Harper Lee won a Pulitzer Prize for her 1960 novel “To Kill a Mockingbird”, as well as the Presidential Medal of Freedom awarded in 2007 for her contribution to literature.
Mr. Gregory Peck on Southern Street, Universal Studios. – 1962
The original house was moved along with the entire street of homes, new location just above Jaws Lake. The back door and backside windows view Cabot Cove. Original location was by Mayfield, Leave it to Beaver area.
To Kill a Mockingbird was released Christmas Day 1962
This street has been used by Adam-12, Cheech and Chong, and by LAPD...for tactical training.
As it sits today, it remains a very busy set for NBC Television Shows.
This street angle no longer exists, original Southern Street location.
When kids stand still-something’s up.
Jean Louise “Scout” and Atticus Finch…
Front porch of this house a few years ago…
Interior of home as you enter front door.We leave it generic, set decorations give it that homey feel.
There is a stairway for upstairs window access.For night shots on street, set lighting may put fixtures in any and all windows.
The back porch of this home looks at Cabot Cove. Seagulls and foghorns constantly chime, then Jaws’ mesmerizing soundtrack builds up as Glamour Trams approach this tiny community. On a busy day, a hundred shark attacks can be witnessed here. A never-ending stream of trams pass below this area. “On my side of the tram is Bruce, named after Steven Spielberg’s lawyer” says one tour guide after another.
Another Lawyer in attack mode…”Bruce-The Shark”
A leaded glass view out a side window…
Another stained glass interior window…
The house was that yellow color completely, but most of this house was repainted blue. Behind this door is a view of Jaws…
From behind the house that sits on an embankment, Denver Street and the old west can be accessed from a back stairway.
Elm Street-this is today’s version of Southern Street. Shaved ice was sprayed all down the street for a commercial in this image.
Elm Street- The house blocking the end of the street was built for the movie Hancock, starring Will Smith. It has interior rooms to film in. Complete set with a backyard even.
Southern Street became a much more opulent neighborhood as Elm Street.
Yours truly, facing the To Kill a Mockingbird House.
“Watch out Boys- LAPD trains here!”
Southern Street, Industrial Street, now Elm Street–Call it what you wish
This home has been located in two locations that are identified with three different street names. From its original location, this street had several houses moved here from Elysian Park. A few were moved again to what was Industrial Street, located just above Denver Street and Cabot Cove, and just below Colonial Street.
What is special with the homes moved from where Dodger Stadium now lies, is that families once lived inside. They have bathrooms, kitchens, etc. Real houses turned into sets. Nothing works, plumbing is not connected, when power is needed, we ran auxiliary power from shooting stations.
Trams can’t drive down this street directly due to a severe grade at the back end of the street. One of our few streets not tram-able. You can imagine its appeal to train police officers in tactics “clearing a house.” LAPD not only practices here, but they also did a TV Series that used this street at times…Adam -12.
Amazing Stories did the most extravagant of all sets on this street in the episode “You Gotta Believe Me.”…Convinced by a nightmare of a Boeing 747 crashing into his house is a horrific premonition, Earl Sweet desperately tries to alter his fate.
Well, it happened at Universal Studios on Industrial Street, back in 1986. Two houses down from The Mockingbird Home, parts of a 747 were brought in and airplane parts littered Earl’s House and yard. A tail fin, engines, wheels, wings, and seats created a ghoulish setting in this quiet little neighborhood where normally all you hear are tour guides.
Today, the studio identifies this as Elm Street. The old Elysian Park homes were removed and destroyed, once and for all for complete modern rebuilds. This is a popular street to film on, but one home still links to the past-it’s Boo Radley’s house on the corner.
On the front porch, Gregory Peck can still quietly read his law books. But on the back porch, trams are being attacked about every four minutes by a Great White Shark named after Steven Spielberg’s lawyer…”Bruce”
Written and lived by…Donnie Norden
Check out my YouTube Channel...Phantom of the Backlots. It’s quite the adventure.
“This kid came out of nowhere”…Paper Boys –A thing of the past!
“I’m not sure what happened next”
Props needed- A bicycle, 4 newspapers, and a phone booth. Interesting culture shift, no longer do phone booths or paper boys still exist.
Same location today without the props…
“The boy looks fine, I need to get to work!”
“I’m Late for work lady”…Vet’s Tower top right corner.
Typical traffic on Braddock at rush hour…
Same intersection, less congestion.
The house is now yellow across the street…
“Is that him, you gotta be sure?“…”I’m sure that’s the killer” says the witness…”He’s all mine!”says the motor officer.
“I’m walking to work today honey, I doubt it will rain”
Here it is today-exactly the same. Every stone, every bush, the light, the rain gutter and the address placard.
I knocked on their door, but no one answered. They must know where they are living, as original as it gets!
“Have a good day Ed!”
“Where did Ed go?”
Arc lights reflecting off the car window and tail piece.
I would love to see the driver who has to be laying down.
Nothing has changed in six decades, the car might still be inside…
Same spot- way different today. The manhole lid is the constant. Sony added parking structures that blocked the stages and the Scenic Art Building on Le Bourget Ave.
The hills in the background is where MGM Lot 3 is located. Good old fashioned metal trash cans were how refuse was collected, and cool cars had paneling.
“Just get in! “
This car knows where the actual Police Station is located. It’s pulling up at C.C.P.D Headquarters located on Duquesne and Braddock.The vintage police sign is much cooler that what exists today.Nice squad car at curb.
Same location today-Notice the modern Police sign on light post.
Same spot-Sixty Years Later…
“Hey-I’ve been inside there too!”
What a fun day this was…
I live close by here and grew up playing in this park. St Augustines, my old school, practiced football here.Dr Paul Carlson is its name and it’s located in between MGM and Desilu studios. Both studios used this park in various T.V series. Everything from Gomer Pyle, The Twilight Zone, to The Courtship of Eddie’s Father, and Chips, The Wonder Years, and The Goldbergs- used this park setting.
My favorite is You Drive. Every time I’m here my mind turns into a view master of memorable television. Being a kid, me and my bike have relived this scene more than once, it’s what kids do. This episode is the oldest of any series, narrowly preceding Gomer Pyle in 1964. This park has not changed, nor has the neighborhood for the most part. This episode is a wonderful time capsule that can still be retraced. The house that is the centerpiece is exact. It wouldn’t shock me if the car was in the garage.
From the looks of the gray sky and wet streets, this was filmed on a rainy day.Special Effects added their own for dramatic cause as the car picks up Ed off the streets to be turned in to authorities. This location is just outside MGM Studios and its Culver Blvd gate. This set is just a hop, skip, and jump away from The Twilight Zone stages at MGM. Back in the day, MGM had a West, East, and South Gate. Sony added a North Gate on Washington Blvd. When shows go “On Location”-they hate to travel very far.Especially television with its tight schedules tighter budgets.
