Jerry Maguire – Complete Guide to Filming Locations – Part 2

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We are back with Part 2 of the Complete Guide to Jerry Maguire Filming Locations. Let’s dig in!

  1. Cushman’s House – (Morehart Mercantile, 9016 Mupu Road, Santa Paula)

“You know, I told myself, ‘He shows up, we stick with him.’” – Matt Cushman

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Matt Cushman (Beau Bridges), whose word is stronger than oak, makes a verbal agreement to keep Jerry as his son Frank’s agent while in the living room of his Odessa, Texas ranch house. Filming actually took place at a home on the sprawling grounds of Morehart Mercantile, a feed and farm supply company in Santa Paula.

  1. Jerry, Ray and Dorothy’s Airport Goodbye – Terminal A Entrance, John Wayne Airport (18601 North Airport Way, Santa Ana)

“Jerry, do you know the human head weighs eight pounds?” – Ray Boyd

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 Dorothy and Ray drop Jerry off at the airport before the NFL Draft outside of the entrance to Terminal A at the John Wayne Airport. While there, Dorothy fondly watches a father say goodbye to his wife and young son.

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Jerry Maguire – Complete Guide to Filming Locations – Part 1

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In honor of its 20th anniversary, I’ve teamed up with the amazing Lindsay Blake, to uncover and compile a complete list of all of the film’s shooting locales, as well as some insider tidbits. As always, many of these locations are private residences or businesses, so please don’t trespass. So, without further ado, we present The Complete Guide to Jerry Maguire Filming Locations – Part I. Stay tuned for Part II tomorrow!

  1. Opening Montage

“So, this is the world and there are almost 6 billion people on it. When I was a kid, there were three. It’s hard to keep up.” – Jerry Maguire

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The movie’s opening, in which successful sports agent Jerry Maguire (Tom Cruise) introduces the audience to several of his young clients, was shot at various athletic facilities across L.A., mainly in the San Gabriel Valley. The “Indiana” Basketball Court where Clark Hodd (Michael James Johnson), the best point guard in the country, shoots hoops is Robinson Park, located at 1081 North Fair Oaks Avenue in Pasadena. The area where Clark plays in the segment was remodeled in the mid-2000s and the number of courts reduced from four to two, so it looks a bit different today. Erica Sorgi (the All-American diver played herself) – “You’ll see her in the next Olympics!” – skips across the living room of a house at 972 Cornell Road in Pasadena before hurling off a diving board a few miles away at the Rose Bowl Aquatics Center at 360 North Arroyo Boulevard. Dallas Molloy (also playing herself), whose lawsuit, as Jerry tells us, helped paved the way for women boxers everywhere, throws jabs in the boxing gym at Villa-Parke Community Center at 363 East Villa Street, again in Pasadena.

The “Indio” baseball field where Art Stallings (Jordan Ross) shows us what pure joy looks like is Pote Field at 4730 Crystal Springs Drive in Griffith Park. The “Great Frank Cushman” (Jerry O’Connell) tosses a pigskin at what is supposed to be an Odessa, Texas stadium, but, in reality, he is at the Los Angeles Memorial Coliseum at 3911 South Figueroa Street in Exposition Park. And Brookside Golf Course at 1133 Rosemont Avenue in Pasadena is where a young golfer (Brandon Christianson) throws a club at his coach.

 

  1. NFL Owners Meeting – The Westin Los Angeles Airport (5400 West Century Boulevard, Westchester)

“Now I’m the guy you don’t usually see. I’m the one behind the scenes. I’m the sports agent.” – Jerry Maguire

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Following the opening, the scenery shifts to an NFL owners meeting taking place in the bustling lobby of what was then the LAX DoubleTree Hotel, but today is The Westin Los Angeles Airport. There, Jerry wheels and deals for his various clients, trying to secure a $14-million-per-year/5-year offer for one player. Hey, no one said winning was cheap!

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Jerry Maguire – Behind the Scenes Pics

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We’ll have a special post tomorrow to celebrate Jerry Maguire‘s 20th Anniversary, but thought we’d start things today with some previously unseen Behind the Scenes pictures. Enjoy!

 

 

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Jerry Maguire 20th Anniversary Blu-ray is Coming!

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To celebrate the 20th anniversary, Sony will be releasing a brand new edition of Jerry Maguire on blu-ray on January 3rd. It will feature a beautiful new transfer (from 4K), a new collection of extras from the Vinyl Films vault, plus all the legacy extras from previous blu-ray and 2 DVD special edition (inlcuding the video commentary with Cameron, Tom, Cuba and Renee). The newly created extras include a 40 minute retrospective documentary, Jerry Maguire: We Meet Again. The documentary features unseen behind the scenes footage, rehearsals, dailies and vintage interviews with the cast and crew. This doc is complimented by a new audio interview with Cameron and Tom discussing the film. It will be a Best Buy exclusive and also include a copy of the soundtrack on CD. We think you will really enjoy this look back at the film.

