Think a 6-second video isn’t long enough to tell a story? How about 600 seconds?
Airbnb produced an impressive short film with their Hollywood & Vines project. Screenwriter Ben York Jones, known for the prize-winning film “Like Crazy” about a long-distance romance, came up with the simple concept of the journey of a piece of paper (lots of paper airplanes are involved). After the storyline was set, directions were sent over Twitter, and submissions were made entirely using 6-second Vine videos. More than 750 submissions were received, with 100 making the final cut, from Kansas to Kuwait.
Welcome to Gadling, Craig! Tell us a little about the project and what attracts you to abandoned drive-ins.
You know how some people can remember many details about their childhood and teenage years and some people can only remember a few? I fall into the latter category. Even though I might not remember a great amount of the details of my childhood, I do have vivid memories of my earliest experiences at drive-in movie theaters. I remember the first movie my mom took my sister and me to at a drive-in. Can you say … “Supercalifragilisticexxpialidocious”? I remember the names of the guys I was with in my friend Mike’s trunk when we snuck into our local drive-in. Without question, I remember the details of the first girl I was “with” at a drive-in movie theater!
Today, approximately 90 percent of drive-ins are closed from their peak in the late 1950s. As a lover of architectural and landscape photography, drive-in movie theaters represent defining moments and passion for me. The distressed and decaying wood of a ticket booth, overgrown and unwieldy shrubs/trees where cars once parked, matched by the enormous scale of a screen tower all together scream as loudly to me today as if I was back in the day we laughed with joy upon successfully gaining entrance to the drive-in while sequestered in my buddy’s trunk.
Putting it simply – it’s the raw emotion, still present, from almost 50 years ago, that attracts me to abandoned drive-ins. A lot of people respond to the imagery of my Drive-in Project by referring to it as “haunting.” I’m good with that, as long as those same people’s definition of the word haunting includes “Mary Poppins” and getting busy.
%Slideshow-577%When you were doing this project, did you get to meet any folks who used to go to these drive-ins?
The people I met from Alabama to Arizona or from Nevada to New York were universally eager and open to sharing their personal experiences at drive-in movie theaters. People expressed a breadth of emotions when describing individual feelings they held in their memories about drive-ins they had visited.
Let me tell you about a couple of folks I met. I was shooting the Lake Estes Drive-in (Colorado), when I met the owners John and Sharon, in order to gain access to the projection booth. When we entered the projection booth, my eyes opened as wide as a kid being offered candy, as this was the first and only abandoned projector booth that I came across that still had a projector in it. It was dusty and needed a tune up to be sure, but it was a beautiful hunk of metal. All I could think about was what an organically perfect interior setting this was for my series. The rawness of the setting evoked such visceral emotions.
John and Sharon are planning to redevelop the land where the drive-in was located over 20 years earlier. They want a “good home” for the beautiful hunk of metal and offered me the projector. As of this interview, I haven’t figured out where I could house it. I’m still thinking about it, to the dismay of some in my family.
I came across something unique when I was researching drive-ins to shoot in Tennessee. Brothers Ed and John grew up going to the Moonglo Drive-in located in Pulaski. They own a dealership and loved going to the Moonglo when they were growing up. They loved it so much that as adults they bought the property and built their car dealership around the Moonglo’s projection booth and screen.
It was too good pass up for this project, no matter how far I had to drive to get there. Ed and John are great guys and thanks to them, I captured some wonderful images. While they’re concentrating on growing their dealership, I don’t believe it would take too much to get them to consider firing up the Moonglo as an operating drive-in movie theater.
Do you have any tips for budding photographers who want to take their own images of abandoned Americana?
Yes, I call it the three Ps – plan well, be patient as well as persistent. The Drive-in Project was shot over a four-year period in ten different states. Living in California, I traveled thousands of miles to shoot 80 percent of the drive-ins within the series. Each and every location deserved to have painstaking thought put into each image and that’s what they each received. If the lighting wasn’t right at the time I was there, I slept in the rental car, hoping the next morning would bring better light.
The three Ps came into play often during those four years, but nowhere more so than the drive-in located in Commerce, Georgia. Initially, I couldn’t even find it. So many years have passed that the drive-in is now engulfed by a full-blown forest that has hidden the remnants of the screen and ticket booth from the main road.
After finally locating the screen through the forest, I loaded up my equipment and began to hike out to setup my camera, a Mamiya RZ67. Suddenly, I felt this incredibly sharp pain in my right foot. I had stepped on a 4-inch nail that pierced my shoe and was now embedded in the ball of my foot. I said to myself, “I have come this far, I have to keep going and get the shot.”
I loosened my shoe and pulled the nail out, hiking further into the forest to a clearing where the small remaining piece of the screen was visible. As I’m setting my tripod up, I heard this rustling and am joined by two Georgia State Troopers. The troopers informed me that I was trespassing on private property, but I’d done my research and I knew the name and contact info of the property owner who had given me permission to shoot there. The troopers ended up being nice guys and were quite interested in my project. They left me to do my work and just as I was feeling good about covering the three Ps until one of the troopers, as they were walking away, said, “Watch out for snakes around here!”
What’s next for you?
I’ve started a project that involves a 1950s “Normandie Starline Mod 1” beauty parlor chair, which I have named Marilyn. Marilyn has a beautiful chrome dryer top with a pink chair with an ashtray in the left arm and a swing handle that lifts the leg rest. Marilyn will be photographed in various environments juxtaposed against outdoor landscapes, models inside my studio and street scenes.
