Endereço dos Estúdios de Cinema na Califórnia
Os estúdios que não estão com o nome do Condado no Endereço ficam no Condado de Los
Angeles
Where is Hollywood´s Studios located Today?
Paramount Pictures – A Viacom Company
http://www.paramount.com/
http://www.viacom.com/
5555 Melrose Avenue
Los Angeles, California 90038
20th Century Fox Studios
http://www.foxstudios.com/
10201 West Pico Boulevard
Los Angeles, CA 90035
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Columbia Pictures Industries Inc – Sony Pictures Entertainment
http://www.sonypictures.com/
10202 West Washington Boulevard
Culver City, CA 9023
Warner Bros. Pictures Group
http://www.warnerbros.com/
4000 Warner Boulevard
Burbank, CA 91522
Universal City Studios, Inc. – Vivendi Universal Entertainment LLP
http://www.universalstudios.com/
http://www.universalpictures.com/
100 Universal City Plaza
Universal City, CA 91608
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Universal Studios Orlando
https://www.universalorlando.com/
6000 Universal Boulevard
Orlando, Orange County, Florida 32819
Estão juntas atualmente, 2014, Miramax e Lions Gate
Miramax Film NY, LLC
http://www.miramax.com/
2540 Colorado Avenue, Suite 100E
Santa Monica, California 90404
Lions Gate Entertainment – Summit
http://www.miramax.com/
2700 Colorado Avenue – 1630 Stewart Street
Santa Monica, California 90404
Summit
Nota: No Google Mapas, o 1630 Stewart Street Santa Mônica ainda
é a Summit.
Mas, este endereço, é, atualmente, 2014, é da:
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SCE Worldwide Studios
http://www.worldwidestudios.net/santamonica
http://sms.playstation.com/studio/
1630, Stewart Street
Main-Studio 100
Santa Monica, CA 90404
Pixar Animation Studios
http://www.pixar.com/
1200 Park Avenue
Emeryville, Alameda County, CA 94608
Disney Studios – Disney Pictures – Buena Vista
http://thewaltdisneycompany.com/
500 South Buena Vista Street
Burbank, CA 91521
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Metro-Goldwyn-Mayer Inc. – MGM Studios
www.mgm.com
245 North Beverly Drive,
Beverly Hills, California 90210
DreamWorks Studios
http://www.dreamworksstudios.com/
It is located on the Universal Studios lot in Universal City, California.
100 Universal City Plaza
Universal City, CA 91608
Are DreamWorks Studios and DreamWorks Animation the same company?
No: They are two completely separate companies.
DreamWorks Animation
http://www.dreamworksanimation.com/company
1000 Flower Street
Glendale, Los Angeles Count, CA 91201
PDI Dreamworks SKG
http://www.dreamworksanimation.com/company
1400 – A Seaport Boulevard
Redwood City, San Mateo County, CA 94063
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SUNSET GOWER STUDIOS
http://sgsandsbs.com/
1438 N. Gower Street / Hollywood, CA 90028
p. 323.467.1001 / f. 323.467.2717
sgsreception@sgsandsbs.com
SUNSET BRONSON STUDIOS
http://sgsandsbs.com/
5800 W. Sunset Boulevard / Hollywood, CA 90028
p. 323.460.5858 / f. 323.460.3844
sbs.reception@sgsandsbs.com
Hollywood Center Studios
http://www.hollywoodcenter.com/
Hollywood Center Studios is Centrally located in the heart of the Media District.
1040 North Las Palmas, Los Angeles, CA 90038
General Info & Booking
(323) 860.0000
Mack Sennett Studios:
http://www.macksennettstudios.net/
1215 Bates Ave
Los Angeles, CA 90029
p: 323-660-8466
info@macksennettstudios.net
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http://www.cobbles.com/simpp_archive/linkbackups/hollywood-center_history.htm
http://www.retroweb.com/tv_studios_and_ranches.html
1919
A veteran of the Little Tramp's filmmaking fiefdom
Charlie Chaplin
John Jasper
for 13 years, designer John Jasper quits Chaplin
Studios to build three production-stages on a stretch
of undeveloped Hollywood property. Hollywood
Studios, Inc. (aka Jasper Hollywood Studios) is born,
and it's operated by Chicago moneyman C.E.
Toberman. He is the first in a long chain of real estate
developers, businessmen, and producers who flirt
with these 15 acres of studios and bungalows.
The early stages look like horticulturists' hothouses
built with steel frames, cloth walls, and glass roofs
and clerestory windows. The greenhouse effect is
necessary in order to illuminate sets in these days of
slow film stocks before arc lighting had been
perfected. This doesn't happen until the early 30's
when Edison makes industrial-strength incandescent
light bulbs.
Clara Bow
Harold Lloyd
ON THE LOT
1922
Comedian Harold Lloyd leaves Hal Roach Studios
and moves to Jasper's lot with his entourage. In May,
Fred Newmeyer directs Grandma's Boys. Later in the
decade he teams with screenwriter Sam Taylor to
direct Girl Shy, Hot Water, and The Freshman.
Alone, Taylor directs For Heaven's Sake in 1926.
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1923-25
The studio changes hands once, when it's bought by
some LA businessmen in 1923 and then again in 1924
when B. P. Schulberg, the producer who discovered
Clara Bow, buys a controlling interest in the studio
for Preferred Pictures Corp. In January 1925 , the
studio is flipped over a third time when John Jasper
leaves and Al and Charles Christie, producers of the
Christie Comedies and owners of the Christies Film
Corporation, buy the lot. Toberman takes with him
the frontage on Santa Monica Boulevard and the
studio entrance is moved to the Las Palmas side.
