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FAST & FURIOUS PRESENTS: HOBBS & SHAW

Production Information (Cont'd)
THE PRODUCTION DESIGN
Chernobyl Bunkers and Samoan Cliffs
Designing a Brave New World
While production designer David Scheunemann had many practical city locations in and around London to work with, he also had to design, build and perfect multiple big-ticket sets to bring David Leitch's vision to life. From the cavernous bunker underneath the deserted Chernobyl site where Brixton and Eteon secretly operate to the deep ravine on Samoa's cliffside where Brixton's Blackhawk crashes and the final showdown begins, the film's sets required hundreds of artisans to set the stage for the film's key action scenes.

Shepperton Studios, home base for the London-based production, provided the space for many of the film's sets including Hattie's safehouse where Shaw goes up against a team of British operatives and the Los Angeles tattoo parlor where Hobbs cajoles information out of a source in his own inimitable style.

Most notably, though, is the expansive multi-story set for the Samoa cave, replete with a towering waterfall, that showcases the final epic showdown between Hobbs and Shaw and Brixton. The set, on a 30,000 square foot soundstage, included spraying water, the fiery twisted remnants of a downed Blackhawk helicopter and a Peterbilt truck, and required multiple departments to come together to create a water system that pumped thousands of gallons of water to the waterfall and that simulated rain, in addition to fire and smoke effects. This one blockbuster scene took two full weeks to shoot. The production left London for several weeks, decamping several hours north to the city of Doncaster to film at the recently decommissioned Eggborough power plant.

The sprawling property, with its eight hyperboloid-shaped cooling towers, would be the setting for the infamously shut-down Chernobyl power plant. The isolated areas of the Eggborough's defunct coal-fired power station provided a multitude of filming options for Leitch, second unit director SIMON CRANE (Rogue One: A Star Wars Story, Jason Bourne) and an aerial unit led by veteran helicopter pilot FRED NORTH (Bumblebee, The Fate of the Furious). Together the different units could capture footage from every conceivable angle as Brixton and his men drive Range Rovers and motorcycles in and around the plant in pursuit of Hobbs, Shaw and Hattie as they attempt a daring escape.

Our heroes make a break for it in two custom-built vehicles-the off-road Rock Crawler and the MAN Truck-designed by Picture Vehicles Supervisor ALEX KING (Justice League, Wonder Woman). Supervising stunt coordinator Chris O'Hara and his team took advantage of every nook and cranny the location had to offer to design and execute their own gravity-defying version of a Hollywood chase scene.

"The Eggborough power plant ended up just being such an amazing set piece for us," O'Hara says. "Visually, it was spot-on. The terrain and environment allowed for so much cool stuff that we could adapt as needed. We had both main unit and second unit up there racing Rock Crawlers, Range Rovers, motorcycles and MAN trucks. It was just this amazing playground that we could do whatever we wanted to before they demolished it all. We were in stunt heaven."

Home Sweet Home
A Hawaiian Sugar Mill Becomes the Hobbs Homestead
Filming of the Samoa sequence began in January 2019 after filming wrapped in London for the holiday hiatus. Leitch, Dwayne Johnson, Jason Statham, Idris Elba and Vanessa Kirby were joined by a handful of British crew members who happily left the cold, gray weather of London to join the U.S.-based film crew on the Hawaiian island of Kauai.

Based on his conversations with Leitch and the filmmakers, Scheunemann's approach to the new landscape would have a completely different tone than what he had designed for London. The lush green island would be the vibrant counterpart to London and the Hobbs compound would be its epicenter. Scheunemann scouted every square inch of the Hawaiian Islands before coming across an overgrown, derelict sugar mill on a massive 40-acre property on the southern part of Kauai.

The combination of the island's stunning ocean and mountain views and its varied topography allowed Scheunemann and his art department to satisfy the demands of the scripted elements, including building the Hobbs family homestead and the compound that houses the family business, as well as dirt roads to accommodate fast-paced driving action, explosions and other story points.

For the Hobbs' family home, Scheunemann opted for a more architectural version of a traditional Samoan fale that retained the customary oval shaped structure with timber-clad supports and walls but with a domed metal roof instead of a traditional thatched one.

