Long before the Guggenheim Museum Bilbao and Walt Disney Concert Hall made him a global celebrity, L.A. served as Frank Gehry’s laboratory — where he could test materials, shift building types and blur the lines between art and architecture. These projects reveal a designer learning to bend norms and shape spatial narratives, in the process shifting the cultural landscape of the city. (He died Friday at 96 at his home in Santa Monica.)
From modest homes to major cultural institutions, Gehry’s L.A. buildings capture an architect inventing a language that would eventually transform places around the world.
Walt Disney Concert Hall, Los Angeles, 2003
(Francine Orr / Los Angeles Times)
Dreamed up by Walt Disney’s widow, Lillian, in 1987, the project wouldn’t be completed until 2003. But it was worth the wait. Now the cultural and visual anchor of downtown Los Angeles, Disney’s riot of titanium sails reflect rippling waves of music, Gehry’s love of sailing, fish scales and other nautical themes, and the frenetic city around it. Inside, the boat-like, wood-clad hall has an intimate, vineyard-style seating arrangement, with its superb acoustics shaped by Yasuhisa Toyota. Don’t forget the 6,134-pipe organ, which resembles a box of exploding French Fries. Lillian Disney, a connoisseur of flowers, would die before the hall was finished, but its hidden rear garden is centered around the “Rose for Lilly” fountain, composed of thousands of broken blue-and-white Delft china pieces.
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Gehry Residence, Santa Monica, 1978
The Santa Monica home Frank Gehry designed for himself.
(Brian van der Brug / Los Angeles Times)
Gehry’s own Santa Monica home remains one of the most influential houses of the 20th century — a modest Dutch Colonial reimagined through an envelope of chain-link fencing, gray corrugated metal, exposed wood framing and sharply tilted glass planes. It challenged the idea of domestic respectability, treating the house as an open-ended experiment rather than a finished object. The home became a keystone of Gehry’s work, and a symbol of rebellion against architectural polish and formality.
Loyola Law School, Westlake, 1978-2002
The Girardi Advocacy Center at Loyola Law School boasts a 22-ton, 65-foot stainless steel mirrored tower.
(David Hill / Loyola Marymount University)
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Built over two decades beginning in 1978, Loyola is a playful, village-like compilation of structures clustered around a central plaza; both an internal world distinct from the car-dominated cityscape around it and a reinterpretation of stuffy academic buildings and quadrangles. Its stucco, concrete, metal and glass structures showcase Gehry’s evolving language of shifting scales, fractured forms, unpretentious materials and sculptural components. Filled with surprising patios, alleys and landings, it’s one of his forays into postmodernism: brightly colored buildings contain, among other features, gabled brick rooflines, extra-bulky columns, long cantilevers and cylindrical steel elevators.
Chiat/Day Building, Venice, 1991
It’s understandable why the Chiat/Day Building has been nicknamed the “Binoculars Building.”
(Los Angeles Times)
Nicknamed the “Binoculars Building” and once the headquarters for advertising agency Chiat/Day, this building faces Main Street in Venice. It was, according to legend, a last-ditch effort. Struggling to please his clients, Gehry reached across his desk for a model of a theater and library created by his friends, the sculptors Claes Oldenburg and Coosje van Bruggen, in the shape of a pair of binoculars. The three collaborated on the matte black, three-story binoculars, clad in black rubberized paint. While mostly decorative, they serve as a pedestrian entryway and contain conical conference rooms. Behind them, Gehry designed bulky offices — one clad in dark, rough masonry, the other in irregular white stucco — but they’ve since been overshadowed by the quirky entry sculpture.
Norton Residence, Venice, 1984
Norton Residence.
(Bryan Chan / Los Angeles Times)
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This house dives headfirst into the counterculture of Venice. Its irregular volumes, pastel colors, elevated decks, jagged rooflines and collage of materials — stucco, corrugated metal, broken tile — echo the local mashup of artist studios, surf shacks and light-industrial sheds. Inside, spaces unfold with shifting geometries that privilege visual surprise over domestic convention. In front, an elevated writers’ room, perched on a narrow base, resembles a lifeguard stand, its large windows allowing the original owner (who was a writer) to survey the neighborhood while working.
