Uncategorized – Page 7 – Phantom of the Backlots (2024)

Let’s first start with this announcement-If you don’t already possess Hollywood’s Lost Backlot, Steven Bingen’s sensational book on 40 Acres, Get It! It’s The Bible for pictures and facts about this legendary backlot. You will refer to it all the time, the perfect Desilu Rerun companion. Also, his latest book, The MGM Effect, has a story with yours truly featured. I’m extremely honored to be part of that legacy and will do all I can to keep that logo alive and breathing forever. Another must have book for your studio library shelf, which- is the best shelf in the bookcase. Finally, an audio bonus, check out the podcast by Greg Dyro on the making of The MGM Effect, available online.

Fade-in;

Because of all of the changes in ownership involving this studio, things got misplaced. In some cases, for decades. You still might still find an old make-up trailer just sitting around, covered with dust.

The very last structure to be bulldozed at 40-acres were the Film Vaults. In a land that once had sets from Stalag 13 to Mayberry, only a few trees and blowing tumbleweeds remained in August 1976. I shared previously my excursion inside these bomb shelters that are literally explosion proof. That’s because the contents inside are extremely volatile. Just recently I was contacted by a man named Barry, he happens to be the last handful of folks to see this place be excavated.

He contacted me because I’m one of the few folks still alive who has been inside. My entrance was about six months prior to the afternoon- I’m about to detail.

The Main Gate on Ince…

This is how you enter this backlot, you know you’ve arrived when pavement turns to dirt.

Welcome... A guard shack no longer exists just inside the chain link fence, it’s been replaced by an elevated industrial water tank to fill water trucks needed to help control blowing dirt. Yep, this lot is going, going, Gone With the Wind. Camp Henderson is the first missing set you notice and that hits you like a punch in the nose. To see this lot this barren, you would need to rewind over 50 years.

But the one thing that still stands was built for preservation, even in a war. Its appearance is that of a bomb shelter. Thick cement walls with heavy blast doors. The light switches inside can be used in an explosive gas atmosphere. That’s because this film is silver nitrate. This film has a nasty reputation. It’s been known to catch fire in movie theaters.

Nitrate was used from the late 1800’s to the 1940’s. These bunkers date back to that era. RKO probably built these, Desilu inherited them, and television made its way inside. Racks and racks and racks with enough film to stretch to New York are packed like a sardine can. The cans are labeled but little inventory can be diagnosed from the racks themselves. Basically, you just look, if it was a TV series, like everything I saw there was, then all these prints were stacked against each other. The more successful the series, the more cans it will have. Some film is 8mm, some is 16mm, the cans vary in thickness. One reel per can, some cans just contain cuttings. Strips of film frames captured in a roll held together by rubber bands.

Water then crept inside, so the bottom rack was inundated, and white calcium deposit levels show different water levels. This place seems to have been forgotten. Maybe no keys still exist. This studio has had several owners since Desilu sold it. Nothing seems to have been passed down from previous ownership. It’s like a sci-fi movie where everybody evacuated. I got in without keys and it was not easy. You can read my account in detail in my book Hole in the Fence–The Desilu Film Vaults.

Today, we will suffer together the twisted fate that was sealed in this tomb of chemicals and flammables and celluloid. We’re talking Hollywood’s most legendary stock TV series’.

Casablanca, Gone With the Wind, and Citizen Kane were recorded on nitrate, the earliest form of motion picture film. The latter two films were shot at this studio. As nitrate was phased out in the 40’s, many archives were destroyed intentionally, to eradicate the hazardous materials. Film archivists held nitrate in a different fiery light. Besides being an important ancestor to all forms of film to follow, nitrate is lauded for luminous contrast images resulting from emulsion rich in silver. It’s safe if handled properly.

As teenagers on the wild side, the word properly was misunderstood. Open the can lid and smell what is rolled tightly inside. If you want to see it, that requires unraveling the film, which I’m certain was EXREMELY DANGEROUS. Boys will be boys and we were looking for costumes and props- not film. I guess that’s why my mom always said ” Donnie-just be careful” every time I went out our front door.

I’m still alive so I did something right, plus I have a wonderful Guardian Angel that’s saved me numerous times.

What I describe on this day is through a different set of eyes, my pal Barry.

Ince Blvd– at the 40-acre backlot entrance a visitor arrives...

The main gate is wide open since there is no more backlot. Barry, a trespassing veteran himself, pulls in like he owns the place. Immediately, he sees a barren landscape, no more Camp Henderson, no more anything, except a claw on a huge tractor that’s parked in front of the film vaults. One door has been ripped off as he parks his car where he can observe. A huge dumpster sits precariously close to the action. A guard is with the operator and demolition crew.

Barry, during a lull in work, enters inside. The contents are about to be destroyed. He picks up a few cans and tucks them away in his car. That was easy, but as he returns, security this time says, “Stay Out!”

Following instructions, he stays out, but instead sneaks around to the blind side of this dumpster to grab film that’s been dumped. This time security is angry and asks for some I.D. He talks his way out and says he’s with the studio. Calm, cool and collected- but intensely frustrated, he exits just as the giant claw tears off the roof. This is a massive bucket doing the dirty work.

The items randomly recovered by our want to be hero turn out to be the Pilot of Star Trek, Captain Pike, not Captain Kirk. These are cuttings, not full reels. Other cutting tied by rubber band turn out to be Lucy, Ricky, and Bob Hope driving around in a convertible. These items were very close to being underwater as the bottom rack was at sea level.

