Living in the Age of Airplanes

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Living in the Age of Airplanes
An atmospheric background with an Airbus A350 plane, above the Earth.
Theatrical release poster
Directed byBrian J. Terwilliger
Written byBrian J. Terwilliger
Jessica Grogan
Daniel Oppenheimer
Produced byBrian J. Terwilliger
Bryan H. Carroll
Narrated byHarrison Ford
CinematographyAndrew Waruszewski
Edited byBrad Besser
Music byJames Horner
Production
company
Terwilliger Productions
Distributed byNational Geographic Films
Release date
  • April 6, 2015 (2015-04-06) (Emirates)
  • April 8, 2015 (2015-04-08) (NASM)
  • April 10, 2015 (2015-04-10) (theatrical)
Running time
47 minutes
CountryUnited States
LanguageEnglish
Box officeUS$8,011 (Australia and United Kingdom)

Living in the Age of Airplanes[a] is a 2015 experimental documentary film narrated by Harrison Ford, which was written by a team of three, including producer and director Brian J. Terwilliger. It explores how commercial aviation revolutionized transportation and the many ways it broadly affected everyday lives, which penultimately concludes with an endorsement of flying in a positive manner.

The idea of the film was conceived by Terwilliger in 2007, two years after releasing his feature directorial debut One Six Right. He intended it as a reliving of the feeling of flying for the first time, and a celebration of the aviation industry. Production began independently in 2009, with filming taking place a year later in 18 countries across all seven continents, the first IMAX film on such scale. It used the first entry of the Arri Alexa digital camera. Filming overall took over 100 days. Post-production took place between 2013 and 2014, which James Horner composing the score; it was one of his last works before his death in 2015. Despite having 260 hours of footage, the film's five chapters—a division conceived during editing—are only 47 minutes long when combined.

Living in the Age of Airplanes was initially planned to be released as Aviation: The Invisible Highway, before being acquired for distribution by National Geographic Films. It premiered at a special Emirates flight on April 6, before being released in select IMAX and museum theaters starting April 8. It was then released digitally and at home media a year later. Film reviewers were positive over its technical and narrative aspects, but some critics felt it lacked comprehensiveness on the history and downsides of aviation. Audiences who knew of the film from One Six Right were disappointed by its difference. Terwilliger disagreed with most of the criticisms.

Summary[]

Living in the Age of Airplanes is divided into five chapters, though has a standalone opening sequence that begins with a quote from Bill Gates: "The airplane became the first World Wide Web, bringing people, languages, ideas, and values together." It then instructs audiences to view the film as if they have never seen or heard of aviation.

The first chapter, "The World Before the Airplane", begins by observing that ancient humans walked from Africa to Ushuaia 200,000 years ago, with many losing their lives along the difficult journey. Geographically isolated, humans mapped the universe before the Earth; they also were not aware of other unreachable cultures. Walking remained the only transportation for over 195,000 years, until wheels were invented. 4,500 years later marked the advent of mechanical transportation. Though faster and more efficient, it is still restricted by the nature of land and sea. The advent of airplanes is thus considered revolutionary: where others could only speed at around 10 miles per hour (16 kilometres per hour), it could fly as fast as 500 miles per hour (800 kilometres per hour); it can also cross land and sea, and does not mandate airports. Aviation advances as time flies, with the Airbus A380 being the contemporary pioneer.

Refer to caption
A graph in the film, showing the top speed of humans throughout 200,000 years of history up to 60 years prior

The second chapter, "The Portal to the Planet", focuses on the modern day, when aviation has become common enough to connect the world; it is thus said to be the equivalent of time travel, as well as the bridge between cultures. 100,000 take-offs and landings take place each day, and quarter million of humans board flights "at any moment in time". The third chapter, "Redefining Remote", depicts Maldives, a country that is now accessible with seaplanes despite being made up of tiny islands and shallow waters, making airports hard to build and ships impossible to approach. Despite the lethal terrain, airplanes managed to reach Antarctica, a remote continent, making it a tourist and research spot. The fourth chapter, "The World Comes to Us", depicts cargo aviation, which allow products to be shipped worldwide quickly: flowers' perishable nature had restricted shipments to just country-wide, but with cargo, it can reach anywhere long before it perishes. Thanks to air travel, Las Vegas became the largest convention hub. As the outcome of the many conventions, even those who have never flown are impacted by the rapidly-growing industries.

