The Mulholland Experience


Everybody Loves Mulholland

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This is a story that has long needed to be told. I have wanted to
write this book since graduating college. I knew that if the stories were
not collected and preserved that they would be lost forever, and no one
would ever really have a firm understanding of what happened in the
hills of Los Angeles in the past. After the NO PARKING signs went up
in the 80’s, the glory days of Mulholland racing were over. I was in
college at the time and I began to realize then how important it was to
somehow save the stories and preserve the memories of those that
shaped what we know as,Mulholland racing. This way as the years pass
the future will be able to know what really happened up here in the
1950’s, 1960’s, 1970’s, and 1980’s.
Many years had come and gone while I was waiting, thinking, and
planning for this book. All this time I have been living in the same place
on Mulholland where my father had bought land and built a house in
the early fifties.
Through mutual friends I met Dan Magee, a talented writer.
Finally it was time to tell this story. Dan and I collected over thirty
personal accounts of what happened on Mulholland over several
decades. All these real stories are a part of this book. Dan’s creativity
and “Method Writing” style has worked together to enable this story to
be told well.
I take this time to thank him for making this dream come true for
me, and for helping me to save all things we know as “The Mulholland
*** This book has been purposely written using a conversational
format so that the reader can get a true feel for the stories recounted in
“The Mulholland Experience.” That way it feels like the reader is in a
personal dialogue with the original people that made the Mulholland
experience a real event. ***

James Dean spent sixteen months shooting three films back to
back, “East of Eden,” “Rebel Without a Cause,” and “Giant.” Only “East
of Eden” was released to the public during Dean’s short life. “Rebel”
was still in the editing phase and “Giant” was still in production in
Burbank. He took some time off and rented a bungalow at 14611
Sutton Street in Sherman Oaks. James knew about Mulholland Drive
because he used it as a direct route from the Valley to the studios in
Hollywood. At night he would use the deserted Mulholland Drive,
running his white Porsche Speedster, on his own personal racecourse.
Mulholland was the perfect test ground for the fledgling racer. There
he could practice his driving skills in tight hairpin turns and bumpy
straight-aways without fear of anyone crashing into him or writing
him tickets for excessive speed.Mulholland at that time was a
wide-open, sparsely populated road, with no stoplights or guardrails
and was not yet on the LAPD radar. Tim Considine shared a mutual
friend with James Dean. Here are a couple of Tim’s stories. “A friend of
mine that was one of his teachers was one of my teachers, a stuntman
Cary Lockton. He was a stuntman on “Rebel Without A Cause.” He
may have been the coordinator for the “Chickie Run” sequence on
“Rebel.” He told me that James Dean had a white Speedster and it kept
getting dinged up. Cary told Dean, ‘So you have been cheating on me.’
Dean replied, ‘I’m just learning you know.’ One time during filming of
the “Chickie Run” sequence, Cary played a trick on James. James would
have his hands stuffed in that little pocket on in his jeans. James was
overlooking a little cliff and Cary popped the horn. The noise just
scared the hell out of him. James couldn’t get his hands out of his
pockets and rolled all the way down the hill.”

We had the privilege of interviewing Bobby Carradine in Beverly
Hills, and he shared some great crash and burn events with us. One
day he was trying to show off when an unforeseen mechanical failure
steered him right into a brick mailbox. “I had hundreds of hours on
Mulholland. I was always developing the car to work better. One of my
goals was to clear 100 MPH in the Sweeper. I was finally able to do it
after Guldstrand put in the new solid Delrin bushings in the front
suspension. The suspension in the ’69 Vette is not that good. It can use
a lot of help.We were able to finally reach 100 MPH in the Sweeper.
I forgot about the brick mailbox. That was the burgundy ‘69 Vette.
You know the ? inch bolt on the Trans leaf spring? There are these
rods that are perpendicular to the ground, to that spring that it holds
to. To get it exactly the way we wanted to, there is a little piece of steel
past the bolt.When I was loading the car really hard in the corners, I
did a right-hander or left-hander I don’t even remember. If you were
really making a good run you were really loading the car. That tire
would blow. I could never really figure out why I was blowing a tire
occasionally. I finally figured it out, but not before I took out the
mailbox. That’s how that happened. I blew the tire and took out the

It is very important that these stories are written down as they
really happened. It is also crucial that they are told as they occurred
and that they are not altered in any way. It is important to remember
this history as well.When you gather information from several
different sources and the information coincides within itself, then you
have an accurate account of what is real and what is fantasy.We want
everyone to know what really happened on Mulholland, not the
Hollywood restructuring version. This book is the real deal. There is no
need to guess about what happened or to have hearsay guide your
impressions. It might not always be pretty, but it is real. After reading
these accounts everybody will know what it really was like to have the
Mulholland experience…
After the movie came out a separate film crew were filming a
documentary on how “King of the Mountain” was filmed.
The documentary was much more real than the film. They put a camera
in Chris Banning’s red Camaro racecar. The car he got his SCCA
license in. He took out the crew and went racing on Mulholland with
them. The crew was very impressed and a bit frightened from their ride
along with Chris. They ended up interviewing John Hall and Chris.
The documentary was pretty much a day in the life of the Mulholland
racers. It turned out to be a very accurate piece which pleased the
Mulholland crowd. David Barry steered the production company in
the direction of the real road racers. This time they got it right and did
not color it with Hollywood hype. The project was aired on the new
medium of cable television.Mulholland Drive was now known the
world over. It had achieved international acclaim as one of the most
famous and popular roads in the world.