He envisioned the home as a generational cottage that had been built up over the years by each generation of the Hobbs family. It's reflected by the layer upon layer of corrugated metal, the original smaller structures and sheds towards the back of the house, and the new additions to the building. Even for the areas that would not be used for filming, Scheunemann and his team ensured that every square inch of the fale was camera-ready down to the smallest detail.

The other major structure on the property was the actual sugar mill, a decaying overgrown building that sparked Scheunemann's imagination. "I loved that property so much because it had this state of decay that was perfect to tell the Hobbs family story," Scheunemann says. "I didn't want to clean it up too much. We wanted to respect the decay and bring in a little bit more of a Samoan and Polynesian color palette."

Your first impression of the Hobbs compound is of decaying façade with overgrown bushes and trees and a boneyard of rusty old vehicles strewn across the property. But as you begin to make you way through the property and into the structure you find yourself in the heart of the true Hobbs family enterprise, Hobbs Custom Garage, teeming with high-tech automotive equipment and a fleet of classic cars in various states of being customized and shipped internationally.

The footprint for the Hobbs Garage set mirrored the existing space. Scheunemann's team set the stage, then Picture Cars Coordinator DENNIS MCCARTHY (Avengers: Endgame, Captain Marvel) layered in dozens of classic cars and motorcycles.

THE COSTUMES
A Fresh, Brash Vision
New Designer, New Perspective
Costume designer SARAH EVELYN (American Horror Story) was new to the Fast universe and brought a fresh perspective to the distinctive looks for Hobbs & Shaw. A stickler for detail, Evelyn re-watched every installment of the franchise multiple times as part of her research as she began conceptualizing her designs. Her research helped her tap into the cast members' personal styles, which gave her the foundation to expand their looks for this film, whether with different cuts, colors, styles or materials.

She also watched Leitch's previous films and noted that his aesthetic was a highly stylized visual gumbo of story and action, layered within the production and costume design. The director, she discovered, often erred on the side of fashion-forward pieces that dovetailed organically with the visual landscape. "I realized pretty quickly when speaking with David that he had a very clear aesthetic vision for Hobbs & Shaw," Evelyn says. "He's taking familiar characters into different environments and situations-shifting the focus to get a fresh perspective. He wanted to be a bit adventurous, elevated, edgy and create something unexpected with Hobbs and Shaw that would be reflected in their wardrobe as well."

As a veteran fashion stylist, Evelyn infused her costume designs with brash fashion-forward influences from Errolson Hugh's bespoke designs, French luxury brand Maison Margiela and others and deployed them to punctuate the classic Americana and traditional English gentleman looks she had planned for Johnson and Statham.

Johnson and Statham were both very hands-on in the process and shared their opinions on how they interpreted the respective styles of their characters, impressing Evelyn with their insights into which styles and cuts worked best for them.

Luke Hobbs
Effortless American Style
From Fast Five to The Fate of the Furious, Luke Hobbs was dressed primarily in the government-issue tactical garb of a DSS agent and, for a time, a standard-issue orange supermax prison jumpsuit. Because Hobbs & Shaw allows audiences into Hobbs' life in new and unexpected ways, Evelyn was allowed tremendous flexibility to define this new side of him and his personal style. His look in the film reflects an effortless-yet-functional mix of the all-American staples of t-shirts and jeans, but Evelyn's biggest challenge was adapting them for Johnson's 6' 5", 260-lb. frame.

"Dwayne has a great body and really lovely proportions," Evelyn says. "T-shirts and jeans look great on him. The truth is, he walked into most things with just a few alterations. The most difficult thing was finding cool shoes that were big enough. Then all he had to do was smile and, boom, he looks great. He was also a fantastic collaborator, giving input and feedback about what felt right for his character."

Deckard Shaw
Savile Row Refinement
When Statham's Shaw first joined the Fast franchise, he was often dressed in an ominous black wardrobe befitting his dark character. The suits Statham wore in Furious 7 and The Fate of the Furious set the fashion foundation for Shaw's aesthetic, but Evelyn decided to further refine Shaw's sophisticated Savile Row-tailored wardrobe. "Deckard is elevated in Hobbs & Shaw," Evelyn says. "Jason has great taste, and he's amazing to work with. It was easy to find a more elevated Deckard. We started by going to Jason's Savile Row tailor and getting suits custom made. We also see a bit more subtle color, pattern and texture in Deckard in this film. For example, a Blue Birdseye suit with a tie with a great foulard or a navy Dries Van Noten tux jacket. We also see him in a lot of cool mackintoshes, because it's based in London and everyone needs a raincoat."