Other films on the rack besides Star Trek included a pilot called The Sheriff of Cochise. Westinghouse Desilu Theater, and some I Love Lucy cans along with The Whirlybirds. Paramount had labels on film cans in the dumpster.

Edison-The All Electric House of the Future had film inside displaying futuristic homes.

We will never know exactly the depth of this catastrophe, but when you hear of lost episodes, this hand me down studio really did lose things. I imagine some recovery was made since there is enough vault space to handle decades of film. RKO has to have stuff inside here that was lost. I think they built it. Desilu took it over and TV filled the racks.

There is a comment I’ve heard researching what I still can from Desi Arnaz himself, dating back into the sale of Desilu on December 29, 1967 “Throw it all in the Santa Monica Bay” in regard to much of this film.

Back in the day, TV only had channels 2-13. Seven channels, if you’re lucky. This translates to tons of content with minimal ways to sell it. Quality shows, view outlets. Storage costs money, so if a product isn’t generating revenue, it costs money to store. Plus, liability, kids prior to this demolition accessed my entrance and film would be blowing down in the creek. It’s a miracle no kid met with a fiery fate.

The studio that brought you GWTW now is entirely blowing in the wind…ashes, dust, and celluloid make up this lost horizon.

Until 1962, Desilu was second to MCA’S Review Studios. When MCA bought Universal Pictures, Desilu became the number one independent production company until being sold in 1968.

That’s an update of an event that happened almost 50 years ago. No other studio mishandled their inventory like this Lost Backlot did.

Fade to Black…

Written and lived by …Donnie Norden

Quality Television…

Lucille Ball and Desi Arnaz are the faces that come to mind whenever you see the Desilu title identified. Never was the label more proudly displayed than the signature a top the water tower that once overlooked this studio. It could be seen at ground level from every street on the backlot. Your not in Mayberry if you don’t see this water tower.

Lucy and Desi proudly claimed ownership in 1956 and the studio thrived unlike ever before. Thomas Ince once had a plan, but strange things happen around here. RKO, the next owner after DeMille, never had a plan, just do what you wish on this wild backlot ranch nicknamed 40 Acres.It actually gave the lot charm, comparable to some nice orphan kid growing up at Boystown.

Television was starting to taking off back in the mid 50’s and the landscape around this lot would end up in a majority of classic television series going forward. Lucy and Desi have a crystal ball. There’s a new sheriff in town and he smokes cuban cigars. Money is spent wisely, not foolishly, and efficiency is introduced to a studio that use to make decisions from the saddle of a horse.

Enter Danny Thomas:

One afternoon I was watching Andy Griffith reruns with my mom and I asked ‘Who is that Danny Thomas guy whose name is on the credits?”

My mom kicked into church mode and spoke in sincere heart warming terms, “Donnie, he is a Saint- he helps kids with serious needs” …My mom began tearing and choking up, for she also had a physical disability that handicapped her for her entire life. Because of a bad hip socket at birth, as a young child, she had some horrific and almost barbaric remedies performed on her. Forever, she walked with a metal, adjustable, heavy duty crutch. It often doubled as a machine gun when not in cane walking mode. It was a really cool looking- crutch/weapon in the hands of her young son. Best compared to Cage’s gun in Combat, the only thing missing from my mom’s crutch is a bayonet!

Bless her heart…Her ailment started long before St. Jude was founded by Danny Thomas on February 4th, 1962 in Memphis Tennessee.

My mom is my hero and Danny Thomas is her hero.

From that moment on- he had my stamp of approval and I soon noticed his name is involved in quality, both on TV screens and countless kids hearts…

1953-Danny obtained his own T.V program with posturing by his agent to a struggling ABC Network. To acquire the services of coveted Ray Bolger, ABC had to take on Danny Thomas. The network was skeptical of this throw-in due to previously low ratings in other endeavors. After some brainstorming, the network came up with a series for him titled Make Room for Daddy. In 1953, it was billed as the best new show on that TV in your living room.

In 1957, it shifted to CBS and slid into The Lucy Show time slot. That show finished off with 180 episodes, many that somehow became lost. “More on that in a future film vault post”

While working on Make Room for Daddy, Danny and aspiring producer/director Sheldon Leonard developed a bond and Sheldon became the shows executive producer. Thomas/Leonard Productions was born. A powerhouse merger that home based off the Desilu Lot.

It was responsible for :

The Real McCoy, The Andy Griffith Show, Gomer Pyle, The Joey Bishop Show, The Bill Dana Show, and The Dick Van Dyke Show.

The Bill Dana Show starred- Bill Dana, but Don Adams played Byron Flick, and Jonathan Harris, who would soon star in Lost in Space. This show ran from 1963 to 1965.

Sam Denoff, Bill Persky, Jerry Parris, Marlo and Danny Thomas produced…That Girl.

Desi Arnaz ran the Desilu Westinghouse Desilu Playhouse at this same time. Desilu had so much going on it occupied three movie lots, two in Hollywood and Culver City’s old Thomas Ince facility.

In 1965, Sheldon left the partnership to develop the series I Spy. In 1967, Mr. Thomas tried to buy Desilu from Lucille Ball, but was unsuccessful.

Andy Griffith was the first spin off on American television. It originated from a 1960 episode of Make Room for Daddy. Success poured Danny’s way as several of his TV shows reached Number One. He is also responsible for casting Mary Tyler Moore as Laura Petrie.

Andy Griffith was a spin off of No-Time for Sergeants and Gomer Pyle was a spin-off of the Andy Griffith series. All these shows could be found on the Desilu backlot. Gomer Pyle too became another huge success, In it’s 5 year run, it only fell under top three rated shows once. where it fell to tenth. NBC wanted to spruce up the ratings for Star Trek and was penciled in that Friday night 8;30 time slot, thinking Gomer was in decline. Not the case, Gomer zoomed back to the top and Star Trek got canceled.

