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John Waters is bringing back the drive-in — with masks — at Md. Film Festival

Will cicadas spoil the show or add to the fun?

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John Waters is a fan of drive-in movies.’ (Washington Blade photo by Michael Key)

Writer and filmmaker John Waters says he grew up going to drive-in movies.

“We went every single night. With the same movie playing.“

He had a certain routine.

“I used to…drive in alone with two cases of beer covered in a blanket and with four people in the trunk.”

Now Waters is working to introduce a new generation to drive-in movie theaters, which are making a comeback because of the COVID-19 pandemic.

“When the pandemic happened, it did bring drive-ins back,” he said in a recent interview. “Most young people have never been to a drive-in. I think it’s a good answer [to the pandemic], and it’s a good atmosphere for certain types of movies.”

Waters is getting ready to host a double feature drive-in movie night on May 21, as part of the Maryland Film Festival that runs from May 19 to May 27. The theme is “Russian Shock Night at the Drive-In,” because he selected two Russian films to present: Why Don’t You Just Die! and The Road Movie.

This will be the third time during the pandemic that Waters has hosted a drive-in night for a film festival, after double features last year for the Provincetown International Film Festival, at the Wellfleet Drive-In Theatre on Cape Cod, and the New York Film Festival, at The Bronx Zoo.

This time the venue is Druid Hill Park, home of the Maryland Zoo in Baltimore. The film festival is creating a pop-up drive-in theater on the sloping lawn of the Mansion House, the zoo’s headquarters, in conjunction with Baltimore’s Department of Recreation and Parks. It will have a 52-foot-wide inflatable screen and space for 93 vehicles. The price of admission is $25 per car, and tickets sold out in a day.

The film festival is the first organization to get a permit for an in-person outdoor gathering on public property in more than a year from the city of Baltimore, where Mayor Brandon Scott has been cautious about allowing public events. The mayor wouldn’t allow the annual July 4th fireworks show at the city’s Inner Harbor or the annual Artscape festival in July.

“I’m proud to the first one,” said Waters, who came up with the idea for a drive-in during the festival. “I’m thankful that they’re letting us do it.”

Based on his experience at the other festivals, Waters said, he’s confident it will be successful. “I love the idea of the drive-in. I think it will be good, and it is safe. Everybody’s in their car. Even if you haven’t been vaccinated. Well, I hope you don’t come if you haven’t been vaccinated. But still, everybody’s in their car. It’s at a social distance.”

Waters, who lives in Baltimore, traditionally introduces a movie of his choice on Friday night of the annual film festival, and it’s a highlight of the event. Last year it didn’t happen because the festival was cancelled due to the pandemic.

This year the festival is back as mostly a virtual event, because the theater where it’s held is still subject to COVID-related seating restrictions. Organizers asked Waters to bring back his signature movie night. He didn’t want it to be online.

“I said, I hate virtual. I’m so sick of virtual,” he recalled. “They knew I had done a drive-in at the New York Film Festival, where we showed Salo and the Gasper Noe movie, Climax…It works well in the drive In.”

Film festival organizers, led by executive director Sandra Gibson, collaborated with city officials to identify the site and figure out the details. “You don’t have to be vaccinated, but you will have to wear masks…if you’re outside your car,” Gibson said.

The parks department didn’t place a limit on the size of vehicles or the number of people in a vehicle, although larger ones will be located towards the back of the lot, she said.

“If you have a hatchback, we’ll let you open your hatchback and sit in the hatchback,” she said. “We’ll let you sit in the back of a flatbed truck as long as you have a mask on. If you have an SUV that holds eight people, we’re fine with that as long as everybody can see. But they have said you have to stay in your car.”

Waters describes Why Don’t You Just Die! as “a grindhouse, seat-ripping blood-drenched family revenge comedy that begs to be seen in a drive-in with a crazy audience cheering from their cars,” and The Road Movie as “a dash cam documentary from hell that puts you live in the car accidents and near misses all for your rage viewing pleasure.”

He said the two movies are in line with the ones he usually picks for screenings in the film festival’s Parkway Theatre, “but these two I think are even better for a drive-in setting.”

The Road Movie, featuring footage compiled from Russian dashboard cameras, has a car-oriented theme that fits with the drive-in set-up and will be the second film of the night. “You’ll drive home safely after this one, I guarantee you,” Waters said.

He chose a Russian theme, he said, “just because I loved these movies and I knew that Russia was especially kind of unmentionable these days. I’m not a fan of Russia either, but maybe everybody could come dressed as Nikita Khrushchev and his wife, or Putin.”

Given the climate in Russia, “it’s just kind of amazing that these two movies ever got made there,” he said. “They’re pretty radical movies. Especially Why Don’t You Just Die!”

Waters said the location brings back fond memories, in part because the zoo is there and he lived nearby: “I’ve always liked Druid Hill…I used to live across the street at Temple Gardens Apartments for many years.”

