Sunset Boulevard (1950) Filming Locations - Finding The Hidden Then & Now Spots of Hollywood Classic
Sunset Boulevard 1950 Filming Locations
Transcript
0:02
welcome everyone adam the woo here
0:02
today's adventure will take me around
0:04
the greater los
0:05
angeles area to do a detailed
0:08
location search of the filming spots
0:11
sunset boulevard the 1950
0:15
classic about hollywood and i am going
0:18
to try
0:19
attempt to hit as many as possible
0:22
some have been properly documented in
0:25
the past
0:26
some i will be giving my best educated
0:29
guest
0:30
thinking that i have found and i will i
0:33
will go into
0:34
to more of that as i get to the
0:36
locations
0:37
it's going to be fun i'm ready for my
0:39
close-up mr demille
0:41
i'm inviting you to join me
0:45
someone's yelling over there shall you
0:48
that's right big the foot got all my
0:49
screen captures printed out
0:52
i am ready let's do this
0:56
i should also mention there there will
0:57
be some spoilers but
0:59
you know the film came out 71 years ago
1:02
seven decades
1:03
if you haven't watched it yet you've had
1:06
your chance
1:08
going up this incline up to the top of
1:11
this hill
1:15
you're going off the color scheme of the
1:15
movie well like the poster because
1:17
there's like gold black and white
1:19
so my friend natalie is joining she is
1:20
going off the color scheme of the movie
1:23
the movie poster or the movie itself
1:25
movie poster the movie poster
1:27
and this is the auto
1:30
neato apartments and joe gillis
1:34
his apartment was right there underneath
1:36
that balcony
1:37
and one of the opening frames
1:40
was right down this road much more grown
1:43
over
1:44
now considerably but that's what it
1:46
looked like when you got that
1:47
that panning that panning angle
1:52
upward
1:55
and camera kind of zoomed in to a sound
1:58
stage they did not use the interiors
2:02
but it kind of went into that window
2:04
right there in the middle of the screen
2:08
get a little angle here of
2:15
the birds are chirping maybe the birds
2:15
are
2:15
trying to say hello to joe gillis
2:20
right up there
2:25
it would be a good place to live if you
2:25
were a rider you kind of follow in the
2:28
screenwriting footsteps which i'm sure
2:30
some
2:31
do live here and have lived
2:38
over time it does appear as if it is the
2:38
same signage although it was
2:40
a slightly different angle
2:43
underneath the window it was
2:47
shifted the opposite way
2:53
but i'm gonna i'm gonna say it's the
2:53
same one
2:55
from 1950 and there's a
2:58
looking up at the window there
3:05
they're gonna go down the hill kind of
3:05
close to the corner of hollywood and
3:06
vine
3:08
and do some walking in this very parking
3:11
lot was
3:12
rudy's shoe shine business
3:16
kind of the opposite side of vine street
3:18
down there
3:20
from the capitol records building in
3:22
that empty lot
3:23
now back then the walk of fame the stars
3:27
did not stretch this far down
3:30
off of hollywood boulevard which is that
3:32
intersection right up there
3:34
on tavine this would kind of be the
3:36
angle
3:37
where joe pulled out carr was hiding
3:40
from the repo man
3:42
they were trying to find it and he
3:43
didn't have it at his apartment
3:45
you stored it right over here
3:49
oh almost just like how much if i trip
3:52
right there on that little hole
3:54
pinpointed the the precise angle
3:57
because if you look at the the
3:59
background there
4:01
just the way it's that building is
4:02
unblocked from the one in front of it
4:06
and there's those antennas very faint to
4:09
see
4:09
very very faint there's rudy's
4:14
which would have been here
4:17
there it is and then pulled
4:21
the car out of this section
4:25
and it's neat you can see a sign for the
4:27
brown derby
4:29
not the brown derby itself but a signage
4:31
of the brown derby
4:33
down there a block past hollywood
4:36
boulevard
4:38
right there that hat from the brown
4:40
derby
4:41
or the signage of the brown of the brown
4:43
berry promoting
4:45
that establishment and where this white
4:48
hole
4:48
is there would be just past
4:52
the driveway where he was pulled out of
4:54
that would be this
4:56
white hole obviously replaced the good
4:58