Temporary Contemporary (Now Geffen Contemporary at MOCA), Downtown, 1983
By converting a police vehicle warehouse into the Temporary Contemporary in 1983, Gehry helped popularize the reuse of industrial buildings in the museum world. Instead of overwriting the building’s industrial character, he retained exposed trusses, concrete floors and vast, column-free volumes, ideal for contemporary art. Strategic interventions — mechanicals, skylights, entrances and ramps — were surprisingly understated, considering Gehry’s track record. The result was both monumental and flexible, capable of supporting installations that MOCA itself couldn’t.
Air and Space Gallery, Exposition Park, 1984
The Air and Space Gallery at the California Science Center was Frank Gehry’s first major public work.
(Luis Sinco / Los Angeles Times)
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This project in Exposition Park allowed Gehry for the first time to translate his sensibilities into a larger public building. Completed in 1984, the hangar-like space blended industrial materials — metal cladding, stucco, exposed structure and utilitarian forms — with folded, sculptural masses and cheeky artistic moments. Most notably, a Lockheed F-104 Starfighter jet is suspended from the facade in takeoff, angled upwards from the south wall. It distilled his concept for the museum of “frozen explosion,” rupturing the idea that architecture and artifact should be distinct.
Gemini G.E.L. Studios, West Hollywood, 1976 onward
Gehry’s work for Gemini G.E.L. — one of the most important printmaking workshops in the country — is reflective of his deep engagement with L.A.’s art community. Completed between 1976 and later phases, the project transformed industrial sheds into light-filled studios where artists like Jasper Johns and Robert Rauschenberg produced major works. Gehry introduced clerestory windows, skylights, large exposed trusses, raw concrete floors and metal cladding, elevating the utilitarian spaces without erasing their industrial character.
Edgemar Center, Santa Monica, 1988
The Edgemar Center in Santa Monica is a thriving shopping plaza.
(Bryan Chan / Los Angeles Times)
This project transforms a 1920s industrial complex (the Edgemar Dairy and Ice Company buildings) in Santa Monica into a cultural and retail hub. Gehry respected the industrial bones while adding sculptural flourishes — punctured facades, angled walls, stepping rooflines, and strange material contrasts, such as lime green tiles next to raw steel columns. “I interviewed 16 designers, and the best were all already influenced by Frank,” said Edgemar’s founder, Abby Sher. “So I thought why not get the real one?” All is organized rather classically, with human-scaled plazas and passages punctuated by quirky campaniles. It’s a good example of how public space emerges not only from buildings but from the gaps between them. The Santa Monica Museum of Art eventually left the center, but the shopping plaza is still thriving.
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Hopper Compound, Venice, 1983
Designed for artist and actor Dennis Hopper, the house is part residence, part creative compound — an ensemble of buildings arranged around a private courtyard. Gehry contributed studios and additional structures that reflect the neighborhood’s industrial roots: corrugated metal siding, simple boxlike volumes and subtle geometric twists. The project, which blurs boundaries between living and making, captured both Hopper’s renegade spirit and Gehry’s evolving architectural language.
Schnabel House, Brentwood, 1989
Frank Gehry chats with then-owner Jon Platt inside the Schnabel House in 2010.
(Lawrence K. Ho / Los Angeles Times)
Completed for Rockwell and Marna Schnabel, the home represents a moment when Gehry translated his experimental vocabulary into a more refined domestic language, producing a residence that’s equally serene and expressive. It consists of shifting, interlocking pavilions organized around courtyards, gardens and a large rear reflecting pool. Gehry combines stucco, tile, metal and glass into a composition that feels sculptural and elegant, punctuated by the interiors’ dramatic heights and angled volumes, which open onto the landscape. Neighbors were at first suspicious, said Marna Schnabel, but soon they embraced the home. “It’s amazing how people react to something that’s not ‘normal,’” she said.
