Thom Andersen is a film teacher, Los Angeles resident, and film fanatic. He believes that his city--the most photographed in the world--gets short shrift on the silver screen. To illustrate this point, Andersen has stitched together a montage of scenes from hundreds of different movies, and created his debut feature film, LOS ANGELES PLAYS ITSELF. Splitting the film into three parts, Andersen begins with "The City as Background." Here, he looks at the way some of Los Angeles' finest architecture is abused in the movies. A particular Frank Lloyd Wright house, for example, has been used in over 30 films, including BLADE RUNNER and BLACK RAIN. But why, the director ponders, is it usually used to house characters of villainous intent' Next, Andersen presents "The City As Character," which looks at how Los Angeles often takes on the role of treacherous co-star. He shows how the city has become a welcome target for aliens, (INDEPENDENCE DAY), an architectural bore (POINT BLANK), riddled with corrupt cops (L.A. CONFIDENTIAL), and a former consumerist mecca (THE OMEGA MAN). The film concludes with "City as Subject," in which Andersen highlights the many social and economic problems the city has faced, and how they have been committed to celluloid. He principally looks at CHINATOWN, as well as lesser-known African-American films such as BUSH MAMA and THE KILLER OF SHEEP. Andersen is a big fan of the latter two movies, believing they are among the very few to accurately portray the city he loves. Absorbing, obsessive, and highly unique, Thom Andersen's film is a labor of love that cinephiles should find fascinating.