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This is an archive collection of entries from  my main personal blog, My Mundane Mid-Life.


This particular entry is from September 25, 2003.



Warner Brothers Studios

It's 9:30am and I pull off of Olive into the parking structure that's also gate 3 for Warner Brothers Studios.

I'm here to do what Carol & I did the last time we were out here - take the Warner Brothers Studios VIP Tour. But, this time, instead of a tour that takes about 2-2˝ hours, I'm going to do the Warner Brothers Studios Deluxe VIP Tour and take about double the time. I am soooo excited about this. My sister Diane and Melinda were just here a few weeks ago taking the regular VIP tour, and when I found out they had this Deluxe tour, I had to sign up for that.

Look,if you enjoy movies and/or television, and want to see what a real working studio is like (no trams, no fake or staged productions), you must do this tour.

There's a nice waiting area on the first floor of the parking structure. At about 10:00am, a gentlemen comes around to walk us across the street to go into the main gate - Gate 2. We had to go through a metal detector, and then get on an extended golf cart for the trip across the lot to the tour offices.

Warner Brothers VIP Tour waiting area Invitation to the wedding of Monica Geller & Chandler M. Bing (Friends) The Paul Revere Carving Knife set from The West Wing episode "Shibboleth"
The tour office is not anything like it was back in the 80's, when they only had two tours a day out of a dark, dingy office. Now there's a huge waiting room with costumes and props from ER, Drew Carey, West Wing, Smallville and Gilmore Girls. There's also a little store (but this being Warner Brothers, it looks like stuff that was in the old Warner Brothers Studio Stores).

At 10:30, we are called into a small theater to watch a quick video about the studios and listen to the rules and regulations about the tour. Then one of the tour guides -
Dean Ricca - calls out three names. It's me and 2 ladies from Atlanta. The three of us are going to be on the Deluxe tour! Cool! The small, intimate group should allow us to do some pretty neat things!

One of the major rules - photography is extremely restricted. Movie people are possessive about copyrighted material. Our stuff will be locked-up in our golf cart and we'll only be able to bring them out at specific places. Nuts.

All of the tour groups get into stretched gold carts. Dean has a little gift for us - our own bottle of water for the day. Our first stop is at the Warner Brothers Museum. Its a really nice small museum that has a lot of costumes and props in it. - Like an entire George Clooney area (with costumes from Ocean's Eleven like George's tuxedo, Julia Roberts' gold gown and Brad Pitt's ugly shirt and jacket, his Batman cowl, his costume from The Perfect Storm... hey, did you know they're making Ocean's Twelve?), the Time Machine from The Time Machine (apparently, the thing was pretty dangerous when it was in operation with all of the spinning panels on it. They had to make a 15 foot safety area around it and no one was allowed inside that area otherwise they could get severely injured), the laptops from You've Got Mail, costumes from The Matrix and Christopher Reeve's Superman, a fake Haley Joel Osment and a "David" box from Artificial Intelligence: AI, and the crucifix from The Exorcist (creepy).

The 2nd floor of the museum is all from Harry Potter, like Hagrid's outfit with sling for baby Harry when he delivered him to the Dursley's, boxes and boxes of wands, Dobby the house elf, the set of Harry's room under the stairs, a petrified Hermione when she was in the hospital (spooky!), and Quidditch costumes and the carrying case for the balls and snitch. They had a "working" Sorting Hat that a security guy would place on your head to sort you into the different houses.

We left the golf cart at the museum and the rest of the regular tour people and walked down a street (are these things called "streets"?) to the Eastwood Scoring Stage. This is where scoring is done for productions. (yes, it's named after that Eastwood). It's a gorgeous, wooden stage. Acoustically, it was dead in there - not a single echo or reflection from anything. They were setting up for a recording session. Dean thought it could have been for Matrix Revolutions, even though it's going to be out in just weeks. Did you know that the musicians that play on these soundtracks don't get the sheet music until they sit down to record the piece?

