Tag: film

Marion Davies/Judy Garland Historic Make Up Trailer Connection

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Black and white portrait of a woman with curly hair, making a 'shh' gesture with her finger to her lips.

The Secret is Out…

Close-up of a young girl with braided hair and blue bows, looking surprised or concerned.

Judy Garland has now been confirmed as a former owner of the Marion Davies portable make-up trailer.

Many exciting discoveries have emerged since my last post about the Marion Davies portable dressing room that I unveiled from a Culver City backyard. (See my YouTube on The Phantom of the Backlots site.)

For example, affirmation from newspaper articles revealing that Judy Garland once owned this trailer and used it during the first three months of filming The Wizard of Oz! The Ruby Slippers may very well have clicked their heels in this magical dressing room.

The trailer was originally built for Marion Davies during “Beverly of Graustark” for MGM. It was publicized as being beautifully decorated with furnishings and taffeta pillows of rainbow colors.

Marion formed a close relationship with Marie Dressler, another of MGM’s biggest stars. Marion decorated the trailer in blue and grey and gifted it to Dressler after filming “The Patsy”, who entertained and lounged in it for several years. Marie held court with many MGM co-stars like Norma Shearer, Rudy Vallee, Jean Harlow, Maureen O’Sullivan, Jack Benny, Robert Young, Hedda Hopper and of course Wallace Beery.

After Marie’s death, the make-up trailer was auctioned and the winning bid came from Marie’s longtime friend, May Robson. Robson was another big star at the time!

Next, it was given to Judy Garland (described as her first “grown-up” dressing room.) Judy would only use this portable room for a year. She was given a new trailer by MGM in December of 1938. At the ribbon cutting, Judy is said to have given out autographed pictures to the cast members of The Wizard of Oz.

Its final destination was the backyard of Fred Trowbridge, an actor and friend of May Robson.  Fred appeared in all of May’s stage plays and helped manage her affairs when May got older. Fred adopted and had the trailer moved to his backyard at 9024 Lucerne Avenue in Culver City, where it sits today. Per telephone book listings, Fred appears to have lived at this residence from 1936 through at least 1956. The trailer could have been set in its present location as early as December of 1938 (when Judy vacated it).  

Speculation: If this trailer was moved to the Lucerne address, which butts up to the 40-acre lot (and at one time was part of the lot) this dressing room/make-up station would surely have been in demand by the studio for touch ups or relaxation during the time of filming on “Gone With the Wind.” With so many stars and featured players on “Gone With the Wind” at one time, available portable dressing rooms were at a premium and hard to find, especially on the backlot. Saving time by saving actors precious steps to their dressing rooms, was a necessity.

A quote from Margaret Mitchell’s Gone With the Wind seems appropriate: “Perhaps-I want the old days back again and they’ll never come back, and I am haunted by the memory of them and of the world falling about my ears.”

Of all the amazing experiences I have had, both trespassing and in my long studio career, this is the most sensational item I have ever come across. Plus, it’s the ultimate studio game of CLUE. I get chills looking into the soul of these mirrors. They stare back with a depth and richness that only history can create. I feel it was my calling to save this unit from the claws of developers at this corner.Written and lived by Donnie Norden and researched with a little help from my friends, Mike Escarzaga, Maureen Miller and Henry Tegeler

Black and white portrait of a young woman with long, wavy hair, wearing a vintage dress with puff sleeves and a bow at the neckline, looking directly at the camera.

How did I get here? Read on to retrace the steps of the most iconic trailer in Hollywood. An early still taken October 13, 1938 when Judy occupied the Marion Davies portable makeup trailer. They would go with shorter hair during the filming of the Wizard of Oz.

A decorative black door with intricate designs on the left, and a dilapidated entrance of an abandoned structure made of wood on the right.

Marion Davies trailer in 1925 and the makeup trailer today. In 1925, Marion Davies is presented her new portable dressing room during the filming of “Beverly of Graustark”. She would go on to use the trailer for “The Red Mill”, “Tillie the Toiler”, The Fair Coed”, and “Quality Street”.

A group of five people in early 20th-century attire, standing in front of a closed movie theater door with a 'CLOSED' sign. They appear to be upset or disappointed, holding ice cream cones.
A woman in a black dress looks surprised while another woman in a short white dress balances an apple on her head and holds another apple in her hand.

Marion Davies and Marie Dressler in front of the trailer during the filming of “The Patsy”. December 25, 1930: Marion Davies gifted her portable dressing room to Marie Dressler after filming “The Patsy”. (The Mirror, Feb 28, 1931, page 9). In 1928, Marion would star in “Show People” which good pal Charlie Chaplin made a cameo appearance in. Marie Dressler co-starred with Chaplin in his first feature film at his Keystone Studios. “Tillie’s Punctured Romance”, 1914.

A smiling man with curly hair wearing a bow tie and a suit in a vintage black and white photo.
Two young women in 1920s athletic attire standing in an arched doorway, wearing matching short-sleeved tops and shorts, posing confidently.

Hello Ladies! Left: Charlie Chaplin in “Show People”. Right: Marion and good friend Eleanor Boardman in costumes from “The Fair Coed”. Eleanor did not star in the film.  Eleanor married Director King Vidor at Marion’s house. Marion was ready to upgrade and graduated to a much larger trailer which Charlie called “The Trianon”.

A vintage-style stool with a turquoise padded seat and a red rim, supported by a black metal base, placed against a decorative wallpaper with leaf patterns.
A large, illuminated mirror surrounded by lights, with a vintage suitcase placed in front.
Interior view through an arched window with a blurred reflection in the glass, framed by an aged wall and bottles in the foreground.

During Marion’s occupancy, it was adorned in taffeta pillows in a rainbow of colors. Marion especially decorated the trailer for Marie in blue and grey complete with chaise, mirrors, dressing table and other amenities. (The Southwest Wave Nov. 28, 1933). Marie was a frequent visitor of Marion and Randolph Hearst at the San Simeon castle. As described in the article, blue and grey rug remnant, powder blue stool, original mirror which still spectacularly lights up. This room talks through images-captured inside these mirrors, like a genie in a bottle.

A newspaper article excerpt discussing Marie Dressler's activities and preferences during productions, highlighting her love for companionship and her use of a portable dressing bungalow.
A historic black and white photo of four individuals at a banquet, two women embracing with an Oscar trophy, while two men watch, one dressed in a tuxedo.

Marie left her door open for her friends. Many of her friends were MGM stars and co-stars, like Marion Davies, Charlie Chaplin, Norma Shearer, Jean Harlow, Lionel Barrymore, Wallace Beery and even Greta Garbo.  Dressler won the Academy Award for “Min and Bill.” Seen here with Norma Shearer, her friend and MGM co-star.  Marie would make many movies for MGM while enjoying this trailer until her death on 07/28/34.

A glamorous woman in a vintage black dress poses elegantly with a large feather boa and a fan, showcasing a classic Hollywood style.
A glamorous woman in a stylish, form-fitting evening gown poses elegantly with a fan, set against a backdrop featuring artistic patterns.

May I touch up my look? Left: Norma Shearer and Marie Dressler starred in “Let Us Be Gay” MGM 1930. Norma would ultimately give her portable dressing room (presented to her by Irving Thalberg) to Mickey Rooney in 1939. A scandal would result (according to Mickey Rooney’s autobiography “Life is Too Short”.  

A glamorous woman in a sleek, form-fitting satin dress striking a pose against a dark backdrop with a decorative emblem.
A glamorous woman in a silky robe using a powder puff while looking into a hand mirror, with vanity items visible on the table.

Another beautiful co-star Jean Harlow “Dinner at Eight”.

Historical gathering featuring Franklin D. Roosevelt, Marie Dressler, Charlie Chaplin, Douglas Fairbanks, and Mary Pickford at a Liberty Loan drive in 1918, surrounded by a crowd.
Picture from Marie Dressler’s “My Own Story” (1934)
A newspaper article from 'The Mirror' dated February 28, 1931, discussing Marion Davies presenting Marie Dressler with a portable star dressing room and noting that both actresses share the same initials 'M.D.'

Fun Fact!

An article titled 'May Robson's Memento' discussing actress May Robson, along with a black and white portrait of her. The text highlights her career and a dressing room associated with her friend, actress Marie Dressler.

1935-November: May Robson, Oscar nominated actress, was the highest bidder of the portable dressing room from the estate of her lifelong friend Marie Dressler, who passed away on 07/28/34. (Albuquerque Journal}. But wait… There’s more to come for this opulent trailer!

A vintage magazine cover of Motion Picture featuring a woman with curly red hair and the caption 'I Didn't Think It Could Happen Again' by Virginia Bruce, alongside a black and white image of a young girl, Judy Garland, in a dress, standing in front of a plain backdrop. Below, there is a text block discussing Garland's portable dressing room that belonged to Marie Dressler.

1937-December: Judy Garland receives the Marion Davies portable dressing room (Motion Picture Magazine Feb ’38). She would employ this “Tiny Green Room on Wheels” for one year, including 3 months into the filming of the Wizard of Oz, before she receives a new trailer for Christmas in December of 1938.

A vintage door featuring a curved top, intricate designs, and two sidelights with decorative glass panels.
Weathered wooden door with an arched top, featuring a rusty latch and intricate metal detailing.

On the right, you can see some of the green paint from when Judy Garland owned it, which she refers to in the article above, her “tiny, square, green room on wheels.”

An old newspaper advertisement featuring illustrations of Judy Garland and a young girl playing the piano, with a headline that reads 'IT'S TRUE' and text discussing Judy Garland.

Judy is thrilled over the tiny portable dressing room once belonged to Marion Dressler. (Richmond Conservator December 2, 1937, Pg. 5)

A vintage metal nameplate engraved with 'MGM' and 'JUDY GARLAND'.

Judy’s Dressing Room Nameplate

A collage of vintage black-and-white and color photographs featuring a woman in various outfits, including a formal gown, casual dresses, and a blazer, depicted in different indoor settings. Some images show her with another woman, while others display her alone, sitting or standing.

1938-December: As a Christmas gift symbolizing her “new star” status at MGM, Judy Garland receives a “New” portable dressing room from MGM replacing the Marion Davies trailer. Six months later, Garland almost burned down this trailer while cooking in there and the curtains caught fire!

A black and white photograph featuring May Robson and Fred Trowbridge, with text discussing their roles and contributions in a production.

After December 1938, Fred Trowbridge, actor and friend of May Robson adopts and moves the dressing room from MGM to 9024 Lucerne Avenue in Culver City, where it sits today. The articles above and below show how important Fred was to May.

A newspaper clipping discussing Fred Trowbridge's house in Culver City, featuring details about a cherished dressing room filled with pictures.
A black and white photo of a formal dinner setting with several men seated at a long table, focusing on a well-dressed speaker standing at the front, addressing the group.

Fred Trowbridge covers the portable dressing room with shingles to preserve it. (Mentioned in Robson’s Obituary article in the Evening Vanguard dated Oct. 22, 1942). Right: Fred Trowbridge seen here at the Examiner party in “Citizen Kane” 1941. A short walk to work-just through his backyard and on the lot!

