a lot of the credit also has got to bread out on my technical director, because we sit down and we can do and have a fight as inside a taxi camp doesn't sound difficult. but when you got no room whatsoever, it is, it is a very, very hard thing to do that. then my original brief was what i want to do. they are bachelor crazy inside of them, and everyone else in the becoming will pull back. and then we see some amazing driving and floaty camera walk and make up back inside the cabinet. men brand takes out, and we listen to it. and so okay, and then it comes out of all of these other ideas. and i like i wanted to stay in the cabbage. now come off, and he's gone round on the door. not sure about that. i want to keep it contained. and then i was actually wonder they might be fun at here and go excited. and then that she is that we could do like a little funny moment of the slicing and the head pumping through the video. so we rift. and then he's like he pushed back. i push back on him. and then finally we go. we have a sequence which is got in a story telling you fun dial, carry. everything will put together, and then we get on how we can do it and 可以get up。
i mean, we're ready in the script. i think it sort of. so it, although it breaks down a little bit in a later draft, originally eggs in charlie, fighting cultures, and i saw a thoroughly actually straightforward. and then they show me the province, which is the kind of mocked up version of what they hoping to achieve inside. the memory of the cap seen was spent two weeks in a cab in this tiny black hat for two weeks solid. i never did that game. it was pretty intense after i have done much fighting sequences before in my career anyway, and two weeks in a cap for any film. the law 八点。
那个okay，so dirty, but it looks amazing. five, four of three, one. the work we have to do in terms of not only career graphic and planning advice, but then fitting them to the space of the taxi, the different versions of the taxi we've had to use to allow for different shots when they start designing in the sequences. we realized that it wasn't going to be possible to shoot this with one taxi on location and get everything that they wanted to get from it. so we began to break part the sequences of working with response department as they work through their career to figure out, just can we achieve the shots that they wanted to achieve? and at that process, we've developed what we referred to as the stage work, which is what we're shooting behind this name, which is a taxi, which comes apart into twenty different pieces. you can figure it in any way possible. every conceivable panel comes off at the roof. the doors. we also have a hatch in the fall, so you can shoot them underneath headlines watching the actors actually dry the cars from on the name is just infinite variety that you can cheap with this car. we got complete half interiors, so we got half back. seat, half council half half half half half windscreen, everything's a fifty percent right way down the middle, or you also have a complete solid set of everything. so go back in from the inside. you never know that it comes heart. because so much of the fight takes place inside the taxi, you can't really do that driving long roads in practical to do so. that's why we find ourselves here in three, sixty rap around green screen environment, with multiple versions of the taxi in order to get and repeat those camera and goods blood. something did so quickly with the iphone we've now got to do, you know? alex, a professional camera, we need to make sure we look as close to being as if we shot it there for real in the streets. so for george, keeping is is very concerned about making the lighting. he's got two headlines taken from the jaguar suv chase vehicles. he's got those on a track. we've mimicking the look of their headlights playing on the back of the taxi, and then on top of that, we've been out. we've already shot some nighttime driving plates, and they are not only reflecting on the taxi on some of the shiny surfaces inside, but the giving is that travelling light and all the chatter changes and software light changes that you get going on inside the taxi. and so it's quite complicated. it really were constantly jumping in the lights around and making sure that we get what we need to do to come, but also that we're getting the lighting that we need to make the comp work or work. and then the elderly, and maybe laugh was that the fight, and that will enhance to the ultimate car chase, but with. 就是那个那个and so but how can i make us as different as well？
let's build a car that can actually do it, instead of doing all cg, he wanted to be able to behind your lock at a drifting racing car if they choose it before on some other shows where they use. you know, we, the superperson, exist in taxi or put a taxi body onto an existing. she's like a super instance, and we just knew we wanted that bit more. so we win to build the cause of, despite from scratch. so all the is from original taxi is the body on a, on a bishop classic. you basically ends up with something which is in the black car anymore. we have to put the engine in the middle of the car in order to make it fifty fifty weight distribution. this is not such a high central gravity. at risk of versions, six hundred horse power, l s x crite motors, but they were falling from states by multiple country boys. and they should match most modern, high performance sports cars in terms of not sixteen hand length. bicycle, you say that i was just the normal taxi. 你把握for a tubular space rhyme，the gear boxes of conflict was require systems to play in the would dry after they made everything is a spokesman even making the gay books to transfer boss maximum system 那部分。
and then he wanted to make it four wheel drawing. they had to put forward mustanger rear, accelerates front and back. so you got one running back with the front and one running force at the back in order to get the power down to now you get your personal incident that i got to really excellent is what i love doing something that was a great project for us. 好漂亮。
the crash moment, which is when actually drives into the ball out. the translation of the taxi, and then the drifting of potential is problematic in a number one. in that it means we have to take over location for a few, a good few nights. the drifting taxi is phenomenally noisy. so genuinely for london office is not happy with noise. level is generated by that. a drifting taxi will leave all sorts of black skid marks all over the roads. that's not look down. accountability by the london mayor office. and then it's just the control as well. it's just to be able to control everything we need to have a special, special effects root for the crash, which, again, steve warner and his special effects team are doing that takes rigging time. so, so have our own location and have complete control of it. it is easier to shoot long costumes on this big piece of time, accepts there. but unfortunately, that means that we have to put in the surrounding environment. you just need some big spaces to be able to let the cars do what they need to do. suggest it is founded the right location and long with the stunt growth coming up with the ideas of what you know, what you can get out of grabbed frequently, get up to thirty or fourth takes of an action shot for him. it's all about telling a story. and if the stunt didn't tell the story, it deserves to be in the motive shot weather, taxi drifts in a sort of figure of a around wall to be place. and remember, we spend all night shooting at one night with the motion control spider camp, which was computer controlled, moving through space on all these different axes. and we got we with domino in home at six or seven in the morning and go up the next day to shoot the next scene and got down along crossing and hurt. no ideas. what you can do it all again, because it macy wasn't happy, but it wasn't happy. they wanted something better. so i think to me that was testament not only had difficulties to do this stuff, well, but also how much effort was was put into getting it right. it is a redynvre sequences. it has a lot more challenges that what people might think when you say, because you say, and it goes through like this is really quick. and it goes. this is exciting, is fun, but it reality. it is a lot more work than what you might ask my myself, you know. 现在路还没关，这是一个area here。
after when you scott, the yard is up to the ride about around the corner of beyond, it is not a c c, a number showers saying with some of the taxi and fresh evidence. the russians, number one, if we are in a week for shooting, and we've already shot parts of the traces, any external shots of the vehicle will either the combination of burning and location for a couple of other key london location into which we, a lot of this green screen shooting when we get into the london streets, will be using the draft taxes. the hero driver and what we call the drawing driver, which is yet another taxi, which is controlled by stunt driver from the passing of football by a remote driving system, which allows us to save. you put a hero in the driving seat of the car. normally you expect to have, possibly take us or a cheese events like this. if there's like highest impact between vehicles or save me objects, you might have repeats on this one because of the way we've actually designed it, there shouldn't actually be any real practical damage between the car. we went achieving party to party contact between the vehicles. yeah, that the start mentioned. he did put some sunshine limit when i can call up it really, well. it's great. we're very much pushing ourselves to trying to see something quite special. woman, and it kind of be negative together as we go on the pace of return of modern against the boy, me wanting to recreate those that of moments i had when i was watching in, like fans of the bonds, these movies, which just took you to places that you never seen all of experience before it.