All these iconic shows filmed on the Desilu backlot and the negatives ended up here also, in the film vaults that time forgot…more on that to come.

I had a Gomer Pyle lunch pale, I wanted it because it has the Gomer’s barracks in the background as Sgt. Carter gets splashed in the face by a water hose. I loved Frank Sutton. He was the perfect Sergeant. He was a W.W2 in the Army and saw combat in the Philippines. Frank was also a black belt in karate.

Much of this era- and decades before- ended up in film vaults on the backlot. Ironically, shows that filmed at this bunker would eventually end up inside this cement fortress with 8 blast doors. This vault area will be a topic of discussion in my next post.

I wish to thank Danny Thomas, Marlo Thomas, along with Terre and Tony for their effort in making St. Jude the place where kids can fulfill their lives. Let’s all say a prayer for these wonderful in need…

Outside the studio main gate…On Ince Blvd.

The surroundings of what was then Desilu were very simple and middle class. Neighborhood bungalows often provided shelter for the employees that worked inside this studio facility. A laundromat with the name Paramount engrained in the mortar sits across from the main gate. Industrial grade facility, uniforms and costumes get cleaned here from your all time favorite films. The building adjacent to it supplies ice. Ice is a big thing, and gets used in various ways. These commodities are extremely important yet go unnoticed, but not on Ince Blvd.

Next door to the Ice Company, across a tiny ally that looks like something that Elliott Ness would raid, is your last chance for gas. A legendary bar winks at you caddy corner and is across from The Plantation where all the studio executives create things. Things we watch on television. The mid 60’s was the peak for quality T.V. Roof antennas and rabbit ears pulled in shows being filmed in every backlot in Hollywood. The Culver Hotel looks down on all of this landscape.

The gas station that fueled your hasty exit was Richfield, back then. It was typical of any in the USA. Quarts of oil sit on display outside a tiny fix -it garage. Two cars could fit inside, like the two cells in Andy Griffith. In fact, the next closet gas station from here is Goobers, just down the road. He’s not always open, so don’t be that Man in a Hurry.

Soda machines stand side by side cigarette machines for the big spenders, and a last chance phone booth sits proudly along side some 55 gallon oil drums. Your having a good day if the soda is cold and you have enough coins to place your call. Collect calls sometimes work, if your mothers on the other end. The Herald Examiner also is interested in your quarters and displays its daily headlines proudly through a crusty yellow cover surface.

In 1965, my family bought color to keep up with those fancy silks Batman and Robin wear. A revolution on channels 2 through 13. Less content resulted in extremely High Quality T.V. We saw the same faces and actors on several of our television series and began to feel like we knew them. Who doesn’t feel they already know Gavin McCloud for example or Burt Mustin. Bruce Lee lived directly behind the studio on Van Buren street and neighborhood kids did know him. Color worked everywhere with The Dynamic Duo and The Green Hornet. Art directors and wardrobe had plenty to work with in our most colorful decades. Even That Girl produced 136 color episodes.

One afternoon I stopped with my sister to get gas for her candy apple red- GTO. My dad gave it to her since I’m still in single digits. Nancy gets out to pay while we receive a full service treatment. I fiddle with her 8 track, since I can’t drive yet, but I can rock. The band Cream begins to play White Room- at the station. I’m happy as I rock my head sideways, welcome to the 60’s – my sister interrupts points out a crowd that is looking and/or waiting to use the phone. My eyes pan like the lens of a camera, anxious women fidgeting, each dressed more colorfully that the next- block the folding glass door, it’s then who I realize who’s inside-Marlo Thomas.

It’s like a casting call and every actress wants to use this phone. They will have to wait there turn, Marlo Thomas is using it for something important. My sister and I love –That Girl. I role down the power windows and gawk.

Secretly, I had a crush on this woman before I was certain I even liked girls. There she is-as adorable as can be. She’s animated inside her booth and her mannerisms make this seem like the opening scene in an episode. We pick…That Girl!

Like the opening scenes yet this isn’t being filmed, it’s real. The only thing missing is the train speeding alongside the New York skyline, by with the irresistible jingle I grew up loving composed by Sam Denoff and Earl Hagen.

Diamonds, daisy’s, snow flakes and That Girl, chestnuts, rainbows, springtime That Girl…

This is coming from a boy who couldn’t get enough war and machine gun T.V, but spring must be in the air, this had a grab factor. It’s that girl with the umbrella, with the fancy Thursday night prime time slot.

Ms. Thomas wanted the show title to be-That Girl. The studio preferred The Marlo Thomas Show, every show at Desilu had the stars name attached, Marlo wanted a fictitious character, Ann Marie Henderson was born.

Written and lived by…Donnie Norden

The Seventies begin…

A year after MGM sold its soul to the devil-20th Century followed suit a year later. Never has there been more access to chariots, airplanes-full scale and miniature, and ships for sea. “Costumes needed, step right up. We’re giving them away.” “We’re going to build a modern city on this sacred ground,” that’s the pitch.

Groundbreaking started in the early 60’s and real estate was about to skyrocket. This entire city known as Century City was pure backlot. Its size rivaled MGM, which is a short trip down Motor Avenue. All the studios on the Westside succumbed to inflated real estate. Lot after lot was auctioned off to the highest bidder. The equipment and props used on these lots were no longer needed, and deals were everywhere.