A woman holding a clapperboard labeled 'MAKE-UP STILL' with a serious expression, dressed in period clothing, outdoors with trees and a building in the background.
Aerial view of Tara, highlighting its layout in relation to a nearby white-roofed house, with an arrow indicating the location of the dressing room.

Let’s get swept up in the most idyllic scenario possible… As portable dressing rooms were in high demand, owners of this portable make-up station/dressing room would find a win-win situation in leasing it out as it was in the 60’s and 70’s during the Desilu phase of Television filming. It would make sense that it was loaned out as early as December 26, 1938, when Judy vacated it. This portable room which had electricity, would surely have been in demand by the studio for touch-ups or relaxation during the filming of Gone With the Wind when there were so many stars and featured players on the set at one time and available portable dressing rooms were at a premium and hard to find. 

An article discussing the necessity of portable dressing rooms for film stars to save time during filming due to large studio sizes and distance between sets and dressing rooms.

The Boston Globe Nov. 14, 1932: why stars have portable dressing rooms.

A vintage newspaper clipping featuring an article about Joan Fontaine and Olivia de Havilland, discussing Fontaine's role in 'Rebecca' and a humorous encounter regarding De Havilland's old dressing room.

dingy little room somewhere on the backlot?” A shortage of dressing rooms stirs up a little sibling rivalry. “Rebecca” (Hitchcock directing, Selznick producing) on the lot the same time as “GWTW” reshoots. The Daily Mirror Nov. 4, 1939.

A collage of classic television scenes featuring characters from various shows, including a humorous moment with a group in military uniforms, and recognizable superheroes with villains.

From 1943-1959 we don’t know if the Portable Dressing Room was loaned out to productions on the 40-acre backlot but testimony from residents would confirm the loan of the dressing room in the early 1960s. This was a busy time for Television production on the adjacent lot. Hence, there was great need to tend to actors out on the 40-Acre Backlot for touch ups, since the Studio Main Lot was nearly a quarter of a mile away. The subsequent occupants loaned the trailer out to shows filming on the backlot to Hogan’s Heroes, Batman and The Andy Griffith Show (Residents of Lucerne).

A small, beige house with a garden, featuring large windows and a pathway made of stone steps.

Home of former actor Fred Trowbridge and the infamous make-up trailer. During the TV revolution, Spock, Bruce Lee, Andy Griffith and Gomer Pyle are just some of the faces and characters who have been in and around here. The Batmobile was parked out front here, with witnesses having seen Batman drinking a can of beer from a brown paper bag. All these old homes are part of this film culture, inside and out. This corner in Culver City is centered between what was Desilu and Hal Roach studios. If TV Land has a neighborhood, this is it!

A small, weathered wooden shed partially obscured by tree branches and greenery.

The portable dressing room is still covered with shingles for preservation put there by Fred Trowbridge. (Mentioned in Robson’s Obituary article in the Evening Vanguard dated Oct. 22, 1942). Thank you, Fred, for doing your part in preserving this grand piece of history! For a deeper dive, here is the link to the Original post, you can experience the timeless elegance of the trailer and all of the wonderful artifacts found inside see the original article per the link provided here: Marion Davies Portable Dressing Room is found 100 years later in a Culver City Backyard! – Phantom of the Backlots

Aerial view of a small, rustic settlement featuring wooden shacks, dirt roads, and sparse vegetation, with a few palm trees in the background and a prominently marked building indicated by a red arrow.

The trailer is barely visible in this shot just behind Stalag 13 sets. As a kid, my passion to escape into Stalag 13 took me through this private yard, regularly starting in 1972. I had to first sneak into this yard before climbing a second fence that puts me right behind Stalag 13. In between the two fence climbs lies a unique structure covered with shingles. My initial encounter with this shed was just an observation as I climbed into Desilu.

Promotional poster for 'The Phantom of the Backlots' event at the Culver City Historical Society, featuring various historical images and a central figure of a child. The event is scheduled for April 28th at 7 PM.
Book cover for 'Phantom of the Backlots: Hole in the Fence' featuring a faded map design.

Thanks for taking the time to read my stories. For more Backlot Adventures, check out my books on Amazon.

A Pictorial of Silent Film-R.K.O/Desilu Connection

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A scene with a man dressed in a green suit with question marks, holding an umbrella and posing in front of a camera. Nearby, a woman in a red and yellow dress stands with her hands on her hips. Two chefs in white uniforms observe, one holding a plate.
Batman and Robin stand next to a large book titled 'A Pictorial History of Silent Films' by Y.Y. Flurch, with an illustration of a woman holding a conductor's baton.

Pictures on the Silver Screen

A black and red Batmobile parked outside 'Mother Gotham's Bakery' with a blue sign indicating 'Employees Only' nearby.
A woman in a bright red dress smiles while sitting beside a man in a green suit with question marks, who appears to be animated and cheerful.

“Every set needs food -Robin”…This is a clue. “That was a great sandwich” says The Riddler

A man in a green outfit is cleaning a dusty surface in a room with large windows and a sign indicating 'STAGE 2-3-4' in the background.

Meanwhile-at the Old Thomas Ince Studios- The Riddler “cuts” his latest silent film.

Three individuals sitting on director's chairs in a film studio, with film reels and posters visible in the background. The woman is wearing a red dress, while the men are in formal attire.
A scene from a classic film shows two men in conversation in front of a large projection screen, with one man dressed in a police uniform and the other in a hat and formal attire. In the background, a chef is watching from behind a counter.
A woman with her face covered in what appears to be cream or pie, sitting at a desk in front of a wall of filing cabinets.
A tense scene featuring a man in a green vest with a worried expression, sitting in front of an old film projector. Another man in a blue suit and hat is smiling behind him.
A black-and-white image on a projector screen featuring a superhero alongside a futuristic vehicle, with various classic cars visible in the background.
A black and white image featuring a movie scene of a superhero duo, Batman and Robin, standing next to a classic car. Robin is pointing while Batman looks on, both in their iconic costumes.
A black and white film scene featuring a superhero in a cape and a child standing in front of a movie theater entrance, with a sign stating the theater is closed.
Three people sitting on director's chairs in a studio, smiling and enjoying a moment together.
A vintage projector screen displaying a black and white image of two figures indoors, with a contrasting colorful background featuring an advertisement for 'Lily Adair, Nude Romance.'
A large projection showing an image of a woman and text that reads 'NATIONAL HISTORY OF SILENT FILM' displayed in a gallery setting, with a door and other artworks partially visible.
A vintage poster for a silent film displayed in a doorway with a partially visible figure in the background.
Two men smiling and laughing, one wearing a bright green outfit and the other in a blue suit and hat, with a film projector in the background.

“Another Classic Cecil” – The Dynamic Duo gets clobbered by a Silent Movie Bill Board

A smiling man in a suit stands next to a vintage camera on a tripod, exuding a sense of professionalism and nostalgia.

Cecil B. DeMille

A scene depicting a colorful villain, dressed in a green costume with a question mark motif, looming over a tied-up hero in a red and green outfit. In the background, a man in a white hat is holding a megaphone, while another figure looks on, all set in a dimly lit room filled with various props.
A scene featuring two characters, one in a suit and hat laughing, and another wearing a green superhero costume holding a panel labeled 'CONTROL LEVELS' with indicators for speed.
A man in a green costume with purple accents gestures dramatically in front of a large control lever marked 'CONTROL LEVEL.' Another man wearing a gray suit and cap laughs in the background, inside a rustic wooden room.

“Quiet on set…ACTION ! “

A man using an old-fashioned camera on a wooden platform surrounded by a rustic interior, with beams and supports visible in the background.
A woman with dark, styled hair is holding a spotlight while smiling, set against a dimly lit background.
A man standing in a film studio, holding a script and leaning against a wooden beam, with studio lights and a backdrop visible.

Cecil B. DeMille operated this studio following Thomas Ince’s “untimely death.”

A scene featuring a man in a green costume and a pink mask shouting, while a character in a red outfit lies on the ground, suggesting a dramatic confrontation.

“Any last words before you become split in half ?”

A character in a green costume is holding a spray can while preparing to use a circular saw on a metallic work surface.
Four men in a cluttered workshop, with one man lying on a table while others appear to be inspecting him. The setting features wooden materials and tools, suggesting a stage or production environment.
Image features bold text that reads 'WILL WE SEE THE BOY WONDER SAWED IN TWO?' over a scene showing a character lying down.
A dimly lit workshop with wooden beams and tools scattered around. A person lies on a wooden plank surface near a table, seemingly in an inactive pose. The scene has colorful lighting effects, creating a dramatic atmosphere.

That sharp blade is spinning -Real Fast–Time is running out!

A grand white mansion with green shutters, featuring a large staircase leading to the entrance. A person in a dark cape is seen on the steps, while a vintage car is parked in front amidst neatly trimmed hedges.
A large white mansion with green shutters, featuring a set of stairs at the entrance. In the foreground, a man in a dark outfit runs along a pathway lined with hedges, while two cars, a vintage black sedan and a red convertible, are parked nearby.
A man dressed as Batman stands beside a classic black Batmobile in front of a large mansion with green shutters and a well-kept garden.
A close-up view of a car seat with a vintage-style toy or device resting on it, illuminated by natural light, highlighting the texture of the leather seat.
Batman in his iconic costume stands next to the Batmobile in front of a house with green shutters.
A scene featuring a man in a suit speaking to a character in a Batmobile, with a grand house and greenery in the background.
A man in a Batman costume with a cape sitting in a retro Batmobile, featuring distinctive fins and devices emitting small jets of smoke.

Robin lost his locator /transmitter making this more difficult, fortunately,Batman has solved this -RIDDLE !

A man in a suit waves goodbye as a sleek black car with red accents, resembling a famous fictional vehicle, drives away in front of a large white house with green shutters.

Good Luck Batman…

A street view of Gotham Lumber Yard featuring a wooden building with a prominent sign. In the foreground, there's a stop sign and a concrete sidewalk, while parked cars line the street in the background under a cloudy sky.

“STOP” – for traffic on Ince Blvd.This, believe it or not, was the main gate and guard shack-that little closet next to stop sign.

Exterior view of Gotham Lumber Yard with a wooden sign and a stop sign nearby.
A black and red vehicle departs from a lumber yard labeled 'Gotham Lumber Warehouse,' on a cloudy street lined with parked cars.
A black car with red accents resembling a superhero vehicle speeds past a lumber store, with parked cars lining the street.

Batman enters this old Bioscope/Triangle Studio founded by Thomas Ince

A person dressed as Batman stands in a doorway, partially visible in a dimly lit room surrounded by wooden planks and construction materials.
A performer in a green face paint and a black cape poses dramatically on wooden crates, while a person in a grey and black costume stands below looking up, with colorful lighting creating distinct shadows.
A character dressed in a red shirt, green shorts, and gloves, lies on a wooden table in a workshop-like setting, with saw blades visible in the background.
A scene featuring a superhero in a cape leaning over a figure dressed in a red and green costume lying on a wooden table, set against a backdrop of wooden planks.

“Holy Saw Blade Batman-That was cutting it close!”

Vintage dressing room with a large mirror surrounded by lights, featuring a vanity table with various beauty products and a cushioned seating area.

This trailer talks and often delivers images in mirrors that have seen more movie history than all other mirrors combined. Truly Magical…Something right out of-The Wizard of Oz.

