The Paley Center for Media has vacated its longtime Beverly Hills location earlier than expected, setting up offices in Century City and finalizing a new home for its digital archives.
A spokesperson for the Paley Center confirmed to Variety that the Beverly Hills Public Library will be the new home for the TV and radio archives that previously lived at its now-closed museum. That collection includes at least 160,000 materials, including key moments in broadcast history.
Meanwhile, with the Paley Center’s Beverly Hills museum now vacated, three full-time staffers have been let go, the org said. The three employees were “building-related” workers related to the facility, while the remaining staff is now operating out of a new Century City office at 1901 Avenue of the Stars that — unlike the museum — is not open to the public.
That’s what facilitated the need to find a new home for the Paley Center collection.
A spokesperson for the Paley Center confirmed to Variety that the Beverly Hills Public Library will be the new home for the TV and radio archives that previously lived at its now-closed museum. That collection includes at least 160,000 materials, including key moments in broadcast history.
Meanwhile, with the Paley Center’s Beverly Hills museum now vacated, three full-time staffers have been let go, the org said. The three employees were “building-related” workers related to the facility, while the remaining staff is now operating out of a new Century City office at 1901 Avenue of the Stars that — unlike the museum — is not open to the public.
That’s what facilitated the need to find a new home for the Paley Center collection.
- 2/19/2020
- by Michael Schneider
- Variety Film + TV
The Paley Center will soon be vacating its Beverly Hills digs, four years sooner than planned. The bicoastal org, which also maintains a headquarters building in New York, confirmed to Variety that it will move out of its Beverly Hills location in mid-2020.
The Paley Center has occupied the location since 1995, when it opened a new building designed by L.A. architect Richard Meier on the property — located on Beverly Drive at South Santa Monica Boulevard.
But Paley doesn’t actually own the land where its building sits. A group of seven trusts, dating back to families that purchased the property in the 1920s, had leased it to Bank of America, which in turn subleased it to the Paley Center (then known as the Museum of Television and Radio) in 1995. In 2008, the Paley Center extended the term of its lease until Feb. 28, 2024.
In 2014, New York real estate investment firm Jenel Management Corp.
The Paley Center has occupied the location since 1995, when it opened a new building designed by L.A. architect Richard Meier on the property — located on Beverly Drive at South Santa Monica Boulevard.
But Paley doesn’t actually own the land where its building sits. A group of seven trusts, dating back to families that purchased the property in the 1920s, had leased it to Bank of America, which in turn subleased it to the Paley Center (then known as the Museum of Television and Radio) in 1995. In 2008, the Paley Center extended the term of its lease until Feb. 28, 2024.
In 2014, New York real estate investment firm Jenel Management Corp.
- 12/19/2019
- by Michael Schneider
- Variety Film + TV
Word is starting to make its way down the ultra-high-end real estate gossip grapevine that Hard Rock Café co-founder Peter Morton reached an agreement to sell his spectacular oceanfront front spread on Malibu’s Carbon Beach to an unknown buyer for a mind melting and record shattering $110 million. So the story goes, Morton was not looking to sell the two-parcel property but the unsolicited offer, brought by powerhouse broker Stephen Shapiro at Westside Estate Agency according to a well-connected snitch, proved simply too good to turn down. Morton, who sold the Hard Rock Café chain in 1995 for $410 million and the famously raucous Hard Rock Hotel & Casino in Las Vegas in 2006 in an all cash deal reported to net him more than $730 million, has owned the smaller of the two parcels since sometime before 1993 and records indicate he acquired the larger lot in 1998 for $3.5 million.
Secured behind gates and discreetly...
Secured behind gates and discreetly...
- 4/13/2018
- by Mark David
- Variety Film + TV
On the season 2 finale of Bravo’s Million Dollar Listing New York, Luis sold a Richard Meier West Village unit that I would sell my soul to live in, which would never even work because my soul is worth approximately $6.4 million under the asking price. Damn Rich People. Ugh. End of recap. But no.
Frederik went into business with the king of all evil (Donald Trump). And in a prompt and businesslike Central Park bench meeting, Frederik and Luis patched up their differences with a solid “hug it out.” Oh, and Top American Cretin Ryan Serhant used a lascivious new...
Frederik went into business with the king of all evil (Donald Trump). And in a prompt and businesslike Central Park bench meeting, Frederik and Luis patched up their differences with a solid “hug it out.” Oh, and Top American Cretin Ryan Serhant used a lascivious new...
- 8/1/2013
- by Annie Barrett
- EW.com - PopWatch
Dick Valentine sounds like the kind of name you’d see featured in the credits of a blue movie. However, Dick Valentine is not a pornstar as his name suggests, he is something altogether more thrilling and stupendous. He is the frontman of the whimsical rock and roll band from Detroit, Electric Six.
