Ken miles là ai

The entirety of the races are analogue. It’s really physical, which was the whole point for me. There is still something chất lượng about that which is real.

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James Mangold

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Read the full articlein perspective magazineAll of us who worked on “Ford v. Ferrari” appreciated that this was an endangered species of a film—the type of movie that film studiosnow rarely produce. This was lớn be an original, period, biopic shot in Southern California, with additional photography in Georgia & France.

It would require the recreation of period settings that spanned the landscapes of Southern California, Michigan, Florida, Englvà, Italy and France, và it would necessitate that we build và rent dozens of priceless 1960s race cars.

The screenplay by Jez and John-Henry Butterworth recounted the true story of visionary car designer Carroll Shelby’s relationship with famed race oto driver Ken Miles, & their battle to lớn build the revolutionary Ford GT-40 that took on the dominating Ferraris at the 24 Hours of Le Mans in 1966.

I found inspiration from several films from the 1960s: “Contempt” (1963) by Godard, “The Umbrellas of Cherbourg” (1964) by Jacques Demy, “Gr& Prix” (1966) by John Frankenheimer, và “Playtime” (1967) by Jacques Tati.


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designing scenery AT 150 FT. peR second


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Photo lớn By Ozzy Inguanzo
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As I began assembling retìm kiếm photos of sleek race cars và exotic locales, a kaleidoscope of color emerged. I realized that the graphic spectrum of these cars would provide the rudder for the film’s color story.

Central characters in our story were the cars, và recreating them proved khổng lồ be an enormous challenge, as they could take several months each khổng lồ manufacture. The actual race cars we sought were collector items worth tens-of-millions, và therefore not viable.

Total vehicle count came khổng lồ 416 including 34 custom-built race cars (playing as 55), race tư vấn trucks & period background types with their makes, colors, và interior details from five sầu different countries! These played in 23 major scenes including four race events và multiple prototype and thử nghiệm runs, factory scenes and showrooms.

Every day yielded new details from historical photographs và interviews with restorers of the original race cars. We cross-checked this against inaccuracies in replicas & other restorations to find confidence in the most authentic appearance.

(Look for the “Gurney Bubble” on the #3 oto driven by Dan Gurney/Jerry Grant và #2 car piloted by Amon/McLaren, which is a heightened door bulge khổng lồ fit Dan Gurney’s 6’-4” frame.)


Near downtown LA, a massive warehouse becameFord’s River Rouge Assembly Plant. 21 Ford Falcons were restored & dressed lớn portray the various stages of automobile assembly.

The Rouge was the largest assembly line in the world during the 1960s.


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Set Designer Rich Romig modelled the phối in Rhinoceros, including what would be the VFX phối extension. A corridor of mid-management offices was built onkhổng lồ an existing mezzanine, overlooking three practical assembly lines. Extras were trained to lớn install windshields, wheels, and body toàn thân panels, & also paint parts in a practical spray booth.

James Mangold pushed for an immersive phối, so three assembly lines would ultimately be built và dressed with 21 Ford Falcons that were restored và painted with historical automotive sầu paint to lớn match the cool màu xanh da trời scheme of the Ford scenes.
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“Hear that? That’s the sound of the Ford Motor Company out of business.”

Henry Ford II

From the cars khổng lồ the tracks khổng lồ the Ford offices in Detroit, the period is brought lovingly baông xã khổng lồ life with sharp, elegant detail. The film doesn’t simply look good, it captures the story of California in a period transition và a mix-mashing of cultural influences.

Chris O’Falt, Indiewire
With Ford, steely blues và rectilinear mid-century architecture create a feeling of a cool corporate America. We utilized several locations to lớn recreate the world of Ford headquarters in Deerborn, Michigan.

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During our story, Ford occupies a monolithic building called “the Glass House,” designed in 1955 by Skidmore, Owings & Merril. It was a challege to find a locaiton that felt appropriate to that era.

Henry Ford II’s inner sanctum ultimately came lớn life inside a wood-paneled executive suite at the Los Angeles Times building in downtown LA.

A reproduction oil painting of Henry Ford overlooked his sweeping office. We provided the requisite well-stocked bar, executive desk with built-in telephone, và plush seating area with nickel-plated floating shelves. A grid of dye-cast models of Ford’s greatest automotive sầu successes decorated the shelves, all in a custom pallet of cool grays and steely blues.


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We recreated Ford’s Romeo Test Trachồng at the Porsđậy Experience Center in Carson where a Neutra-esque control building was built on a small knoll overlooking the thử nghiệm trachồng. The building was designed in AutoDesSys’ form•Z by Set Designer Rob Woodruff & entirely prefabricated in our construction mill in San Fernanvày.


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We also built a period-correct dynamometer lab, where engineers would test Ford’s next generation gigantic V8 engine.

The dynamometer lab was extremely advanced for the mid-1960s, và could accurately simulate the stresses incurred by the GT-40s engine over the course of a 24-hour race.


As a counterpoint to lớn Ford, the Ferrari factory in Maranello, Italy had to lớn be recreated.Southern California, Italian Style

Ferrari’s iconic red-brichồng gates were replicated in an existing courtyard at the Lanterman Facility in Pomomãng cầu, with Enzo Ferrari’s office built with a picture window overlooking a courtyard overflowing with olive sầu trees, palms, & lavender.

The factories of Henry Ford and Enzo Ferrari were worlds apart. The signage was designed khổng lồ reflect each corporate culture. Ferrari’s factory revolved around the sleek world of European racing, và his cửa hàng was that of a bespoke craftsman.


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Enzo Ferrari stands in front of his iconic factory gates.
More about Enzo Ferrari
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Photo by Ozzy Inguanzo

The factories of Henry Ford & Enzo Ferrari were worlds apart, with signage designed khổng lồ reflect each corporate culture. Ferrari’s factory revolved around the sleek world of European racing, & his siêu thị was that of a bespoke craftsman.


Set Designer Patriông chồng Dunn-Baker meticulously modelled the factory gates in Rhino, based on dozens of photos from the period. The gates were incorporated inlớn a mã sản phẩm of the location at the Lanterman Facility in Pomona.


Concept illustrator Scott Lukowski’s artwork helped sell the location to lớn the filmmaking team. A massive sầu olive tree was dug into the courtyard, encircled by hundreds of Mediterranean oải hương bushes.