Downtown Los Angeles – IAMNOTASTALKER

November 6, 2019November 17, 2019

The Arts District Firehouse Hotel from “ER”

The Grim Cheaper likes to say that I fixate on the silliest of things. I typically scoff at the notion, but he’s 100% right. Case in point – a few months back favorite blogger Emily Schuman, of Cupcakes and Cashmere, did a photo shoot at the Arts District Firehouse Hotel, a stylish fire-station-turned-lodging in downtown L.A. While there, she recorded an Instagram story showing an assortment of blush matchbooks displayed at the check-in desk. As it so happens, I had recently changed up my kitchen décor by adding some pops of pink, including a bowl filled with two rose-colored matchbooks. One look at Emily’s story and I decided I had to snag some of the hotel’s matches ASAP to add to my new collection. When the GC and I headed out to L.A. to take care of some business a few weeks later, I, of course, tried to reserve a room at the property, but it was completely booked. Undeterred, I ventured right on over there as soon as we arrived in town to grab that matchbook – and an iced latte from the lobby coffee bar, natch. The Arts District Firehouse Hotel is so artfully designed and unique that I couldn’t help but snap some pics while waiting for my drink, which turned out to be quite fortuitous, because, as it turns out, the place is a filming location!

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The Arts District Firehouse Hotel began life as Engine Co. 17, which started servicing the downtown area on April 1st, 1905. Interestingly, it was situated in a slightly different location at the time – at 2100 East Seventh Street, about 100 feet north of its current home. At its inception, the handsome vine-covered building (which you can see here) sat facing Seventh Street, in pretty much the spot where Bread Lounge stands today When the Seventh Street Bridge, which ran in front of the station, was raised above grade in the mid-20s, Engine Co. 17 had to be re-located. I’ve come across a few reports stating that to accommodate the project, the entire building was picked up and moved the short distance to 710 South Santa Fe Avenue, but I don’t believe that to be true. Though similar, the edifice of the original Engine Co. 17 is quite different from that of the Arts District Firehouse Hotel. The former boasted an intricately paned, three-panel window with angled projections across its second floor (as you can see here), while the latter has six separate flat windows in that spot. And while the original featured one bay door, the hotel has two. Though subtle, the differences are just enough to lead me to believe the 1904 firehouse was razed during the bridge project and a replacement then built at the new location. Whatever the case, per LAFire the Santa Fe Avenue facility opened its doors on September 9th, 1927. The station operated at that site for the next five decades before being decommissioned in 1980, at which point Company 17 re-located once again to a new building eight blocks south at 1601 South Santa Fe.

The former firehouse was subsequently sold to photographer Robert Blakeman who transformed it into four separate artist studios which he shared with various contemporaries over the next 20 years. In 2006, he put the property up for sale for $2.95 million. At the time, the 8,721-square-foot, 2-story structure boasted the station’s original kitchen, an indoor handball court, and parking for 13 cars. There were no takers, though, and it was removed from the market in 2007.

At some point, Engine Co. 17 did change hands and the owners began making plans to transform the space into a hotel, but those plans did not reach fruition until hospitality magnate Dustin Lancaster was brought onboard in 2016. He quickly tapped interior designer Sally Breer, with whom he partnered on two prior projects, to reimagine the station’s interior. Sally worked her magic, converting the site into an operable lodging, all the while keeping intact all of the original firehouse elements that make it so unique. A woman after my own heart, she told the Los Angeles Times, “Always our job first and foremost is to respect the architecture and breathe some new life into it.” Yaaaaas! With that mantra in mind, Breer preserved the building’s concrete flooring, pressed-tin ceiling, and exposed beam work.

To say the finished project is stunning would be a gross understatement! Since the transformation, the hotel has been written up by everyone from Vogue to Architectural Digest to Time – and it’s not very hard to see why. The place is serious #designgoals!

Opened this past April, the boutique lodging features nine suites, a restaurant and bar, event space (the station’s former handball court now serves as a private dining room), a coffee bar, a large patio complete with a fire pit, and a small shop featuring Los Angeles- and California-themed wares.

I did not realize Engine Co. 17 had appeared onscreen until long after I got home, though it really shouldn’t have come as a surprise. A decommissioned firehouse with many of its original elements intact that operated as a studio (and therefore could easily be shut down for filming) for over two decades? Sounds like a dream site for any location manager working on a procedural!

In the Season 8 episode of ER titled “A River in Egypt,” which aired in 2002, Kerry Weaver (Laura Innes) confronts her paramour, firefighter Sandy Lopez (Lisa Vidal), at Engine Co. 17 for outing her to her fellow County General Hospital coworkers.

Thanks to firehouse expert Richard Yokley (you may remember him from this post and this post), I learned that Jack Malone (Anthony LaPaglia) and Danny Taylor (Enrique Murciano) investigated the disappearance of a firefighter at Engine Co. 17 in the Season 2 episode of Without a Trace titled “Trip Box,” which aired in 2003.

Kate Beckett (Stana Katic) interrogates Rod Halstead (John M. Jackson) at Engine Co. 17 about a fire her mother had been looking into in the Season 4 episode of Castle titled “Rise,” which aired in 2011, though little of the building is visible in the scene.

Richard also informed me that Captain Ray Holt (Andre Braugher), Jake Peralta (Andy Samberg) and Charles Boyle (Joe Lo Truglio) headed to Engine Co. 17 to apologize to Fire Marshall Boone (Patton Oswalt) in the Season 1 episode of Brooklyn Nine-Nine titled “Sal’s Pizza,” which aired in 2013.

The episode gives us some nice glimpses of the firehouse’s Interior, as well.

The music video for A Great Big World’s 2014 song “Already Home,” which you can watch here, also largely took place at Engine Co. 17. The song tells the story of lovers who live on opposite coasts, which explains why the top screen capture below is split.

Per On Location Vacations, the pilot of Like Father was also lensed at the firehouse in 2012, but, sadly, it appears as if the show never made it on air.

And for those asking, pictured below are the matchbooks I went out of my way to procure – a fabulous addition to my collection, don’t you think?

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Until next time, Happy Stalking! Smile

Stalk It: The Arts District Firehouse Hotel, aka the former Engine Co. 17 from the “A River in Egypt” episode of ER, is located at 710 South Santa Fe Avenue in downtown Los Angeles. You can visit the lodging’s official website here.

August 2, 2019July 31, 2019

Mawby’s Bar from “Flashdance” – An Update

Typically, when a vacant space is built out for a production, it is dismantled as soon as filming wraps – though sometimes stranger things, ahem, do happen. Take Gwinnett Place, for instance. A wing of the largely deserted Duluth, Georgia shopping center was transformed (with breathtaking attention to detail, I might add) into Hawkins, Indiana’s Starcourt Mall for the third season of Stranger Things. It is one of my favorite locations ever to be brought to life onscreen and, incredibly, was left completely dressed in its destroyed ‘80s state up until earlier this month – almost a year after filming took place! Atypical as that is, the same scenario appears to be true for Mawby’s Bar from Flashdance! As I chronicled in an August 2017 post, the supposed Pittsburgh nightclub was not a real place, but a set created especially for the 1983 movie at a vacant warehouse located at 229 Boyd Street in downtown L.A. While I assumed said set was disassembled following the shoot, fellow stalker Dave (you may remember his amazing research from this post) recently informed me that it popped up again two years later as Coyle’s Club & Cuff in Police Academy 2: Their First Assignment! Why producers (not to mention the building owner) chose to leave the bar space intact is beyond me, but I am so grateful they did! Due to the many changes the warehouse incurred in the three-plus decades since Flashdance was shot, it is not at all recognizable, so prior to writing my 2017 post I attempted to dig up additional footage of it from other productions lensed around the same time to further verify its use in the movie. I was unsuccessful, but, thankfully, Dave has now done the legwork for me! So I figure an update is in order!