This episode lives on for eternity and I would love to watch this again…in their garage!
The Champion of Ripshaw Ridge right here tossing horse shoes…
Exact spot our troops are tossing shoes, hedges removed long ago.
Not every tree still exists-most do.
“I’ve been kicked out of this park too”…as a teenager.
“Can’t you read -The Rules!”
The Main Gate of the Desilu Backlot doubles as the camp entrance. Once past the M.P, all roads other than in Mayberry turn to dirt… Dr. Paul Carlson is 5 minutes from here, turn left off Ince on Lucerne, another left on Braddock, and you will run right into it. It is the closest park to Desilu Studios.
Practice at Dr. Paul Carlson Park.
“No fighting in the park-Go back to base!”
“I could never kill you cousin”…
“No Horse Shoes allowed in the park fellas, read the signs!”
Same spot gentlemen are playing horse shoes.Bench was alongside that nearest tree.
Same house, above and below picture...Also featured in Chips-episode “MUTE”
As our troops arrive for battle, notice that large 5 ton box truck parked behind that utility vehicle. It’s there to block the camera’s view of…Goober’s Gas Station, the official filling station of Camp Henderson. Those Pyles got quite a racket going on.
Where I took this picture is right behind the first row of barracks on the dirt road that hugs the La Ballona Creek. This is where we sneak in at. I have a fort in The King of Kings Set that is hidden the Eucalyptus trees behind Goobers. This is usually where trespassing begins around here.
Notice the house on the hill looking down on the 40 acres backlot. It still stands on Hetzler Road. It’s connected to The Baldwin Hills overview and stairway up the side of the hill that overlooks old Desilu. I always was fascinated by that house. The best view of Desilu is from right there-front row seat into-T.V Land.
Have at it boys…
It figures-that was easy!
I’d yell too Sgt. Carter-“I feel your pain.“
Ripshaw Ridge wins again!
Even President Clinton has appeared here…The same year Dr. Paul was killed, this Gomer Pyle episode was filmed at Victory Park.
Our park was once a race track…
This oval section of Culver City has seen a bit everything…
“Get your paper here- 3 cents “December 10th, 1924…Bennie Hill smashes a world record preparing for the biggest attended sporting event ever in this city.
Victory Park / Dr Paul- to you and me…
Culver City was an entrepreneur’s dream in 1924. Studios were being constructed, not only sound stages but the backlots were just beginning. Thomas Ince and Randolph Hearst had ambitious plans to merge Cosmopolitan Pictures with Thomas Ince productions on Culver City’s East End. Hal Roach Studios was also up and producing the Our Gang Series. The mysterious death of Mr Ince forever changed the Hollywood landscape.
On the west side, MGM and its large parcels of cheap real estate would begin to carve out its destiny.Ben Hur was on location in Italy only to return home after difficulties in filming in that far off land. Culver City becomes a hub and claims itself as “The Heart of Screenland.”
Howard Hughes gobbles up real estate up in Baldwin Hills with the intention of building his mansion on top of what is now another park-Baldwin Hills scenic overlook. But that changed when oil was discovered by Standard Oil, also in 1924. Derricks popped up everywhere, like a gold rush. Black Gold/Texas Tea. Howard changed his mind and sold a large section to Charlie Wright. The street, Wrightcrest, was named after Charlie, a most fascinating man himself. Howard told Charlie, ‘The last thing I want is my mansion looking over oil derricks!”
Charlie built his own mansion-facing opposite the oil fields and I’ve been in it. All glass features- like a ball room dance studio overlooking L.A. A really well landscaped pool level existed, under the glassed in dance floor. It looked down at the 40 acre backlot. If only this place could talk...it’s Gone With the Wind now. I use that term since it was removed but there was a party up here when Atlanta Burned below- from what I’m told.
I will take you there in future posts, a fascinating place with a hidden or just forgotten past. I digress…
Dog racing, horse racing, car racing all took place around these movie studios. We even had a rollerdrome and as time progressed, a Studio Drive-In. Almost every business in Culver City started with the prefix “studio.” People knew a good thing when they saw it, and the roots of Culver City are all things studios. Actors occupied homes close to the studios, Ronald Coleman owned a couple homes on the street I live on named Huron Ave. My dad bought Ronald Coleman’s car after his passing, a Facel Vega. Custom built, kangaroo skin upholstery and a bar in the backseat. I had a lot of fun in that car.
As we move forward, this park is built and the name is changed to Dr Paul from the old Victory Park. This park is the oldest a centrally located to all the studios surrounding it. When T.V was just starting to take off, TV series found their way onto this quaint, charming piece of land. The two shows I most cherished here are The Feuding Pyles and You Drive –Gomer Pyle and Twilight Zone, respectively.
Even today you can stumble across The Goldbergs grabbing park scenes a short walk from Sony. As for this park, I attempted to match the Pyle scenes to their exact location 58 years later. The trees are much larger in the park, but the original palm trees still frame the outer edge.The center of the park has a stone, circular rose planter, or it was anyways. Now it’s got a stone art piece as the center replacing the roses. Hedges surrounding this centerpiece have been removed.The houses as you may expect have been modified or completely torn down for more opulent structures. This is considered an expensive area so remodels happen often. But the park itself has not changed hardly at all. It’s a park I grew up in and still frequent.
Dr. Paul would be honored and proud to know that he would be the namesake on a park that has captured extremely popular and legendary American Television Episodes. Still, if you listen closely, you may hear-“Gentlemen, start your engines”….
This street on Lot 3 has been bombed, liberated and had three tanks in one episode race through here for Combat.
This train station was never in the Twilight Zone- but was in several Combats. This steeple was removed to change the landscape for Combat. 1963- for a few months and a few episodes, went topless.This steeple was removed, later reattached. Long ago, an entirely different steeple design was the original.There is a long-standing rule that when you alter sets,you must repair to original form.
Another view from the steeple toward the backside of the “Stopover in a Quiet Town” set
Yet another view from my steeple, we cut peek holes so we could see the lot in every direction. We would sneak in at the train station and run to the church tower, there we would try to figure out what guard is on duty. Everything viewed looking toward Verona Square is Combat country. Every set you see here was in Combat. It’s like a gated community just for Combat. The Twilight Zone used one set, just out of view to the right-out of frame. It was The Bewitchin’ Pool set, used in the final episode ever done. A true classic, you wonder how this show could get canceled.
This area here and distant is Combat territory -The Twilight Zone stay out….Used regularly in the series Combat.Verona Square yonder beyond train platform, another Combat set- never used by Rod Serling.
1978 picture-snow is spread around for a close up of the doorway for a quick insert shot.
