A total of twenty Honda CRF250R motorcycles were used for the opening motorcycle chase in the Bond movie Skyfall. This highly complicated scene is shot on the rooftops of Istanbul. The Bond bike was ridden by the Australian stunt rider Robbie Maddison. Watch the chase scene on YouTube.
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We have another classic Bond film on our list. Ever since this movie every rider who has been cut off, including myself, wishes they had the rocket launchers fitted to the featured custom gold BSA. YouTube has the scene. It's short but delivers a memorable blast.
This is the 3rd highest rated movie on IMDB. When they put the Batpod together no one could ride it, so they went to France looking for the stunt rider who pulled the amazing rooftop jump on the Beemer in Tomorrow Never Dies, Jean Pierre Goy, and he knocked it out of the park. With a memorable performance by Heath Ledger. Watch below.
This is the movie that turned Laurence Fishburne into a rider. When I interviewed Fishburne for BMW he said Stephen Baldwin was into Ducatis so they put some neat 916 riding scenes in Fled. Fishburne had to get an intro course in riding just so he can manage the bikes and he got hooked. Fled came out before his mega hit as Morpheus in The Matrix. 916 scene below.
This scene is fun to watch (except for the weird ending). When you finance real riders to make a motorcycle movie the result is terrible dialog but good riding shots. Here you have Ducs and Beemers ripping through streets of LA and it's really entertaining. Scene is below.
This action movie set in Japan is all about motorcycles, however, since Michael Douglas wasn't a rider the riding scenes aren't that exciting. This is of course way before the power of CGI would make Carrie-Anne Moss appear as an expert Ducati rider in Matrix 2, even though she had never ridden before. There is one really good scene, worked out by stunt riders, in CA wine country (their Japan shooting permit had expired by then) that's worth watching. Scene below.
There is a scene in No. 25 where James Caan's character beats the bumper-to-bumper traffic by riding a Montesa Cota 247 over a bunch of cars. That's the fantasy of every urban enduro rider of course. This was an expensive stunt heavy movie that actually paid off at the box office due to on screen chemistry of Caan and Arkin. Scene is below.
Biker: Hey man, this is our choppers, Charley. Clint: This is my gun, Clyde. Sondra: Do you know how to drive this thing? Clint: It's been a few years, we'll fake it. No. 29 is about the popular team of Clint Eastwood and Sondra Locke--they made 6 films together. Clint used to ride and put a few motorcycle scenes in his early movies. Here he's bullying a biker gang so he can grab a ride and get back to town with Sondra. If you watch the movie past this scene on YT, you'll see Clint do quite a bit of dirt riding on the chopper.
Eric Roth 2:04 Um, well, I, I think a few routes one. I went to let me see which way I could tell the step tale. I went to Columbia University as in graduate school as an English major. And I, I started to find myself gravitating towards kind of making short films. And so I switched over to the film department. And still, I still took a lot of English classes, because writing was what I wanted to always do. And I got to be crew on a bunch of very independent movies like literally with like Bob Downey senior movie called Baboo 16. They were very busy. A lot of movies being made from a place called the Millennium will film workshop, a guy named Adam schwaller. And a lot of experimental filmmakers, real New York, guys, you know, and we everybody sort of switched off crews and things on those and I was busy. I was making some shorts and I thought I wanted to be a director. And I actually had an opportunity to do a kind of compete for something that I had thing that was going on at USC with a little short I made and it got me a little bit of a cachet in that sense. But the thing that was a big difference in my life was that I was at UCLA and I entered the Samuel Goldwyn writing award. And I'd written a script that I actually tied was Collin Hagen's, who wrote Harold and Maude and then went on to write that was his that was his script. And he went on to write nine to five. And I think he died of AIDS, I'm afraid to say but he was a wonderful writer, and literally was the day after my first child was born. I was quite young, and the $500 paid for the baby. So I wanted a COBOL award. But more importantly, it got me an agent. Got me an agent, and I must say, that was 1970. Basically, I've been working ever since you know,
Eric Roth 24:04 Yeah, it's voluminous, you know, but you start eventually coming down to what the size of the thing hopefully should be. I mean, my scripts are usually too long. And a lot of it has to do with me, as I say, writing all this prose about what's going on, but if it's not, if it's not a book, that's particular, I mean, I've done a number i a lot has been, but I consider a lot original writing. So Benjamin buttons a good case, because that was a short does the art magazine article of Scotsman sherald of Genesis art wrote, and it was an article really wasn't very good. He did it for Colliers, and he, he just did it for the money, you need the money and but he had the idea of a guy going, you know, aging backwards. It's great. Yeah, which is a wonderful concept. And what does that mean? And then you can get into the theme of the piece, which I think is for me, it was like, well, who are the