Every passing moment by Carly Cruickshank

An emotional discovery of self-realization through the films of Cameron Crowe.

The festival is happening to commemorate a director who uses characters and music to show true vulnerability on screen. An artist who knows how to capture those small moments in a manâ&#x20AC;&#x2122;s life that changes him. These are moments that are real, moments that are vulnerable, and moments that capture the true essence of emotion. He has created films that have defined generations. This festival is a tribute to a great writer and director. It is also a hope for many more movies in the future. This year, in December, a new Cameron Crowe film is going to be in theaters. He spends years writing and perfecting his films, his last film was We Bought A Zoo, which was released in 2011. We will not be showing that film during this festival, but we hope that you develop a love for Crowe and his films and will seek out not only We Bought A Zoo but his other films as well.

Cameron Bruce Crowe was born in Palm Springs, California on July 13, 1957. His family moved around southern California until they settled in San Diego. Crowe attended high school and some of college there. He graduated from high school at 15 years old due to skipping grades in elementary school. He began writing articles for Rolling Stone Magazine. Shortly after he wrote the book Fast Times at Ridgemont High and was later asked to write the script. It was his first script ever written and he struggled with it, but the finished product became a cult classic. As far as idols go, he looks up to Billy Wilder and his favorite movie is, The Apartment. He wrote a book about Wilder in a question and answer format that was published in 1999. It is one of his favorite books; he keeps it on his desk and refers to it regularly. He married Nancy Wilson, from the band Heart. They had twin boys, William James Crowe and Curtis Wilson Crowe born on January 23, 2000. Unfortunately, the marriage did not work out and the couple separated due to irreconcilable differences in 2008. The divorce was finalized in December 2010. Nancy had a large influence in Croweâ&#x20AC;&#x2122;s movie scores. He is the writer, producer, and director of the majority of his films, which will be discussed in further detail in coming chapters. He got his start writing for local San Diego publications until he met Ben Fong-Torres, the editor of Rolling Stone. He met success on his first film, Say Anything... and continued on with 6 more films. The last of which is in production now. Along with a number of documentaries, mainly centered around music. He has won one Oscar, for the film Almost Famous.

Cameron Crowe described it best when asked about what a hero means to him. He referred to his characters as (Cameron Crowe, A.V. Club Interview)

“ The Battered Idealist…To me, a hero is somebody who’s able to accept the environment of the world, deal with the stuff that’s thrown in their path—or, in Fast Times, the coffee that’s thrown in their face—and somehow keep their heart.” The thread that was followed for this festival throughout the 5 films featured is along a similar line. The character is embarking on a journey of self-realization, the hero confronts his heartache and in moments of music and love finds internal happiness.

HEY BUD, LET’S PARTY.

Rated: R Release Date: August 13, 1982 Storyline: Tells the story of a group of high school students growing up in southern California. Stacy Hamilton and Mark Ratner are looking for love, and seek advice from their friends, Linda Barrett and Mike Damone, respectively. The center of the film follows Jeff Spicoli, a perpetually stoned surfer dude who faces off with their teacher, Mr. Hand, who is convinced that everyone is on dope. Written by: Cameron Crowe Directed by: Amy Heckerling

Near the beginning of the movie, right after Mr. Hand sends Spicoli to the front office for being late to class, Mr. Hand passes out the class schedule of quizzes. After the paper is passed out, the students put the page up to their noses and deeply inhale. This was a popular school ritual of the ‘60s, ‘70s and early ‘80s as photocopying machines were very expensive, so spirit duplicators were used. The spirit duplicators used a colored wax as the “ink” and a noxious solvent as a transfer agent to impress the ink on the paper. These solvents sometimes took a long time to dry, hence the students’ use of these solvents as a short-term “high”.

The scenes in the mall were shot during the night from when the mall closed at 9:30 to when it opened at 9. The two kids who Damone scalps the tickets to, were under 18 and due to labor laws couldn›t film past certain hours, so they only had a 10-minute window to shoot their scenes. Filming lasted five weeks. For his masturbation scene, Judge Reinhold brought a large dildo to work with, unbeknown to the rest of the cast. Phoebe Cates look of horror and disgust is very real. Sean Penn improvised during his takes and tried to find ways to aggravate actor Ray Walston, who played Mr. Hand, even off camera. He also did things to get genuinely startled reactions from the extras who played his classmates through unexpected improvisations. Stacy works at Perry’s Pizza. Jennifer Jason Leigh actually worked at Perry’s Pizza for a month after she got the role of Stacy Hamilton but before filming began.