In a roundabout way, the fact that I don’t have a strong attachment to The Wizard of Oz as a film (my late mother loved it, so that memory is deeply rooted in me, but the movie itself never did much for me) contributed directly to how amusing I found Gail Daughtry and the Celebrity Sex Pass to be. This comedy spoofs the plot of the classic fantasy movie, though the jokes are largely about Hollywood. The humor is big and broad, with some of the jokes really landing. Others? Not so much. Still, more than enough do to warrant a recommendation.
Gail Daughtry and the Celebrity Sex Pass gets a lot of mileage out of sending up show business, even if the observations, while funny, are not particularly new. Besides the deluge of jokes, there’s also a lot of likably broad characters to spend time with, especially our lead. They make the 90 minutes and change spent together with them go down very easy.
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For Gail Daughtry (Zoey Deutch), her life as a small town hairdresser is perfect. Engaged to her high school sweetheart Tom (Michael Cassidy), she’s the picture of happiness, at least until a trip to a celebrity book signing. There, Tom meets and ends up sleeping with his “celebrity pass,” a term Gail wasn’t even really previously aware of. Feeling betrayed, Gail impulsively joins her co-worker and friend Otto (Miles Gutierrez-Riley) on a trip to Los Angeles. There, a psychic convinces her that the can save her marriage by sleeping with her own celebrity pass: Jon Hamm (Jon Hamm).
Journeying through Tinseltown in a manner that recalls Dorothy’s adventure in Oz, Gail and Otto won’t have to find Hamm alone. Joining forces with talent agency assistant Caleb (Ben Wang), down on his luck paparazzo Vincent (Ken Marino), and actor John Slattery (John Slattery). As they search for Hamm, some for their own purposes, they meet other celebrities, while also being hunted by a group of Italian assassins after a case of mistaken identity. Eventually, they come across Hamm, and the moment of truth is at hand.
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Zoey Deutch dives headfirst into a broad comedy like this, absolutely relishing the opportunity to get silly again. She’s able to make Gail a babe in the woods but also someone you laugh with, not at. It’s a wildly enjoyable turn. Deutch started out in comedies and was always a talented comedic actress, so it’s a pleasure to watch her back at it. Miles Gutierrez-Riley and Ben Wang get some very funny moments, while Ken Marino is a reliable comic presence. Jon Hamm and John Slattery are delighted to be sending up themselves, with amusing results. Supporting players here, in addition to Michael Cassidy, also include Kerri Kenney, Richard Kind, Thomas Lennon, Joe Lo Truglio, Fred Melamed, and more, plus some cameos.
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Filmmaker David Wain, again co-writing with Ken Marino, continues to make it look easy. Few can make a silly comedy like Marino and Wain, especially as they pack their flicks with extra bits that only subsequent viewings reveal. Is Gail Daughtry and the Celebrity Sex Pass on the same level as Wet Hot American Summer or They Came Together? No, not quite. At the same time, is this, scattershot approach and all, funnier than most other 2026 releases? You bet. Marino and Wain have a hit rate that allows some of the jokes to miss, as you only have seconds to wait before the next one, which probably will hit.
Gail Daughtry and the Celebrity Sex Pass is very amusing, and occasionally hilarious, even if not as many jokes land as you might expect. Zoey Deutch is great in the lead role, David Wain is in his comfort zone, and the laughs come hot and heavy. If you’re a Wain fan, this new movie should be a must see.
Right now in Los Angeles it’s Wes Week, with multiple tributes to the career of filmmaker Wes Anderson, known for his fastidious visual style, melancholy longing and nerd-chic aesthetic.
On Monday night there was a sold-out 30th anniversary screening of Anderson’s debut feature, “Bottle Rocket,” at the Academy Museum with the filmmaker making a rare in-person L.A. appearance. He sat for a warmly endearing Q&A with actor Luke Wilson and director James L. Brooks, an early champion who executive-produced.