MGM and 20th Century Fox decided to cash in their chips. Desilu would also succumb to this huge cash cow real estate is providing. I imagine the Hogan’s Heroes tree stump would have received bids. Or the dog houses, guard towers, and door handles from Stalag 13. The Mayberry Courthouse door handles should be in a catalog. The fuel pumps at the filling station and the soda ice box. Desilu/Culver gave their stuff away, or in some cases-forgot it was there. Such as my recent discovery of Marion Davies’ original Make-up trailer. You know the one I discovered in a backyard, that was pulled around by horses. Bunkers full of old TV shows were sat abandoned and neglected.

RKO/Desilu fizzled out…No auction, no mention-the land that time forgot!

Legendary items left to fend for themselves, ending up in the hands of kids with a keen eye. No bids required, yours for the taking.

But the big two players, Fox and MGM, couldn’t dump stuff fast enough. Bring your checkbook. This is where adults become kids again. These sales were once in a lifetime and closed the curtain on how the studio system once worked.

I started sneaking into the 20th Century lot in 1974, after about a year of scouting. It turns out, the Pico entrance had a climbable tall fence without any barb wire. The problem there is Stages surround you as you land inside. You’re boxed in with no hiding places, so running is an option, from point A, to point B. Point B is either a tiny little Western Street, used in an episode of Starsky and Hutch, also The Rookies, S.W.A.T. and Charlie’s Angels were in full swing.

Movies going on were The Poseidon Adventure, The Towering Inferno, and Young Frankenstein. These were shows that I semi- infiltrated in various locations on this lot. This isn’t like my studios; the main lot connects to backlot streets. Stages are dominant in the landscape. The main lot is a semi backlot. But this lot once had a backlot, and it was big enough to become home and office for thousands of residents.

I remember a Friday night Jimmy and I were on the 20th Century lot; we snuck in by climbing a chain link fence on Pico Blvd, right next to the L.A. Rams ticket office, across from Rancho Park Golf Course. This area is all stages with little or no hiding places. We felt like novices, we barely know this lot other than from the outside looking in through holes in the fence. We became alerted when we were looked at suspiciously by crew transmitting with walkie-talkies. Jimmy and I separated in two different directions. I turned a corner and chose a bush to hide behind that was exactly my size. No one saw me- so I’m safe if I never move. Trailers are parked outside the stages; it appears I may be here for a while… you know how these things go.

I’m pretty pinned down, but I’m protected in the shadows, just me and some spiders who probably wonder what I’m doing here. To my amazement, I see something hidden inside this bush that right now- is the center of my universe. There is a round reel of film inside a box that says –Young Frankenstein.

“I’ll be damned, that’s my show,” I think to myself pressed up against the stage wall. An actress in a western costume is talking to some guy on a bike as I peek through the branches that surround me. A red light spins every time filming commences on stage, like on a police car roof top. I’m not sure what I’m hiding from. No one is chasing me, I’m just a little scared is all. “I can’t believe there is an entire reel in this box”… I saw all the exteriors filmed at MGM, and now I’ve found a reel in this nicely manicured hedge at 20th Century Fox. So many thoughts cross my mind. “How, why, what… this has to be a theft and I’m sitting right next to it! It’s my favorite monster movie ever.

Someone was going to pirate this film or this reel anyway by all appearances, and this hedge I’m hiding in was involved in the plan. A drop off point maybe. This hiding place I’ve chosen, and the contents here could land me in prison. It’s one of those things- you want it- just can’t have it. I was just trying to hide during a perilous moment, and I end up in a bush with a soon to be released- box office hit.

Today on this lot in Century City, there are still reminders and some existing sections that date back to when all things glittered Gold, before they were all sold for cash…

“Do I hear 100 dollars for this empty bottle-SOLD!”

Written and lived by Donnie Norden

Amongst Rainbows and butterflies…

Having grown up in the 60’s, I lived this vibe. Compared to today, this was heaven. But in the the decade this film was made, Vietnam was a war our 18 year olds wanted nothing to do with. Down with War was the catch phrase. The counter drug culture developed and Make Love-Not War protests would become common place.

16 and 17 years olds commonly had long hair. At 18, you better be in college, As Creedence Clearwater put it, your either a Fortunate Son, or you have a Bad Moon Rising. But the song that fits this time zone narrative and that put Jefferson Airplane into the stratosphere was-White Rabbit.

It was released the same time this film was made-1967. The Summer of Love. This song was an invitation to feed your head. The psychedelic generation made this song their anthem.

Grace Slick, the band’s founder, says it this way…

“In all those children’s stories, you take some kind of chemical that leads you to a great adventure.”

The Lewis Carroll story- Alice in Wonderland, was way ahead of it’s time.

Grace continues” Alice in Wonderland is blatant. “Eat Me!” She gets so high she’s too big for the room. “Drink Me!” The caterpillar is sitting on a psychedelic mushroom smoking opium!”

Grace continues “This song was about the importance of education.” “Feed your head” the climax to White Rabbit, “was meant to liberate your brain and your senses.”

The 70’s culture retained much of this color, music and passion. Cocaine became prevalent, and all these drugs could easily be found in public school. Everything Jefferson Airplane sings about and more, carried over in another very colorful decade. On the MGM backlot-The sixties and seventies blended together. Sargeant Pepper would be made in 1977. Based off the Beatles album of the Sixties. The color, pageantry, and drugs continued like some Yellow Submarine trip.

This film-The Love-Ins was made by Columbia Pictures on the MGM backlot. Why they didn’t use their own backlot confuses me. They easily have backgrounds and a fancy park at The Columbia Ranch. What’s cool- is they didn’t.