In his film debut, Nicolas Cage appears under the name Nicolas Coppola for the first and only time.

A LLOYD MEETS GIRL STORY.

Rated: PG-13 Release Date: April 14, 1989 Storyline: The summer after high school, Lloyd Dobler, pursues valedictorian, Diane Court. He spends the summer getting her to fall in love with him before she leaves for a fellowship in England. All the while, her father who owns a nursing home, is being investigated for tax fraud. Written and directed by: Cameron Crowe

Before filming, when Cusack was developing the character, he wrote out a “manifesto,” which was several pages long. One of the items on that manifesto was the “bought, sold, processed” line that ended up in the famous dinner table speech. There are a lot of stories about what the song was supposed to be during the boombox scene. As it was originally written, it was going to be Billy Idol’s “To Be a Lover.” The actual song playing during filming was Fishbone’s “Turn the Other Way.” A few songwriters were commissioned to come up with a song (including The Smithereens), but none of them worked. Eventually, Crowe found “In Your Eyes” on a wedding tape that he’d made for his own wedding to Nancy Wilson. After opening night, Cameron and Cusack were hanging out at a bar, and an excited woman came up to Cusack and said, “Are you Lloyd?” Cusack responded, “On my better days, yes.” Crowe would later use that line in Almost Famous, when someone approached Russell Hammond and asked, “Are you Russell Hammond,’ and he responded, “On my better days, yes.” Lloyd Dobler was based on a neighbor of Cameron Crowe’s, Lowell Marchant, who came to his door one day and introduced himself, saying he was a kickboxer and that kickboxing was the sport of the future. Lowell had this ‘stoic noble thing,’ and he was very polite, and would wipe his hands off on his pants before he shook your hand. James Brooks told Crowe to write that guy. And from that moment on, Lloyd took life, basically created from the mannerisms and spirit of Lowell. Throughout the DVD commentary, both Cameron Crowe and John Cusack kept returning to a phrase that summed up the philosophy of Lloyd Dobler and the movie as a whole:

“OP T IMI SM A S A RE VOLU T ION A RY AC T.” Before filming, when Cusack was developing the character, he wrote out a “manifesto,” which was several pages long. One of the items on that manifesto was the “bought, sold, processed” line that ended up in the famous dinner table speech. There are a lot of stories about what the song was supposed to be during the boombox scene. As it was originally written, it was going to be Billy Idol’s “To Be a Lover.” The actual song playing during filming was Fishbone’s “Turn the Other Way.” A few songwriters were commissioned to come up with a song (including The Smithereens), but none of them worked. Eventually, Crowe found “In Your Eyes” on a wedding tape that he’d made for his own wedding to Nancy Wilson. After opening night, Cameron and Cusack were hanging out at a bar, and an excited woman came up to Cusack and said, “Are you Lloyd?” Cusack responded, “On my better days, yes.” Crowe would later use that line in Almost Famous, when someone approached Russell Hammond and asked, “Are you Russell Hammond,’ and he responded, “On my better days, yes.” Taken from the Uncool.com

LOVE IS A GAME. EASY TO START. HARD TO FINISH. 26

Rated: PG-13 Release Date: September 18, 1992 Storyline: A group of twenty-somethings in grunge-era Seattle. They are all looking for love and the majority of them are living in the same apartment complex. They experience what it means to change for someone and not to settle for the wrong person. Written and directed by: Cameron Crowe

Soundtrack: (Copied from Wikipedia) The Singles soundtrack was released on June 30, 1992 through Epic Records and became a best seller three months before the release of the film. The soundtrack included music from key bands from the Seattle music scene of the time, such as Alice in Chains, Pearl Jam, and Soundgarden. Pearl Jam performed two previously-unreleased songs on the soundtrack: “Breath” and “State of Love and Trust”. The Soundgarden song “Birth Ritual” and Chris Cornell’s solo song “Seasons” appear on the soundtrack. Paul Westerberg of The Replacements contributed two songs to the soundtrack and provided the score for the film. The Smashing Pumpkins also contributed to the soundtrack with the song “Drown”.

