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Istanbul is digging a tunnel from Europe to Asia under the Bosphorus.
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I’m done filming the last three TV shows of our new series (Denmark, Copenhagen, and Istanbul). Tomorrow my producer Simon flies home with the precious tapes. I just gave Simon my second bag (with my printer and extra wardrobe in it), getting me down to my usual light load. I’m heading for the airport — within a couple hours, I’ll be deep into Amsterdam guidebook research.
Driving along the coast in the taxi to the airport, I scan the Bosphorus. A hundred freighters fill the sea — a commotion of ships that reminds me of the force of the D-Day landings. Each is filled with cargo for thriving economies. Many are escorted by tough little tugs. One by one, they enter this maritime bottleneck, fueling this city of 15 million.
In the middle of the strait is a construction site — an industrial-strength pontoon island with heavy machinery digging down, and then out. Istanbul is well on its way to constructing its Bosphorus tunnel. I trace the city’s horizon, from the misty minarets spiking up from the old town, to a distant skyline of modern suburbs where tourists never venture — a forest of modern skyscrapers in league with Shanghai’s.
Yesterday we needed a better spot for our show’s opening shots. We had a reasonable one from the Galata Bridge, but it showed charming old fishermen and tour boats. Instead, I wanted to somehow capture the historic crossroads and contemporary might of this city.
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Climbing with the camera crew to the rooftop of a toy store, we found a spot that showed off Istanbul as the churning metropolitan powerhouse where east meets west.
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Site selection had led to frustration. Mentally scanning all possible angles, it hit me: We needed a high-wide shot, almost an aerial, showing the freighter-filled Bosphorus just where it’s met by the Golden Horn inlet, with the teeming Galata Bridge, lumbering commuter ferries churning up the port, and a huge nondescript mosque in the foreground (we didn’t want to show the city’s icons — the Blue Mosque and Hagia Sophia — so early in the show).
We went to the spot I envisioned (above the “New Mosque,” near the famous Spice Market) and surveyed the zone. We spotted a restaurant with a shaded roof terrace, and went to check it out. It was perfect…except that as I spoke into the camera, there was no necessary sun on me. Next door, however, we noticed a toy company with offices that had a small open terrace. It was exactly what we needed. They welcomed us onto their roof and brought us tea. Grabbing a calm moment between the gusts, I gave my lines:
“Istanbul is one of the world’s great cities, period. For thousands of years, this point where East meets West has been the crossroads of civilizations. Few places on Earth have seen more history than this sprawling metropolis on the Bosphorus.”
Then we taxied to Ortaköy, a trendy café scene at the edge of town — too far away for tourists. It sits in the shadow of a Baroque mosque and one of the mighty modern bridges that cross the Bosphorus, lacing Asia and Europe together.
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In Istanbul, where an awe-inspiring suspension bridges connects Europe and Asia, a modern skyline is emerging.
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I wanted to get more interaction on camera between me and the locals, and this was perfect — a gang of four charming young Turks joined me to pass around a hookah (big water pipe), sip chai, and play backgammon. Backgammon is the perfect way to create a jolly conviviality with new friends. At the neighboring table, we filmed two sisters — one secular and the other wearing a colorful but conservative Muslim head scarf — chatting as they passed the mouthpiece of their big water pipe. (I hoped this might make both a big water pipe and a scarved Muslim woman less scary to the more insular of my American viewers.)
Then, with the sun low and the chop of the Bosphorus carbonating the scene, I stepped out onto the ferry landing to film the closing shots of the show. The frilly mosque cut the harsh diagonal created by the mighty bridge reached for Asia. Just as a ship entered the frame, I looked into the lens and said:
“Like its bridge, Istanbul brings East and West together. With a complex weave of modern affluence, Western secularism, and traditional Muslim faith, it’s a dynamic and stimulating city, well worth a visit. Thanks for joining us. I’m Rick Steves. Until next time…keep on travelin’.”
Reaching the airport, I tip the taxi — selfishly holding back just enough local lira for a coffee. Enjoying a rare break with my iPod, I listen to Amy Winehouse (“They wanna make me go to Europe, I say yes…yes…yes”) while drifting through all the lines, immersed in the sea of people traveling. An old woman weeps as the security line slowly swallows up her son, with a reaching grandson in his arms. Water and shoes are okay to take through security here — but my watch and belt need to come off. With a thump, my passport is stamped.
In the terminal, I see the big green welcome of a Starbucks, and feel thankful that I no longer have to choose either Turkish coffee or Nescafé. I have 6.05 Turkish lire. A grande latte costs 6.25 (nearly $5). I beg. The Turkish barista says, “No problem.” I’m so happy — the frugal traveler is triumphant, leaving the country with exactly no local currency.
Nursing a good American latte, head buried in my Amsterdam book, I transcribe feedback notes into my work copy of the guidebook. Thinking back, I’m amazed how out of Turkey I already am — ready for the Netherlands.