Drugs and backlot adventures go together, hand in hand. It’s a wonderland weather Alice greets you or not. I have wonderful story called White Rabbit in part 2 of Hole in the Fence, second edition, coming later this year. It involves Magic Mushrooms and a chase by MGM security, the funny thing is-I was bare foot. It started in Tarzan’s Lake and I was doing my best Tom Sawyer impression. One of my fellow trespasser friends ended up in jail as everything that could go wrong-DID!

This backlot was so fun-drugs weren’t needed. MGM is a drug. But enhancement of the senses can manifest any illusion you can imagine. It’s as if these studio backlots were intelligently designed for just this reason.

You may see a White Rabbit or two, trying to lead you down a rabbit hole. You too can experience all this enchantment, simply by following me through my…Hole in the Fence!

Written and lived by….Donnie Norden

1982 Stage 12, Universal- we begin;

After all the hooting and hollering ended at this stage, Universal knew it had money in the bank on this feature. How could it not, Burt Reynolds was our Box Office King! Our Bandit traded in his Trans Am and ponied up with Dolly Parton to make a rip roaring, sometimes lewd, musical. Colin Higgins was signed on to direct what would be his final film. The budget was healthy enough at over 20 million dollars, of which Burt was paid $3.5 million. Dolly took second fiddle at $ 1.5. The filmed grossed over $ 90 million dollars. Dolly beat out stars such as Dyan Cannon and Shirley MacLaine for this role.

Mr Higgins prepared by watching old George Cukor MGM Musicals. The standard for musicals comes from MGM. Interestingly, another MGM icon was to be cast in this film, Mickey Rooney.But Burt suggested Charles Durning. “Everyone knows Mickey’s talents, but you will get credit for finding this star who can dance and sing” said Burt to his director.

The title created difficulties, in 1982- the word whor*house was obscene.so in several areas in this country the title changed to “Best Little Cathouse.” Whatever the title, opening weekend grossed just under $12 million. Burt had yet another smash hit. The studio, expecting sensational results, decided to keep this set that can be used inside and out. To promote the film further, it would get moved at an opportune time.

Universal was expanding on all fronts, the backlot was being redesigned. Not only houses, but streets became…on the move. Entire streets were relocated, including the Psycho House. It ended up by the ice tunnel as the last set on the Glamour Tram Tour. What replaced the Hitchco*ck set was this Chicken Ranch. Out with the old, in with the new. This house sits perched overlooking Jaws Lake, the same hill top that the Psycho House peered down from.

The Chicken Ranch would be our first backlot set that allowed interior filming as well as exterior. Being enclosed, it would maintain itself well over the decades to come. Every tram tour must pass this set do to the fact it’s the only road going up trams can use to complete the tour. So during filming, tram back ups can stretch a long ways. That creates a silent zone for guides as scenes and audio take place close by. Even the Shark at Jaws is silenced, when filming is close by. We still have trams go through it, and it still tries to bite ya, just silently. If you’ve been on the tour, you pass this house.

When not in production, this extra large driveway serves as a basecamp for shows filming on Elm street below and Colonial Street above. In summer, tents provide escape from the heat. This house had very limited power so generators are needed for extreme power demands. Air conditioning can be added for a costly installation fee. Those were the situations I dealt with everyday. This ranch kept me very busy, in needed attention almost daily.

1982 was truly a transition period on this backlot. I saw it with my own eyes, as a trespasser. I couldn’t believe what I was seeing. I didn’t begin my career until 1984 and most the changes were completed as far as relocation. I knew I had to work here as pretended to be the engineer on the famous Run Away Train. This lot was my new utopia, Culver City sold all it’s backlots. I trespassed all the valley studios heavy from 1981-to being hired in 1984.

My fondest memories almost always date back to trespasses. MGM prepared me well for these extremely busy backlots. In the mid- seventies, I had every backlot at my disposal, I captured every flag possible. As the pre- recorded audio from the Run Away train shouts to visitors aboard trams “I can’t stop,” lets just say that could by my calling card.

Written and lived by… Donnie Norden.

Climbing some ladders today…we begin:

This is a salute to this iconic moniker that used to sit perched a top Stage 6 on the MGM main lot. This Lion illuminated at night and looked down not only on the MGM property, including their backlots, but this entire city. You could see it from the 405 freeway. That certain section of buildings exclusively captures MGM, past and present. The three iconic identifiers are the Scenic Arts building, The Water Tower, and the Lion on the tallest stage on the main lot.

I fell in love with this studio long before I started sneaking in MGM. In the sixties, on my way to elementary school at St. Augustines, I looked upwards at Leo in passing every day. The only thing changing it seemed was the calendar and the films promoted below Leo’s proud roar. By the time I made it to school, I roared into class.

How could I not, I left an hour early because I liked looking through Holes in the Fence all along my journey. My lunch pail was THE RAT PATROL. Lucky me, I passed by these desert squad vehicles often, often staged up by the main gate. I couldn’t drive yet, but I imagined myself not only behind the steering wheel, but also at the handles of the 50 caliber machine guns. It was an adventure for me just to get to school. I’d rather be “On Location”

At night, the lion was like a porch light from the backlot perspective. My life wishes eventually led me to the top of this sign on top of Stage 6, but also, The Water Tower, I was able get up on the very top with the help of scaffolding. For me, these were lifetime goals. Over the course of my life, I’ve made my own history in every iconic building or set on this property.