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It is at Coyle’s Club & Cuff that the officers of the 16th Precinct regularly hang out in Police Academy 2. As Dave explained to me, the small octagonal windows flanking the bar’s front door, the larger one situated on the wall beside it, and the glass block framing perfectly match Mawby’s exterior from Flashdance, giving away its location as 229 Boyd Street, despite looking completely different today.

Dave went on to explain that in one scene, Tackleberry (David Graf) is shown walking inside Coyle’s and, as he enters, it becomes obvious from the octagonal window visible behind him (denoted with a blue arrow below) as well as the glass block framing above the doorway (denoted with a pink arrow) that the warehouse was used for both interiors and exteriors.

Those exact same elements are also apparent in Flashdance, which cements the fact that the inside of the building was utilized in that film, as well – something I hypothesized about in my 2017 post, but could not prove at the time.

As Dave scrutinized the two movies further, he discovered even more matching details! He called my attention to the two shots below, taken from practically the same angle, noting that although framing was built atop the bar for Police Academy 2 changing the look of it, the countertop was left untouched as were the doorway and hatch visible beyond it!

Seeing that doorway and hatch (denoted with pink and blue arrows below) gave me goosebumps! I could hardly believe my eyes, but, sure enough, right before me was proof that the Mawby’s set was left intact long after Flashdance wrapped.

A clearer view of the octagonal hatch is pictured below. (To quote Jake Peralta, “Literal goosebumps!”)

Thrilled at the new development, I excitedly began dissecting Flashdance and Police Academy 2 myself and dug up a few additional elements visible in both, including a vestibule with decorative wood paneling (shown from opposing angles below) situated just inside the front door of the two spaces.

A partition with seating that runs the length of the interiors is also apparent in both flicks.

The counter attached to said partition (shown from opposite angles below) boasts red siding in both productions, as well.

The lip of the bar and the tan and red paneling below it are also direct matches. Oh, how I wish that interior was still intact today!

During his research, Dave unearthed an even more unusual twist! Toward the middle of Police Academy 2, the outside of 229 Boyd appears in an undressed state in the scene in which Doug Fackler (Bruce Mahler) heads to a gas station looking for a public restroom. As Dave wrote to me, “So at some point during production, either before or after Fackler drives past the building, the set designers will have given it quite a makeover!” Though definitely odd, the segment provides a fabulous full view of what the property looked like in 1985 – which is pretty darn close to how it appeared in Flashdance (minus the Mawby’s accoutrements, of course)! Dave notes, “Even the HOTEL lettering is still intact!” Sadly, the location in its current state does not resemble its ‘80s self in the slightest.

As chronicled in my 2017 post, the warehouse pops up in a few other productions, as well, including 1984’s Night of the Comet. In the screen captures below, the Mawby’s site, located just beyond the stop sign, is denoted with a yellow arrow.

Harry Washello (Anthony Edwards) and Wilson (Mykelti Williamson) drive by the building in 1988’s Miracle Mile.

And a reused shot of it from Flashdance appeared as an establishing shot in the 1990 made-for-television movie Perry Mason: The Case of the Poisoned Pen, though no actual filming took place there.

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

HUGE thank you to fellow stalker Dave for figuring out this location’s Police Academy 2 connection.

Until next time, Happy Stalking! Smile

Stalk It: The building that portrayed both Mawby’s Bar in Flashdance and Coyle’s Club and Cuff in Police Academy 2 can be found at 229 Boyd Street in downtown Los Angeles. The neighborhood where it is located is not the greatest, so please exercise caution when visiting.

February 4, 2019February 3, 2019

The Westin Bonaventure Hotel & Suites from “True Lies”

There is no shortage of unique architecture in Southern California. The Bradbury Building, LADWP, and the 8500 apartment complex all immediately come to mind as highly individualistic spots. One structure stands heads and shoulders above the rest, though, as being extra extraordinary – The Westin Bonaventure Hotel & Suites in downtown Los Angeles. If you’ve ever found yourself on the 110 Freeway, you are sure to have spotted its futuristic edifice gracing the skyline. It’s been called “the world’s largest cappuccino machine,” “a bronzed grain elevator,” and “Camelot in glass” (all per a 1976 Baltimore Sun article that is not available to link to online). Regardless of one’s feelings about the aesthetic of the massive towered building, its Hollywood allure can’t be argued. Location managers have flocked to it like a beacon since its inception. I happened to pop into the exceptional hotel last month and when my eyes landed upon the fountain Harry Tasker (Arnold Schwarzenegger) famously rode a horse through in True Lies, I realized that, although I wrote a brief post on the place back in 2008, it was definitely time for a redux.

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The Westin Bonaventure Hotel & Suites, originally known simply as the Los Angeles Bonaventure, was constructed from 1974 to 1976 at a cost of $110 million. Designed by architect John C. Portman Jr., at the time it was the most expensive lodging ever built and the city’s largest. It still holds that latter distinction today.

The 367-foot-tall Postmodern structure, which consists of 5 mirrored cylindrical towers flanked by 12 glass elevators, makes for a strikingly unique vision along the downtown horizon.

Housing 35 floors, the goliath hotel boasts a lobby with a 6-story atrium and a rambling indoor fountain so large it is often referred to as a “lake.”

The Bonaventure also features 1,358 rooms, 135 suites, an outdoor pool, a gym, 155,000 square feet of meeting and event space, and a plethora of restaurants and watering holes including the famed BonaVista Lounge, a revolving bar situated on the 34th floor.

There’s even a mall on the premises with more than 40 stores and a food court!

The Grim Cheaper and I have checked into the Bonaventure several times over the years and have always enjoyed our stay. The rooms are small, but well-appointed and modern . . .

. . . and boast views for days!

And days!

To say that the Bonaventure is unique would be an understatement.

With its cement-clad interior, the hotel is almost post-apocalyptic in its minimalism and starkness . . .

. . . and I mean that in the best way possible.

Though no longer the case, the Bonaventure formerly boasted a highly unusual open-air gym on its third floor with pod-like overhangs holding exercise machinery cantilevered over the lobby below . . .

. . . each of which branched off a small indoor track, as you can see in the images above and below that the GC and I snapped during a 2005 visit.

The exercise equipment has long since been removed and today the former gym area remains eerily vacant.

The place even has a few ties to true crime! On October 7th, 1979, a North Hollywood couple was shot, killed and dismembered in one of the Bonaventure’s rooms (their bodies were later removed via trash bags!) thanks to a drug deal gone wrong. And it was there that John DeLorean was videotaped agreeing to smuggle cocaine as part of an FBI sting operation on September 28th, 1982, which is rather ironic being that a few years prior the hotel was used as a futuristic backdrop in an ad for the businessman’s infamous DMC-12 car.

Though management likely doesn’t relish those moments in the hotel’s past, great pride is taken in its cinematic history. Not only is the hallway leading from the parking garage to the lobby lined with posters from the various productions lensed on the premises . . .

. . . but the elevators that have cameoed onscreen are outfitted with plaques denoting their respective résumés. (Oddly, the In the Line of Fire placard pictured below boasts some erroneous info. The action hit was released on July 8th, 1993, so there is no way that any filming of it took place on the Bonaventure grounds in September of that year, a full two months later!)

A poster noting the hotel’s use in Interstellar was even on display in the lobby the last time we checked in.

The Bonaventure has been featured in so many productions over the years, it would be impossible for me to chronicle them all here.

But I’ve corralled a list of some of my favorites.

As I mentioned earlier, the Bonaventure most famously figures in a climatic action sequence in the 1994 hit True Lies in which Harry Tasker, on horseback, chases a motorcycle-riding Salim Abu Aziz (Art Malik) through the hotel’s lobby . . .

. . . into one of its elevators . . .

. . . and onto the roof, which he subsequently almost falls from.

The BonaVista Lounge masked as the restaurant Above the Top in the 1980s sitcom It’s a Living. Though all actual filming took place on a soundstage, the hotel was featured regularly in establishing shots as well as in the weekly opening credits.

The BonaVista Lounge is also where David Addison Jr. (Bruce Willis) ambushed Maddie Hayes’ (Cybill Shepherd) date in the pilot episode of Moonlighting, which aired in 1985.