The second to last battle ever at this church was used in Sgt. Pepper’s Lonely Hearts Club Band. A machine gun is firing from that window as the explosion detonates. I walked into the middle of this battle, as I approached this church from behind, I was startled to run into German Soldiers, shooting out the front door, I could have captured them, it was extremely fun, I had more battles in this village than any show with Daisy BB rifles…The final battle would come the following year-The Stuntman with Steve Railsback and Peter O’Toole. The village gets beaten up pretty good in that film. There is a perch at the very top of the steeple that comfortably fits three kids!
This village was never seen in the Twilight Zone, but it’s safe to say Rod spent time walking these cobblestone streets.
Three roads enter this village, all have an archway…
View from church second story window, a screen with a depiction of ‘Mother Mary’ partially remains. Machine guns and snipers are positioned up here. The spent shell casings litter the floor. This was a very special set for us- BB Gun fights carried on after Combat, Rat Patrol and Garrison’s Gorillas.
All my pictures are on sets not used in CBS ‘s Twilight Zone
“Heads up-some crazy kid is after us”
That open door and platform a top the oversized prop warehouse is the ending credit camera angle.
This 1973 photo of this same set right before the TV series Hawkins filmed this entire street starring Jimmy Stewart for MGM TV. They cut the grass and painted it green. A filming short -cut. Jimmy’s last ever backlot acting moments.
Stopover in a Quiet Town…Combat’s extremely loud German Village lies behind this Quiet town. This overview photo used in the closing credits was shot from the Giant Prop Warehouse just behind our church on Maple Street, a very rare view. Inside the Warehouse is everything from Rocket ships and space capsules to submarines…big toys!
In between the far rooftop with 3 windows and the foreground rooftops is a church without its steeple, thanks to Combat. These episodes were going on at the same time. You see here how close WW 2 encroached upon this quiet street. There was nothing quiet about this street-when your neighbor is Sergeant Saunders. CBS aired The Twilight Zone-Combat was ABC.
No where else will you find pictures inside these legendary backlot steeples. I’m like Quasimodo… This exact 180 degree reverse angle from the German Village steeple towards Maple Street and the camera platform attached to the oversized prop warehouse. That’s the tall green building with the white curvature roof. I am hanging out steeple precariously to grab this picture in 1976.One thing missing is the Church used in “Stop Over in Quiet Town.” It burned down the year prior, I detail this in a poignant kid story in Hole in the Fence 2…”The Uninvited Guest” coming soon!
As a kid, pre VCR’s, I tried to freeze frame this image forever in my mind. There is so much to decipher for a Phantom like myself. I have stories in everything you see-and beyond.
This backlot roofless doorway is next to the steeple less church, just prior to yet another backlot battle.
It features James Coburn, titled The Masquerade, as the sunlight illuminates the windowsfrom the wall less backside.
Through one of three archways leading to town, a battle begins that I could hear at my house.
Nice shooting Saunders…
This looks like one of my B.B gun fights–One of the funnest thing to do on this backlot.
Your a great guest star, and you were great in The Twilight Zone “Old Man in a Cave” too…
The few, the proud, the Marines! A rare moment where my church has no steeple, while the Twilight Zone films Stop Over in a Quiet Town-just a stone’s throw away.
I did not realize the magnitude this Gentlemen, Gene Levitt had on my life, I played army on his Combat sets, often dying exactly where others proceeded me. I heard every battle on this backlot-from my house. I would cross paths with Gene on the Phantom of Lot 2 set. I stumbled onto their set at the Watermill House located alongside Tarzan’s Jungle. Gene was directing The Phantom- Jack Cassidy, in full Phantom costume. He was just about to kill a hard hatted helmeted construction worker when we made eye contact, the big Phantom in a leather mask, looking down on his understudy-me.
Right before Action is yelled by Mr Levitt, Jack Cassidy raises his non weaponed hand and waves approvingly to my astonished appearance. All while holding an iron ball on a chain. A lifelong bond is created on this set. MGM had security on this set close by so just like a true Phantom, I was here one minute- then vanished... The baton was passed on for the decade to come!
Only a Phantom would have this paperwork!
This Daily Schedule from December 6, 1973 is a snapshot of a typical day at MGM back in the day. I would visit with guards at there posts so I could read the information they use. The entire time I was visiting, I was gathering information.Every show on this sheet had episodes using the backlot.
In 1977, on the set of Fantasy Island being filmed in the MGM backlot, I would meet Gene Levitt, Burt Convey, Robert Clary, Herve, and Ricardo Montalban -Mr Rourke. Gene allowed me to watch a day of filming on his set, often right behind the camera an director.I sat in a folding chair with these actors. It was like I was crew on a show I knew nothing about. Episode 2, this series hadn’t aired on network TV yet yet. Gene directed Combat in this same Verona Square set that today served as a prison known as Devil’s Island. One of the funnest days of my life!…In a large part to Gene’s letting me be the Phantom of this set-four years after that movie of the weekwas filmed.Gene would be a greattrespasser-I can tell!
As it turns out, Gene worked with Rod Serling on several episodes of Night Gallery at Universal. He also directed Alias Smith and Jones on that lot. My favorite Army show of all time is Combat, my favorite cowboys are Smith and Jones...All Thanks to you Mr Gene Levitt and Mr Rod Serling.
In testament to the legacy of Rod and the Twilight Zone, each episode is so precious that reruns today are still as good as anything ever produced. I pretended with my friend Jimmy to be Rod, we both took turns imitating him with speech and mannerisms. We went as far as to sneak in a rabbit eared T.V to watch reruns in the sets used- 10 years later. Rod, Gene and my backlot will forever be alive in spirit and first class T.V.
This is a tail of two of the most legendary Hollywood Producer Writers in television history and their curious parallel path. The more I researched this, the more captivated I became…
I begin; A thought crossed my mindthat involves T.V shows whose credits start with toy doll and a spinning out of control Grandfather Clock, while the other show starts with a helmet and a bayonet. They are MGM backlot neighbors…Here’s my conundrum.
Getting my fix watching reruns of The Twilight Zone, as I have for the last 6 decades, a thought crossed my mind. Why did Rod Serling never do an episode in three sections, or villages on Lot 2? It’s then I realized there is one street on Lot 3 he never used. Understand, this show, The Twilight Zone, is almost entirely MGM backlot exteriors, with Culver City streets just outside the studio sprinkled in once in a while.
Dutch Street was never in any Twilight Zone episode. Yet, The Twilight Zone utilized every other set and jungle road on Lot 3, Even obscure sets like the stairway that was the represented library in Time Enough at Last. I cried when I first saw it as a kid, heartbreaking, when Burgess Meredith’s glasses break as he was finishing his reading list for eternity.
Every set could easily be an episode exterior for this show. I presume Rod adapted his writing to fit the locations he had at his disposal. With Rod being an Air Force vet, he produced deep story lines in his war episodes. Like the one that used the Rocks set on Lot 3, where the Japanese were held up in a cave and a snot nosed commander shows up to beat his soldiers down… A Quality of Mercy. Rod used every bit of both these lots.
