Jump to content
Search In
  • More options...
Find results that contain...
Find results in...

Historic Hollywood Sites that you might enjoy!

Recommended Posts

Other historic sites on the Blvd:




Site of the *Hollywood Hotel*

Northwest corner of Hollywood Blvd and Highland Avenue


Where Hollywood and Highland now sits was once the site of the first real hotel on the Boulevard. Built in 1903, the hotel played host to those from back East who came to the little burg for the sunshine and warmth. By 1913, the visitors were more and more those who would become the pioneers of the film industry. Rudy Valentino danced the tango at the Thursday tea parties. In 1919, he spent his honeymoon there with his first wife Jean Acker and a month later they were divorced.


The hotel?s big claim was Louella Parsons and her radio program which was called Hollywood Hotel and broadcast from the hotel in the 1930s.


The movie, *Hollywood Hotel*, produced by Warners Brothers was inspired by the grand dame. The song, Hooray for Hollywood, became a pop standard of the day.


The hotel was demolished in 1956 to make room for a bank. The building, built in the mid-century modern style, stood on the corner until the Hollywood and Highland complex started to become a reality.




*Montemartre Caf? Site*

6763 Hollywood Blvd.


The Montemartre opened in 1923. Designed in Italian Renaissance palazzo that was all the rage in Hollywood, the building had a bank on the ground floor and the caf?/nightclub on the second floor.

It was a pioneer in the nightclub scene that in later years would include Ciro?s, the Troc and others and still goes on today. Joan Crawford danced the Charleston, Valentino tangoed there and the maitre d? became better known as Bruce Cabot. ?Lolly? would often lunch there due to its proximity to the Hollywood Hotel.


Bing Crosby got booked there shortly after leaving the Paul Whiteman band and started his career anew.


Spaghetti Tetrazini was the speciality the Caf? menu was known for.




*Hollywood Wilcox Hotel*

Wilcox Avenue at Selma

This hotel used to sit across the street from the Hollywood Post Office. It was here that Ava Gardner first stayed when she came to Hollywood looking for her lucky break. She and her sister, Beatrice, shared a small flat in the early 1940s. Beatrice, nicknamed Bappy, got a job at I. Magnin selling bags while Gardner traveled every day to MGM studios in Culver City.



And off the Blvd:




*The Ozzie and Harriet House*

1822 Camino Palermo Drive


This is the house where Ozzie, Harriet, David and Ricky lived while they were filming their television series. It fit the bill so well its floor plan was used for the set and the exterior of the house became the front of the fictional house as well.


The house was driving distance to the Hollywood General Studios where they shot their tv show. The Nelsons were still living in the house when Ozzie died in 1975. A few years later, Harriet sold the house and moved.




*Highland Gardens Hotel*

7047 Franklin Avenue

It was here that Janis Joplin was found, overdosed. Immortalized on screen by Bette Midler in the film, *The Rose* which featured a singer patterned after Joplin.




*The Villa Capri Restaurant*

At one time, this was just a small Hollywood style bungalow that housed an Italian restaurant perhaps best known for being an haunt of James Dean. Dean was introduced to the restaurant by actress Pier Angeli when they were dating. Legend has it he stopped here the night before his death arriving in his new Porsche Spyder.


The restaurant was owned by Patsy D?Amore who was a good friend of Frank Sinatra and since the Capri was near Capitol Records, Sinatra was often in the restaurant holding court and enjoying the food. During the Rat Pack days, Dean, Joey and Sammy were often sighted as well.


When the restaurant closed in 1982, KFAC radio took over the building.


A few years ago, the building was demolished despite the efforts of Hollywood Heritage and the LA Conservancy. Today it is a condo building.




*The Montecito Apartments*

6650 Franklin Avenue

Built in the early 1930s in the zig-zag Art Deco style by architect Marcus P. Miller, this building has been home to Ronald Reagan, supposedly upon his arrival in the City of Angels to Mickey Rooney, Monty Clift and even James Cagney. Cagney actually lived there prior to Reagan.


Raymond Chandler fans will recognize the Montecito as the Chateu Bercy apartment building in The Little Sister.


The Montecito today is low-income and senior housing.




*Hollywood USO Building*

1641 N. Ivar Avenue

This building with a neon fa?ade of Hope smiling was dedicated in 1973 with a ceremony that brought out Edgar Bergen and Charlie McCarthy and Martha Raye all to honor Hope. Most film buffs know about Hope?s connection to the USO.