people you meet along the way of this journey? You know, either way, you're going forwards or backwards, but he But that I started just from scratch and inventing what the story was, you know, because the story he had was nothing that worked for me, you know, I'm saying and it really anybody who reads it, no matter how much you love us, because shall will say maybe my story is not any better. But his story was not something you write home about really was just a job for him. as best I can tell, Forrest Gump the book was kind of farcical to me in certain respects. And so I, I made it and it failed a couple times other people tried it and had no luck. So I had sort of free rein to do what I want it with it. And so I just took my imagination where it went and came up with a bunch of things that he said that seemed people seem to latch on to, you know, and and I looked at that as like doing candy, you know, it's, it's a journey of this guy through life. I'm trying to think what else in the main, though, is like, being a dramatist? In other words, you have to and I think we said this, I don't know, David said, his father said, or I said that which is relevant on manque that when they're talking about, you know, about Citizen Kane, because you can't, with the line we have is, to the extent of you can't show somebody's whole life in two hours, all you can do is give an impression of their life. Right? That's, you know, another part of it. So no matter what the book was, if I adapted it was to try to do the best to tell the best story you know, and, and yeah, summer dad stars born I think is adapted. But we started from scratch on that one. You know, we'd have to go roll whatever movies Munich music, Munich was pretty close to book, I don't think it would step for adding some more, kind of some ingredients that weren't really dramatic, per se will be more dramatic in the sense of the way Steven can do things with stucks trucks being stuck by little girls on the phone and stuff, which is not wrong. But it's so you have to count that that stuff was event invented a lot of that.
Alex Ferrari 54:32 Yeah, and I have a feeling that you would have I don't think they know it wasn't when you were gonna tackle star is born. I mean, that movie has been remade with three times before you. This was before. And every time it was a hit from what I understand. And it was always like this kind of cultural touchstone when it came out. Yeah. And then you've got Lady Gaga and Bradley Cooper and Bradley. Bradley is the director. as well, so first time director. So you've got this, how do you approach telling that story again?
Eric Roth 55:09 Well, I mean, it was an interesting that was that was kind of a challenge. Not the work was very, really challenging. But I don't know, I hadn't had a movie made. And I was so used to getting movies made like every two, three years. And I hadn't had a movie, maybe maybe three years, maybe a little more. And that movie, even though it was nominated for an Oscar, extremely loud, incredibly slow, was not that well received either critically, or box office. And it was a disappointment to me. And there are many reasons why I think I have some things up. And I think that there were some decisions that maybe should have made differently. But, you know, that's, that's what happened. And they offered me the stars born, I said, Is this a good idea for me to want to my Am I too old for this? I mean, not just didn't understand the culture and music and, you know, and be as contemporary as it should be. And I in and they sent me a script, which I thought needed work. And I said, I kind of feel like I've got to, you know, start from scratch. To some extent. There was many some things there, that was certainly good. And I said, I'll, I'll tell you what if they said, you got to do it quickly. And I said, in six weeks, I'll have for you something new. And I think you'll hopefully you'll like it and, and I went to work and Bradley was there every day. And we would text each other in the middle of the night. He was wonderful to work with and had his own ideas about things. And we'd fight like cats and dogs, which I do with everybody. And in the end, we had something I think which was had the humanity that I think I can bring to things and he understood and and i think was a great contemporary story. One of the really wonderful moments for me on that one was Bradley and I and Lady Gaga working her house out in Malibu and it was the first time I had met her actually and Bradley pedigo. And I was going to leave when he did and she said to me mind staying, I said no, she's just like to talk about the character. And we did that and I gave her some I said take a look at Moonstruck how Cher played and was brought you know certain things. And I said I'll do everything I can to make this easy for you because she wasn't she's acted but she wasn't wasn't her, you know profession necessarily. And so, I promised her I'd make things as conversational as possible in the scripted that didn't have to be big monologues and all that and, and now, let's get to Lisa, do you mind if I play something for you? Like, yeah, okay. So she sat down pianist, he played Somewhere over the rainbow and sang it. He was like, Are you kidding me? It's like, Oh, my God. God just walked in, you know, really? He was like, yeah, I'm maybe it was, maybe it was not so accidental. But it was like unbelievable. I mean, it's like one of those moments you'll never forget. 2ff7e9595c
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