More on Courthouse Square, destroyed by fire yesterday at Universal Studios:

It was where Robert Zemeckis shot the electrifying clock-tower climax with Michael J. Fox in “Back to the Future.” It was also the courthouse backdrop for Gregory Peck’s Oscar-winning performance in “To Kill a Mockingbird.” …

Fans of the old television series “Leave It to Beaver” may recognize the courthouse facade as where the Beav went to school.

And before it was called Courthouse Square, thanks to its use in the “Back to the Future” movies, the area was known as Mockingbird Square because of its extensive use in the 1962 adaptation of the Harper Lee novel.

The Hill Valley clock tower was added to the courthouse for “Back to the Future,” but over the years, filmmakers have removed the clock and redressed the buildings for several films, including Steven Spielberg’s “War of the Worlds,” plus “Bruce Almighty” and “The Cat in the Hat.” It was also used in the 1960s musicals “Bye Bye Birdie” (it was where pop star Conrad Birdie performed to his adoring female fans) and “The Music Man” (as the locale of the “76 Trombones” parade finale).

Courthouse Square was one of the standing sets of the current CBS paranormal drama “Ghost Whisperer.”

Longtime readers of this blog will know that “Back to the Future” is my all-time favorite movie.

Well, the iconic courthouse square used in the movie was destroyed today in a blaze on the Universal Studios lot.

This makes me sad.

In tribute:

We saw Indiana Jones and the Kingdom of the Crystal Skull last night. (Spoilers below, after the jump, although they only involve stuff from the first part of the movie.)

I thoroughly enjoyed it. I loved that it was in many ways a throwback to 1980s movie-making, which is what Spielberg intended, as he said in Vanity Fair a few months ago:

Rather than update the franchise to match current styles, Lucas and Spielberg decided to stay true to the prior films’ look, tone, and pace. During pre-production, Spielberg watched the first three Indiana Jones movies at an Amblin screening room with Janusz Kaminski, who has shot the director’s last 10 films. He replaces Douglas Slocombe, who shot the first three Indy movies (and is now retired at age 94), as the man mainly responsible for the film’s look. “I needed to show them to Janusz,” Spielberg says, “because I didn’t want Janusz to modernize and bring us into the 21st century. I still wanted the film to have a lighting style not dissimilar to the work Doug Slocombe had achieved, which meant that both Janusz and I had to swallow our pride. Janusz had to approximate another cinematographer’s look, and I had to approximate this younger director’s look that I thought I had moved away from after almost two decades.”

Spielberg promises no tricky editing for the new one, saying, “I go for geography. I want the audience to know not only which side the good guy’s on and the bad guy’s on, but which side of the screen they’re in, and I want the audience to be able to edit as quickly as they want in a shot that I am loath to cut away from. And that’s been my style with all four of these Indiana Jones pictures. Quick-cutting is very effective in some movies, like the Bourne pictures, but you sacrifice geography when you go for quick-cutting. Which is fine, because audiences get a huge adrenaline rush from a cut every second and a half on The Bourne Ultimatum, and there’s just enough geography for the audience never to be lost, especially in the last Bourne film, which I thought was the best of the three. But, by the same token, Indy is a little more old-fashioned than the modern-day action adventure.”

Spoilers follow.
Continue reading →