Design has disrupted taxis in a massive, almost unprecedented way. But good design doesn’t merely aim to disrupt—it should set out to actually build viable solutions. Designers shouldn’t look at a problem and say, “What we’re going to do is just fuck it up and see what happens.” That’s a dereliction of duty.
Tuesday, October 9th, 2018
Wednesday, November 22nd, 2017
It had been a while since we had a movie night at Clearleft so I organised one for last night. We usually manage to get through two movies, and there’s always a unifying theme decided ahead of time.
For last night, I decided that the broad theme would be …transport. But then, through voting on Slack, people could decide what the specific mode of transport would be. The choices were:
- getaway car,
- truck, or
Nobody voted for submarines. That’s a shame, but in retrospect it’s easy to understand—submarine films aren’t about transport at all. Quite the opposite. Submarine films are about being trapped in a metal womb/tomb (and many’s the spaceship film that qualifies as a submarine movie).
There were some votes for taxis and trucks, but the getaway car was the winner. I then revealed which films had been pre-selected for each mode of transport.
- Collateral, Michael Mann, 2004 (86% 🍅)
- Night On Earth, Jim Jarmusch, 1991 (73% 🍅)
- Taxi Driver, Martin Scorsese, 1976 (99% 🍅)
- Baby Driver, Edgar Wright, 2017 (93% 🍅)
- Wheelman, Jeremy Rush, 2017 (88% 🍅)
- Drive, Nicolas Winding Refn, 2011 (93% 🍅)
- The Driver, Walter Hill, 1978 (80% 🍅)
- Below, David Twohy, 2002 (64% 🍅)
- Crimson Tide, Tony Scott, 1995 (87% 🍅)
- The Hunt For Red October, John McTiernan, 1990 (86% 🍅)
I thought Baby Driver would be a shoe-in for the first film, but enough people had already seen it quite recently to put it out of the running. We watched Wheelman instead, which was like Locke meets Drive.
So what would the second film be?
Well, some of those films in the full list could potentially fall into more than one category. The taxi in Collateral is (kinda) being used as a getaway car. And if you expand the criterion to getaway vehicle, then Furiosa’s war rig surely counts, right?
Okay, we were just looking for an excuse to watch Fury Road again. I mean, c’mon, it was the black and chrome edition! I had the great fortune of seeing that on the big screen a while back and I’ve been raving about it ever since. Besides, you really don’t need an excuse to rewatch Fury Road. I loved it the first time I saw it, and it just keeps getting better and better each time. The editing! The sound! The world-building!
With every viewing, it feels more and more like the film for our time. It may have been a bit of stretch to watch it under the thematic umbrella of getaway vehicles, but it’s a getaway for our current political climate: instead of the typical plot involving a gang driving at full tilt from a bank heist, imagine one where the gang turns around, ousts the bankers, and replaces the whole banking system with a matriarchal community.
“Hope is a mistake”, Max mansplains (maxplains?) to Furiosa at one point. He’s wrong. Judicious hope is what drives us forward (or, this case, back …to the citadel). Watching Fury Road again, I drew hope from the character of Nux. An alt-warboy in thrall to a demagogue and raised on a diet of fake news (Valhalla! V8!) can not only be turned by tenderness, he can become an ally to those working for a better world.
Thursday, September 28th, 2017
Myself and Jessica were on our way over to Ireland for a few days to visit my mother. It’s a straightforward combination of three modes of transport: a car to Brighton train station; a train to Gatwick airport; a plane to Cork.
We got in the taxi to start the transport relay. “Going anywhere nice?” asked the taxi driver. “Ireland”, I said. He mentioned that he had recently come back from a trip to Crete. “Lovely place”, he said. “Great food.” That led to a discussion of travel destinations, food, and exchange rates. The usual taxi banter. We mentioned that we were in Iceland recently, where the exchange rate was eye-watering. “Iceland?”, he said, “Did you see the Northern Lights?” We hadn’t, but we mentioned some friends of ours who travelled to Sweden recently just to see the Aurorae. That led to a discussion of the weirdness of the midnight sun. “Yeah”, he said, “I was in the Barents Sea once and it was like broad daylight in the middle of the night.” We mentioned being in Alaska in Summer, and how odd the daylight at night was, but now my mind was preoccupied. As soon as there was a lull in the conversation I asked “So …what brought you to the Barents Sea?”
He paused. Then said, “You wouldn’t believe me if I told you.”
Then he told us.
“We were on a secret mission. It was the ’80s, the Cold War. The Russians had a new submarine, the Typhoon. Massive, it was. Bigger than anything the Americans had. We were there with the Americans. They had a new camera that could see through smoke and cloud. The Russians wouldn’t know we were filming them. I was on a support ship. But one time, at four in the morning, the Russians shot at us—warning shots across the bow. I remember waking up and it was still so light, and there were this explosions of water right by the ship.”
“Wow!” was all I could say.
“It was so secret, that mission”, he said, “that if you didn’t go on it, you’d have to spend the duration in prison.”
By this time we had reached the station. “Do you believe me?” he asked us. “Yes”, we said. We paid him, and thanked him. Then I added, “And thanks for the story.”
Wednesday, April 9th, 2008
This is the very definition of an intimate gig: a song in the back of a London cab.
Tuesday, January 24th, 2006
The blog of a New York cab driver.