MacGyver (Richard Dean Anderson) lands on top of the Bonaventure via helicopter at the beginning of the Season 1 episode of MacGyver titled “Deathlock,” which aired in 1986. (The chopper apparently experienced dangerous “ground resonance” during the filming, as detailed here.)

Dr. Bruner (Gerald R. Molen) attempts to buy off Charlie Babbitt (Tom Cruise) while walking around the Bonaventure’s pool in the 1988 drama Rain Man.

The following year, Martin Riggs (Mel Gibson) and Roger Murtaugh (Danny Glover) got into a car crash in front of the hotel while chasing a suspect in Lethal Weapon 2.

Mason Storm (Steven Seagal) is ambushed at the Bonaventure in 1990’s Hard to Kill.

It is at the hotel that Mitch Leary (John Malkovich) sets up his plot to assassinate the President (Jim Curley) in 1993’s In the Line of Fire.

Many areas of the property appeared in the thriller, but I am unsure if the California Ballroom is where the actual assassination attempt took place as has been asserted on a few websites. That particular venue looks considerably smaller than the one featured, as you can see in these photos as compared to the screen captures below.

The Bonaventure also prominently appears in the 1995 thriller Nick of Time as the spot where accountant Gene Watson (Johnny Depp) is sent to kill Governor Eleanor S. Grant (Marsha Mason).

Dr. Eugene Sands (David Duchovny) visits the Bonaventure to perform surgery on a gunshot victim in the 1997 thriller Playing God.

Usher made great use of the place in his 2002 “U Don’t Have to Call” music video.

In 2005, the outside of the Bonaventure was utilized in exterior shots of the hotel where Roberts (Michael Kenneth Williams) met with Carter (Paul Ben-Victor) in the Season 4 episode of Alias titled “Another Mister Sloane.” The property’s elevators also appeared in the episode, but all other interior filming took place at The L.A. Grand Hotel Downtown, which I blogged about here.

The hotel portrays a top secret NASA facility in the 2014 sci-fi drama Interstellar.

That same year, the outside of the Bonaventure popped up as the Manhattan hotel where David Clarke (James Tupper) stayed in the Season 4 episode of Revenge titled “Repercussions.” As was the case with Alias, interiors were filmed at The L.A. Grand Hotel Downtown.

In the Season 4 episode of Bosch titled “Dreams of Bunker Hill,’” which aired in 2018, Harry Bosch (Titus Welliver) and Honey Chandler (Mimi Rogers) visit Michael Harris (Keston John) who is sequestered at the Bonaventure.

The hotel is also said to have been featured in Forget Paris, but I scanned through the 1995 romance and didn’t see it anywhere.

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Until next time, Happy Stalking! Smile

Stalk It: The Westin Bonaventure Hotel & Suites. from True Lies, is located at 404 South Figueroa Street in downtown Los Angeles. You can visit the property’s official website here.

January 28, 2019November 5, 2019

The Millennium Biltmore Hotel’s South Galleria from “The West Wing”

The Millennium Biltmore Los Angeles is a rare bird when it comes to filming locations in that virtually every square inch of it has appeared onscreen – and I’m talking in multiple major productions! This factoid fascinates me and I thought it would be fun to cover in an in-depth article, so a few years back I pitched the idea to my editor at Discover L.A. who told me to run with it. Though I chronicled ten areas of the vast hotel in the column, which was published in 2016, due to length concerns there were a few spots I had to leave out including the South Galleria, an ornate hallway that was most famously featured in Pretty in Pink. I had planned on writing about the beautiful space on my own site as a follow-up to the article shortly thereafter, but never got around to it. Then, last week, while watching an early episode of The West Wing (which the Grim Cheaper and I just started binging and are absolutely obsessed with!), I spotted the Galleria and decided it was high time I finally dedicate a post to it.

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The South Galleria, which is situated along the southwest edge of the Biltmore, connects the hotel’s South Grand Street entrance to its Main Galleria and provides access to the Heinsbergen Room, the Regency Room, and the Biltmore Bowl.

The gilded hallway, inspired by the opulent Roman villas of ancient Pompeii, boasts an intricate Beaux Arts-style vaulted ceiling featuring bucolic frescoes hand-painted by muralist Giovanni Smeraldi.

The dramatic space is also flanked by elaborate friezes, carved columns, and sweeping archways.

The gilded gates situated on its south side . . .

. . . lead to an equally grand stairwell that heads down to the Biltmore Bowl and the Regency Room.

Being that the South Galleria is situated in a tucked away area on the side of the hotel, it would, sadly, be quite easy for visitors and guests to spend ample time at the Biltmore and not even realize the impressive space exists. If you happen to find yourself on the premises, do not make that mistake. The striking hallway is not to be missed!

In the Season 1 episode of The West Wing titled “Let Bartlet Be Bartlet,” which aired in 2000, the South Galleria portrays Washington D.C.’s Old Executive Office Building (now known as the Eisenhower Executive Office Building), where President Jed Bartlet’s (Martin Sheen) speech to the United Organization of Trout Fishermen is moved at the last minute due to some unforeseen rain.

Producers cheated a bit with the locale in the scene by shooting from both ends of the Galleria in order to make it appear as two different hallways that the President has to walk down on the way to deliver his speech. The West Wing does love a good lengthy walk-and-talk segment!

John Norman Howard (Kris Kristofferson) gets into a fight with the paparazzi during the Grammy Awards at the top of the staircase/escalator leading down to the Biltmore Bowl in the 1976 version of A Star Is Born.

In the 1986 classic Pretty in Pink, Andie (Molly Ringwald) trepidatiously ventures alone down the South Galleria on her way to her Senior Prom (which was held in the Biltmore’s famed Crystal Ballroom) . . .

. . . only to find her BFF Duckie (Jon Cryer) waiting for her at the other end.

Though Richard Alleman asserts in his book New York: The Movie Lover’s Guide that “James Caan, as the novelist in Steven King’s Misery (1990), celebrated his latest best seller” at Tavern on the Green, I discovered that information was incorrect while doing research for my June 2018 post about the famed NYC eatery. In actuality, at the end of the film, Caan’s character, Paul Sheldon, shares a celebratory lunch with his agent, Marcia Sindell (Lauren Bacall), at none other than the South Galleria, which was dressed to look like an upscale Big Apple restaurant.

The South Galleria also posed as a restaurant in Atlas Shrugged: Part I. In the 2011 drama, it served as the spot where Dagny Taggart (Taylor Schilling) confronted Francisco D’Anconia (Jsu Garcia) about his shady copper mine investments.

But the South Galleria’s noted onscreen appearances don’t end there! The space also pops up as a Beirut hotel hallway in the Season 7 episode of The Mentalist titled “Orange Blossom Ice Cream,” which aired in 2014.

And Alex Levy (Jennifer Aniston) and Cory Ellison (Billy Crudup) have a terse conversation in the South Galleria during an awards ceremony in the Season 1 episode of The Morning Show titled “A Seat at the Table,” which aired in November 2019.

Bradley Jackson (Reese Witherspoon) is also shown walking down the Biltmore Bowl staircase on her way to the ceremony in that same episode.

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Until next time, Happy Stalking! Smile

Stalk It: The Millennium Biltmore Los Angeles is located at 506 South Grand Avenue in downtown L.A. You can visit the property’s official website here. The South Galleria, from the “Let Bartlet Be Bartlet” episode of The West Wing, can be reached via the hotel entrance situated just north of and adjacent to Coffee on Grand at 530 South Grand Avenue.

December 21, 2018August 24, 2020

The Majestic Downtown from “The Holiday”

The Holiday has definitely been on my brain as of late. I wrote about two of the houses used in the 2006 film for the December issue of Los Angeles magazine and recently got to tour Thorne Hall at Occidental College, the setting of one of its most poignant scenes. So I figured it was only appropriate to dedicate a post to another of the movie’s locales, DTLA’s SB Spring building, more specifically its lower level former bank space known as The Majestic Downtown, which masqueraded as the supposed London office of The Daily Telegraph newspaper in the flick. I have blogged about this spot twice before, once in 2010 for my own site and then again in 2014 for L.A. mag. The last time I did some stalking of it, though, an event was being set up and the friendly security guard manning the front door happened to invite me inside for a closer look! I have yet to share the photos I snapped that day, so I decided it was definitely time for a third go-round.