thing about rudy is he never asked any
5:00
questions about your finances
5:01
he just looked at your heels and knew
5:04
the score what'd you discover over here
5:11
there's a oh there that's not it wasn't
5:12
this wasn't the rudy but there is
5:14
a rudy you think rudolph was short for
5:16
he he used rudy for short
5:19
totally not affiliated with with the
5:21
film but very interesting because
5:23
there was a rudy's shoe shine right here
5:27
next to a different ruby now this is
5:29
interesting didn't even realize this
5:31
this is one thing i failed to like look
5:33
up beforehand i was so worried about the
5:35
the movie spots
5:36
but billy wilder his star is right here
5:40
as well next to where that shoe
5:43
shines stand was wow where gilles pulled
5:46
out
5:48
that's fascinating what a coincidence
5:50
right well
5:52
i don't know i find it i find it a
5:53
coincidence right yeah yeah it's cool
5:56
i wonder wonder where gloria swanson's
5:58
star is
5:59
how awesome whoa
6:05
that guy's running from the repo man
6:05
that want to hide it over there behind
6:06
the shoe
6:07
shoe shoe sign i can't talk
6:11
shoe shine stand
6:14
how appropriate is on the corner of
6:17
hollywood and vine
6:18
is where gloria swan says one of her two
6:22
stars
6:22
is there's one for television and one
6:25
for movies the movie one is down that
6:27
way about uh two blocks close to the
6:28
chinese theater
6:29
but check this out how cool also on the
6:33
corner
6:34
of hollywood and vine as well what an
6:36
interesting tie-in that they're all
6:38
right here in the same general vicinity
6:40
there's william holden
6:42
joe gillis himself over at the corner of
6:45
bronson
6:45
oh goodness guys tires there
6:49
now obviously the car was on a sound
6:51
stage making it look like they were
6:53
driving but
6:54
you know the b-roll behind them the
6:56
projection
6:57
which was filmed at an earlier time and
6:59
inserted in you can see the building
7:01
there
7:02
on paramount studios property behind
7:05
max's head
7:06
right up there they're not going to be
7:08
up to able to get up to that historic
7:10
bronson gate but that is where joe at
7:13
the beginning
7:14
of the film started to walk in and as
7:17
well you see next to him
7:18
was some buildings that have been torn
7:21
down over time
7:22
and then where norma desmond goes to see
7:26
cecil b demille which is right over
7:28
there and the archway still
7:30
looks the same and it still says
7:31
paramount pictures
7:33
above the top portion of but you know
7:36
it's all closed off and gated off
7:38
currently
7:39
no chores so very iconic and you'll see
7:42
stage four down there behind stage four
7:44
is stage 18 where demille was
7:49
filming samson and delilah which was
7:51
used in
7:52
sunset boulevard when norma shows up and
7:55
has the conversation with him and then
7:57
right next to stage 18 is the building
8:01
i'm gonna walk around to the other side
8:03
maybe get a an angle from it but there's
8:05
another building that was used
8:07
that's so cool the archway there
8:11
walked around to the corner of van ness
8:13
and lemon grove ave which is where betty
8:15
schaefer mentioned
8:17
in the film where she was born and grew
8:19
up which is
8:20
interesting because that's where her
8:22
office was
8:24
that's what it looked like then and this
8:25
is what it looks like
8:27
now but i'm not going to be able
8:31
i'm going to be able to peek in but i'm
8:32
not going to be able to walk in so i'm
8:33
going to turn from
8:34
lemon grove and walk around
8:38
this section of paramount and see if i
8:40
can see it from a distance
8:41
now this is a bit of a stretch and you
8:42
really have to have a keen eye but look
8:44
past the forehead
8:46
of joe there you can see a building
8:50
three stories and then one next to it
8:52
that is down the alleyway
8:54
and that building that i am referring to
8:57
is
8:58
this little development here these
9:01
accommodations
9:02
and that alley would be behind this
9:05
locked gate which means miss schaefer's
9:07
office
9:08
would be way down there which is just
9:11
adjacent to stage 18 where demille
9:14
walked out of which is still there to
9:16
this day
9:17
stage 18. that dot is where we're
9:20
standing