Why not the French Villages, or Grand Central Station? Both lots have French Villages.
The answer is simple…Combat owned those streets and often left them in disarray. One series aired on CBS while the other aired on ABC. MGM doesn’t care who rents what sets, but the networks do. I would bet Rod would love to have done an episode using Combat’s war torn scenery. Nope can’t – as if the networks were countries at war. These series were filming in the same years with Combat continuing on after The Twilight Zone was canceled.
The other area never in a Twilight Zone is Verona Square on Lot 2. That sits adjacent to the Grand Central Station, and short walk to France. The original sets from Romeo and Juliet have turned into a Combat battlefield. Multiple Battles have been staged here at this village. Often these are the most outrageous battles ever in that series. The sets are the ones closest to my house and Maureen’s apartment window looked dead center into the eye of this hurricane. It’s as if MGM wanted them as far back as possible, plus trains are more important in war than in The Twilight Zone.
“A Stop at Willoughby” is a train episode, on Lot 3’s railroad. A western coach, also used in The Harvey Girls. But Lot 2’s oldest sections were staples for White Rook and Check Mate King Two- to continually liberate.
I would imagine Gene Levitt of Combat and Rod were good friends, both veterans of WW 2 and they had stages on the front lot and exteriors on the backlot. I bet anything Rod, when he had a spare minute, witnessed more than one of these backlot battles.
Combat actually was a pain in the rear for studio operations. That said, it’s the best WW 2 series ever and lasted longer than the war itself. The soundtrack carried to every part of the backlot and far beyond. The first time I ever heard gunfire was from Lot 2, in my crib. By the time I was three years old- my antennas were sprouting. I used my own plastic soldiers and pretended Combat’s gunfire were my guys while playing in the dirt in my backyard.
I asked my mom once as all heck was breaking loose-“where is that noise coming from? “
“That’s Combat, they film it at MGM.” she said. That information shaped my life ahead. You can’t be too young to learn where battles on TV get made or live this close without MGM impacting your life. The size and beauty, and noise of this lot can’t be contained by a green, wooden, barbed-wire fence. If you’re a curious little boy like me, gunfire is an invitation for adventures…
Closing thought, CBS was where The Twilight Zone was first filmed in poor videotape quality, but when it shifted to MGM-you had endless possibilities with scripts and exteriors. Combat on the other hand moved to CBS Radford and the show declined. It was much too big for their lot, and much too loud, so most of the final color episodes ended up at Franklin Canyon reservoir. That was where the exteriors were often shot in the final season. CBS had a low bar ceiling and it showed – Long live MGM!
Written and Lived by…Donnie Norden.
Hey everybody, I’m pleased to announce The Phantom of the Backlots is now a YouTube channel of the same name. It will feature my life on the backlots through screen clips where I can break down scenes with my own pictures to compare with…I can take you inside these battles-up close and personal. The Marion Davies Make- Up trailer discovery, recovery will be documented through film- as it happened. We will jump backwards in time, to the Golden Age, to the present tense. Just getting started, stay tuned. Trespassing has never been so easy!
Working at a major movie studio, things happen around here, almost on a moment’s notice. Land, sea, or air-we here at Universal aim to please at the entertainment capital of the world…
In 1987, the Pope visited our lot. It was very memorable since I was a tram driver at that time and Pope John was going to tour Los Angeles, in a Glamour Tram.
His desire was simply to have Hollywood stop portraying evil in its films. The Pope visit climaxed at the Universal Amphitheater after mass at Dodger Stadium soon after, Universal released a feature titled The Last Temptation of Christ. The studio waited for the pontiff to go back home to Italy, while tuning out his heart felt message.
In 1991, we had another Royal Event. It involved Lou Wasserman and all his political clout. A few of his good friends, namely, U.S. Presidents, arrived for an event to honor the United States armed forces and fifty years of service by the USO.
The event was unfolding without a hitch. Every detail attended to except they forgot one important thing,air-conditioning.
This often taken for granted facet of Hollywood productions is just as necessary as any camera or lights would be at these red-carpet events. On shows, sets that are heavily lit with our large lighting packages need air conditioning to off-set the heat being created by all things taking place. Too much heat and the make-up will run on the face of the actors. every set, inside stages and on the backlot- gets some type of air unit for this reason alone.
We often get calls from shows who wait and see, then find out they want air. Problem with that is these take time to install and are twice as difficult when the event is already taking place. Normally, we pre- install AC units and temperature control is one of the very first items factored into a show budget. You might not want to have it, but you got to have it. Or you will melt.
This party overlooked this important detail.
America’s top brass along with a cavalcade of stars begin to sweat it out. The coordinators of this event were putting out the Bat Signal! One of Hollywood’s biggest events needs immediate electrical assistance. Who ya gonna call?
All hands-on deck
We need to fix this while the event is taking place –live! Installation requires a large power source, two air handlers and a chiller, with thick hoses attached. The air handlers will go inside the Big Top Tent that at first look appears like a Ringling Brothers Circus is taking place. But, inside this tent, aren’t clowns, but some of the World’s Most Powerful Men.
Our plan is simple, and we attack it from three directions. We drive up a Kenworth 12 speed tractor with a 1200-amp generator plant built into it, and park it just behind where all the Presidents are seated. Hoses get run underneath the skin of the tent along with power connections. All this is taking place while the panel of dignitaries looks on. We become the center of attention. This is quite the panel I’m working alongside: The Presidents, their entourage, Military families, celebrities from sports, movies, and television. By all accounts, this would be considered a busy day- even at the White House.
Just keep cool
Our only delay was being searched by Marines and Federal Agents. They had me take apart the covers that are attached to these units, then after German Shepherd approval, we get the thumbs up.
With that, we simply do what we do, and we receive a round of applause and thanks from a history book of characters that helped change this country. All this while Apache helicopters sit locked and loaded, 100 yards away….
In Hitchcock’s The Birds, location filming cleverly blended in the Universal backlot. When chaos ensues, production usually prefers a backlot controlled setting. This film used real locations in San Francisco and two towns Bodega. One Bodega Bay, a large village on the bay.Two, Bodega Village, a small inland village.The two towns were made to appear as one.
Make that three towns when you include Bodega on the Universal backlot. The most action packed scenes of course were filmed on our backlot. Bodega shared the same pond as McHale’s Navy in 1963. The naval base area set up for McHale’s merry band of soldiers was named Taratupa. It’s a just a depth charge away from the Bodega Bay set, at Universal.