The final chapter, "Perspective", laments that flying has become so ordinary as to lose its joyousness, even becoming frustrating. However it says that "every era is a golden age, it's just a matter of perspective", using aviation as philosophy to endorse the appreciation of the present day and asking audiences to imagine what if aviation was not invented. It then says that no virtual technology can replace it in bringing people physically close. After saying that "the most meaningful [place one could go with airplanes] is home", the film ends with landed passengers embracing their waiting loved ones.

Production[]

Development and pre-production[]

In 2005, Brian J. Terwilliger released his feature directorial debut, One Six Right, under his company Terwilliger Productions.[1] It has since amassed a cult following among aviation enthusiasts.[2] In 2007, he conceived the idea for a film focusing on the impact of commercial aviation in general society, in lieu of One Six Right, which focuses on general aviation in the eyes of pilots. It is brainstormed that the film would give context to aviation in order to relive its wonder. He hoped that people who watched the film would "not look at flying the same way again."[3] He thus described the film as a "love letter" to the aviation industry.[4] He wrote the narration with Jessica Grogan, with additional narration written by Daniel Oppenheimer.[5] The working title was Aviation Epic, in reference to the film's large scale and ambitious nature.[2] Terwilliger chose to show difficulty of life pre-aviation to make the film relatable,[6] and gave it a philosophical theme, comparing aviation to the Internet, which "could help us share ideas and communicate with other people so quickly now. We can create another [t]weet and the whole world knows what you are thinking in seconds."[7]

According to Terwilliger, pre-production spanned months on getting permits, as well as finding crew members who would help the filming process, such as language interpreters and drivers. He considered the logistical aspect of production as the most challenging. He initially pitched the idea to National Geographic Films, but decided to keep the production independent, like One Six Right, in order to make it true to his vision, worrying that National Geographic would try altering his brainstorm and be involved in the production process, losing his creative control. According to him, the film's budget was relatively high.[3] The film was first announced unnamed on September 15, 2014, in an interview with film-based podcast Film Courage. Amid pre-production, a short film called Flying Full Circle was made, where Terwilliger flew with the Blue Angels.[8]

Filming[]

A desert filled with retired airplanes
The main concourse of a wide, modern airport
A set of waterfalls, with people viewing from a bridge
A man posing at the indication of the South Pole, with flags of the countries that have visited it
The Mojave Air and Space Port, Hong Kong International Airport, Iguazu Falls, and South Pole, four of the many locations in Living in the Age of Airplanes

Principal photography occurred throughout 95 locations, at 18 countries in all seven continents: Africa,[b] Antarctica,[c] Asia,[d] Europe,[e] North America,[f] Oceania,[g] and South America.[h] Within the United States, they filmed in the states of Alaska,[i] Arizona,[j] California,[k] Hawaii,[l] Nevada,[m] North Carolina,[n] Tennessee,[o] and Utah.[p][5] This makes it the first IMAX film to be filmed at such scale.[3] Filming began in 2010, when the first Arri Alexa camera came out; the crew decided to purchase the seventh iteration of it before they were made available to the public.[3][9][10] They were unable to use film camera due to financial and logistical shortcomings.[11] Other filming equipment included prime and zoom lenses, a triangle jib, sound equipment, and various kinds of support, which ultimately weighed over 160 pounds (73 kilograms). Terwilliger said in the film's production notes that "Just getting to the locations could be a real challenge. One day in Costa Rica, we went to shoot suspension bridges and ended up hiking 4.5 miles (7.2 kilometres) in and out of the forest with all this gear. [H]alf the job is carrying equipment, the other half is actually shooting." There were four skeleton crew. Andrew Waruszewski, who had shot documentaries for National Geographic, was enlisted as cinematographer, upon recommendation to Terwilliger by producer Bryan H. Carroll. Terwilliger stated that Waruszewski had the attention to detail and level of commitment he was looking for. Discussions about the cinematography included symmetry, as well as the overall style of it; Terwilliger said he wanted every shot in the film to look "like a commercial."[9][12]