We walked next door to Dubbing rooms 3 & 4. Because it's a working studio, Warner Brothers rents out facilities to anyone. Today, people from Disney were in house to do sound editing on the Saturday morning cartoon The Adventures of Lilo & Stitch. Since we were such a small group, the engineers sat around and talked with us for a while. Then, one of them took us to the "back room" (since the group was small), to show us the equipment used for editing. They're finally starting to edit all digitally, using swappable hard drives. But they still have to keep old analog equipment (including old film audio equipment) because the booming international markets are having studios re-edit existing productions for dubbed versions. They also had an "ISDN Room" which, from a technology perspective isn't that impressive, but from a production value perspective sure is. In the other dubbing room, techs were editing an episode of Third Watch. The ISDN Room allows the editing to be done in Los Angeles while the cast and crew are filming in New York. They use it to view the edits as well as doing ADR work with the actors (ADR is Additional Dialog Recording, or "looping").

We walk back to our golf cart and Dean takes us around the studio property. We can see a lot of construction going on inside a few of the stages. We pass by the ER stage. It's all buttoned-up, but I see a few women walking around in scrubs outside. All of the active stages have tons of trailers outside of them for the actors. They're all from the same company: Star Waggons. Why is it spelled that way? Why, it's because the owner is Lyle Waggoner from the old Carol Burnett Show.

We pull up to Stage 17. Dean has a master key to all of the stages and we go in. It's dark and it takes time to adjust to the light. We walk up some stairs and we're sitting in an audience area for The Drew Carey Show. They're not in production today, but it gives us a chance to sit and talk about a typical weekly sitcom production. The sets are all lined up in a row in front of the audience, with (from right to left) the backyard, Drew's kitchen Drew's living room, Winfred-Louder, and The Warsaw.

We walk next door to Stage 14. Now we're in a hour drama (actually "dramedy") Gilmore Girls. This stage only has all of the new sets that for Yale. Normally, sets are made with paint that looks like wood, or paint that looks like wood flooring, linoleum, or paving. In these sets, it's all real. That's because they want to make sure the look is correct (so that Yale approves!). These are gorgeous sets - hallways, classrooms, dorm rooms, cafeteria (with real pads of butter that seem to be melting...). We get to see how "wild" walls work - the ability to fly a wall out of the way to allow cameras behind to get a different perspective of a set.

Back to the cart and we visit Stage 16 - the largest movie soundstage in the US. We're outside because the doors are open and set construction is going on inside for a new movie with Keanu Reeves called Constantine. The stage is over 75' tall and it has a 25' deep tank in the floor (The Perfect Storm was shot inside here). The stage wasn't always this high. It was a normal studio, but years ago (for reasons I cannot remember exactly) they decided to make it bigger. They had people with hand jacks at every major load-bearing point around the periphery. They had 4 drummers, one in each corner of the building. They started a slow drum beat, and on each beat each person ratcheted their hand jack. When the entire structure moved up 6 inches, they threw in a railroad tie. The kept doing this until it was over 25' off the ground. Then new load bearing walls were built underneath. There was still an inch or two difference between the new walls and the base of the old stage walls, so they brought in huge slabs of ice to put between the two and removed the jacks. As the ice melted, the stage settled on to the new walls!

Back into the cart and we ride all the way across the property. Dean is giddy as he tells us we're going to Transportation since he knows the people there. We walk into a building that is a very large garage and auto/truck repair place for the studio. We walk through a chain link gate and there in front of us is a large group of cars. Dean goes over to one and throws the cover off of it. It's the General Lee from The Dukes of Hazzard. It's an original and it's in working order. There's another one next to it, but it's being used for parts - the last one available for parts. Next to them are two limos under tarps. The taps have the Presidential Seal on them - yes, they're limos for The West Wing. There's a DC Police car and escort motorcycles as well. Then there's a vehicle under canvas that looks pretty damn big. It's a bit wider than normal but it must be close to 30 feet long. It seems to go up in the back, like wings. Dean pulls the cover off - it's the friggin' Batmobile!!!! This is the last one (from Batman & Robin). It's huge. The tires are custom - the tread is the bat logo. Unfortunately, it's not street legal.

We walk over to the prop department and look at tons of furniture in a 4 story building. Set designers were walking through looking for items and tagging them to use for their own productions. Every once in a while you pass a piece of furniture that is so unique and it seems so familiar and yet you can't figure out what it's from. There's a pair of lamps that were listed as "Tiffany-style" that were used in one of the Batman movies. After they were hung, one of the art people took a good look at them and actually find a real Tiffany mark on them, They're no longer available for rental.

