No matter how big or old or where they were located, most of them were facing the same issues, and that was super interesting to me. They were all having the movie content problems. They were all having the supply chain problems. They’re all telling me the same things, like how they were all having trouble with customers being more entitled and causing trouble, coming out of the pandemic a lot of ’em had never had that before. But as soon as I got through like the third or fourth drive in, it was like, it doesn’t matter if they’re old or new, or have seven screens or one screen. I thought their points of view would be different. Worth area, because there were three very different examples - with the Brazos, the Coyote and the Galaxy - and I wanted to contrast what you could find even in one little area. Originally I chose three in the Dallas/Ft. But with the pandemic, I thought I needed to show a broader cross section of how it was affecting them, so that’s why I went up to 11. It changed how I wanted to shoot the film, because originally I was only going to focus on three drive-ins really in-depth. They got their wish, not the way you would expect. Then March 2020 hits and they get this national worldwide attention. So we’re like, okay, can we leverage that some way? Should we hire a PR firm? They were trying to figure out all the ways to get attention. I was going do the follow-up anyway, but we were also talking about: How can we draw attention to drive-ins? Brad Pitt had just won the Oscar for “Once Upon a Time in Hollywood,” and in his Oscar speech, he talked about going to drive-ins growing up. I had actually gone to the drive-in owners’ convention in Orlando in February of 2020 before the pandemic, and I told them I wanted to make this movie. How much of the movie would you say is a snapshot of a moment in time about small businesses coming out of the pandemic, versus a general overview of how drive-ins have operated historically? Some people will say each drive-in is very unique because of the people who run it, that the drive-in itself reflects the owner, which is true, I think. I just wanted to show what they really do, so people would have a little more appreciation. I think, especially after COVID, everybody thought drive-is are just thriving and doing really well, and I knew that they were still having a hard time. That’s why I wanted with the second movie to really go deeper with the owners, because I can see how hard they work to keep ’em alive. The first film was a very thorough history of drive-ins, where I kind of felt like we covered everything up until present. It’s really focused in on the owner-operators, and the peculiar problems and joys they face in such an unusual occupation, and letting us see their distinct personalities. This is your second documentary on drive-ins, but it’s so different from the last. He’s superstitious about anyone on his staff saying “fog” they have to call it “the F-word.”Īnd then he keeps saying it. And finally, at the end he’s like, “OK, I can finally say this is the worst fog I’ve had in three years.” He’s trying to be optimistic and not be nervous, but you can tell how nervous. At some point almost becomes a suspense movie.Įxactly. It starts out light, and he’s thinking it’ll be OK, because the “Space Jam” sequel he’s showing is a pretty bright film. The film keeps coming back to you hanging with the owner of the Wellfleet Drive-In in New England, which just about a block away from the ocean, and the fog is rolling in as it starts to get dark. So there’s just so many different ways where we say a drive-in can be a 4D experience, because the environment around you can make the movie feel different. We also always talk about how, for certain movies, it can even be a bonus - you know, if you’re seeing “Jaws” and it’s foggy, or if you’re seeing a horror film and it’s raining, or even if you’re just at a drive-in in clear weather and there’s some woods a few feet away from you while you’re watching a horror movie and you’re outside, you feel more vulnerable.
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