They began filming in the Mojave Air and Space Port, the first scene in the film,[12] and continued to the GE Aviation and Airbus Factory, where components for an Emirates A380 were being assembled.[13] For time-lapse sequences, a Canon EOS 5D was used, and was shot by Ben Wiggins. Wiggins was part of the splinter unit: at times separate from the main crew, and at times would leapfrog each other.[3] At certain shots, such as scenes featuring Hunts Mesa, he would have two 5Ds: one acting still and another doing a hyperlapse.[14] For the South Pole scenes, Terwilliger had Doug Allan filming; it occurred for 11 nights on January.[q] Despite his longtime experience living in Antarctica, Allan had never went to the South Pole until Living in the Age of Airplanes.[9] Helicopters, such as the Eurocopter AS350 Écureuil,[15] were used for aerial shots, except for Maldives, where a chartered seaplane was used, as helicopters are outlawed.[3] Other cinematographers were also enlisted for aerial and underwater scenes in Australia, Kenya, Maldives, and the United States. Certain shots were also filmed in a Qantas Airbus A380 flying a Los Angeles-Sydney route.[16]

In "The World Comes to Us", Terwilliger chose a flower as the primary object to depict cargo aviation because it is "timeless", culturally appreciative, and perishable.[2] Specifically, the film team follows a set of roses from Kenya as they travel to an Alaskan house, transiting at Amsterdam and Memphis.[17] When they arrived at the house and began setting up, the roses arrived. Terwilliger wanted them to be really from Kenya, in order to make the film genuine in its message.[18]

Although some shots were planned, with airplane shots planned by seeing flight data from FlightAware,[5] some were impromptu, at the cost of the crew staying in the locations for extra days. Impromptu shots include those witnessing planes flying above ancient monuments, "juxtaposing the old and the new",[3] and the shot with a Trans Maldivian Airways seaplane nearing a shipwreck, which required the crew to organize with the pilots.[2] At times, the crew would revisit prior filming locations to reshoot. Generally, the crew stayed at each locations for days; they spent 16 of those in the Maldives, with bad weather further extending it.[7] Terwilliger considered the entire Maldivian scene the best.[19] There were instances when weather prohibited filming: one time, the San Francisco fog filled up the Golden Gate Bridge as they intended to film it from a terrain that they reserved for only a day.[20] The shot of a hermit crab crawling over the Maldivian sands took two hours for the crew to instruct it to go to the right direction; prior, several other crabs were "auditioned".[10] According to Terwilliger, the crew and him felt privileged that they "got to experience many things that [the] film talked about."[7] Filming ended two years later in 2012, totaling over 100 days.[21] 260 hours of footage were shot, with only 47 minutes used, as IMAX theaters have hourly showtimes.[3] "We just shot and shot and shot, even though I know we'll never use this", Terwilliger said. "Most of the time I was right: We didn't use it. But sometimes we did. When you have those options later, it's a beautiful thing."[2]

Post-production[]

Portrait of a man in blue shirt smiling while talking to a microphone
Harrison Ford in 2015

The five-chapter structure was not conceived until editing began in 2014.[2] Brad Besser, who has worked on The Pacific, was chosen as the film's editor; he and Terwilliger had "gathered clips from the Internet to build a rough video storyboard for the entire film" prior to filming.[9] Because of the film's experimental, non-linear fashion, dividing into chapters was described by Terwilliger to be a challenging process. There are some subtle stories (a family is seen frustrated in the beginning, but is revealed to be waiting for a loved one in the end), though those were not planned.[2] Choosing which shot to use was also noted to be frustrating, though it was simplified by removing shots featuring bad weather.[7] Historical footage was licensed by Periscope Films, the Mitch Dakleman Collection, UCLA Film & Television Archive, and Budget Films Stock Footage. Visual effects for the Earth and flight patterns were by Whiskytree, for the disappearing infrastructure by Identity FX, and for the 3-dimensional text tracking by Legion Studios.[5] According to Terwilliger, the former required various people in creative and technical aspects to form a perfect shape of the Earth, as a photorealistic Earth is subjective.[22] The last shot of Earth features flight pattern from FlightAware as seen on July 24, 2014.[23]

Because the film was shot digitally, the film has to be transferred into 15/70 and 65/70mm celluloid prints by RPG Productions and FotoKem, respectively,[5] for IMAX purposes.[24] Telecine and restoration to the 16mm format were done by Cinelicious.[5]

