Word: chase
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...Fast and the Furious, in which Walker teamed with Vin Diesel, earned $144 million at the domestic box office on a $38 million budget. Second, because they're enjoyable to assemble. Says John Singleton, director of 2F2F: "Early in my career, I said I would never do a car-chase movie because I wanted to be taken seriously as a filmmaker. Now that I'm in my early 30s, I figured I've done that. I just wanted to have fun." Car movies also touch the infantile urge to go fast and break things. "I love to see things...
...over the ones in front of him or scoot under a 24-wheeler. In movies, says Donald De Line, producer of The Italian Job, "we get to watch these characters get up on sidewalks and beat traffic and go down staircases. When it works, a movie car chase is a satisfying experience." It's what the movies do: make fantasy real...
That's why those fearless--or foolhardy--stunt folk aren't likely to be replaced by machines. "Stuntmen are more vital than ever to provide the impetus for the CG work," says McG. "In The Matrix Reloaded there's a lot of CG in the freeway chase, but that scene probably employed more stuntmen for a longer period than any action sequence in the history of cinema." Besides, CG is expensive. "Given the amount of time and money that it takes to get it right in the computer," says Jonathan Mostow, director of Terminator 3, "you might as well have...
...stunt work. A few old icons did. Steve McQueen, a true car nut, often took the wheel in Bullitt and Le Mans. But most actors have taken more lessons at the Pasadena Playhouse than at the Richard Petty Driving Experience. On the Hollywood Homicide shoot, Hartnett fouled up a chase by crashing into a fake police car. Mos Def, a Brooklyn native who co-stars in The Italian Job, didn't even have a driver's license. Mark Wahlberg, the film's lead, threw up five minutes into driving class. The only racing demon in the cast was Charlize Theron...
...steely concentration, hand-eye coordination, a killer instinct--fairly stink of machismo. Think of a film about women and cars, and you get Thelma & Louise, in which the leads' big act of defiance is to drive off a cliff to their deaths. Actresses do show up in the car-chase genre, but they are essentially decals, irrelevant to the movies' obsessions. (The only genuinely sexual moment in 2F2F is when two new cars are unveiled for Walker and Tyrese. Their eyes bug out as if Britney and Halle had just stripped for them.) Car-movie heroes are slaves of auto...