Connect with us

Entertainment

Here are the famed movie and TV locations destroyed in the Southern California fires

Published

on

Here are the famed movie and TV locations destroyed in the Southern California fires

With its intricate, carved-wood paneling and diamond-shaped glass panes, location scout Lori Balton thought the smoking room of the historic Andrew McNally House was just glorious.

The distinctive look of the Altadena mansion, built in 1887 for the co-founder of maps and atlas firm Rand McNally Publishing, made it a favorite for filming. The Queen Anne-style home appeared in the HBO series “Entourage,” among other productions.

But the McNally House, along with other notable filming locations around Southern California, was destroyed in the recent fires.

“There was so much texture,” said Balton, who is based in Venice. “You did not feel like you were in L.A. Such a great location to have. It just breaks my heart.”

As the region grapples with the sheer number of homes and buildings destroyed, livelihoods disrupted and lives lost, its signature industry will face yet another setback in the loss of go-to filming spots, particularly in the Altadena area and Pacific Palisades.

Advertisement

The destruction adds to the list of hardships Hollywood faces, which now includes the loss of workers’ homes, from below-the-line crew members to actors and executives, and pauses in production that can strain personal finances.

“There is no question that the fires’ impact extends to the business of film production and the livelihoods it sustains,” nonprofit FilmLA spokesperson Philip Sokoloski wrote in an email. “We believe the immediate and long-term impacts to the local entertainment economy from the fires will prove significant, but these are also unknowable at this time.”

Over the years, Sherman Oaks-based location manager Ed Lippman had scouted many homes in the Palisades and Altadena areas for potential filming locations. As he watched the local news reports last week, he saw crews driving down Altadena’s E. Mendocino Street, where he had worked with many homeowners who allowed shoots on their property.

“I wasn’t even thinking about film or location sets at that point,” Lippman said. “I was thinking about the people, the magnitude of people I had personal interactions with … suddenly, their houses were gone. It was kind of overwhelming.”

Location scouts, managers and set decorators are now putting together a database with addresses and photos of homes in the fire zones that they’ve scouted over the years to help homeowners who need documentation for insurance claims. If a house was ever used in a film or TV production, or even was just scouted, someone could still have photos that may help with those claims, Balton said.

Advertisement

Balton has already added 50 homes to the list from her own records.

“The film industry supports them any and every way we can,” she said. “We can’t film on location without their homes and their communities.”

Palisade fire: memorable film landmarks gone

With its coastal views and sprawling mansions, Pacific Palisades has been a frequent spot for filming.

“You could get a lot of really nice, East Coast looks,” Lippman said. “You could shoot L.A. for other parts of the country, easily.”

The Palisades fire has now burned more than 23,000 acres and numerous homes, structures and landmarks.

Advertisement

One of those destroyed was Will Rogers State Historic Park, which was made up of a ranch house, barn and other buildings that once belonged to the vaudeville and film actor. The property was the filming location for “Star Trek IV: The Voyage Home,” where it doubled as San Francisco’s Golden Gate Park. It was also featured in the 1981 movie “Cutter’s Way” starring Jeff Bridges, 1999’s “The Story of Us” with Bruce Willis and Michelle Pfeiffer and Lindsay Lohan’s debut feature film, “The Parent Trap,” from 1998.

About two miles away, Palisades Charter High School suffered heavy damage from the fire, though it was not lost in the blaze. School officials have said about 40% of the campus was burned, and the school is now looking for temporary facilities to resume classes.

The high school has been featured in productions including the Lohan and Jamie Lee Curtis remake of “Freaky Friday,” 2001’s “Crazy/Beautiful” with Kirsten Dunst and the Anne Hathaway-led crime drama “Havoc” from 2005. The school’s volleyball courts and track also briefly appeared in 1976’s horror film “Carrie.”

The historic Topanga Ranch Motel, which was built in 1929 and designed in a distinctive bungalow style, was also destroyed. The location was a popular spot for film and TV shots.

Eaton fire: homes with character up in flames

Long favored by location scouts and managers for its film-friendly community and the distinctive looks of its older homes, Altadena has doubled as East Coast locales, international destinations and even places closer to home.

Advertisement

The Eaton fire has burned more than 14,000 acres and numerous structures in both Altadena and Pasadena, including entire neighborhoods.

“Each house had been there so long that it had its own personality,” Balton said. “We look for locations that are really adding another character to a movie.”

She sighed.

“It’s gone, it’s all gone,” Balton said.

Zorthian Ranch, an artists colony in the foothills of Altadena, also burned. The sprawling ranch with its eclectic art pieces, wandering llamas and sculptures, was featured in a music video for Capital Cities’ “Safe and Sound,” as well as other film and TV productions.

Advertisement

About a mile away, Charles S. Farnsworth Park, too, was destroyed in the fire. Boasting an airy outdoor amphitheater surrounded by trees and a view of the L.A. skyline, the park was used to film Apple TV+’s series “Shrinking” starring Harrison Ford and Jason Segel, and the 2001 film “American Pie 2.”

“There are no words, really,” Balton said of the destruction. “Hope we go on. You can rebuild homes but boy, how long it takes to rebuild a community.”

Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

Published

on

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

Advertisement

He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

Advertisement

Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

Advertisement
Continue Reading

Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

Published

on

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

Continue Reading

Entertainment

Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

Published

on

Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

Advertisement

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Advertisement

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

Advertisement
Continue Reading
Advertisement

Trending