A comparison of two structures: on the left, an ornate black door with decorative details, and on the right, a dilapidated wooden building with an open entrance, showing signs of decay and damage.

Silent Movie Trailer- Marion Davies

A vintage mirror surrounded by light bulbs, featuring black and white portraits of several people in early 20th-century attire.
A First of it’s kind room and the faces -Once Upon a Time
A silhouetted figure of a man wearing a hat stands in a graveyard, with barren trees and gravestones in the background.
A bottle of Phantom wine placed on a rustic surface with a wooden shed and trees in the background.

Guarded by Spirits

Silent Days are here Again

Amazingly, in my quest to find Batman-I discovered this old Hollywood Trailer. Not just any trailer mind you-this is the oldest relic in Hollywood History. Fittingly, the Thomas Ince/ R.K.O lot has been its home for decades. Disguised as a Garden Shed and used as such after 1971, this chameleon used its own “make up skills” to avoid desegregation from an industry that forgot it’s past, or lost it completely.

Batman himself has had his make-up touched up inside and in front of these MAGIC MIRRORS.

I was told that by a senior home owner who happened to lived on Lucerne back when Gone With the Wind filmed the infamous fire scenes. Quote: ” The Bat Mobile pulled up and parked here, and Batman exited with a brown paper bag drinking a beer.”

It is a right of passage to drink on the sets that dodged prohibition on property that has a checkered past. Wine bottles from Italy are inside this tiny escape trailer. A 1925 -well used – Star Massage vibrator still remained inside when this “Bat Story” was told to me.

The R.K.O – Desilu film vaults are a short walk from this backyard triangle. In a testament to Silent Films, highly flammable nitrate film was stored in explosive proof bunkers or vaults. Hal Roach Studios intersects this all time movie history corner. This Episode of Batman is a spoof of that era with twists and turns that are eerily delivered that connect to this studios past.

Batman unknowingly at this time, wasn’t just recreating history, it actually as creating significant television history-In Living Color, no-less.

This episode is a treat, so full of history, such as the Desilu Plantation Headquarters, the iconic building still proudly looking up at the Culver Hotel. Everything looks up to something. The Forty Acres backlot looked up to the infamous Desilu water tower, which sadly was removed by Amazon Studios, an owner that lost touch of the history that took place on the glorious formerly silent movie studio.

If you-yourself remain silent, areas of this studio still talk. They do to me anyways. The past still exists, just adjust the antenna on your roof, you will get a signal, I promise you. It only fades away if you let it, tune in, not out.

Time is your precious friend, full of rich, colorful memories that disappear if not preserved. That’s where I step in-to preserve the still remaining, almost forgotten past. The stories behind the films and T.V Series from yesteryear.

Written and Lived by…Donnie Norden

Big Old Jetliners

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Notice the bloody tree branch that killed the pilot.

“Pilot Error” ruled as cause of crash. Tree branch dislodged his cap and a section skull.

Inside-no passengers involved-more mystery

Falls Lake -Universal Backdrop film set. I actually forgot what set I was on here-I ask my audience for help. Does anyone recognize this plane wreck? After 35 years off non stop Universal Movie sets-this crash flew under my radar. I would love to match the show to the pictures I took here.

The tail piece beyond the cockpit/fuselage is a different film than this-both involve huge plane crashes.

Falls Lake snowed in.

Landing gear behind our fake forest set up. This usually has 7 to 10 feet of water here in the basin beneath the sky backdrop.

From this mysterious plane wreck to a more famous crash that because of great piloting, everyone on board walked away. “Sully” lands where others crashed before.

“Sully” recreation of The Hudson emergency, Universal Falls Lake Backdrop.

Plane interior at lake

A successful “saving grace aviation moment” captured at Universal Studios.

This plane died a movie star death for War of the Worlds…

Location-Victorville, Ca- same ANA Jumbo Jet being packed up for transport to Universal Studios Backlot.

Here is that plane on the set of War of the Worlds. A Paramount Blockbuster, directed by Steven Spielberg, starring Tom Cruise. It still sits as viewed here, a very popular Tram picture stop.

The street light remains on after the crash and the car alarm goes off when trams pass by.

“Welcome to….Los Angeles”

“Is there a doctor on board?”

A news copter view of this -Breaking News!

We fly back in time now….
The fictitious Columbia Airlines
Good luck with this plan…
This guy can fly…At this time in the early 70’s-Mr. Heston did 3 movies as a pilot. Airport, Midway, and Sky Jacked. If he’s your pilot, your in for a wild ride!

TRUST ME-I”M GOOD!

Screenshot

Pictured right-Director Jack Smite at work.

Success breeds sequels- “We are now boarding–Dean Martin is your Captain”
“I didn’t know this guy was our pilot-I saw him at the bar with some stewardess’s”
A Harbinger of things to come…

I did not realize – we did this Tour Show. I wish it was there when I started…I had my own airplanes I pretended to fly at MGM in this era.

The Captain left his Heineken bottle behind in a hasty exit with a group of stewardess’s…MGM

1970-Airport- 1

When I started my Universal career, I worked with guys who were on this film. Wind Machines, my department operates Ritter Fans used for special effects. We maintain and operate these and supply the necessary Direct Current needed for their operation. Effects would in this case toss snow flakes in front of the fan blades creating a blizzard. Fun stuff.

Key scenes were done in our huge parking lot located on Barham Blvd. A plane was stuck on a snow-covered runway.

This story paints the picture of what all took place. The studio parking lot was not the intended location. Conditions made it impossible to film at M.S.P. Back to Hollywood we go, the Art Department cleverly decided to utilize our huge parking lot. We can make snow, even in comfy temperatures. No pictures exist, I would have took some but this is before my employment.

But I was lucky enough to work with the guys who created the snow storms and shared stories with me.

2005 War of the Worlds

30 years after Airport 1975- Steven Spielberg creates a town that has a 747 crash into it, because we are at war with Extra -Terrestrials. Not the friendly kind like E.T, ones that don’t really like us- humanoids. To finish off a set just built specifically to appear ravaged by a 747 crash, all we needed now was a Big Old Jetliner.

Out of a scrapheap in Victorville, we found our star. A Boeing 747 S.R. A domestic wide body built for Japan. ANA painted its emblem on the sides and the initials stand for All Nippon Airways (ANA). The plane was bought for $60,000. Transporting it to the studio cost 3 times more and the logistics were difficult since-we really don’t have an AIRPORT-at this studio.

Using a helicopter, as well as a series of lorries that were escorted by police, it spiraled the cost upwards into the $ 200,000 thousand altitude. This set was only a 3-day shoot, critical in the film. On my Phantomofthebacklots -Youtube Channel, I have film of these scenes on my tutorial site. I highly recommend a visit to the behind the scenes making of this movie.

This crash never left, this Paramount film had the responsibility to strike this set located in between The Psycho House and The Greeting Center when visiting-Jurassic Park. Universal waved the “strike – phase” and accepted keeping this set up for the Studio Tour.

This is a fun story to read next time your waiting in an airport…

Written and Lived by…Donnie Norden

Film Universal- The Brochure

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All production services your company can possibly need can be fabricated, built, produced on this the biggest and most grand studio in Hollywood. We provide power sources, air conditioning, transportation rentals, lighting equipment and professional staff at every level including post production services. Your one stop shop for film service…Universal Studios.

Just behind this Neon sign are…Animal Actors-

Always on stand buy- when not starring in their own shows.

Our residential look-does not get as much action as Colonial Street. That street looks down to this one from a higher hill side.

House used in-To Kill a MockingBird. Real interior filming can take place inside this set. Rooms, doors, carpet greet you- furniture can be rented from our Property Department.

Ready to move in-yes indeed–we rent furnishings.

Yes we rent snow-earth, wind and fire.

No studio has more exterior sets and landscapes as Universal. Included is a water basin and sky backdrop. Any ocean needs- we provide wave makers, wind machines, boats, aquatic personnel, and every conceivable prop from the distant past to present day. From Pirate Ships to Fancy Yachts-Pyro technical often happens safely with our team of specialists at your beck and call. All for cost-rent us, you won’t regret the first class service.

Falls Lake- Backdrop, here dressed for Pirates of the Caribbean

Underwater, above water, film Universal. Only one backdrop water basin exists besides ours- Paramount has the other. This basin is currently being used in Jumangi, starring The Rock and Jack Black.A train set has been built in the basin-void of water for this film.

Do you need a bridge? We have the room, the backdrop for the Green Screen, and an expert metal shop.

Park Lake=This body of water separates for trams to experience-The Parting of the Red Sea.

Skull Island for King Kong

Skull Island/ Red Sea – miniature ship-promoting King Kong, the animation Universal replaced the burned up Kong with. No longer mechanical, it is virtual in the experience, This Studio Tour in the future will be roller coasters and virtual Fast and Furious virtual encounters.

The Backlot is so extensive, we have a set for anything you can possibly need. If we don’t- then we can build it. New York City is hard to film, but New York at Universal allows those technical difficult shots to easily be controlled and manipulated. Spiderman features come use this backlot for Spider Action involving the Spider Cam that runs on cables or zip lines creating P.O.V of the Super Hero perspective of creating and traversing a spider web network sensationalism.

A calm morning before “Bruce” the Shark awakens…Named after Steven Spielberg’s attorney.

Sharks for rent-dead or alive!

“I can fit into your budget, I’m one of the oldest stars left in Hollywood.”.

Cabot Cove is also…JAWS

Where the past, present, and future intertwine

From Leave it to Beaver to Back to the Future and a million shows in between-From small towns to large airplanes, we have a stage built just for these scenes-called the 747 Stage, it is located behind New York Street on our backlot. In Hone Alone 2- this is the plane the family split up on. New York Street was also used as Kevin outsmarts his potential captors….The Clocktower from Back to the Future sits above Courthouse Square to promote the film to our Tram Guests and top photo was called Rock Hudson Circle- tour guides joked “It’s Rock Hudson a circle because it goes both-ways.”.Joke went over well back in the day.

This generations- Dennis the Menace, Kevin McCallister boarding a prop designed to be an airplane interior.

Scenes done in our 747 Stage…located in the backlot behind New York Street.

Well, so much here, we have had 3 New York Streets in my career here. The original burned down destroying 21 picture cars like the one pictured here. The film titled “Oscar” and the sets along with these irreplaceable vintage cars. Directed by John Landis, starring Sylvester Stallone.

A production disaster…

Things happen around here but we are insured and bonded. But the cars ruined on Brownstone Street are irreplaceable. What survived-the 747 stage and Courthouse Square-top of frame-the square building right side ended up being torn down. Inside was Kong for the Glamour Tram Tour.

Get me out of here….Is this fire real or fake?

Big Apes -we got them also.

All this area burned in 1990-a year later-these several blocks were rebuilt and the Disney feature “NEWSIES”- a musical feature christened New York Street 2.

Disney’s film “Newsies” inaugurated New York Street 2 in a high budget Musical.

Alleyways available for rent.

We can light the lot in any style you need with our’ second to none’ Set Lighting department, always at your service. Pictured here -Spiderman left-Bruce Almighty right.

This car -will be launched into this delicatessen like a sling shot. You dream it, we make it happen.

