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Coldwell Banker

The Real Values of 15 Movie Homes

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Coldwell Banker

It’s hard to imagine Steve Martin grappling with his daughter’s extravagant wedding in a ranch house, the Tenenbaum family coping with their stressed relationships in a free-standing beach house, or Holly Golightly and Paul Varjak falling in love in a modern high rise. For many films, the homes in which they’re set become as beloved to audiences as any member of the cast. And (just like actors) many of these homes remain standing long after the cameras stop rolling. Here are 15 movie houses you could call your own—or at least visit.

1. The Curtis Brothers’ House // The Outsiders (1983)


731 N Saint Louis Avenue, Tulsa, OK
4 beds/ 1 bath/ 1395 square feet
Estimated Value: $51,818

Based on S.E. Hinton’s middle school classic novel, Francis Ford Coppola’s poetic saga is best known for its cast of young heartthrobs, including Tom Cruise, Emilio Estevez, Ralph Macchio, Diane Lane, and Matt Dillon. The house used for the Curtis boys’ (played by Patrick Swayze, Rob Lowe, and C. Thomas Howell) “other side of the tracks” house was built in 1940 and last sold in 2008 for $6000. Its current value is estimated at over $51,000.

2. Mikey and Brand Walsh’s House // The Goonies (1985)

368 38th Street, Astoria, OR
4 beds/ 2 baths
Estimated Value: $215,931

In Richard Donner’s 1985 film (conceptualized by Steven Spielberg and written by Chris Columbus), a group of young misfits—dubbed the Goonies—try to save their homes in the Goon Dock section of Oregon from being demolished to make room for an expanding country club. As such, finding the right houses was key to the film’s success. The film’s production crew found the perfect location for the Walsh family’s home at 368 38th Street in Astoria, Oregon—and Data could have very possibly zip-lined his way to Mikey’s from his home just down the block at 304 38th Street.

3. Max and Dani Dennison’s House // Hocus Pocus (1993)

4 Ocean Avenue, Salem, MA
3 beds/ 1 bath/ 1305 square feet
Estimated Value: $341,941

The Halloween classic (starring Bette Midler, Sarah Jessica Parker, and Kathy Najimy) used the town of Salem, Massachusetts, for most of its exterior shots, including those of Max and Dani’s home and Allison’s extravagant house. However, almost every interior shot was done in Los Angeles. According to, Max’s house and Allison’s house were only 1.5 miles apart, meaning their trick-or-treat route could have easily been made in real life.

4. Nick and Amy Dunne’s Suburban Palace // Gone Girl (2014)

Courtesy Alexandrea Morrow

3014 Keystone Drive, Cape Girardeau, MO
5 beds/ 6 baths/ 4,413 square feet
Estimated Value: $559,528

In the David Fincher film based on Gillian Flynn’s smash-hit novel, Nick and Amy Dunne (Ben Affleck and Rosamund Pike) move back to Nick’s Missouri hometown to help care for Nick’s ailing mother. To make the Dunnes’ new neighborhood appear riddled with financial crisis foreclosures, the real life neighbors of the Gone Girl house—a private home in Cape Girardeau, Missouri—were asked to stop mowing their lawns during filming.

5.Lance’s House // Pulp Fiction (1994)

3519 La Clede Avenue, Los Angeles, CA
2 beds/ 1 bath/ 1490 square feet
Estimated Value: $700,318

Lance’s house is probably best remembered as the site of doped-out Mia’s (Uma Thurman) life-saving adrenaline shot to the chest. Last sold in November 2003 for $540,000, the tiny two-bedroom house that served as the exterior of Lance’s drug den is now valued at over $700,000—that’s over $460 per square foot! Lance must have been doing alright for himself.

6. Aurora Greenway’s House // Terms of Endearment (1983)

3060 Locke Lane, Houston, TX
4 beds/ 2.5 baths/ 3608 square feet
Estimated Value: $1,167,319

The house that served as the exterior of Aurora’s (Shirley MacLaine in an Oscar-winning performance) posh Houston home, built in 1940, stands today exactly as it did in the 1983 film. If the close mother and daughter actually lived in the houses used for filming, Emma (Debra Winger) would be a short five-mile drive from her mom Aurora.