Today, the building houses a production company.




*Hollywood Canteen*

1451 Cahuenga Avenue

Started by Bette Davis, John Garfield and Jules Stein, the Canteen operated as a place where service men could grab a bite to eat and dance with a pretty girl before heading back to the war. The Canteen opened Oct. 3rd, 1942 and stayed open until Thanksgiving Day, Nov. 22nd, 1945.

The Canteen was staffed by volunteers from the entertainment industry. Marlene Dietrich could often be found (when she wasn?t entertaining the troops overseas) in the kitchen preparing the food.


Warners also produced a movie called *Hollywood Canteen*


The CNN tower now sits where the original Canteen once stood.


Today, there is a new Canteen located nearby on Santa Monica Blvd.


Edited by: lzcutter on Jan 30, 2011 3:43 PM

Link to post
Share on other sites
  • 1 month later...



*The Formosa Cafe*

*7158 Santa Monica Blvd.*


You've seen Ben M and his traveling buddy, TCM's own Tom Brown, stopping by the Formosa for a drink and a bit of history. It also had a pivotal scene in Curtis Hanson's ode to post-war Los Angeles, *LA Confidential*.


It's been a part of Hollywood history since the 1930s, when it opened near what was then Goldwyn Studios (and originally the Doug Fairbanks/Mary Pickford/United Artists movie lot). Called "unimpressive with its red brick facade and black and white striped awning", the walls are lined with photos of studio-era stars who used to frequent this little watering hole. Some came for the menu of Chinese food and American staples, others came for the drinks and some came for the opportunity to see and be seen.


From Frank Sinatra pining over Ava Gardner to Humphrey Bogart to John Wayne and countless others, the Formosa was a second home.


It was here that Curtis Hanson had dinner with Kevin Spacey and Kim Basinger to offer them roles in his ode to LA-noir.


The Formosa has seen a great deal of history come from through its doors from Hollywood to the mob. Mickey Cohen was said to have run a secret gambling den and kept his winnings in an old railroad safe.


Elvis is rumored to have surprised one of the waitresses, Dora, with a Cadillac El Dorado.


In the 1990s, it was threatened with demolition. The Los Angeles Conservancy joined with Hollywood Heritage to save the Formosa and let the memories continue to flow.


So, stop by, soak up some history and maybe make some of your own.





*The Lot*

*1041 N. Formosa Avenue*


Today it is dwarfed by that giant shopping center which hides its true size.


This historic movie lot dates back to 1918 when producer Jesse Hampton started making movies with W. B. Warner. Hampton had moved from his previous lot where KCET is located today in East Hollywood.


In 1922, Doug Fairbanks and Mary Pickford, having started United Artists with Charlie Chaplin and DW Griffith, took over the lot and renamed it, fittingly enough, the Fairbanks-Pickford lot.




It was here that Doug Fairbanks had the sets for *Robin Hood* built. They were the largest sets to be built and could be seen for miles.




It was here that Fairbanks had the sets for *Thief of Bagdad* and had a neon sign on top of the lot so that others couldn't film stock footage of his sets and use it in their movies.




And it was here that Fairbanks, after seeing the soundstages fitted for sound, declared that the magic of making movies was over.


In 1928, Sam Goldwyn became a partner in United Artists and not only made the lot his permanent office but also renamed the lot for United Artists.


By 1936 it was being called the Goldwyn lot though, technically Mary Pickford still owned it. (It was part of the divorce settlement when she and Doug parted ways).




Movies shot there include:


*Roman Scandals*, *Barbary Coast*, *Dodsworth* *Stella Dallas*, *Wuthering Heights*, *The Little Foxes*, *The Best Years of Our Lives* and *Guys and Dolls*.


In the mid-1950s, Goldwyn bought Mary Pickford out and headed the studio until his death in 1974.


There was talk of tearing down the studio but Warner Brothers wanted a studio in Hollywood for television production and took over the Goldwyn lot in 1980. Called Warner Hollywood, it became home to many of Warners television shows.




In 1999, Warners sold the lot to BA Studios. BA renamed the studio, *The Lot*. Warners continues to shoot television shows, including *True Blood*, on The Lot.



Link to post
Share on other sites




Howard Hughes in Hollywood


*7000 Romaine Street*




This homage to Moderne architecture by way of a Babylonian fortress was the long-time headquarters of Howard Hughes. From here he oversaw his vast empire of aircraft factories, film studios, movie theaters and TWA (until he sold his stock in 1966 for $564 million).