The deli being prepared for a car to fly through it-not C.G.I-this is all real. Pictured right, the backside of this soon to be destroyed set. Spiderman ‘Sony’ comes to Universal for those hard to get shots.

We have a Fire Department on the lot to oversee all pyrotechnique activity-Do your explosive scenes here at Universal. Last blasts must “go off” or detonate before 10 P.M. A courtesy for our neighbors, you can film all night-minus gunfire.

The last western street in Hollywood was used a just that in -‘Once Upon a Time in Hollywood’

We can make you a cowboy in a matter of minutes...

The roads are paved under this dirt covered street. Trams visit the old west daily and dirt kicks up too much dust, the dirt is removed immediately after filming.

The last Western Street left standing these days in a major studio is…Universal Studios.

This two story building is located in the hub of 6 Points Texas. A legendary ghost town that links back to all the Universal westerns including the last western classic T.V series…Alias Smith and Jones..The bricks are rubber…why, for fight sequences. Cowboys could be slammed into the walls and soften the blows. Some doors are built smaller to make the cowboys seem larger than life.

Two men sitting on directors' chairs in a Western film set, with wooden buildings in the background.

Take it from Soup, this guy has lived it…

“Soup” is his name, he is an image etched on a wall just inside a door across from the saloon used in Once Upon a Time in Hollywood. This art dates far back in Universal History, truly-Once Upon a Time is this backlot, especially this street.

When the old west is needed, there is only one backlot left to flip the bill…Universal Studios.

The old west-Once Upon a Time at Universal. Pete Duel and Ben Murphy are legendary in these parts…

Alias Smith and Jones-my favorite T.V western series, based off the success of Butch Cassidy and the Sundance Kid.

The train, the depot, and the tracks- no longer exist.

No studio can still provide a Wagon Train like Universal can.

Denver Street- No longer rentable – this street has been removed.

This area often gets rented out since traveling to Europe gets expensive, Set dressing, cars, and signs can all be rented here. You supply the actors, we can rent you the costumes. Your one stop film shop.

Rome used to be available for rent. Large Parties took place here with top chefs Since removed for multiple Stage’s with A.I capabilities.

This fountain is still available for rent- used in our Monster Movie History in this-Court of Miracles

The Hump on Quasimodo is a prop. Bud Westmore and Edith Head can make a a new man, an old man or just….A frightening monster.

Spooky-is our middle name…

Edith Head going over outfits as Bud Westmore prepare this Black Lagoon Creature.

Be careful with the cup holders, they really grab hold.

Anything you need-we have…

Yes, we have thousands of paintings-“Tonight’s tale steps out of the painting and take place here…at Universal.“
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Amazing Stories take place here
Looks like my childhood!

State of the art-Post Production.

There is not one picture in this brochure that I haven’t worked on, in, or around including these dubbing stages and Foley rooms. I worked on the wall lighting and floor monuments “power” in this stage located by Stage 12.

This is not an ice rink – it is part of Universal’s newest stages…

The only thing lacking is -The History.

Welcome to my former haunting grounds…

Universal Studios is cut into divisions, facilities, production, first responders, tours, operations and every technical department you can think off, We work like a well oiled machine involving several moving parts. No job is too big or to small. Founded as Universal Pictures by Carl Lemmele, We would later be M.C.A -Music Corporation of America. Our T.V Division was titled Revue Studios and movie mogul Lew Wasserman was our leader and resided on the Top Floor of the infamous -Black Tower.

The stories from this lot are often handed down from the generations of employees that worked here and lived them. Everyone has memories of actors, films, shows, and just everyday going -ons that take place inside this city. A top employer, the surrounding city of North Hollywood and Burbank were developed around our city affectionately know as Universal City.

Tours started in 1964 and continue today, I was part of that for almost 5 years before taking on an apprenticeship and 4 years later becoming all things electric is a workplace that craves power. You can never have enough, especially in summertime when the demand is crucial. Shows call non stop for more power needs on hundred degree days especially. Production power from shooting stations dating back to the 1920’s and 1930’s cannot keep up with today’s demands and mobile power is often required. Generators fill the bill when our old system gets taxed.

Westinghouse Mobile Generators were strategically position in every town on the backlot to provide current. D.C -Direct current is produced. A.C- Alternating-Current is augmented with our old D.C to fill amperage needs that shows require. Advances in lighting no longer require D.C as the industry modernized.

I did not realize I was working in an environment that would no longer keep on -keeping on!

I was in the old days, the tail end of movie making. We had everything you could need. A mill to build any set-interior or exterior. A metal shop, of course electric, plumbing, transportation, a fire department -Squad 51- named from Emergency T.V series, is tour fire department.

Located on the lot, this department oversees pyro effects and the permits have to be pulled for burning or exploding scenes period. One tiny flaming ember can light this wooden backlot up like Gone with the Wind. I lived two of the biggest fires ever to take place on the lot.

Location scouts contact me on scouts for tech needs on the shows looking to rent our lot. Rentals turn a tidy profit as you can see in the brochure. The one set I always heard from scouts that they wish we had was ‘mini malls.’ They are hard to lock down for location filming- often needing to negotiate and compensate several business’s, where at Universal you just deal with us. Surprisingly, this simple mall type set as never built. Steven Spielberg was consulted as a visionary for our 3rd New York Street, at the time we ere owned by General Electric. He requested a waterfront, harbor set to be built behind New York Street- but the powers to be did not want more studio.

A drift of what future is ahead- real estate development was proposed and a complete backlot tear down was on the plans-widen Barham Blvd for traffic was being evaluated. This was a go- until the Seagrams liquid spirit company bought us. From the Grinch Company General Electric, who didn’t even decorate for Christmas, to an alcohol empire that threw the best ever Christmas parties ever.

The entire backlot was a themed event, snow rides were provided to sled on, horse rides, music, strolling entertainment. Bring 6 guests on top of it. Western Bar -B Q and Whiskey drinks lined the old west. Animals were brought in for children to pet, a Ferris wheel was set up on New York Street.

Seagrams knows how to throw a party, they threw two of these swashbuckling Christmas events before leaving with our Universal Music catalog and disbanding plans to build The Seagrams World Headquarters behind Stage 12. I saw the plans and this studio survived a General Electric alternate ending.

NBC Comcast rescued this studio and designed a plan for all incumbents. A Theme Park, A City Walk, Production Facilities and keeping alive the spirit….somewhat. Negatives happen in big business, removing the Phantom of the Opera- Stage 28 was a mistake, that’s the most prized stage ever built. Certainly we could have made it the tour museum of all things…MONSTERS.

A plan is underway to remove all the original stages used in the %0’s and 60’s T.V series such as Leave it to Beaver, The Munsters, Dragnet, McHale’s Navy, and long running Coach T.V series. The Make Up rooms adjacent to the stages played home to –The Beatles in 1965. The Band was rejected by hotels because of the potential for being overrun, so Lew Wasserman put them up inside this area of the studio.

Epilogue :

Time line fact-Since many moons has passed by since this brochure was handed out to Location Managers in the industry, massive changes have happened and are still underway. Many sets and stages have been removed, new tech stages have been built. More significant stages are on the path of being destroyed, an entire quadrant of our oldest T.V Series-“Revue Studios” in credits.Theme park expansion is what this area will become-The Mario Brothers will replace The Beavers, The Munsters, McHale’s Navy, Dragnet, etc,etc.

Most recent, the Barn on Western Street, know as 6 Points, Texas, has been demolished. If you ever rode in a Tram, you have driven down these same streets.The Barn, also known as Stage One, was raised. sadly, this landmark existed before this property was owned by Universal Pictures. The centermost backlot set, used on Carl Laemmle’s Box Lunch films. Uncle Carl filmed in the “open air,” allowing visitors onto his sets.

A Grandstand was set up to watch the slow process of movies being made, so included was a box lunch. This is the true origin of Universal Pictures and the legend of Universal Tours in the year- 1909.

Once Upon a Time in Hollywood…All this took place!

Written and Lived by….Donnie Norden

MGM/Lorimar-Dallas TV Series

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J.R. Ewing played by Mr. Larry Hagman

Bobby Ewing played by Patrick Duffy

Sue Ellen played by Linda Gray

Pam Ewing played by Victoria Principal

Miss Ellie Ewing, The matriarch of the Family, mother of J.R, Gary, and Bobby Ewing, played by Barbra Bell, replaced briefly by Donna Reed due to health issues, she recovered to return back to…The ranch.

Ray Krebbs played by Steve Kanaly

Donna Krebbs, played by Susan Howard

Jock Ewing played by Jim Davis

Lucy Ewing played by Charlene Tilton

What a cast…That’s the menu of meat and potatoes that fed this hit television series from 1978 to to 1991

I get by with a little help from my friends for this tale on this iconic series, Lets dive in the Norfolk pool…

A friend of mine named Paul Vakay was the Best Boy for Set Lighting Department on this top Rated T.V Series that ran from April, 1978 through May,1991. Paul’s Dad ran the MGM Set Lighting department. in the 50’s, 60’s and into the 70’s. This job is best learned from the ground up, so before you become a lamp operator or Best Boy in the era of Arc lights. A show Best Boy over sees all things Electric. Set Lighting starts with Rigging sets with heavy cable that is necessary to distribute the power where lighting will be taking place.

The Best Boy is a very important puzzle piece. He is the “go to guy” for all things lighting on any set. The term itself is a spin off over time when department heads would request from other crews there best and most capable “Chief assistant” to fulfill needs by the department head. Second in command to the “Gaffer” and work with “juicers” to fulfill electrical demands. I “Donnie” was a “Juicer” that made sets “Hot”at Universal. Each show’s Best Boy on our lot in my Universal career had my “pager number” for emergencies or other electrical needs. Sometimes I worked with 10 Best Boys a day in several capacities. Generators Operators, Special Effects, Transportation, all have large electrical needs. The power is delivered from a building with huge generators located The Power House. This facility pumps the juice, D.C “Direct Current” juice, which in the day was the power standard.

An example of a Powerhouse and every studio had one of these in the day.-at Universal, we had 7 2000 amp D.C -Westinghouse generators feeding D.C to every stage. Best Boys contact the 40 shop “juicer” to throw in the switches to energize the stage they are working in. Our Universal Powerhouse has been used in Vintage- Horror movies as a laboratory because of all the classic- real switches and meters- throw in a switch, if polarity is correct- The Monster will – “Come Alive.”

Tunnels and conduits run to every stage on the lot below each stage. The bowel’s of the studio is where electricity spreads its tentacles to shows in need. Many Powerhouse operators ended up with Leukemia, no thanks to magnetic fields which get created in these cement cellars. Asbestos, a strong carcinogenic, insulates cables. It took decades to realize all the negative effects working in and around this environment. The Golden Age of Hollywood came with side effects.

A.C “alternating current” has replaced D.C. A very expensive option but lights flicker on A.C, unsuspecting by the Naked Eye, but jumps out when film gets processed. This is a technical business where lots can go wrong. Remember, power is invisible, odorless, and always ready to strike. More electricians die annually than police officers get killed in that line of work. I salute those who master this world of movie set power.

“Bull Cans” are on most every stage wall and provide power to the copper inside these 50 ft. one hundred pound cables that tie into spider boxes by connect cable lugs to buss bars. Often, the cable goes up to the top off the perms or catwalks that exist above the stage and over look each set and every room on whatever set is below you. This is…set lighting country-don’t be afraid of heights in this career.