William Sistrom, formerly a production manager at
Universal City, is named the new manager.
1925
Howard Hughes
After being talked into making a picture by a movie
star acquaintance, the restless millionaire, Howard
Hughes leaves the management of the family oil
drilling business to his financial advisers and makes
himself president of Cado Pictures. An unsalvageable
disaster, Swell Hogan doubles in budget and is never
released, but Hughes, the producer, has bought
himself a film school education on real sets. Lewis
Milestone, sells him on his next picture the ninereel Two Arabian Knights in 1927. (Milestone won
his first best director Oscar for the picture; today he's
perhaps most famous for the Rat Pack Vegas caper
movie Ocean's Eleven.)
During the summer or '26, Metropolitan's executives
hear the sound of the future and, yes, it involved
audio. They break ground on the Metropolitan Sound
Stages. It is the introduction of sound that converts
filmmaking to an indoor activity--audio requires
packing production into a soundstage where
recording levels and acoustics could be better
controlled. By 1929, Stages 1 and 2 are being
outfitted with Vitaphone equipment and the Las
Palmas lot is renamed Metropolitan Sound Studio.
While Harold Lloyd plays handball in a garage on the
lot, Howard Hughes goes from dilettante producer to
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wannabe auteur. He cans two directors and takes over
the helm of the WWI dogfight film Hell's Angels ,
part of which is shot at GSS. Enamored as much with
audio as with aviation, Hughes reshoots with sound
for many sequences and fires his leading lady and
replaces her with Jean Harlow, who makes her screen
debut.
1928
Harold Lloyd
Over the course of the shoot--which is half Heaven's
Gate half Twilight Zone, the movie--Hughes employs
28 cameramen working under two DPs, three stunt
pilots are killed, and the Depression takes with it a
small chunk of Hughes' fortune during
postproduction. Nineteen months and $4 million
dollars later, the film is released. But at 25 cents a
ticket, the film never makes its money back. And
reflecting on his high-flying costs and what the red
ink might imply about his prowess for producing,
Hughes retrenches to more modest budgets.
By the end of the decade Harold Lloyd wraps For
Heaven's Sake (1926), The Kid
Brother (1927),Speedy (1928) and Welcome
Danger(1929). In 1929 110 million people are going
to the movies every week.
ON THE LOT
1930
Trem Carr (later head of the Monogram Studio)
General
Services Studio
shoots The Chinatown Mystery, a serial on existing
sets, an idea that Roger Corman later turned into a
low budget commandment.
Howard Hughes leaves a year after releasing The
Front Page; his new digs are at United Artists (1041
N. Formosa Ave). The laughs keep coming though;
Harold Lloyd follows Feet First (1930 in Movietone
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Sound) with Movie Crazy, considered one of his best
films. Far from being the hapless victim of
circumstance he plays on the screen, Lloyd is
becoming one of the wealthiest men in Hollywood as
an the independent producer of his own films.
The Depression makes an entrance from stage left,
and in January of 1933, the Christie brothers find
themselves in receivership and cede control of
Metropolitan to General Service Studios which
operated several studios on both coasts. Its parent
company Electrical Research Products, Inc., (ERPI)
an AT&T holding which had developed Vitaphone
sound, positions the stages to capture sound business.
Stages 1 and 2 become showplaces for shooting
talkies. Both are built from the ground up with a
double-walled thermos style peripheral barrier
creating a dead sound-proof space. Today, you can
still walk entirely around both stages between these
peripheral walls.
1935 & 1936
Charles Christie is still on the lot supervising Vanity
Comedies, the Andy Clyde Comedies, and the Moran
and Mack Comedies. Merle Oberon moves into
Bungalow A, her husband, the director and Hungarian
expat Alexander Korda, joins her.
After scandalizing the Hays Office with Belle of the
Mae West
Nineties, Mae West arrives on the lot under strict
orders from Paramount to clean up her act. Originally
called Ain't No Sin and written by West, the
offending film featured the Divine Miss M as an
unrepentant "scarlet woman," who was not only good
at what she did but fast with the louche double
entendres that propelled West to fame. The film was
cut after raising the pique of Mr. Hays himself, an exPost-Master General charged with enforcing the
Production Code, an equation guaranteeing that good
triumphed over evil in Hollywood pictures.
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Westerns are riding a wave of popularity and Harry
Sherman settles in at the lot to produce the Hopalong
Cassidy films, a 21 picture series starring William
Boyd, for Paramount Pictures.
ON THE LOT
1940
At the peak of their creative golden age, United
Alexander Korda
Artists leases General Service studio for their
producers, Alexander Korda and Benedict Bogeaus.
Korda, came to the US from war-torn Britain, with
the reels of The Four Feathers as collateral against
which he raises nearly $4 million for the production
of six pictures (four to be made in the States). Korda
editsThe Thief of Bagdhad on the lot and goes on to
directLaurence Olivier and Vivian Leigh in That
Hamilton Woman. Writer Gore Vidal remembers the
film, a glorification of war, in Palimpsest: ..the film
was made..to glorify resistance to a predator-tyrant
like Hitler. British propaganda in the thirties and
forties was most effectively deployed in Hollywood
films so that the American people would be
emotionally ready to fight, yet again, with England
against Germany." Later Korda
produces Lydia and Jungle Book.
By '42 Korda and other high-profile producers had
left, precipitating a downward slide in UA's slate that
continues unchecked until 1950.
