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Show Me Hollywood! Tours is a premier Hollywood tour company dedicated to offering immersive and exclusive experiences through the heart of Los Angeles’s most famous district.

Show Me Hollywood! | #1 Hollywood Bus Tour Operator on Hollywood Boulevard

Explore hollywood like never before.

Embark on a journey through the heart of Hollywood, where the glitz and glamour of the entertainment world come alive. Dive into the magic of Tinseltown with our expertly guided tours. From the iconic Hollywood Sign to the luxurious streets of Beverly Hills, we bring you face-to-face with the most exclusive spots in LA.

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6609 Hollywood Blvd, Los Angeles, CA 90028

7046 Hollywood Blvd, Los Angeles, CA 90028

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A Taste of L.A. – Half-Day Tour of the BEST of Los Angeles!

Why Choose Show Me Hollywood! Tours?

With years of experience and a deep love for Hollywood’s history, we guarantee an experience like no other. Our knowledgeable guides and exclusive tour routes offer a unique glimpse into the heart of showbiz. Learn about our passion for Hollywood and why we’re the premier choice for exploring LA’s most famous district.

• Expert Guides: Our team of enthusiastic guides are Hollywood experts, ready to share insider stories and facts.
• Exclusive Access: Enjoy access to hidden gems and private roads that other tours simply can't offer.
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Our reviews speak volumes about the unforgettable experiences we provide. From families to film buffs, our tours have something for everyone. Discover why guests love our tours and keep coming back for more Hollywood adventures.

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Show Me Hollywood! Tours is a premier Hollywood tour company dedicated to offering immersive and exclusive experiences through the heart of Los Angeles’s most famous district. We specialize in guided bus tours that showcase the glamorous world of celebrity homes, iconic movie filming locations, historic landmarks, and the secret spots only locals know. Our passionate team of guides brings Tinseltown’s stories to life, providing a unique, intimate, and unforgettable exploration of Hollywood’s glitz, glamour, and rich entertainment history.

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Join us on open-air buses for a trip through Hollywood, Beverly Hills and the hottest tourist destinations in Los Angeles. See your favorite hot spots, celebrity mansions, filming locations & more aboard our popular 2-hour tour. Led by professional & entertaining tour guides, let us show you everything Hollywood has to offer in just 2 hours.

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We are the premier tour agency in Hollywood, offering a varied selection of fully-narrated sightseeing tours designed to accommodate travelers and tourists staying in Hollywood, Beverly Hills, Santa Monica by the beach, or anywhere else in LA. Whether you find yourself in the beautiful city of Los Angeles for a single day or more, our tours will let you see the best the city has to offer and learn about its rich history.

Through our guided tours ,  HOLLYWOOD LA BUS TOURS   is designed to touch the highlights within Hollywood, Santa Monica, Venice and Melrose, from the mountains to the beaches.

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The Hollywood Sign

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Duration: 5 1/2

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6541 Hollywood Blvd.

Los Angeles, CA 90028

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A Taste Of L.A - Los Angeles City Tour:

Experience the most fun-filled, and entertaining Los Angeles Tour, giving you a genuine L.A experience. Our Los Angeles city tour enables you to see all that Los Angeles has to offer, with 4 convenient stops at some of the city’s most iconic places. Tour with comfort in our heat and air conditioning open-air transit minibus.

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Here is what you can expect when you book our Taste Of L.A - Los Angeles City Tour

The Hollywood Walk of Fame

(Tour Departure & Return)

Our 5 1/2 hour Los Angeles city tour begins on The Hollywood Walk of Fame, one of the most famous streets in Los Angeles. Millions of people coming each year to see more than 2,500 stars that have been embedded into the sidewalk. And where you discover popular spot for celebrities, as it is often used as a filming location for movies and TV shows. See many iconic attractions like, The Grauman’s Chinese Theatre, where you can match your hand and footprints to the stars, see The Dolby Theatre (home of the Oscars for the last 15 years), The Hollywood Bowl, The Pantages Theatre, Capitol Records building and much more.

Griffith Observatory & Hollywood Sign View

(30-min stop)

We then venture up to the Hollywood Hills for a 30 minute stop at the Griffith Park Observatory, Southern California’s gateway to the cosmos! The Griffith Observatory is one of the best places in Los Angeles to visit. Here you will get a spectacular view of Los Angeles as well as The Hollywood Sign up close. No trip to the “City Of Angels” is complete without a great picture of The Hollywood Sign!

