July 19, 2013 § Leave a comment
Watchers of “Mad Men” will recall Don Draper’s lost weekend in California (Season 2, Episode 11), in which he abandons Pete Campbell and an aeronautics convention to run off with Joy, a mystery woman he has met at the hotel. She takes him to this fabulous mid-century glass and steel house in Palm Springs:
Known as the Fox Residence, the actual house sits on a hilltop in Chatsworth, in the northern San Fernando Valley. Designed by Pereira and Luckman-also the architects of the former Union Oil headquarters where most of “Mad Men” is shot–the estate was previously leased by Frank Sinatra, who used it as a weekend retreat for a decade. Adding to its pedigree is the rumor that Sinatra introduced Marilyn Monroe to JFK here. Frequently filmed, the Fox Residence is on the market for around $12 million and appears to be in pristine condition:
Movie fans will know that Chatsworth’s role in the film industry goes back to the Silent Era, when westerns and other sprawling outdoor epics were shot on ranches established by studios and individuals for filming purposes. Chatsworth’s famous Iverson Movie Ranch dates from 1912; among the movies shot there are Buster Keaton’s “Three Ages” and “The Robe.” In the early years of television, Iverson was the location of almost every western series, including “Gunsmoke,” “The Virginian,” “The Lone Ranger,” and “Bonanza.” While Chatsworth is better known today as the epicenter of the adult film industry, its western heritage links it to every era of film and television. Thanks to the Fox Residence, Chatsworth also boasts an important mid-century location, as “The Jet Set” illustrates so well.
June 30, 2013 § Leave a comment
While it’s true that the variety of architectural styles found in Los Angeles allows “Mad Men,” set in and around New York, to be filmed here, there’s one thing that always gives it away: the light. Simply put, the light in Los Angeles is so different from the light found anywhere else in the world (with one exception; more on that later) that, like a brilliant supporting actor, it steals every scene.
The last scene of the season finale provides an excellent example. As Don Draper and his children approach his decrepit childhood home in Pennsylvania they throw long, sharply defined shadows on the street. Though it’s possible to throw shadows in the eastern United States in late fall or around the winter solstice, the 40 degree latitude in Pennsylvania would produce shorter shadows, while the weaker light would make them less defined.
Light is perhaps the greatest asset of the Southland, something that is constantly marveled at, studied, painted and written about. When people in LA talk about the climate, they are really talking about the quality of light, which at its fullest produces not only dramatic shadows but, depending on the time of year, no shadows at all. The best exploration of the light here, in my opinion, is contained in the 1998 New Yorker article, “L.A. Glows,” by Lawrence Weschler. In talking to visual artists, poets and scientists about LA’s light, Weschler discovers why the city looks the way it does. The astronomer Hal Zirin says it best:
…what happens here is that ocean-cooled air drifts in over the coastal plain and gets trapped beneath the warm desert air floating in over the mountains to the east. That’s the famous thermal inversion, and the opposite of the usual arrangement, where the warm surface air progressively cools as it rises. And the atmosphere below the inversion layer is incredibly stable….go out to the Santa Monica palisade and gaze out over the cool water. It’s completely clear and distinct, clean out to the horizon. The heat rising from the ground in most places…is in turn what makes stars shimmer and twinkle in the night sky….if you’re an astronomer you want your star–or for that matter, your sun–to be distortion-free: solid as a rock. And that’s what you get here. The stars don’t twinkle in L.A.
I had a dramatic experience of this phenomenon a few days ago, while looking down Fairfax Avenue. It was an exceptionally clear day that allowed me to see all the way to the ocean, some thirty miles south. But even more amazing than seeing blue in the distance was the fact that the furthest hills and houses were as sharply defined as those in the near distance. As I stared, the total clarity of the light threw me into what one of Weschler’s interviewees called “egoless bliss.”
But the true significance of the light in Los Angeles isn’t the mood it generates, or the peculiar suspension of time that makes Rip Van Winkles of us all. (To quote Orson Welles, “you sit down, you’re twenty-five, and when you get up, you’re sixty-two.”) It’s the reason the movie industry relocated to Los Angeles from the East Coast during the Silent Era: movies could be shot year-round with little or no artificial lighting. Roofless sets allowed interior scenes to be shot by natural light as well. By 1911, Los Angeles was the center of the movie industry, and has been ever since.
So when Don and the kids threw sharp shadows that were taller than they were, I laughed in recognition: they could only be in LA. But those who think there’s no place else on earth with LA’s light haven’t seen Morocco, the world’s only other coastal desert. Morocco’s identical thermal inversion creates the same light: strong, clear and unforgettable.
“L.A. Glows,” by Lawrence Weschler. The New Yorker, February 23, 1998.
June 27, 2013 § 1 Comment
Sunday night’s season finale of “Mad Men was compelling for many reasons, but most of all for its amazing last scene in which (spoiler alert!) Don Draper boldly takes his three children to see his childhood home, a crumbling Victorian brothel operated by his uncle. “This is a bad neighborhood!” Bobby pipes when they stop, and Sally gives Don a look that contains enough dialogue for an entire episode.
Though the house is supposed to be somewhere in Pennsylvania, the location isn’t, and neither are any of the other places pictured in the show, for “Mad Men” is entirely made in Los Angeles. The interiors are filmed at Los Angeles Center Studios, the former Union Oil Company headquarters at the western edge of downtown. The complex, still modern-looking after 53 years, is by Pereira and Luckman, the firm that designed LAX’s Theme Building and other mid-century classics. LACC’s exterior can be seen in “Fight Club” and countless other movies and TV shows. Other locations include local theaters, clubs, bars, restaurants and private homes built between the 1880s and 1960s. Here is a guide to some of them:
So much for the tired idea that Los Angeles is a “new” city. Even if creator Matthew Weiner had wanted to, he couldn’t have shot “Mad Men” in New York, as many of the real locations have been altered or demolished. As much as it surprises New Yorkers, downtown Los Angeles contains many more authentic early to mid-20th century exteriors than Manhattan, which is why so many movies set in New York are shot here. The array of styles in the houses alone–Don and Betty’s Scarsdale colonial, Betty and Henry’s brick Victorian pile, Anna Draper’s Craftsman, the jet setters’ Palm Springs modern–proves that Los Angeles is unmatched as an architectural treasure trove.
But back to the whorehouse. From its style, elevation and stone walls, I knew it had to be located in Angelino Heights, just north of downtown, but where? Having just toured Carroll Avenue, Angelino Heights’ most famous street of Queen Anne houses, the week before, I knew that most had been restored. Here’s a photo of one of the best:
As for the unrestored houses, even the worst didn’t look as bad as Don’s childhood home.
Yesterday the mystery was solved by a friend, who led me to this link:
The house is on Carroll Avenue, but was heavily manipulated in post-production. Not long ago, it wouldn’t have been hard to find a house in Angelino Heights that needed no special effects to look decrepit, but gentrification has transformed Angelino Heights to the point where”Mad Men” had use CGI.
Next time: It’s the Light.