When Singles first came out, it was lumped in with a lot of other films that attempted to define an ill-defined generation. What are your feelings on that in retrospect? I have my problems with Singles. To me, Singles is the least successful of the movies I’ve been lucky enough to make. It was meant to be Manhattan, a movie I loved, set in Seattle. It stayed in the can for a year until the studio released it on the heels of the so-called “grunge explosion,” which created some problems of perception. But there were also some casting issues and some screenwriting problems I never quite solved. Pulp Fiction solved the vignettes issue in a way that made my jaw drop. I thought, «Fuck!» [Laughs.] If I had done Singles later, I might not have made some of those mistakes. I would have been one of the many movies that ripped off Pulp Fiction instead. [Laughs.] Singles didn’t aspire to define a generation. It aspired to be my tribute to Manhattan. So there’s a little frustration there. I hope that someday, as time goes on, it can live on as a snapshot of that period, because Seattle is not the same anymore.

EXPERIENCE IT. ENJOY IT. JUST DON’T FALL FOR IT.

Rated: R Release Date: September 15, 2000 Storyline: Fifteen-year-old avid rock fan William lands an assignment from Rolling Stone to accompany a fledgling band from Michigan called Stillwater on their first tour. As he becomes more involved with the band members, he loses his objectivity and is soon entangled in the infamous 70â&#x20AC;&#x2122;s rock scene. Written and directed by: Cameron Crowe

Critical Reception Almost Famous was well received by critics and audiences. The majority of the reviews were very strong and positive. Roger Ebert said that Almost Famous is “funny and touching in so many different ways”. He gave the film four out of four stars. The New York Times, A. O. Scott wrote, “The movie’s real pleasures are to be found not in its story but in its profusion of funny, offbeat scenes. It’s the kind of picture that invites you to go back and savor your favorite moments like choice album cuts”

INTERVIEW

WITH WRE

Cameron Crowe: The Well Rounded Interview

How hard was it to do such a personal movie? Very. And on a lot of different levels. I had to rely a great deal on memory; the slight embarrassment that I cast a guy who was doing a version of me and the portrayal of real-life people – Lester Bangs, Ben Fong-Torres, Jan Wenner. But I also feel the stuff that audiences have responded to the most positively is the material that I drew on from my own personal experiences.

You mixed real people with fictional characters in the film. Any particular reason why the character based on you wasn’t named Cameron Crowe? That would have been a little too narcissistic [laughs]. I thought about it, actually, and in one of the earlier versions, he does have my name, but after writing about three lines of dialogue and typing ‘Cameron’ I had had enough. I like to think what I did here was what Woody Allen has always done. Like in Annie Hall, he called himself ‘Alvie Singer’ – it was what he thought of himself as a child. I left Lester and Ben and Jan intact because I wanted to pay tribute to them.

Lester Bangs is deceased, but how have the others reacted to their portrayals? They liked them; I think they see it as a link to their earlier days; and I also believe Lester’s looking down and giving it his blessing also. Hopefully, the audience will feel that way too.

One of the principal threads running through the film is the character’s need to remove himself personally from his subject and remain objective. In your early days, you were a music critic. How do you react now when the tables are turned, you’re the creative force and people critique your work? [Long pause] I think I felt a little more comfortable on the other side, where you are now. I think that it’s very safe to stand back and judge the work of others and I love to do it myself, still. I also had a desire to get out there and say some things. Sometimes I get knocked for various things, particularly for a lack of cynicism, but that’s who I am. When I used to get together with other rock critics, the conversations went like, ‘You know, if it was me up there, I’d have said this or I’d have done that’…and then they kind of just trail off…I wanted to make statements as honestly as possible and I think I’ve succeeded. Particularly, with this movie.

It’s rumored that you’re one of the very few director’s with final cut approval. Is that true? Yes, it is, but strangely enough, I didn’t really exercise that privilege with the new film. Come to think it, there was a scene with Kate’s [Hudson] character dancing to a Cat Stevens song that the studio thought held up the progress of the story and although they didn’t exactly insist on it being cut, they made it clear they didn’t care for it. It’s still in the movie. [pause] I did cut a lot out, however. Originally, it was about 20 minutes longer.