1941
AT&T is ordered by the U.S. government to divest
its interest in GSS. Two suitors, both independent
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producers, zero-in a for the lot: Benedict
Bogeaus one of UA's second-string who rose to the
front rank whenDavid Selznick and Alexander
Korda left, and Eddie Small. Bogeaus wins with the
low bid by promising to give the government use of
the facility for the wartime effort. The army's
propaganda machine, as it turned out, doesn't demand
much, and before long Bogeaus is back in the
commercial motion picture business with six releases
from United Artists and the overflow
from Paramount.
From 1941-1942, Douglas Fairbanks, Jr., Stan
Laurel and Oliver Hardy, Fred Astaire, Carey
Grant, Glenn Ford, Frederic March, Erich von
Stroheim (in an acting role) and the Artie Shaw
Orchestra are on the lot. The United
Artists producerDavid Loew exercises a stock option
and buys control of General Service Studios from its
major stock holderBenedict Bogeaus in 1943. David
was the son ofMarcus Loew, who'd gone from
operating a 23rd St. arcade in Manhattan called
the People's Vaudeville Company, to owner of one
of the US's largest film chains and the man who
fashioned MGM out ofMetro Pictures, Louis B.
Mayer's operation andGoldwyn.
For the next four years, there are only a few
James Cagney
producers working on the lot. The very popular RKO
actressConstance Bennett and UA are among the
most active. Expat Jean Renoir directs The
Southerner forDavid Loew in 1945 and the Marx
Brothers star in A Night in Casablanca the
following year. By March 0f 1946, Bogeaus is back.
He reorganizes his company, acquiring the land and
all of the buildings of the studio. By May, he begins a
$500,000 construction program of television sound
stages.
In July, William Cagney (brother and partner
ofJimmy) purchases a substantial interest in the
studio.Bogeaus aligns his production company
with Cagney Productions which moves into 1040 N.
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Las Palmas. (Charles is president, Jimmy is vice
president, and Edward serves as secretary.) Blood on
the Sun (1945) and The Time of Your Life (1948)
are both made on the lot. It's not a long stay, the
Cagneys decamp toWarner Bros., their distributor,
in 1949.
1948
Another trio of brothers Jimmy, George, and Ted
George Burns
Nasser, managers for Bogeaus/Cagney buy into the
studio. By 1950 they own it outright. They zero-in on
the niche of television which the majors reject after
being barred from entering the new medium by a
monopoly-wary FCC. Because they can't join 'em,
the studios are forced into a beat 'em mentality.
Seeing only competition from television, they bar it
from their lots. As television was passing from its live
era in New York, to its prerecorded form in LA,
the Nasserscapture a windfall of new business. Burns
and Allenmoves in during the early fifties (George
Burns was a tenant until March 1996 when he died at
100 years-old).
At this time, there is only other place in LA to
produce television, Hal Roach Studios. TV at the
turn-of-the-decade is really in the hands of
advertising agencies and sponsors, it's not until the
50's that the networks take control of programming,
largely through deals with independent producers.
Ronald Reagan
ON THE LOT
1951
Ronald Reagan is taking direction for Lewis R.
Desi & Lucy
Foster in The Last Outpost. Lucille Ball and husband
Desi Arnaz rent Stage #2 to shoot the pilot for I Love
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Lucy. Ball and her sponsor insist on filming the series
in front of a live audience with three-cameras, this,
and the fact that the comedienne won't back down on
the decision to cast her Cuban husband Desi as Ricky,
causes CBS to sell its financial stake in the series
back to Desilu. Lucky for Lucy: The series is the
most profitable 30-minutes in CBS history and the
show stays in the Top Ten for nine seasons. Sound
Stage 2 is retrofitted for the series which costs
between $21K and $27-an episode to shoot. Desilu
also produces the Eve Arden series Our Miss
Brooks and shoots spots for Philip Morris cigarette
and General Foods. Desi and Lucy stay for two years.
l952
CBS has thirteen shows in production on the lot.
From this point on, GSS continues to service a full
load of television productions. Ozzie and Harriet,
The Bob Cummings Show, The People's
Choice andHennesey locate there and at the same
time the commercial business begins to thrive.
ON THE LOT
Hollywood General becomes a sort of ground zero
Mr. Ed
for popular culture, the home of TV shows that
babysit the baby boomers and decorate their
lunchboxes. Many of the series are greenlighted under
the watch of CBShead James T. Aubrey who returns
the network to strong ratings and prosperity
with: Green Acres, Mr. Ed (which ex-vaudevillian
George Burns produced),Beverly Hillbillies,
and Petticoat Junction. Also shooting on the lot
are The Lone Ranger and The Addams Family (in
1991 director Barry Sonnenfeldreturns to the lot to
shoot the movie of the Charles Addams
classic). Burns and Allen and Perry Masonare
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successfully reworked from radio to TV shows, as
early seasons of I Love Lucy had been. Radio retreads
were a way to generate scripts in the early,
comparatively low-budget days of TV.
ON THE LOT
After 27 years of running the lot the Nasser Brothers
finally sell it to the Dallas oil and gas firm, Miles
Production Company in the winter of 1976. Owner
Ellison Miles renames the lot Hollywood General
Studios and moves with the times to provide video
services. Universal Television rents nine stages,
paying yearly whether they are in use or not. The
studio produces Baretta, The Rockford Files, and
the Wheelsminiseries on the lot.
The last theatrical feature to be shot in the 1970s was
the me-decade send-up Shampoo. Offices were
booked up through the 70s, by producers such as
James Aubrey, Frank O'Connor, Pat Curtis, Herm
Saunders, George Burns, and Irving Fein.