The disc is also packed with nearly an hour of newly uncovered Deleted/Alternate/Extended Scenes, a booklet with the Mission Statement (plus an intro by Cameron), a new photo gallery and the theatrical trailer.

Release Date: January 3, 2017
BD Disc Size: 50 GB Disc
Region Code: Region A
Video Codec: MPEG-4 AVC
Video Resolution: 1080p
Aspect Ratio: 1.85:1
Subtitles: English, French, Spanish, Portuguese

Sound:

  •  5.1 (English)
  •  5.1 (French), (Spanish),(Portuguese)

Extra Features:

  • Jerry Maguire: We Meet Again Documentary
  • Nearly one hour of never before seen deleted and extended scenes
  • Photo Gallery
  • Theatrical Trailer
  • Legacy Bonus Features
    • Picture in Picture (PIP) commentary by Cameron Crowe, Tom Cruise, Cuba Gooding, Jr. & Renée Zellweger
    • Deleted Scenes
    • Rehearsal Footage
    • My First Commercial with Rod Tidwell
    • Drew Rosenhaus: How to be a Sports Agent
    • Secret Garden Music Video by Bruce Springsteen
    • Making of Featurette

Finally, here’s a look at the entire package with the Mission Statement Booklet, etc.

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Marvin Gaye: Trouble Man

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Four years ago, Cameron wrote the liner notes for the 40th Anniversary Expanded Edition of Marvin Gaye’s Trouble Man soundtrack. Enjoy!

A quick snapshot of Marvin Gaye, May 1971: Sylmar, California. It’s a rarely documented time in the artist’s life. He’d just finished What’s Going On, and hopped a flight from Detroit to Los Angeles to begin a co-starring role in an earnest film about a young Green Beret. He’s 32, newly shorn of the iconic beard that would characterize his creative gestation. In the summer of ’71, Marvin Gaye is an actor.

The film was not going swimmingly, the director uncommunicative with him, and Marvin was adrift in a world he’d known only as a fan, unaccustomed to set-politics, but ready to learn. It’s no surprise where Gaye found a homeon the camera truck, helping with the film operators, being close to the artistic creation of the film’s feel and look. Most of the camera crew was unaware of Gaye’s recorded work.

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Leon Russell: 1942 – 2016

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The Master of Space and Time

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Happy Birthday Joni

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Mitchell on Lake Mendota. 1976. ©Joel Bernstein

Today is Joni Mitchell’s birthday. Let’s celebrate this Monday with a few Cameron penned items.

Joni Mitchell Interview – Rolling Stone – July 26, 1979

Joni Mitchell Dreamland Liner Notes – September 14, 2004

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Capricorn Records – 5 Year Anniversary

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Cameron celebrated Capricorn Records 5 year anniversary for Circular magazine back in 1974. Capricorn was riding high with the success of the Allman Brothers Band at the time. The label would fold back in 1979 and then relaunch again in the 90’s before folding again. Viva Capricorn!

Capricorn: Five Years Later – The Sound of the South Sounds Fine

Macon has rapidly moved into the forefront as the new musical capital of the South due to the highly professional and dedicated efforts of Phil Walden and Capricorn Records. Georgians are proud of this emerging image and of the quality of musical production from Capricorn.

I have proclaimed the month of August as “Music Recording Month” throughout the State of Georgia, and the Third Annual Capricorn Barbecue is a fitting way to initiate the month. – Georgia Governor Jimmy Carter

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It’s a long way Capricorn Records has come in the five years since their quietly, auspicious emergence in 1969. Casually named after President Phil Walden’s astrological sign, the company began as a small Atlantic custom label with a one-artist roster. That single artist, a little-known session guitarist named Duane Allman, went on to assemble what was to become Capricorn’s blues-rocking focal point: The Allman Brothers band. The group’s hypnotic first effort, The Allman Brothers Band, served as a stunning debut release.

The road ahead proved a prosperous one, but not without turmoil. Duane Allman’s death in a 1971 motorcycle crash came just as The Brothers were beginning to experience mass acceptance with At Fillmore East. Suddenly the band’s personal life was thrown into mourning and their career into jeopardy. “We stuck together to survive,” says Greg Allman in retrospect. “It was probably at that point that I realized what an invaluable friend we all had in the Capricorn organization.” Only a year later, the closeness of that relationship would be tested once again with the death of bassist Berry Oakley. “By that time,” reflects Allman, “there wasn’t nothing gonna bust up the Family.”

More Than A Label

Phil Walden emphasizes the importance of record company involvement. “It’s crucial to become involved, to have a sincere interest. Most of the artists here eventually become tight personal friends. I think you’ve got to have that… I know you’ve got to have that.”Throughout their existence, Capricorn Records has wisely and tastefully built from, rather than around, their highly successful Southern blues-rock base. Signing such diverse artists as Livingston Taylor, Alex Taylor, Martin Mull, The James Montgomery Band, Eddie Henderson and, later, even Kitty Wells, Percy Sledge and Elvin Bishop, the company seemed determined not to see Capricorn Records become a euphemism for “The Allman’s Label.”

