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ANIMATED CHAPTERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 23 16 13 10 5 3 1 27 30 34
Introduction
Crash
An intersection in Boyle Heights
Lucha's Childhood
Lucha's Quinceañera Song
Mariachi Plaza, Boyle Heights
Jameson's Story
Jameson Portrait
The 2nd Street Tunnel, Downtown Los Angeles
The Reunion
A Rehearsal Studio in the Arts District
First Kiss
Hollenbeck Park, East Los Angeles
Angel's Point
Angel's Point, Elysian Park
Love and Fractals
The Floating Nebula
The Corn Fields, Los Angeles State Historic Park, Chinatown
Wedding
City Hall, Downtown Los Angeles
The Next Years
The Phone Call, Part 1
Traversing between the Arts District and Boyle Heights
A Fortune
Chinatown Plaza
Orlando's Story
Orlando's Fairwell
Evergreen Cemetery
Interlude (Car Wash)
AirStream Trailer, Elysian Park
Passengers
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
Despair
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Hades
Bowtie Parcel, Los Angeles River
Breakthrough
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
Orfeo
The Million Dollar Theater
Orlando Portrait
Libros Schmibros Book Store, Boyle Heights
Farewell From the Roof Tops
Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Old Age Like a Dream
The Phone Call, Part 2
Chavez Ravine, Elysian Park
Finale
The Central Hub

Jameson Portrait

Location: The 2nd Street Tunnel, Downtown Los Angeles
Music by Andrew Norman
Percussion: Ray McNamara/MB Gordy
His car accident with Lucha sends Jameson into an reflective state. He remembers a near-death experience of hitting a deer while driving on a snowy New England road. That experience made him reclusive and introspective but fascinated by the workings of the universe. After moving to Los Angeles to work with the Jet Propulsion Lab, Jameson struggles to reconcile the shadows of his memories with his scientific research.

Notes from Director, Yuval Sharon:

“Each of the characters had a piece we called their ‘Portrait’– less narrative and more character study. This one, for Jameson (on the Yellow Route), shows his split nature. A percussionist is in the car; outside the car, he can view himself as a projection on the walls of the 2nd and 3rd Street Tunnels. He sees himself as an animation, surrounded by scientific formulae. We also see a galloping deer – the totem of his near-death experience, as we learn in the Chapter 5 animation. That decisive moment from his youth changed him so utterly that the deer becomes a sort of spirit animal for him. His helmet has a deer decal in Chapters 2, Chapter 7, and Chapter 19.

“The philosopher Paul Virilio proclaimed that ‘what goes on in the windshield is cinema in the strictest sense’, and that confusion of real and virtual worlds was one of the primary ideas behind Hopscotch. In brainstorming ways to put that idea into motion, Production Designer Jason H. Thompson was keen to project on buildings as part of the production design of Hopscotch. When it was clear the performance had to be during the day and projections on buildings were likely to be obliterated by the sun, we realized that tunnels would still provide a dark enough situation for projections to read.

The 2nd Street Tunnel

Completed in 1924, the 2nd Street Tunnel, with its unique light and tiling, has been the set for over 70 car commercials. It is also significantly featured in the film Blade Runner.

“He and Lead AV Tech, Edward Carlson devised a plan to strap a projector to the roof of the limo, with the controls coming from the assistant stage manager in the passenger seat. How they figured this out is completely beyond me – they are both such mad geniuses.

“For Lucha’s portrait and Orlando’s portrait the voice-overs show the wiser, older version of the character remembering their younger selves with warmth and compassion. Jameson’s voice-over is from the perspective of his younger self curious about the future: ‘Is this the man I will become?’ Like the images on the walls of the tunnel, the striving scientist Jameson we are presented with in the car is a projection: an uncertain and - perhaps unsatisfying? – future.”