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The Set Comes First by Davell Swan
Still from Resnais' 'Last Year at Marienbad': Was it much ado about nothing but a building? photo: courtesy of A. Resnais
WHILE MANY PEOPLE ARE OBSESSED
with being the most up-to-date in terms of accoutrement, news and art, for others it is the past that fascinates. When what was once routine has been forgotten or lost, it becomes precious. Discovering a bizarre stuffed toy from a thrift store, a snapshot of a long-dead family or a one-of-a-kind structure off the beaten path, can be a flabbergasting, yet sublime, experience.
Hence, CineSource is inaugurating a "Location of the Month" feature, to direct your attention to forgotten architectural treasures, both sparkling and decayed, within the overall icon that is the Bay Area. We believe that an odd edifice can make a film production: for a spectacular example, see how Orson Welles used his Venice, California locales in "Touch of Evil" (1958).
A director such as David Lynch, can find inspiration not only in a well-utilized location, such as the former Disney studios which served as Diane Selwyn's apartment in "Mulholland Drive" (2001), but also from his time spent enjoying Philadelphia PA's exquisite industrial decline. This latter influence's direct result was Lynch's regally-revered and reputation-making "Eraserhead" (1977), and in some manner, all of his following cinematic projects.
The avant-garde, award-winning "Last Year at Marienbad" (1961) is a project based on a certain setting, although the actual locations used were found after the screenplay was drafted. (Just for you working scouts, they were the Chateaux of Schleissham, Nynphenburg and Amalienburg in and around Munich.)
Buried in an obscure Bay Area industrial park is a set supremely perfect for John Water's futurist film. photo: D. Swan
"Marienbad" Director Alain Resnais collaborated with scriptwriter Alain Robbe-Grillet, "an advocate of the 'nouveau roman', a kind of fiction that considered character and plot subordinate to setting," notes Noel Murray (Onion video review 6/24/09).
The late Michelangelo Antonioni was known for spending time alone at a new location, allowing its atmosphere to suggest an approach to the scene at hand. This was his method in "L'Avventura" (1960) when he discovered a shanty, complete with an old man residing within, that he integrated into scenes shot on an island.
"Consultation with Destiny" a local indie project with which this author is familiar—starring and co-directed by Heather McCollom (producer of the cult public access program "Doghouse")—was devised in response to the discovery of two shacks, hidden behind a row of trees, on Walnut Creek's North Main Street. No amount of money could've duplicated this evocative and realistic "set."
The larger Bay domain contains its share of unusual architecture. Modernism is represented by a few Frank Lloyd Wright structures including the vast and stunning Marin County Civic Center and a great amount of A. Quincy Jones-designed housing, spreading from Marin County through San Mateo County. (Unfortunately, his renowned SF Daphne Funeral Home was razed during the mayoral tenure of Willie Brown, aka "The Evil Genius".)
Indeed, one Bay Area home is truly unique worldwide. Built in the early-60s and in that inimitable style, it is a rotating house (albeit only 300 degrees), moved by a washing machine motor for an evolving view. Unfortunately, its furnishings appear to have been purchased from Levitz in the early-90s and lack that 60s class.
A psychedelic close up of an edifice unlikely to be found in a Santa Clara industrial park. photo: D. Swan
Outside of SF proper, the cities have nearly countless modern-style office buildings and retail areas, while The City itself is obviously known for its Victoriana and Edwardian architecture. The East Bay, from the northerly Crockett down to the ancient film center of Niles has a considerable stock of older edifices, including a plethora of storefronts and warehouses. And let us not overlook the bridges within a 30-mile radius from SF, exemplars of nearly every description.
The Location of the Month's initial proffer is a three-story warehouse or office, buried in an obscure industrial park at 2137 De La Cruz Boulevard, Santa Clara CA 95050. The orbs are purely decorative and there are windows perpendicular to the facade.
As we build our library, we welcome your inquiries whenever you may need to find something atypical. Here's to one of our unfamiliar gems inspiring your next film.
Davell Swan is spoken word artist, critic and co-director of HitchCult who can be reached . Posted on Aug 10, 2013 - 03:44 PM