San Jose Mercury Interview

In “Yank Tanks,” Cubans swoon for huge old cars
By
Batia Rabec
Special to the Mercury News

Filmmaker David Schendel has a love affair with big old cars. They are his passion, his temptation, his thrill.

“A car is a man’s pride, a sign of success, a means to command respect,” Schendel says via cell phone while driving to his house in San Francisco. “It gives you a sense of freedom and the feeling that others are looking at you.”

That’s why Schendel decided to make “Yank Tanks,” a 70-minute documentary (in Spanish, with English subtitles) that will premiere at the Cinequest San Jose Film Festival.

“Yank Tanks” tells the story of those classic U.S. cars that Cuba imported in the ‘50s. Paradoxically, despite the embargo and the country’s economic isolation, these land yachts – Buicks, Cadillacs, DeSotos – still ply the island’s streets.

I was so taken by the beauty of those cars,” Schendel says. “It’s a miracle that they still keep them running.”
The secret is in the Cubans’ resourcefulness and inventiveness – and in men’s lust for those seductive machines. “It’s an ego issue, a way people perceive you and how your esteem rises in their eyes,” Schendel says.

In his documentary, Schendel features dozens of Cuban mechanics, cabdrivers and artists who share his adoration for vehicles and some of his theories about them. They are men who see their masculinity reflected in their “yank tank.”

“My car and I have a connection; we are one unit,” one of the men says. “It’s spiritual; it’s an aesthetic pleasure.”

Through beautiful street scenes reminiscent of pre-revolutionary Havana and through breathtaking photography and bright colors enhanced by the Caribbean sun, Schendel’s film shows men driving voluptuous women in the big old cars, still an act of seduction on an island that appears frozen in time.

Schendel spent eight months searching for a Cuban women who, unlike most of that macho society, dares to drive her fathers car. “I’m a very independent women,” says the one he found, “but I don’t drive as a profession, since there are better jobs for women to work at.”

Forget the restrictions and political sanctions, Schendel says. The male affection for cars has no boundries. “It’s genetic. It happens all over the world. It’s international. It’s not restricted to any particular culture,” he notes.

The director’s infatuation with automobiles started when he was a child in Massachusetts. “I liked to play with big cars,” he says. Now his huge collection of Matchbox cars is stored in a box at home in San Francisco. “My wife says they are too juvenile to be on display.” He says.

Movie-making was Schendel’s second passion. He made his first film about cowboys and Indians at age 12, spliced it with Scotch tape and charged a 50-cent admission to his friends. After graduating from the University of Washington in 1986, he began making his first feature film, “The Can.”

While in Cuba on a humanitarian mission, Schendel was overwhelmed by the sight of so many impeccably kept U.S. cars in this communist country, which has been unable to import most U.S. products for more than 40 years because of an economic embargo. It took several trips to the island to complete “Yank Tanks.”

The director fought relentlessly against Cuba’s tropical storms, government restrictions and productions costs. During the shooting, he even asked a local miracle worker to practice a ritual that would keep the rain away.

In addition to spectacular views of the island and it’s people, “Yank Tanks” showcases Cuban music – by Chucho Valdes, Cachao and Cachaito, among others.

Schendel finished editing “Yank Tanks” only four weeks ago. After months of intensive work and sleepless nights, he feels frazzled and blames it on the size of today’s cars.

“Our culture is much more stressed out because cars are so much smaller that we can’t make love in the back seat anymore.”

Schendel says he will drive his burgundy Chrysler PT Cruiser to the screening. “It’s a funky car, girls look at me and smile,” he says. “In the beginning there were horses, and the successful guy was the one with the nicest horse, Now it’s cars.”


		In “Yank Tanks,” Cubans swoon for huge old cars By Batia Rabec Special to the Mercury News Filmmaker David Schendel has a love affair with big old cars. They are his passion, his temptation, his thrill. “A car is a man’s pride, a sign of success, a means to command respect,” Schendel says via cell phone while driving to his house in San Francisco. “It gives you a sense of freedom and the feeling that others are looking at you.” That’s why Schendel decided to make “Yank Tanks,” a 70-minute documentary (in Spanish, with English subtitles) that will premiere at the Cinequest San Jose Film Festival. “Yank Tanks” tells the story of those classic U.S. cars that Cuba imported in the ‘50s. Paradoxically, despite the embargo and the country’s economic isolation, these land yachts – Buicks, Cadillacs, DeSotos – still ply the island’s streets. I was so taken by the beauty of those cars,” Schendel says. “It’s a miracle that they still keep them running.” The secret is in the Cubans’ resourcefulness and inventiveness – and in men’s lust for those seductive machines. “It’s an ego issue, a way people perceive you and how your esteem rises in their eyes,” Schendel says. In his documentary, Schendel features dozens of Cuban mechanics, cabdrivers and artists who share his adoration for vehicles and some of his theories about them. They are men who see their masculinity reflected in their “yank tank.” “My car and I have a connection; we are one unit,” one of the men says. “It’s spiritual; it’s an aesthetic pleasure.” Through beautiful street scenes reminiscent of pre-revolutionary Havana and through breathtaking photography and bright colors enhanced by the Caribbean sun, Schendel’s film shows men driving voluptuous women in the big old cars, still an act of seduction on an island that appears frozen in time. Schendel spent eight months searching for a Cuban women who, unlike most of that macho society, dares to drive her fathers car. “I’m a very independent women,” says the one he found, “but I don’t drive as a profession, since there are better jobs for women to work at.” Forget the restrictions and political sanctions, Schendel says. The male affection for cars has no boundries. “It’s genetic. It happens all over the world. It’s international. It’s not restricted to any particular culture,” he notes. The director’s infatuation with automobiles started when he was a child in Massachusetts. “I liked to play with big cars,” he says. Now his huge collection of Matchbox cars is stored in a box at home in San Francisco. “My wife says they are too juvenile to be on display.” He says. Movie-making was Schendel’s second passion. He made his first film about cowboys and Indians at age 12, spliced it with Scotch tape and charged a 50-cent admission to his friends. After graduating from the University of Washington in 1986, he began making his first feature film, “The Can.” While in Cuba on a humanitarian mission, Schendel was overwhelmed by the sight of so many impeccably kept U.S. cars in this communist country, which has been unable to import most U.S. products for more than 40 years because of an economic embargo. It took several trips to the island to complete “Yank Tanks.” The director fought relentlessly against Cuba’s tropical storms, government restrictions and productions costs. During the shooting, he even asked a local miracle worker to practice a ritual that would keep the rain away. In addition to spectacular views of the island and it’s people, “Yank Tanks” showcases Cuban music – by Chucho Valdes, Cachao and Cachaito, among others. Schendel finished editing “Yank Tanks” only four weeks ago. After months of intensive work and sleepless nights, he feels frazzled and blames it on the size of today’s cars. “Our culture is much more stressed out because cars are so much smaller that we can’t make love in the back seat anymore.” Schendel says he will drive his burgundy Chrysler PT Cruiser to the screening. “It’s a funky car, girls look at me and smile,” he says. “In the beginning there were horses, and the successful guy was the one with the nicest horse, Now it’s cars.”
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