Generators replace Bull Cans on exterior and location work. My job as a Local 40 ‘juicer” was to make sure power sources were available to breath life into the cables after all the rigging is complete. We usually pre-light with the “gaffer” who knows just what ambiance or light effects are needed. This way when the stars arrive and camera get set up we are ready to roll.

This is a well oiled and polished machine, no department wants to hold up shooting so this job is all about prepping. On cue, when everything is tied in…the juicer will say ‘Coming Hot”-magically the set comes to life. Amperage is now flowing through cable like blood flows inside your body, it’s the life source. Heat rises and these perms get extremely warm. Lighting throws off heat, a summer day- up high- with the set totally lit creates more problems, make up on actors may melt and make acting uncomfortable or impossible.

Another responsibility I had on sets is Hooking up 30 ton Air Handlers, the more lighting, the air needed. I was a very popular guy on hot days. A lot of work and cable goes into installing portable air. Grips, Set Lighting, and Special Effects are the departments that you find up high in places raccoons like to hide out!

Welcome to Hollywood

So enough tech mumbo jumbo, we are ready to film….

On the Dallas set, the company had 4 stages committed to them on this very busy Lorimar, formerly MGM, main lot known as Lot 1. Dallas is the Top Dog on this lot as the 80’s arrive. CHiPS, Little House on the Prairie, Flamingo Road, Fame are also clients in need of stages. The lot formerly know as MGM is in transition like a subsidiary of Warner Brothers. That studio is known at this time as The Burbank Studios, the T.V Division was booming and one home was not enough, but MGM is now available for occupying first class film making facilities.

The former MGM Lot was a busy as any time in its history. Rigging crews work 3 shifts round the clock-rigging and striking. This cable only stays put on sets that are continuously used. Dallas had 4 stages with rigging left in place.

My friend Paul from Local 728 became a lamp operator on this series after training – rigging these stages and sets. Paul, formerly a baseball star at Pepperdine up by Malibu, his dream was not ‘Rigging,” it was baseball. He could pitch a mean game until he tore his rotator cuff, where pitching careers usually end. Now Paul falls back on his father, the Department Head. Paul works his way onto this series and his life changes dramatically. Not only is he on the top rated series, actresses take notice of this fine looking surfer/ lamp operator.

Ted Turner bought MGM in 1986 and sold it to Lorimar, who already had a foothold on the property. Dallas had 4 continuous Stages, 5,18,19 and 23. Knotts Landing also had 4 Stages at MGM as the Lorimar impact began to dominate the studio landscape.

Stage 5 housed the Oil Baron’s Club and various “swing sets.” Side story here is- passing the dressing rooms between the 4 Stages clumped together, the smell of marijuana often filled the air. Drugs, especially weed and coke twisted its snake like head not only with cast but crew also. The industry at this time was like Woodstock, with out the war going on anymore. Big money and fast times is how this industry rolled in the 70’s and 80’s.

I can tell you first hand the same environment was taking place at Universal on all your favorite series. The Hulk, The Bionic Woman, Airwolf, Cheech and Chong and the Blues Brothers could party with the best of them, different time in space in that era. I don’t want to personalize who did what, things happened like this inside any gate at every studio. I digress…

Stage 18 was the Ewings living room, there was also an attached dining room and this stage and Stage 19 had sliding doors and two stages could become one stage inside, this offers versatility.

Stage 19 had “swing sets”, sets that fit an episode but are not permanent. It was on Stage 19 Paul, the source for this remembrance we are sharing, met his first wife while on top of a ladder outside the living room set when a spark would later ignite a relationship/marriage. While on location in Texas, Paul’s eventual first wife would stand-in for her mother while on summer break from college. She would later meet Paul at Culver City. Stage 19’s sets constantly changed to introduce new cast members, love interests or simple office sets, Susan Howard, who played Donna Krebs-“Ray Krebs wife was the mother of Paul’s first wife. Pretty cool how they met.

Stage 23-The Ewing’s back yard, based of this actual location in Norfolk,Texas. That yard on location was dominated by a swimming pool. This was a difficult task to match the real location to the stage version, matching the daytime lighting on this summer location to that of the stage mock up. Most backyard scenes were on Stage 23. Location provides ‘establishing shots” cleverly edited to match Culver City’s sets.

This describes how the MGM Lot and Lorimar Pictures blended together.When the studio operated as MGM, before the purchase, Lorimar rented everything from stages to cable from MGM. Lorimar kept MGM afloat through payment on rentals. Lorimar was going bigger and bigger, how high can they fly. The answer is….they bought the studio. My old MGM Sign and Leo the Lion overlooking the studio and city was replaced by Lorimar Telepictures, A thriving upstart company replaces the most legendary first class film lot in American History. MGM fades to black just like the backlots that preceded this evolution. T.V is King!

This show became so big, the cast was recognized wherever they went. Most actors just dealt with it, the trade off of being a star and all the fame, success and money that follow you. Larry Hagman had a bodyguard named Tim, who was also a stand in on this series. Between the actors salaries and the residuals, money rained down like Pennies from Heaven…

That show was done at MGM in 1981, starring Steve Martin, as this series was being filmed. CBS was the network this series aired on. The number 7 actor on this series in those days was making 35 k an episode folks. You couldn’t watch a football game on CBS without “What’s next on Dallas.” Usually during a Dallas Cowboy football game. Our country relaxed with –All things Dallas!

Larry Hagman lived in Malibu and came to work in a two seat Mercedes coupe. often enjoyed a drink on set, or across the street from Lorimar at the legendary Backstage Bar. Larry had his own Red Booth vinyl seating corner in this legendary bar. The stars of Combat drank here-at wrap, before going home -7 shot glasses greeted the cast after playing Army all day. A legendary dark dive bar across the street from MGM’s South gate.

This hit show became a machine, like a Ferrari, Today, the shiny show that dominated television on the most wanted, hard to have success- Friday Night Prime Time Network has been relegated to reruns. I’m surprised it isn’t more popular today. Kinda hard to locate on television today. The Waltons still dominate the rerun world, but all those other T.B.S Lorimar series remain stored in film cans, like a genie returning to its bottle. Things went so smoothly on this set that often shooting was finished by lunch time, and prep started immediately for the next day. They stayed a head of the curve, that is the key to success, don’t get bogged down. be professional, you know what’s needed, Do It.

Success follows hard work…this show is an example as all the departments come together to create memories that will be ever captured on film. There are just as many fantastic stories behind the scenes as what you see on your T.V….

A list of Directors includes the stars itself.

Lorimar could not pay stars more money so being a Director became a perk. Patrick was a natural, Larry was shrewd, always asking the camera operator what the shot would and should look like. The camera operator and set up continuity, absolutely essential to film. Just ask Thomas Ince.

Written and lived by….Donnie Norden “with a little help from his friends, Thank you Paul for your insight and detailed memories.

Bruce Bilson-Desilu Legend

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The Desilu Studio Backlot, where Television Stars and Directors became legends.
Let’s revisit this Backlot Ranch known as 40 Acres as we reflect on the passing of a Hollywood Great-Mr. Bruce Bilson. He just may be in this picture as Hogan;s Heroes was in production when this as taken. Look closely at Stalag 13…

More history on this part of Desilu than you can imagine. Gone With the Wind, King Kong proceeded Stalag 13 standing for 10 years…1964-1974. This site also ties to the first ever movie compound on Lucerne Ave.

This list was found by myself inside a P.O.W barracks and lo and behold-Mr. Bruce Bilson happened to be directing it.

The matching sequence- paperwork. Found at Stalag 13

What is really neat is this paperwork was found where it was filmed, I became the Stalag 13 caretaker, that was my favorite set. But I also had a fort in Andy Griffith’s house at this time-1973

Gray skies over Desilu in this picture I took today. I went on a nostalgic journey today after hearing of Bruce Bilson had passed. He was my friend, I looked up to him when I would see his name as First A.D on the Andy Griffith series and then Director on Hogan’s Heroes. I never thought I would ever touch base with this legend…

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Amazingly- I would be given his contact- so I nervously called him and kinda picked his brain on his career as he sat outside his home. I told him my stories too…Like taking the Tree Stump from Hogan’s Heroes and having a fort in the Taylor Home. I have a lot of history in my Radio Flyer Wagon myself.

How honored am I, this man that as a kid I respected because he directed all my favorite T.V shows. I was the Opie no-one knows. Sneaking around this backlot, building forts, grabbing props, even making out in the Stalag 13 Guard Towers. I was like a blood-hound on all things Desilu and Bruce Bilson rained supreme all over this backlot. Bruce is pictured here with my book-Hole in the Fence-one of my greatest honors, never did I in my wildest dreams did I ever think I we would connect.

Pictured here is The Mayberry Group that connected Bruce Bilson with my book. Dixie Griffith, Andy’s real life daughter, wearing the Cowgirl Hat.The lit mirror you see is from Desilu, last used in Hogan’s Heroes and first used by….Marion Davies.

From the hilltop above Desilu, let’s look back down this real life….Memory Lane

From the hills above Desilu great television and film played out.



A Farewell to Bruce Bilson involves a heavyweight guest list!-Desilu lies in the background-The Tara Plantation can be seen here. Let’s follow Superman to the 40 Acre’s Backlot today-upon hearing this news of Bruce, let’s see those sets today!

Desilu Forever…This is The La Ballona Creek, how to best trespass this backlot.

The Mayberry Courthouse stood right here–

Inside the Courthouse Door, on the floor inside, was the sign….Mayberry Courthouse

The Courthouse as it looks today on the day of the Bilson passing. Studio 43 replaced it. The wooden framed window looks like a typical thing you would see at RKO. A friendly homeless guy is sleeping just out of view at this entrance.


“Who’s that guy asleep out there? I want out of this Studio 43 jail cell !”

“Do not disturb” now hangs out in front of this once alcohol prohibited town of Mayberry.A Man in no hurry fell asleep right at what was the -entrance to the jail!

From silent movies-to television- from Thomas Ince-to Bruce Bilson-they all begin and end their day at this main gate on Ince Blvd.

Meanwhile, at the former Stalag 13, we have another Hollywood empty stage as the industry shifts to A.I. Catering is taking place where Gomer Pyle once ate catering, now we have Court T.V . From the Mayberry Courthouse to Court T.V…The shifting sands over time!

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Epilogue of the passing of Bruce Bilson…

I’ve had the privilege to meet and work Ron Howard-Apollo 13 and The Grinch, Andy Griffith,-on Matlock, and Bruce Bilson. These 3 individuals all started together on this backlot. All became legendary Hollywood Stalwarts – this lot is where it began. My first experience here involved seeing Batman. I was lucky enough to see in real life that Super Hero I emulated, I’d wear a cape and mask, bought with Blue Chip Stamps, like a million stamps were needed -but so be it!

Only Ron Howard is left now to shed light on this legendary figure. I was always in the shadows, grabbing props, building forts and living my own life on this backlot. I was my own Indiana Jones, before the character existed. Hanging out here at the Desilu Studio was funner when you could connect dots on all the series and shows that preceded me.

