season 2, Episode 5

In the 1990’s, as studios and networks moved productions from Los Angeles to cheaper locations in other states and abroad, I asked an actress friend how she liked shooting in Vancouver. “Everything takes so much longer,” she sighed. “In LA the crews have worked in movies for generations, but there everyone’s new to the job.” She went to explain that a grip or cameraman whose father and grandfather worked on movies, often in the same job, had an inbred knowledge of the craft that a first-generation worker didn’t. Less efficient sets and longer workdays were the latter’s result.

I was reminded of this conversation last Sunday night, while watching the latest installment of Bill Hader’s “Barry,” on HBO. A brilliant, almost entirely action-oriented episode, “ronny/lily” depicts Barry’s attempt to persuade the Tae Kwon Do expert he was blackmailed into killing to flee to Chicago instead. After pretending to agree to his would-be assassin’s scheme, Ronny attacks Barry in an extended fight that ends in Barry snapping his windpipe. Bloodied and reeling from the struggle, Barry is then confronted by Ronnny’s daughter Lily, a martial arts fighter so fierce that she stabs Barry and later takes a chunk out of the cheek of Fuchs (Stephen Root), his business manager. “What are you?” screams Fuchs, as Lily scampers up a tree. The girl then leaps onto a roof where she crouches like a gargoyle, snarling at her terrified victims.

The next day I read Hader’s account in the New York Times of discovering Jessie Giacomezzi, the young actress/stuntperson who plays Lily:

Wade Allen, our stunt coordinator, told me: “Hey, if you ever need a little girl to do stunts, I know this girl Jessie. Her parents are both stunt people, and she’s amazing. I just worked with her on a commercial, and she can do fights, and she’s a gymnast.”

It didn’t surprise me that both of Jessie’s parents did stunt work; in fact, I would have been surprised if they hadn’t. In an industry filled with multi-generational experts, stunt people are most likely to follow their family’s occupation. In doing so, they carry not only their forebearers’ talent and experience but also the history of filmmaking.

The first stuntmen were Silent Era equestrians and high fallers who went on to execute feats with cars, planes and explosives. In time they passed on their skills to their children and grandchildren.The most famous example is the Epper family. Its patriarch, a former Swiss cavalry officer, supplied horses for Silent Era movies and did riding stunts for Gary Cooper and other stars of the 1930s and 40s. His six children, including three girls, grew up to ride, drive, fight and jump in movies, and include the most famous stunt people of their generation. The current crop of Eppers is the fourth generation to work in movies; presumably there will be a fifth. Incredibly, given their numbers–approaching twenty–no Epper has died in the workplace. (Not as lucky were scores of other film workers whose injuries are detailed here: spreadsheets.latimes.com/film-set-accidents/ )

TV and movie production was lured away Los Angeles because Canada and other countries–as well as states like Georgia and North Carolina–offered significant cuts in taxes and labor costs. These savings came a price. Lighting and dressing sets, setting and operating cameras and executing stunts are painstaking, laborious jobs that require expertise and experience. By discounting the importance filmmaking tradition, Hollywood bean counters reaped short term profits at the expense of many, including the very families whose work built the movie industry–and, by extension, Los Angeles.

Under the Hollywood Sign, Ten Years On

February 21, 2019 § Leave a comment

Interviewing Anita Gordon at the Bronson Caves, November 2006. l-r: Tjardus Greidanus, Hope Anderson, Anita Gordon, Ken Pries/Hope Anderson Productions


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.

Visiting Tommy Dangcil

January 11, 2013 § 7 Comments

Tommy Dangcil/Hope Anderson Productions

Tommy Dangcil/Hope Anderson Productions

Yesterday I had the pleasure of meeting a fellow historian of Hollywood, Tommy Dangcil. He has published several books on his superb collection of old Los Angeles postcards, some of which I’ve used (with attribution, if not permission) in Under the Hollywood Sign. Tommy discovered my blog, liked it and recently emailed me about getting together.

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

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