Legendary MGM security guard Ken Hollywood took special care of me. It was Ken who hooked me up with Gene Kelly and Fred Astaire while filming That’s Entertainment.All this took place with the Lion looking down watching me, like my personal pet in neon form. Old MGM guards were very kind to me, sharing their studio experiences with me at the guard shacks I always stopped at on the way home from school.

In 1981, I was hired by MGM film labs as a reel router. My job was to get reels of film to various stops needed for laboratory processing. Six reels per film, Victor Victoria was our hit, starring James Garner. CHIPS was the hit Tv show along with Highway to Heaven. I met Michael Landon on the main lot. Lorimar Telepictures owned the studio, and the MGM sign was replaced, but my checks said MGM. It still had contract fulfillments.

MGM Film Labs was the last department to capitulate, and MGM was officially no more as this department faded to black. I was there, my dream job. Rumors persisted prior to this decision so I crossed my fingers, wore a rabbit’s foot, and prayed to God for this to never end. But God had other plans-bigger and better in the long run. You probably are already aware I had a long fascinating career at Universal Studios. Still today, I walk around the Sony lot as if it were 1972 again.

I want to graciously thank Mr. Steven Bingen for including me- of all people– to his latest latest work of art. It’s now available on Amazon. I’ve earned my MGM stripes along with couple scars to go with a knocked out tooth. MGM was that kind of place. Steven’s book is the type you see proudly displayed at Barnes and Noble, the kind of book you turn pages with white gloves on. Decadent to say the least.

It’s a complete contrast from my old green fence covered book topped off with barbed wire. You have to trespass to enter my book. Beware of splinters and yes- security. I can get you a helmet, their’s a room full.

I very much look forward to yet another fabulous Steven Bingen book, I can’t thank him enough for including ME. I wish his books existed when I was trespassing, that would have helped.So why don’t we all meet in the middle of the lot that will always be MGM. Beneath a lady holding a torch and a sign promoting Bullet Train– in a place where- A Lion Once Roared.

Written and lived by…Donnie Norden

Working here over 3 decades, I grew old here. But my kids grew up here. My boys, Hudson and Jeff would often accompany me when we had “must see” filming. While the boys preferred car chases and explosions, my daughter was partial to sets involving animals. To each their own because there’s plenty to go around. Each child is now a successful adult, but memories of Universal still linger on pleasantly.

Golf carts are how my children first learned to drive, and no one knows the backroads around here better than me. After the tour sends out its L.T.D, last tram of day, these same animations that thrill tourists get explored by kids on carts. While growing up myself at MGM, only security had carts. The only cart I got to drive in my day was a Football Helmet Cart with the Dallas Cowboy emblem on each side of plastic dome. It was in an airplane hangar storage area on the backlot, needless to say I drove the heck out of that prop…just a kid trespassing inside a motorized helmet. Eight is Enough was the show that built it as I digress…

Almost two decades later, my kids receive this perk, and they don’t have to trespass to do so. The power to drive around a backlot, usually off hours, with the wind in their face and the power to accelerate, honk a horn, or just slam on the brakes is all theirs. Much better than a sting-ray bicycle, pulling up to a set or stage on a golf cart is usually reserved for VIP’s. Being a Teamster, I have access to all sorts of transportation vehicles. You name it, I’ve driven it.

Nothing puts a larger smile on a kid’s face than handing over the keys to my underaged chauffeurs. Basically, skills used in the real world could be mentored here at the studio. We crafted the best Boy Scout projects with a little help from our studio machine shop. A wood car at an exact weight, no problem. Yes, this factory can create anything.

Past, present or future- around here –it’s just now. We are in the now when driving these carts, but they transport us from Ancient Spartacus to a future with Cowboys and Aliens, if we simply, press the gas pedal.

MTV Awards to Comic Relief Award shows began to thrive and appeared annually at the Universal Amphitheater. Audience tickets were given out to operations staff. My daughter got my tickets for all things MTV.

As you see in this pictorial, time best pastes itself with these captured moments. Years turn into decades, shows continue to come and go, and those who were once little kids, well now, they drive fancy cars and have lives of their own. But, in the deeper parts of their memories, they will always be cosmically connected to this Universal Studio Universe.

Written and lived by ….Donnie Norden.

On a quaint little neighborhood on the Universal Backlot…We Begin

There are so many iconic homes are on this street, it’s hard to disguise what can still appear as clear as day. Every house on this street has a star attached to it, Doris Day, Rock Hudson, Barbara Eden, Eva Longoria, Marcus Welby, The Cleaver Family and my favorite-The Munsters.

Recently, I was watching Adam 12 and criminal activity was taking place where all these stars have studio homes. Reed and Malloy attempted to make a traffic stop on a speeder in a Chevy Nova, naturally he resisted. Quickly things escalated and backups arrived and scoured the street. I became fascinated, this street has very noticeable structures and all were in play on this episode. Two houses we all know and grew up at were the focus of police attention.

First, the Beaver House needed to be investigated, while the suspect ended up across from the Munsters’ residence. At this point, I’m all in. A potpourri of iconic film sets need police to secure it. This is better than my TV dinner. My mind races as the police search everywhere- my gosh, this could be me running from building to building. Before my long career, I trespassed here, I met Barbara Eden on this street in Harper Valley P.T.A.

I hung out with Dan Pastorini and Greg Evigan along with Sam – the chimp. Bear is his stage name. These were all fine trespassing moments. I never could have dreamed back when I banged the bushes to hang out here, I would eventually have a full backstage pass career here. Before I worked here, I knew these buildings inside and out. As a production electrician, I would need access to all the buildings on this lot. Inside are the shooting stations that we tie our power to and distribute around the set.

