In the Pipeline:

You never know when you might stumble upon something interesting in Huntington Beach, as I learned one clear, recent sunny morning.

My son, daughter and I were visiting the Bolsa Chica wetlands to shoot some pictures of the blue herons that were nesting in a tree at the ruins of the old Bolsa Chica Gun Club.

As we made our way around the fence surrounding the Gun Club site, we noticed something covered by the branches and tall grasses: a small marker, perhaps 10 inches high. It stated that a Santa Catalina ironwood tree was planted there in memory of a man named Aaron Sloan, 1927-2003.

How mysterious. Who was Sloan? And who thought to place this marker, which one would only stumble upon only by accident?

I started researching and found out whom I believe this marker was placed in honor of from a 2003 obituary at EInsiders.com: “Producer, distributor and journalist Aaron Sloan died at age 77. Mr. Sloan was editor of the ‘Independent Film Journal.’ His company, Magick Seal Films, distributed the Mexican films of Luis Buñuel in America. He also distributed and produced several of the films of Andy Warhol. Mr. Sloan co-produced and appeared in the Andy Warhol documentary ‘Andy Makes a Movie.’ Mr. Sloan served his country in WWII.”

Buñuel? The Surrealist filmmaker whose stunning works first captivated me in college? And I recalled seeing the 1968 Warhol film “Andy Makes a Movie,” too. In it, Sloan, the producer of the film, interviewed Andy at length. Sloan asked Warhol who had influenced him, and Warhol responded in typically off-center style, “Uh, I guess I’m influenced by everybody but, uh, I like the way [Jean-Luc] Godard works . . . just because I think he’s bringing television out to the movies and, um, I think that’s what we’re trying to do sometimes, too.”

This was another portion of the peculiar interview between Sloan and Warhol from the film:

Sloan: Do you find that television has more of an influence on your own viewpoint and communications and motion pictures?

Warhol: Uh . . . yes.

Sloan: What are your views on theories of editing, such as montage?

Warhol: Uh ... I really don’t believe in montage but I guess we’ve used it.

Sloan: Why did you give up painting to go into cinema?

Warhol: Uh, well the camera’s easier to work.

Sloan: How do you mean easier?

Warhol: You just have to turn on the button.

Sloan: Isn’t there a little more — the eye? The selectivity?

Warhol: Uh, no . . . because every picture’s right.

Sloan: How do you describe the qualities for a superstar?

Warhol: Anybody who talks a lot.

After Sloan and Warhol finished filming, Warhol and his entourage returned to New York City.

Less than one month later, a deranged fan, Valerie Jean Solanas, walked into Andy’s new Union Square offices, pulled out a gun and shot him — almost killing him.

Did you know Sloan or have information about the small marker placed in his honor in the wetlands? If so I’d be interested in hearing from you.

All of his interesting, artistic avenues, along with serving his country in World War II, made Sloan, assuming it is the same man, an extremely compelling fellow to me — mysteriously honored here in Huntington Beach at my favorite place to take a walk.

I met Warhol a couple of times in New York, but never Sloan. I wish I had. Something tells me we would have had a lot to talk about.

You may have heard of the untimely death of Jimmy “The Rev” Sullivan, drummer for the Huntington Beach-based band Avenged Sevenfold. Several months ago, I did a column on Jimmy’s folks, Joe and Barbara Sullivan, and what it was like to be the parents of a rock star.

In the weeks to come, I’d like to write a follow-up on the Sullivans with a proper memorial for their son. In the meantime, keep them in your thoughts and prayers.

CHRIS EPTING is the author of 14 books, including the new “Huntington Beach Then & Now.” You can write him at chris@chrisepting.com .