It's already 1pm and it's time for lunch. We jump in the cart and ride over to the Studio Commissary. We have passes for a complimentary lunch, so we head inside. The facility has only been open for 3 weeks. It's a gorgeous facility (as commissaries go), with many "stations" inside. The most popular one is "Paquito Mas" which is a mexican food chain, which is not included in our complimentary lunch. We all go to the Pasta bar and I get some Penne with a Tomato & Garlic sauce. Damn, that was good. I'm impressed. As we're sitting at a table having lunch,
Sherry Stringfield came through the line. She looked great, and looked shorter and thinner in real life than on TV (could be the white coat she always has to wear). After lunch we saw Jon Cryer walking into the Commissary.

Dean has been working the radio. He's trying to get permission from a production company to gain access to a set. We start driving around the lot when the radio crackles to life. We are given clearance. We head across the lot to Stage 23. It looks like just another soundstage... until we turn the corner on the back side. The exterior of the stage is... the side portico to the White House. We're going to see the set for THE WEST WING! Outside are the Star Waggons for the stars. There are 2 Jamaican flags flying over Dulé Hill's trailer, and a flamingo wind whirligig thing over Allison Janney's trailer (remember - her character's Secret Service code name is "Flamingo"). There's also a basketball hoop and a huge deck with chairs and tables for R&R time.

We walk into the "White House". The set is dark. The cast and crew are at another facility shooting scenes inside the Air Force One set. This side entrance is alongside C.J. Cregg's office.. We step into CJ's office. There's no goldfish on the desk, but everything else is there, including briefing notes on the desk as well as "while you were out" phone messages from Josh. Dean points out something we saw at the Gilmore Girls set. All of the windows on the set can pivot. This allows the crew to tilt the windows ever so slightly to make sure the reflections doesn't show a crew or anything off-set. Take a look next time you watch the show - you'll see windows just slightly out of "flush".

We walk into Josh's office. Dean tells us a story of a congressman who visited the set and actually saw his name on the blackboard in Josh's office as voting "Nay" against some bill going through the house. In a twisted piece of reality, the congressman actually erased his name and put it on the "Yea" side, Then he proceeded to write a message on a yellow legal pad to the character Josh telling him why he changed his vote.

We walk through the bullpen, past Donna's office. The entire set all fits together so that you can have those long "pedaconferences" done in all one shot. Wow. We go into the Roosevelt Room. Apparently the real Roosevelt Room doesn't have all these french-style door in it. When real White House staff people visit, they always ask why there's all those people walking around outside the doors. I guess either they never see them or they just don't have the people walking around in the real place. The Mural Room is across the hall. This room doesn't exist in the real White House, but was built for The American President. (Did you know that these are the same sets?) We see how the sets are lit using what look like spheres like paper lanterns. It diffuses the light for effect. Also, the set tops actually have a ceiling of muslin or canvas on top of them - something we haven't seen on any other set.

We go through another entrance and there is Charlie's and Deborah Fiderer's desks. There's a painting on the wall of an American flag done in kids hand prints. Apparently there have been a lot of letters asking where someone could get a copy of it. Turns out it's just something that one of the art people put together with their kids.

So, if we're here, that must mean that if we walk through this door we're in... The Oval Office. Oh, this is friggin' cool. Then the three of us just had to do it.

We each took turns sitting in President Josiah 'Jed' Bartlet's chair. Sitting on the desk in front of the chair was that small book of the US Constitution. Not a great chair but what an interesting view!

We briefly walk through the door "outside" which is where that long outside corridor outside the White House is, usually where President Bartlet goes outside for a cigarette. The backdrop is actually a photo of the exact views from the same places in the White House. The Clinton administration allowed the crew to come and photograph it. In fact, underneath one of the bushes on the backdrop, you can see Socks the cat!

A guard comes over, saying he has to lock up the set. We quickly walk through the rest of the set. We brush by Leo's office door and we look in toward Toby and Will's office but it's pitch dark - it's the only set with a real acoustical tile ceiling. If you look, you always see the ceiling in the shots around those offices. We pass by that "Visitor's Entrance" lobby, with its marble floors (actually paint) and columns (which are movable) nd the Presidential seal in the floor.