You’re someone who grew up in the ’70s. Do you ever think that rock ‘n’ roll is dead? Rock & Roll dies every year and ends up getting resurrected every year in some form or fashion. That’s the way it works. If it didn’t die or re-invent itself constantly, it would become…I don’t know…it would become something that wasn’t Rock & Roll. I remember seeing The Who in 1971 and being up front, getting crushed by the audience. I looked up at Pete Townshend and he looked 30 feet tall to me. If someone had told me I’d be looking at him 30 years later as this little guy on a TV screen, I wouldn’t have believed it. I thought all of my Rock heroes were too big to ever be on a TV screen. For better or worse, that’s the big difference between then and now. Rock is no longer a performance medium as much as it is a TV medium. Like football. Or baseball. It’s more of a marketing ploy than art, rebellion or entertainment.

You used about four or five Led Zeppelin songs in the movie and Zeppelin is notorious for not letting ANYONE use their material in movies. Was it your personal history with Jimmy Page that allowed you to do this? I’ll say this much – it didn’t hurt. But it wasn’t really a done deal until he and Plant saw it and gave it their O.K. Which was a huge relief. It would have been a major chore to excise their stuff because the songs themselves play such a major part in the story.

There’s been an awful lot in the news recently, calling for artists and entertainers to take more responsibility for the product they offer to the public. Do you feel a responsibility of any kind with your work? Absolutely. If someone’s on a soapbox saying this is what I am or, more accurately, this what I think you should be, I run for the hills. But if there’s more of a gentle ethic in the message that creates an impact, especially a positive impact or comment on the way we live our lives, I think that’s great. Mr. Wilder once told me “Sugar-coat that bitter little pill.” To me that meant, you can still get a point across, even a difficult one, if you finesse it a little and not ram it down people’s throats. I want people to walk away with something; something that, not necessarily changes them, but says something that makes them think. I love movies that don’t squander the opportunity and don’t smack you over the head with it either. I think that’s what everyone wants – that happy medium.

OPEN YOUR EYES

Rated: R Release Date: December 14, 2001 Storyline: After an accident; an heir to a successful publishing company re-evaluates life and love. Screenplay written by: Cameron Crowe based off of â&#x20AC;&#x153;Abre Los Ojosâ&#x20AC;? by Mateo Gil and Alejandro Amenabar. Directed by: Cameron Crowe

Mixed reviews from critics, audience loved it. The movie received an Academy Award nomination for Best Original Song. It also received Screen Actors Guild and Golden Globe Award nominations for Cameron Diaz’s supporting performance. The soundtrack, like much of Cameron Crowe’s other work was critically acclaimed and has since become a cult classic. Roger Ebert gave it 3 out of 4 stars. He stated, “Think it all the way through, and Cameron Crowe’s “Vanilla Sky” is a scrupulously moral picture. It tells the story of a man who has just about everything, thinks he can have it all, is given a means to have whatever he wants, and loses it because—well, maybe because he has a conscience. Or maybe not. Maybe just because life sucks. Or maybe he only thinks it does. This is the kind of movie you don’t want to analyze until you’ve seen it two times.”

THE BEST PLACE TO FIND YOURSELF

Rated: PG-13Â Release Date: October 14, 2005 Storyline: A shoe designer, Drew Baylor, designed a flop of a shoe and caused an almost one billion dollar loss to the company. The same day, he learns that his father has passed away and he needs to go to Kentucky to collect his remains. He meets a free-spirited flight attendant along the way. He is forced to face his family and his own demons while falling in love and changing his perspective on life. Written and directed by: Cameron Crowe

INTERVIEW

WITH MTV

The gestation period on Elizabethtown has been… It›s been a while.

Give me some backstory, from the germ of an idea to where you are today.