9:21
looking down the alley there stage 18
9:24
right there and next to stage 18 is miss
9:27
schaefer's
9:28
office right there is where that was
9:33
zoomed way in you can see the office is
9:36
up there so that is the window that you
9:38
could see
9:39
you know his forehead in that and that
9:41
frame i was just showing
9:42
in that top window what you kind of see
9:45
it from a distance
9:46
and a few yards down from this angle you
9:48
can see the tippy top of stage 18
9:50
kind of protruding up which is where
9:51
those demel scenes took place
9:53
they also used used stage 17 and 9
9:56
for sunset boulevard as well because
9:58
they couldn't use stage 18 because they
10:00
were doing samson and delilah
10:02
with the mill over onto sunset now
10:08
to the 8 000 block of the boulevard
10:19
it was at 8024
10:19
where schwab's pharmacy once stood
10:22
torn down many many years ago and this
10:25
is what it was like
10:27
back then versus what it looks like now
10:31
considerably different
10:32
right next to it was googies that's the
10:36
name of it googie's coffee shop
10:38
you can see the little concrete
10:40
placement here that is what i'm walking
10:43
past so you'd have the coffee shop
10:46
there and then right next to googies
10:54
was the pharmacy another example for
10:54
from a few years later before it was
10:56
torn down there's the coffee shop
10:58
there's schwab i'm standing notice on
11:00
the other side of the road though
11:01
those structures still are the same
11:05
over there that's another way to match
11:07
it up look at that car side note even
11:09
james dean was photographed here
11:11
look at the little pylon or the style
11:15
of the little castle style protruding up
11:18
from that
11:20
pretty neat right across from
11:23
from swabs which was right here
11:26
now looking out of the soda fountain
11:29
where everyone was getting their their
11:31
beverages and their prescriptions
11:33
look out the door behind match you can
11:35
see the mountain ranges
11:38
off kind of in the distance same
11:41
mountain ranges
11:42
off over there see how they they match
11:44
up as well
11:45
cool right notice up here as well
11:48
next door was the crescent heights
11:51
market
11:52
the cross streets of sunset and crescent
11:55
heights boulevard
11:56
which is right there and i can just
12:04
the technical address was eight zero two
12:04
four
12:04
as seen there on the window itself
12:08
which is just about in this spot you
12:11
know give or take a foot
12:13
or two kind of in this little alcove so
12:16
you'd be walking into schwabs
12:18
so we could be inside of swabs right now
12:21
looking
12:22
out at max he's like hey what are you
12:24
guys doing in there let's go ahead and
12:25
get let's get let's get this moving
12:26
we're waiting on you
12:27
out at the car or the curb about where
12:30
the phone booth was that he was on
12:32
calling up a couple of yes men
12:35
ah to me they said no
12:44
still staying on sunset heading three
12:44
miles down to the corner of rexford
12:47
to see if something well it's gonna have
12:50
a hunch
12:51
that it's a spot now as much as i
12:54
researched and
12:55
tried to find any info on where the very
12:58
opening scene took place
13:00
i could find none so i went on street
13:03
view
13:04
satellite view many many hours and
13:07
discovered the closest thing i could
13:10
figure out
13:12
is here on rexford drive and sunset
13:17
where the opening credits took place
13:20
i'm gonna go on record and just state
13:22
that my thoughts on the matter is
13:24
that the curb that they used and they
13:28
had a painted so you see up here
13:30
where it has the signage now do not know
13:35
for certain 100 if they
13:39
painted it on for the production or if
13:42
it already
13:42
existed but i believe somewhere down
13:46
here
13:47
possibly here or there
13:50
is where the word sunset boulevard were
13:52
painted on the curve
13:53
now obviously over seven decades
13:57
a lot of these have been removed but
13:59
notice it is
14:00
the same type of pattern here with the
14:03
sidewalk
14:04
and as you pan around now these could
14:07
have been
14:08
added and the root system could have
14:10
tore up
14:17
that let me just step out but there's
