Hollywood security: Who should call the shots?

Battle over private security vs. police-paid security hits Hollywood

I have never run across a news story about Los Angeles police in which the police union clammed up and had nothing whatsoever to say about it. Until this one.

Most of those men you see working security at location shoots for movies or TV shows are retired motorcycle cops. Give them just a glance and you'd think they were official. But they're a hybridized species -- looking the part but without full cop powers and not answerable to the LAPD. And they make a very pretty penny, sometimes six figures a year.

Chief Bill Bratton doesn't want these jobs done that way. He wants only active-duty, fully empowered officers coordinated by the department to be the ones moonlighting on sets within the city limits. The productions would pay the LAPD, which would pay the officers, schedule the work, assume liability and take a cut for its trouble. It's not money, Bratton says, it's professionalism, and he will work "aggressively" to make it happen.

See why the police union had no comment? If this were a film, I would be so ready for the pitch meeting: "It's cop versus cop -- a turf war across the Thin Blue Line in the City of Angels. What's at stake? Millions of dollars in movie income and all the craft services food you can eat."

Cops and movies have been tight since Mack Sennett made Keystone Cops comedies in what is now Echo Park and the police helped him do it. Decades later, Dan Cooke, the LAPD's Hollywood advisor, was such good pals with Jack Webb, the creator and star of "Dragnet," that Webb used Cooke's badge number, 714, as the show's emblem.

By the 1960s, the security relationship was firmly entrenched. Studios could summon retired or off-duty cops from independent "wranglers" on short notice, and -- as The Times pointed out in 1986 -- the wranglers "took a cut from the studio pay of each officer whose off-duty work they arranged." One man's finder's fee looked like another man's kickback.

When Daryl Gates was police chief, he didn't like the arrangement any more than Bratton does now, but nothing much changed. Some cops abused the system. Active-duty cops would call in sick on their regular shifts and then show up guarding a movie shoot, making more money there than for an official day's work.

Bratton wants to make sure anyone who looks like an LAPD cop is an LAPD cop. And he's concerned about the abilities and training of the retired movie officers. Eventually, he wants all active-duty cops who moonlight in uniform (it's allowed at 11 places, including the Hollywood Bowl and Dodger Stadium) to be hired and paid through the LAPD.

Such change, Bratton told me last week on KPCC radio, isn't "being done willy-nilly. Once we got into it and found out so many issues of concern to us, we were saying to ourselves, 'Why the hell was the department tolerating this for 20 or 30 years?' "

Even with a proposed 10% off the top to pay for running a "contract services" division, Bratton figures it wouldn't cost the studios more and, in fact, would save money.

The retired cops and movie and TV producers are equally vehement that things are just fine. They suspect the LAPD just wants control for its own sake -- and a piece of the action. Location managers e-mailed their dismay to KPCC -- like David Foster of "Desperate Housewives," who said retired officers were a "welcome and reliable asset to productions" and available on a moment's notice, unlike active-duty cops trying to work around their on-duty schedules. Why "fix that which isn't broken"?

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