Terwilliger wanted an A-list narrator and score composer for the film. Terwilliger wanted the narrator to have experience with aviation, so that they really knows what they is talking about. Harrison Ford, who is also a pilot, recognized Terwilliger from One Six Right, and accepts his offer to narrate the film, which was done for over three days, in the early months of 2014. Ford narrated the entire rough cut of the film, watching it five times to "get into the character."[2][3] James Horner befriended Terwilliger in 2008 while meeting at an air show,[25] and agreed to compose the score.[2] His goal was to give the score a spiritual feel to match the film's tone,[26] and chose a diverse set of instruments that in the style of world music.[27] The score is mostly comprised of major-key harmonies, with "History of Transportation" and "Exponential Progress" being the only minor ones. "Nearly Perfected" solely features orchestra.[25] It is observed that while the score has its Horner charm, there is an unexpected, soft theme in certain tracks, equivalent to the works of Thomas Newman.[28] Horner overall thought that the score marries aviation and music together, a chance he felt opportune on.[29] It was performed by the Slovak National Symphony Orchestra, at the Slovak Radio Concert Hall, as well as some at the AIR Lyndhurst Hall.[5]

Living in the Age of Airplanes (Original Motion Picture Soundtrack)
Film score by
James Horner
ReleasedOctober 25, 2016
RecordedSlovak Radio Concert Hall, AIR Lyndhurst Hall (2014)
GenreAcoustic, Celtic, classical, electronic, lounge, world
Length49:56
LabelIntrada Records (2018 release)
ProducerSimon Franglen
James Horner chronology
One Day in Auschwitz
(2015) 		Living in the Age of Airplanes (Original Motion Picture Soundtrack)
(2016) 		Southpaw (Music from and Inspired by the Motion Picture)
(2015)
Living in the Age of Airplanes (Original Motion Picture Soundtrack)
No.TitleLength
1."Opening Sequence"2:01
2."The World Before the Airplane"2:23
3."200,000-Year Timeline"2:31
4."History of Transportation"2:51
5."Nearly Perfected"3:11
6."Portal to the Planet"1:20
7."Migration Vacation"2:59
8."Ancient Civilizations"2:48
9."Maldives"2:54
10."Antarctica"3:24
11."Flowers"3:01
12."Exponential Progress"4:20
13."Perspective"2:58
14."The Golden Age is Now"3:09
15."Home"2:02
16."End Credits"1:25
17."The Golden Age is Now (Remix)"3:05
18."End Credits (Remix)"3:26
Total length:49:56

Themes and style[]

A tree with sunrise in the background
Shot of an African tree, which Terwilliger said represents the continent as the heart of the film.

Living in the Age of Airplanes primarily contains themes of human migration, globalization, and the history of aviation, according to National Geographic.[30] The film has been self-described as "a visual journey about how far we've come and how fast we got there."[31] Terwilliger said some shots have metaphorical meanings: for example, the shot of a tree in Africa represents the continent as the heart of the film.[10]

A Seginus Aerospace blog observes a theme of connection, as the film depicts how people and objects are able to travel easier and faster thanks to aviation; a quote from the narration summarizing this is "Everywhere we go, we find pieces of everywhere else."[32] Philip Cosand, a volunteer critic and former longtime projectionist at the Pacific Science Center IMAX, argued that the main theme is perspective, as the primary point of the film is to shift audiences from seeing aviation in a negative view to that of a positive, and to broaden audiences with a technical view. Elaborating the latter, he opined that it has the same, very-few amount of technical points as the IMAX documentary To Fly! (1976), or even less than it.[33] Blake Snow of Paste summarizes the moral of the film as that commercial aviation "have enhanced human life, especially [their] adventurous spirit." Although the industry has slight flaws and wrongdoings, overall they deserve one's perspective and gratitude.[34] Paul Thompson, writing for TravelPulse, opined that "Perspective" is a reference to sitting in the window seat: "There are so many awful, divisive things going on in out world right now, that flying seven miles over it all is quite a wonderful escape sometimes."[35] Thus, the film was said as a prime example of visual storytelling.[36]

Release[]

A double-decker plane landing
A6-EOG, the Emirates Airbus A380 used for the premiere of Living in the Age of Airplanes[37]