By 1979 the Nasser Brothers appear on the scene
once again to take control of the lot, but only briefly
because producer/director Francis Ford Coppola is in
the wings.
the
Francis Coppola
80
s
ON THE LOT
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Francis Ford Coppola takes over the lot March 14,
1980, intending to film a slate of his own pictures
there. Zoetrope produces Hammett, One From the
Heart, The Outsiders, The Black Stallion Returns,
Rumblefish, and The Escape Artist.
Ironically it's One From the Heart, an elaborate
modern musical that pushes the studio into financial
difficulty. The budget escalates on the picture largely
due to the creation of lush period sets within the
studios' sound stages. In 1984, the studio is acquired
by the Singer family, Canadian real estate developers.
ON THE LOT
Studio Management Services, headed by Tim
Mahoney, moves quickly to renovate the entire
facility and within a year, all eight sound stages are
revitalized. Office space is redone to house a
community of new tenants. The stages are marketed
to commercial spot producers, independent feature
film producers, and the music industry, which uses
the stages for rehearsal. A new rock & roll client base
starts shooting music videos and specials, including
artists Stevie Wonder, Lionel Richie, Crosby, Stills &
Nash, Jackson Browne, Michael Jackson, Prince, and
Ray Charles.
Also during this period, the eighties classics Body
Heat and When Harry Met Sally shoot on the lot.
ON THE LOT
Today the lot is a creative neighborhood that is home
to TV series, commercial production companies,
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production support, special effects and post outfits
and new media operations. And if you've heard the
HCS referred to as "being wired," it's because you
can jack into the vanguard of new digital production
services here. Review storyboards, edits, or casting
sessions from other cities, or set up digital video
conferences.
Hollywood Center Studios taps into the digital
revolution in 1995, when Alan Singer and Tim
Mahoney start to lay the infrastructure for the most
advanced sound stage facilities in Hollywood by
wiring the studios with the bandwidth necessary to
carry high-quality digital images and sound around
the lot.
This decade has seen the production of Robert
Altman's instant classic Hollywood satire The Player,
many TV shows, and hundreds of commercials.
Visit the website for . . .
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http://www.beckerfilms.com/HollywoodMovieStudios.htm
Sept. 13, 2005
Hollywood Movie Studios
On December 11th, 1938 Atlanta burned to the
ground. This was the very first scenephotographed for the
film Gone With the Wind, and it was shot on the RKOPathé lot in Culver City, next door to MGM Studios.
Although producer David O. Selznick needed the scenes of
Atlanta burning for the film, the initial reason for the fire
was to clear the 40-acre film lot of all the old movie sets
cluttering it up so they could build new sets. Among the
old sets set aflame that night were the giant doors and wall
from the Skull Island set of King Kong, to which they had
simply nailed antebellum facades. But the set wasn’t even
originally built for King Kong; it was actually built as the main gate and walls of Jerusalem
for Cecil B. DeMille’s 1927 film,King of Kings.
That is a perfect example of the transitory nature of Hollywood: one thing becomes
something else, which then gets destroyed, then something else is built on top of it, then
nobody remembers what was there originally. There is not a person living who remembers
when the biggest stars in movies were Florence Lawrence and John Bunny, and they were
huge. At some point in the none-too-distant future nobody will remember who Tom Cruise or
Julia Roberts were, either. Fame is fleeting.
The same transitory nature applies to the movie studios themselves. Almost all of the
Hollywood movie studios have changed owners and locations many times over the years, yet
nearly nobody remembers where or what they once were. It’s been just about one hundred
years since filmmakers began shooting movies in Los Angeles. Even though this isn’t a very
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long history, as far as history goes, we seem to know more about the Roman Republic 2,000
years ago than we do about Hollywood 90 years ago. Just like the King of Kings set, and King
Kong set (and the Gone With The Wind sets, too), once they’re gone, nobody remembers that
they were ever there in the first place.
Motion pictures were so eager to come into existence that they were simultaneously
invented between 1888 and 1890 in the USA, England and France. For the first twenty years
of the movies’ existence, the capitals of world filmmaking were New York City, where
hundreds of film companies sprang up almost overnight; Lyon, France, where the Lumiere
brothers were located; West Orange, New Jersey, where Thomas Edison’s company was
located; or Vincennes, France, where the Pathé company was located (until 1918 over 60% of
all cameras in use in the world were made by Pathé).
But instead of any of these exotic places, the motion pictures found their capital in a
sleepy little southern California town called Los Angeles, whose population in 1900 had just
passed the 100,000 mark.
The first reason anyone came to Los Angeles to shoot a movie was because of the good
weather. In 1907 the very first film crew arrived in Los Angeles to shoot jungle movies, a
setting they were having great difficulty faking in a studio in Chicago. They were from the
Selig Polyscope Company, one of the first film companies in existence, having begun in
1896. Selig Polyscope was owned and run by Col. William Selig, who had never actually
been a colonel of anything. He had been a clown, a juggler, and a minstrel show producer,
when he saw an early demonstration of Thomas Edison’s Kinetoscope, a device that showed
12-second movies in a hand-cranked machine
that you peered into, which cost a nickel (thus the establishments where
these contraptions we found became known as “Nickelodeons”. It was
for the Kinetoscope that Edison ordered from George Eastman at
Eastman-Kodak, who had just recently invented celluloid film, a
specially-designed celluloid roll film with a frame size of 35
millimeters, with four perforations on either side, which has remained
William Selig
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unchanged right up to today). Meanwhile, Col. Selig was so impressed by the Kinetoscope
that he immediately went into the motion picture business.