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SB Spring was originally erected in 1924 as the headquarters of the Hellman Commercial Trust and Savings Bank.

Commissioned by Isaias Hellman at a cost of $2.5-million, the Beaux Arts-style structure was designed by the Schultze & Weaver architecture firm.

Featuring an Indiana limestone façade with sweeping arched windows and doors and terra cotta carvings, the 12-story building originally housed offices on the upper levels . . .

. . . and a two-story Spanish Revival-style bank on the ground floor boasting 40-foot-tall hand-painted coffered ceilings, marble columns, stairs and flooring, intricate bronze chandeliers, and a large mezzanine. You can check out a photo of what the grand space looked like during its early days here.

Soon after construction of the property was complete, Hellman Commercial merged with Merchants National Bank and then was taken over by Bank of America shortly thereafter. The 250,000-square-foot structure became the financial institution’s Los Angeles headquarters and, as such, was known largely as the “Bank of America Building.”

When B of A moved its headquarters to a new location on Flower Street in 1972, the upstairs offices of the Spring Street building were leased out to various companies. The ground floor bank, however, remained in operation until its doors were finally closed due to a decline in business in March 1988.

Developer Barry Shy purchased the structure in 2009 and converted the upstairs offices into a 174-unit loft-style apartment building known as SB Spring.

Thankfully, the bank space, now a special events venue known as The Majestic Downtown, has been left largely intact over the years, making it the perfect spot for filming. And locations scouts have definitely taken note!

In The Holiday, The Majestic Downtown is where Iris Simpkins (Kate Winslet) works as a newspaper writer.

It is during the paper’s Christmas party at the beginning of the film that Iris learns her total cad of an ex-boyfriend, Jasper Bloom (Rufus Sewell), has proposed to the girl that he cheated on her with.

SB Spring has appeared in countless productions in addition to The Holiday. So many, that it would be impossible to chronicle all of its onscreen appearances here, but below are a few of my personal favorites.

Sam Wheat (Patrick Swayze) has Oda Mae Brown (Whoopi Goldberg) fill out a signature card under a fake name at the bank in 1990’s Ghost.

The Majestic Downtown masks as the Fourth Reich Bank of Hamburg where Harris K. Telemacher (Steve Martin) provides his financial records in an attempt to secure a dinner reservation at L’Idiot restaurant in the 1991 comedy L.A. Story.

The site portrays Edge City Savings & Loan, where Stanley Ipkiss (Jim Carrey) works, in the 1994 comedy The Mask.

Robbie Hart (Adam Sandler) applies for a job there in the 1998 romcom The Wedding Singer.

In 2001’s Heartbreakers, Max Conners (Sigourney Weaver) and her daughter, Page Conners (Jennifer Love Hewitt), attempt to withdraw money from their accounts at the bank, but are thwarted by the IRS.

Jenna Rink (Jennifer Garner) saves a party at The Majestic Downtown by performing the Zombie Dance from Thriller in the 2004 comedy 13 Going on 30.

And, yes, I did, of course, imitate Jenna doing a Thriller move while I was there, but unfortunately the lighting in the building was extremely low, so my photo did not come out. (Many of the images I took that day suffered the same fate, unfortunately.)

The exterior of SB Spring masquerades as Belle en Blanc bridal salon in the 2011 comedy Bridesmaids.

Me doing my best Helen (Rose Byrne) out in front. Too bad the shop’s ornate intercom isn’t actually there in real life.

Though the interior of the salon was a studio-built set, it is outside of SB Spring that the scene’s most memorable moment took place.

It is there that Lillian (Maya Rudolph), ahem, loses her sh*t in the middle of the street.

Had to do it! (Though I accidentally posed a bit too far to the north.)

SB Spring plays Capitol Trust Bank, where Jake Peralta (Andy Samberg) and the gang attend a Homeland Security counterterrorism drill, in the Season 2 episode of Brooklyn Nine-Nine titled “Windbreaker City,” which aired in 2014.

In 2018, the exterior of the bank popped up in the music video for the Lil Dicky/Chris Brown song “Freak Friday,” which you can watch here.

And E.B. Jonathan (John Lithgow) unsuccessfully attempts to secure a loan there in the hopes of saving his practice in the Season 1 episode of the new HBO series Perry Mason titled “Chapter 4.”

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Until next time, Happy Stalking! Smile

Stalk It: The Majestic Downtown, aka The Daily Telegraph newspaper office from The Holiday, is located at 650 South Spring Street in downtown Los Angeles. You can visit the venue’s official website here.

December 3, 2018August 24, 2020

The Dutch Chocolate Shop from “Castle”

I am an extremely excitable person. A visit to Disneyland, randomly running in to a friend, a surprise sale at a favorite store, unexpected access to an off-limits filming location – all can send me into a tailspin. Such was the case last week when the Grim Cheaper and I were driving to stalk the former Dutch Chocolate Shop – a stunning oft-used locale in downtown L.A. that typically sits hidden away behind an unsightly metal rolldown door. As I ventured past the site looking for parking, I saw that the door happened to be open and got so excited I nearly careened the car into oncoming traffic. After calming down (slightly) and securing a parking spot, I ran back to the store, hyperventilating all the way, and was met by the extremely friendly man that runs it, who, lo and behold, invited us inside! More hyperventilating ensued (obvs). Still, days later as I sit here and write this, I cannot believe I actually got to see the inside of the place. As Yelper Andrew W. recently noted, the Dutch Chocolate Shop is “the Holy Grail of downtown Los Angeles’ – heck, maybe all of Los Angeles’ – historical and artistic sites.”

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I was first made aware of the Dutch Chocolate Shop when writing my post about The Magic Castle in October. While doing research on the historic Hollywood club, I came across a mention on IMDB that it had portrayed the headquarters of the Greatest Detective Society in the Season 8 episode of Castle titled “G.D.S.” I headed right on over to Amazon to download and scan through the episode, but one look at the cavernous space shown onscreen and I knew IMDB had gotten it wrong. The locale was most certainly not The Magic Castle. I was absolutely captivated by it, though, and promptly started trying to track it down, which I did fairly quickly thanks to Castle Wiki. As the website informed me, filming had taken place at a former chocolate shop, of all things, once located at 217 West 6th Street in downtown Los Angeles.

Situated on the ground floor of a rather non-descript (and now graffiti-covered) 1898 building, the confectionary was the brainchild of E.C. Quinby, P.W. Quinby, and W.M. Petitfils of the Chocolate Shop Corporation.

The group leased the four-story structure in 1913 and renovated the street level space to the tune of $40,000. Architecture firm Plummer & Feil was commissioned to carry out the redesign.

The architects secured Pasadena artisan Ernest Batchelder to wallpaper the interior of the Dutch Chocolate Shop (or “the Chocolate Shoppe” as it was sometimes referred to) with his famous tilework, including murals which were to be Dutch in theme.

Per Big Orange Landmarks, “The Shoppe was to serve as a prototype for a whole chain of soda parlors, each with a different European country as its theme. For whatever reason – some say it was the high cost of Batchelder’s work – this never came to pass, and the 6th Street location was the first and last Chocolate Shoppe.”

Ernest’s fees might have been high, but the owners certainly got what they paid for because the finished product is absolutely stunning, with groined arches, tiled pillars, and 21 bas relief murals all depicting imagery of life in Holland.

The space, which is extremely reminiscent of Grand Central Terminal’s Whispering Gallery, is exquisite.

According to a commenter on Curbed Los Angeles, Feil instructed Ernest to fashion the tiles to look like chocolate bars. While a sweet (see what I did there) anecdote, I do not believe it to be true being that not only did Batchelder regularly utilize dark brown hues in his work, but per a different Curbed article and a Los Angeles Conservancy reference manual, the shingles’ current shading is actually an unintentional discoloration caused by shellac.