Living in the Age of Airplanes premiered its first trailer on July 19, 2014, under the initial release title, Aviation: The Invisible Highway, at the 2014 Global Business Travel Association convention.[38] It was later released on YouTube on July 29.[39] Two months prior, test screenings were conducted, with responses being generally positive.[40] Later on December 12, it was announced that the title had been changed to Living in the Age of Airplanes, and its release date was confirmed.[41] National Geographic Films acquired the rights to the film on December 15; president of distribution Mark Katz said that it is on par with their "mission to inspire, illuminate and teach."[42] The film's YouTube channel released two of its trailers on December 16, 2014, and April 3, 2015. The latter is shorter, with snippets from Ford's narration, while the former, an edited version of the Invisible Highway trailer,[r] solely used texts and shots unused in the film, with the song "Outro" by M83 playing in the background.[31][43] The poster was unveiled on March 7, 2015,[44] with the tagline: "A mile of runway can take you anywhere."[45] It also emphasized Ford's role.[44]

The film premiered on April 6, 2015, on an exclusive 2-hour-6-minute Emirates Airbus A380 flight under the flight number EK/UAE1400. Taking off and landing at Los Angeles International Airport, it flew over Hollywood and circled the nearby vicinity of the Pacific Ocean.[46] GE Aviation is among invitation senders,[47] and the film's social media team did a sweepstake awarding several people free tickets.[48] Following a press conference at Tom Bradley International Terminal's Emirates Lounge,[37] attendees, which included aviation enthusiasts, museum staff, the media, and more, were able to watch it on the aircraft's 20-inch IFE screens, enjoy some of the aircraft's facilities,[49] and interview Terwilliger and Horner; Ford was unable to attend due to injuries from a plane crash.[45] Due to this accident, National Geographic reported that interest in the film spiked.[50] Terwiliger also clarified that Emirates did not sponsor the film.[3] The premiere was praised by Harriet Baskas of USA Today, calling it "fun and appropriate",[1] as well as Mikey Glazer of TheWrap, dubbing it the "coolest movie premiere ever."[37]

Living in the Age of Airplanes, premiered theatrically at the Lockheed Martin IMAX Theater[51] in the National Air and Space Museum on April 8.[52] Terwilliger chose it in remembrance to watching To Fly! in the exact place. There, it was played three times a day up to 2016.[4] Premiere attendees included Congressional staff, NASA personnel, as well as members of other federal agencies.[53] It was later released on April 10 in various IMAX, Omnimax, digital, and museum-located cinemas[26][54][55] throughout the United States and Canada.[56] beginning with 15 venues.[26] In Montreal's Canadian Museum of History, the film was translated to French, Vivre À L'ère des Avions.[57] The film's screening at the Montreal Science Centre is supported by Aéroports de Montréal, and features a French dub track by Guy Nadon.[58] Due to its IMAX (in lieu of theatrical) nature, it is up to the individual theaters whether or not to release the film, explaining the limited number of venues. The film's public relations team thus rely on the general public to reach out to their nearest, appropriate theater.[59] The film also played in Franz Josef / Waiau, Vilnius, and Valletta.[60] The Robert Zemeckis Center for Digital Arts' Michelle & Kevin Douglas IMAX Theater screened the film for free towards the USC School of Cinematic Arts.[61] At the 2015 EAA AirVenture Oshkosh, the film was screened for free at a drive-in theater (dubbed "fly-in theater as it solely screened aviation films) presented by the Ford Motor Company.[62] Screening continues long after: in December 2, 2017, the TCL Chinese Theater screened the film, with a question-and-answer session with Terwilliger.[63] Cosmic Picture acts as sub-distributor.[64] In Australia, the film earned US$7,787 at the IMAX Melbourne Museum (first released February 3, 2017), and in the United Kingdom, it earned US$224 at the BFI IMAX (first released October 15, 2015); thus earning a total of US$8,011, according to The Numbers. The film is featured on various charts, including 17th place at "All Time Worldwide Box Office for National Geographic Entertainment Movies".[56]