Brixton Lorr
Custom Leather Menace
The style of Idris Elba's menacing uber-villain Brixton Lorr look is wholly evident in his Rick Owens-inspired leather motorcycle suit. Initially, Evelyn, Leitch and the filmmakers were leaning toward different iterations of an enhanced super suit for Brixton but eventually decided on the idea of custom leathers for the seemingly bulletproof villain. Evelyn took inspiration from a U.K.-based fashion house whose leatherworking technique caught her attention. The material worked for Brixton on several levels, creating a menacing yet functional costume design.

Hattie Shaw
Strong, Chic Versatility
For Kirby's Hattie Shaw, Evelyn pulled together a host of different looks that personified the character, whether she was undercover in full glamor or fighting alongside Shaw and Hobbs. "Vanessa is just so elegant and poised," Evelyn says. "Whatever you put on her, whether it's a combat BDU (battle dress uniform) or a simple leather jacket, she elevates it and transforms it into something chic but still relatable."

One of those options was a bold floral print Dolce & Gabbana dress that Hattie dons as part of her disguise to elude the authorities once she goes into hiding. Ordinarily, such an unconventional wardrobe choice could be distracting on camera, but with Leitch's encouragement, the dress became the choice. Just as important as the look of the dress was the fit of it, because it had to work through several fight and action sequences. Together, Evelyn, Kirby, Leitch, executive producer Kelly McCormick, stunt coordinator Chris O'Hara, and fight coordinator GREG REMENTER (Avengers: Infinity War, Atomic Blonde) rehearsed the beats of the fight sequence to best determine how to deconstruct the dress so that Kirby could execute the required fight moves. Ultimately, the scissors would be brandished to fine-tune multiple versions of the eye-popping Dolce & Gabanna dress in service of an epic throw down.

Madame M
Sex and Power
Evelyn's aim for the role of Madame M, portrayed by Eiza Gonzalez, was to create a look that reflected the dangerous international power broker with a shrouded history. Evelyn envisioned Madame M in full "Boss Lady" mode with an over-the-top sexiness that would scare most men in the room. She dressed her in a high-fashion arsenal of black lace lingerie, a custom leather gun holster worn with high-waisted pants and five-inch Azzedine Alaïa platform boots.

THE ACTION DESIGN
No Holds Barred
Stunts, Fights and Serious Endurance
When actors sign on to a David Leitch film there is the expectation that there will be an intense, immersive program to physically prepare for his epic, no-holds-barred action sequences. The physical endurance, agility and complicated choreography to achieve his vision is often a challenge for even the most fit and accomplished athletes.

Filmgoers saw firsthand the end results when actor Keanu Reeves was transformed into a legendary hitman in John Wick and again when Charlize Theron became a one-woman wrecking crew in the Cold War action-thriller Atomic Blonde. Leitch's trademark arresting camera work showcased that action and elevated and solidified the visceral narratives.

Skilled athletes Jason Statham, Dwayne Johnson and Idris Elba came in wholly prepared to perform at the next level, knowing that Leitch would have no qualms about putting them through the paces for his definitive approach to crafting big action. Johnson and Statham, seasoned action stars who have worked with the best in the business, were 100% "in," as was Elba, who has a background in the martial arts of Muay Thai and who competed professionally, winning his debut kickboxing match in 2016.

As a director, Leitch takes a team-leader approach, working closely with his stunt and creative teams, and championing them and their expertise. Together with director of photography Jonathan Sela, supervising stunt coordinator Chris O'Hara, and longtime Leitch collaborator and fight choreographer Greg Rementer, Leitch expertly plotted every action beat, often meticulously timing it all to adrenaline-pulsing music to heighten the impact. For the actors and the audience, the fight scenes play like a great workout with a sizzling playlist that pushes you further, faster and harder.