The Dutch Chocolate Shop, which operated as a confectionary, a soda fountain and a lunch/dinner restaurant, opened to the public in 1914.

You can see what it looked like in its early days here and here.

Though beautiful, the Dutch Chocolate Shop was not successful in the long run and by the early 1920s it was shuttered. The tiled space changed hands several times in the years that followed before being transformed into Finney’s Cafeteria in 1947. The eatery proved highly popular with the downtown set and remained in operation for almost forty years, until it, too, closed its doors in 1986 and was subsequently sold to an investment group.

For some inexplicable reason, the former Dutch Chocolate Shop was transformed into an arcade of sorts in 1997 – its vaulted rooms divided up by stalls, its gorgeous tiling covered over with particle board, and stacks of wares piled in every available nook and cranny. You can see some photos of its tragic appearance from that time period on Big Orange Landmarks. The space then became an electronics/pager store, as the signage hanging outside still attests to.

In 2012, the site, which is a Los Angeles Historic-Cultural Monument, rather fortuitously wound up in the hands of former furniture dealer Charles Aslan. As reported in a Los Angeles Times article from that year, “The funny thing was that Aslan hadn’t come to the building for Batchelder. The exuberant businessman, born in Singapore, had only recently learned who Batchelder was.” After removing the plywood covering the former arcade’s walls and accidentally unearthing the virtually pristine historic murals and tile work, though, an idea took shape – to revitalize the entire structure by opening an upscale hot chocolate bar on the ground level, a restaurant on the second, artist studios on the third, and a tile manufacturing shop on the fourth. Again, from the L.A. Times – “Soon this man who once sold over-the-top factory furniture from an open lot on La Cienega Boulevard was expressing his devotion to the Pasadena artisan who epitomized the handmade. ‘The whole building is going to be Batchelder,’ Aslan said proudly of the 25,000-square-foot, four-story structure he has leased for the next 13 1/2 years.” Sadly, his intentions to reinvigorate the once grand space have not yet come to fruition. The roadblocks are mainly due to the structure’s lack of a rear exit, which is needed in order to secure a large enough certificate of occupancy to accommodate a restaurant of any sort. Though the building looks to have been put on the market for a brief time in late 2017, there weren’t any takers and current plans for the Dutch Chocolate Shop site seem to be uncertain.

Today, it sits vacant and, outside of the occasional filming, closed up . . .

. . . but thankfully well-preserved.

The “G.D.S” episode of Castle, which aired in 2016, made spectacular use of the Dutch Chocolate Shop. One look at the images below and it should be clear why I became so obsessed with the place.

Interestingly, “G.D.S.” was not the first Castle episode to utilize the site. In 2012, the Dutch Chocolate Shop masked as “the lair of an evil laser-gun-making genius” named Benjamin Donnelly (Armin Shimerman) in the Season 5 episode of the series titled “The Final Frontier.”

The exterior of the building also appeared in the episode.

The Dutch Chocolate Shop’s filming history far predates Castle, though.

Way back in 1918, Sheila Moore (Dorothy Gish) got a job there in The Hope Chest. Sadly, I could not find a copy of the movie with which to make screen captures anywhere, but photos from it appear on both Wikipedia . . .

. . . and The Daily Mirror website.

In the 1980 drama The Hunter, Ritchie Blumenthal (Eli Wallach) convinces bounty hunter Papa Thorson (Steve McQueen) to bring in fugitive Tony Bernardo (Thomas Rosales Jr.) while eating lunch at what was then Finney’s Cafeteria.

The Dutch Chocolate Shop site masks as The Museum of Human Misery: Hall of Low-Grade Crappiness in the Season 2 episode of The Good Place titled “Rhonda, Diana, Jake, and Trent,” which aired in 2018.

And it masquerades as a secret cellar beneath the Sisters of the Divine Path convent in the Season 5 episode of Lucifer titled “Detective Amenadiel,” which aired in 2020.

According to the nice man who runs the place, the locale was also utilized in a Shania Twain video, though I was unable to figure out which video in particular.

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Until next time, Happy Stalking! Smile

Stalk It: The Dutch Chocolate Shop, from the “G.D.S.” episode of Castle, is located at 217 West 6th Street in downtown Los Angeles. Unfortunately, the space is closed to the public and typically hidden from view.

September 28, 2018September 29, 2018

California Market Center from “Cruel Intentions”

For such a quintessentially “New York” movie, quite a lot of Cruel Intentions was shot in L.A., which I’m only just now discovering. A few of the more prominent West Coast locales include the modern pad where Blaine Tuttle (Joshua Jackson) lived (it’s actually the Benton House in Brentwood), the Rosemont Estate’s ornate indoor pool (that can be found at the Millennium Biltmore Hotel in downtown Los Angeles), Penn Station (downtown L.A.’s 7th Street/Metro Center Station in real life), and, as I recently learned thanks to my friend Owen (of the When Write Is Wrong blog), the office of Sebastian Valmont’s (Ryan Phillipe) therapist, Dr. Greenbaum (Swoosie Kurtz), which is really California Market Center, also in downtown L.A. I headed right on out to stalk the site on a sunny Saturday morning shortly after Owen told me about it in June, but what I did not realize is that the wholesale fashion mart is closed on weekends. So that particular mission was thwarted. I wasn’t able to re-stalk the place until mid-September and, this time, I made sure to hit it up on a weekday.

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The California Mart, as it was initially called, was established by New York lingerie manufacturers Harvey and Barney Morse. Upon moving to L.A. and working the SoCal fashion trade in the 1930s, the brothers discovered there was a need for a centralized spot where retailers could look for and secure merchandise. As Edna Bonacich and Richard P. Appelbaum explain in their 2000 book Behind the Label, “Buyers would come to Los Angeles with their checkbooks in hand, yet wind up spending days wandering through the sprawling Los Angeles basis in a sometimes futile search for suitable manufacturers. The Morse brothers saw an opportunity.” The duo purchased a plot of land for their new marketplace on East 9th and South Los Angeles Streets in 1952 and the complex’s first building was completed in 1963.

The mart’s second building was constructed in 1965 and the third in 1979. All three were designed by the Victor Gruen Associates architecture firm.

The result of their efforts is a sprawling 1.8-million-square-foot marketplace that the L.A. Times dubbed “the heartbeat of the Los Angeles apparel industry” in 1987.

The Morse family continued to own the California Mart until 1994 when it was lost to foreclosure. The site was soon snapped up by the Equitable Life Assurance Society of the United States, who set about refurbishing the interior and increasing tenancy. In 2000, Equitable Life sold to Hertz Investment Group for a cool $90 million. Though the company renamed the vast plaza “California Market Center,” many still refer to it by its original moniker.

In 2005, the complex was acquired for $135 million by Jamison Realty Inc. They subsequently sold it last June for a whopping $440 million to New York-based real estate company Brookfield, who are planning to renovate the space and make it more publicly accessible. (Perhaps keeping it open on weekends might be a good start. Winking smile ) Bert Dezzutti, the head of Brookfield’s Western region, recently told the Los Angeles Times, “We want to open it up literally and figuratively to the street and to pedestrian flow to invite people into space that is somewhat blocked off and difficult to access now.” I really hope their punch list doesn’t include altering the market’s fabulous lobby.

The gorgeous atrium-like space . . .

. . . is capped by a magnificent glass ceiling that is not only stunning to look at, but allows copious natural light to flow in and provides beautiful views of the mart’s three modernist-style buildings.

The 13-story complex currently houses numerous meeting venues and event spaces, more than 1,200 apparel showrooms, a theatre, a print shop, a food court, a fashion school (Otis College of Art and Design), a bank, a large parking garage, and some of the nicest public restrooms in all of downtown.

You can check out some more photographs of the market here.

Cruel Intentions made spectacular use of the complex’s lobby.

