Guest writer: Nina Sumner
Could Your Classic Become a TV or Movie Star?
In making The Dukes of Hazzard, Warner Bros got through more than 300 Dodge Chargers over the show’s 147-episode run. If, like me, you spent your childhood watching Bo and Luke’s exploits, you’ll probably agree that the biggest surprise is that they only destroyed two per episode!
Anyone who owns a 1960s muscle car would want to keep it well away from the set of any Dukes of Hazzard remake. Still, it illustrates the demand there is for period vehicles in the TV and movie industry.
Car-spotting on TV
The Dukes of Hazzard is an extreme example. From popular TV series like Call the Midwife to the seemingly endless remakes of Agatha Christie mysteries, TV and cinema present numerous opportunities for classic car-spotting.
In fact, when you pay close attention, some cars feature time and again. For example, a gorgeous red Sunbeam Talbot 90 drophead coupe has been in at least two Agatha Christie adaptations and a Father Brown mystery! It is probably better acquainted with the UK’s prime filming destinations, like Highclere Castle and the village of Chilham, than most of the actors!
Classics earning their keep
The Sunbeam in question is privately owned and is a regular at classic car shows, too. But despite being 73 years old, it still earns a living, being hired out for film and TV work on a regular basis.
No doubt it’s always a challenge finding the right props for period dramas, but cars surely create the biggest headache. If a lead actor wears shoes that came out in 1975 in a movie set in 1970, it’s unlikely anyone will notice. But cars and trucks stand out, and legions of classic fans would be quick to spot any anachronism, such as a Triumph Herald appearing in a movie set in 1955. It’s not just the “star cars” with leading roles either. Outdoor scenes need to have cars, vans and trucks in the background, and they must all be of the right period.
Making your classic famous
Clearly, if you have any sort of old car, whether it’s a priceless Bentley racing special from the 1920s or a battled-scarred 1980s Mini, it has the potential to become a TV star. Or at least, it could be the automotive equivalent of an extra with a walk-on part.
The easiest way to make it happen is through an agency. Motorhouse Hire has multiple operating centres around the country and supplies the cars for Downton Abbey, Miss Marple and others, while BookAClassic has an online database where you can register in seconds. These are just two examples, and a quick Google search will provide a list of others across the UK. Studios generally prefer to work with agencies than individual car owners. Likewise, when you use one, you can be confident that the car will be used on your terms.
No stunt driving!
It all sounds well and good, but you might still have the poor old General Lee from the Dukes of Hazzard playing on your mind. Naturally, you want to be sure your much-loved classic will leave the set in the same condition as when it arrived. This is another reason to go through an agent, who will draw up a contract so that both parties are clear on how the car will and will not be used.
In many cases, your car would simply need to be parked on set as a prop, or maybe drive by in the background during filming. Some owners stipulate that they will drive the car themselves and nobody else gets behind the wheel. Obviously, that will rule out any starring roles for your car, but it means you can rest assured it is in safe hands. Also, it is even more fun pointing your car out on TV if you’re visible driving it.
Fun, fame and pocket money
Ultimately, five minutes of fame and a bit of fun is what it’s all about. You’re unlikely to get rich from hiring out your classic unless it is something very special. Studios typically pay about £150 to £200 for a day’s filming, which will at least cover your costs. Star cars, of course, can easily earn that amount per hour.
Most of us love any excuse to drive our classics. Being paid to do so while also getting the chance to see it transported back to its original time period on the small screen is surely too good an opportunity to refuse!
Nina Sumner is our guest writer.
Nina blends her teaching expertise and journalistic savvy to craft stories that resonate deeply and educate effectively. With a career that spans the dynamics of classrooms and the buzz of newsrooms, she brings authenticity and a rich understanding to her writing. Guiding young writers and engaging readers, Nina’s approach is hands-on and heart-led. Her work embodies the convergence of knowledge and narrative, proving that with the right mix of curiosity and compassion, words can truly make a world of difference.
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