That presented its own challenges, however. Timing the rhythm of each choreographed move to the ebb and flow of the accompanying music meant that O'Hara, Rementer and their team needed to be laser-focused on every move. "Dave always sees the big picture," O'Hara says. "He just has such a great action base, which is key for a movie of this scale, but he also really cares about each character and his actors. He cares about telling a really good story and won't forsake it for a good stunt. Dave just thinks about everything. That's what makes him a double threat as a director."

Action Reveals Character
How You Fight Is Who You Are
Key to David Leitch and team's approach was showcasing different fighting styles for Hobbs, Shaw and Hattie, and then throwing in the wild card of Brixton, whose cyber-enhanced strength is seemingly indestructible. "What people don't really realize about action is that it's just as important to character development as narrative," Leitch says. "A good, well-constructed fight scene will tell you just as much about somebody as well-constructed dialogue will. You can really define your characters through the way they fight. Fortunately, Jason and Dwayne already have this physicality, and they have moves that work for them, but we also went beyond that and tried to enhance that."

Dwayne Johnson's Hobbs relies on brute strength, trash talk and a take-no-prisoners style. Jason Statham's Shaw fights with his brain as much as his body, using speed, agility and resourcefulness to give him an edge. "Hobbs has this super powerful physicality and just picks people up and throws them across the room," Leitch says. "Shaw's a guy who thinks on his feet. He's much faster, more nimble and will use whatever is around him to win a fight. It's a different kind of tempo. These guys have very different fighting styles that have to come together if they have any chance of beating Brixton's superhuman powers."

This mix became the key to building a story around different layers of action and weaving it through the storyline, whether in a scene where a stunned Hobbs and Shaw endure a resounding defeat at Brixton's hands or when a resourceful Hattie gives Hobbs a run for his money as they battle it out in the London CIA office.

A particular challenge for Chris O'Hara, Greg Rementer and the stunt team was designing fights with multiple people, particularly for scenes where Hobbs and Shaw tag team against Brixton. The goal was to maintain the integrity of each of their respective fighting styles and keep everyone in their lanes, while also making sure the scene created something dramatic and dynamic to look at. "Every move, every kick, every block has an intent so that every fight has a story," O'Hara says.

While action-packed sequences will always grab an audience's attention, Leitch is known for his ability to sustain that momentum and keep the audience engaged, often with a single continuous shot capturing every thrilling, bone-shattering moment of a scene. What makes this method even more impressive is that the actors are the key to making it believable, filming every single frame with no traditional cutaways where stunt doubles can perform the more labor-intensive action beats.

Battling Like Brixton
Idris Elba Brings His A Game
From the beginning Idris Elba viewed Brixton Lorr as a fighting machine. A cocky, cyber-enhanced "Black Superman." The actor, who stands 6' 3", was prepared to step up his game to personify Brixton to his fullest. As he began to have preliminary conversations with David Leitch, and then with Chris O'Hara and Greg Rementer, he began to understand the elevated nature of Leitch's process. "With my Muay Thai background, I thought I was pretty capable of picking up choreography quickly," Elba says. "But for this role, it was on a very different level. Chris, Greg, and the team, they're all highly skilled, and I had to let go of some old habits and adopt this new fighting style, which is very indicative of Brixton: visceral, very violent but full of agility and full of charisma."

The intensity and precision of the work required Elba and the rest of the principal cast to give their director a tremendous amount of trust. Elba was more than willing to do that. "David Leitch is a mastermind of the camera," Elba says. "It's really entrenched in the story beats. Every single move informs the fight choreography in this film. Greg's choreography is definitely designed for David's style of filmmaking. It's something that I haven't done at this level. Outside of being fit and in shape, I had to really understand David's mindset of wanting us to be very precise with every movement in order for some of this outlandish choreography to work. You have to really believe it and look like you know what you're doing, so that was actually a really good experience for me. I love those guys. Those guys are really clever at everything they do."

Rough and Ready
Kirby Discovers Her Inner Warrior
Although Vanessa Kirby co-starred in the action-packed Mission: Impossible - Fallout, her role wasn't as stunt-driven as she would have liked. The actress says she wasn't athletic when she was younger and swears she's not terribly coordinated, but Greg Rementer's boot camp made her a true believer in her own physicality and athleticism. Armed with the training she received, and with Rementer's team supporting her, Kirby tapped into a fearlessness she didn't know she possessed.