In all my tram driving years, little if no reference was ever made by tour guides involving Bodega Bay and The Birds. Trams do pass in front of the bungalow Mr. Hitchcock operated out of, so he is always mentioned, both in the front lot, then the backlot. The Psycho House is a picture stop memory for tourists. But this Bodega set is not part of the guides spiel. Perhaps it’s overlooked by younger eyes. Actually, to spot Universal in this film is an advanced backlot logistics test. Good job if you already identified this location prior to this installment.
Trams passed through this set after exiting the Flash Flood and then a brief Hoo Ray in Six Points, we curve around the old paddleboat for our approach to the Red Sea. We would sit parked in Bodega waiting for trams to enter and exit the Red Sea. Guides talked mostly westerns and how small doorways are around here to make Cowboys bigger and damsels look more distressed.
Murder She Wrote did an episode in this area and it was suppose to be a movie studio backlot. In the eighties, this street faded to black, so to speak and was rarely used except for parties and rock videos. Alias Smith and Jones was the last western series to saddle up on these streets.
This gas station set is located in the center of the backlot, all roads funnel at this area that connects Lankershim Blvd to Barham Blvd and all backlot roads in between. This set lies in close proximity to film vaults and our underwater tank. The buildings surrounding this area that still stand depict a different era inside, one that never changed. Old wall paper is peeling off the walls and the curtains are held together by caked on dust. The buildings inside take you back to the days of the westerns with cowboys sketched on walls by a talented artist-long ago.
Three things every tourist see’s from a tram is The Hitchcock Bungalow, Bodega Bay Station, and the Psycho House. Bodega Bay sets rarely gets pointed out. In 1963, McHale’s Navy jungle set was right ac across the way from this set. The pontoon boats, could be craned out when a naval base was undesirable in our Red Sea. The studio uses oversized props and structures to hide or block views of other sets. The Paddle Boat is a floating rode block, it can look real by blowing steam out the chutes and the paddle can spin with help by effects. Cover with extras in costumes and begin the hootenanny. Everything will move but the ship itself. One of our many illusionary devices. It was common place to move the PT. 73 around also, from the Red Sea and also Singapore Lake, better know as Cabot Cove, the water Jaws occupies.
The tram backup during busy summer days back through this entire 6 Points Texas western area. This area is like the 405 freeway at 5 P.M. Slow going due to animation time needing to reset, the Red Sea needs to refill after each parting creates what we call -A Tram Jam.
Each guide treading water, with a just microphone to keep them a float, earn their tiny bags of silver stalling in the old west. Guides desperately try to keep folks attention. They proudly say something while constantly peeking at the tram movement in front of us. ” I wasn’t trained to say this much,” is the truth to their befuddled facial expressions. Veteran guides don’t over react and stay in the moment, but new summer hires just cram stuff in with a petrified look. Rookie guides tend to shout nervously. Most guides are new in the summer, it becomes a match to drown out other guides doing the same spiels in other trams. This is where-brain cells die.
I have more fun watching the guests faces as the guides attempt to enlighten and entertain. These backups can last a half hour in sometimes brutal sun.
Most guides are here just to be discovered by some director, it’s not the pay that seals the deal. It’s stardom… O’k that rarely happens but it’s the dream come true of every face behind that microphone. I once did a private tour for Whoopi Goldberg, she pointed out to our guide, quote ‘I once applied for a tour guide position but was refused, do to my color.” -” But I ended up making quite a bit more money!” with a devilish laugh she exclaimed in all her bravado. My struggling tour guide was happy for her success, I could tell. Do say, She didn’t tip like she’s rich.
Jack Wagner is the biggest success story to move on from that backwards facing seat with the microphone.
Another guide named Katy Garretson moved on to directing from her front row seat on the tour. She has won achievement awards, you could tell she even on the tram she can run a show. These two former guides achieved high professional success and are now legendary in their previous world of tram tour guides. Role models if ever there was…
For us drivers, we’re Teamsters…life is good. We jump from shows- to tours, and vice a versa. I have so much fun on these 4 car contraptions, you meet the entire world and show them your small portion of your Universe. Especially on private nights when companies rent out a tram, driver-guide, we are a team after all, and do liquored up tours with folks letting their hair down. Spirits bring out the spirits. Not everybody has the cash to rent this place out, those who do sure have fun.
Bodega Bay is more than just a duplicated set on our backlot, it’s a way of life for us tour employees.Tour Guides pour their soul out in this area and it’s my job to listen, before driving to the next stall- backup for more of the same…
You can never have enough information when it comes to touring with 175 captive customers.
“and on the drivers side of the tram that ditch was in Night Gallery”…”no it wasn’t” but if you say it on a microphone it happened. Make it up, yep-I’ve heard everything from my All American Good Looking Side Kicks!
Let’s first start with this announcement-If you don’t already possess Hollywood’s Lost Backlot,Steven Bingen’s sensational book on 40 Acres, Get It! It’s The Bible for pictures and facts about this legendary backlot. You will refer to it all the time, the perfect Desilu Rerun companion. Also, his latest book, The MGM Effect, has a story with yours truly featured. I’m extremely honored to be part of that legacy and will do all I can to keep that logo alive and breathing forever. Another must have book for your studio library shelf, which- is the best shelf in the bookcase. Finally, an audio bonus, check out the podcast by Greg Dyro on the making of The MGM Effect, available online.
Because of all of the changes in ownership involving this studio, things got misplaced. In some cases, for decades. You still might still find an old make-up trailer just sitting around, covered with dust.
The very last structure to be bulldozed at 40-acres were the Film Vaults. In a land that once had sets from Stalag 13 to Mayberry, only a few trees and blowing tumbleweeds remained in August 1976. I shared previously my excursion inside these bomb shelters that are literally explosion proof. That’s because the contents inside are extremely volatile. Just recently I was contacted by a man named Barry, he happens to be the last handful of folks to see this place be excavated.
He contacted me because I’m one of the few folks still alive who has been inside. My entrance was about six months prior to the afternoon- I’m about to detail.
The Main Gate on Ince…
This is how you enter this backlot, you know you’ve arrived when pavement turns to dirt.
Welcome... A guard shack no longer exists just inside the chain link fence, it’s been replaced by an elevated industrial water tank to fill water trucks needed to help control blowing dirt. Yep, this lot is going, going, Gone With the Wind. Camp Henderson is the first missing set you notice and that hits you like a punch in the nose. To see this lot this barren, you would need to rewind over 50 years.
But the one thing that still stands was built for preservation, even in a war. Its appearance is that of a bomb shelter. Thick cement walls with heavy blast doors. The light switches inside can be used in an explosive gas atmosphere. That’s because this film is silver nitrate. This film has a nasty reputation. It’s been known to catch fire in movie theaters.