“It was our objective from the very beginning,” explains co-founder and executive vice-president Frank Fenter, “to have jazz, country, comedy and blues artists as well as rock. You can be a record label and produce one type of music, but you can’t be a record company. We’ve always anticipated being a thoroughly involved company.”

As we talk in the main Capricorn offices is located in the sleepy heart of downtown Macon, Fenter proves a flamboyant conversationist with more than a few theories on The Business. An Englishman who worked for Atlantic overseas in his pre-Capricorn days, the full-throttle passion Fenter exhibits in discussing his game plan has been more than justified by his track record. Toy Caldwell of The Marshall Tucker Band remembers walking into Frank’s lunch-hour-emptied office and leaving the group’s demo tape on the desk.  “We went back home to Spartanburg and the next day Frank was calling us up telling us to get our ass back down to Macon.” Within a week, The Marshall Tucker Band were signed to Capricorn.

“We’ll continue to sign artists,” Fenter assures, “but without losing sight of our original objectives. Phil and I may have been cocky at the time, but, although I never expected the success so soon, we were convinced that we would do something new in this business. Our way. We’ve always agreed on how to run a record company and how you should treat artists. You see, I believe that a record company should make money along with the artists. It’s not a one-way street. I don’t think the artist should screw the record company once he gets big, and I don’t think the record company should shaft the artist once it gets big.”

Rolling Dice

According to Fenter, most of the artists signed are brought to the label’s attention by other Capricorn musicians. “We never have gone out and actively pursued anybody in anyway. Capricorn is not into buying big names. We never have been and I hope we never will be. That’s not to say that if a major act became available we wouldn’t talk to them, but you won’t catch us stealing acts away from other labels by offering them more money than anybody else. That’s yesterday’s record business. We don’t believe in bidding. We don’t want to be viewed as another great rip-off company.

“If a guy comes in to us, gets an offer and then says ‘I could get $20,000 more from Columbia,’ we say ‘Good luck on Columbia man. I think we could do a better job and in the long run sell more records for you, but if the quick buck is where you’re at… have a good time on Columbia.’

“After all, it’s the record company that takes the first gamble. Somebody comes in off the street, sends a tape or gets discovered in some bar… it’s just like rolling dice in Las Vegas. But you don’t stand anywhere near the same odds. This time, they’re all against you. You finally click with somebody and who looks back to say ‘That record company sure took a big chance’? Nobody. It’s only ‘Look at all the money they’re making.'”Fenter pulls a hand through his curly black hair and pauses to re-evaluate. “I don’t mean to sound too hard-line,” he says.  “I’m proud of everything we’ve got. I couldn’t be prouder. We’ve known some fine people who’ve turned us onto some fine bands. At the same time, we been open-minded, careful, tasteful and choosy.”

The Finest Guitar

Perhaps a perfect illustration of that tasteful care is the manner in which Capricorn has posthumously treated Duane Allman. The excellent An Anthology was released two years ago to overwhelming critical and commercial acclaim. While a follow-up wasn’t originally planned, a superbly selected second album has been prepared for August release.

“Right at the beginning,” says Fenter, “when we put out the first anthology, we tried not to make it an Allman Brothers album. You know, for all the publicity Duane got in whatever way he got it, he never really got the attention that Clapton gets or that Hendrix got. His work with The Allman Brothers Band is known, but the earlier work was just totally obscure. We thought that, historically, those works should be made available. You can’t ask people to buy fifty albums. And who would know Duane was on them anyway, because on most albums he isn’t even credited. On this new album there’s even a song he sings, called ‘Happily Married Man.’

“We were left with a whole lot of tracks after we’d finished the initial double-set. There was a live version of ‘Midnight Rider’ where he plays licks that would put a lot of guitarists to shame today. That’s on the new one, too. If you’re into guitar-playing, these albums will show you every side to what I personally think was the finest guitar player to have ever lived. And don’t forget I’m from England.”

The desk phone rings. Fenter snaps it up. The several-minute-long conversation concerns a single of some sort. “Boy,” he sighs, hanging up, “that’s one tight band up there in Philadelphia. Duke Williams and the Extremes. You see, we’re putting out a new single ‘I Don’t Want To Smile.’ And we did an edit on the track that, well… the group doesn’t like to much. But it’s the only edit we could have done to give them a crack at the Top 40 listeners. I’ve given them several shots at singles before, now it’s my turn. And if I’m wrong, I’ll be the first one to fly to Philadelphia and say I’m wrong.'”

Capricorn Records, it seems, like Frank Fenter, just may have found the perfect balance between love, respect, and Billboard.

Courtesy of Circular – Cameron Crowe – August 12, 1974

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Mike Finger’s The Blue and the Black