Hattie Shaw is not a refined fighter. She is whip smart and quick, with a gritty rough-and-tumble fighting style that attests to her East London upbringing. She will use anything and everything at her disposal to win. Statham's Shaw employs the same resourcefulness in his fights, but his execution is more efficient and polished.

To prepare for the role, Kirby worked for months with Rementer and his team to upgrade her fitness and physical endurance levels, even before she began learning the intricate stunt choreography. When the time came to actually film her fight scenes, she was more than prepared.

"From a stunt standpoint, Vanessa just got better and better and better," O'Hara says. "She's a total perfectionist. She worked closely with our fight team, and they got her to the point where, when any notes were given, no matter how subtle, she knew exactly what to do to make the adjustment. She was always striving to do better. She has the work ethic to try and make it look amazing, and she definitely pulled it off."

On her first day of filming with Johnson, Kirby had to fight him on the set of the London CIA office, and execute a north-south triangle move in which she maneuvered herself underneath him and wrapped her legs around his neck with her gun drawn.

The goal of the scene was to make it clear that Hattie is as tough and formidable as both Hobbs and Shaw.

Kirby was pleased with the result. "Dave always wanted Hattie to be one of the tougher characters," Kirby says. "The most gratifying moment came when Dave told me that I was the toughest one on set. I was doing a big stunt scene with Dwayne and I bloodied my knee and I just carried on. There's no way that I would have stopped for something like that. Believe me, I've had lots of cuts and bruises throughout filming, but that's all a part of the process. I absolutely love doing it so much, and I consider myself so lucky to learn a whole new skill with Dave. It was an amazing process."

The Final Showdown
Hobbs, Shaw and Brixton Face Off in Samoa
With Brixton and his men bearing down on Hobbs, Shaw and Hattie in Samoa for the final showdown, our heroes find themselves outmanned and outgunned. To right the balance and up their odds of winning, they will have to rely on Hobbs' estranged family and the heart of the Samoan warrior spirit to win the day. The action scenes that follow are not only groundbreaking, jaw-dropping sequences unlike any captured on film before, but narratively they are pivotal in Hobbs' relationship with his brothers, Shaw's relationship with him and both men's relationships with Hattie. Despite all their differences, conflicts and past wounds, they will have to fight together for the common good.

The filmmaking team had many discussions about how best to heighten the level of action, crafting entirely original choreography for hand-to-hand combat, but also layering in vehicle action, special effects, explosions and pyrotechnics. The ambition was to create a cinematic climax that made audience members sit up in their chairs and say, "Did that just happen?!"

Finding the Siva Tau
The Secret Power of the Samoan War Dance
Greg Rementer and his team were tasked with designing a fight sequence that had never been seen before. They dove into researching Samoan and Polynesian martial-arts culture, even going so far as to comb through every frame of every single fight Johnson had ever filmed so that he could put a new twist on some previously used technique to make it special. For Rementer, the whole process was a fight coordinator's dream.

"When you have actors as gifted as Dwayne, Jason, Idris and Vanessa, you know that what you've got is gold," Rementer says. "We were like kids in a candy store. The ultimate question was, 'What new ways can we find for them to fight?'" Not easy, that. "It was a challenge because pretty much everything's been done on camera," he says. "It just comes down to: How do you put your own stamp on it? I can choreograph a fight with a punch, a fight with a kick or a fight with a block, but what's the intention? What's the motivation? How are you feeling when you watch it? But at the same time, you're asking the question, 'Is this serving the emotion and plot of the story?' So, it was important for me to sit down with Dwayne to take a deep dive into the Siva Tau, the Samoan war dance, and really break it down."

The Siva Tau is no mere ceremonial dance. It is a promise to your enemy that you will defeat him in a battle to the death. The verses translate, roughly, as the following: "Samoa thanks you for the sacrifice of your lives, for we will water her grounds with your blood…. Look into my eyes, for that will be the last thing you see before you die."

This was the breakthrough Rementer and his team had been searching for. They would invoke the message delivered in the Siva Tau in every brutal, bone-crushing move of the climactic battle. This was definitely something no one had ever seen on screen before. "That," Rementer says with a smile, "was the light-bulb moment."