14:17
in the distance there there is a
14:19
mountain a hill there
14:22
and right over here is where i'm
14:25
thinking either there
14:26
or right here is
14:30
where i said sunset boulevard
14:33
painted on the curb this is the
14:35
perspective that really got me thinking
14:39
looking that way now i'm going to have
14:41
to walk out a little bit
14:44
into the road once the the light changes
14:45
but you'll be able to see
14:47
how the the mountains in the distance do
14:49
match up now the road has been repaved
14:52
and the median there in the middle
14:54
has been expanded just a little but
14:56
notice the tree line
14:58
and the formations of the hills in the
15:01
distance
15:07
and in the trailer they use a different
15:07
curve
15:08
which i believe is that curve on this
15:11
side
15:12
not the one in the film that was on that
15:15
also from this perspective when the
15:17
officers
15:18
speed by the camera shifts very quickly
15:22
this way and you see this tree line
15:25
facing that way
15:40
so cool
15:42
yep
15:45
this is it okay i'm gonna walk over that
15:47
curb from the trailer now in the trailer
15:49
sequence you'll see there are some
15:50
cigarettes there on the ground
15:52
and right here is where
15:56
it could have painted the sunset
15:59
boulevard on that side
16:01
opposite side of the road from the one
16:02
used in the technical film
16:04
itself add in the way
16:07
the block style here are
16:11
where it says the most unusual motion
16:13
picture in many years
16:14
and you can see that very distinct block
16:17
style
16:18
sidewalk once again over time some of
16:21
these like signal boxes have been placed
16:23
in here
16:24
but from the trailer sequence opposite
16:26
side of the road
16:28
right down here is what i'm thinking
16:30
just to clarify
16:31
rexford drive and sunset
16:36
it's just a guess it's a it's a very
16:39
it's a guess it's all i can say i have
16:41
no proof
16:42
but it might be one last thing about
16:45
this spot is
16:46
you can see how the officers are going
16:48
over a hill
16:50
towards where i'm at there is a hill
16:53
where the cars that are going away from
16:55
me are ducking down over the hill and
16:57
coming towards me so
16:58
if i was over back where i was on that
17:00
side looking towards
17:02
the mountains in the distance they would
17:04
be going
17:06
you know up over that hill towards me in
17:08
that fashion
17:09
walking a couple blocks down to beverly
17:11
drive
17:13
also no way to completely prove
17:16
that this is it but notice how these
17:19
palm trees have grown
17:21
considerably but there are two sets of
17:24
palm trees
17:25
the ones that are really really tall and
17:28
then
17:28
a second set
17:32
which is a possibility that camera was
17:35
down
17:36
at this angle and all the cars were
17:39
driving
17:40
towards me and down the road once again
17:43
just
17:44
a just a hunch just
17:54
just for that one moment only lasts
17:54
about you know
17:56
a few moments okay moving on
18:00
just a short couple mile commute over to
18:03
the entrance to
18:04
bel air
18:11
corner of beverly glen and sunset
18:11
it's where the chase scene began
18:14
and you can see as he's kind of taking
18:16
off through the intersection
18:18
the light and there's even a bus stop
18:21
that has been you know updated a little
18:23
bit
18:24
but the repo guys were over there on
18:26
that corner
18:28
and they saw him from a distance and
18:29
pointed and said that's our man
18:31
you can see how the pattern of the road
18:33
is still the same now just the angle of
18:35
it
18:42
this is a very iconic intersection
18:42
nonetheless they did a quick u-turn to
18:45
follow him
18:46
right that way and in real time went
18:50
that road as well but which is sunset
18:52
and you can only faintly see the
18:54
entrance to bel air for a brief
18:55
out-of-focus
18:57
moment you can see the planter there and
19:00
well it's not an archway but it is a
19:02
little a little thoroughfare
19:04
in and in reality the the chase sequence
19:07
is well i'm going the opposite way but
19:10
this is
19:11
the precise route going the opposite way
19:14
the camera be down here at the bottom of
19:15
the hill looking up
19:16