Col. Selig liked the look of the footage he was getting back from Los Angeles so much,
with its many sunny days that made outdoor filming much easier and more dependable, that in
1909 he
built the very first movie studio in Los
Angeles, Selig Polyscope Studios, at 3800
Mission Road in Echo Park. Col. Selig also
started a zoo next door to his studio, aptly
named Selig Zoo, mainly to supply the
animals needed for his jungle pictures, but
it was also open to the public. Selig
Polyscope went bankrupt in 1918, and the facility then became Louis B. Mayer Pictures.
Selig Zoo, however, stayed in business for over 25 more years, and finally went under in the
mid-1930s during the Great Depression.
The second reason that filmmakers began coming to Los Angeles to make movies was
due to the Motion Picture Patents Company, otherwise known as the “Edison Trust.” In 1908
Thomas Edison, along with the companies: Vitagraph, Biograph, Kalem, Lubin, Selig,
Essanay, Pathé, Méliès, and Gaumont, having collected together all the available patents on
motion picture cameras and projectors, tried to stop anyone else from producing, distributing
or exhibiting movies anywhere in the USA unless licensed by them. There were already so
many film production companies that were not members of the trust, and were thus in
immediate defiance of the trust, that this quickly escalated into what became known as the
“Patents Trust War.” Agents from the trust would actively sabotage the productions of
“independents,” frequently firing bullets from sniper rifles into their unlicensed movie
cameras. So, if you got on a train and left New York City going west, the last stop was Los
Angeles, and that was as far as you could get from the Trust. To escape the Trust, some early
filmmakers also set up productions in Cuba.
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In 1909 the British company, Kinemacolor, owned by American, Charles Urban, built a
film
studio at 4500 Sunset Blvd. in Los Feliz (which
is next to Hollywood), where Sunset Blvd. and
Hollywood Blvd. meet. Kinemacolor was a very
early two-color process (although not the first
color process), which used only red and green.
Although the Kinemacolor process never took
off, quite a few films were made using the
process in the teens, including the very first color
feature film, The World, the Flesh, and the Devil, produced in 1914.
In 1910 the New York-based company, Vitagraph
Pictures, one of the largest film companies of the early silent
era, founded in 1896 by two British Vaudevillians, opened a
studio in downtown Santa Monica on 2nd St. Vitagraph had
such early film stars as: Florence Turner (known as “The
Vitagraph Girl),” Norma Talmadge, Rudolph Valentino (at the
very beginning of his career), Maurice Costello, and the very
young Adolphe Menjou. The Vitagraph building in Santa
Monica is still there with a plaque on the wall commemorating
that it was once Vitagraph Pictures.
The very first movie studio to open in Hollywood itself,
in 1911, was the Christie-Nestor Studio, at 6100 Sunset Blvd.,
Vitagraph Building,
present-day
on the corner of Sunset Blvd and Gower St. Every week
Christie-Nestor
produced three, one- and two-reel films (a reel of 35mm film is ten minutes
long): one comedy, one drama, and one western. Soon, there were so many
actors dressed as cowboys and Indians loitering around on that corner waiting
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for film work that it became known as “Gower Gulch.” Today there is a shopping center
there called “Gower Gulch.” Today the site of Christie-Nestor Studios is occupied by KCBS
TV.
That same year, 1911, directly next door to Christie-Nestor Studio, at 6101 Sunset Blvd.
opened IMP Studio, or Independent Motion Pictures, another New York-based company,
which was owned by the diminutive German immigrant, Carl Laemmle, one of the early
pioneers of film
production. Laemmle sent out from New York a former actor
named Thomas H. Ince to direct pictures at the new little
Hollywood Studio.
After a year with IMP, Ince saw the incredible possibilities
just waiting to be had in Los Angeles in the motion picture
business. He quit IMP and became partners with New York
Motion Pictures in their Los Angeles studio, called Bison
Thomas H. Ince
Pictures (at 1719 Alessandro [now known as Glendale Blvd] in
Glendale, which is near Pasadena). Thomas Ince immediately purchased the 101 Ranch and
Wild West Show from the Miller Brothers, located in Santa Monica at Sunset Blvd. and the
Pacific Coast Highway, which then quickly became
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known as “Inceville.” The company was then
renamed the Bison 101 Company, and
specialized in making westerns. This is the
present-day location of the Maharishi Center.
In 1912 Mack Sennett opened Keystone
Studio in Glendale, (at 1712 Alessandro) in the
neighborhood called Edendale, which is now
Glendale. Sennett released his first Keystone Kop
short film, Hoffmeyer’s Legacy, in late
1912. Mack Sennett also started the real
estate development called Hollywoodland,
and built a big sign in the Hollywood
Hills. This is the present-day Hollywood
sign, minus the L-A-N-D.
Also in 1912, Thomas Ince left
Bison 101, formed Thomas H. Ince Pictures, and built a studio at 9336 Washington Blvd in
Culver City. This 40-acre lot (known as “The Forty Acres”), would later become (among
other short-lived things): Cecil B. DeMille Studios, Pathè Studio, RKO-Pathè Studio, Selznick
International, Howard Hughes, Desilu, Laird International Studios, Tinker & Gannett, Culver
City Studios, and is now owned by Sony. The main street of the lot is Ince Blvd.
And in 1912, another early pioneer of motion pictures, Sigmund “Pop” Lubin, opened a
studio, the Lubin Film Company, at 1725-1735 Fleming St. (now Hoover St.) in East
Hollywood.
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Lubin went out of business in 1917. This
facility was subsequently owned or rented
by: Essanay (which was really S & A, for
George K. Spoor and Gilbert “Broncho
Billy” Anderson), Kalem, Willis & Ingles,
Hampton, Charles Ray Productions, Jean
Neville, Ralph M. Like, Monogram, Allied
Artists, Colorvision TV, and is now the Los Angeles PBS affiliate, KCET.