Then on Friday, Saturday and Sunday, the Hollywood Bowl will have three nights celebrating the music of Anderson’s films, hosted by the director’s 10-time fixture, Bill Murray. Among those scheduled to perform are Beck, Jenny Lewis, Karen O, Rufus Wainwright and Devo, among many more. Other surprise guests may appear as well, performing songs familiar from Anderson’s music-stuffed movies.
“I was surprised how many things we did have to leave out,” Anderson, 57, tells The Times in a recent interview conducted via voice notes (his personal preference) recorded from Paris, where he has long lived. “There’s so much music over all these movies because I’ve been doing them for so long. We could do a whole other round of this, but let’s see how it goes on this first one.”
Because of his unique use of music, combining left-field vintage pop songs with classical pieces and original scores by favored composers Alexandre Desplat and Devo’s Mark Mothersbaugh, there have been frequent requests over the years for live performances, but Anderson and his longtime music supervisor Randall Poster have always declined — up until now and this ambitious three-night event at the Bowl.
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“From the moment that he said yes we’ve been on the phone talking about his vision and how to execute it,” says Johanna Rees, vice president of programming and creative partnerships at the L.A. Phil, during a recent call from San Diego. “It’s about exploring and celebrating so many styles of music. It’s been such a fun adventure.”
Kara Hayward and Jared Gilman in Wes Anderson’s 2012 movie “Moonrise Kingdom.”
(Focus Features)
This will be more than a typical evening at the Bowl, with dedicated Anderson-branded merchandise and uniformed bicycle riders dispensing candy. “The plan is you walk into the Hollywood Bowl and you are immersed in the world of Wes Anderson,” Rees says.
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Criterion, which has long put out high-end home video editions of Anderson’s work and recently issued a 20-disc box set, will also have a special presence at the Bowl. Alongside the popular Criterion Mobile Closet making another stop in L.A., there will also be a lounge, a listening booth and a screening room showing Anderson’s movies as well as ones curated by him, including “Yojimbo,” “Amarcord” and “Belle de Jour.”
“Wes is an amazing community-builder as a human being,” said Peter Becker, president of Criterion, in a video call from the Il Cinema Ritrovato Festival in Bologna, Italy. “If you look at his films and the people he’s been working with consistently, we’re not the only ones who’ve been part of the greater Wes Anderson family for the last 25-plus years. How could we not be a part of this?”
From left, Jason Schwartzman, Adrien Brody and Owen Wilson in the movie “The Darjeeling Limited.”
(Fox Searchlight Pictures)
Music supervisor Poster met Anderson in 1996 at L.A.’s Original Farmers Market shortly after “Bottle Rocket” was finished and immediately began to assist in pulling together the soundtrack release. Though the CD at the time could not include some of the key songs from the movie, these Bowl events will finally offer a flexi-disc of the Rolling Stones’ “2000 Man” as well as a limited-edition yellow vinyl 12-inch record with two songs by the band Love.
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The two have worked together on all of Anderson’s films since, with a process that is constantly developing.
“Sometimes we’ve been talking about it even before the film takes shape,” says Poster on a recent phone call from New York. “We get to that point where I feel informed to a certain degree, that we’ve identified an element or two, whether it’s a composer, a specific song, a specific band that allows us to sort of start weaving it together. Sometimes we have more details, and sometimes we’re in a little bit more of a process of discovery.”
As impeccably detailed as his movies can be, Anderson acknowledges that his method can still be a bit vague. “I really couldn’t tell you what it’s all about, where it came from or why,” he says. “It’s just totally instinctive.”
One of the most indelible moments in Anderson’s repertoire is Gwyneth Paltrow’s slow-motion exit from a bus in “The Royal Tenenbaums” to the sounds of Nico’s 1967 recording of the song “These Days,” perfectly capturing a tender, delicate rush of emotions.