For Dwayne Johnson, filming the Siva Tau sequence, surrounded by Polynesian actors, tapped into his Samoan heritage and connected him, in a primal way, to his African-American pro-wrestler father Rocky Johnson and his Samoan wrestling grandfather Peter Maivia. Statham could feel the emotional power of that for his co-star. "It was great to witness," Statham says. "It's such an emotional thing, and I think that will come through. It's a visceral, potent moment, where the whole island comes together with these old ancient weapons. It was amazing to see Dwayne's passion for this. It's truly great."

The scene proved memorable, and meaningful, to everyone who witnessed it. "There was something really special about it all, especially when Hobbs and Mateo fight back-to-back as brothers, knowing where D.J. and Joe have come from to where they are now," Rementer says. "You could feel that physical chemistry. They were absolutely in sync. You could feel the true love for what they were doing but also the love for their heritage coming through as they were, as their characters, defending it." Audiences are certain to be moved by it, too. "If it feels real and very savage, it's because it was," Rementer says. "They were tapping into something deep down inside themselves and that comes across easily on camera. Believe me, our stunt guys took a lot of really, really hard hits but got up and kept going. Everyone worked tremendously hard to bring something special to the scene and show why Brixton and his mercs couldn't stand a chance against the Hobbs family."

On hand daily to ensure that the Samoan culture was portrayed authentically was KAP TE'O-TAFITI, known as "Kap," the native Samoan who serves as an ambassador of the Hawaii-based Polynesian Cultural Center. (Kap also makes an appearance in the film's Samoa sequence.)

For Johnson, the opportunity to be able to put Samoa in the spotlight in Hobbs & Shaw is a deeply personal endeavor, and he was just as captivated by the chance to embrace an ancient, deep-rooted fighting style. "I have waited my entire film career to have an action sequence like this, one that is pure, savage rage-primal and without weapons, without guns," he says. "In a weird way, I found such joy in these action sequences and in fighting this way."

THE CARS
The Fast and The Fantastic
The Vehicles of Hobbs & Shaw
While blistering action has always been a key component to the success of the Fast franchise, the high-throttle, NOS-fueled Japanese imports, sleek European exotics and good old American muscle cars featured in the films have captivated and enthralled audiences worldwide.

Dennis McCarthy, the franchise's longtime picture cars coordinator, returns in Hobbs & Shaw to curate and custom build the film's unique fleet of vehicles. McCarthy and his London-based counterpart, Picture Vehicles Supervisor Alex King, brought their distinct tastes and love of all things automotive to the film, showcasing an impressive display of vehicles from London to Los Angeles to Hawaii.

With a massive number of custom-built vehicles needed for filming on multiple film units across two different continents, McCarthy and King divvied up the labor-intensive work to provide Leitch and his fellow filmmakers with the coolest, most distinctive vehicles for the film's sky-high ambitions. The list included off-road cars, Range Rovers, motorbikes, military trucks, pickup trucks, street cars and high-end performance vehicles, all essential to craft the action Leitch visualized.

2018 McLaren 720S
Even among all the impressive cars in Hobbs & Shaw, the hypnotically sleek, cerise blue 2018 McLaren 720S stands apart. While the British-crafted McLaren performance vehicles have made appearances in previous Fast installments, this is the first time the renowned supercar has been front-and-center for a London-based story and driven by the franchise's most sophisticated spy: Statham's Deckard Shaw. "They are incredible vehicles," King says. "The engineering, the drive, the ride, the power, the steering, the breaking. For me, to sum up the McLaren, it's like having a bespoke-made vehicle just for you."

Jason Statham couldn't have been more ecstatic with the choice. "I've been waiting for this moment since Furious 7," Statham says with a laugh. "Shaw is a quintessentially British guy that dresses in Savile Row threads and is this master driver. He deserves to drive something slick made in the U.K. It's great to put him behind the wheel of a McLaren because it makes perfect sense. There's a contrast between Shaw and Hobbs that is reflected in what they drive, and I like that variety. Dwayne has his American-made cars as well, so it's great."

