Paul Thomas Anderson’s Licorice Pizza is a nostalgic masterclass in visual storytelling, capturing the hazy, sun-drenched essence of the San Fernando Valley in 1973. While the film is celebrated for its grounded, intimate cinematography, the locations themselves—specifically Gaspar de Portolá Middle School in Tarzana—provide a fascinating blueprint for aerial filmmakers looking to capture period-accurate aesthetics. Understanding what school was Licorice Pizza filmed at is only the first step; the real challenge for the modern drone pilot lies in translating that 1970s architectural language into compelling aerial sequences that feel timeless rather than digital.
Gaspar de Portolá Middle School: A Case Study in Period-Correct Aerial Scouting
Gaspar de Portolá Middle School serves as the primary educational backdrop for the film’s early sequences. From an aerial filmmaking perspective, this location is a treasure trove of Mid-Century Modern architecture. The school’s sprawling, single-story layout, characterized by flat roofs, external corridors, and wide-open courtyards, offers a geometric playground for drone operators.
The Geometry of 1970s Architecture from Above
When scouting locations that mimic the Licorice Pizza aesthetic, aerial filmmakers must look for the “sprawl.” Unlike modern vertical campuses, schools from this era were designed horizontally. From an altitude of 50 to 100 feet, these structures create a grid-like pattern that is incredibly satisfying on camera. To capture this effectively, a top-down “topiary” shot is essential. By locking the gimbal at a 90-degree downward angle, the drone can reveal the symmetry of the courtyards and the stark contrast between the sun-baked asphalt and the manicured green quads. This perspective allows the filmmaker to emphasize the isolation or the bustling movement of characters within a structured environment, a recurring theme in Anderson’s work.
Overcoming Modern Obstacles in Historical Aerial Shoots
One of the greatest challenges in filming a period piece like Licorice Pizza from the air is the “anachronism trap.” Even at Gaspar de Portolá, modern elements like HVAC units, solar panels, and contemporary signage can break the immersion. For the aerial cinematographer, this requires strategic flight path planning.
When flying over historical locations, the pilot must identify “clean” lines—angles where modern infrastructure is hidden by the shadows of eaves or obscured by the foliage of mature trees. Using a drone with a narrow focal length (such as a 70mm equivalent telephoto lens) can help compress the background, allowing the filmmaker to focus on the period-correct elements of the architecture while blurring out modern distractions in the periphery.
Capturing the “Valley” Vibe: Flight Paths and Golden Hour Techniques
The San Fernando Valley is more than just a setting; it is a character in Licorice Pizza. To replicate the film’s visual warmth through aerial cinematography, one must understand the interplay between light, smog, and geography. The “Valley vibe” is defined by a soft, diffused golden light that can be perfectly captured with the right drone settings and flight timing.
Low-Altitude Glides for Narrative Flow
While high-altitude shots provide scale, Licorice Pizza thrives on intimacy. Aerial filmmakers should utilize “low-altitude glides” to mimic the film’s famous long-take tracking shots. By flying the drone at a height of 5 to 10 feet—essentially using it as a flying dolly—you can navigate through the school’s external corridors or follow a character across the track field.
The key to this technique is the “lead-in” shot. Start the drone behind a structural element, like a brick pillar or a tree, and reveal the school as the drone moves forward. This creates a sense of discovery. Maintaining a consistent, slow speed (around 3-5 mph) ensures that the movement feels organic and human-driven, rather than mechanical and robotic.
Utilizing the “Golden Hour” for Vintage Color Grading
The color palette of Licorice Pizza is heavy on ambers, burnt oranges, and soft greens. To achieve this in aerial footage without over-processing in post-production, timing is everything. Filming at the “Golden Hour”—the hour after sunrise or before sunset—is mandatory.
At Gaspar de Portolá, the low sun angle casts long, dramatic shadows across the pavement, highlighting the textures of the 1970s masonry. For the aerial filmmaker, shooting with a high dynamic range (HDR) sensor is vital here. You want to capture the detail in the shadows of the school’s overhangs without blowing out the bright California sky. Using Neutral Density (ND) filters, specifically an ND16 or ND32, will allow you to maintain a cinematic shutter speed (typically double your frame rate), giving the motion a slight, natural blur that aligns with the look of 35mm film.