The Sunset Strip

Then cruise down the Sunset Strip in West Hollywood, showcasing all the famed musical venues and celebrity hotspots, such as The Chateau Marmont Hotel where the star's dine & play, and the most famous party site for everyone from Lady Gaga to U2. See The Laugh Factory and The Comedy Store where many famous comedians got their start, such as Jim Carrey, Michael Keaton and David Letterman. Also see the notorious Viper Room, where River Phoenix died and once owned by Johnny Depp.

See the Whiskey A-Go-Go where the Doors were the house band and Goldie Hawn was discovered dancing as a Go-Go girl in an elevated cage, see The Roxy with the members-only club boasting of legendary members, such as John Lennon, Keith Richards, and John Belushi. Next door stands The Rainbow Bar and Grill from the Golden Age of Hollywood where Joe DiMaggio had his first date with Marilyn Monroe.

Beverly Hills

We then enter one of the wealthiest neighborhood located in the westside of Los Angeles. It is home to many celebrities, as well as some of the most expensive real estate in the world.

The Beverly Hills Sign

Enjoy a 30 min stop at The Beverly Hills Sign is a world-famous landmark located in Beverly Hills. The Beverly Hills sign is often used as a meeting place for celebrities and paparazzi, as well as a backdrop for many Instagram influencers and tourists.

Rodeo Drive

As we drive through Rodeo Drive, one of the premier fashion districts in the world. Featuring stores such as Fendi, Gucci, Prada, Valentino, Farragano, Cartier, Bijan, and much more. Rodeo Drive is an LA hot spot with more celebrity sightings. Walk the streets made famous in the movies, such as Pretty Woman and Beverly Hills Cop and take photos at the beautiful Beverly Wilshire Hotel. Keep an eye out for celebrities!

Santa Monica Beach & Pier

(1 hour stop)

Enjoy a 1 hour stop at Santa Monica Beach, where you can enjoy the California sun, take a stroll on the pier, grab some food and drinks, or even play some carnival games! It is home to the Santa Monica Pier, as well as the 3rd Street Promenade, which is a pedestrian-only shopping district. Santa Monica is also a popular spot for celebrities, as it is often used as a filming location for movies and TV shows.

La Brea Tar Pits & Urban Lights

See the La Brea Tar Pits with fascinating fossils dating back to the ice age and see the 202 glowing vintage street lamps once lit the streets of Southern California in the 1920s.

The Grove/Original Farmer's Market

Finally, what we've all been waiting for: lunch! Our 5-1/2 hour tour offers the perfect lunch stop at the world-famous Los Angeles Farmers Market. With more than 100 vendors, including ready-to-eat foods, grocers, and over 45 restaurants to choose from, everyone from the pickiest of eaters to the most adventurous are sure to find the ideal meal. This is a food-court setting, which makes it easy for everyone to choose what they want and still sit at the same table. Grab a quick bite to eat and walk over and check out The Grove before continuing on your tour.

Melrose Ave

Melrose Avenue, home to many businesses and restaurants, as well as the Melrose Trading Post, a popular flea market. And has been featured in countless movies, television shows and It's a popular hotspot for shopping, dining, and celebrity-watching.

Familiarize yourself with the city before driving on your own. All the information you need for the big city of Los Angeles, where to eat, shop, and party. So grab a camera and join us and discover Los Angeles!

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‘spider-man: across the spider-verse’ composer daniel pemberton announces u.s. concert tour, talks his groundbreaking score.

Musicians will perform the score live as the animated feature plays for audiences across 50-plus dates: "I always thought it'd be impossible to do live."

By Brian Davids

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Following last week’s announcement of the now fast-selling U.K. tour, Spider-Man: Across the Spider-Verse composer Daniel Pemberton is revealing that the film’s live-in-concert experience is now web-swinging across the Atlantic and into the States. 

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The Emmy-winning and Oscar-nominated composer channeled the rave and club scenes of ‘90s London to create the musical identity of the Oscar-winning Spider-Verse saga. And while this experimental approach could be done with relative ease in the recording studio, Pemberton was initially uncertain if the multidimensional scores of Into the Spider-Verse and now Across the Spider-Verse could be re-created for a continuous live-to-picture performance.

“ I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked,” Pemberton tells The Hollywood Reporter . “So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally.”

Pemberton is quick to credit the Phil Lord- and Chris Miller-produced films for providing him with the leeway that inherently comes with the franchise’s revolutionary approach to animation.  