but they did use the street as well for
19:18
that sequence
19:20
nowhere really to park so i kind of
19:22
pulled over here to give
19:24
you know another perspective there when
19:26
he turns that going up and around
19:28
the hill and then he finds the driveway
19:31
it has a tire blow out
19:33
the clearest angle would be at the
19:34
beginning of when he's doing the
19:36
narration and you can kind of see it
19:39
from
19:40
from right about there and you see the
19:42
driveway you see that
19:44
light pole there as well when they are
19:47
pulling in
19:49
yeah totally totally different spot from
19:52
the one over on wilshire and as he
19:55
turned that corner
19:56
tire blew out sped in well don't spat in
19:59
but tried to
20:00
regain control of his car and then up
20:03
this driveway
20:17
that's fantastic once again just a hunch
20:17
and you see the elevation how just just
20:19
as it is
20:20
where i'm standing up here
20:23
on the side here of this dirt
20:31
at the incline just like that was an
20:31
incline
20:32
there's the curves across the way
20:35
all has been completely redone and now
20:37
there is a
20:39
a foliage fence line
20:54
from 1950 it is very busy
20:54
through this thoroughfare and the camera
20:56
angles kind of way down low i don't want
20:58
to have to go into the middle of the
20:59
road
21:00
again i was there when there was no
21:02
traffic but now it's like yeah it's
21:03
really busy if there could be another
21:04
way there's a big truck
21:06
through here past the driveway you
21:08
figured thousands
21:10
of automobiles a day hundreds of
21:12
thousands
21:13
a week probably that know the film
21:17
but i have no idea like i said once
21:19
again a hunch
21:20
now heading straight up angelo drive to
21:23
kind of a nice overlook
21:26
that was used for just a moment or two
21:29
for certain driving sequences
21:31
way up here well another mile or so
21:34
oh yeah same type of little guard rail
21:38
it's most likely been replaced but it's
21:40
the same
21:42
type of style that looks familiar from
21:44
the
21:45
movie okay now getting into more of a
21:48
kind of a
21:49
an older version of the fence line but
21:52
yeah this is
21:52
definitely the area that they use as the
21:55
backdrop they film
21:56
in the car on a sound stage but they did
21:58
have some b-roll
22:00
behind them kind of like a projection
22:03
to make it seem like they were driving
22:04
up here so they still had to bring the
22:06
production company up here to
22:08
to record all this and it seemed very
22:11
prominently
22:13
now since then this section of the
22:15
railing has been removed
22:17
and bricks have been placed just for
22:20
cautionary reasons but you can see in
22:22
the distance
22:24
how the fence kind of continues and
22:26
those buildings over there on that peak
22:29
that would be right here which is the
22:32
start of that driving sequence and
22:34
instead of going down the hill like that
22:36
you would think they are doing in the in
22:38
the film in reality
22:40
they are going up farther up
22:43
see the rock formations over here i'm
22:46
going the opposite
22:48
direction but just to give a little
22:50
correlation so looking
22:52
kind of downward so there is
22:55
that and then like they're kind of going
22:58
coming up that way
22:59
and then they just keep continuing up
23:01
along this and i feel like they use this
23:03
terrain while this angle from way up
23:05
here the terrain to get a look down at
23:08
cityscape for one brief moment i've
23:10
almost reached the top and i'll be able
23:12
to show that
23:13
i've turned around and going back down
23:15
you can see the haze of the fog over
23:18
i guess you could say cityscape is
23:20
underneath all that you can see it
23:23
this is so dang awesome to be way up
23:25
here you can really match this
23:27
up from from here now as i'm kind of
23:30
like looking back
23:31
back down there it is right bake the
23:34
foot that's it isn't it
23:36
made it back down the mountain but kind
23:38
of going back up a little bit
23:52
you can file this one under i really
23:52
am not positive
23:57
but i'm assuming that the corner of
23:57
stone canyon road
23:59
and tortuzo way is
24:03
this spot here now this signage this