It started life as a bakery and then became an early film lab. Hughes had offices at Metropolitan Studios (Hollywood Center Studios) located at 1040 N. Las Palmas Avenue.


Hughes took over the building in 1927 with his Caddo Pictures company. Caddo produced *Hells Angels* and *Scarface* (the original). Both films were edited in the Romaine building as was a later Hughes film, *The Outlaw*.


Hughes thought that color film, like sound, would revolutionize the movie business and one of the reasons he bought the building was to experiment with color film in the lab. Vaults held the negative and prints to Hughes' films as well as hours and hours of newsreel footage about Hughes and thousands of photos.


Hughes right-hand man, Noah Dietrich, worked out of the Romaine office as did Hughes secretary, Nadine Henley.


As his interests grew, a staff was hired to take care of Hughes demands as well as the daily workings. They transcribed phone conversations, dispatched service calls for Mrs. Hughes, Jean Peters and saw to the day-to-day dealing of Hughes business including the book-keeping.


The building had extensive security and no one was allowed in without an appointment. A motor-pool of fleet vehicles and a staff of 15 drivers were kept on payroll.


After Hughes died in 1976 the building was sold.




*RKO Studios*

860 N. Gower Street


Howard Hughes had life-long fascination with the motion picture business. He produced *Hells Angels*, the film that introduced film audience to Jean Harlow, *The Front Page* and *Scarface* with Paul Muni.


By 1932, he said he was retiring from motion pictures and was going to concentrate on the Hughes Aircraft Company and began setting speed records and around the world flights.


In 1943, however, he began talking to Preston Sturges about a joint venture that would become California Pictures. It took a year of convincing, but Hughes finally talked Sturges into going into partnership. The first film that Sturges (who took quite a pay-cut for the autonomy he sought) produced for California Pictures was *The Sin of Harold Diddlebock* and Sturges talked Harold Lloyd into coming out of retirement to star in the film. Hughes had promised not to interfere but he was disappointed in the movie and delayed its release so that he could over-see the re-editing of the picture.


Hughes and Sturges parted ways in 1946.


Later in 1946, Hughes had a devastating crash in Beverly Hills while piloting an experimental XF-1.


In 1948, Hughes purchased RKO Studios. His management style seemed capricious at best and his obsession with *The Outlaw* and Jane Russell's physique almost toppled the studio. Luckily, the producers who worked at RKO were able to turn out films that kept the studio afloat.


By 1955, Hughes had once again tired of the movie business and decided to get out. He sold RKO to General Tire who was mainly interested in the studio's film library as a way to generate money leasing RKO films to television stations.


Two years later, General Tire sold the studio to Desilu who used the lot for filming its slate of television shows including *I Love Lucy*, *Desilu Playhouse* and *The Untouchables*.




Today, the former RKO studios/Desilu Studio is now part of Paramount and all that is left is the building and the piece of the globe that is still visible from the top of the building at Gower and Melrose.



Link to post
Share on other sites



Hollywood Center Studios

1040 N. Las Palmas Avenue


It started out as an open lot not owned by any studio but available for rent to filmmakers looking for a place to shoot their movies. It was built in 1919 by former Chaplin Studio employee, John Jasper on a stretch of undeveloped land. The property was 15 acres and Jasper built 3 soundstages. Jasper brought in C.E. Toberman from Chicago to run the operations.


In 1922 when Harold Lloyd left Hal Roach Studios, he moved his crew to the lot.


In 1924, B.P. Shulberg bought a controlling interest in the property and in 1925, Jasper moved on but sold his stake to the Christie brothers, Al and Charles, who made comedies under the moniker, Christie Comedies. Toberman took the property that fronted on Santa Monica Blvd. and the entrance was moved to Las Palmas.


In the mid-1920s, Howard Hughes filmed *Hells Angels* on the lot. The studio begins retrofitting for sound. By 1929, Stages 1 and 2 were finished and the studio was renamed Metropolitan Studios. Hughes saw the future of sound films and began to extensively reshoot *Hells Angels* and fired his original leading lady and hired Jean Harlow to replace her.


By 1933, the Christie brothers had to throw in the towel and ceded control of the studio to General Services which was part of AT&T who had developed Vitaphone. Stages 1 and 2 were torn down and rebuilt with dead sound-proof space by double-walling.


