
Scenes From A Cinematographer's $7 Million LA Hilltop Home
Why do we crane our necks toward the ridgeline, yearning for a house that brushes the clouds? Maybe the urge to survey danger still thrums beneath our ribs, or maybe we just like the thrill of looking down on the city's quickened heartbeat. Whatever the reason, the pull endures.
Some simply call it a view. In Los Angeles, it's more a storyboard. Here, a window isn't just glass but a lens through which the city's perpetual script unfolds, frame by light-shifting frame. In a place that measures life in scenes, such a sweeping outlook turns idle seconds—pouring a coffee, letting the dog out—into moments of cinematic grandeur.
At the property's edge, boundaries dissolve. Water, canyon and western sky fuse into a single, unbroken plane.
Perched on a serpentine road above Beverly Hills, 1665 Summitridge understands that impulse with auteur precision. Its owner, cinematographer-turned-director Mikael Salomon—the visual mind behind The Abyss, Backdraft and episodes of Band of Brothers—knows how one frame can carry an entire plot. From his ridgeline property, the frame is Los Angeles itself: first the Holmby treetops, then the Santa Monica crease and finally the cobalt coast. On clear mornings, downtown towers seem to float. At night, the grid glows like scattered sequins. It's a scene that refuses to cut away.
Spanish Revival isn't just wardrobe—it's the entire set, with interiors playing the lead.
Turn the camera around and the home itself is a splendid scene. The hillside residence wears vintage Spanish Revival attire—barrel-tile roof, white stucco, arched openings. Completed in 1976, the 5,000-square-foot structure dodged the glass-box fever that later swept the hills. Yet it never fossilized into nostalgia. Its Revival touches—exposed beams, beehive fireplaces, hand-painted tiles—now feel fashion-forward again, trophies of texture in a city rediscovering tactility.
And the winner for best view? The primary-suite balcony wins the Oscar for horizon drama.
Fitting for a filmmaker, the interiors revel in sightlines. Twenty-two-foot ceilings lift the living room into cathedral-like scale, a lofted workstation perched overhead like a director on a crane. Three tall French doors form a tidy triptych, steering eyes to a saltwater pool poised on the cliff's lip. From the living room, a single arched corridor threads through the dining space and into a renovated kitchen, a visual dolly shot halted only when pocket doors slide shut for intimacy. Options of open or closed, spectacle or secrecy, speak to a faith in hidden spaces.
Everyday acts become, if not extraordinary, at least worthy of a close-up.
A paneled door beside the kitchen reveals a climate-controlled vault for four hundred bottles. Behind the main living area, a fireside den doubles as a snug retreat. A generous balcony off the primary suite, invisible from the motor court, becomes the favored perch for morning planning and evening reflection. Even the pool equipment hides below grade, sparing the ear its mechanical drone.
Arched openings frame more than rooms; they stage sweeping long shots down every corridor.
Then there's the theater—not a perfunctory bonus room but a subterranean chamber dropped three feet below grade to create true stadium seating. Fifteen speakers lurk behind acoustic fabric; nine sit directly behind a woven French Screen Research surface that lets full-range frequencies glide through untouched. Matte panels shift from Academy to CinemaScope widths with the deference of a seasoned stagehand.
Added on to the home's original footprint, the theater is a bold sequel.
Yet the house is hardly a shrine to gadgetry. Materials matter as much as tech: hand-troweled plaster, polished hardwood, hand-hewn wood pillars. Wrought-iron banisters trace the second-floor gallery and exterior balconies. Terracotta tiling rings the saltwater pool and wraps into an alfresco kitchen built for late-summer grilling. Newer builds crowd the ridge, glassy and grand, but few achieve such authored coherence.
Each shift in the sky provides a new act: morning haze fades in like soft focus, noon snaps to razor clarity and sunset rolls the credits in liquid gold.
Summitridge is less an object on display than a stylish frame through which the city below is edited, enlarged and—on special evenings—soft-focus perfect. It stages daily rituals—morning emails from the mezzanine, an eight-o'clock screening, a midnight swim—as if they were scene work. Everyday acts become, if not extraordinary, at least worthy of a close-up.
