I’ve had the privilege of living and breathing Hollywood for decades now, and let me tell you, it’s a wild ride. From the glamour of the Walk of Fame to the chaotic chaos of filming on location, every day is a new adventure. Some days, you get lucky – like when Theda Bara’s star is just steps away from a gentleman’s club and a bus full of Scientologists conveniently arrives. Other times, you face unexpected challenges – like when an angry driver crashes through the barricades during filming and the cops abandon their posts.
Ti West, a horror filmmaker, emerges from the darkness behind the Bates Motel after the final tourist bus has left for safety. Behind him stands the infamous “Psycho” house, where Norma Bates, played by Vera Farmiga in Hitchcock’s classic, watched the actions of Janet Leigh’s character Marion Crane from her window. In his 2022 slasher film “X,” set in 1979, West introduces an elderly farm wife named Pearl, who is driven to homicidal frenzy by a group of adult filmmakers shooting in her barn. Aspiring actress herself, Pearl gained her own movie the following year in West’s prequel titled “Pearl,” which takes us back to 1918, where the disturbed performer fed her rival to an alligator named Theda Bara.
In the third installment of the chiller series by West, titled “MaXXXine,” Maxine Minx, who miraculously survived the infamous “Texas porn star massacre” in the first film, is determined to leave her past behind and make it big as a legitimate actor in 1980s Hollywood. With six long years spent in the sex industry, Maxine, portrayed powerfully by Mia Goth, has finally been given her first leading role in “The Puritan 2.” However, her haunting past continues to persist, forcing her into a heart-pounding chase scene across the Universal Studios backlot. This exhilarating pursuit takes her from the old Western facades to the New York-style stoop buildings, and ultimately leads her up the treacherous “Psycho” staircase, just inches away from her relentless pursuer.
“It’s unusual to aim a camera at this if you’re not filming ‘Psycho,'” West, age 43, remarks as he ventures deeper into the shadowy depths, illuminated only by a few unsettling red lanterns. He labels his trilogy as “cinema-infused films,” with artifice and illusions leading the way. In “X,” struggling hopefuls try to make it in the industry; in “Pearl,” the risks of embracing on-screen fantasies are explored. The most prominent production of West’s career, “MaXXXine,” grapples with acknowledging that Hollywood doesn’t always live up to expectations.
Mia Goth in the movie “MaXXXine,” her third with West. “It was the first time I had that dynamic between me and a director where it felt there was something really intimate to it,” she says.
“Goth expressed her excitement over Zoom, stating, ‘He was prepared for such a large scope and craved this experience.’ She not only acted in various roles throughout this series but also co-wrote ‘Pearl’ and produced the last two films. ‘We brought it to life,’ she added, ‘and it’s been an amazing journey to watch it grow.'”
West, on the other hand, is known for his down-to-earth attitude towards hype. He acknowledges the unusual situation surrounding these films and his collaboration with Mia, finding it both satisfying and peculiar. Yet, we’ve never paused to discuss this aspect of our work. We were too focused on creating movies.
As a supporter of A24’s marketing team, I’m thrilled to see their excitement for “MaXXXine,” and I can understand why director West is beaming with pride – this is his first billboard after all. For more than a decade, West has been a respected independent filmmaker, showcasing his talent through a series of critically acclaimed movies. One such film is the 2016 cowboy vengeance drama “In a Valley of Violence,” featuring Ethan Hawke and John Travolta. Another noteworthy addition to his resume is the festival hit from 2009, “The House of the Devil.” This chilling Hitchcock-esque shocker introduced audiences to a pre-fame Greta Gerwig in a marvelously nasty way.
I recall when I first encountered the enigmatic Bates Motel during my family’s vacation at Universal Studios Florida back in middle school. Coincidentally, they were in the process of wrapping up “Psycho IV” on a replica set. To capitalize on the excitement, the park introduced an attraction, allowing fans an exclusive behind-the-scenes look into the making of the iconic shower scene. Alas, I wasn’t selected to participate, but the experience left me with a pair of Bates Motel souvenir slippers and a newfound appreciation for intricate filmmaking techniques.
“Now that’s all gone, and it’s a Shrek ride or something,” he shrugs. “No offense to Shrek.”
In his adolescence, West resided in Wilmington, Delaware, where he would rent five VHS tapes for $5 every Friday at the local video shop. One weekend, he selected “Habit,” a low-budget and captivating vampire film created by Larry Fessenden, which left a deep impression on him. Following this, West relocated to New York and enrolled in a film class led by director Kelly Reichardt. Reichardt facilitated an introduction between them, and Fessenden later assumed the role of West’s mentor. Over two decades ago, with more courage than cash, they produced West’s first feature film, “The Roost.”