Clues were everywhere, signs on buildings referred to business’s in Mayberry, ammo boxes were stored in the Stalag Barracks-both in English and German. We decorated our forts with those. Plaster white snow surrounded the Stalag and some slabs- full of spider webs- found there way into my hide outs. I had four forts…The Taylor Home, until it burned down, The Mayberry R.F.D Home, we turned that farm upside down, the parties we had upstairs at that set. I had a saloon fort that for awhile had a rolling phone that called both on and off the studio backlot, and one in the Cantina that also burned down when Goober’s Gas Station went up in flames.

Needless to say I was living my own movie, I even filmed a western with an 8 millimeter camera on the aforementioned western street, I pretended to be …Bruce Bilson.

This was a very special moment today as I retraced his footsteps as a director here, a gathering of spirits followed my every move. A calm and quiet revisit with a town drunk and television caterer before me in real life. His legend will never disappear around this lot, another soul from this glorious movie studio, is now-Gone With the Wind

Streets and places I had forts…

R.I.P Bruce Bilson, thanks for being my friend-

Written and lived by….Donnie Norden.

Charles Bronson-Death Wish 4

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My opportunity to meet….Mr. Charles Bronson.

Charles Bronson, in a sniper position here firing towards a Plexiglass covered camera lens and operator.

Reverse angle as the battle begins…

All the parties have arrived in the Baldwin Hills oilfields. Everybody is -Armed and Dangerous!

No place run -Charles has you in his sight.

The camera captures these final scenes protected from full load blank ammo under a blanket.

We need a bigger gun…

As the sunsets, investigators sort through all the carnage.

All in a days work…

Another fine job by man….Charles Bronson.

THE CRACKDOWN

A day on set…1987

A 5 million dollar budgeted film spun off collective series of successful features, this one is directed by J.Lee Thompson.

I discovered this production while mountain biking up in the oilfields above Culver City.I had just got home from my job at that time as a Tram Driver for Universal’s Studio Tour. I gave four tram tours earlier in the day but nothing going on at Universal today was a cool as this set I rolled up on. Fortunately, I had a camera with me. At first I wasn’t sure what I was watching until I saw all the show cards in the Transportation equipment.

Death Wish 4 is on every dashboard in all the production vehicles. Ironically, this is a MGM Film. We are above the former MGM Lot 3 for these action sequences. As I malinger myself around set I manage to capture a close up of one of my all time favorite stars…Charles Bronson.

I hesitantly approached this man, more clean shaven but, just as mean-if not meaner,

I had to take advantage of my “one minute in the sunshine.” As Charles wondered off alone I pulled up alongside him. “I’m sure glad you survived that chateau assault in the Dirty Dozen. He gave me this stare as I kept rambling on, “that set was on the backlot in the MGM facility in the U.K I believe?” as he responds. “The entire chateau was a set, we destroyed it”. “I’m a huge Lee Marvin fan so you two are quite the pair of survivors.”

” Lee was in The Battle of Saipan, he’s seen a lot of real action.” said Charles.

We happen to be overlooking the City of Culver City but more specifically, the former MGM Lot 3.

“My favorite show ever, I wanted the entire cast to survive, I cried when Jim Brown gets killed, what an ending!” Here I am on a hill top with the baddest dude in film. Next question I always wondered is – ” In the Twilight Zone episode “TWO” where was that New York Street?

I never could figure out this set, it baffled me for decades…

Charles impressed me as he scoured the horizon. He was trying to point it out, but – he became as baffled as me. I then point to Raintree, formerly the MGM Backlot 3. He stares towards Desilu and its grand water tower, then responds, “I don’t see the studio.” Then the bombshell, “It was at Hal Roach Studios.” “That studio was torn down in 1964.”. He is needed on back on set to undoubtedly kill more people, I sit in an afterglow.

No wonder I couldn’t pin it down, I never got inside Hal Roach. The Twilight Zone never filmed there or so I thought. They did it turns out-only this mentioned episode. My moment with Charles was fleeting yet still imprinted in my wonderful life memories forever.

I would find out later…

I did not know I was talking with a W.W. 2 hero himself, Mr. Bronson was a B-29 Superfortress aerial gunner. A Purple Heart was awarded to him for injuries sustained in action over Japan. They don’t make actors like they use too….

Written and lived by…Donnie Norden

Laramie Saloon Night

Phantom of the Backlot4 Comments

Saloon prepped for Maverick…

Nothing like a set full of horses.

This was the first T.B.S picture on the roll of 36 pics. I had just got this camera, a Minolta, for Christmas. This happens to be Christmas Day 1975. The shutter snapped, then the roof snapped louder. My shiny- fancy camera got a big dent but we both survived. When I caught up to my friends, we went driving around in costume. The Wantons had wardrobe inside it, hats and coats for all of us. The car was a stick, I wasn’t old enough to drive and I nearly crashed into the Walton House. All this- while you folks were watching ‘A Walton Christmas’ episode on television.

Same angle from a Chapman Crane vehicle. Roof is unsafe, take it from me!

This street is long gone, built in 1957. You can’t have a backlot without a saloon…

Where the heck the heck did I leave my horse?

I’ll have what he’s having bartender…

I almost died when the roof of this bank fell through. Half my body was dangling in the upstairs windows. My upper torso was precariously balanced on the roof. This was possible thanks to my camera strap. Quite a sight indeed. The story just begins up there that wonderful Merry Christmas Day in 1975

I see the Walton’s are in town…

Those Walton’s know a good watering hole when they see one. Grandpa “fires up” in his truck before pushing open those swinging doors… That’s the rumor round these parts anyhow!

Last Chance Saloon…Show Downs daily!

Bonanza has filmed in Paramount’s Saloon, The Desilu Saloon, and Warner Brothers. The family that drinks together has the best chance for a long and successful T.V series.

Bring on-The Dancing Girls

We take all currencies-Gold, Copper, Silver and Paper

This behavior always gets the best of ya!

When Maverick says “I’ll Return !” He keeps his word. Decades apart!

Area 14, 13 and 12 featured in tonight’s episode of craziness. Map from 1967, pre- Walton House. Notice the circle around the jungle, dirt roads take you to and from sets in this part of the backlot. We always enter the lot off California Street, that’s where we park. First set always was the Walton house, shed, and treehouse. If you can climb the chain link barb wire fence covered with ivy.

We miss the the old west;

I’m 22 years old now a days, considered by law enforcement to be a grown up. But, we also look old enough to blend in…unlike when I was 12. There are pros and cons in everything, I suppose. All the Culver City Studio backlots were long gone. MGM’s Backlot 3 was a saloon haven. Desilu/ 40 Acres had one-a very good one. One of the first places I ever got drunk was at Desilu.

Jimmy, Danny, Pat, Tim and myself had a hankering to go back in time, back to the old west. Tim, who was a background actor on Happy Days at this time, came up with an idea. Tim is the only one who still is at studios all the time. His brother Sean doubled for a lead actor on Blade Runner.

That feature was a ninety day shoot-all nights. Ridley Scott directed this film that used The Burbank Studios New York Street exclusively. I was in-between studios. MGM Film Labs just shut down. My next job was next to the The Culver Studios at a film distribution warehouse. I was in between my trespassing life and attempting to build a career.

So far, trespassing is still really my true career at this time. I spent about 30 nights sneaking on Blade Runner. I saw everything you can imagine. Acid rain, Asian street walkers with large anaconda snakes wrapped around them. Ostriches, hookers and spinners compete on water covered sidewalks with outdoor live food stands.

Cranes on set merge with liquid nitrogen. Special effects inject it to create the lift-off of the Spinners into the night sky. Androids being hunted by humans-what can go wrong. Like craziest drug trip ever, with out drugs. This film just “wrapped out” recently at this time.

Each one of my pals tonight visited the Blade Runner set with me on one night or the other. We all have our own memories, especially the mid night catering as the clock strikes 12.

From dusk till dawn, dinner was served at mid night promptly. I would hand craft a well laid out tray of gourmet food. Then, I would disappear into the darkest parts of this backlot. Often, the Walton front porch was the eating spot, quiet- dark, and surrounded by jungle. The closest humans are on a very lit up New York Street. The lighting shines so bright that it can be seen from outer space. Yet, the canopy in this jungle area blocks all the hectic commotion from a couple of villages away.

These valley studios quickly replaced the backlots I lost in Culver City. Even better, the guards don’t know me here. I always had call sheets in my pocket. proof that- I belong!

I crave this movie stuff-just like a plate of Prime Rib and Lobster!

I digress, but I became very familiar with all things Warner Brothers. At this point this studio was The Burbank Studios. Around 1986, it rededicated itself as Warner Brothers. I was then driving trams and Warner Brothers rented our trams and drivers for the 12th biggest party in history. Sandwiched between Woodstock and the J.F.K birthday bash.

A Tram in search of a saloon.

I‘m the one with the gimpy leg…

History waits for No -One!

This backlot was all things Waltons in the 70’s. Every storefront had set decor, costumes could be found in picture cars. But shows get canceled and channels change.

Other shows would take over the backlots. Maverick returned. James Garner and I crossed paths in a scene. It was in front of this very saloon we are visiting tonight. The Fall Guy made a guest appearance here, that day I met Roy Rogers. If only they knew I was a trespasser…

My older version of “The Hole in the Wall Gang” reunites tonight in a saloon. The meeting takes place in a dark, deserted ghost town.

I frame this story I’m about to share with past history and future history not yet lived. With all this lead in, lets go have some drinks…shall we?

The Climb

We begin this night by climbing in behind the ‘recently canceled’ Waltons house. “No more of those kids” we all laugh as we climb a barb wire fence behind the chicken coupe shed. “Those Waltons are all grown up now, but not us!” we snicker.

We are not even stoned yet, but it’s never to soon to get into character. Tim breaks out a bag of Magic Mushrooms. We chow down large caps and the stems they’re attached to. Next to our make shift counter are empty chicken cages. Crude farm tools also persist from the series. This includes a big saw blade. An outdoor smell of hay remains from the series.

None of us know what that family even did for a living. Oh well, another fine set becomes ours.

Double vision is kicking in-Two different backlots

We had a fort in the red version of this set in Desilu. We had so many parties in the Mayberry R.F.D home. Inside little exists, just a stairway upstairs. The red one was torn down, this clone set sits empty at T.B.S. Both these sets are exact, inside and out.

We all feel a “buzz” coming on a half hour into tonight’s odyssey. We started off as quiet as could be, talking very low. There are no guards or any other signs of life, which allows us to become lackadaisical. The mushrooms are adding flavor and colors to this pitch dark setting.

We are, Out in the Woods

Every bush, tree and vine acknowledge us as we pass alongside and underneath. Crickets sing, a bull frog croaks as we pass a tiny lake. Flamingo Road filmed here and Howard Duff had an accident, falling off a hydrofoil. He was pulling up to shore, that’s all the scene required. The big spinning fan blade was moving too fast. It caused Howard to dump below the surface. I had just arrived on set. I had just climbed in the jungle area like Tarzan.

As the corrupt Sheriff Titus Semple struggled greenish colored water, everyone on this set was “busting up.”

I just climbed in, this was the first set I came upon. I worked my way behind Morgan Fairchild, who was watching from the lake edge, just out of frame. I follow her lead and stand beside her as this scene unfolds. Unexpectedly, this craft flips. Morgan begins laughing so hard-she hugs me, laughing furiously.