By the mid-1930s, Merle Oberon moved into Bungalow A and brought Alexander Korda with her. Mae West came over from Paramount after her film *Belle of the Nineties* had scandalized the Hayes Office. Paramount Pictures was hoping to tone down La West.


Finally, Harry Sherman moved over to the lot and began making the *Hopalong Cassidy* series of films starring William Boyd.


By the start of the 1940s, United Artists was leasing the lot for Alexander Korda and his partner, Benedict Bogeaus.


Numerous films including Alexander Korda's *That Hamilton Woman* and *Thief of Bagdad* were shot on the lot.


By 1942, Korda and other high-end producers had left the lot.


AT&T finally did get busted for anti-trust and they had to sell the studio in 1941. Bogeaus ended up in control of the studio.


In 1946, William Cagney (Jimmy's producer brother) became a partner with Bogeaus in the studio. *Blood on the Sun* and *The Time of Your Life* were both shot on the lot The partnership only lasted a year before the Cagney brothers moved to Burbank and Warner Brothers.


Cagney and Bogeaus sold the property to the Nasser brothers. The Nassers began advertising the studio to television producers and Ozzie Nelson, Desi Arnaz and Lucille Ball and George Burns and Gracie Allen all began shooting their tv shows at Hollywood Center.


Between 1951 and 1953, Desilu shot *I Love Lucy* on Stage 2.


In the 1960s, Hollywood General Studios was home to many of the television shows that are now pop-culture staples, *Green Acres*, *Mr. Ed*, *Beverly Hillbillies* and *Petticoat Junction* among others.


In the early 1970s, the Nasser brothers sold the studio to Miles Production Company, a Dallas oil and gas company. Universal Television rented nine stages a year whether they used the stages or not. *Baretta* and *The Rockford Files* were both shot on the lot.


The last theatrical film shot there was *Shampoo*. George Burns continued to have an office on the lot that started in the 1950s and would last until Burns died at 100 years old.


In 1980, Francis Ford Coppola riding a wave of films from *The Godfather* to *Apocalypse Now* bought the studio to begin his "noble" adventure. He had a slate of films from *One From the Heart*, *Hammet*, *The Outsiders* and others. He envisioned an old fashioned dream factory where he would employ a stable of contract players, writers, directors and technicans. They would find a friendly and creative environment that would be home not only to them but to veterans like Michael Powell.


Alas, it was not to last. By 1983, Coppola had foundered. *Hammet* never found its audience and production costs,including building a replica of Las Vegas' Fremont Street complete with working neon signs, had forced Coppola into near bankruptcy. He was forced to sell the studio that only three years earlier had held so much promise.


The Singer family, real estate developers from Canada, took over from Coppola. They upgraded the stages and the office space. They marketed the studio to music video producers and rock and roll bands.


In addition, *Body Heat*, *The Player* and *When Harry Met Sally* were shot at the studio.



Link to post
Share on other sites

As Walt Disney has such a high profile at this year's Film Festival, I thought it would be nice to point out to Disney film fans some of the historic Disney sites:




Walt Disney Studios

2719 Hyperion Street


It was here that Walt Disney launched what became a movie empire. He had come from Kansas City, broke and fleeing bankruptcy. His brother Roy had encouraged him to come west and Walt, discouraged, took the train to Los Angeles.


They started small with a small office front and in 1926 were able to take over a white Spanish Colonial building. Walt and company had been making *Oswald the Rabbit* cartoons for Charles Mintz and Universal. But, Mintz was paying Disney barely enough money to cover the costs of producing the successful cartoons and Disney was hoping to negotiate more money. He traveled back to New York when the contract was up with high hopes of more money for producing the cartoons.


Instead, Mintz blindsided Walt by telling him that Mintz had hired away most of Walt's animators and that Disney would get less money for producing the *Oswald* cartoons, not more. Disney refused to sign and threatened to take Oswald to another distributor. Mintz then told Walt that he did not own the rights to Oswald, Universal did.


Disney took the train back to Los Angeles and sent a telegram to Roy telling him not to worry, everything was okay. While on the train, Walt came up with idea for a new character a mouse named Mortimer. Walt's wife, Lillian, was not enamored of the name and suggested Mickey. The name stuck.