On October 25, National Geographic released Living in the Age of Airplanes on DVD-Video and Blu-ray formats. It includes a small booklet with a scene guide,[24] featuring an online password to three of the film's Easter eggs as well as a preview of One Six Right.[65] Special features include three aviation B-rolls, a deleted scene set in Hawaii, five behind-the-scene videos, a video of the Emirates premiere, as well as the second trailer. Possibly due to product placement, there are nine videos by Airbus, GE Aviation, and FedEx that tour their works.[24] There is also a DVD+Blu-ray edition, with higher discounts as more of them are purchased.[66] Terwilliger Productions also released the film on their VHX website, also with access to the special features.[67] The film was also viewable at iTunes and YouTube Movies; Juice Distribution distributed it in the latter,[68][69] and the special features were also accessible via iTunes.[70] As of October 30, 15,359 Blu-rays were sold in the United States, earning US$460,460, ranking 13 on the daily sales chart. Overall, DVD sales earned US$241,093, and Blu-ray sales earned US$1,476,672, for a total of US$1,717,765, according to The Numbers.[56]

Score[]

The score was released at a soundtrack album, Living in the Age of Airplanes (Original Motion Picture Soundtrack), on October 25, 2016, to Apple Music,[71] where it was exclusively remastered by Peter Doell.[72] That same day, it was also released on Amazon.com in MP3 format.[73] Four days prior, Terwilliger announced that he is discussing with a few record labels on a physical release, minimally 3,000–5,000 copies.[6] Eventually Intrada Records was the choice, who released it in Audio CD on April 3, 2018, via Amazon.com[74] as well as their official website, marking its 401st release, placed at its Special Collection series (catalog number: ISC401). It also contains liner notes from Terwilliger.[25] Music heard in some of the special features that are not incorporated into the album were not composed by Horner, instead were licensed from "various" external sources.[75]

Reception[]

Professional ratings
Aggregate scores
SourceRating
Rotten Tomatoes57%[s][76]
Review scores
SourceRating
Blu-ray.com4/5 scores[t][77]
Common Sense Media3/5 stars[78]
High-Def Digest3.5/5 stars[u][24]
Quad-City Times4/4 stars[79]
Times Colonist3/5 stars[80]
The Seattle Times2.5/5 stars[81]

Film critics were polarized on the contents of Living in the Age of Airplanes. Many praised it as a celebrative and insightful look at aviation,[82][83][84] while others panned it as an endorsement of the industry,[85][86] although Snow thought that it is not a bad thing.[34] Applauses have also been shared by voice actor Roger Craig Smith; journalists Jon Ostrower and Amelia Rose Earhart; personality Jason Silva; as well as Jason Rabinowitz, host of Flightradar24's podcast AvTalk.[87]

Those positive of the film thought that it succeeds in doing what it alleges to do, by showing the difficulty of life pre-aviation, the subtle impacts of aviation, cinematography, score, making it an overall emotional one;[79] as Paula Fleri-Soler of the Times of Malta called it, "An ode to planes."[84] It has been categorized a travelogue documentary, and was praised for its ending, called a tearjerker.[36][79][88] Sandie Angulo Chen of Common Sense Media recommended it as an add-on to a museum admission, especially for aviation enthusiasts, stressing its richness of visuals and education.[78] Tiffany Lafleur of The Concordian noted the flawless transition between topics, with no fillers, and recommended it for documentary fans.[83] Ford's narration's quality received polarizing opinions, with some reviewers calling it stiff and overblown,[45][80] though was also labeled awe-inspiring[82] and ambient, as Martin Liebman of Blu-ray.com, states: "He's more a companion and less a guide, more a friend and less a lecturer."[77] Michael D. Reid of the Times Colonist even credited much of the film's success to Ford, specifying the quote "The airplane is the closest thing we've ever had to a time machine" the most powerful one throughout, though subtly criticized "The World Comes to Us" as having a "dizzying" fast pace.[80] Cosand finds the narrative similar to Rocky Mountain Express (2011) but with more landscape cinematography.[33] Aviation publications observed that Living in the Age of Airplanes will most like appeal to a wider audience instead of the niche aviation community,[23][47][49] though Fleri-Soler observed otherwise.[84] Some critics also stressed the importance of viewing the film as if one has never heard of aviation before, like what Ford's narration instructs early on, "for only with a blank canvas can one truly appreciate the significance of this film.".[70] The film was also endorsed by prominent figures in the aviation industry,[40][89] and has been used in a 2018 event in collaboration with several United States airlines, in response to the decline of pilot numbers.[90]