It is there that, in the 1999 drama’s opening scene, Sebastian leaves his latest therapy session just seconds before Dr. Greenbaum learns that he has not only seduced her daughter, Marci (a pre-American Pie Tara Reid), but has posted nude photographs of her online.

Dr. Greenbaum catches up with Sebastian in the market’s atrium and proceeds to scream at him from the second floor.

In typical Sebastian fashion, while Dr. Greenbaum is ranting and raving, he meets a cute girl and informs her that he is taking her to lunch.

The California Market Center lobby looks exactly the same today as it did onscreen 19 years ago. To say I was ecstatic to finally be seeing it in person is an understatement. And while I was a bit nervous that the powers that be would yell at me for taking photographs of the space, I am happy to report that all of the security guards and employees I spoke with could not have been nicer.

As Owen later discovered and informed me, an actual CA Market Center suite was also used in the scene as the interior of Dr. Greenbaum’s office.

As you can see in the screen capture as compared to the Google aerial image of the buildings located just north of the complex (both of which are pictured below), the view from the doctor’s windows match that of the actual mart.

California Market Center also popped up in the Season 4 episode of Starsky and Hutch titled “The Groupie,” which aired in 1978, as the spot where Det. Ken ‘Hutch’ Hutchinson (David Soul) and Det. Dave Starsky (Paul Michael Glaser) went undercover as a swimsuit buyer and a fashion photographer, respectively.

The mart’s real life interior also appeared in the episode, but it looks quite a bit different today than it did onscreen 39 years ago.

Stay tuned on Monday, folks, for the start of my annual Haunted Hollywood postings! I can’t wait!

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Big THANK YOU to my friend Owen, of the When Write Is Wrong blog, for finding this location! Smile

Until next time, Happy Stalking! Smile

Stalk It: California Market Center, aka Sebastian’s therapist’s office from Cruel Intentions, is located at 110 East 9th Street in downtown Los Angeles. You can visit the center’s official website here. The property is only open Monday through Friday from 8 a.m. to 6 p.m., so plan accordingly.

August 1, 2018August 1, 2018

7th Street/Metro Center Station from “Cruel Intentions”

We all have those movie scenes – the ones so dramatic, so full of romance or even so disturbing (like this, for example) that, for better or worse, they remain ingrained in our memories. Two of my favorites happen to be from the same film and, oddly, it’s a film I don’t even like – 1999’s Cruel Intentions. The first, as mentioned in my recent post on the Fletcher-Sinclair Mansion, is the scene in which Annette Hargrove (Reese Witherspoon) implores Sebastian Valmont (Ryan Phillippe) to take himself less seriously by making adorably silly faces. The other is the escalator scene. Ladies, you know what I’m talking about, amirite? For those who haven’t seen it (and if not, I urge you to check it out ASAP), here’s a rundown – after a major argument, Sebastian shows up at what is supposedly Penn Station in New York to surprise Annette. As she heads up an escalator upon debarking her train and sees him waiting for her at the top, she says “I’m impressed,” to which he responds, “Well, I’m in love.” Hearts of teenage girls everywhere broke wide open for Phillipe while watching the scene – mine included. So when I recently learned via The Worldwide Guide to Movie Locations that the 7th Street/Metro Center Station in downtown L.A. portrayed Penn Station in the bit, I just about fell over from excitement and immediately added the site to my To-Stalk List. I made it out to the station a few weeks later and was thrilled to see the place looking virtually frozen in time from its onscreen stint almost twenty years ago.

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7th Street/Metro Center Station is located beneath Figueroa Tower on the corner of South Figueroa and West 7th Streets in downtown’s Financial District.

Completed in 1988, the 24-story structure, originally known as Home Savings Tower, mixes Chateauesque and post-modern styles.

The station’s entrance can be found at the building’s southwest corner, beneath a gorgeous mural titled “City Above.”

Painted by Terry Schoonhoven in 1991, the imagery of the colorful piece appears to change drastically as riders journey up the escalators to the street or down to the subway.

The depot itself, the first subway station to open in Los Angeles since the city shut down subterranean transportation in 1955, debuted in February 1991 to much fanfare. The site’s lower level, which was behind schedule, opened two years later.

Very little of the terminal can actually be seen in Cruel Intentions. Thankfully, an elevator is visible behind Sebastian at one point which helped me pinpoint the exact spot where filming took place.

In the iconic scene, Annette and Sebastian reunite on the station’s first level mezzanine, at the set of escalators that abut the elevator just past the turnstiles near the 7th & Figueroa Street entrance. That area is pictured below.

The escalator that Annette rides up in the segment actually moves downward in real life, so it was a bit hard to get a matching shot of her POV. The image below is the closest I got.

Despite the directional switch, thanks to the fact that the camera pans down in the scene, stepping onto that escalator made me feel like I was actually living out the movie. I swear I could almost make out “Colorblind” playing in the background.

The segment also features a blurred view of the station’s ceramic tile art installation titled The Movies: Fantasies and The Movies: Spectacles, hand-painted by Joyce Kozloff, as Annette and Sebastian inevitably kiss. Sigh!

Amazingly, the escalator bit wasn’t an original element of the Cruel Intentions storyline. Per a script I found online dated February 10th, 1998 (which is about four months before filming began), the train station scene initially lacked dialogue and simply consisted of Annette disembarking from a train at Grand Central Station to find Sebastian standing in the busy concourse waiting for her. She runs to him and they kiss. End scene. I would love to know what motivated the change. Did the director take one look at 7th Street/Metro Center Station’s escalator layout and become inspired? Being that locations typically serve as my inspiration, I’d like to think that was the case.

Cruel Intentions is not the only production to have made use of 7th Street/Metro Center Station. Lt. Sam Cole (Tom Sizemore) ventures out of the depot at the end of the Season 1 episode of Robbery Homicide Division titled “Hellbound Train,” which aired in 2003.

In the 2004 thriller Collateral, Annie (Jada Pinkett Smith) and Max (Jamie Foxx) run into the station and onto a train in an attempt to escape from Vincent (Tom Cruise).

That same year, the site appeared in two episodes of 24. It is at 7th Street/Metro Center Station that Jack Bauer (Kiefer Sutherland) and his team set up a stakeout to catch Arthur Rabens (Salvator Xuereb) in Season 3’s “11:00 A.M. – 12: 00 P.M.” . . .

. . . and “12:00 P.M. – 1:00 P.M.”

The entrance to the station also appears in the Season 6 episode of 24 titled “7:00 A.M. – 8 A.M,” which aired in 2007 . . .

. . . though interiors were shot about 15 miles away at North Hollywood Station located at 5391 Lankershim Boulevard in North Hollywood.

Both the subway’s Figueroa and 7th Street entrance . . .

. . . as well as its other entrance at West 7th and South Flower Street make brief appearances in the 2009 family comedy Hotel for Dogs.

Richard Castle (Nathan Fillion) and Kate Beckett (Stana Katic) investigate the death of a subway maintenance worker at the station in the Season 3 episode of Castle titled “Murder Most Fowl,” which aired in 2010.

The depot and its 7th & Flower entrance also pop up in Castle’s Season 7 episode titled “Kill Switch,” which aired in 2014.

Taylor Swift dances at 7th Street/Metro Center Station (barefoot, no less!) in her 2018 music video for “Delicate,” which you can watch here.

The station’s 7th & Flower entrance masks as the entrance to New York’s Chamber Street Station in the Season 1 episode of For the People titled “Rahowa,” which aired in March of this year.

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Until next time, Happy Stalking! Smile

Stalk It: 7th Street/Metro Center Station, aka Penn Station from Cruel Intentions, can be reached from the bottom level of the Home Savings Tower, which is located at 660 South Figueroa Street in downtown Los Angeles. The escalator that appeared in the movie is situated just beyond the turnstiles at that entrance, in front of the elevator. Be advised, you will need to purchase a TAP card and buy a fare to access the area featured in the scene.