Below, during a recent conversation with THR in support of Across the Spider-Verse ’s U.S. tour announcement, Pemberton also explains how the first cue he ever wrote for Across wound up serving as the film’s thematic bookends involving Gwen Stacy.

So how did you arrive at this point where Into the Spider-Verse and Across the Spider-Verse both have live concerts and tours?

The Spider-Verse films probably have the most complicated scores I’ve ever done, and I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked. So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally. 

So Into the Spider-Verse has now been on a tour, and it’s crazy that it’s become quite a huge thing with a touring band and a whole bunch of musicians driving around America in a truck. But we’ve only done Across the Spider-Verse live once, and that was at the Academy Museum in L.A. That was the first and only time it’s been done so far, but it’s so much work to get the show watertight. Once you’ve done that, then you can start working out how to turn it into a touring show.

On certain dates, will you be there to pick up a guitar and play various other instruments?

There are moments in the score with opera singing and whistling. Will the live shows actually have designated opera singers and whistlers? 

The whistling we normally do live, but the opera singer is probably going to be on track. There are a lot of things in this score that are so complex to balance. So we’re trying to give a live experience, but it’s not like a symphonic orchestra where every single element is all being performed live. We have loads of live stuff backed with electronics and turntables, and that’s the only way we could really make it work. It’s really about how much of an exciting show it is. And if you see the show on two different nights, you are going to get a slightly different experience, but also a very unique live experience. 

What percentage of Into the Spider-Verse ’s score did you expand on in Across the Spider-Verse ?

For me, great film music is when you have strong themes and strong identities that are completely recognizable to that film. Great film music is when you can hear something away from the film and it takes you back into that universe. And that can be as simple as a certain noise or a huge melody. And with Spider-Verse , we have created quite a unique melody and sound, so it’s really fun to keep expanding on that. Everything is connected in these two movies. Every sound and motif connects together. 

One of the things that’s been interesting is watching the reactions of younger filmgoers who are starting to learn about cinema and film music and how surprised they are at thematic continuity and motifs that can connect characters. It is one of those very iconic and also straightforward parts of film music. But there hasn’t been a consistent approach, especially with the superhero movies over the last couple of decades. Often you have different composers scoring different episodes in different franchises, and if you look at The Lord of the Rings or Star Wars movies, there is a very strong thematic and melodic approach between those. You’ve got one vision, one composer, and with Spider-Verse , that’s what we’re trying to do. So, for a lot of younger people, that’s often quite new to them, which is obviously quite weird to me.

Yeah, it’s really difficult. In the good old days of film music, the composer would get a cut, write their piece of music, and then they’d record it and stick it on the film. And then there’s a round of applause for everyone. In the modern world and the modern way of film composing, everything changes all the time. So you might write something to picture, but then that picture might get slightly tweaked: something gets put in or extended or taken out at the last minute. So the music is always in flux, and while you can make that work for a film, you can’t do that when you have musicians playing it live. You have to make it in a way that is enjoyable and exciting for the musicians to play. If the musicians are only thinking about the technicality of very complicated tempo changes, which you might have when you’re editing a film to move between things, it is going to be a terrible live performance. So, like Ludwig, I had to go back to the beginning and rebuild the score, scene by scene. Some scenes will be slightly different on a very minuscule level. I’m talking tiny, tiny stuff, but you still have to build the whole thing from the ground up again, and that is very time consuming. It’s a bit like pulling a car apart and rebuilding it. You get to learn all the bits in the score again. But I saw Ludwig’s performance. It was brilliant, but I would not want to be a musician during that performance. It never stops. It’s exhausting. It’s a beautiful score, but Oppenheimer feels like the musician equivalent of running two marathons back to back.

I like to think it was the other way around because he saw mine first. ( Laughs .) So he came to my show, and we worked with some of the same people, actually. It was the same production team, so Mike Kasper from Black Ink worked on that with Ludwig. But we like to keep an eye on what each other is doing. We’re good friends, and I’ve got massive respect for his work. It also makes me a bit jealous, so that’s a good sign. 

Are composers pretty competitive with one another? 

Oh, for sure. The best film music in the world is stuff that makes 50 percent of me incredibly jealous and annoyed, because it’s better than anything I’ve done and it’s everything I aspire to do. And the other 50 percent is like, “This is everything film music should be.” So you’re incredibly excited because it’s everything you care about, and when you hear it done well, it’s very exciting. So it’s the 50-50 rule of excitement and jealousy. If you get that, then it’s a great score.

Ludwig also had tempo changes to account for, so they had to introduce a new click track just one bar before the tempo change happened on the page. Did you run into similar tempo challenges?