7. Kevin McCallister’s House // Home Alone (1990)

671 Lincoln Avenue, Winnetka, IL
4 beds/ 4 baths/ 4,243 square feet
Estimated Value: $2,068,645

John and Cynthia Abendshien, the owners of the house used for the McCallister family’s homestead—where Kevin (Macaulay Culkin) traps, tricks, and bamboozles the Wet Bandits—insisted on living in their home during production, despite the studio’s offer to put them up in a nearby apartment. While filming took place, they became very close with Culkin and Catherine O’Hara, who played Kevin’s mom. The Abendsheins were only upset with a minor incident during the experience: finding one of their property’s fir trees cut in half. But all’s well that ends well—they laughed while watching Kevin cut down the top of the fir for his Christmas tree in the final movie.

8. The Banks Family's House // Father of the Bride (1991)

843 S El Molino Avenue, Pasadena, CA
8 beds/ 5 baths/ 4,339 square feet
Estimated Value: $2,661,483

The white colonial at 24 Maple Drive is the heart and soul of Father of the Bride. Not only is it where George Banks (played by Steve Martin) watched his little girl grow up, but it’s where he gives her away. The house used in the film is actually located at 843 El Molino Avenue and is home to Sarah Bradley, Darrell Spence, and their two children. According to HGTV, Bradley and Spence, who purchased the house in 1999, told their broker they were looking for a home similar to the one in Father of the Bride—and boy did they get their wish!

9. The MacNeil House // The Exorcist (1973)

3600 Prospect Street NW, Washington, DC
3 beds/ 5 baths/ 2,808 square feet
Estimated Value: $2,694,202

In real life, just like in the 1973 film, you can find a perilous outdoor staircase (the one Father Karras falls down at the end of the movie) next to the house used for the exterior shots of the MacNeils’ home. However, Regan’s infamous window cannot be seen next to the flight: It was a façade created at the behest of director William Friedkin. If Father Karras fell down the stairs in 2015, he would roll into a gas station now located at the bottom.

10. The Corleone House //The Godfather (1972)

110 Longfellow Avenue, Staten Island, NY
5 beds/ 4 baths/ 6248 square feet
List Price: $2,895,000

The Corleones’ Staten Island home can be yours, if your pockets are deep enough. The five-bedroom home that served for the exterior shots (including the backyard and nearby gardens that provided the setting for Vito Corleone’s daughter’s wedding) in Francis Ford Coppola’s mobster classic is currently on the market for just shy of $3 million. In 2012, the current owners redesigned the house’s rooms to look like the ones in the film.

11. Jane and Blanche Hudson’s House // Whatever Happened to Baby Jane? (1962)

172 S. McCadden Place, Los Angeles, CA
5 beds/ 4 baths/ 4,346 square feet
Estimated Value: $2,995,873

Because the film’s stars, Bette Davis and Joan Crawford, were seen as has-beens and box office poison in the 1960s, Warner Bros. Studios shooed production of Whatever Happened to Baby Jane? off the studio lots to make way for the huge production of Gypsy. This forced the production to shoot at the neglected Producers Studio and on real locations, like the S. McCadden Place mansion that served as the Hudson sisters’ decrepit sinkhole.

12. The Tenenbaum House // The Royal Tenenbaums (2001)

339 Convent Avenue, New York, NY
4728 square feet
Estimated Value: $3,295,345

Wes Anderson and his location scout scoured Brooklyn for a brownstone in which to set The Royal Tenenbaums. After two days, their search was fruitless, so they made their way to Harlem. Upon stepping foot inside, Anderson began to build the story of the Tenenbaum family—he immediately envisioned how each kid would occupy his or her own level of the house. Anderson rented the home for six months in order to shoot his film.

13. Harold and Sarah Cooper’s House // The Big Chill (1983) 


1 Laurens Street, Beaufort, SC
7 beds/ 9 baths/ 5868 square feet
List Price: $2,900,000

Beaufort, South Carolina, the town in which Tidalholm mansion—which is featured in The Big Cill—stands, had a magnetic appeal to star Tom Berenger, who played Sam Weber. Berenger moved to Beaufort after production and wed his former wife on Tidalholm’s front lawn. According to, Tidalholm is currently on the market, and could be yours for just under $3 million.