Other critics were dismayed by the lack of historical content: pioneers like the Wright Brothers were not mentioned. This segment of the film was also criticized for its grainy, black-and-white presentation, considering its IMAX format. Another point is made that the film ignores downsides of aviation, such as being a contributor to climate change, with John Hartl of The Seattle Times and Daniel Eagan of Film Journal International accusing it of romanticizing it via the visuals,[81][86] although the narration in the film stated that aviation is far from perfect.[91] Eagan also opined that the film switches from one topic to another without further discussing said topic; for example, "The World Comes to Us" apparently ignored capitalism and underpaid labor.[86] Hartl felt the film needed explanation on the "dark side" of the future of aviation, though thought of it as "modest" and a "nearly seamless [...] sunny depiction of what to expect and [has] been accomplished."[81] Much of his claims were disputed by Frank Scheck of The Hollywood Reporter, who stated that the film "doesn't shy away from pointing out the many inconveniences suffered along the way."[82] Chen criticized Ford's narration for "accusing" travelers for not enjoying their journey without diving into the root of the problem.[78] Ronnie Scheib of Variety, who massively disliked the film, thought of "The World Before the Airplane" segment as the only good one: he agreed to Cook on her "travelogue" nickname, albeit negatively, and felt that Terwilliger was "confused" at how to assemble the film.[85] Accusations also arose calling the film a publicity stunt for the aviation industry, which was seeing many accidents and incidents.[82] Cosand deems criticisms of the film not being technical enough invalid; he recommends the 2010 IMAX documentary Legends of Flight for those who seek such.[33] Jonathan Turner of The Dispatch-Argus argued that the film is not to educate about aviation, but is rather "an ardent fan's love letter to flight" and the landscapes of Earth.[88] The School Library Journal sees low potential of it being an education tool and only recommends it for public library collections,[92] though NASA and The Henry Ford made a curriculum guide for it.[93] Among the generally positive, the only distinct criticism is that the running time is too low.[94][77]

Soundtrack professional ratings
Review scores
SourceRating
Celluloid Tunes4.5 stars[27]
Movie Wave4/5 stars[28]

Most reviewers on both sides praised the visuals and audio. Luke Hickman of High-Def Digest said that it, specifically the Blu-ray transfer, blurs the line between digital and IMAX, comparing it to that of Planet Earth's (2006). He also noted that some shots appear illusionistic (zooming out from a jet engine), and have 3D looks on them (aerially travelling across a savannah).[24] Living in the Age of Airplanes was also compared to the book The World is Flat (1976), but with better visuals.[45] The cinematography is also said to convey nicely the intended messages of each scene.[85] In an Airline Reporter article, Thompson said that the combination of shots represents the love of aviation.[94] According to Scheck, the visuals play a huge role in Living in the Age of Airplanes: without it, Ford's narration would mean nothing.[82] Some went further as to saying the film is worth paying just for the visuals alone.[35][78] The only downsides Blu-ray reviewers noted are one minor color banding during a montage of planes landing at night, and "a very small hint of aliasing creep into frame" on certain shots, but they are not severe; Hickman called it "reference quality".[24][77] "Inventive" and "consistent" were also keywords to this aspect of the film.[80] Horner's score received universal acclaim for its ambiance and rich tone;[82][79][88] Hickman said it was better than the score of "most" films.[24] James Southall, a score critic acclaimed by the International Film Music Critics Association (IFMCA),[95] rated it four out of five stars, saying that while it felt "a bit schmaltzy", it is spirited and makes of a "lovely" album.[28] Cosand thought that "Home" is a bit excessively dramatic, though felt it was appropriate given the emotional scene.[33] Nils Jacob Holt Hanssen, writing for the IFMCA-acclaimed Celluloid Tunes,[96] praised it as being one of the few Horner scores that truly represent himself, though noted its shorter duration than his other works. He called "History of Transportation" the best track, with "The Golden Age is Now" being the runner-up, and "Flowers" being the most atypical and humorous.[27] The film's sound design was also praised for its clarity and nuance, as well as balance between the music, sound effects, and narration.[24][77] HuffPost opined that Horner "likened his approach [...] to that of a painter, with the film serving as the canvas and musical color being used to describe and support the story's emotional dynamics."[97] Scheib and Eagan, however, panned the score as excessive.[85][86]