Nitrate was used from the late 1800’s to the 1940’s. These bunkers date back to that era. RKO probably built these, Desilu inherited them, and television made its way inside. Racks and racks and racks with enough film to stretch to New York are packed like a sardine can. The cans are labeled but little inventory can be diagnosed from the racks themselves. Basically, you just look, if it was a TV series, like everything I saw there was, then all these prints were stacked against each other. The more successful the series, the more cans it will have. Some film is 8mm, some is 16mm, the cans vary in thickness. One reel per can, some cans just contain cuttings. Strips of film frames captured in a roll held together by rubber bands.
Water then crept inside, so the bottom rack was inundated, and white calcium deposit levels show different water levels. This place seems to have been forgotten. Maybe no keys still exist. This studio has had several owners since Desilu sold it. Nothing seems to have been passed down from previous ownership. It’s like a sci-fi movie where everybody evacuated. I got in without keys and it was not easy. You can read my account in detail in my book Hole in the Fence–The Desilu Film Vaults.
Today, we will suffer together the twisted fate that was sealed in this tomb of chemicals and flammables and celluloid. We’re talking Hollywood’s most legendary stock TV series’.
Casablanca, Gone With the Wind, and Citizen Kane were recorded on nitrate, the earliest form of motion picture film. The latter two films were shot at this studio. As nitrate was phased out in the 40’s, many archives were destroyed intentionally, to eradicate the hazardous materials. Film archivists held nitrate in a different fiery light. Besides being an important ancestor to all forms of film to follow, nitrate is lauded for luminous contrast images resulting from emulsion rich in silver. It’s safe if handled properly.
As teenagers on the wild side, the word properly was misunderstood. Open the can lid and smell what is rolled tightly inside. If you want to see it, that requires unraveling the film, which I’m certain was EXREMELY DANGEROUS. Boys will be boys and we were looking for costumes and props- not film. I guess that’s why my mom always said ” Donnie-just be careful” every time I went out our front door.
I’m still alive so I did something right, plus I have a wonderful Guardian Angel that’s saved me numerous times.
What I describe on this day is through a different set of eyes, my pal Barry.
Ince Blvd– at the 40-acre backlot entrance a visitor arrives...
The main gate is wide open since there is no more backlot. Barry, a trespassing veteran himself, pulls in like he owns the place. Immediately, he sees a barren landscape, no more Camp Henderson, no more anything, except a claw on a huge tractor that’s parked in front of the film vaults. One door has been ripped off as he parks his car where he can observe. A huge dumpster sits precariously close to the action. A guard is with the operator and demolition crew.
Barry, during a lull in work, enters inside. The contents are about to be destroyed. He picks up a few cans and tucks them away in his car. That was easy, but as he returns, security this time says, “Stay Out!”
Following instructions, he stays out, but instead sneaks around to the blind side of this dumpster to grab film that’s been dumped. This time security is angry and asks for some I.D. He talks his way out and says he’s with the studio. Calm, cool and collected- but intensely frustrated, he exits just as the giant claw tears off the roof. This is a massive bucket doing the dirty work.
The items randomly recovered by our want to be hero turn out to be the Pilot of Star Trek, Captain Pike, not Captain Kirk. These are cuttings, not full reels. Other cutting tied by rubber band turn out to be Lucy, Ricky, and Bob Hope driving around in a convertible. These items were very close to being underwater as the bottom rack was at sea level.
Other films on the rack besides Star Trek included a pilot called The Sheriff of Cochise. Westinghouse Desilu Theater, and some I Love Lucy cans along with The Whirlybirds. Paramount had labels on film cans in the dumpster.
Edison-The All Electric House of the Future had film inside displaying futuristic homes.
We will never know exactly the depth of this catastrophe, but when you hear of lost episodes, this hand me down studio really did lose things. I imagine some recovery was made since there is enough vault space to handle decades of film. RKO has to have stuff inside here that was lost. I think they built it. Desilu took it over and TV filled the racks.
There is a comment I’ve heard researching what I still can from Desi Arnaz himself, dating back into the sale of Desilu on December 29, 1967 “Throw it all in the Santa Monica Bay” in regard to much of this film.
Back in the day, TV only had channels 2-13. Seven channels, if you’re lucky. This translates to tons of content with minimal ways to sell it. Quality shows, view outlets. Storage costs money, so if a product isn’t generating revenue, it costs money to store. Plus, liability, kids prior to this demolition accessed my entrance and film would be blowing down in the creek. It’s a miracle no kid met with a fiery fate.
The studio that brought you GWTW now is entirely blowing in the wind…ashes, dust, and celluloid make up this lost horizon.
Until 1962, Desilu was second to MCA’S Review Studios. When MCA bought Universal Pictures, Desilu became the number one independent production company until being sold in 1968.
That’s an update of an event that happened almost 50 years ago. No other studio mishandled their inventory like this Lost Backlot did.
Lucille Ball and Desi Arnaz are the faces that come to mind whenever you see the Desilu title identified. Never was the label more proudly displayed than the signature a top the water tower that once overlooked this studio. It could be seen at ground level from every street on the backlot. Your not in Mayberry if you don’t see this water tower.
Lucy and Desi proudly claimed ownership in 1956 and the studio thrived unlike ever before. Thomas Ince once had a plan, but strange things happen around here. RKO, the next owner after DeMille, never had a plan, just do what you wish on this wild backlot ranch nicknamed 40 Acres.It actually gave the lot charm, comparable to some nice orphan kid growing up at Boystown.
Television was starting to taking off back in the mid 50’s and the landscape around this lot would end up in a majority of classic television series going forward. Lucy and Desi have a crystal ball. There’s a new sheriff in town and he smokes cuban cigars. Money is spent wisely, not foolishly, and efficiency is introduced to a studio that use to make decisions from the saddle of a horse.
Enter Danny Thomas:
One afternoon I was watching Andy Griffith reruns with my mom and I asked ‘Who is that Danny Thomas guy whose name is on the credits?”
My mom kicked into church mode and spoke in sincere heart warming terms, “Donnie, he is a Saint- he helps kids with serious needs” …My mom began tearing and choking up, for she also had a physical disability that handicapped her for her entire life. Because of a bad hip socket at birth, as a young child, she had some horrific and almost barbaric remedies performed on her. Forever, she walked with a metal, adjustable, heavy duty crutch. It often doubled as a machine gun when not in cane walking mode. It was a really cool looking- crutch/weapon in the hands of her young son. Best compared to Cage’s gun in Combat, the only thing missing from my mom’s crutch is a bayonet!
Bless her heart…Her ailment started long before St. Jude was founded by Danny Thomas on February 4th, 1962 in Memphis Tennessee.
My mom is my hero and Danny Thomas is her hero.
From that moment on- he had my stamp of approval and I soon noticed his name is involved in quality, both on TV screens and countless kids hearts…
1953-Danny obtained his own T.V program with posturing by his agent to a struggling ABC Network. To acquire the services of coveted Ray Bolger, ABC had to take on Danny Thomas. The network was skeptical of this throw-in due to previously low ratings in other endeavors. After some brainstorming, the network came up with a series for him titled Make Room for Daddy. In 1953, it was billed as the best new show on that TV in your living room.