Then, it's back out the portico entrance and we leave the set.

Wow.

We drive off to "The Mill" Here's is were, under one roof, everything is built. Lumber shops, metal shops, plaster molding. It's all here in huge shops. Unfortunately, it's getting later in the day and the shops are pretty empty. The Scenic Art department is here, painting backdrops. It's a huge room that has a 35' drop on either side of the room. This allows the backdrops to be raised or lowered to paint - the painters never have to work on a ladder. We go into the basement to the Large Format Digital Printing shop. Here' instead of painting backdrops, here a large format digital printer prints backdrops and signage. this allows the use of digital images such as accurate photographs to be used. The printer looks like it's at least 10'-12' wide. When the piece is larger than that, a special microwave seamer is used to put multiple pieces together. Today, the printer is spitting out large advertising posters for Elf.

Our next stop is actually an appointment. Somebody wanted to meet us. We go to Costuming and meet Costuming Manager Elaine Maser. She's been doing costuming on productions for quite a while. We go into one of the large "Star" fitting rooms. We sit down and talk for at least 30-45 minutes about costuming and color palettes of productions. She even brought some wacky costumes for us to try on and "play dress-up with". I wound up getting into some Camelot thing (that looked more Moroccan than Camelot). Talk about feeling special, this was it. the head of costuming for Warner Brothers wanted to talk to us. This was so special, two other tour guides joined us so they could get the info as well. Wow.

We went downstairs. Here was the costuming "lockers" for all of the shows in production. We peeked into a few of them. They're about the size of a semi trailer, full of costumes, each group clearly listed for each actor. West Wing has three lockers, one of which is just uniforms. I looked into another locker and saw Mathew Perry's wardrobe - could he be coming back to the West Wing? There's laundry areas down her, too.

We then went into the costume rental area. Each aisle is the length of a football field, 3 racks high with ladders. Everything is sorted into categories. If you need ball gowns, suits, maternity wear, men's fedoras - they're all here, all cataloged and inventoried. Rentals are either single week (this allows music video shoots just to rent for about a week of production) or 12-weeks. (They don't rent to employees for Halloween - Dean asked - though that would be wickedly cool). The end wall that we were standing in front of was all womens shoes, sorted by color, then size. The whole wall. This was a really cool stop. I didn't think I'd enjoy it but I really did. Elaine made us feel "special"

Outside the Ambulance Bay of Country General Hospital (ER)
It's off to the back lot now. We have our cameras and everything looks like we can shoot what we want. The main town square area is all dressed-up for what looks like a Fall Festival of some sort for the Gilmore Girls. I think the place is called Stars Hallow (sorry, I don't watch the show). I remember the town square from O Brother, Where Art Thou?. Dean knows I'm from chicago, so he's excited as we go to the next exterior set - it's the exterior of County General Hospital for ER. Specifically, the ambulance bay. But we can't get into the actual ambulance bay area - there is a crew in there working on pyrotechnics for a hoot (hmmm... another explosion in the ER?) Good old Doc Magoo's is gone (it burned down last season), replaced by a convenience store. We go around the back side to a street area that is being set for an episode of The Practice (no pictures here). Next to the street exterior is a studio parking lot. If you look closely, there is a box painted across quite a few parking spaces. Looking at the backside of the sets, It turns out that this parking lot gets re-dressed and it's the helipad on top of County General. (Yes, this is where Romano lost his arm.)

It's time to go back to the tour office. Time? 4:45! It's the longest Deluxe tour they've ever run at 6 hours and 15 minutes. We say our goodbye's to Dean and catch another golf cart back to Gate 2.

Warner Brothers Gate 2 The West Wing cast outside Warner Brothers Studios

OK people, listen up. If you are in the Los Angeles area and can carve out about 5 hours of time and can spend about $95, DO THIS TOUR. You will not be sorry.

Now I'm off to my hotel. I've got at least a 30 mile ride ahead of me...

posted at 04:46 PM | Link | Travel | § |


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This Blog was last updated Friday December 18, 2009 13:03:12 CDT (-06:00 GMT)
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