C.C. Baxter: The mirror… it’s broken.
Fran Kubelik: Yes, I know. I like it that way. Makes me look the way I feel.
(via Of motorcycles and movies)
About a year ago, I finished reading the final instalment of Stieg Larsson’s “Millennium trilogy”. I found these Swedish crime novels absolutely gripping—and not just because the heroine Lisbeth Salander rides a motorcycle. In two weeks, the US movie adaptation of The Girl With The Dragon Tattoo will be released—so here’s a timely look at how the motorcycles used in the film were prepared. The job was given to Justin Kell of Glory Motor Works in LA, and it’s an insight into a rarely-seen aspect of the film-making process.
“I got the call to meet with [director] David Fincher and discuss motorcycles for a new film he was doing,” says Kell. “I bought all three Larsson books and read them in three days: the character of Lisbeth Salander is killer. As I read the books, I kept thinking that Lisbeth’s bike would be the kind of bike most 20-somethings with limited financial recourses would ride. She wouldn’t have an expensive modern bike: she would have an inexpensive older bike that would be customized to fit her personality.”
Originally, the producers considered using modern bikes. “I had to convince Fincher that we could build vintage bikes to be as reliable as modern bikes. David leaves no detail untouched: he knows that a broken motorcycle can delay production and cost the film company thousands of dollars.” Kell also had to keep the art director happy, make the bike fit the conceptual drawings, and build bikes that would start and perform whenever called upon.
He had 30 days to find, buy and rebuild three late-60s Honda CB350s. “I went after low mileage, original machines in stock condition. We looked at updating charging systems and upgrading performance.” The script called for a lot of high speed riding, plus off-road action on ice and snow. Bikes in movies are usually started and shut down hundreds of times during a day of filming: this means that starter motors have to be rebuilt, and three-wire high-output charging systems installed.
Kell also increased the battery box size, so he could fit a higher amperage sealed battery. “The lighting is always super important in a Fincher film, so the bikes were fitted with HID lamps. All the metal parts were stripped and cleaned, and sent out for paint, powdercoating, polishing or cadmium plating. “We ended up powdercoating the wheels and using bigger gauge SS spokes. We replaced everything: new clutches, new brakes, new wiring harnesses and every fastener on the bike. The motors were torn down to the cranks, we trued the flywheels, did valve jobs and replaced pistons and rings.” The carbs were rebuilt and the fuel tanks were stripped and re-lined. Flat track style seats were installed, covered in vintage glove leather.
“We had to build one bike first to get the final approval from David,” says Kell. “We finished that one in about two weeks.” Fincher gave the okay to build two more bikes, and cast Rooney Mara to play Lisbeth Salander. “She was sent over to me to start teaching her to ride,” says Kell. “She had never been on a bike before, so we had to start easy. I’ve trained many actors to ride over the years, and I must say that Rooney was one of the best. She was fearless, but smart. In three days, we had her doing everything that she needed to do on camera at 35 mph.
The final two weeks were “mayhem. Getting three full rebuilds together at the same time requires a lot of diplomacy and hundred dollar bills. We had 30 days straight of 16-hour days, but we finished the bikes on schedule. The day after we turned the last screw, the bikes were in crates on the way to Stockholm for the shoot.”
The bikes are now back in LA though, and Kell is tearing them down yet again—this time to prepare for the second film.
50 Cent did not disappoint. He ordered a grapefruit soda. The waiter brings him the grapefruit soda. And then 50 Cent said the greatest thing anyone could ever say when you see a grapefruit soda…He looks at the waiter and says, “Why isn’t this purple?” And it took me a few seconds, and then I realized, “Oh my god, 50 Cent has no idea what a grapefruit is!”… I was like, “Everybody in the restaurant, you need to SHUT UP right now cuz a waiter’s about to explain to a grown man what a grapefruit is.
Aziz Ansari on Letterman last night, explaining his spotting of 50 Cent at a restaurant in NYC (via culturalcloseup)
Do you think he’s been drinking grapefruit soda from a can this whole time?
(via stayforthecredits)
(Source: gooddialogue)
“I’ll tell you this little story. There’s something inherently cinematic about it. I run in my neighbourhood, and one day I ran past this guy running in the other direction: an older guy, a big hulky guy. He was struggling, huffing and puffing. I was going down a slight hill and he was coming up. So he passes me and he says: “Well, sure, it’s all downhill that way.” I loved that joke. We made a connection. So I had it in my head that this is a cool guy, and he’s my friend now.A few weeks later, I’m passing him again, and I’m thinking: “There’s the guy that’s cool.” As we pass each other, he says: “Well, sure, it’s all downhill that way.” So I think: “Oh, OK. He’s got a repertoire. I’m not that special. He’s probably said it to other people, maybe he doesn’t remember me … but OK.” I laughed, but this time my laugh was a little forced.Then I pass him another time, and he says it again. And this time he’s going downhill and I’m going uphill, so it doesn’t even make sense. And I started to feel pain about this, because I’m embarrassed for him and I think maybe there’s something wrong with him. And then it just keeps happening. I probably heard it seven or eight more times. I started to avoid him.I like the idea that the story changes over time even though nothing has changed on the outside. What’s changed is all in my head and has to do with a realisation on my character’s part. And the story can only be told in a particular form. It can’t be told in a painting. The point is: it’s very important that what you do is specific to the medium in which you’re doing it, and that you utilise what is specific about that medium to do the work. And if you can’t think about why it should be done this way, then it doesn’t need to be done.”— Charlie Kaufman: how to write a story | Film | The Guardian
stay for the credits: auspices: “I’ll tell you this little story. There’s something...
“I’ll tell you this little story. There’s something inherently cinematic about it. I run in my neighbourhood, and one day I ran past this guy running in the other direction: an older guy, a big hulky guy. He was struggling, huffing and puffing. I was going down a slight hill and he…
(Source: Guardian)
An Animated Tribute to Drive (by Tom Haugomat & Bruno Mangyoku)
music: Glass Candy - Digital Versicolor
sound design: Alexandre Poirier
One of my favorite shots in the movie
Talk to the PAs. First ones in, last ones to leave, $350 a week.
How am I not myself?
- Vivian Jaffe: Why do you think that you tell the mayo story so much?
- Brad Stand: I don't know. Why?
- Bernard Jaffe: It's propaganda.
- Brad Stand: [scoffing] For mayonnaise?
- Bernard Jaffe: For you.
- Vivian Jaffe: Specifically, you're so impressive because you know Shania. And you're so strong because you pulled one on her.
- Bernard Jaffe: You're a funny guy, a good guy.
- Vivian Jaffe: Keeping everyone laughing, so that maybe, quote, you don't get depressed.
- Brad Stand: [shouting] Well, what's so great about depression?
- Bernard Jaffe: Nothing. Unless it holds the key to something you compulsively avoid, so it will never be examined or felt. Hence your behavior becomes repetitive like the story.
- Vivian Jaffe: Like the story.
- Bernard Jaffe: Like the story.
- Brad Stand: Shut up. Alright, I don't have to tell stories.
- Vivian Jaffe: What do you think would happen if you didn't tell the stories? Are you being yourself?
- Brad Stand: How am I not myself?
- Bernard Jaffe: How am I not myself?
- Vivian Jaffe: How am I not myself?
- Bernard Jaffe: How... am I not... myself?
Má Vlast Moldau (Vltava) performed by the City of Prague Philharmonic Orchestra. From the Tree of Life trailer and also Everything Will Be Ok.
(Source: rooneymarafan)
halp
Test werkljlsakdjlaksjdlkasjd