He jokes that he’s a little suspicious that the city permitted his event but not the Fourth of July fireworks, citing COVID-19 as the reason.

“Maybe they hope we all get it,” he said. “That’s a new one. We had the censor board. Maybe this is a different way to censor.”

He said he hopes the 17-year cicadas, insects that are just coming out of the ground in Maryland after a 17-year hiatus, make an appearance when his movies are showing.

“I wouldn’t even be mad,” he said, if they “were smashing into the windshields while we were watching. But then we should have shown The Swarm.”

Given the park setting, “you can bet there might be some,” he went on, imagining the possibilities of an insect invasion on his movie night. “It would only add to the disaster theme and the insaneness of the event, to be attacked by nature at Druid Hill Park and watching crazy Russian movies.”

According to the website DriveInMovie.com, there are about 325 drive-in movie theaters currently operating around the United States, down from a peak of more than 4,000 in the 1950s.

Besides the ones in operation, “there are many more that are permanently closed but still remain standing and could potentially be reopened at some point in the future,” says the website, which lists the drive-ins in every state and those that have closed in the past 20 years. “In fact, there have been several drive-in theaters that have been reopened the past couple of years after sitting dark for 20 or even 30 years.”

The first “true” drive-in, the website states, was the “Automobile Movie Theatre” in Camden, New Jersey. It was opened on June 6, 1933 by Richard Hollingshead, a movie buff who initially experimented with showing movies in the driveway of his home.

Hollingshead got a U. S. patent for his drive-in, which the drive-in website describes as essentially a movie screen tied to some trees, a radio placed behind the screen for sound, a film projector on the hood of a car, and a strategy for spacing out cars. His slogan was “The whole family is welcome, regardless of how noisy the children are.”

But Hollingshead’s patent was later declared invalid, and that allowed others to follow his formula without paying him royalties. “Maybe one of the reasons Drive-In Movies are so much more popular in the United States than in other countries is because the drive-in movie is truly an American invention,” the website states.

Today, both vintage drive-ins and pop-up drive-ins are being put to a variety of uses, from sites for fundraisers to filming locations to settings for socially-distanced music performances. When traditional movie theaters were shuttered because of the pandemic, drive-ins became an alternative because the audience remains outdoors.

In some cases, the land is used for swap meets and flea markets when movies aren’t being shown. Joe Biden held drive-in rallies when he was running for President, and voters applauded by honking horns and flashing headlights.

Waters, who just turned 75 and has filmed all of his movies in and around Baltimore, is a drive-in aficionado.

“I’ve spent my whole life in the drive-in,” he said. “I’ve written about them. I grew up in the Timonium Drive-In…The Bengies Drive-In, we filmed Cecil B. Demented in for a week. I spent a week on the roof of that concessions stand.”

In Polyester, “I had an art drive-in,” he said. “The joke was that they showed art movies, and in the concessions stand they had caviar and champagne. That was filmed at the Edmondson Drive-in” in Baltimore.

For him and others in his generation Waters said, the drive-in was “the first apartment’ where “kids could actually get away from their parents.”

It also taught him about saving money by sneaking people in — something he doesn’t want to see on his night.

“I’ll be catching you if you try to sneak in in the trunk, let me warn you,” he said. “I know all the tricks sneaking in the drive-in.”

For this week’s event, the plan is that Waters will be there and will be visible on screen, introducing the movies. Though he’s been vaccinated, there won’t be a Meet-and-Greet session with fans, for safety reasons. “He knows that we’ve got restrictions and he may have his own,” Gibson said. “He’s really conscious that it’s still a pandemic.”

The city has come up with a list of rules and regulations for those with tickets. Besides the requirement that people wear masks when outside the vehicle, no food or drink may be consumed outside of vehicles. Car windows must be up when eating. Tailgating isn’t allowed. Everyone must pre-register and sign a parks department waiver before arriving.

Waters said he read all the rules and couldn’t find any restrictions against having sex in a vehicle during a movie.

“I guess that means you can have sex,” he said. “When I was young, that’s what everybody did.”

The same goes for drinking in a vehicle, he said. “That’s something you always did at the drive-in too.”

The list of rules and regulations is part of the traditional drive-in experience, because every drive-in has rules. In a way, Waters said, it also goes along with the theme for the night:

“It will feel like the Russian government is watching.”

Although the drive-in night is sold out, other tickets are still available to the Maryland Film Festival, including Pride Night and eight LGBTQ-oriented films viewable online. Information about the lineup is at mdfilmfest.com.

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‘Pillion’ director on bikers, BDSM, and importance of being seen

‘We put a lot of thought and effort into how we depicted the community’

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Alexander Skarsgård and Harry Melling star in ‘Pillion.’

One of the highlights of last week’s Mid-Atlantic Leather Weekend came not on the dance floor, but in a movie theater. In a new partnership, the independent film studio A24 brought its leather-clad new film “Pillion” — not yet in wide release — to D.C. for special showings for the MAL crowd.