West expressed surprise with a hint of disbelief: “It seems we’ve been included in the tour now.” This new development made him feel accomplished. Filming on the lot was an intricate process. Some theme park trams had to be rerouted, while others couldn’t be. Quickly, shots were taken during the spaces between onlookers. Occasionally, timing went off, and tourists disrupted a take. Armed with cameras, the crowd captured images of Goth and Elizabeth Debicki as if they were exotic animals in a zoo.
If West has transformed into a star in Hollywood today, the only accessory he carries is a small, 12-pound black dog named Molly. On his evening walks, she’s snugly secured in a sling at his waist. At work, Molly had her own designated chair labeled “Paw-ducer-in-Chief.” The following day, as our tour of “MaXXXine’s” filming locations progresses, she’s adorned with an A24 leash and attempting to steal sips from West’s iced oat-milk latte.
Currently, an SUV carrying him, Molly, and a photographer makes a halt at Hollywood Forever Cemetery. This is where the movie’s detectives, portrayed by Michelle Monaghan and Bobby Cannavale, stumble upon a gruesome finding. Molly feels the need to relieve herself away from any gravesites – being a professional. The corpses created for the film by the production team were mutilated in a manner reminiscent of Richard Ramirez, also known as the Night Stalker, a notorious serial killer from L.A., responsible for at least 13 deaths during the 80s. This fear is an integral part of the movie’s chilling atmosphere, while the historical pandemic of Spanish flu leaves deep marks on “Pearl.”
Instead of “But this isn’t a Night Stalker story — there’s already plenty of those,” you could say: “Unlike the numerous Night Stacker stories we have, ‘MaXXXine’ shares the uneasy atmosphere of Reagan-era Satanic hysteria, making it both nostalgic and modern.”
As a movie critic looking back on my childhood, I recall a time when skateboarding could land you in handcuffs. Fast forward to the present, and this daring sport is set to make its debut at the Olympics. Yet, it seems some self-righteous moral crusaders remain unchanged. To add fuel to their fire, production company A24 allegedly paid for fake protesters, waving signs that read “Honor God, End Smut.”
West prioritizes an authentic representation of the past, avoiding exaggerated styles like zebra prints or mall pastels. The focus is on realism, extending to elements such as filming techniques, special effects, and even Maxine’s frizzy hair with split ends.
As a passionate moviegoer, I’ve just pulled up on Hollywood Boulevard and Wilcox Avenue when the review embargo for “MaXXXine” lifts. But my friend West, sitting next to me, barely looks up from his phone. He shrugs and says, “It’ll be somewhere in between ‘best movie of the three’ and ‘worst movie ever,’ I suppose.” The critics seem to like it, but for West, the creation, promotion, and distribution of these three films in just four years, with barely a moment to rest, is what truly fulfills him. In this same timeframe, he met his fiancée, DJ Alison Wonderland, and welcomed his first child, who was born two weeks after finishing the trilogy. (With nine months pregnant Alison making a cameo in the film spinning records at a nightclub.)
It’s quite unexpected, but my very first residence in Los Angeles was located on Hollywood Boulevard as well. (West is walking towards Maxine’s second-floor storage, which typically holds excess inventory from the Hollywood Suit Outlet neighboring store.)
In 2005, after finishing “The Roost,” Ti West decided it was time for a new chapter in his life and moved to Los Angeles. He believed that going west would provide opportunities for writing another script. The thought of relocating, however, filled him with apprehension. “It’s confusing,” he chuckles, “There’s no clear indication where you should live or whom to submit your scripts to.” His initial living arrangement was a quieter spot – a small apartment in L.A., but amusingly, he started receiving mail addressed to Ti West, Hollywood Blvd.
As a cinema enthusiast looking back, I can’t believe it’s been almost twenty years since I first arrived here with dreams of instant success. Jokingly, I poke fun at my past self, who naively believed the city would hand me the keys right away. The truth is, my journey has been far from easy. I’ve put in countless hours, just like Joe Swanberg, Andrew Bujalski, and the Duplass Brothers, who were also premiering their films at South by Southwest that year in Austin. Together, we laid the groundwork for what would become known as mumblecore – a grind that required every ounce of determination and perseverance we had.