Luckily for Walt, one of the animators that Mintz was unable to convince to leave Disney was the prolific Ub Iwerks. Thus, Mickey was born. It was here at Hyperion Studios that Walt decided that *Steamboat Willie* should have sync sound added to it. It was to debut but the premiere of *The Jazz Singer* revolutionized the movie business and Walt saw his future clearly.

It took a couple of tries as the first music conductor thought he knew better and didn?t follow the music cues. Finally, Walt was able to get the score recorded properly and *Steamboat Willie* debuted to record crowds.


*The Silly Symphonies* were born in this studio. Leonard Maltin will be curating a program of *Symphonies* during the film Festival. From *The Skeleton Dance* to *Flowers and Trees* and many Hollywood parodies in between, the *Symphonies* were the first cartoons to be filmed in Technicolor. In many ways, they blazed the trail for a dream Walt had. A dream called *Snow White*.


It was to be the first feature length animated feature and it almost drove the studio under. Disney was a perfectionist and often work was done and redone. Gags were animated and then reworked. There was speculation that people wouldn?t sit through a cartoon of such length or that the colors would be so vivid they would hurt the viewers eyes after a prolonged time.


Walt had hoped to make the film for $250,000. It was called ?Disney?s Folly? and there was a great deal of talk of how it would fail. Roy and Walt?s wife, Lillian, tried to talk Walt out of making the film. Walt was determined. He mortgaged his house but costs kept escalating.


The Bank of America was providing the financial backing for the film and even the directors of the Bank were getting cold feet. Roy finally prevailed on Walt to show a rough cut to a friendly director. Walt was skeptical, worrying that the bank director wouldn?t be able to follow the story in rough form. All the worry was for naught. Though he sat silently through the screening and remained silent through the walk to the car, in the end he assured Walt that the BofA would continue to back the film and that it was going to be a box-office smash.


*Snow White* debuted on Dec. 21st, 1937 at the old Carthay Circle Theater (a recreation of the theater exterior can be seen in *LA Confidential*) just before Christmas. All of Hollywood from Shirley Temple to Gary Cooper turned out for the splashy premiere.


The film went wide on Feb. 4, 1938 and did boffo box-office as they say. The film went on to garner Walt a special Oscar presented to him by Shirley Temple. An award size Oscar and seven smaller ones was presented to Walt at the Oscar ceremony in 1939.


The success of *Snow White* came at just the right moment for the Disney brothers. They were able to follow-up with *Pinocchio* and allowed Disney to dream of building a new studio in Burbank that would be not only state-of-the-art but allow his staff to grow.


In 1940, Walt moved his studio to Burbank where it still is today. The Hyperion site is a historic site and has Cultural marker #163. L.A.


You can see Walt?s special Oscar for *Snow White* (and many other treasures) at The Walt Disney Family Museum in San Francisco.



Link to post
Share on other sites



Walt Disney Studios

500 S. Buena Vista Vista



When Walt envisioned a new state-of-the-art studio, he was in the midst of making of *Pinocchio*. He wanted his animators to have room to be productive. The robin's nest and warren like cubby-holes of the Hyperion Studios made Walt envision something much more modern.


There were 51 acres in Burbank that seemed like the best place to build their new studio.

Walt was involved in all aspects of the planning. From the lay-outs of the offices to the right chairs for the animators, all details went by Walt before they were approved.


The Animators Building would be in the middle of the lot with the Ink and Paint and Camera buildings near by. In addition, there were Editing facilities and sound stages as well as post-production buildings for sound.


Many of the buildings were linked by an underground tunnel and all the utility lines were underground, quite an innovation for 1940. Walt wanted the animators to have the northern light, considered the best kind of light. There was plenty of types of exercise, ping-pong tables, volleyball and horseshoes.


*Fantasia* (screening at the Festival) and *Dumbo* were in production. *Fantasia* was Walt's attempt to blend animation with classical music and a special stereo system, Fantasound was designed to deliver the best quality sound for the soundtrack.


The studio endured the bitter labor strike in the early 1940s that tore apart the friendly, family like atmosphere that the studio and employees had built. When the strike was finally resolved, Walt's attitude towards his employees had changed and he remained bitter about the strike.


The military took over the studio when war was declared in 1941. With Lockheed in close proximity to the studio, the military sent troops to the studio to protect Lockheed. Walt and the studio went to work making training and propaganda films for the war effort.


After the war, Disney branched out into live-action film and the backlot was filled with turn of the century homes as well as modern 1950s homes that served as homes to the Hardy Boys and the Shaggy Dog. It was here that Zorro (Guy Williams) kept the peace in the Southwest of yore,


The Sound stages were kept busy.