14. Holly Golightly and Paul Varjak’s Apartment Building // Breakfast at Tiffany’s (1961)


169 E 71st Street, New York, NY
4 beds/ 5 baths/ 3600 square feet
List Price: $8,000,000

According to The Daily Mail, the stunning Upper East Side townhouse featured in Breakfast at Tiffany’s was put up for sale by former Merrill Lynch broker Peter Bacanovic in October 2014 for $8 million. The home was only used for the exterior shots (excluding the fire escape scenes), as all interior scenes were shot in a Hollywood studio.

15. Cher Horowitz’s House // Clueless (1995)


5148 Louise Avenue, Encino, CA
7 beds/ 10 baths/ 9,441 square feet
Estimated Value: $5,304,521

Many of the interior shots of Cher Horowitz’s home were actually filmed inside the Encino mansion, meaning that grand staircase where Cher and Josh share their first kiss actually exists! The interior of the home has also served for scenes in Beverly Hills, 90210, and the exterior of the house can be seen in an episode of Desperate Housewives.

*All estimated values are as listed by at the time of publication.

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Mill Creek Entertainment
Hey, Vern: It's the Ernest P. Worrell Story
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Mill Creek Entertainment

In her review of the 1991 children’s comedy Ernest Scared Stupid, The Washington Post film critic Rita Kempley described the titular character, the dim-witted but well-meaning Ernest P. Worrell, as “the global village idiot.” As portrayed by Kentucky native Jim Varney, Ernest was in the middle of a 10-film franchise that would see him mistakenly incarcerated (Ernest Goes to Jail), enlisting in the military (Ernest in the Army), substituting for an injured Santa (Ernest Saves Christmas), and returning to formal education in order to receive his high school diploma (Ernest Goes to School).

Unlike slapstick contemporaries Yahoo Serious and Pauly Shore, Varney took a far more unusual route to film stardom. With advertising executive John Cherry III, Varney originated the Ernest character in a series of regional television commercials. By one estimate, Ernest appeared in over 6000 spots, hawking everything from ice cream to used cars. They grew so popular that the pitchman had a 20,000-member fan club before his first movie, 1987’s Ernest Goes to Camp, was even released.

Varney and Ernest became synonymous, so much so that the actor would dread going on dates for fear Ernest fans would approach him; he sometimes wore disguises to discourage recognition. Though he could recite Shakespeare on a whim, Varney was rarely afforded the opportunity to expand his resume beyond the denim-jacketed character. It was for this reason that Varney, though grateful for Ernest’s popularity, would sometimes describe his notoriety as a “mixed blessing,” one that would come to a poignant end foreshadowed by one of his earliest commercials.

Born in Lexington, Kentucky in 1949, Varney spent his youth being reprimanded by teachers who thought his interest in theater shouldn’t replace attention paid to math or science. Varney disagreed, leaving high school just two weeks shy of graduation (he returned in the fall for his diploma) to head for New York with $65 in cash and a plan to perform.

The off-Broadway plays Varney appeared in were not lucrative, and he began to bounce back and forth between Kentucky and California, driving a truck when times were lean and appearing in TV shows like Petticoat Junction when his luck improved. During one of his sabbaticals from Hollywood, he met Cherry, who cast him as an aggressive military instructor named Sergeant Glory in an ad for a car dealer in Nashville, Tennessee.

In 1981, Varney was asked back to film a new spot for Cherry, this one for a dilapidated amusement park in Bowling Green, Kentucky, that Cherry considered so unimpressive he didn’t want to show it on camera. Instead, he created the character of Ernest P. Worrell, a fast-talking, often imbecilic local who is constantly harassing his neighbor Vern. (“Know what I mean, Vern?” became Ernest’s catchphrase.)

The spot was a hit, and soon Varney and Cherry were being asked to film spots for Purity Dairies, pizza parlors, convenience stores, and other local businesses. In the spots, Ernest would usually look into the camera—the audience shared Vern’s point of view—and endorse whatever business had enlisted his services, usually stopping only when Vern devised a way to get him out of sight.

Although the Purity commercials initially drew complaints—the wide-angle lens created a looming Ernest that scared some children—his fame grew, and Varney became a rarity in the ad business: a mascot without a permanent corporate home. He and Cherry would film up to 26 spots in a day, all targeted for a specific region of the country. In some areas, people would call television stations asking when the next Ernest spot was due to air. A Fairfax, Virginia Toyota dealership saw a 50 percent spike in sales after Varney began appearing in ads.

