“You can’t take a picture of this; it’s already gone.”
But I shot a picture of the house anyway. Multiple pictures, in fact.
I started watching “Six Feet Under” (SFU) when I was around 11 or 12. I understood most of what happened on the series, actually. I’m sure some people would argue I shouldn’t have been exposed to the subject matter so young. But it is what it was.
I don’t have a large number of family members, so the Fishers were like those relatives people see once every now and then. They were my summer family, and each season was a fleeting family reunion.
I watched SFU before Netflix’s streaming service was a thing. We used actual DVDs to watch the show (we didn’t have whichever channel SFU played on in Canada); there’s a nostalgic factor associated with that, which means I’ll always look back on it fondly.
I probably need to watch the series again to fully appreciate it.
It was well acted. I felt connected to Claire, Ruth, Keith, and Brenda the most. Frances Conroy, who played Ruth, particularly spoke to me. I once stood next to her between takes on the set of “Happy Town” when I was an extra. I remember wanting to tell her how great she was as Ruth, but I didn’t want to bother her. Claire’s story resonated with me the most. I could see where we both needed to mature and why we were frustrated. Her green hearse was neat, too.
I recall watching the last few minutes of SFU’s series finale on YouTube before finishing watching the final season. Even though it was was spoiled for me, rewatching it — this time in chronological order — was intense. I felt physically and emotionally moved by that ending. Powerful, so beautiful. It was the most fitting coda.
I visited the house in Los Angeles on Dec. 3, 2014. It’s located at 2302 W 25th St. According to a plaque on the property, the building is the Auguste R. Marquis Residence (Filipino Federation of America). It was built in 1904 and is historic-cultural monument number 602. Something was being shot inside the house at the time (a short movie, if I recall correctly). A friendly crewmember let me go into the lobby. The house was mainly used for exterior shots (the inside doesn’t look like the set used during shooting), as is the case with many productions. Still, it was surreal to stand there on that porch.