“That music was part of the inspiration for the entire movie,” Anderson recalls. “There’s a Ravel string quartet in F Major and this song — those two things together, for whatever reason, suggested something to me that slowly became the whole movie. With Gwyneth Paltrow coming off of the bus, we played the music on the set. It was all a bit choreographed to that.”
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“Everybody wanted to do ‘These Days,’ ” says Poster of the artists lined up for this weekend’s shows. “But Jackson Brown wrote ‘These Days’ and Jackson Brown is going to perform ‘These Days.’ Nobody could really argue with that one.” (The rest of the song choices and performers are being kept under wraps.)
Ben Stiller, left, Gwyneth Paltrow and Gene Hackman in the 2001 movie “The Royal Tenenbaums.”
(James Hamilton / Touchstone Pictures)
In choosing music for the movies, inspiration can strike from just about anywhere, as with the Johnny Duncan and the Blue Grass Boys’ recording of “Last Train From San Fernando,” memorable from the opening credits of 2023’s “Asteroid City.”
“I knew that song because my daughter used to listen to it,” says Anderson. “She had a CD of western swing from the ’50s and ’40s that she was listening to again and again. So I stole it from her.”
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Poster mentions Anderson’s affinity for woodwinds and novelty instruments along with his tremendous sense of rhythm, which is why the music often has a strong percussive feel, from Gene Krupa’s “Drum Boogie” in last year’s “The Phoenician Scheme” to Japanese taiko drums and the work of composer Peter Jarvis.
“I would say that I think the biggest change is that Wes has taught himself how to read music,” says Poster. “He just really gets into the score’s DNA and really has a great insight into how to arrange thematic pieces that I think help make the movies more wholesome, just being a whole thing.”
Poster playfully refers to Anderson as “The Maestro” and remains struck by how fresh the music cues feel in the context of the films.
“When those clips come on — ‘Here Comes My Baby,’ ‘A Quick One, While He’s Away,’ ‘These Days,’ ‘Needle in the Hay,’ ‘Ooh La La’ — I mean, countless, countless, I always get a kick out of it.”
All of which should add up to a special alchemy at the Bowl.
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“They won’t happen again,” says Rees of the three nights curated by Anderson. “Not knowing what he’s going to do in the future, but certainly this is a special event, a one-of-a-kind weekend. It won’t be happening like this again.”
For Anderson, putting together the Hollywood Bowl shows has been a reminder of how far his work has evolved.
“When we made ‘Bottle Rocket,’ I didn’t intend to have an original score at all,” he remembers. “We had some Ennio Morricone music. We put Bob Dylan’s ‘Pat Garrett and Billy the Kid’ in the movie originally — and that’s a score from somebody else’s movie. At a certain point everything sort of changed, and Mark Mothersbaugh came and saw the movie and he liked everything we had in there. And so he brought his own voice in, but from the point of view of somebody who was very sympathetic to what was already in place, and that led to more movies together.”
Showing a bit of his own trademark wistfulness, he adds, “It is quite an amazing thing to have Mark and Devo coming up on the stage to do this music that reflects back on all these years — this whole gathering.”
Supergirl Director: Craig Gillespie DC Studios, Troll Court Entertainment, The Sagan Company In theaters: 06.26.2026
I was a pretty big fan of James Gunn’s Superman. Building up to the release of the film, I relapsed into my comic book obsession, which I had laid to rest many years prior. I read whatever you get recommended when you look up “Superman comic recommendations:” For All Seasons, All Star, Birthright — whatever, you don’t care. David Corenswet’sportrayal of Big Blue was loving, thorough and unbelievably human, which is what Superman is (he’s not Jesus). He is the best of us. He is what we aspire to be.
Supergirl was announced, and I picked up the comic it was based on: Supergirl: Woman of Tomorrow. The questionable morals and talent of author Tom King aside, the book is good! The fantastic art by Bilquis Evely makes King’s (sometimes preachy) prose this beautiful and somber story about trauma and war. It appears that I’m ahead of director Craig Gillespie, who reportedly didn’t read the book and, boy, does it show.