Electric Six are back on the scene with a fresh new tour where they will be celebrating the 10th anniversary of their classic Fire album. Fire was the group’s breakthrough album, reaching #7 in the UK charts and was a commercial and critical triumph, featuring comedy injected hits ‘Danger! High Voltage’ and ‘Gaybar’. Not only are these tracks undeniably catchy, but they are accompanied by entertaining music videos courtesy of the humorous cinematic vision of directors Tom Kuntz and Mike Maguire. The album went gold in the September of 2003 and remains the most successful of their 7 subsequent studio albums.
Electric Six are back on the scene with a fresh new tour where they will be celebrating the 10th anniversary of their classic Fire album. Fire was the group’s breakthrough album, reaching #7 in the UK charts and was a commercial and critical triumph, featuring comedy injected hits ‘Danger! High Voltage’ and ‘Gaybar’. Not only are these tracks undeniably catchy, but they are accompanied by entertaining music videos courtesy of the humorous cinematic vision of directors Tom Kuntz and Mike Maguire. The album went gold in the September of 2003 and remains the most successful of their 7 subsequent studio albums.
- 10/12/2012
- by Paul England
- Obsessed with Film
Actress Nicole Kidman has sold a Manhattan apartment located on Perry Street after owning it for nine years. The unit was previously on the rental market for $45,000 a month before being purchased on July 10 for $16 million by an unknown buyer, according to The Real Deal. The 3,785-square-foot apartment is located on the 12th floor complete with three bedrooms, 3.5 bathrooms and a view of the New York Harbor. The Richard Meier building is popular among celebrities such as designer Calvin Klein and fellow Aussie Hugh Jackman. Jim Carrey is also said to
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- 8/7/2012
- by Megan Singson
- The Hollywood Reporter - Movie News
Los Angeles residents who watched the spectacle of the massive Getty Center slowly rising on a hilltop off the San Diego Freeway will no doubt find much of interest in the latest documentary effort from Maysles Films. "Concert of Wills", which should also fascinate museum and architecture buffs, documents the compromises and difficulties involved in creating one of the nation's foremost museums. It is receiving its U.S. theatrical premiere at New York's Film Forum.
The six-building complex, 14 years in the making (like the film), resulted from the clash and concordance among the visions of various figures, including renowned modernist architect Richard Meier, famous for his white, minimalist creations; San Diego artist Robert Irwin, designer of the museum's central garden; French architect Thierry Despont, assigned with providing warmth to the building's interior spaces; Getty executives, led by strong-willed museum director John Walsh; and residents of Brentwood, who had their own ideas of what should and what shouldn't be done.
"Concert of Wills", commissioned by the Getty Trust, depicts the aesthetic and business struggles in detailed fashion, with the filmmakers obviously given free reign to document the process and personalities involved.
At times, what occurs is engrossing, particularly the inevitable conflicts between Meier's distinctive vision and the demands placed on him by the Getty people. At other times, the film is more than a bit dry; lengthy sequences involving community zoning processes and minute architectural details like the placement of a door could have been trimmed for better effect. "Concert of Wills" succeeds, however, in demonstrating its overriding theme -- that, at least in this case, collaboration and compromise led to a successful conclusion.
CONCERT OF WILLS: MAKING THE GETTY CENTER
Maysles Films Inc.
Director-screenwriters: Susan Froemke, Bob Eisenhardt, Albert Maysles
Producer: Susan Froemke
Directors of photography: Albert Maysles, Christopher Lanzenberg, Christian Blackwood, Robert Richman, Giogio Urbinelli
Editor: Bob Eisenhardt
Music: Joel Goodman
Color
Running time -- 100 minutes
No MPAA rating...
The six-building complex, 14 years in the making (like the film), resulted from the clash and concordance among the visions of various figures, including renowned modernist architect Richard Meier, famous for his white, minimalist creations; San Diego artist Robert Irwin, designer of the museum's central garden; French architect Thierry Despont, assigned with providing warmth to the building's interior spaces; Getty executives, led by strong-willed museum director John Walsh; and residents of Brentwood, who had their own ideas of what should and what shouldn't be done.
"Concert of Wills", commissioned by the Getty Trust, depicts the aesthetic and business struggles in detailed fashion, with the filmmakers obviously given free reign to document the process and personalities involved.
At times, what occurs is engrossing, particularly the inevitable conflicts between Meier's distinctive vision and the demands placed on him by the Getty people. At other times, the film is more than a bit dry; lengthy sequences involving community zoning processes and minute architectural details like the placement of a door could have been trimmed for better effect. "Concert of Wills" succeeds, however, in demonstrating its overriding theme -- that, at least in this case, collaboration and compromise led to a successful conclusion.
CONCERT OF WILLS: MAKING THE GETTY CENTER
Maysles Films Inc.
Director-screenwriters: Susan Froemke, Bob Eisenhardt, Albert Maysles
Producer: Susan Froemke
Directors of photography: Albert Maysles, Christopher Lanzenberg, Christian Blackwood, Robert Richman, Giogio Urbinelli
Editor: Bob Eisenhardt
Music: Joel Goodman
Color
Running time -- 100 minutes
No MPAA rating...
- 8/27/1998
- The Hollywood Reporter - Movie News
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