whereby putting your head through a hole in a mural flat you can have your picture taken being kissed by a film star. The proliferation of tawdry souvenir shops along Hollywood Boulevard, full of ghastly junk, cheap in quality but not in price made me thankful that 30 years ago I’d seen a better Hollywood than this crowded tourist trap. So with jet lag catching up I returned to the hotel for a rest. Back at the hotel I noticed that the film crew had moved from the pool and were now shooting in what appeared to be the ballroom. A section of the hotel foyer had been roped off to keep the public out, or perhaps the crew who were mingling about behind the ropes, in. I approached for closer look and spotted a sound trolley so I spoke to the guy standing by it. He was the boom op. I introduced myself and after a few words the mixer came up and joined the conversation. His name was Alan Beyer. He wasn’t a local - he came from New York and was here by invitation of the director with who he has worked previously. The picture working title was Blow, a 1930s story about a drug dealer. They were providing playback for a ballroom scene which was being handled by his crew so there was time to chat. Problems with noise, HMIs, ballasts etc, impatience of directors, editorial departments lack of understanding about new techniques you name any of our problems here in the UK and according to Alan they are exactly the same in the USA. 
The original old gate. The guide explains that the fountain now in front represents the snowy mountain of Paramount’s logo | 
The studio lot water tower, visible for miles around - LA fog permitting |