Statham made several trips to McLaren's headquarters to take the 720S out on their racetrack. King was on hand for a test day and remembers Statham's reaction well. "Jason came out for a test day in the McLaren and discovered that it had a launch button," King says. "I was down at the bottom of the track and remember hearing when the launch button was engaged. The car came screaming around the last turn and Jason just had this huge smile. We all knew it was the right choice. The design, the look, the body are perfect, and its road position is just second to none. It's an exceptional car."

The production ended up working so closely with the McLaren Automotive team that the elite automaker offered to let the production film at its headquarters. The filmmakers accepted and turned the McLaren building into the glossy high-tech headquarters for Eteon.

King's department was able to use two authentic McLarens and then build two kit versions. As with all vehicles used in filming, multiple versions of the same car are essential. The rigors of filming, let alone filming on an action-intensive movie like Hobbs & Shaw, demands that alternate cars are fabricated to handle camera mounts or practical effects or special effects-driven stunts.

Like McCarthy, King thrives on striving to meet every mind-blowing challenge the filmmakers might throw at him. Working in tandem with production designer David Scheunemann, supervising stunt coordinator Chris O'Hara and special effects supervisor ALISTAIR WILLIAMS (Fantastic Beasts and Where to Find Them, Allied) is key.

"My department works very closely together to physically produce an assortment of custom build picture vehicles in addition to drivable rigs that enable the director to get better access for cool camera shots," King says. "I find all these challenges of putting the pieces of the live-action puzzle together really exciting."

MAN 464 Military Cargo Truck
One of the bigger shoot days for King's department was set in Eteon's subterranean training and laboratory facilities beneath the defunct Chernobyl nuclear power plant. That set, staged at an empty hangar at Farnborough Airport, housed an armory of every conceivable weapon and a fleet of vehicles and aircraft that rival most military installations.

The six-ton MAN 464 military cargo truck was featured in that scene after production designer Scheunemann redesigned it to fit the practical needs of filming while still retaining its utilitarian look. Four trucks were used for filming. Two were operational and the remaining two were stripped down and built back up and used for special-effects rigs. "It would pretty much destroy anything in its path," King says.

The Rock Crawler
Part of the Eteon fleet, the Rock Crawler was a full custom build, and one of the more challenging builds the team faced. It incorporates a mix of a U.K.-built body and a powerful Chevrolet LS376/480 engine, allowing it to make gravity-defying jumps over and over again. Four versions of the off-road vehicle were built from scratch with help from the U.K. Off-Road Armory. In the film, the Rock Crawler features in scenes in both the rough-hewn landscape of Chernobyl and the lush beauty of Samoa.

2019 Triumph Speed Triple Motorcycle
Brixton Lorr's motorcycle is an appropriately impressive custom 2019 Triumph Speed Triple motorcycle. Two versions of the high performer were fabricated-an off-road version that Chris O'Hara and his team put through the paces for the Chernobyl scenes, and an on-road bike used for London chase scenes.

For one electrifying high-speed chase, Brixton, on his Triumph, is pursuing Shaw and Hattie in Shaw's McLaren 720S through the streets of London. The scene was actually shot in Glasgow. The wide streets of Glasgow, which previously hosted filming for Fast & Furious 6, allowed for amplified driving action not possible on the congested London streets. To their delight, Glaswegians had the opportunity to get a firsthand look at the film's action and shared those audacious moments via social media, generating excited chatter around the globe.

The Peterbilt Tow Truck
The Rat Rod
For all the mind-blowing cars McCarthy has sourced for the Fast films over the years, in his heart he's an American muscle-car guy with a soft spot for off-road rally cars. For the Samoa scenes, shot in Kauai, he was given carte blanche to come up with eye-popping rides.

McCarthy found numerous old-school cars to flaunt in the Hobbs garage and fabricated an impressive array of off-road vehicles. These included Hobbs' Peterbilt tow truck, customized with a beefy low profile and super wide wheel base, that still had a performance vibe to it with a killer paint job reminiscent of a tribal war horse.

McCarthy didn't want the typical monster-truck feel, so he opted to step away from the gargantuan military vehicles Hobbs has driven in the past. Because the Peterbilt is Hobbs' truck, McCarthy and Leitch wanted something that had a vintage, classic car feel that also spoke more to the heart of his character.