On Oppenheimer , there’s loads and loads of crazy tempo changes, and I remember Ludwig telling me about that when we were having a beer in London. And what’s interesting about that is you’ll get smudge and imperfection. Sometimes, this can be really interesting because players are not all going to play together, and we have something similar to that with Spot, the baddie in Across the Spider-Verse . I recorded multiple de-tuned cello parts that weren’t all in tune, and if you keep tracking stuff that’s de-tuned, it’s like drawing a line many times. If you draw a straight line once, and then you badly draw a line 60 times, you will start to get a feeling of where the central line is, making it very unstable and interesting. So we have something similar with the cellos. They’re detuned, but they all align around one melody. That’s more of a melodic idea than a tempo idea, but putting multiple tempo changes in is something I try to avoid. It’s a nightmare when it comes to editing, so if you don’t have to do it, don’t do it. 

Yeah, it’s different, and I like working that way. It allows you to experiment and not be dictated to by the picture. So I will go through a very long process, which I call research and development, where I’ll try out loads of ideas and come up with sounds, themes, motifs. So I do write that way, but to do a film like Spider-Verse , the music is so reactive to the picture. You can’t just slap a track on and then go to the pub. You have to work at it so much to make it in sync with the visuals and in sync with the story, because the movie moves at an incredible pace and you have to hit so many different emotions and beats within seconds of each other. So I need to write themes that you recognize within two seconds because we are going to move somewhere else afterwards, and that’s a very complicated task. If you’re doing an indie film where you might have one tone or one mood, it’s easier to do that, but this has the movement of a big blockbuster. So you need music that’s incredibly nimble, and over the years, the only thing that’s been able to deal with that kind of nimbleness has been the symphony orchestra. So I was always like, “How do I create a sound and a palette and an approach that has the speed and nimbleness of a full orchestra but isn’t a full orchestra? Something new, something different.” And with Spider-Verse , we created all these techniques through scratching, turntables, weird electronic sound design, live orchestra drums, and we built a language that allowed me to write a score that could be that reactive to picture. But you try to do it in a way that hopefully feels elegant and simplistic enough that you don’t notice the movement.

The cue that bookends Across is probably my favorite, as Gwen’s ( Hailee Steinfeld ) heavy drum parts are right in my wheelhouse.

So I reworked it for that, and then much later, for the ending of the film, we didn’t know what to do and we tried different approaches. And then a great [supervising] music editor on Spider-Verse called Katie Greathouse, who’s a very important part of the team, just said, “Oh, why don’t we try that track over this?” So she just pulled it out and put it on, and we were like, “Fuck, this really works. Wow.” So I was like, “OK, the idea works, but I need to go away and rework it.” So I ran to this other office, because I was working in the same offices as all of them, and then I just wrote like crazy. And suddenly, we had the ending. So that was one of the most exciting moments for me; I felt we had something that was really special. By the way, that bit is great live. It’s such a fun ending to end a concert on.

Every live set list has a song or a cue that every musician anticipates, usually because it’s the most challenging piece. Is there one in particular that will allow your musicians to breathe easier once they nail it live? 

So it’s a very unique and unusual way to experience cinema. I don’t know of anything else that’s like this communal experience with an audience. I know Americans like to make a lot more noise, but people are generally quite restrained in cinema. And I like that. I am not a big fan of lots of noise in the cinema, but when you see a film live with an orchestra and a band and a scratch DJ, make as much noise as you want. It’s a whole different way of seeing a film. So that’s why I’m excited for people to experience this on tour. You can’t have this cool and unique experience anywhere else.

If you were handed these exact movies in live-action or you went into them with the foreknowledge that they were live-action, how different would both scores be in your estimation?

I enjoyed it.

Cathy [Yan], the director, had a very strong and unusually different vision for how that film should feel and look, and I got very excited by that. So I felt that it was a way to be a bit more creative, and that score is probably close to what Spider-Verse sounds like. It’s more trashy guitar-based, but if you look at King Arthur: Legend of the Sword that I did with Guy Ritchie, that’s got a similar sort of aesthetic where I got to do something a bit more creative. So it always depends on the film and the filmmakers and the approach, really, but I like things where you can push at the edges a bit more.

From Aaron Sorkin and Danny Boyle to Spider-Verse , is there an underlying principle to working on opposite ends of the spectrum? Do these projects have more in common than people might realize?

*** Spider-Man: Across the Spider-Verse Live in Concert tour information is available at SpiderVerseInConcert.com

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