In 1957, it shifted to CBS and slid into The Lucy Show time slot. That show finished off with 180 episodes, many that somehow became lost. “More on that in a future film vault post”
While working on Make Room for Daddy, Danny and aspiring producer/director Sheldon Leonard developed a bond and Sheldon became the shows executive producer. Thomas/Leonard Productions was born. A powerhouse merger that home based off the Desilu Lot.
It was responsible for :
The Real McCoy, The Andy Griffith Show, Gomer Pyle, The Joey Bishop Show, The Bill Dana Show, and The Dick Van Dyke Show.
The Bill Dana Show starred- Bill Dana, but Don Adams played Byron Flick, and Jonathan Harris, who would soon star in Lost in Space. This show ran from 1963 to 1965.
Sam Denoff, Bill Persky, Jerry Parris, Marlo and Danny Thomas produced…That Girl.
Desi Arnaz ran the Desilu Westinghouse Desilu Playhouse at this same time. Desilu had so much going on it occupied three movie lots, two in Hollywood and Culver City’s old Thomas Ince facility.
In 1965, Sheldon left the partnership to develop the series I Spy. In 1967, Mr. Thomas tried to buy Desilu from Lucille Ball, but was unsuccessful.
Andy Griffith was the first spin off on American television. It originated from a 1960 episode of Make Room for Daddy. Success poured Danny’s way as several of his TV shows reached Number One. He is also responsible for casting Mary Tyler Moore as Laura Petrie.
Andy Griffith was a spin off of No-Time for Sergeants and Gomer Pyle was a spin-off of the Andy Griffith series. All these shows could be found on the Desilu backlot. Gomer Pyle too became another huge success, In it’s 5 year run, it only fell under top three rated shows once. where it fell to tenth. NBC wanted to spruce up the ratings for Star Trek and was penciled in that Friday night 8;30 time slot, thinking Gomer was in decline. Not the case, Gomer zoomed back to the top and Star Trek got canceled.
All these iconic shows filmed on the Desilu backlot and the negatives ended up here also, in the film vaults that time forgot…more on that to come.
I had a Gomer Pyle lunch pale, I wanted it because it has the Gomer’s barracks in the background as Sgt. Carter gets splashed in the face by a water hose. I loved Frank Sutton. He was the perfect Sergeant. He was a W.W2 in the Army and saw combat in the Philippines. Frank was also a black belt in karate.
Much of this era- and decades before- ended up in film vaults on the backlot. Ironically, shows that filmed at this bunker would eventually end up inside this cement fortress with 8 blast doors. This vault area will be a topic of discussion in my next post.
I wish to thank Danny Thomas, Marlo Thomas, along with Terre and Tony for their effort in making St. Jude the place where kids can fulfill their lives. Let’s all say a prayer for these wonderful in need…
Outside the studio main gate…On Ince Blvd.
The surroundings of what was then Desilu were very simple and middle class. Neighborhood bungalows often provided shelter for the employees that worked inside this studio facility. A laundromat with the name Paramount engrained in the mortar sits across from the main gate. Industrial grade facility, uniforms and costumes get cleaned here from your all time favorite films. The building adjacent to it supplies ice. Ice is a big thing, and gets used in various ways. These commodities are extremely important yet go unnoticed, but not on Ince Blvd.
Next door to the Ice Company, across a tiny ally that looks like something that Elliott Ness would raid, is your last chance for gas. A legendary bar winks at you caddy corner and is across from The Plantation where all the studio executives create things. Things we watch on television. The mid 60’s was the peak for quality T.V. Roof antennas and rabbit ears pulled in shows being filmed in every backlot in Hollywood. The Culver Hotel looks down on all of this landscape.
The gas station that fueled your hasty exit was Richfield, back then. It was typical of any in the USA. Quarts of oil sit on display outside a tiny fix -it garage. Two cars could fit inside, like the two cells in Andy Griffith. In fact, the next closet gas station from here is Goobers, just down the road. He’s not always open, so don’t be that Man in a Hurry.
Soda machines stand side by side cigarette machines for the big spenders, and a last chance phone booth sits proudly along side some 55 gallon oil drums. Your having a good day if the soda is cold and you have enough coins to place your call. Collect calls sometimes work, if your mothers on the other end. The Herald Examiner also is interested in your quarters and displays its daily headlines proudly through a crusty yellow cover surface.
In 1965, my family bought color to keep up with those fancy silks Batman and Robin wear. A revolution on channels 2 through 13. Less content resulted in extremely High Quality T.V. We saw the same faces and actors on several of our television series and began to feel like we knew them. Who doesn’t feel they already know Gavin McCloud for example or Burt Mustin. Bruce Lee lived directly behind the studio on Van Buren street and neighborhood kids did know him. Color worked everywhere with The Dynamic Duo and The Green Hornet. Art directors and wardrobe had plenty to work with in our most colorful decades. Even That Girl produced 136 color episodes.
One afternoon I stopped with my sister to get gas for her candy apple red- GTO. My dad gave it to her since I’m still in single digits. Nancy gets out to pay while we receive a full service treatment. I fiddle with her 8 track, since I can’t drive yet, but I can rock. The band Cream begins to play White Room- at the station.I’m happy as I rock my head sideways, welcome to the 60’s – my sister interrupts points out a crowd that is looking and/or waiting to use the phone. My eyes pan like the lens of a camera, anxious women fidgeting, each dressed more colorfully that the next- block the folding glass door, it’s then who I realize who’s inside-Marlo Thomas.
It’s like a casting call and every actress wants to use this phone. They will have to wait there turn, Marlo Thomas is using it for something important. My sister and I love –That Girl. I role down the power windows and gawk.
Secretly, I had a crush on this woman before I was certain I even liked girls. There she is-as adorable as can be. She’s animated inside her booth and her mannerisms make this seem like the opening scene in an episode. We pick…That Girl!
Like the opening scenes yet this isn’t being filmed, it’s real. The only thing missing is the train speeding alongside the New York skyline, by with the irresistible jingle I grew up loving composed by Sam Denoff and Earl Hagen.
Diamonds, daisy’s, snow flakes and That Girl, chestnuts, rainbows, springtime That Girl…
This is coming from a boy who couldn’t get enough war and machine gun T.V, but spring must be in the air, this had a grab factor. It’s that girl with the umbrella, with the fancy Thursday night prime time slot.
Ms. Thomas wanted the show title to be-That Girl. The studio preferred The Marlo Thomas Show, every show at Desilu had the stars name attached, Marlo wanted a fictitious character, Ann Marie Henderson was born.