24:07
pole
24:07
was a prop which was used in some of the
24:09
promotional material with the
24:12
directors and actors later on
24:16
but the thing that really gets me not
24:18
only
24:19
is the the ascension there
24:23
and the way that that road up there kind
24:26
of does that
24:27
s pattern but also notice
24:30
these two manholes here
24:33
and the distance between them so
24:36
obviously take 70 years into
24:40
consideration but there are those two
24:43
manholes
24:44
and that kind of looks as if
24:47
it would be this is this is a tough one
24:50
this is very far-fetched
24:53
it might not be but it's the closest
24:56
that i have discovered
24:58
to being that precise angle there
25:01
just because the road goes up it does
25:04
that kind of little
25:06
little zigzag up in there which is still
25:10
there a wall has been created even
25:13
this home that is here could be a
25:15
different home
25:24
but it's the it's it's these two these
25:24
two holes that really
25:26
kind of sell it for me corner of stone
25:30
canyon and
25:31
tortuzo way and as he drives off
25:35
to the fifth down the fictional sunset
25:39
kind of look this way now the wall has
25:40
been replaced and it seems as if this
25:42
road kind of veers a little more
25:44
but you never know what kind of lens
25:45
they were using what kind of angle they
25:47
had
25:52
right here was that you know if i'm
25:52
correct
25:53
right here or kind of in this general
25:55
section is where they put that prop
25:57
for sunset boulevard you're kind of in
26:01
the same section there kind of like
26:03
where you're where you're standing is
26:05
is kind of where they would have would
26:07
have placed it
26:09
now that prop is seen here
26:12
billy wilder standing underneath it same
26:16
exact one
26:17
without a doubt they drag that thing
26:20
out onto location and set it up which
26:23
really confused me because i look up and
26:25
down street view of
26:27
sunset boulevard and this isn't sunset
26:30
boulevard this is stone canyon
26:31
the 700 north block
26:39
okay moving on
26:39
are those petunias right up here is the
26:41
bel air country club there was only one
26:43
scene that took place here
26:45
and it is private i'm not going to be
26:47
able to get in but it was right in that
26:48
golf course
26:50
back there it was where he was trying to
26:51
borrow money from his agent
26:54
and just didn't work out well he was not
26:57
given the money and i think he even lost
26:59
his agent
27:01
he said he should find yourself a
27:02
another agent i'm also leaving
27:04
bel air now going back underneath this
27:06
little
27:08
archway oh yes this very
27:11
very noticeable building
27:15
it's been used in many productions and
27:18
the one i am
27:29
the bullock's wilshire which is where he
27:29
was
27:30
getting some new clothes she took him
27:34
to buy him some suits
27:40
there was actually two spots that they
27:40
utilized
27:42
back in the background image behind the
27:44
window was
27:45
down a mile or two it might be tough to
27:48
pinpoint the precise
27:50
room that was utilized but you can tell
27:54
if you look at the the line work here
27:57
on the the inside where the the concrete
28:03
still remains to this day inside the
28:06
window here
28:07
kind of getting a glare through the
28:08
window but you can you can see
28:11
if the camera was facing towards me
28:14
looking out the window there's that kind
28:17
of
28:18
the lines in the concrete and the
28:20
structure of the building itself
28:22
inside it could very well be this exact
28:25
window but he was talking to the
28:28
salesman
28:31
it's either this one or the next one
28:32
over one of these two
28:35
completely unaccessible to to go inside
28:38
and really figure out which window it
28:43
but they use a little kind of like a
28:45
rear projection of some footage they had
28:48
at a former restaurant called perino's
28:51
which was down the way this was not
28:53
outside
29:02
so there's two spots for that one very
29:04
short
29:05
you know less than a minute scene
29:13
so he's standing in this building but
29:14
the backdrop
29:15
is down about a mile or so
29:22
hollywood trickery right up here on the
29:22
other side is where
