"Hancock": Plenty To See For L.A. Fans

Variety’s Todd McCarthy was not a fan of the new Will Smith anti-superhero pic “Hancock,” which releases next week. I caught a screening last night, and yes, there are plenty of plot holes that left me scratching my head. But I’m easier to please, and I came away at least having had some fun with the pic.

Story aside, there’s something comforting and fun in seeing the interaction between Smith, Jason Bateman and Charlize Theron on screen. (It’s always great seeing Bateman in anything.) The story — a reluctant superhero who frequently does more harm than good — is also an intriguing one, although, as McCarthy notes, perhaps they didn’t take full advantage of it. I do like the movie’s nod to modern society — Bateman’s character relies on YouTube, for example, to show Hancock some video footage of his follies.

Regardless, as a fan of Los Angeles, I of course too special interest in the film’s expansive use of the city — and Hancock’s semi-destruction of some L.A. buildings and landmarks. The brand-spanking new CAA tower in Century City gets a hole torn in it, while a car is thrown on the Capitol Records building’s spike.

There are also a few interesting continuity gaps: Hancock chases some bad guys down the 105 (remember when the freeway was shut down last year for the filming?), but suddenly the buildings around him are clearly downtown — then suddenly he’s in Hollywood.

Also, Bateman is seen drinking a Dunkin’ Donuts coffee in his car at one point — nice product placement for the DD, but not sure where the character found the cup, since there’s not a DD store within 500 miles of us.

Other interesting tidbits: The climactic scene takes place at the futuristic, fictional “Mercy Hospital” — actually downtown’s CalTrans building. (That building seems to pop up in every Los Angeles shoot these days.) A big celebratory dinner is held at Cafe Pinot downtown. And fake newscasts are depicted via imaginary L.A. TV stations — all with high, UHF channel positions like 15 or 17.

Hollywood Resident to Will Smith: Go Home

(Pic by Hollywood Reporter.)

Dresden Graham would prefer that Will Smith pack up and leave her neighborhood. As the Hollywood Reporter’s Borys Kit writes, the 65-year-old Hollywood resident is upset over how her Sunset Square neighborhood has been disrupted by shooting for Smith’s next film, “Seven Pounds”:

The production is based at a house on Sierra Bonita, between Hollywood and Sunset boulevards, just three houses up from Graham’s home, where she has lived since the mid-’80s. Trucks line the street, crews are busy setting up and striking down, generators hum, and security and police officers patrol the area.

Graham, who had put signs in her yard and on her house that read “Will Smith, Go Film at Your Mansions” and “Put Potty Toilets Next to Your Neighbor’s House,” has a litany of complaints. She doesn’t like the fume-spewing trucks parked running in front of her house, where the production has placed portable toilets. She’s not that keen on the planned night shoot that will go to 3 a.m., either, because it calls for bright lights, rain machines and Great Danes.

“We had no choice,” she says. “The neighborhood had no choice.”

But her biggest complaint has been with FilmL.A., the nonprofit organization that acts as a liaison for the city, its residences and film companies.

Complaints over neighborhood film shoots are nothing new, but most of the attention has been on disruptions downtown, where once filmmakers had the streets to themselves. Now, downtown’s new residents aren’t so keen on it.

Hollywood Resident to Will Smith: Go Home

(Pic by Hollywood Reporter.)

Dresden Graham would prefer that Will Smith pack up and leave her neighborhood. As the Hollywood Reporter’s Borys Kit writes, the 65-year-old Hollywood resident is upset over how her Sunset Square neighborhood has been disrupted by shooting for Smith’s next film, “Seven Pounds”:

The production is based at a house on Sierra Bonita, between Hollywood and Sunset boulevards, just three houses up from Graham’s home, where she has lived since the mid-’80s. Trucks line the street, crews are busy setting up and striking down, generators hum, and security and police officers patrol the area.

Graham, who had put signs in her yard and on her house that read “Will Smith, Go Film at Your Mansions” and “Put Potty Toilets Next to Your Neighbor’s House,” has a litany of complaints. She doesn’t like the fume-spewing trucks parked running in front of her house, where the production has placed portable toilets. She’s not that keen on the planned night shoot that will go to 3 a.m., either, because it calls for bright lights, rain machines and Great Danes.

“We had no choice,” she says. “The neighborhood had no choice.”

But her biggest complaint has been with FilmL.A., the nonprofit organization that acts as a liaison for the city, its residences and film companies.

Complaints over neighborhood film shoots are nothing new, but most of the attention has been on disruptions downtown, where once filmmakers had the streets to themselves. Now, downtown’s new residents aren’t so keen on it.