The name of my new project is: “Road Trip With Marilyn (RTWM).” Although I am only about 20 percent into my RTWM project, I have found that Marilyn helps me in a couple of ways as a photographer. Marilyn is a great icebreaker; her physical appearance attracts and pulls people into the space she is placed in. People are anxious to play with her and pose with her chrome dryer top. I’m excited about hitting the road with Marilyn and capturing an eclectic series of photographs. Maybe we can hook up with you, Sean, while you’re on one of your upcoming adventures?
You, me, and Marilyn in the Sudan! That would make for some interesting photos. Thanks for joining us today!
Jerusalem is one of those cities that clings to you long after you leave it. The mix of faiths, the musky scents of the markets, the muezzin’s call … once you’ve been there you can’t forget it.
It’s prominent in the imaginations of many who haven’t even been there, so it’s no surprise it was one of the first travel destinations filmed in the first years of motion pictures. In 1896, a crew from the studio of Auguste and Louis Lumière headed to Jerusalem, then part of the Ottoman Empire, to film its sights and people in what might be the very first foreign travel film.
Like all films in those days it was silent – the narration in this video was added decades later – but much of the spirit of Jerusalem shines through.
The Lumière brothers of France were pioneers in motion pictures. Their American rival was Thomas Edison, who was soon making his own travel pictures. He convinced transportation companies to give his film crews free rides to far-flung places such as the American West, China and Japan. Edison was not only an engineering genius; he was a master of marketing and saw films as a good way to get some press trips.
Few people can fly half way around the world just to see an art exhibition, and now, thanks to a new documentary series they don’t have to. One company is set to bring culture to the masses by broadcasting major art exhibitions at movie theaters around the globe.
Much like a real trip to a museum, the documentaries walk you through a current or recent exhibit, pausing at important works along the way. A noted historian provides commentary and insight into the significance of the artworks, while interviews with museum curators and a backstage look at the exhibits round out the 90-minute films.The company behind the documentaries, BY Experience, is the same one that brought live concerts from the Met Opera and London’s National Theater to the big screen. Those live screenings proved a huge success, earning the opera and orchestra groups millions of dollars each season. In much the same way, the art galleries involved in the documentaries are set to cash in on the screenings.
The films will focus on an art exhibition limited to one location, giving those who can’t travel to that particular city a chance to view it. The documentaries kick off this week with an exhibit about Edouard Manet from the Royal Academy of Arts in London. A retrospective on Edvard Munch and an exhibit featuring Johannes Vermeer are also slated for later this year.
Last week, the world lost one of the all-time great film critics, when Roger Ebert passed away at age 70. He was mostly known for his love of movies and long career reviewing them at the Chicago Sun-Times, as well as his witty and wide-reaching Twitter feed. Roger was first and foremost a journalist, and he applied his curiosity and ease of language to many things, including travel.
If you can’t imagine how a film reviewer can effortlessly evoke a place, start with a piece he wrote in 2010 on a changing London and a particularly Dickensian hotel at 22 Jermyn Street, later published in a shortened form for the Guardian‘s travel section. He writes of his 25 years of being a guest at the small hotel, many encounters are positively cinematic, such as meeting the hotel’s owner, who appears in his guest room proffering a drink and colorful anecdotes about the neighborhood’s characters. He worries about what the loss of businesses like the former Eyrie Mansion (established in 1685) will mean for the neighborhood: “Piece by piece, this is how a city dies,” and paints a rich study of a place and time.Ebert delved deeper into London with another essay on walking around the city with his grandson in search of the perfect hot chocolate (“You always need a serious objective when you’re walking.”), the essay itself a later version of a book he collaborated on in the 1980s, called the “Perfect London Walk.” In the essay, he parallels walking, writing and travel. “When I set out I have a general destination in mind, but as I poke around this way and that, I find places I didn’t know about and things that hadn’t occurred to me, maybe glimpse something intriguing at the end of a street…”
Ebert’s life and career took him many places from a Chicago movie theater, including South Africa and France. He published a book on the latter about his film festival experiences in “Two Weeks in the Midday Sun, A Cannes Notebook.” You can read excerpts from the book online, which provide some fun details on the glitzy, star-studded event, as well insights about culture clashes and what such an event does to a place.
Ebert’s other passion came through in a plea for more Americans to travel abroad, where he also reveals his long-time friendship with Paul Theroux, the famed travel writer. They debate the idea that travel broadens your mind and Ebert settles on the idea that “the way you broaden your mind through travel is to stop traveling and stay somewhere,” a good argument for slow travel. While it might be nothing new to the readers of a travel blog, imagine how it might have changed the thoughts of someone just looking for a review of the latest Bond film? Every traveler (and moviegoer, to some extent) can relate to “The bittersweet pleasure of being somewhere where nobody knows you, and nobody can find you.”
Ebert’s last movie review was, appropriately enough, for the film “To the Wonder,” which spans several continents, but he finds it to be covering a landscape between the characters rather than places. A few days before his death, he announced that he’d be scaling back on his regular reviews, taking what he called “a leave of presence.” This is a concept I’d like to keep in mind for my next trip: slow down, focus on what’s truly inspiring, reflect on the great moments of the past, and come back refreshed and recharged. Or at the very least, I’ll take time out to see a movie.