West recalls that they were all producing mini films with great dedication. The source of his determination likely stems from this question: Why isn’t my hard work and long hours recognized? I put in 19 hours a day, seven days a week, yet not everyone seems to understand the depth of my commitment to this project. It feels like scaling mountains.
In the ’90s, I grew up hearing that making independent films was an exciting and cool thing to do. Now, as a 25-year-old, I’m curious if this is still the case. Are there young filmmakers sleeping on floors to pursue their passion or are they more interested in creating influencer content for quicker success? If I were in their shoes, I might have been tempted by the allure of viral content as well, especially if it meant a faster way to transform my life.
When I first arrived in town, my initial adventure was a hike up to the Hollywood sign before security measures were intensified. I felt an irresistible urge to do it, questioning if I’d be arrested for my actions. With a hint of amusement, I pondered the possibility. “Perhaps,” I mused. “But maybe they would.” Nevertheless, I managed to elude capture and was granted permission to go back while scouting for “MaXXXine.” Due to logistical constraints, I ended up constructing an almost full-sized replica of the sign in Santa Clarita. Despite the time and financial pressures, we only had eight hours to film at this location, which included breaks and travel time between the hilltop and the base camp.
“PTSD” – West mumbles, his mind transported back to the chaotic Hollywood Boulevard scene as he proceeds and enters the alleyway where Maxine is threatened by a Buster Keaton look-alike. The majority of the scenes filmed on the bustling street required completion within four days. Most of the vintage storefronts were constructed on the day of filming to prevent damage. When the movie’s false video shop was set up, West’s phone buzzed with texts from friends who had passed by coincidentally. Some assumed he was responsible for the fake signage; others erroneously congratulated him for its authenticity.
“Transforming this place into an adult district involved a massive undertaking with plenty of neon lights,” West explains. He points at the Déjà Vu gentlemen’s club and Vine Theatre marquees, visible in “MaXXXine.” A bus arrives, discharging about 50 Scientologists dressed in navy skirts and trousers who quietly bypass West’s accounts of immorality as they make their way to the L. Ron Hubbard Life Exhibition. Unperturbed, West adds, “We needed to be part of the chaos, and that comes across in the film.”
Occasionally, things went his way. West required an up-close shot of Theda Bara’s star on the Walk of Fame as a tribute to Pearl’s alligator pet, and fortunately, it was merely a stone’s throw from Déjà Vu. Kevin Bacon, portraying one of “MaXXXine’s” henchmen, had his own star situated at the intersection, while Giancarlo Esposito, assigned a significant role as Maxine’s agent, was located three streets to the east.
Angrily, a driver plowed through the barriers at this location, colliding with a car that was parked on the set during filming. The security officers assigned to protect the production were compelled to leave their posts in hot pursuit. West and the cast and crew remained unfazed, completing the scene on the spot.
West shares that obtaining film permits is challenging in this area due to neighborhood opposition. However, he adds, “It’s Hollywood!” If there’s any cause for traffic congestion, it should be an exciting movie scene featuring Will Smith flipping a car. All other reasons for being stuck in traffic are less appealing.
West aims to shoot his upcoming film in a more supervised setting. He’s currently working on the script, which is not going to be a trilogy as he guarantees. Already, he envisions the convenience of building an intricately detailed set. He intends to astonish viewers and surpass the achievements of all three Maxine movies collectively. “The objective,” he says, “is to practice consistently and continuously improve.”
Currently, West and Goth are working hard to make audiences cheer for the challenges faced by their intriguingly villainous character, Maxine Minx. Immediately following the car accident, they filmed a scene showing Maxine confidently walking the red carpet at Mann’s Chinese Theatre.
In due time, “MaXXXine” will make its first appearance there as well: an 80s-themed unveiling where Angelyne’s pink Corvette is parked outside, and guests don costumes reminiscent of Gordon Gekko and Sunset Strip metalheads. West dons a white jacket suit, describing it as “very Miami Vice,” while his toddler wears sunglasses inspired by “Risky Business” and attracts photographers with a come-have-lunch-with-me gesture.
A few days have passed and West is once again among us at the Chinese-signed concrete landmark. He’s still adjusting to the strange reality of being back, nodding in agreement that the town hasn’t replaced its famous footprints with those of Shrek or any other character.
“Movies aren’t disappearing,” he assures, “as storytelling is a fundamental human means of connection.” Tenacious personalities such as Maxine, Pearl, and even West and Goth have left indelible marks in Hollywood history. Taking a deep breath, West adds, “Perhaps one day, someone will express fondness for those classic films – like ‘MaXXXine’.”
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2024-07-18 18:30