After Vanilla Sky — which is mostly about one guy ›s head, and not my story, really — I wanted to do a real character story. I had this script I was working on that had nine characters. It was filled with things that people in movies do. It was summer 2002, and I was on the road with my wife. She plays with the band Heart, they were playing a summer tour, and she convinced me to get out of the house and see the world from the bus. I woke up one morning and looked out of the bus, and the hillsides were electric green landscapes. We were in Kentucky, where I›m from. I got off the bus, rented a car and drove around. And I started writing something new. I started writing about the family we don›t know we have and the things that happen when life intercedes to take you on a surprise journey. And tragedy [the death of Orlando Bloom›s character›s father] that ends up being a ticket to something wilder and greater and stronger than you anticipated. And it has a lot of music in it.

We count on you for that. I just have no high concepts — all this stuff kind of ends up being about music and people and life. I was just really happy that this one kind of hijacked what I’d been working on and said, “It’s time to write about your family.”

What strikes me is how much of this film and all your work counts on capturing those transformative, almost invisible moments in a person’s life. Right!

How do you film that? You must have remarkable confidence in your actors’ ability to demonstrate interior. Well, I got lucky early on, working with John Cusack and Sean Penn and other actors who were able to make those moments real. Even guys like Judge Reinhold in Fast Times. People were like, “How are you gonna make a scene about a guy who’s longing for his sister’s friend and masturbating in the bathroom?” And we couldn’t even find anyone to direct that movie. Then Amy Heckerling came along and said, “I know how I can make this work.” But those are the things that mean the most to me, the in-between moments. They’re also the greatest stuff to use music with, because it feels like your spying on life. It’s fun to write those quiet moments: falling in love, or how people watch TV…

Or driving a car, or walking through an airport… Exactly! There›s a whole thing at the end of Elizabethtown that takes place on a road trip across the country. Kirsten Dunst’s character makes Orlando’s character a mixmap [a map with musical cues] that’s really specific.

It’s 42 hours and 11 minutes long, and it’s filled with music. He’s never really traveled, and she’s a flight attendant so she does nothing but travel. She says, “Look, I’m going to give you a map, but it’s not like the usual map. It’s very different, and you gotta really follow it. Call me when you’re done.” Before he knows it, he’s completely addicted to her words and music and where she’s taking him. It kind of goes back to that bus trip where you think your world is the world. And somebody pulls you out of it and says, “Come over here and see the world everybody else is living.” I wanted to make the movie about that: what it’s like to truly be alive.

Kirsten strikes me as the type of woman who could transform a man like that. She sparkles. Not unlike Kate Hudson, or Phoebe Cates for that matter. Maybe you should take credit for that sparkle. [Laughs] Nah. It’s their eyes. But there are so many actors that you›re dying to work with that you can›t ever hire. Kirsten came very close on «Almost Famous.» She was almost in that movie, so we never really forgot her. And she›s a huge music fan. I play music during takes and she›s the first person I›ve worked with who’ll go, “Um, I don›t like that song.” The camera will be rollin’ and I’ll play “Trouble Man” by Marvin Gaye, and she’ll go, “Turn that Marvin Gaye music off! Put on some Rilo Kiley.” She stays up all night and downloads music from LimeWire. She needs to be arrested.

You’ve outed her. She does know music and it pours out of her. And it spread to Orlando, too, By the end of the movie he was going, “Um, put on that other song.” I felt like a DJ.

What songs did you gravitate to on set, or did they lead you to? Orlando really loves Jeff Buckley, so he always asked for “Lover You Should Have Come Over.” And he also loved this acoustic version of Mr. Tambourine Man from the Live 1975 Bob Dylan disc. And we all agreed on Ryan Adams, so there›s a lot of Ryan Adams in the movie. Kirsten really loved Rilo Kiley and Rufus Wainwright. We played a lot of My Morning Jacket and Patty Griffin. She was kind of a big early inspiration. Her 1,000 Kisses album was a big inspiration for the movie because the story — you know, that she went into her basement and recorded that album with no frills and that became her breakthrough

album — was sort of the idea behind the way we wanted to do the movie, Elizabethtown.

Give us a sense of what songs are going to make the film. To what degree does Elton John’s My Father’s Gun play a role? Well, that’s gonna be in there because that’s the song we always used when we were auditioning guys looking into the father’s casket. Elton was very cooperative on Almost Famous and gave us all the separated tracks on Tiny Dancer. He’s one of the guys who trust us. Not many others do.