My job requires me access to the same buildings I used to hide from security in. My, how times changed.

This street would be moved, one structure at a time, to an upper lot location as the studio landscape was altered and producer bungalows would become a creative campus area. Backlot sets were relocated even deeper in the backlot. In this remembrance, I want you to see what the two homes featured in this episode look like inside. These interiors you walk into now are not the same as they originally were-they were restrengthened, and old rotted wood replaced.

This is necessary if you want another 50 years of movie and TV production to happen here. These sets are now built to last, secured and sealed from weather. Yes, flat out livable. There is one bathroom next to the Beaver House and not every house has water. But wood floors, carpets and drapes brighten up what once were drab interiors.

This episode of one of the best police shows of its time triggered so many memories. Tram guests love this street. Cameras can’t click fast enough as tourist’s heads swing side to side. Many not understanding a single word being spoken. One set is equal to a thousand words in any language. The studio offers tours in several tongues, and it was fun to hear these sets talked about in German, Spanish, Japanese, Chinese, and just good old broken English.

I couldn’t understand 90% of the tour, but the faces and reactions said it all. Guides and drivers laugh at how many pictures of us in action are across this great big planet. Since tourists rarely see movie stars, they photograph us. We feel very honored to have this privilege. On coffee tables everywhere foreign flags fly, you may see a tiny piece of memorabilia with yours truly behind the wheel of a Glamour Tram.

Adios, Auf Wiedersehen, Sayonara, Zaijian, Arrivederci… so long everybody.

Written and lived by…Donnie Norden

101 Hollywood Freeway- 1982

At 55 MPH-We Begin…

Our thirst for a backlot adventure has taken Jimmy and me out to Burbank this Friday afternoon. We pass Universal Studios after exiting the 101 freeway onto a street named Barham. It intersects with The Burbank Studios, and another road called Hollywood Way, where Columbia Pictures backlot ranch is located. Our destination is any one of these studio backlots. Just to see studio backlots again is refreshing.

Culver City officially destructed every set ever built on their backlots. Townhomes, estates, and industrial warehouses have replaced 5th Avenue, New York City, Tarzan’s Lake, Mayberry, Stalag 13 and on and on. No morals, scruples or guilt seemed on display. A pure money grab, I barely recognize the city I grew up in.

Now a days, we drive to the valley to get our fix of Hollywood. We never know what shows we will run into and that will depend on what lot we choose to scale the fences at. Our decision is sometimes made and based off the challenges of being seen by homeowners living on the streets we park on. We try not to display ourselves as unusual, so we kind of read the tea leaves, so to speak.

But today we grab parking just outside a rusted old ivy-covered chain-link fence with the typical 3 strands of barb wire on top. On the other side is a thick jungle with a berm blocking a rooftop. We are entering the TBS lot behind The Waltons house, and the shed is where we take cover, next to some empty chicken coops and farm tools.

Since this area is deserted, we swing for a bit, on the Waltons tire swing. Pumping feverishly, taking turns, trying to reach higher heights on each leg kick. The treehouse sits vacant above us- no sign of any Walton family today.

The beauty of the valley is we never know what to expect show wise, and these Hollywood lots are always busy. This is like climbing into your TV set. Look over there- it’s Richard Thomas or John Boy, wait there’s the General Lee with Bo Duke. Is that Mr. Roarke and Tattoo? That’s how trespassing at a place like this works.

Flamingo Road let us watch them film last time we were here, they were filming at the lagoon up yonder. We watched as Howard Duff was attempting to dock a hydrofoil. As simple as that may sound, it didn’t go well. This large fan that looks like a studio wind machine was a bit tricky at low speed and suddenly flipped, tossing Mr. Duff headfirst into the swamp. I was standing next to Morgan Fairchild who was watching this scene with us.

At first, there was some concern, but as his head popped out of the shallow pond, laughter erupted. Morgan Fairchild, who was sipping tea, turned and stuck her head in my shoulder, trying to hide her laughter. Like I’m crew or something, I’m trespassing, but the star of the show is trying to control her laughter by putting her head on my shoulder.

Right place-right time is how the magic works. MGM, over the last decade, trained me for this very proficiently.

Every road here can lead to its own adventure and in four weeks or so, you can watch and relive this day as the show gets aired on network television. In many cases, we see scenes that get cut or go afoul. Such as this Hydrofoil, that outtake will be cut out and only lived or remembered by those working…or trespassing!

From a tire swing hanging from a tree house, we begin foraging through the jungle. No one is home today at The Waltons House. We pass by the lagoon that is full of water and go inside a cabin that overlooks this pond. We smoke a victory joint in a location today void of human life. We christen this moment with a billowing cloud of happiness. These evolve into shapes like figures as the sun highlights different patterns as these plumes travel slowly along hugging the green water. We sit on the porch relaxing, before we head over to Laramie Street, our next location. At this point-I feel like Grandpa Walton.

In front of Ike Godsey’s Country Store, we are greeted by horses with saddles, tied to a large horse trailer. Jimmy and I exchange “Hellos” to these 4-legged actors. We scratch their snouts as they kick at the dirt. Lots of action is taking place over at Laramie Street, we see cowboys riding and kicking up dust. The western street is off-limits, and we could accidentally walk into a camera shot. The town bank is where most of the activity is. The side streets surrounding Laramie Street have trailers for make-up and transportation equipment. We peek inside each trailer door that is wide open while walking along the wooden sidewalks that lead to the saloon. We go upstairs to get the feel for what’s taking place on the street below.

Bingo, we see the star just across the way- It’s James Garner. The cardboard show identifiers in the vehicles indicate what we now have verified, this is the TV series Maverick.