The Rat Rod, whose moniker is a hot-rodder term for a vehicle that is all about mechanical power and not about being pretty, is another of McCarthy's highly customized Franken-cars. Like the name, its purpose is purely for speed. Statham's Shaw takes the wheel of the ratty-looking truck and does some damage speeding through the Hobbs family compound, setting the stage for the clash with Brixton.

"The third act, filmed in Samoa, is hands down my favorite part of the film," McCarthy says. "It was a dream come true to build such a wild assortment of off-road trucks - the Peterbilt, the Rat Rod and many others that are tearing up the dirt with big horsepower and capable suspension. The sequence wrapped all my favorite vehicles into one sequence. The icing on the cake was working with David Leitch, an amazing director who came from the stunt world. He's all about the action and pushing the cars to the limit."

The real challenge for McCarthy and his team of veteran Fast car builders was fabricating vehicles before he and his team really knew exactly what the Samoa sequence would entail and what would be expected from each car.

Often, McCarthy's shop will need to initiate their builds well before the film production is up and running. Time is needed to design and assemble one custom car, let alone four or more, plus the multiples for the main unit, the secondary action unit and specialized special-effects and camera rigs. It's a herculean task that takes well-planned execution and tons of creativity.

In this instance though, the situation presented McCarthy with a blank canvas, and for the veteran picture-car guru that meant go big or go home. The goal was to feature vehicles that Fast fans had never seen before and to provide a contrast to previous films. He would punch up each car, giving each as much power, drivability and agility to handle almost every situation.

"We really didn't know exactly what the cars would be doing so when we're in that position, you just overbuild everything," McCarthy says. "You build the car to be able to jump 70 feet or drop 25 feet out of the air and land, get back on the gas and keep going. So, it's not really a bad thing; it's a good thing that just gives us an excuse to go all out. Luckily, once we arrived in Hawaii to film the sequence, there were multiple opportunities to put these vehicles to the test and fine tune, as needed. Believe me, when you see the movie, you will not be disappointed."

Built Samoan Tough
Designing Culturally Authentic Vehicles
Authenticity was key to capturing life in Samoa, and that extended to the vehicles. Luckily, McCarthy discovered that, even on an island nation in the Pacific, there are car guys who know their stuff. As he scoured the script, he began to break down what would be needed from his department, and that included researching Samoan car culture, the roadways and even the law enforcement presence in the country. As with the production design, costumes and casting, the cars were an integral part of establishing the location and its culture.

What stood out most to McCarthy was that Samoans typically use good old-fashioned ingenuity to build buses out of small Toyota pickup trucks or to paint their cars and motorcycles in bright colors and then emblazon them with graphic designs, stickers and logos. It reminded him a bit of his experience of building and sourcing cars for the Cuba sequence in The Fate of the Furious.

McCarthy is a car guy through and through and for him the beauty is in the details. Out of necessity and the desire to be as authentic as possible, he dispatched his team to Samoa to look for industrial parts to fill their inventory.

One lucky picking adventure netted a honey hole of almost a dozen hot rods including a 1967 supercharged Chevy Nova, a T-Bucket (an extensively rebuilt Ford Model T) and a 1932 Ford drag pickup that would eventually stock the Hobbs garage set. McCarthy and his team also sourced equipment from working garages to both augment their builds and to add to the veracity of the Hobbs garage set. McCarthy then worked with production designer Scheunemann to create complementary color palettes and to age some of the vehicles with the correct rusty patina.

Dodge M37 Pickup Truck
The brute of the Hobbs family vehicles, the Dodge M37 pickup truck was reimagined for the film with the original cab and a custom bed to basically withstand anything. In McCarthy's mind, this truck is designed for pure function and that's the way they built it.

Automotive Eye Candy
The Hobbs Custom Garage
For Leitch and McCarthy, it was important to establish the street cred for the Hobbs family when it came to the family business, and that meant delivering a huge wow factor when Jonah walks Hobbs into the family garage for the first time. They did not disappoint.

The scene features a right-hand-drive Australian-version 1976 Ford Falcon XB, a 1968 Camaro and a 1963 Chevy 122S-powered Volvo, as well as motorcycles like the 2012 Confederate X132, custom Harley-Davidson choppers and a 2017 Harley- Davidson drag bike. It's classic-car Valhalla.

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