The home media special features received mixed reviews, with Liebman saying that they are a "nice" bundle, but commented that they are not completely relevant to the film's subject matter, referring to the product placement videos. Hickman noted that one of the special features is more than three minutes shorter than what is advertised. Kristin Dreyer Kramer, however, gave it a leaning-positive review, calling "plenty" of them "interesting", raving it for its further outpouring of the film's cinematography, and insight into the making of the entire film. She, alongside Hickman, specifically recommends "Flight Over Africa", a recreation of a biplane sequence from Out of Africa (1985), for cinephiles.[24][77][98] Owen Zupp of Australian Aviation says that the special features is a redemption to One Six Right fans who were dismayed by its difference.[70]

Terwilliger's response to criticism[]

Terwilliger responded to audiences who criticized it for not being similar to One Six Right, stating that the core audiences are not them, and that he felt like One Six Right has fully portrayed general aviation as it should, leaving no need for a follow-up. He however stated that the criticism was expected, and that some One Six Right fans expressed awe of Living in the Age of Airplanes at how different it was.[19]

In a 2016 interview with Tom Hudson of James Horner Film Music, also in response to Horner's death from a plane crash shortly after the film's release, Terwilliger said:[6]

The issues [in aviation] are in the news: they are talked about, they do get their screen time. [This film] is meant to take the things we don't think about and put them front-and-center. The advertisement [...] is, "It's a beautiful thing that we're living in the age of airplanes." It's a celebration of that. It makes no excuses. It's not a propaganda film. It's not a Wright brothers film: [...] we don't mention any of the milestones of aviation. It's very big [...], 35,000-foot view of aviation.

[T]he tragedy is incalculable, and the loss, for sure. It doesn't change aviation for me, in terms of my love of it, in terms of the message in the film. [I]s it perfect? No. Is there some risk? Yes. Is there more risk in small planes and private flying than in big planes and commercial flying? Yeah. Those facts haven't changed, and it's very unfortunate, but it doesn't impact my love or enthusiasm at all for it. Ever since I was a kid, I think it's a beautiful thing.

Accolades[]

Award Date of Ceremony Category Recipient Result Ref.
Giant Screen Cinema Association Achievement Awards September 10, 2015 Best Original Score James Horner Won [64]
Big Idea National Geographic Studios[v] Won
North American Film Awards 2016 Best Score James Horner Won [75]

See also[]

  • 1936 Summer Olympics, which was featured briefly in the film

Notes[]

  1. ^ Stylized in all caps
  2. ^ Specifically at Egypt (Cairo, Luxor); Kenya (Amboseli National Park, Nairobi, Naivasha)
  3. ^ Specifically at Union Glacier and the South Pole
  4. ^ Specifically at Cambodia (Siem Reap); China (Hong Kong); Maldives (Kurendhoo, Malé)
  5. ^ Specifically at England (London); France (Paris, Toulouse); Italy (Rome, Venice); the Netherlands (Aalsmeer, Amsterdam)
  6. ^ Specifically at Canada (Vancouver); Mexico (Chichen Itza and Tulum); St. Marteen (Maho Beach)
  7. ^ Specifically at Australia (Sydney, Uluru)
  8. ^ Specifically at Argentina (Foz do Iguaçu, Puerto Iguazú, Ushuaia); Chile (Easter Island, Punta Arenas); Costa Rica (Monteverde, Varablanca)
  9. ^ Specifically at Anchorage, Denali National Park, Port Alsworth, and Talkeetna
  10. ^ Specifically at Grand Canyon West
  11. ^ Specifically at Los Angeles, San Francisco, and Mojave Desert
  12. ^ Specifically at Hilo, Honolulu, Kona, Maui, Oahu, and Waikiki
  13. ^ Specifically at Las Vegas
  14. ^ Specifically at Durham
  15. ^ Specifically at Memphis International Airport
  16. ^ Specifically at Monument Valley and Zion National Park
  17. ^ No specific year given.
  18. ^ The Invisible Highway trailer opens with highlighting the film's scale and the originality of the shots; this is removed in the Living in the Age of Airplanes trailer. While the former says "In 2015 comes a documentary", the latter says "Now comes a documentary".
  19. ^ Based on 7 reviews.
  20. ^ Movie: 4.5/5 scores
    Video quality: 4.5/5 scores
    Audio quality: 4.5/5 scores
    Special features: 3/5 scores
  21. ^ Story: 4/5 stars
    Video quality: 4.5/5 stars
    Audio quality: 4.5/5 stars
    Special features: 1.5/5 stars
  22. ^ Awarded "for its outreach to the aviation community to promote the film".

References[]

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