As if I was Mark Harmon. I’m a trespasser, on the lot for 10 minutes. That’s enough time to be embraced by the star. Every time I come to this studio, I meet big stars. This backlot always has something going on, from Kung Fu to The Dukes of Hazzard. Even Maverick is back, now in living color.

My mind is a kaleidoscope of a collection of images, each with there own story…

I don’t need movie stars to have fun here. That said, it was pretty funny to see Howard Duff the white suit get dumped into the drink. That scene got cut out, no matter how funny that moment was, not what they were hoping for. You couldn’t do a retake, he was all wet and different looking as he walked out of the jungle lagoon.

A vacant backlot is pretty darn fun. That’s what we have ahead of us tonight. We walk down this winding jungle road. It delivers us to the old west.

Illusions fill our confused minds, images come out of the dark and tantalize us..

The Queen of Hearts is taking a walk

. You haven;t seen security tonight have ya? …You never know who you may run into on psilocybin.

For those who have never indulged, the high resembles images from a rock video. I worked on this video with Aerosmith. Title –Sunshine.

As we pass slowly through this mysterious jungle, we see the silhouettes of buildings on Laramie Street. We each brought a quart of beer. Colt 45, Miller Malt Liquor and a couple of Foster Lagers. Beer from the Outback being drank on the backlot. We got something for everybody tonight-On Location at-The Burbank Studios

Silence is broken

The sound of a motor scooter can be heard and appears to be following our tracks. We take cover like raccoons in the old Ike Godsey country store on the edge of town. We lay low as the scooter with a security guard operating appears to be investigating something. He must be hearing things, things being My Hole in the Wall Gang.

We carry our large round beer bottles protectively, like a football. Slowly, we are moving the chains.

The saloon is the end zone, we are close to scoring. As the ‘put put’ scooter disappears, we reappear and transition from a jungle to…the old west. Mission accomplished. We now occupy the bottom floor bar area of the Laramie Street Saloon.

Twist off the tops and have a toast!

Cling, cling, is the next sound you hear as we toast at the bar. It is so dark that color magically takes form. The next thing you know, a strong pot odor fills the air inside our saloon. We are feeling as good as can be and like in any saloon, the talking gets louder and louder. Sports talk fills the the sound void.The first backlot sports bar is now talking Dodgers.

It is so dark inside here. You have to reach out and touch things that dimly appear. This is just to see what is real and what isn’t. All the while, we keep getting louder.

One by one we head upstairs to the saloon roof. We share stories as we pass the the joint around. We duck down on each hit so the “cherry” can’t be seen from the street below. I laugh, “If The Doobie Brothers could see us now!”

Louder and louder we get as we try to out do each other story wise...Until

That silly little scooter has returned with a jeep accomplice. We now have two motorized sheriff posse circling below us with their lights of. We lay flat on the roof as they park there motorized horses and enter the swinging doors.

As if they are looking for a “Showdown.”

We got them out numbered, They probably got a good whiff of “spirits”as they entered.

We hear no talking, just footsteps. 2 guards, 5 trespassers. We are too high to go to jail. If they come through the roof doorway, we will jump. First to the balcony, another jump to where the dirt road they parked on.

We could take off with their “horses” while they search for sounds of ghosts.

We wait for our Que, we will react when need be. Everything is quiet, an eerily silence because… we know they are waiting below us. Pure silence as our minds race to a conclusion of what to do next. We have one way out of this studio. We need to retreat to the chicken coupe next to the Walton former residence. After a half hour library time. they finally move on after never coming up to the roof.

We exit and backtrack through the jungle, retracing our steps, but this time we run. It’s not fun to climb a barb wire fence while being chased, nor extremely stoned. We are happy to leave without a visit to the watch commander. The funnest part of this trip was outsmarting the motorized security hunters. A typical cowboy adventure, all that’s left on the roof is a bunch of empty beer jugs.

Take that sheriff

Yee haw everybody!

Written and lived by…Donnie Norden

Hollywood Forever

Phantom of the Backlot5 Comments
Paramount Studios …early 70’s–It’s built like a penal institution with Insurmountable walls.
Maybe we can get into the studio through here…this backlot cemetery?

I turned 65 on this Friday the 13th, and I’ve still “got it!”

My office at Home- Tea with Marion is how my morning begins and I’m headed out today to see her grave, in respect and appreciation for this gift of extremely tangible Hollywood History. My day always begins with Hollywood Spirits…
This stool is where Marion sat with a make-up artist in a tiny room that fits two. You’re surrounded by mirrors inside. It’s amazing how good of condition this chair is. It could be fastened to the floor when this trailer was originally moved by horses.
This trailer was made when Marion was working at Paramount Studios. This room bore witness to sound revolutionizing how films are made. Silent to talkies, films were silent when this unit was built. Underneath some white paint is a distinctive color green. Paramount and RKO were that green color, it’s on their equipment. The degree of craftsmanship is astonishing. The mirrors are built into the wall, not hung. Shingles would be added at some point to preserve the original wood integrity. Randolph Hearst did not have film facilities, but he had a star he controlled and endless stories from Cosmopolitan Pictures, which he owned. A disconnect happened between Paramount and Hearst, and this portable trailer went on a long company move cross town to Culver City. That’s when the story I’ve discovered becomes overwhelmingly compelling….
Bottles of various Ambrosias. Wine bottles imported from Italy still remain. “Hey, wait, is that the Phantom, who’s drinking that bottle? “
This is the room’s entertainment system. Installed in 1925 …
I brought the music and the wine...what guests should we expect?
Everything ages, time waits for No-One. It just folds up to be revisited… you just gotta believe. This room never died. I applied power to the lighted mirrors and they illuminated like they did in the early 1920’s.
“Horses are hitched, we’re ready to roll” One of two rubber wheels, not counting the “steel wheel” above the hitch.
Randolph Hearst strolling around a Koi pond San Simeon. Culver City also had a similar pond in- between Marion’s dressing room and the Ince Backlot.
This statue from antiquity sat above a Koi Pond outside Marion’s make up room door. It came along in the relocation. This is her art; I’m just keeping it for her.

The iconic Paramount Water Tower…distant.

“Pull over, who’s driving this car?“…Before being ordained as The Wizard of MGM, Arnold Gillespie worked with Cecil B. DeMille on the Paramount Studio Lot. This stunt gag by A.G. preceded his long heralded career at MGM.
They don’t make movies like this anymore-you know –the feel good ones-1922. An Exodus was taking place at this time…both Marion Davies and her overseer, Randolph Hearst, and Arnold Gillespie would move on to Culver City. Ironically, these parties would reunite at Metro Goldwyn Mayer. A top actress, a top art/effects technician and the richest man in the world all packed up and set foot at the brand new facilities built by Thomas Ince.
Cecil B. DeMille (hand on hip) directing one of his early motion pictures. ca. 1920.
Don Adams-A Gentlemen first, television star second…now resides very close to Marion Davies. Get-Smart filmed at this Paramount Studio.

I gave this man and his family a Tour of Universal and a humorous discussion took place involving “Shoe Phones.” Dial me up on my at –The Glamour Tram ...WordPress site.Ride with us on WordPress…The Glamour Tram. Stories aboard trams lived by yours truly. Take a tour around Universal with Agent 86. This is a priceless tour, follow me for more on T.G.T.

“I Love Stuntmen” Burt Reynolds checked in to Hollywood Forever Cemetery because “we needed an actor capable of doing his own stunts!”
“I know I can jump this pond-Get me my Trans Am”…”I’m bored”

I’m reading Burt a story featured in my latest book, just released. We spend the day at The Columbia Ranch and I meet and gab with Hooper. He loved it then,he loves it now. Going on fifty years at this graveside visit.

“Stay out of trouble Charlie, for mom’s sake!” This was Marion Davies mother figure. Hannah Chaplin, Mother of Charlie. Two top box office stars but more importantly-Soulmates. His soul sadly, was not allowed back into the U.S.A. He rests in peace in Switzerland at the Corsier-sur-Vevey Cemetery. Grave robbers dug him up and held him for ransom. This was Marion Davies’ best Male-Friend. Not Randolph Hearst. That leads to speculation…was Thomas Ince accidentally killed on board the Oneida. Was Charlie the real target do to shenanigans between the two? Hearst covered it up in his news papers, nothing to see here!

Persons of interest…Thomas Ince, deceased on voyage. Charlie Chaplin-potential target of jealousy. Marion Davies and Randolph Hearst.

“Charlie…was it really indigestion that killed Mr Ince?” A report of blood was mentioned in the La Jolla medical facility that Mr. Ince was dropped off at after the fateful cruise. “Was that supposed to be you Charlie…Was Ince at the wrong place at the wrong time?

“My Make-Up Trailer would know”-these mirrors were privileged to experience what really happened aboard ship. History documents itself forever in mirrors. Belief is portals are created when mirror reflect other mirrors, as they do in Marion’s room from antiquity.

So let me get this correct Charlie, it was you-not Thomas Ince-that Randolph Hearst was perturbed with? Wasn’t the merger of Ince/ Cosmopolitan the entire point of the cruise? Rumors persist you and Marion had a thing going on…

Marion being serenaded by Charlie Chaplin
This was Marion’s very best friend. The highest grossing box office duo for eternity. The attraction between these two is part of the mystique of that famous 3-day cruise that changed motion picture history. What I have discovered in Culver City fuels this conception that things were going on behind the scenes involving Thomas Ince and Randolph Hearst. Cosmopolitan Productions and Thomas Ince Productions had an announcement to make on the return voyage…
Connecting Dots is what I do…

GWTW used Marion Davies’ trailer. Scarlett refers to the compound I discovered on Lucerne Avenue in Culver City as “Tara Next Door.” Quote “If you need me I’ll be at Tara Next Door!” Make up done for Vivien Leigh was done right behind The Tara Plantation. At the time GWTW was being filmed, Marion Davies, Clara Bow, The Little Rascals, and Fay Wray all connect to this tiny little Trailer. The first ever mobile star studded Make Up Trailer in Hollywood.

Follow the Yellow Brick Road-Judy Garland is also laid to rest here.

Marion’s neighbor, The Tower of Power.“Only the good die young” said Tyrone.
More neighbors…Mickey Rooney 1938-“Boystown”-same year as fan letter. My kind of kid!
“So Mickey, I had the coolest fort upstairs in the Andy Hardy house at MGM. And another fort in building we called Boystown. Your sets became my forts. We think of you all the time-I brought some mail…from 1938.”
Mickey Rooney fan mail from 1938. I found this in a desk on the backlot in MGM.
Cecilia is best know as Marian Hardy, the sister of Andy Hardy. Alabama Power Company top corner-crossed out.
Born in Thunder Bay, Ontario, Canada. She passed on in July of 1993 in Ventura California. In 1938, the time of this letter, she married actor Dick Baldwin.
“Ohh… Lonely Boy You”
“Stay Away from Her!”
Reflections of simpler times. Marion’s make up trailer had a koi pond right outside also.
Home for Eternity yet, I feel she’s in my house. Marion Davies’ crypt.
Family name Dovras-Marion Davies is incognito for eternity.
Knock, Knock, Knockin’ on Heaven’s Door…
Marion at the entrance of Hearst Castle
Always the Clown- Like Chaplin
Cool stuff like this ornate decoration- both trailer and tomb…
Entrance to Hearst Castle
The make-up trailer and the crypt she is buried in both have just one door to enter, like the Twilight Zone
“Welcome to my Life…come on in!“
My dog Thora visiting with Marion–she talks through this mirror, in the –Twilight Zone.
Marion’s room lit right up like no time passed by at all. The bulbs were all unscrewed but original and in a box inside her room. Different colors and frosts helped provide the tint most favorable. Blue and red bulbs were options.
Randolph Hearst is Mr. Statue, besides other things. She took a ‘fancy’ to his same art tastes. They had that in common.
Marion’s-Fan Mail Box or simply “Somebody just wanted out!”…beneath her crypt lies this protrusion. This is how I find treasure others miss or simply pass over. You gotta get your hands dirty to go back in time.