Logging thousands of spots in hundreds of markets, Varney once said that if they had all been national, he and Cherry would have been wealthy beyond belief. But local spots had local budgets, and the occasions where Ernest was recruited for a major campaign were sometimes prohibited by exclusivity contracts: He and Cherry had to turn down Chevrolet due to agreements with local, competing car dealers.

Still, Varney made enough to buy a 10-acre home in Kentucky, expressing satisfaction with the reception of the Ernest character and happily agreeing to a four-picture deal with Disney’s Touchstone Pictures for a series of Ernest features. Released on a near-constant basis between 1987 and 1998, the films were modest hits (Ernest Goes to Camp made $28 million) before Cherry—who directed several of them—and Varney decided to strike out on their own, settling into a direct-to-video distribution model.

“It's like Oz, and the Wizard ain't home," Varney told the Sun Sentinel in 1985, anticipating his desire for autonomy. “Hollywood is a place where everything begins but nothing originates. It's this big bunch of egos slamming into each other.”

Varney was sometimes reticent to admit he had ambitions beyond Ernest, believing his love of Shakespeare and desire to perform Hamlet would be perceived as the cliched story of a clown longing to be serious. He appeared in 1994’s The Beverly Hillbillies and as the voice of Slinky Dog in 1995’s Toy Story. But Ernest would continue to be his trademark.

The movies continued through 1998, at which point Varney noticed a nagging cough. It turned out to be lung cancer. As Ernest, Varney had filmed an anti-smoking public service announcement in the 1980s. In his private life, he was a chain smoker. He succumbed to cancer in 2000 at the age of 50, halting a series of planned Ernest projects that included Ernest Goes to Space and Ernest and the Voodoo Curse.

Varney may never have gotten an opportunity to perform in a wider variety of roles, but he did receive some acknowledgment for the one he had mastered. In 1989, Varney took home an Emmy for Outstanding Performer in a children’s series, a CBS Saturday morning show titled Hey, Vern: It’s Ernest!

“It’s a blessing and a curse,” he told the Orlando Sentinel in 1991, “because it's as hard to escape from it as it is to get into it.''

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Ape Meets Girl
Pop Culture
Epic Gremlins Poster Contains More Than 80 References to Classic Movies
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Ape Meets Girl

It’s easy to see why Gremlins (1984) appeals to movie nerds. Executive produced by Steven Spielberg and written by Chris Columbus, the film has horror, humor, and awesome 1980s special effects that strike a balance between campy and creepy. Perhaps it’s the movie’s status as a pop culture treasure that inspired artist Kevin Wilson to make it the center of his epic hidden-image puzzle of movie references.

According to io9, Wilson, who works under the pseudonym Ape Meets Girl, has hidden 84 nods to different movies in this Gremlins poster. The scene is taken from the movie’s opening, when Randall enters a shop in Chinatown looking for a gift for his son and leaves with a mysterious creature. Like in the film, Mr. Wing’s shop in the poster is filled with mysterious artifacts, but look closely and you’ll find some objects that look familiar. Tucked onto the bottom shelf is a Chucky doll from Child’s Play (1988); above Randall’s head is a plank of wood from the Orca ship made famous by Jaws (1975); behind Mr. Wing’s counter, which is draped with a rug from The Shining’s (1980) Overlook Hotel, is the painting of Vigo the Carpathian from Ghostbusters II (1989). The poster was released by the Hero Complex Gallery at New York Comic Con earlier this month.

“Early on, myself and HCG had talked about having a few '80s Easter Eggs, but as we started making a list it got longer and longer,” Wilson told Mental Floss. “It soon expanded from '80s to any prop or McGuffin that would fit the curio shop setting. I had to stop somewhere so I stopped at 84, the year Gremlins was released. Since then I’ve thought of dozens more I wish I’d included.”

The ambitious artwork has already sold out, but fortunately cinema buffs can take as much time as they like scouring the poster from their computers. Once you think you’ve found all the references you can possibly find, you can check out Wilson’s key below to see what you missed (and yes, he already knows No. 1 should be Clash of the Titans [1981], not Jason and the Argonauts [1963]). For more pop culture-inspired art, follow Ape Meets Girl on Facebook and Instagram.

Key for hidden image puzzle.
Ape Meets Girl

[h/t io9]


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