Stage 1 had housed the filming of the live-action sequences for *Fantasia*. Stage 2 was built in 1949 and Jack Webb utilized it for the filming of the first *Dragnet* series. With over 31,000 square feet, the stage also hosted *The Mickey Mouse Club* was also filmed on the stage utilizing sets designed by Harriet Burns and other designers. In 1954, Stage 3 was built to house the sets for *20,000 Leagues Under the Sea*. Stage 4 was built for *Darby O'Gill and the Little People*.


The entrance to the Studio off of Buena Vista still offers a glimpse and taste of what the lot used to look like.


From the 5/134 freeway, you can see the new Animation Building and the ABC Building. The new Animation Building has a giant Sorcerer's hat and has a faux Art Deco look to it. Where these buildings sit is where Walt first envisioned building a small theme park.


Across the street from the Buena Vista entrance is St. Joseph's hospital. Walt donated a beautiful mural by one of his artists, Mary Blair, to the children's wing. Mary Blair, known for her use of color, is famous for the mural in Tomorrowland, the look of the interior of *small World* as well as her work on *Alice in Wonderland*, *Peter Pan* and *Three Caballeros*.


When Walt took ill in the fall of 1966, he went to St. Joe's. He died at St. Joe's on Dec. 15th, 1966.


To learn more about Walt's life and his movies, visit The Walt Disney Family Museum in San Francisco.






Edited by: lzcutter for grammar

Link to post
Share on other sites
  • 3 weeks later...

Here's a link to the webpage for the Los Angeles ABC affililate's program titled "Eye On L.A."




Tonight's edition featured "Los Angeles' Most Iconic Places" and included insider visits to Hollywood icons like Grauman's Chinese Theater, The Magic Castle and The Jim Henson Studios (formerly Chaplin Studios.) Each of these places are "foot-friendly" (walking distance) for any Classic Film Festival visitor. The program is a great intro to the neighborhood and other parts of L.A. that may be of interest to any attendees that find themselves with some extra time on their hands that weekend. (I am thinking any "Matinee Passholders", in particular.) A visit to the Magic Castle would be a wonderful way for a Matinee Passholder to spend a Friday or Saturday evening.


There are separate video links for each of the Hollywood segments along with other "Icons" featured in the show - like Griffith Observatory, Capitol Records and Fred Segal on Melrose.


Give it a look.


Kyle In Hollywood

Link to post
Share on other sites

Tonight, I was driving down Hollywood Boulevard for the first time in a LONG time and I was amazed at the changes (that will likely be only noticed at night). It has remarkably transformed and is very popular for young people. There are a lot of nightclubs -and I mean, a lot - that have opened up. Restaurants, too. I drove by the Vogue Theater, which was hardly ever used. Now it is a restaurant and it looked from the crowd outside that it was one of those places only certain people got in.


For the last couple of decades, from Hollywood & Highland to Hollywood & Vine used to be a depressing place to walk at night. There was nothing going on, just shuttered stores. The change is very dramatic. I always knew that the Boulevard was going to change. It was inevitable. So many places in L.A. have gone through a growth period, and Hollywood Boulevard, with its famous location for tourists, had to be the next stop because there really was no place for people visiting to go at night. But I never guessed that it was nightclubs that would do it.

Link to post
Share on other sites
  • 11 months later...
  • 2 weeks later...

Those going to Hollywood a few days before or staying a few days after the Festival, there are two exhibits you might want to check out:


*Television: Out of the Box* is at the Paley Center in Beverly Hills and features clothes and props from sixty years of Warner Bros television on display.






The Los Angeles County Art Museum (LACMA) has the wonderful *California Design* exhibit. It's part of the larger Pacific Standard Time event that multiple museums have participated in.


LACMA's contribution is a wonderful exhibit of furniture, decorative arts, the Charles and Ray Eames living room, Dick Van Dyke's Avanti automobile, leisure wear, clothing by Adrian and Edith Head, Cole of California and Jantzen. Cedric Gibbons is also on display including a montage of some of his best sets.




When finished with *California Design* go across the walkway to the other pavilion and check out *Metropolis II*. Don't miss the history of street lights (especially at dusk) out in front of the Museum and the *Levitated Mass* in the back of the Museum grounds.









Link to post
Share on other sites
  • 1 year later...

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...