Across from this opulent crypt his a simple stone grave in a fancy location.

We shared a Make up trailer, a Movie Compound, and now are neighbors forever…A camera from 1933, on display at the Culver City Historical Society, was discovered in Marions’ trailer. In 1933-Marion had a new trailer. This original trailer location was a sling shot away from Skull Island and King Kong’s massive walls. Fay Wray had her make up done in this trailer, hence the camera. Continuity of make up…funny how things play out over time.

Marion Davies’ Make -Up trailer would be used by Fay Wray in 1933 for King Kong. Now they share the same cemetery, very close proximity.

My dog Thora was with me when we went inside Marion’s trailer on Lucerne Ave. We said “Open Sesame” and as the entry door opened, it revealed the secrets still hidden inside. As if this room wanted to be discovered by a caring figure, which I am.

Legendary Director Tony Scott, here directing Brigitte Nielsen in Beverly Hills Cop II is located at this plot. Expand and you will see his name in granite at the top, with his list of shows also carved in below his etched name. Victor, the gentleman pictured on the right, worked with Tony and still does for Ridley Scott. I have met both of these legends. Blade Runner is an all time favorite. 90 nights was the schedule for Blade Runner. Mostly all at Warner Brothers and many on New York Street. One of my all time favorite films. I was told that the affair Tony Scott had with Brigitte ended his marriage and Sylvester Stallone’s.

I was on that set-pictured here with our female star. Turmoil began here with the Scott family.

Your Mission, if you choose to accept it, is scale this impregnable fortress…. “I was here 50 years ago, scouting for a way in, it doesn’t exist. Mission Impossible best describes trespassing here.
New York Street peeks over the top of the fence above this graveyard...
A symbol of excellence…
Spirits in the Night..You don’t know what they can do to you...

My Third Book is finally completed. An anthology of the decade of the 70’s ‘Trespassing Adventures on all of Hollywood’s Backlots’

Pictures on covers: John Ritter rescuing a kid from a burning building in the last MGM Feature ever done on their historic backlot. Hero at Large 1979. A special thanks to the legendary Marc Wanamaker for his fine words. The Front Cover is picture I also took in 1977. Behind the Fireworks-in a Hot Air Balloon is Peter Frampton and The Bee Gees sailing above the MGM Backlot. They had to duck for cover and this scene was replaced by CGI cheesy replacement.

This is a must see color experience, you won’t be disappointed. I’m not trying to sell you a used car like Cal Worthington does, fact is my diary just kept getting better. I took more pictures of MGM than anyone ever. This color book presents my personal photos on every film set used by MGM in this era.

Included are never seen before tear down photos in 1980. This book will make you laugh, and make you cry. Some stories will scare you but you will come away wanting more, after you catch your breath anyway. The final chases and events at MGM are inside these magical covers…enough said… Roll Film!

We begin today’s adventure mingling through grave sights and tombstones from the distant past. In this haunted landscape-I appear…

The date, June, Friday the 13th, 2025. It could just as well be 1925, clocks aren’t needed here, the sands of time are just… Blowing in the Wind.

I discovered my Hole in the Fence at MGM’s legendary backlot 2. The first set I saw was a cemetery. My friend Jimmy and I were frightened. We hid behind tombstones. We even hid alongside a coffin with weeds growing out of it. Ironically, my studio life began in a cemetery. A big fancy studio stood beyond, like what is in front of me today.

I immediately cross paths with Paramount Security guards right off the bat…”How is that, why are they here?” I ask my dog. I approach a gentleman with the badge and Paramount baseball cap. I ask why he is stationed here? Stonework surrounds us with names and beginning and end dates chiseled on the surface… Eternity begins here.

His response was the Paramount lot is so busy that overflow parking is taking place in this cemetery. Satisfied with his response, I asked “do you know where Marion Davies‘ grave is?”

No one that works here could direct me and neither can Paramount security. However, I was informed that question gets asked frequently. I have my suspicion because of the Italian architecture. It has a flare of the Randolph Hearst. I’ve found it. It’s fancy as expected.

It’s not a crypt -it’s a condo.

I’ve seen this movie before. Marion plays hard to get, except for me. It could be 1972, when I first visited here. It could even be 1899 when these pearly metal gates first opened.

Just me and my hunting dog on a hazy sunny summer afternoon. We see tomb after tomb of movie legends. I have met many of them. Very surreal, yet pleasant. We all have to checkout and what better place than backside a movie studio.

My dog and I sit in the shade under a tree as the sun gets reflected in patterns. I’ve found tranquility. The grave that happens to be next to me says- June 13, my birthday. Inviting me inside, “I’m not ready, Thank you.” The Paramount Studio fortress overlooks this graveyard. My dog’s ears rise a bit crooked as we hear conversations on the studio side of this graveyard. Past, present, one doesn’t know...just voices.

The graves closest to the backlot are as old as the studio. I’ve been here several times before. I never came to star search. I was looking for a way in Paramount Studios. After all, I am the Phantom. But that never happened, it’s impossible or should I say Mission Impossible…Yes, that show was made on the other side of this blockade. It’s built like a prison. The walls are insurmountable and several stories high. The perfect design to prevent trespassing. I remained in denial. I went back and forth, seeing if I missed any way to get in. I don’t need much but…

I was given a tour by my friend Tim in 1974 who was often in the television series Happy Days. Then, in the 80’s, I got a driver job on the film 48 Hours with Nick Nolte and Eddie Murphy. I drove a San Francisco trolley from the Paramount lot to downtown L.A. It was supposed to be San Francisco. I have very little history here at this studio but certainly not for lack of trying.

In 1976, MGM became Paramount. Dino De Laurentiis took over Louis B. Mayer’s office and the work force was all things Paramount Pictures. Kong was too big to be contained at this tiny facility. I experienced Paramount under the grandeur that was MGM.

Memories cloak their selves with silence. Dead Men Tell No Tales around these parts. Silence is as powerful a tool as a jackhammer. Become in touch with frequencies and dimensions, they are everywhere, invisible, like electricity…soak it all in or you may miss a key road marker.

My googling leads me from Cecil B. DeMille and his family, past Don Adams tomb to Burt Reynolds. I visit each grave, and find myself connected here, almost eerily. I met these recent additions to Hollywood Forever on studio backlots. Hooper – I talked to him about stunts in real life. I also discussed them with Hal Needham. This happened while filming chariot races around the High Noon western street on the Columbia Ranch. Burt was wearing a cowboy hat that day, as he is now and for eternity.

I circle him in respect, I had no idea he was here. Close by, Don Adams’ grave is a tribute to Maxwell Smart. He is saying “Farewell” in his shoe phone. Heaven needed a good comic actor and took Agent 86 from us. I gave him a tour once at Universal. At the Flash Flood, the water jumped the retaining wall. It soaked my shoes as we all watched 10,000 gallons of recycled water reach its catch basin. Other than the 5 gallons that hit my floor pedals. My shoes got drenched. In all his wit, Don Adams, in Maxwell Smart’s voice, says, “I ruin more shoe phones that way!”

Here he is today, his gravestone forever will portray him calling the chief from his shoe. I love this guy. That series was shot close by at Sunset Bronson for four years prior to CBS. He belongs here-forever placing that call to CONTROL.

As I pass Tyrone Power, I’m suspicious of a crypt next to Mr. Power’s simple residence. The name doesn’t match, I carry on yet hear a ghost whisper… I’m drawn to this crypt like a magnet-very similar to the mysterious make up room of hers I discovered. Personal items belonging to her from as far back as the silent days. The truth is this 100-year-old horse drawn Make-up trailer would deteriorate quickly. It could become like a rotted old garden shed in just a blink of an eye. Marion’s spectacular room and all its movie history would disappear, as if it never existed. That was the fate until it called out to me, begging to be rescued. I discovered a photo that confirms who this was built for… A needle in a haystack possibility suddenly turned to 24k gold.

If that isn’t enough, it continued as a featured Make-up station for two of the biggest films ever made. These films were King Kong, released in 1933, and Gone With the Wind. Yes, the mirrors in this trailer are like the paintings Rod Serling stands in front of in Night Gallery. Laced with intrigue, you’re looking back to flapper days.

Mirrors are portals, and you feel her presence. Her original room continued to light up stars’ faces. This happened even after she moved to MGM in a new, fancier trailer. The same power that pulled me into the trailer was now magnetically tugging at me in this graveyard. Finally, after a short visit with Mickey Rooney I find the electronic clue to Ms. Marion. I leave Mickey after telling his nameplate, “I had a cool fort Mickey. It was in your Andy Hardy house in the 70’s. I grew up at MGM too…see ya Mickey”

Back to where I heard those ghost whispers- yes it’s Marion. Another obvious clue is the simple grave alongside. Charlie Chaplin’s mother, Hannah. Marion’s best friend, is buried alongside her there. His mom is located next to Marion’s crypt. Her death long preceded the building of Dorvas family crypt, meaning Marion specifically built hers alongside Ms. Chaplin. Charlie never made it, his grave in Switzerland was ransacked and he was held for ransom. How many dead people can claim a ransom, it’s usually reserved for the living. That’s immense Star Power.

Now that I’m in Marion’s resting place, I show respect and thank her for sharing this most amazing Hollywood relics still useable. I’m sure that’s the reason her spirit connected with mine, to preserve what’s left of this fabulous piece of history. My thoughts and exchanges with this legend are reciprocated through telepathy. We do this at my house too. My office- is her old Make-Up station. How cool is that!

She knows me. I think I am the most recurring face she sees now. We crossed paths in that backyard long ago. She wanted me to have this in my hands. I earned it; I won’t break up all the treasure inside it. I had my suspicions 50 years ago about that mysterious room.

Now her room, itself a star of a million magical moments of movie history, will forever be safe. Reflections of the way life uses to be stare back at the image that stands in front of it. They can also take you on a journey back in time, before sound in movies existed. Expressions ruled, they made you laugh, or cry. Silent films are like this cemetery, this place is one large silent movie. Horses not only pulled coffins around in a snapshot of history. They also hitched up movie trailers and went “On Location.”

Louis Armstrong..All Right, send us off with a little Jazz, Mr. Satchmo!

What a Wonderful World It Can Be

Written and lived by… Donnie Norden.

For a nominal fee…

Phantom of the Backlot2 Comments

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