A year after MGM sold its soul to the devil-20th Century followed suit a year later. Never has there been more access to chariots, airplanes-full scale and miniature, and ships for sea. “Costumes needed, step right up. We’re giving them away.” “We’re going to build a modern city on this sacred ground,” that’s the pitch.
Groundbreaking started in the early 60’s and real estate was about to skyrocket. This entire city known as Century City was pure backlot. Its size rivaled MGM, which is a short trip down Motor Avenue. All the studios on the Westside succumbed to inflated real estate. Lot after lot was auctioned off to the highest bidder. The equipment and props used on these lots were no longer needed, and deals were everywhere.
MGM and 20th Century Fox decided to cash in their chips. Desilu would also succumb to this huge cash cow real estate is providing. I imagine the Hogan’s Heroes tree stump would have received bids. Or the dog houses, guard towers, and door handles from Stalag 13. The Mayberry Courthouse door handles should be in a catalog. The fuel pumps at the filling station and the soda ice box. Desilu/Culver gave their stuff away, or in some cases-forgot it was there. Such as my recent discovery of Marion Davies’ original Make-up trailer. You know the one I discovered in a backyard, that was pulled around by horses. Bunkers full of old TV shows were sat abandoned and neglected.
RKO/Desilu fizzled out…No auction, no mention-the land that time forgot!
Legendary items left to fend for themselves, ending up in the hands of kids with a keen eye. No bids required, yours for the taking.
But the big two players, Fox and MGM, couldn’t dump stuff fast enough. Bring your checkbook. This is where adults become kids again. These sales were once in a lifetime and closed the curtain on how the studio system once worked.
I started sneaking into the 20th Century lot in 1974, after about a year of scouting. It turns out, the Pico entrance had a climbable tall fence without any barb wire. The problem there is Stages surround you as you land inside. You’re boxed in with no hiding places, so running is an option, from point A, to point B. Point B is either a tiny little Western Street, used in an episode of Starsky and Hutch, also The Rookies, S.W.A.T. and Charlie’s Angels were in full swing.
Movies going on were The Poseidon Adventure, The Towering Inferno, and Young Frankenstein. These were shows that I semi- infiltrated in various locations on this lot. This isn’t like my studios; the main lot connects to backlot streets. Stages are dominant in the landscape. The main lot is a semi backlot. But this lot once had a backlot, and it was big enough to become home and office for thousands of residents.
I remember a Friday night Jimmy and I were on the 20th Century lot; we snuck in by climbing a chain link fence on Pico Blvd, right next to the L.A. Rams ticket office, across from Rancho Park Golf Course. This area is all stages with little or no hiding places. We felt like novices, we barely know this lot other than from the outside looking in through holes in the fence. We became alerted when we were looked at suspiciously by crew transmitting with walkie-talkies. Jimmy and I separated in two different directions. I turned a corner and chose a bush to hide behind that was exactly my size. No one saw me- so I’m safe if I never move. Trailers are parked outside the stages; it appears I may be here for a while… you know how these things go.
I’m pretty pinned down, but I’m protected in the shadows, just me and some spiders who probably wonder what I’m doing here. To my amazement, I see something hidden inside this bush that right now- is the center of my universe. There is a round reel of film inside a box that says –Young Frankenstein.
“I’ll be damned, that’s my show,” I think to myself pressed up against the stage wall. An actress in a western costume is talking to some guy on a bike as I peek through the branches that surround me. A red light spins every time filming commences on stage, like on a police car roof top. I’m not sure what I’m hiding from. No one is chasing me, I’m just a little scared is all. “I can’t believe there is an entire reel in this box”… I saw all the exteriors filmed at MGM, and now I’ve found a reel in this nicely manicured hedge at 20th Century Fox. So many thoughts cross my mind. “How, why, what… this has to be a theft and I’m sitting right next to it! It’smy favorite monster movie ever.
Someone was going to pirate this film or this reel anyway by all appearances, and this hedge I’m hiding in was involved in the plan. A drop off point maybe. This hiding place I’ve chosen, and the contents here could land me in prison. It’s one of those things- you want it-just can’t have it.I was just trying to hide during a perilous moment, and I end up in a bush with a soon to be released- box office hit.
Today on this lot in Century City, there are still reminders and some existing sections that date back to when all things glittered Gold, before they were all sold for cash…
“Do I hear 100 dollars for this empty bottle-SOLD!”
Having grown up in the 60’s, I lived this vibe. Compared to today, this was heaven. But in the the decade this film was made, Vietnam was a war our 18 year olds wanted nothing to do with. Down withWar was the catch phrase. The counter drug culture developed and Make Love-Not War protests would become common place.
16 and 17 years olds commonly had long hair. At 18, you better be in college, As Creedence Clearwater put it, your either a Fortunate Son, or you have a Bad Moon Rising. But the song that fits this time zone narrative and that put Jefferson Airplane into the stratosphere was-White Rabbit.
It was released the same time this film was made-1967. The Summer of Love. This song was an invitation to feed your head. The psychedelic generation made this song their anthem.
Grace Slick, the band’s founder, says it this way…
“In all those children’s stories, you take some kind of chemical that leads you to a great adventure.”
The Lewis Carroll story- Alice in Wonderland, was way ahead of it’s time.
Grace continues” Alice in Wonderland is blatant. “Eat Me!” She gets so high she’s too big for the room. “Drink Me!” The caterpillar is sitting on a psychedelic mushroom smoking opium!”
Grace continues “This song was about the importance of education.” “Feed your head” the climax to White Rabbit, “was meant to liberate your brain and your senses.”
The 70’s culture retained much of this color, music and passion. Cocaine became prevalent, and all these drugs could easily be found in public school. Everything Jefferson Airplane sings about and more, carried over in another very colorful decade. On the MGM backlot-The sixties and seventies blended together. Sargeant Pepper would be made in 1977. Based off the Beatles album of the Sixties. The color, pageantry, and drugs continued like some Yellow Submarine trip.
This film-The Love-Ins was made by Columbia Pictures on the MGM backlot. Why they didn’t use their own backlot confuses me. They easily have backgrounds and a fancy park at The Columbia Ranch. What’s cool- is they didn’t.
Drugs and backlot adventures go together, hand in hand. It’s a wonderland weather Alice greets you or not. I have wonderful story called White Rabbit in part 2 of Hole in the Fence, second edition, coming later this year. It involves Magic Mushrooms and a chase by MGM security, the funny thing is-I was bare foot. It started in Tarzan’s Lake and I was doing my best Tom Sawyer impression. One of my fellow trespasser friends ended up in jail as everything that could go wrong-DID!
This backlot was so fun-drugs weren’t needed. MGM is a drug. But enhancement of the senses can manifest any illusion you can imagine. It’s as if these studio backlots were intelligently designed for just this reason.
You may see a White Rabbit or two, trying to lead you down a rabbit hole. You too can experience all this enchantment, simply by following me through my…Hole in the Fence!