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During a bender, Superman’s cousin Kara (Milly Alcock, House of The Dragon)meets Ruthye (Eve Ridley), a child whose family is murdered by Krem (Matthias Schoenaerts, Amsterdam, The Old Guard), the leader of a raider group. She enlists Kara to hunt and kill him, and on their way, they confront their traumas.Kara faces Krem, the films antagonist, retold as an all-powerful kryptonite wielding brute. Photo courtesy: DC Studios.
Every change made from the original comic was for the worse. Most notably, this film simplifies the depth of the comic’s characters. Kara is reduced to a loud, charming alcoholic, which is fine, but in the comic, she’s somber and reflective, making an effort to teach Ruthye how the greater universe works. The antagonist, Krem, is sort of a loser in the comic. He’s a coward who spends his time running away, while in the film he’s a tattooed, pierced, menacing psychopath who appears in almost every major action sequence. He’s almost indistinguishable from The Joker — this all boils down to shame. While they’re becoming increasingly popular, comics are still for losers. Hinting at depth with characters who fly and shoot lasers from their eyes in brightly colored underpants isn’t something that a general audience will accept. They will accept a comic film so long as it constantly flogs itself for being comic-inspired.
Another bastardization is the look of this film. Everly’s amazing use of color in the comic makes the story so engaging. How is this translated? Brown. Just brown. When characters clash, it looks like someone’s wiping their finger across their dirt-covered lens, which is a total departure from Gunn’s fantastic color palette in Superman. The visual effects appear to be rushed and often look horrible — laughably horrible, as a matter of fact. How do you spot a bad action director? Look at the editing. If they have to hide poor action choreography and bad visual effects behind dizzying amounts of cuts, they’re bad. Gillespie is a bad action director. James Gunn promised that the DCU would prioritize artist voice over universal coherence, but if these are the artists he’s hiring, I’m not sure how long this could last.
Performances here are whatever. Alcock could have been good if the script and direction were right, but they’re not. I couldn’t get into Krem due to character assassination, but even if I wasn’t into the comic, I would find his performance as a crazy guy to be a standard for bad superhero movies. Ridley is good, especially for a debut in feature films, but the standout is Jason Momoa (Aquaman, A Minecraft Movie) as Lobo. He is loving the character, absolutely chewing up the scene with thick cigars. He’s a little cheesy-edgy, but that’s just what he is in the comics, so I won’t knock him for it.
While I was watching the film, I was suffering from a discrepancy. Supergirl is as powerful as Superman, but throughout this film, she doesn’t use her powers to their full potential. Something I actually loved about Superman is how much he got his ass kicked. Gunn was out to prove that Superman fights can have stakes — that he’s not just undefeatable and therefore boring as everyone says. Gunn’s ability to create ways to kill the Man of Steel without Kryptonite is amazing! Kara, in this film, is fighting space pirates and constantly forgets to finish the fight. It’s frustrating because the remedy to this in the comic is that they don’t see Krem until the last couple of issues, but in this film, Krem keeps showing up to menace Supergirl, and most of the time she has her powers.
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I could ramble about how bad the dialogue can be, how derivative and uninspired it is or whatever lame comic thing I can talk about, but I’ll spare you. Here’s the moral of all this: Comic books are a valid storytelling medium. I recall recommending Alan Moore’sWatchmen to someone and being told that they have more important things to read. Watchmen is one of my favorite works of fiction. I did end up falling out of love with comics because I was told they were childish and I had grown bored of having costumes thrust into my peripherals all the time, but I’m back now, and I love them so much more than ever. I loved Superman because, above all else, it was earnest. There wasn’t a self-deprecatory tone toward its own plot. It didn’t try to bog its drama down with one-liners. It was just proud to be a comic book movie, and I think more movies should.
If you want to see Supergirl, go ahead, but I’d advise you to just read the comic, which is more dramatic, more meaningful and more impactful. —B. Allan Johnson
Read more reviews from B. Allan Johnson below: Film Review: The Bride! Film Review: Backrooms
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