Westin Bonaventure Hotel

Westin Bonaventure Hotel is one of the most recognisable hotels in downtown Los Angeles. Opened in 1976 and designed by John C. Portman Jr., the hotel is known for its five cylindrical glass towers, vast atrium, glass elevators and revolving restaurant. Its architecture feels both luxurious and slightly disorienting, which has made it especially attractive to filmmakers. Depending on the production, the hotel can play a futuristic headquarters, a political target, a corporate maze, a spy-movie playground or simply a very Los Angeles version of modern urban space.

The hotel has appeared in a long list of films and television productions, including “The Driver” (1978), “Heaven Can Wait” (1978), Blue Thunder (1983), Breathless (1983), “This Is Spinal Tap” (1984), “Rain Man” (1988), “Lethal Weapon 2” (1989), “In the Line of Fire” (1993), “True Lies” (1994), “Nick of Time” (1995), “Strange Days” (1995), “Forget Paris” (1995), Mission: Impossible III (2006), “The Lincoln Lawyer” (2011), “Interstellar” (2014), “San Andreas” (2015) and “MaXXXine” (2024). Its most famous screen appearances usually make direct use of the hotel’s glass elevators, atrium, towers and roofline, rather than treating it as a generic hotel.

In “The Driver” (1978), the Westin Bonaventure Hotel is used as part of Walter Hill’s nocturnal Los Angeles. The Driver meets The Player at the hotel, and the location’s cold glass, open interior and downtown isolation fit the film’s stripped-down crime atmosphere. The Bonaventure works well in the film because it feels modern and impersonal, matching a story where the characters are defined more by roles and movement than by ordinary personal lives.

In Blue Thunder (1983), the Bonaventure appears within the film’s high-tech Los Angeles landscape. The hotel’s towers and downtown setting fit the story’s surveillance-heavy world, where the city is seen from above and transformed into a space of helicopters, police technology and urban paranoia.

In Breathless (1983), the Westin Bonaventure Hotel appears as part of the film’s glossy Los Angeles world. Jim McBride’s remake of Jean-Luc Godard’s “Breathless” moves the story from Paris to Southern California, and the Bonaventure fits the film’s version of Los Angeles as a city of cars, glass, neon, hotels and restless movement. The hotel’s futuristic interior and downtown presence match the film’s heightened 1980s style, where real locations are used less as neutral background and more as part of the film’s cool, artificial surface.

In “This Is Spinal Tap” (1984), the hotel appears as the Atlanta record company headquarters. The Bonaventure’s corporate-modern design gives the scene the right kind of sterile music-business atmosphere, turning a real Los Angeles hotel into another anonymous stop on the band’s increasingly absurd American tour.

In “Rain Man” (1988), the hotel appears during Charlie and Raymond’s journey through Los Angeles. The Bonaventure’s modern lobby and glass elevators fit the film’s use of real American hotels, casinos, highways and airports as Charlie tries to move Raymond through a world that is often overwhelming to him.

In “In the Line of Fire” (1993), the Westin Bonaventure Hotel becomes the setting for the film’s assassination attempt and final confrontation. Frank Horrigan follows the threat to the hotel, where the glass elevators and high-rise interior become central to the suspense. The building’s vertical design gives the climax a strong physical shape, with the pursuit moving through one of Los Angeles’ most recognisable modern hotels.

In “True Lies” (1994), the Bonaventure is used for one of the film’s most memorable action-comedy moments. Harry Tasker rides a horse into the hotel while chasing the terrorist Aziz, and the pursuit continues into the glass elevators. The scene works because the building already feels spectacular and slightly unreal, allowing the film to turn a downtown hotel into a full action set piece without losing the sense that this is still a real place.

In “Nick of Time” (1995), the hotel is even more central. Much of the film takes place inside the Bonaventure, where Gene Watson is forced into a political assassination plot after his daughter is kidnapped. The hotel’s atrium, elevators, corridors and public spaces become a pressure chamber, with the real-time structure of the film making the building feel like a maze he cannot escape.

In “Strange Days” (1995), the Bonaventure is part of the film’s chaotic Millennium Eve version of Los Angeles. The area around the hotel is used for the huge New Year’s crowd scenes, while the building’s futuristic architecture fits the film’s cyberpunk-noir mood. Few Los Angeles hotels look as naturally suited to a dystopian near future as the Bonaventure.

In “Forget Paris” (1995), one of the hotel’s glass elevators is used in the romantic comedy’s Los Angeles material. It is a smaller use of the location than in “True Lies” or “In the Line of Fire”, but it shows how strongly the Bonaventure’s elevators had become part of the hotel’s screen identity by the mid-1990s.

In Mission: Impossible III (2006), the Bonaventure appears as part of the film’s Los Angeles action geography. Its modern towers and downtown setting fit the franchise’s use of real urban architecture as part of a larger international thriller world.

In “The Lincoln Lawyer” (2011), the hotel appears among the Los Angeles locations used to ground the legal thriller in the city’s real streets, hotels and downtown spaces. The Bonaventure’s architecture gives the film another recognisable piece of central Los Angeles, even when it is not the main focus of the scene.

In “Interstellar” (2014), the Bonaventure’s lobby and atrium are transformed into part of the NASA facility. The hotel’s circular forms, height and layered interior give the scenes a controlled, institutional feeling while still looking slightly futuristic. It is one of the clearest examples of the Bonaventure being used not as a hotel, but as a piece of adaptable science-fiction architecture.

In “San Andreas” (2015), the Bonaventure appears in the destruction of Los Angeles. The film uses the hotel’s distinctive towers as part of the city’s disaster imagery, turning a familiar downtown landmark into one more piece of collapsing urban infrastructure.

In “MaXXXine” (2024), the Bonaventure’s retro-futuristic Los Angeles identity fits the film’s 1980s Hollywood atmosphere. The hotel’s unusual architecture already carries the feeling of an earlier vision of the future, making it a natural match for a film built around fame, danger and the darker side of Los Angeles image-making.

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