Tell us about the process for editing certain scenes. [Laughs] Can you imagine such a thing? The guy who runs the focus group asks, “What would you cut out?” And the group immediately starts arguing. One person says, “Well you can cut this,” and someone else says, “Are you crazy? You can’t cut that!” Then this girl says, “Well, you know, it’s really hard to know where to cut ’cause it’s long and important.” So we’ve been joking about that. We called the cut “long and important.” But it can’t be that long, or that important. We are gonna cut it down.

I imagine that process is a little heartbreaking. You always have favorite moments that are kind of on the bench, waiting to get in the game. But we were walking around last night and we were just saying, “Ya know what? Let’s just admit the secret. This is really fun.”

Let’s see: riding on a tour bus, beautiful wife in a rock band, making a film from the heart, tremendous actors waiting in line to work with you. That ain’t bad, man. If you don’t question it, and treat it with great preciousness. You›re making me feel like I’m really on the right track, and thank you, but studios are not run by and populated by people with your perspective, or mine. You always end up in a room with a bunch of people staring at you saying, “This is an in-between movie.” They even said that the first time they saw Jerry Maguire. “This is not Mission: Impossible. How are we gonna sell it?” Almost Famous barely got released. It’s hard getting people to believe that there’s an audience out there. It’s cool when you do run across people who believe in it and want to help, but that’s rare.

DEEP TIKI VOLCANO ROMANCE 54

Release Date: December 25, 2014 Storyline from IMDB: A celebrated military contractor returns to the site of his greatest career triumphs and re-connects with a long-ago love while unexpectedly falling for the hard-charging Air Force watchdog assigned to him. Written and directed by: Cameron Crowe

SATURDAY

SUNDAY MONDAY

Santee Drive-In 10990 Woodside Ave. North, Santee, CA 92071 (619) 448-7447

Some stuff you should know about the venue: Please keep in mind; the drive-in is a cash only facility. While some vendors may have credit card capabilities, it is smart to stop by an ATM before the even begins. The movies will be broadcast over the speakers and on FM radio frequencies. Tall vehicles (64” or taller) are required to park behind the yellow lines. Dogs are not allowed, unless clearly marked as service pets. Typically, there are no skateboards allowed, however for this event, there will be a temporary skate park. Skating is allowed in this designated area, only. The park will close 30 minutes prior to the start of the first movie.

Basically, there’s not a lot in Santee…you probably want to stay in Hotel Circle and go explore the city a bit. The best way to get around San Diego is by car. And since the event is at a drive-in, we recommend driving (or passengering). There is a trolley that can take you around the downtown and Old Town areas. There are cabs and Lyft drivers available but remember how spread out San Diego is when you call these services. It could get expensive. If you’re flying in for the event, we recommend renting a vehicle or meeting friends during travel that you can hitch a ride with. Check out the forum online to find people from the same area so you can carpool or caravan.

The San Diego Padres are hosting the Pittsburg Pirates June 2-3. Summer whale watching cruises are available. Since the best time to spot these magnificent creatures is in the morning, this would be a great adventure before the festival. Theme parks include: The World Famous San Diego Zoo (We didn’t buy this zoo.), Sea World, Legoland, San Diego Safari Park, Knott’s Soak City, and The Wave Water Park. Scripps Aquarium in La Jolla Kayaking, Paddle boarding, snorkeling, or sitting on one of several beaches. Oceanside, Carlsbad, Leucadia, Encinitas, Solana Beach, Cardiff By The Sea, Del Mar, La Jolla, Pacific Beach, Mission Beach, Ocean Beach, Imperial Beach Balboa Park Belmont Park in Mission Beach Gaslamp District (San Diego’s Downtown Nightlife scene) Golfing? Probably not. Merle Haggard is playing at the BellyUp Tavern in Solana Beach on Friday, May 30.

