Macy’s Thanksgiving Day Parade
In a popular Seinfeld episode from November, 1994, Elaine’s uncanny oldies knowledge wins her boss Mr. Pitt a spot holding the rope underneath a Woody Woodpecker balloon at the annual Macy’s Thanksgiving Day Parade.
But tragedy strikes when, at Tim Whatley’s party, Jerry accidentally pushes a small statue of the Empire State Building out the Read More
Tarter Stats O’Toole has scored another major downtown assignment and is marketing the 4,452-square-foot retail space at 111 Fourth Avenue, The Commercial Observer has learned.
The store, on Fourth Avenue between 11th and 12th Streets, was previously occupied for 30 years by Utrecht, an art supplies store. The space features 19-foot ceilings and 45 feet of frontage on the avenue. Asking rent is $125 a foot
Film & TV
Columbia University has hired a team from Winick Realty Group to market 1,690 square feet of retail space at 2884 Broadway, The Commercial Observer has learned.
Winick Executive Vice President Kenneth Hochhauser, Director Michael Gleicher and associate David Lawford will represent the Ivy League University as it seeks a retail tenant to replace Card-O-Matic, a stationery and novelty shop. The lot, with 1,240 square feet of ground floor and 450 square feet of basement space, is on Broadway between 112th and 113th Streets, near the campus’s main entrance gate.
It’s also two doors down from Tom’s Restaurant, the greasy spoon made famous when Seinfeld used its wraparound neon sign in exterior shots.
To moviegoers, the intersection of New York real estate and film exists as a loop of timeless screen images. Audrey Hepburn gazes into the Tiffany window. Woody Allen and Diane Keaton sit in the shadow of the 59th Street Bridge. Meg Ryan feigns an orgasm at Katz’s.
Whether their scenes were filmed in the city or recreated on a Burbank soundstage, filmmakers have always relied on New York for the dramatic backdrops that its skyline, landmarks, restaurants, avenues and enviable apartment interiors provide.
But 80-odd years after the entertainment industry decamped for Los Angeles—its persistent warmth and sunshine conducive to long shoots, its sprawl hospitable to mammoth studio lots—an increasing number of Hollywood pros are leaving their temperate backyards and making New York their backlot once again with a handful of transactions for actual brick-and-mortar office spaces across Manhattan.
“I moved to New York eight years ago because of the level of work that was happening here,” said Eric Robertson, the visual effects supervisor at the digital studio Mr. X, which expanded from Toronto to Manhattan last year. “That and the fact that a lot of filmmakers were coming home from L.A. People just want to live here because it’s such a hotbed of creativity. And everyone loves New York.”
Of course, the film and television industry never left the city. John Cassavetes, Martin Scorsese, Woody Allen, Spike Lee and Darren Aronofsky are just a few homegrown cinematic bards who preferred to stay put. New York University’s Maurice Kanbar Institute of Film and Television famously churns out indie darlings. And quintessential New York TV series like Law & Order and Sex and the City were produced locally to gritty and glossy effect—even if Seinfeld was shot in Studio City.
But over the past decade, cultural, economic and political forces have coalesced to bolster New York’s reputation as Hollywood East.
» When the television series 666 Park Avenue debuts this Sunday, it will mark the latest example in a long tradition of writers and directors setting fictional lives in actual New York City real estate. Be it the Ansonia at 2109 Broadway, the real-life address associated with 666 Park Avenue, or 185 East 85th Street, the home of George and Louise Jefferson, the Big Apple is rife with real estate made famous through television shows. With that in mind, The Commercial Observer reached out to Jonathan Miller, president and chief executive of Miller Samuel, for his thoughts on value using what limited information was available back in the day of Manhattan’s most recognizable television co-ops, hangouts and offices spaces. And while the numbers may be surprising, what we still haven’t figured out after all these years is how Joey Tribbiani was able to rent all that prime West Village space on a struggling actor’s salary.