In 1913 a new company, The Jesse L. Lasky Feature Play Company, formed by Jesse
Lasky, Cecil B. DeMille and Samuel Goldfish, in NYC, sent a crew to Hollywood to shootThe
Squaw Man, starring Dustin Farnum. As their studio they rented a barn at 6284 Selma Ave.,
on the corner
of Selma Ave. and Vine St. This was the very first feature
film shot in Hollywood or Los Angeles. Soon thereafter
they built more permanent stages on that corner, stretching
from Selma to Sunset Blvd. The “Lasky Barn,” as it
became known, is a Los Angeles landmark, and has been
moved around town many times. It sat for many years on the Paramount lot. It is now located
in a parking lot on Highland Ave., across from the Hollywood Bowl.
In 1913 D. W. Griffith took over the Kinemacolor Studio at 4500 Sunset Blvd. and
began D. W. Griffith – Fine Arts Studio. This is where Birth of a Nation was shot. Griffith’s
films were financed by Mutual Pictures, although Mutual’s west coast studios were in La
Mesa and Santa Barbara.
In 1915 IMP and several other companies, including their
neighbor, Christie-Nestor Studios, and Thomas Ince’s old company,
Bison 101, merged and became Universal Pictures, run by Carl
Laemmle. Universal bought 230 acres of land in the San Fernando
Valley from David Burbank and opened Universal City at 3900 Lankershim Blvd., which is
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still there in the same place.
Also in 1915, D.W. Griffith, Mack Sennett and Thomas Ince formed Triangle Pictures,
and began building a very big studio in Culver City at 10202 W. Washington Blvd., directly
next to Thomas Ince Pictures. This is the present-day site of Sony Studios. But first, before
their new studio was finished being built, Triangle started off renting space at the Griffith Fine Arts lot.
And also in 1915, Hal Roach opened his
studio in Culver City, at 8822 Washington
Blvd., and National Blvd. Hal Roach Studios,
where many of the Harold Lloyd, Laurel &
Hardy, and Our Gang movies were shot, was
known as “The Lot of Fun.” The studio was
bulldozed in 1963.
In 1916 Adolph Zukor’s Famous Players merged with Jesse Lasky’s company and
became Famous Players-Lasky, which opened another studio in Hollywood at 5823 Santa
Monica Blvd. (on
the NW corner of Gower St.). The first thing Zukor and Lasky did was to
fire Sam Goldfish (who was also Jesse Lasky’s brother-in-law). The name
of the distribution company handling their films was called Paramount
Pictures Releasing Corp. Soon thereafter they purchased another studio,
this one on 201 N. Occidental Blvd. in downtown L.A., formerly the
Oliver Morosco Photoplay Co. This studio was then known as Famous Players – Lasky –
Morosco.
In 1916 D.W. Griffith shot his epic film, Intolerance, at his Griffith –
Fine Arts Studio. The rotting Babylon set with its enormous seated
elephants remained standing on that corner for over the next 20 years.
In 1917 Triangle Pictures folded. Griffith went back to his studio on
Sunset Blvd., Thomas Ince went back to his own studio next door to
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Triangle, and Mack Sennett dropped the Keystone name and continued making comedies in
his Glendale studio under the name Mack Sennett Motion Picture Comedies.
In 1917 First National Pictures opened a big studio facility in Burbank, in the Cahuenga
Pass. First National was the largest film company in the world at that point, having just
secured the services of Charlie Chaplin, and already having the biggest star in the world, Mary
Pickford, who had recently defected to them from Adolph Zukor’s Famous Players. Mary
Pickford, meanwhile, had her own production company which was located at the Robert
Brunton Studio on Melrose Ave. between Gower Ave. and Van Ness St., at 5451 Marathon
St. (the little side street that runs into the front gate).
Also in 1917 Sam Goldfish and Edgar Selwyn formed Goldwyn Pictures. Goldfish
liked the
name so much he took it as his own, then Selwyn sued him and
lost. In 1918 Goldwyn Pictures purchased the old Triangle lot in
Culver City. Goldwyn Pictures adopted Leo the Lion as their
logo (with the Latin slogan, “Ars Gratia Artis” meaning “Art for
Art’s Sake”). When shooting the film opening of the logo, the
Goldwyn company rented a lion from the Selig Zoo.
And also in 1917, Technicolor Corporation, which had started in Boston in 1915,
opened a lab and factory in Hollywood.
Also in 1917, William Fox opened a facility at 1401 N. Western Ave. called the Fox
Film Corporation.
And finally in 1917 Charlie Chaplin, having signed a million dollar deal with First
National, built his own studio, Charlie Chaplin Studio, at 1416 N. La Brea Ave, at the corner
of DeLongpre
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St., in Hollywood (Chaplin had
previously been under contract to
Mutual, and had a studio at 1025
Lillian Way, called ChaplinMutual, which, for a short time,
was Buster Keaton’s studio).
Chaplin’s La Brea studio would
eventually become A&M Records, and is now Jim Henson Productions.
In 1918, directly across the street from Robert Brunton Studio, at 5300 Melrose Ave.,
William “Billy” Clune, who owned one of the
largest movie theaters in downtown L.A., Clune’s
Palace (later the home of the Los Angeles
Philharmonic Orchestra for many years), built
Clune Studio. In the following 90 years this studio
has been: United, Tee-Art, Prudential, California
Pictures (Preston Sturgis and Howard Hughes’
company), Enterprise, Producer’s Studio, and it’s
now Raleigh Studios.