April 2, 2018November 21, 2018

The Los Angeles Theatre Alley from “Coyote Ugly”

You won’t typically find me frequenting back alleys in downtown Los Angeles. But there is one that I just can’t get enough of. My good friend Mike, from MovieShotsLA, pointed it out to me many years ago during a daylong DTLA stalking venture. While driving through the Theatre District, he pulled over near what looked to be a nondescript alcove off West 6th Street and pointed upwards. I literally gasped as my eyes locked upon the towering red marquee reading “Los Angeles Theatre” situated on the back wall of the small urban enclave. It was easily one of the most cinematic vistas I had ever seen! So I was not surprised when Mike informed me that the passageway had been featured onscreen in 2000’s Coyote Ugly, which up until that point I assumed had been shot solely in New York. Mike, of course, knew better. I snapped a ton of photos of the alley that day and have been back several times since, always stopping for a peek when I find myself nearby. Somehow though, I failed to ever blog about it. Cut to last month when I received an email from fellow stalker/Emergency! expert Richard Yokley (you may remember him from this post and this post) asking if I had ever stalked the Los Angeles Theatre alley and informing me of several of its other onscreen cameos. I decided right then and there that I had to dedicate a post to the site pronto!

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Modeled after San Francisco’s now defunct Fox Theater, the Los Angeles Theatre was originally built in 1931 for film exhibitor H.L. Gumbiner. The grand venue was designed in the French Baroque style by S. Charles Lee (who also gave us Temple Israel of Hollywood) and cost over $1 million to complete. And we’re talking 1930’s dollars! To say the site is opulent would be a gross understatement. I had the privilege of seeing it up close and personal a few years back thanks to the Los Angeles Conservancy’s Broadway Historic Theatre and Commercial District Tour. And, let me tell you, it is sensational! From the 80-foot-tall façade . . .

. . . to the gilded two-story lobby . . .

. . . to the elaborate 2,000-seat auditorium . . .

. . . to the oval ballroom – the locale is one of the most captivating in all of L.A.!

I mean, even the bathrooms are dazzling!

It is the theatre’s side alley that sets my heart aflutter, though.

The juxtaposition of the grit of the alley with the glamour of the marquee is just so strikingly cinematic!

Not to mention picturesque!

I’ve never seen anything quite like it.

The space almost looks like a manufactured set piece created on a backlot street at a Hollywood studio. But I assure you it is real.

Situated along the Los Angeles Theatre’s north side, around the corner from its main entrance, the alley is largely tucked away from view. One can easily drive right past without realizing it is there.

So why, you ask, was a large marquee installed in a relatively hidden alcove that would not seen by most patrons venturing through the venue’s front doors on Broadway? I could not even fathom a guess, but, thankfully, found an explanation on the Historic Los Angeles Theatres website.

As I learned, another movie palace, the Paramount Theatre, formerly stood directly across the street from the alley at 323 West 6th Street. (It was torn down in 1960 and the International Jewelry Center was eventually erected in its place.) The Paramount’s main entrance provided a great view of the enclave, so Gumbiner, ever the businessman, decided to install a marquee there in the hopes that it would draw the attention – and patronage – of his competitor’s clientele. Original plans for the space called for a much more elaborate façade with a porticoed doorway and columns flanking the marquee, as you can see on the Los Angeles Historic Theatre Foundation’s Facebook page and the Historic Los Angeles Theatres website.

For whatever reason, though, only the marquee portion of it was completed – which I think makes the site even more dramatic and eye-catching.

Considering its compelling ambience, it is not surprising that the alley has popped up onscreen.

In Coyote Ugly, the locale masks as the entrance to New York’s Fiji Mermaid club.

It is there that Violet Sanford (Piper Perabo) introduces herself to Kevin O’Donnell (Adam Garcia), who she thinks is the club’s manager, at the beginning of the film. As you can see in the screen captures above and below, the marquee was changed to read “East Broadway Theatre” for the scene.

As Richard informed me in his email, Harry Lockhart (Robert Downey Jr.) and Gay Perry (Val Kilmer) retrieve a body from the Los Angeles Theatre alley – and share a rather passionate embrace there while trying to evade the police – in 2005’s Kiss Kiss Bang Bang.

Richard also clued me into the alley’s appearance in the original Life on Mars pilot, which never aired, but can be viewed on YouTube here. Written by David E. Kelley, the unaired episode takes place in Los Angeles and centers on LAPD detective Sam Tyler (Jason O’Mara) who, after getting hit by a car in 2007, wakes up to discover he is stuck in the year 1972. Apparently ABC requested a complete re-do of the show after viewing it. Not only were several roles recast, but the setting was moved from SoCal to New York. The series was then picked up and went on to air 17 episodes before being given the ax – prematurely I might add. My mom and I watched Life on Mars religiously and were heartbroken over its cancellation. As much of a fan as I was, though, I was completely unaware that the pilot had been reshot until Richard’s email. In the episode, Sam witnesses an arrest taking place in the Los Angeles Theater alley shortly after waking up in 1972.

For more stalking fun, follow me on Facebook, Twitter, Instagram, Los Angeles magazine and Discover Los Angeles.

Big THANK YOU to Mike, from MovieShotsLA, for originally telling me about this location and to Richard Yokley for reminding me of it and informing me of its other onscreen appearances.

Until next time, Happy Stalking! Smile

Stalk It: The Los Angeles Theatre alley, from Coyote Ugly, is located in between 314 and 318 West 6th Street in downtown Los Angeles.

March 16, 2018March 15, 2018

The “What Women Want” Coffee Shop

“If I ever go looking for my heart’s desire again, I won’t look any further than my own backyard.” So says Dorothy in The Wizard of Oz. I should have heeded her advice because for years I have been searching for the coffee shop from the 2000 comedy What Women Want and as it turns out the answer to my query has been in a box in my closet since before filming even took place. Let me back up a bit and explain.

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A few nights after my parents and I moved to Pasadena in late February 2000, we grabbed dinner at the Il Fornaio restaurant in Old Town. Upon arriving, my mom spotted a notice on the front door stating that the Italian eatery was going to be closed the following day for a film shoot. We, of course, asked our server for further details and he explained that the shoot was for a Mel Gibson movie named What Women Want. So bright and early the next morning, my mom and I headed back over to the restaurant in the hopes of catching a glimpse of the goings-on. To our delight, we were allowed to sit on a bench right outside of Il Fornaio’s entrance (the very same bench the Grim Cheaper and I took our engagement photos on almost ten years later!) and observe pretty much everything. It was my very first experience being on a working set and I couldn’t believe my luck that it was happening within 72 hours of moving to L.A. The crew could not have been nicer to us, letting us hang out for hours. One even gifted me with the day’s call sheet which I’ve kept in a memento box ever since. Flash forward to last month. While helping me unpack after our recent move, my mom noticed how many celebrity autographs I have and suggested I frame them and display them via a gallery wall in my new office. (You can see the finished result here.) So, I promptly began digging all of my autographs out of my plethora of memento boxes and, while doing so, was shocked to come across the What Women Want call sheet. I had completely forgotten I had it! I didn’t think much about it and didn’t even unfold it to take a closer look, in fact, until a lightbulb went off in my head a few minutes later. Though a call sheet chronicles all of the information for a particular day of shooting (location details, call times, scheduling information, key phone numbers, parking maps, etc.), sometimes data for future filming is also noted. Knowing the odds were incredibly slim but with fingers crossed, I opened up the paper to see if the coffee shop scenes happened to be listed and, lo and behold, they were – along with an address, spelled out in black and white! The information I had been seeking for years had been right in my own backyard – or closet, in this case – the whole time! As the call sheet informed me, the What Women Want coffee shop scenes were lensed at 400 South Main Street in downtown Los Angeles. (Though the sheet notes the address as “400 Main St” with no north or south designation, being that there is no structure at 400 North Main, it was easy to discern that filming took place at 400 South.)

I just about fell off my chair when I did a Google Street View search for the address and imagery of the San Fernando Building, a very popular filming location, came into focus on my screen. Not only had I stalked the historic site before, but I’d covered it on two separate occasions in articles for other media outlets. More on that in a bit.