We watch James messing around off camera, as my mind races. I love cowboy TV, I want to go meet him. Jimmy my friend, and I are plotting our next move. I tell Jimmy-“He loves the Oakland Raiders.” Our eyes follow his every move. ” Let me break the ice, we will talk Raiders football…follow me!

Out of the saloon we go and cross the dirt road like we belong here- casually positioning ourselves within speaking distance. We sit on chairs that are part of set decorations. Barrels, boxes and benches line the wooden gang planks. James is standing alongside an elevated arc light, with one hand bracing against the crank- evator that lifts the 10-k light and housing. A lamp operator wearing leather gloves stands on an A-frame ladder. He too chimes in on Raider talk.

Knowing timing is everything and his time is valuable, I act like I know him. “It’s so nice to see the Raiders dominate again.” I get out of my stool and stand directly side by side of- Maverick!

“Jim Plunkett turned that team around” is his response as he wipes his brow under his cowboy hat.

“Al Davis added that key piece- he’s the guru of football” I try to impress…

“No-one scouts talent better than Al, all the misfits from other teams put us over the top” Mr Garner replies.

“Big John Matuszak is a great example, my favorite player is Jack Tatum” I pump Raider knowledge. “This is a team full of Mavericks– I work that in cleverly, I’m so excited right now…

“The Snake is one Raider I miss, but Jim got us the trophy” answers Maverick himself.

This conversation is progressing well, here I am, trespassing, standing with the legendary star who I first saw at MGM on a show titled-They Only Kill Their Masters- 10 years ago.

Jimmy is still seated listening to James and I talk football when all of the sudden…

BOOOM!

The smoking dragon that we are standing under just exploded! The fresnel, or glass lens just blew up. Broken glass narrowly misses our star. Maverick and I jump for cover, it’s like I’ve trespassed into my own scene with James Garner.

This arc light is now the center of attention and is fittingly how this visit to The Burbank Studios ended on this Friday, March 12, 1982.

Through the smoke of a damaged Arc light-we disappear...all in a days work.

Written and lived by…Donnie Norden.

On a hill once controlled by Howard Hughes… We Begin.

Paramount Pictures uses a mountain for their Moniker. They had it built on their backlot. It’s most famous for the TV series Bonanza. The Mod Squad filmed their opening credits inside it. It had a storage area that could double for a strange set.

But RKO/Desilu had a real mountain bestowed above their backlot, and it’s as legendary as the studio below it. From up on top of this dirt playground you could watch Hollywoodland develop from its preliminary infancy to robust, viable, commodity. Plus, the Hollywood stares back at this Hughes Radar hilltop. You can even see the Paramount lot in the distance with its tiny little composite snow painted mountain.

In my desperation to explore the Desilu backlot, I used this hilltop to map what’s below me in the late 60’s and early 70’s. This was my private balcony that overlooked this legendary backlot. Baldwin Hills has horse stables up as does 40 acres backlot below. Horses are king here, and bulls make good beer commercials. Wildlife thrives along the old creek bed, which divides up two sections of Desilu.

It was from this hilltop I verified what the Desilu fences had warned against- “Dogs on Duty.”

This set me back, it was almost impossible to gather a group of trespassers bold enough to explore here since… after all “You could be eaten alive.” Eventually temptation won out, Robin Hood-myself, along with a group of Merry Men, banded up together to go where no kid has dared to challenge- the 40-acre plot of backlot land protected by these The Dogs on Duty!

We slowly progressed, almost inch by inch-in pitch dark landscape, towards the first Stalag 13 guard tower we could climb up in…

The genie was officially out of the bottle for all things Desilu going forward. Dogs on Duty must be Dogs Asleep, thankfully.

Normally I take you through old sets, but today let’s look at the POV of Desilu from both looking down on it- and looking up at it. It’s a fun hike and the top has views of the Hollywood sign one direction, the Pacific Ocean the other. Overhead, a continual parade of aircraft lining up to land at LAX. This mountain top is a strategic vector as planes begin descent. Radar experimentation takes place up here, and that facility is operated by The Hughes Tool Company.

Everything that ever took place on the Ince, RKO, Desilu backlot could be clearly viewed from up here, and I’ve been told by engineers who worked up top here that’s exactly what took place. The Backlot was a T.V. set and this radar facility was like an antenna connecting you to the Outer Limits.

I find it fascinating that Howard Hughes ended up choosing this area for this secret facility, these hills extend to his aviation plant and airport. That’s the place the Spruce Goose was built. The real estate controlled by Summa Corporation is where Playa Vista occupies today… What didn’t Mr. Hughes delve into?

Nicolas Cage would film 8MM up top here at the summit after the facility was abandoned. On Jefferson Blvd. below this hill top-CHIPS, The A-Team, and Hunter, starring Fred Dryer-followed up the The Andy Griffith Show with more street credits.

To sum this all up, this mountain appears attached to the 40-acre backlot and indeed it is. Just traverse a creek and highway that lies in between. My biggest all-time regret is not photographing all this area with the backlot still standing below. You felt as if you were part of the studio up here. The church tower and the Mayberry Hotel were the tallest sets on the backlot but they were easily looked down upon here. This view made Desilu look like a game board with actual moving game pieces making T.V. shows below.

This area was to become upscale homes but thanks to the Santa Monica conservancy, it was spared an unrecognizable fate. I think a studio shrine needs to be included at the visitor center that sits lost and unenlightened after climbing the mile high stairs. This hilltop needs a good tour guide…

Written and lived by… Donnie Norden.