In 1919 Mary Pickford, Douglas Fairbanks, Charlie Chaplin and D.W. Griffith formed
United Artists, and moved into the Pickford-Fairbanks Studio at 7200 Santa Monica Blvd., at
Formosa Ave., which had previously been owned by the director, King Vidor. The studio’s
name changed to United Artists in 1921, then changed to the Samuel Goldwyn Studio in 1939,
and remained Samuel Goldwyn Studio until 1980, when it was purchased by Warner Bros.
and became the present-day site of the Warner Hollywood Studio.
In 1923 Walt Disney and his brother Roy opened their first studio in Los Angeles in the
back of the Holly-Vermont Realty office, called Disney Bros. Studio. They soon took over
the whole building, as well as the building next door.
Also in 1923, Goldwyn Pictures merged with Metro Pictures, owned by the theater28
chain Loew’s, Inc., and soon thereafter they fired Sam Goldwyn. That same year Sam
Goldwyn formed his own company, without any partners, and called it Samuel Goldwyn
Pictures. He located his new company on the United Artists lot.
In 1923 brothers Harry, Albert, Sam and Jack Warner (whose
last name was actually Eichelbaum) officially incorporated Warner
Brothers Pictures, although they had been making films under various
other names since 1918 in their own facility at 5800 Sunset Blvd.,
which was called Warner Brothers Studio. The president of the company was the oldest
brother, Harry, and the head of production was the youngest brother, Jack.
In 1924 Metro-Goldwyn merged with Louis B. Mayer Pictures and became MetroGoldwynMayer, with Mayer as the president. Louis
Mayer left his headquarters at the old Selig
Polyscope lot on Mission Rd. (next to the zoo),
and moved onto the Goldwyn lot (formerly
Triangle), which now became the MetroGoldwyn-Mayer lot, and stayed that way for the
next 50 years.
In 1924 CBC Pictures, run by brothers, Harry and Jack Cohen,
and Joseph Brandt (and had been around since 1920), became Columbia
Pictures and opened at 1432-1440 Gower Ave. (which is now SunsetGower Studios) and across the street from the very first Hollywood
studio, Christie-Nestor Studios.
In 1924 Rayart Pictures took over the old Selig Polyscope
Studio in Echo Park, next to the zoo. Rayart became Monogram
Pictures in 1930, then it became Republic Pictures in 1935.
Also in 1924, on November 19, Thomas Ince died onboard
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William Randolph Hearst’s yacht. It has always been suspected, though never proven, that
Hearst shot Ince believing that he was Charlie Chaplin, whom Hearst suspected of having an
affair with his paramour, Marion Davies. Ince’s body was immediately cremated, and there
was never any investigation or inquest. This brought an abrupt and inglorious end to Thomas
H. Ince Pictures. Cecil B. DeMille left Paramount Pictures, started the Cecil B. DeMille
Studio, and moved onto the Ince lot. This is where DeMille made King of Kings (an obvious
extra in the film was author Ayn Rand, who had just immigrated to America).
In 1925 Walt and Roy Disney opened a new facility for Disney Bros. Studio on
Hyperion St. in downtown Los Angeles.
In 1925 Warner Brothers merged with First National, forming Warner Bros.-First
National Pictures, and took over the big First National lot in Burbank. This is where Warner
Brothers is still located, at 4000 Warner Blvd.
In 1926 Famous Players-Lasky moved to the former Robert
Brunton Studios on Melrose, and this is when it officially became
known as Paramount Pictures. This is where Paramount is still
located. Incidentally, all of the manhole covers on the Paramount
lot still all say “Robert Brunton.”
In 1928 RKO Pictures was formed by RCA (Radio
Corporation of America), Keith-Orpheum Theaters, and the FBO
company, which was the Film Booker’s
Organization, owned by Joseph P. Kennedy (father of former
U.S. president John F. Kennedy), who had already purchased the
remains of Mutual Pictures (including Griffith-Fine Arts Studio)
and Pathé (including the Ince/C.B. DeMille lot), as well as the
Robertson-Cole Company, located at 860 N. Gower St. (at the
corner of Gower and Melrose, with Paramount on one side and Columbia on the other, and the
Hollywood Cemetery on the other). So, RKO moved onto the Robertson-Cole lot, and had
the top corner of the building built to look like a globe, and on top of it was RKO’s trademark
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radio tower. This building is still there, and the globe is still there, too, but not the radio
tower, and the stages are now part of Paramount.
Also in 1928, Fox Films bought
cowboy star, Tom Mix’s, ranch in West L.A.
and renamed it the Fox Ranch. Fox Films
kept their headquarters on Western Ave. and
used the Fox Ranch as their backlot.
In 1933 Darryl Zanuck, at the age of
31, left his job at Warner Brothers as head of
production, and started his own film company called 20th Century Pictures, with Joseph
Schenck, brother of Nicholas Schenck, who was the president of Loew’s, Inc., the parent
company of MGM. 20th Century Pictures moved onto the UA lot on Formosa, which had
already become the Samuel Goldwyn Pictures lot.
In 1935 David Selznick (previously the head of production at RKO, then a producer at
MGM), at the age of 33, formed Selznick International Pictures, then moved into the old main
building of Thomas Ince Studio, which was then RKO-Pathé, in
Culver City, next to MGM (where David Selznick’s father-in-law,
Louis Mayer, was president). Selznick used the main building as
not only his headquarters, but also the company’s logo (as well as
the front of the Tara plantation in Gone With The Wind). The rest of the lot remained the
RKO-Pathè lot.