Advanced Drone Maneuvers for Retro Cinematic Storytelling
To truly honor the spirit of Licorice Pizza, aerial filmmakers must move beyond simple “fly-bys” and engage in more complex, narrative-driven maneuvers. The school setting provides unique opportunities to use the drone as an omnipresent observer.
Replicating the Steadicam Look with Gimbal Precision
Paul Thomas Anderson is famous for his use of the Steadicam. While a drone is inherently different, its three-axis gimbal can be programmed to replicate that smooth, purposeful movement. When filming around the school’s perimeter, avoid sharp turns or rapid acceleration. Instead, use “Course Lock” or “Waypoints” to ensure a perfectly straight line.
A particularly effective maneuver for this location is the “lateral slide.” By flying the drone sideways while keeping the camera fixed on a specific classroom window or doorway, you create a sense of voyeurism. This technique was used effectively in the film to ground the characters within their suburban reality. The drone allows you to take this a step further by transitioning from a ground-level slide into a slow vertical rise, revealing the school’s layout as the character moves out of frame.
The Parallax Effect in Suburban Environments
The suburban sprawl surrounding Gaspar de Portolá is ideal for demonstrating the parallax effect—a technique where foreground objects move faster than the background, creating a sense of depth. By flying the drone at a medium altitude (approx. 40 feet) and orbiting a central point of the school, the filmmaker can capture the surrounding palm trees and Valley hills moving at different speeds.
To execute this perfectly, use a “Point of Interest” (POI) flight mode. Set the center of the school’s courtyard as the anchor and pull the drone back while it rotates. This creates a sweeping, epic feel that emphasizes the school’s place within the wider, sun-drenched community of Tarzana.
Technical Challenges of Filming Near Historical Education Hubs
Filming at active or even historical school sites like those seen in Licorice Pizza presents a unique set of technical and logistical hurdles for aerial filmmakers. It isn’t as simple as launching a drone; it requires a blend of technical expertise and regulatory awareness.
Regulatory Compliance and Signal Interference
Schools are often located in densely populated residential zones, which can be challenging for radio frequency (RF) stability. When filming at a location like Gaspar de Portolá, the abundance of Wi-Fi networks from surrounding homes can interfere with the drone’s control link. Aerial filmmakers should use drones equipped with frequency-hopping technology (such as OcuSync) to maintain a clear video feed.
Furthermore, educational institutions often fall under specific local ordinances. Before attempting to recreate the Licorice Pizza look, pilots must ensure they are compliant with FAA Part 107 regulations (in the US) regarding flight over people and moving vehicles. In many cases, filming the school must be done during off-hours—weekends or summer breaks—not only for legal reasons but to ensure the “empty, nostalgic” look that characterizes the film’s aesthetic.
Equipment Selection for High-Dynamic Range Environments
The bright California sun reflects harshly off the concrete surfaces of San Fernando Valley schools. To avoid “clipping” the highlights in your footage, choosing the right camera system is paramount. A drone with a 1-inch sensor or larger is recommended to handle the high contrast levels.
For those looking to match the film grain and texture of Licorice Pizza, shooting in a 10-bit D-Log or D-Cinelike profile is essential. This captures a “flat” image with maximum data, allowing colorists to pull the warm, retro hues out of the footage in post-production. Adding a subtle layer of digital film grain during the editing process can further bridge the gap between modern drone technology and the 1970s film stock used by Anderson and his cinematographers.
By focusing on the architectural geometry, the specific quality of light, and the deliberate, smooth movement that defines the era, aerial filmmakers can use the filming locations of Licorice Pizza as an inspiration to elevate their own cinematic work. The school at the heart of the movie is more than a building; it is a visual gateway to a specific time and place, and with the right aerial techniques, that magic can be captured from the sky.