1665 Summitridge is on the market for $6.95 million with listing agent Nichole Shanfeld of Carolwood Estates, a member of Forbes Global Properties, an invitation-only network of top-tier brokerages worldwide and the exclusive real estate partner of Forbes.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Buzz Feed
a day ago
- Buzz Feed
Actor Neal McDonough Breaks No-Sex-Scene Rule
Neal McDonough just broke one of his major acting rules, but the way he went about it might surprise you. There's a reason you've never seen Neal in any intimate scenes on the big and small screen. The 59-year-old actor, who also happens to be a devout Catholic, swore to only kiss the lips of his wife, and he's upheld that commitment throughout his 30+ years working in Hollywood. Neal married South African model, Ruvé Robertson, back in December 2003 after the two met in the United Kingdom while he was filming Band of Brothers. The couple celebrated their 21st wedding anniversary last year, and together they have five children — Morgan, Catherine, London, Clover, and James. 'I won't kiss any other woman because these lips are meant for one woman,' Neal said of his wife. Thankfully, Neal has been able to play some amazing roles despite the restriction, like when he landed a spot on the hit soapy drama Desperate Housewives. 'When [creator] Marc Cherry signed me, I said, 'I'm sure you know, but I won't kiss anybody,'' Neal said. 'He was like, 'But this is Desperate Housewives!' I said, 'I know.' He paused for about five seconds and said, 'All right, I'm just going to have to write better.' And we had a great time.' But not everyone in the business was willing to be so accommodating. Neal recalled getting fired from a show due to his refusal to shoot those scenes. He also felt like he was being blacklisted in the industry for a while because of it. 'I was [surprised], and it was a horrible situation for me,' Neal said of being "fired from Scoundrels" for not filming sex scenes with costar Virginia Madsen. 'After that, I couldn't get a job because everybody thought I was this religious zealot. I am very religious. I put God and family first and me second." "That's what I live by. It was hard for a few years. Then [Band of Brothers producer] Graham Yost called me and said, 'Hey, I want you to be the bad guy on Justified. I knew that was my shot back at the title.' And he's been on a roll ever since, starring in popular projects like Captain America: The First Avenger, Minority Report, Star Trek: First Contact, Sonic the Hedgehog, The Flash, and more. Well, it looks like Neal finally made an exception to his no on-screen kissing there's a twist. He revealed on TikTok that he convinced Ruvé to play the leading lady he'd smooch in his latest film The Last Rodeo, and it worked out perfectly. "Many people out there have asked me what it's like to have your first screen kiss, which I did in The Last Rodeo," Neal said on TikTok. "The reason it's so special to me, as everyone knows, I won't kiss another woman on screen, but now I get to kiss the one, the only, my best friend, and the love of my life — my wife Rose, in The Last Rodeo." He was referring to the name of Ruvé's character in the movie, Rose Wainright. "She was amazing. The film is amazing. But to have my first screen kiss and to actually play the hero, and kiss the girl in the end, is something that I've never done, but something I've always wanted to do my whole career. Now I get to do it. Comments were filled with people applauding him for staying true to his morals: The Last Rodeo is currently available to stream on select platforms. What are your thoughts on this? Let me know in the comments!
Yahoo
a day ago
- Yahoo
Watch Zach Bryan Jam With Bruce Springsteen In New Jersey
Zach Bryan tapped New Jersey rock'n'roll godfather Bruce Springsteen for two guest appearances last night (July 20) at MetLife Stadium in East Rutherford, N.J., providing an extra lift to the last of three sold-out shows at the stadium. Bryan brought out Springsteen for a version of the latter's 'Atlantic City,' which they'd previously performed in Philadelphia last summer. The performance also featured Kings of Leon singer Caleb Followill, whose band opened all three MetLife shows. More from Spin: 25 Songs That Still Believe in Peace THE DARK SIDE See Jeremy Allen White As Bruce Springsteen In First Biopic Trailer Springsteen returned to show off his fancy fretwork during the set-closing 'Revival,' a track from Bryan's 2024 album The Great American Bar Scene on which The Boss also guested. Fans greeted the artist with such a loud rendition of the signature 'Bruuuuuuce' chant that some attendees reportedly thought he was actually being booed. 'When I listen to your music, I'm like, 'If you put different production to this, it's a country song,'' Bryan said in a 2024 conversation with Springsteen for Rolling Stone. 'That's why I don't want to be a country musician. I don't want to be a country musician. Everyone calls me it. I want to be a songwriter, and you're quintessentially a songwriter. No one calls Bruce Springsteen a freaking rock musician, which you are one, but you're also an indie musician, you're also a country musician. You're all these things encapsulated in one man. And that's what songwriting is.' Bryan has a handful of major concerts on tap before he plays Sept. 27 at the University of Michigan football stadium in Ann Arbor, Mi. The show, the first ever to be held at the venerable venue, is expected to draw a sellout crowd of 112,000 people. To see our running list of the top 100 greatest rock stars of all time, click here. Solve the daily Crossword


USA Today
a day ago
- USA Today
Bruce Springsteen joins Zach Bryan for surprise 'Atlantic City' performance: Watch
Even Bruce Springsteen isn't too big for a cameo. The Boss joined musicians Zach Bryan and Caleb Followill of the Kings of Leon for a rendition of his 1982 classic "Atlantic City" at Bryan's July 20 MetLife Stadium show in New Jersey. The Kings of Leon and Jersey-based Rock band Front Bottoms were the openers for the concert, while Springsteen, 75, was a surprise guest, joining later for a quick-lick guitar solo on Bryan's track "Revival" during the encore. "Proud to call him my hero, one of the greatest songwriters to ever live," Bryan said before introducing the legendary rocker. "If you guys will have him, this is Bruce Springsteen!" Why Bruce Springsteen changed his set list to end concerts with this song The pair then moved on to play "Atlantic City," a harmonica-heavy ballad off Springsteen's 1982 album "Nebraska." Followill, Bryan and Springsteen stood at side-by-side mics, passing the lyrics back and forth, before embracing at the end of the track as the crowd coo-ed "Bruuuucee!" Bryan, 29, has followed in Springsteen's singer-songwriter footsteps, often folding angst into his scratchy, smoker's vocals and genre-bending music, which features a cocktail of folk, country and soul. Bruce Springsteen and the E Street Band still rock, quake and shake after 50 years Springsteen joined Bryan on stage last year in Brooklyn and Philadelphia, lending old-school rocker legitimacy to an emerging act. The two also collaborated on the track "Sandpaper" off Bryan's 2024 album, "The Great American Bar Scene." The July 20 show was the third for Bryan this weekend at MetLife, the first time a country artist played three nights in a single stand at the venue. Springsteen is fresh off the release of a previously unheard cache of tracks from years passed. On "Tracks II: The Lost Albums," the Boss treats fans to the musical roads not taken, with mystic, ranchera, and rock music blending on a masterful mix of some 83 songs. Contributing: Anna Kaufman, USA TODAY