29:24
the restaurant was it was seen through
29:27
the window
29:28
all over the park so i can get a better
29:30
angle now keep in mind he was inside the
29:32
department store at the
29:34
bollocks wilshire but where they set the
29:36
camera up to get the backdrop of
29:38
purinas the camera would have been right
29:41
there in that general vicinity
29:46
facing this way that's where perino's
29:50
that's what it looked like back then on
29:53
this very corner
29:55
right here looks different right
30:07
okay on to the last spot norma desmond's
30:07
mansion
30:09
located on the corner of irving
30:12
and wilshire that rather
30:15
large building there is where the
30:19
mansion once stood
30:20
it's been gone for a heck of a long time
30:29
it's just a distant memory got a few
30:29
photographs
30:34
to remember it by the end the film this
30:34
photograph was taken as it was being
30:36
demolished
30:38
and given the the perspective there of
30:43
what's currently like
30:50
in regards to what you see in sunset
30:54
it would be around in the the back
30:56
corner of this
30:58
so if you ever you see the traffic
31:01
pulling up they would go up that
31:03
driveway
31:05
which was right there which you never
31:08
on camera and they went around the side
31:12
down wilshire looped around the corner
31:15
where the garage was where he hit his
31:17
car and had the little apartment and
31:19
room upstairs
31:21
and where the pool was built
31:24
the pool would be just over the top of
31:28
that if you were looking
31:28
down as a bird's eye it would be kind of
31:31
hidden back
31:32
in there something else you do not see
31:35
on camera
31:36
is the angle from wilshire looking at it
31:38
you never see any of this
31:41
in the movie the only thing from this
31:43
you see is the
31:44
tippy top portion of these little i
31:48
guess maybe fireplace units or
31:50
a little decorative that peeks out i'll
31:52
show you what i mean in a moment
31:54
in regards to what you see here above
31:56
the roof line
31:58
there are those from the other angle
32:01
the good thing is there is the building
32:03
is on a spot
32:04
that really is not where the mansion was
32:09
the pool area
32:12
was in the back parking lot so
32:15
we'll be able to walk over there and
32:17
match up exactly where the pool
32:20
was you have to use your imagination for
32:23
a moment i'll show you the screen grabs
32:25
momentarily but over here was where
32:28
the garage was where he hid
32:32
the car or attempted to hide the car
32:35
if you turn this way this would be the
32:37
angle you see
32:38
repeatedly of the corner of the mansion
32:43
with the pillars where norma
32:46
walks out on quite a few occasions the
32:49
swimming pool
32:50
would be kind of in this general
32:53
vicinity here
32:55
elevated quite a bit you had to walk up
32:58
a few
32:58
stairs to get to it but the mansion was
33:03
the side wall of the mansion is the side
33:05
wall of this building
33:07
precisely if this structure was not here
33:09
and you took
33:11
two or three steps forward past that
33:15
you would get the little side entrance
33:18
where he goes out to the new year's eve
33:20
party and they have these little
33:22
the partitions and the pillars this was
33:24
seen quite a few times it's raining he's
33:26
going to the new year's eve party
33:27
another time when all the press shows up
33:31
also that would have been
33:34
right there looking that way so
33:37
if you'd be over there looking down that
33:39
little pillar hallway now the insides
33:41
were on a sound stage the insides of the
33:44
were a sound stage but not these
33:46
exteriors here
33:48
as well as at the beginning when the
33:51
pull up so this is this actually gives a
33:54
better perspective
33:55
and angle because they would have pulled
33:57
up right they would have pulled up right
34:00
the officers on the motorcycle one
34:02
pulled up on the curb
34:03
right there and that is
34:08
that exact spot and they continued on
34:12
and walked up into the pool area
34:15
which was elevated right there
34:20
and use this as the side of norma
34:23
desmond's mansion because that's
34:24
where the side of the mansion was went
34:26
down and then
34:28
kind of cut around in an l-shaped so