“Pillion,” a term for the motorcycle passenger seated behind the driver, delves into the complicated relationship between an introverted, quiet Londoner Colin (Harry Melling) who embarks on a journey finding himself while entering into a sub relationship with a new Dom named Ray (Alexander Skarsgård) he meets during Christmas. 

It’s writer-director Harry Lighton’s feature-length debut, sharing Skarsgård’s impossibly toned physique with both Colin and audiences, and offering an eye into the BDSM community by an LGBTQ director for the general public. This from a studio that also just released a movie about ping-pong starring Timothée Chalamet.  

The Washington Blade was able to catch a screening at Regal Gallery Place on Jan. 18, hosted by MAL and Gary Wasdin, executive director, Leather Archives & Museum. The Blade also had a chance to interview Lighton about the experience.

Blade: How did you get involved in this film, especially as this is your directorial debut?

Lighton: I was sent “Box Hill,” the novel on which “Pillion” is based, by Eva Yates (the head of film at the BBC). I’d spent years working on a sumo film set in Japan, and then suddenly that became impossible due to the pandemic so I was miserable. And then I read this book that I found bracing, funny, moving. All the good things. 

Blade: Are you involved with the leather community? Did you draw on any personal experiences or make connections with the community? 

Lighton: I’m involved in the wrestling scene but not the leather community. So I spent lots of time with people who are [in the community] during the writing process, and then ended up casting a bunch of them as bikers and pillions in the film. They were incredibly generous to myself, Harry, and Alex with their knowledge and experiences. We have them to thank for lending credibility to the world on screen.

Blade:  What kind of reception have you received at film festivals and with the LGBTQ community? Was it what you imagined?

Lighton: Obviously not everyone’s going to like the film — for some people it’ll be too explicit, for some not explicit enough; some people will feel seen, some won’t. But the general reaction’s been extremely positive so far. If I’m honest I thought it would divide opinion more.   

Blade: How was it working with the actors?

Lighton:  I had a lot of respect for both of them going in, and wondered if that might make me a bit too deferential, a bit too Colin-coded. But besides being extremely talented, they’re both lovely. And committed. And fun! With my shorts I always felt a bit out of my depth working with actors, but here I discovered a real love for it.  

Blade: Turning to the plot, the parents are pretty supportive, especially Colin’s dad. How did you decide to draw his parents? What does it mean to show parents with nuanced viewpoints?

Lighton:  I wanted to reverse the typical parent-child dynamic in queer film, where parents go from rejecting to accepting their queer kid. We meet Colin’s parents actively pushing him toward a gay relationship. But when the relationship he lands on doesn’t meet her definition of healthy, his mum withdraws her acceptance. I wanted to ask: Are they projecting their romantic model onto their son, or do they have a legitimate concern for his wellbeing with Ray?

Blade: How did you decide to place the setting?

Lighton: Practically, we needed somewhere within reach of London. But I liked the idea that Colin, who lives life on the periphery, grew up on the edge of the capital. One of our producers, Lee Groombridge, grew up in and around Bromley and showed me all the spots. I loved the atmosphere on the high street, the markets, and the contrast between the high street and the idyllic park. And I thought it would be a funny place for Alexander Skarsgård to have settled.

Blade: What do you hope audiences take away from the film? 

Lighton: There’s no one message. Different people will take different things from it. Personally, Colin inspires me to jump off cliffs, to push beyond my comfort zone because that’s where life begins. From Ray I get the courage to be ugly, to fly in the face of social convention if it doesn’t make you happy or it’s not built for you. 

Blade: Talk about the soundtrack — especially the Tiffany “I Think We’re Alone Now” song.

Lighton: Skarsgård’s Ray has the surface masc-ness that comes with looking like a Viking. I wanted to combine that with details that indicate he’s been a part of gay culture and “I Think We’re Alone Now” is nothing if not a camp classic.  

Blade: What does it mean to you to show the film at MAL?

Lighton: When I told the bikers from the film I was coming to MAL they practically wet themselves with excitement. We put a lot of thought and effort into how we depicted the community in the film and there’s so much variety, no two Masters or subs are the same, but seeing a theater full of men in leather laugh, cry, and clap for the film meant the world.

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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

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Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” and “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in. 

Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on. 

That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones. 

“This was a small film by a first time filmmaker and it wasn’t financed when I read it,”  Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”

Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”

For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film. 

“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.” 

Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”

He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”

One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.

“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”

For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present. 

“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”

Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”

This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series,  Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”

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PHOTOS: SMYAL for the New Year

LGBTQ youth services organization holds annual fundraiser

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From left, SMYAL Executive Director Erin Whelan and journalist Ari Shapiro attend SMYAL for the New Year at Shakiki on Thursday, Jan. 22. (Washington Blade photo by Michael Key)

The LGBTQ youth services organization SMYAL held its annual fundraiser, ‘SMYAL for the New Year,’ at Shakiki (2012 9th Street, N.W.) on Thursday, Jan. 22.

(Washington Blade photos by Michael Key)

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