In 1935 the Fox Film Corporation merged with Darryl Zancuck’s 20th Century Pictures
to become 20th Century-Fox, with Zanuck as it’s president. They then moved the company
from Fox’s Western Blvd. headquarters to the Fox Ranch in West L.A., at 10201 W. Pico
Blvd., which
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is where 20th Century-Fox is still located (although all of what is now
the development, Century City, used to be part of it). The Fox Film
Laboratory, located a block away from their original location on
Western Ave., at 1377 Serrano St., then became the 20th Century-Fox
Laboratory, which then finally became Deluxe Labs, which is still there in the same place.
In 1937, with the enormous success of the first animated feature-film, Snow White and
the Seven Dwarfs, the Disney brothers relocated to a 51-acre lot in Burbank at 500 S. Buena
Vista St., and changed their name to Walt Disney Productions.
So, by 1937 every Hollywood studio had finally arrived at its proper place. This is
where they would all remain for at least the next 20 to 30 years. Some of the studios, like
Paramount, 20th Century-Fox, Universal, Warner Bros. and Disney, are all still in those same
places.
In 1948 Howard Hughes, who had been independently producing movies since 1927
(such as Hell’s Angels in 1930, and Scarface in 1932, with his production company, Howard
Hughes Productions, located on the RKO-Pathè lot, although he himself had an office at
Samuel Goldwyn Studio), bought the controlling interest in RKO Pictures for $9 million, then
began accumulating the rest of the stock cheaply. Hughes owned the studio from 1948 to
1954, managed to lose $40 million, then sold the studio at a $10 million profit, due to the
advent of television and the value of the studio’s film library. The purchasers of the studio
(MGM bought the film library) were Lucille Ball and Desi Arnaz, who in 1954 were in the
midst of their huge hit TV series, I Love Lucy, and they turned RKO into Desilu Studios. In
this deal they also acquired the RKO-Pathè lot.
In 1968, with the great success of his film The Dirty Dozen, Robert Aldrich purchased
the old Oliver Morosco Photoplay Studio, that had been Famous Players-Lasky-Morosco, and
it now became The Aldrich Company. He went bankrupt in 1973.
In 1975, at the peak of his career, Francis Ford Coppola purchased Hollywood General
Studio at 1040 N. Las Palmas, smack in the center of Hollywood, and named it American
Zoetrope Studio. This facility had been there since 1919, and had existed under various
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names, such as: Jasper Hollywood, Metropolitan Pictures, and Educational Pictures. After the
release of the notoriously expensive box office failure, One From the Heart, as well
asHammett and Rumble Fish, Coppola and American Zoetrope went bankrupt and vacated the
premises in 1983. Brothers Ridley and Tony Scott had their offices there in the 1980s.
Francis Coppola and American Zoetrope are still in business, but are now located in San
Francisco, where they had originally started. The studio in Hollywood on Las Palmas has
become Hollywood Center Studios.
Since 1975, most of the Hollywood studios have changed hands numerous times. The
Sony Corporation owns Sony Pictures, Columbia Pictures, and Columbia Tri-Star (and is
located on the old Triangle/MGM lot); Rupert Murdoch’s News Corp. owns 20th Century-Fox;
Paramount is owned by Viacom; MGM and UA (which merged) are both owned by Kirk
Kerkorian (neither has studio facilities anymore); Warner Brothers is now part of the TimeWarner-AOL conglomerate; Universal is now a subsidiary of the NBC Universal; the Walt
Disney Company owns Walt Disney Pictures, Hollywood Pictures, Touchstone Pictures, and
Miramax.
And that’s pretty much where all the Hollywood studios stand, for the time being.
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Nestor: The First of the Hollywood Studios
December 3, 2012
Hollywood’s first movie studio was opened by the Nestor Motion Picture Company, a business founded in
Bayonne, New Jersey, by brothers David and William Horsley. The Horsleys turned a tidy profit on their
extremely popular one-reel installments of Mutt and Jeff, a weekly serial based on Bud Fisher’s comic strip
that ran in syndication for 75 years. The Nestor Company soon expanded to the West Coast and took over
the site of the Blondeau Tavern on October 27, 1911, on the advice of HJ Whitley.
Behind the building at the northwest corner of Sunset and Gower, they built Hollywood’s first motion
picture stage. Al Christie supervised its operations while the brothers Horsley remained in New Jersey,
overseeing the film lab and distribution. Taking advantage of Southern California’s perfect year-round
filming weather, Christie’s team cranked out three one-reel films each week: one western, one drama, and
one Mutt and Jeff serial.
Many other would-be studio moguls followed suit and opened up shop in Hollywood. An ambitious
maverick by the name of Carl Laemmle was one of them. Founder of New York’s Independent Moving
Pictures Company, Laemmle aggressively expanded until May 20, 1912, when he became head of the
newly-formed Universal Film Company—among the six companies that merged to form Universal were
both Nestor and Laemmle’s IMP.
Laemmle took a liking to the Nestor Ranch, a leased land just on the other side of Cahuenga Peak from
Hollywood. Nestor Ranch would soon expand and become Universal Ranch, which was used to film many
early movies (including D.W. Griffith’s classic early feature film, The Birth of a Nation). Laemmle
subsequently purchased the surrounding land to create Universal City.
The original Nestor Studios site went through various owners until the Columbia Broadcasting System
(CBS) bought it in 1935. CBS demolished Hollywood’s historic first studio, and built a $2 million facility that
set the stage for the era of Television in Hollywood.
http://millenniumhollywood.net/2012/12/03/the-first-of-the-hollywood-studios/
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