Wild Note Café 143 S Cedros Ave, Solana Beach, CA 92075, (Located in the BellyUp Tavern) Luce San Diego, 1959 Morena Blvd, San Diego, CA 92110. Gastropub World Famous Pacific Beach, 711 Pacific Beach Dr, San Diego, CA 92109 The Waterfront oldest bar in San Diego Little Italy, 2044 Kettner Blvd. San Diego, CA 92101 Eddie V’s (Happy Hour from 4-7 daily!) 789 West Harbor Drive, San Diego, CA 92101 In-N-Out, several locations. If you are coming in from outside of California, this is a must-have. Which brings us to Fast Food: CBW (Crazy Bowl and Wraps) 2 locations: Pacific Beach. 822 Grand Ave. San Diego, CA 92109 Mission Valley 5664 Mission Ctr. San Diego, CA 92108 Tender Greens (Sort of fast food and worth the stop!) 3 locations: Liberty Station, Point Loma. 2400 Historic Decatur Rd. San Diego, CA 92106 Downtown. 110 W Broadway. San Diego, CA 92101 University City. 4545 La Jolla Village Dr. San Diego, CA 92122 Chop Shop Mission Beach, 3852 Mission Blvd. San Diego, CA 92109 Fresh MXN Food, located throughout San Diego And all the regulars: Taco Bell, Del Taco, El Pollo Loco, McDonalds, Wendy’s, Jack In The Box (A really fancy one even, called JBX in Pacific Beach), Chik-fil-A, KFC, Carl’s Jr., Arby’s, Five Guys, and Popeyes.

Tin Can Ale House, Bankers Hill (live music, bar food til 10pm) 1863 5th Avenue San Diego, CA 92101 The Lamplighter, Karaoke bar 817 w Washington St., San Diego, CA 92103 Live Wire Bar, known for one of the best jukeboxes in town, 2103 El Cajon Blvd, San Diego, Ca 92104 Blarney Stone, it’s in a strip mall next to CVS and Vons but don’t let that fool you there is always live music, a good crowd, and decent drinks (which get better the more you have, as with most dive bars). 5617 Balboa Ave, Clairemont The Casbah 2501 Kettner Blvd, San Diego, CA 92101 Cherry Bomb, Banker’s Hill 2237 1st Ave, San Diego, CA 92101 Cantina Lounge, Point Loma/Ocean Beach 4202 Voltaire St, San Diego, CA 92107 The Aero Club, Mission Hills 3365 India St, San Diego, CA 92103 Star Bar ($5 Cover), Gaslamp 423 E St, San Diego, CA 92101 Bub’s, Pacific Beach (Good food and lots of places to bar hop around it), 1030 Garnet Ave, San Diego, CA 92109

If you don’t have a van or friends to stay with, here are a few hotels in the area: Doubletree Hotel Mission Valley Mission Valley 7450 Hazard Ctr Dr San Diego, CA 92108 Phone number: (619) 297-5466

Keating House Banker’s Hill 2331 2nd Ave San Diego, CA 92101 Phone number: (619) 239-8585

Lafayette Hotel North Park 2223 El Cajon Blvd San Diego, CA 92104 Phone number: (619) 296-2101

Vintage Sol North Park 3606 Felton St San Diego, CA 92104 Phone number: (619) 281-1327

Inn at the Park Banker’s Hill 525 Spruce Street San Diego, CA 92103 Phone number: (619) 291-0999

If you want to stay in Santee: Carlton Oaks Santee 9200 Inwood Dr Santee, CA 92071 Phone number: (619) 448-4242

Why should I go to this festival? The short answer: You belong here. If you need a place where you feel like you fit in, this is the place for you.

Does the ticket allow for re-entry? You’re in luck! Because of the scanner on the tickets you have the freedom to come and go as you please. We by no means want you to feel trapped.

What will the expected weather be for the weekend? You’re coming to San Diego. It will be 75 and sunny. But we will be inland so the temperatures could get as high as 85 degress. Don’t forget your sunscreen.

What types of vendors will be there? There will be a number of food trucks along with some surf and skate vendors. There will also be places to try out guitars and have jam sessions. As with any drive-in theater, there are consessions with popcorn and candy.

Is there anything else I should know? We have recently added a HEART cover band for Sunday evening. So prepare yourself for a music filled weekend.

Can I buy festival merchandise in advance? Oh, you want to come prepared to rock?! We won’t stop you. Visit www.everypassingmoment.co/merch for all your merchandise needs.

Will Cameron Crowe be there? We make no gaurantees about this, though we will certainly extend an invite—and maybe a case of Heiniken.

OP TIMI SM A S A RE VOLU TION A RY AC T.