34:31
from that elevated
34:32
pool area there is an angle where it's
34:35
kind of
34:35
looking down upon that garage where
34:39
he hid the car and
34:42
little did he know he was going to be
34:43
moving for a little while upstairs so
34:46
his
34:47
accommodations would have been right up
34:50
and he was looking up there and that's
34:53
the first time you hear from
34:54
norma desmond as she beckons him
34:58
from the balcony right there you could
35:02
really kind of picture it i mean
35:03
obviously you're looking at a picture
35:05
but
35:06
where the back end of that is is
35:10
the next property over
35:17
just a few more perspectives here when
35:17
they're on the ledge and he's watching
35:19
his car get towed away
35:31
and there she is what i was describing
35:31
of her
35:31
up there
35:39
and where they were burying the monkey
35:40
was right there the pillars from this
35:44
which are seen here in the little
35:45
courtyard
35:47
where these glass doors
35:50
are now oh man so many
35:54
so many scenes took place right here
35:56
it's like etched in my head
35:58
as he's running down the staircase the
36:00
next photo
36:01
you can really see how close proximity
36:03
the garage
36:05
which is where i just showed was to that
36:07
pool
36:09
so the pool being here and it is a route
36:12
it's not official but they say the pool
36:14
really was not operational had no
36:16
circulation
36:18
it was built after the mansion existed
36:20
for a while by the studio
36:23
and it was never really used outside of
36:26
filming now who knows if that's true or
36:27
not sometimes
36:28
sometimes over time
36:31
the rumor mill grows strong so who
36:33
really knows if that's true or not but
36:34
pretty fascinating
36:37
there he is calling him in i'm just
36:38
trying to show more of these
36:40
these pillars this this is a great one
36:42
of her by the pool
36:44
there obviously it would be elevated
36:46
just a little bit because it was
36:48
you know a couple stairs up that's where
36:51
the pillars
36:52
there and of course spoiler alert he met
36:55
his demise
36:56
in the very pool where we're at so we
36:59
would basically be standing
37:01
in the bottom of the pool if you think
37:03
about that we're in the bottom of the
37:06
right now we would be in the bottom of
37:07
the pool because we would be elevated up
37:09
a couple stairs so we would be standing
37:11
in the pool at this very moment we would
37:14
be
37:14
in this we would where where gilles was
37:17
floating
37:18
is where we are now standing and this is
37:22
right before you know when norma she has
37:24
the weapon
37:25
she was not in the right frame of mind
37:29
and of course the officers and they were
37:32
they were called in
37:34
that was all yeah he would have been
37:38
just kind of floating right here you
37:40
know give or take a couple feet i cannot
37:42
pinpoint it down to the the my newt inch
37:45
but yeah this is
37:52
serious movie hollywood movie history
37:52
right here and lastly
37:55
the one final image well besides she
37:57
goes down the staircase which
37:59
you know the the the line about
38:01
everybody from my close-up mr demille
38:03
was on a sound stage
38:04
but the the final moment of her out in
38:07
the courtyard
38:08
against the pillar
38:11
which pillar would have been right
38:19
here that pillar
38:19
as she stood there looking off into the
38:21
night sky quote was
38:24
the stars are ageless
38:37
and even though her address was on
38:38
sunset boulevard
38:39
it really wasn't john wilshire
38:42
that's going to do it for today if
38:43
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38:50
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38:56
i'll see you in the next video the vlog
39:28
some late night mowing outside of well
39:28
late evening it's not quite night pretty
39:30
close
39:31
some late evening mowing outside of
39:33
norma desmond's
39:42
hopefully they're not chewing gum even
39:42
though i did film all this
39:44
in sequence in my journeys around los
39:46
angeles today
39:47
nightfall is about to rear its head
39:49
there was one place i did swing by that
39:51
i felt appropriate
39:53
not to throw in in sequence and put it
39:55
at the very end