The Italian Renaissance Revival-style structure was commissioned by wealthy wheat farmer/landowner James B. Lankershim in 1907 and originally consisted of 6 floors.

Considered the city’s grandest office building at the time of its inception, the luxe John F. Blee-designed property boasted a marble lobby with 22-foot ceilings, a Turkish bath, a café, a billiards room, and a penthouse which Lankershim called home.

In 1911, two additional stories were added to the top of the building by architect R. B Young.

Sadly, by the ‘90s, the property – and the neighborhood surrounding it – had fallen into disrepair. Enter Tom Gilmore of Gilmore Associates. In 1998, the visionary developer purchased the San Fernando, as well as three additional area buildings, and began rehabilitating them. Killefer Flammang Architects was hired for the extensive transformation process, during which the San Fernando office units were converted into 70 modern loft rentals with concrete flooring, open floorplans, tile bathrooms, and high-end kitchens.

The building, which is listed on the National Register of Historic Places and is a Historic-Cultural Monument, began leasing out units in August 2000 and by March of the following year was 93% occupied.

The San Fernando’s ground floor also garnered new tenants, in the form of high-end restaurants, cafés, studios, and shops . It is one of those spaces that was utilized in What Women Want.

The site pops up a couple of times in the movie as the spot where cocky ad exec Nick Marshall (Gibson) grabs his daily cup of joe – and regularly hits on barista Lola (Marisa Tomei).

Purported to be a Dietrich Coffee outpost in the flick (I am unsure of why the call sheet refers to it as a “Starbucks”), the coffee shop was not a real café at all, but a fabrication constructed inside of a vacant storefront for the shoot – a tidbit I learned years ago from the movie’s DVD commentary with director Nancy Meyers and production designer Jon Hutman.

Yep, you read that right! The What Women Want coffee shop was just a set, albeit an extensive one.

As noted in the commentary, the entire coffee shop was a build-out, even the lobby seen in the background. (Another interesting tidbit that I learned from Meyers’ commentary is that Frank Sinatra greatly influenced both the character of Nick and the movie as a whole. Not only was Nick’s apartment based on Sinatra’s apartment in Come Blow Your Horn, but Hutman incorporated orange, Sinatra’s favorite color, as an accent hue in all of the sets. One example is the directory sign visible below, which boasts an orange stripe across the top.)

So, if the whole What Women Want coffee shop was just a set, one that was completely dismantled after shooting wrapped, why was I so fixated on identifying it? I cannot really answer that question. Though I was fully aware that no part of the locale would be recognizable from the flick, I was still obsessed with tracking it down – and spent years trying to do so. I think possibly my intrigue was not in spite of the café being a set, but because of it. Uncovering the reality of the space’s aesthetic as compared to the fantasy that was shown onscreen piqued my interest. What can I say? The magic of Hollywood captivates me.

Today, the storefront where the What Women Want coffee shop was set up houses a Spanish/Mediterranean eatery named Bäco Mercat. (The space is denoted with a pink bracket below.) Founded by Josef Centeno in 2011, the popular restaurant is named for the baco-style bread that is utilized in its sandwiches.

Though Bäco Mercat occupies the entire southern half of the San Fernando Building’s ground level (as was the case with the What Women Want coffee shop), prior to that the space was divided into two separate units with a café named Banquette inhabiting the more northern storefront, as you’ll see in some screen captures to come.

The entrance doors Nick utilizes in the movie are situated on the northern side of Bäco Mercat.

Ironically, while re-stalking the San Fernando Building recently, I was so excited to finally be seeing the What Women Want café site in person that I failed to snap photos of the buildings across the street (the Hellman Building and the Farmers and Merchants Bank), which were visible in one of the coffee shop scenes and are the only recognizable elements that still exists from the film. Thank goodness for Google Street View! As you can see in the collage below, while the windows of the Hellman Building have changed a bit, the column of the Farmers and Merchants Bank pictured behind Nick is easily identifiable.

As is the decorative lip that runs across the top of the Hellman Building. (You can check out a historic image of the Hellman which shows the street level windows in their original form and as they appeared in What Women Want – before they were altered to run all the way down to the sidewalk – here.)

As I mentioned earlier, the San Fernando Building has a prolific film resume. In the Season 1 episode of Police Story titled “Fingerprint,” which aired in 1974, Allen Rich (Tim Matheson) attempts to evade the police by ducking into the structure.

The episode grants us a great glimpse of what the property’s interior looked like at the time.

In 1977, the San Fernando Building popped up in the Season 2 episode of Starsky and Hutch titled “Huggy Bear and the Turkey” as the site of The Pits bar, where Foxy Baker (Emily Yancy) seeks out Huggy Bear (Antonio Fargas) and J.D. Turquet ‘Turkey’ (Dale Robinette) to help her find her missing husband.

As I mentioned earlier, I’ve written about the San Fernando on two other occasions. I briefly covered the site and its appearance in the 1983 “Beat It” music video in this Discover Los Angeles article about Michael Jackson’s L.A. that I penned in 2016. While I originally thought that the video’s pool hall segments had been lensed at the Hard Rock Cafe where the bar scenes were shot, back in August 2013 set designer/builder Michael Scaglione, who worked on “Beat It,” was kind enough to give me copies of his original location sheets. As they detailed, filming of the pool hall bits actually occurred at Brunswick Billiard Academy, formerly located in the basement of the San Fernando. Though not much of the space can be seen in the video (which you can watch here) . . .

. . . you can catch some additional glimpses of it in this clip about the making of “Beat It” from Entertainment Tonight’s The Jacksons Exposed! special.

Brunswick Billiard Academy is also where Crash Davis (Kevin Costner) plays pool in 1988’s Bull Durham.

The movie provides us with much wider views of the pool hall than those featured in “Beat It.”

In the 1992 comedy Stop! Or My Mom Will Shoot, Joe Bomowski (Sylvester Stallone) responds to a call about a jumper at the San Fernando, which is said to be located at 486 South Main Street.

The building’s actual interior was also utilized in the scene.

Dick Harper (Jim Carrey), Jane Harper (Téa Leoni) and Frank Bascombe (Richard Jenkins) discuss how to rob Jack McCallister (Alex Baldwin) while sitting in front of Pete’s Cafe and Bar, which formerly occupied the northern half of the San Fernando Building’s lower level, in the 2005 comedy Fun with Dick and Jane. Today that space houses PYT.

Bob Lee Swagger (Mark Wahlberg) hides out – and almost gets arrested – in the San Fernando’s entrance while spying on Sarah Fenn’s (Kate Mara) meeting with Nick Memphis (Michael Pena) at the Barclay Hotel across the street in the 2007 action flick Shooter.

In 2009’s (500) Days of Summer, Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel) shop twice at Old Bank DVD, which was formerly located next to Banquette on the San Fernando’s lower level.

You can just see the edge of Banquette in the second screen capture below.

In the Season 5 Rear-Window-inspired episode of Castle titled “The Lives of Others,” which aired in 2013, Richard Castle (Nathan Fillion) spies on his across-the-street neighbors in the San Fernando Building via a pair of binoculars while holed up in his apartment due to a skiing accident.

A couple of scenes also took place on the sidewalk out of in front the building. (Why an address number of 500 was posted on the San Fernando for the shoot, I am unsure.)

That same year, Anton Zevlos (Jeff Griggs) dined with his family at Pete’s Cafe & Bar in the Season 5 episode of NCIS: Los Angeles titled “Iron Curtain Rising.” You can check out a photo of the eatery’s interior that matches what is shown below here.

As I detailed in this post for Los Angeles magazine, Kate King (Leslie Mann) calls her husband, Mark (Nikolaj Coster-Waldau), to remind him about a dinner engagement while standing in front of Bäco Mercat in the 2014 movie The Other Woman.

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Until next time, Happy Stalking! Smile

Stalk It: The coffee shop from What Women Want was created inside of a vacant storefront at the San Fernando Building, which is located at 400 South Main Street in downtown Los Angeles. The storefront now houses the restaurant Bäco Mercat. You can visit the eatery’s official website here.