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  #31  
Old 10-27-2005, 04:13 AM
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Quote:
Originally Posted by kramlavud
pretty cool, especially the sound, but I can't believe the streets of Paris are so smooth; or is it damping at the camera's mount?
Mark
Somewhere was mention of a new (at the time) gyroscopic mount.

Nonetheless, those streets did look pretty high quality. Makes me want to go to Paris. Never been.

That guy must've had some kind of eye to be able to blow those reds and know he wasn't going to kill himself and total that sweet ride.

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  #32  
Old 10-27-2005, 10:36 AM
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Fantastic video, thanks for posting.

I think it is the real deal and not a fake. The lighting makes me think he did the drive in the early morning. Regardless, the city looks beautiful.

As I've stated before, I truly believe that the '70s were, and likely will remain, the best decade ever. Best compromise of technology and freedom. I missed enjoying it by a decade, I got the '80-90s for my teen years. Talk about a swindle.

No way could you pull that stunt off today.
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  #33  
Old 11-03-2005, 10:12 AM
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Worth another bump. Awesome vid... I have been looking for a link to this forever! If anyone comes up with a hi-quality downloadable file or this or any similar film, I'd love to know about it.
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  #34  
Old 11-04-2005, 09:33 PM
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What a great surprise and joy to see!!! Thank you for the chance to enjoy this masterpiece. Bravo!
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  #35  
Old 11-05-2005, 09:29 PM
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Had to be a F1 driver. Way too many right turns for it to be a NASCAR driver and it couldn't be my wife because she didn't have her drivers license in 1972.
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  #36  
Old 11-05-2005, 10:03 PM
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Quote:
Originally Posted by dtf
Had to be a F1 driver. Way too many right turns for it to be a NASCAR driver and it couldn't be my wife because she didn't have her drivers license in 1972.
Not to mention the use of the brakes.
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  #37  
Old 11-06-2005, 01:55 AM
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Sorry but I am with Mounis on this one. The sound does not match the vid. Most of the road seems to go by at a fairly slow pace. I can count the road strips in most of the scenes and I cannot do that when I'm doing 65 or so on the freeway. Very well done but I think it's fake.
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  #38  
Old 11-06-2005, 02:05 AM
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Quote:
Originally Posted by davidmash
Very well done but I think it's fake.
This video is a cult classic. Car and Driver, Road & Track, etc... still reference it regularly (and did so even before it was reissued on DVD). If it's a fake, they have fooled some pretty serious car nuts in the process. I don't see how it could have been so convincingly faked in the 1970's. The sound, maybe, but not the actual drive.
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  #39  
Old 11-06-2005, 03:06 AM
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Quote:
Originally Posted by PaulC
I remember the scene in Grand Prix you are referring to; it was the wife and a very Enzo Ferrari-esque owner of the racing team.
You're a better man than Oy am, Gunga deen. It all comes back to me -- the silver haired distinguished fellow and Montand's wife. The car looked so tight on it's springs, ready to spring forth in an instance. Struck me as a perfect marriage between good visibility, ballsy power, and simple but elegant styling.
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  #40  
Old 11-06-2005, 01:20 PM
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Quote:
Originally Posted by cscmc1
This video is a cult classic. Car and Driver, Road & Track, etc... still reference it regularly (and did so even before it was reissued on DVD). If it's a fake, they have fooled some pretty serious car nuts in the process. I don't see how it could have been so convincingly faked in the 1970's. The sound, maybe, but not the actual drive.

The sound is real and the video is real. They just do not belong together. The car is going way to slow in most cases for the sound to be right. The closing speed between the drive and the other cars is far to slow unless he is in 1st and 2nd gear the entie time and not doing more than 60-70mph. At least that is my opinion after watching it a few times.
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  #41  
Old 11-06-2005, 02:25 PM
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...missed this post until now Clearly THE best posting this year
What a terrific clip, it truely captures the quintessence of sportscar driving: speed & sound. Who cares if it's fake or not Nice to see the Louvre still without Dan Brown's Pyramid. The 'finish' at Sacre Coeur has the most beautiful view over Paris. The only thing missing is six lane roundabout Place d'Etoile, but that's hairsplitting

Any update on the DVD download, Med? Cann't wait to enjoy it in widescreen and Dolby surround.
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  #42  
Old 11-08-2005, 04:39 AM
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According to the french text below the video, Lelouch claims he drove the car himself with a technician next to him... The most dangerous spot was the exit at the Louvre, and there he had an assistant with a walkietalkie to warn him of any traffic approaching. The rest of the track offered no problems. The woman he meets at the end was his girlfriend at the time, who listened for the engine sound for the moment to come up the stairs.
Lelouche showed his love for racecars in an earlier movie of him in 1966 called 'Un Homme et une Femme' with Jean Louis Trintignant, There was even a sequel to this movie in 1986 with another car chase, incl. a black Mercedes 190 2.3 16v

At the end of the article, Lelouche tells of his meeting with the chief of police. He's ordered to hand over his license expecting some terrible rebuke. After a few moments, the chief however gives back the license with a BIG grin, telling him not to do this again, but that his children loved the little movie...

This is the route (for your next trip to Paris):
Bd Périphérique · Av Foch · Pl Charles-de-Gaulle · Av des Champs-Elysées · Pl de la Concorde · Quai des Tuileries · Pl du Carrousel · R de Rohan · Av de l'Opéra · Pl de l'Opéra · R Halévy · R de la Chausée d'Antin · Pl d'Estienne d'Orves · R Blanche · R Pigalle · Pl Pigalle · Bd de Clichy · (tournant abandonné à R Lepic) · R Caulaincourt · Av Junot · Pl Marcel Aymé · R Norvins · Pl du Tertre · R Ste-Eleuthère · R Azais · Pl du Parvis du Sacré Cœur

-------------------------------
SYNOPSIS

Une traversée de Paris à grande vitesse, réalisée en plan séquence

REALISATEUR : Claude Lelouch


DUREE : 9 minutes

ANECDOTE

« Je roule comme Trintignant dans Un Homme et une Femme, pied au plancher, compteur bloqué à cent quatre-vingts, prenant tous les risques. Et même d'avantage, puisque je ne suis pas au rallye de Monte-Carlo, mais en plein Paris. À côté de moi, mon chef opérateur contrôle la vitesse de la caméra accrochée au pare-chocs. Nous brûlons systématiquement tous les feux rouges. Les rues et les avenues défilent à une vitesse terrifiante.

A ce moment là, je me dis que les spectateurs seront collés à leurs fauteuils, écrasant du pied un frein imaginaire. Car c'est un film, bien sûr, que je tourne. Neuf minutes trente secondes. Neuf minutes trente secondes de pellicule, c'est ce qui me restait à la fin du tournage de « Si c'était à refaire », au moment des rendus. Trouvant dommage de laisser perdre ces précieux trois cents mètres de pellicule, j'en ai profité pour réaliser un projet qui me tenait à cœur depuis longtemps : un film en un seul plan-séquence où la caméra traverserait Paris à grande vitesse, son regard étant celui d'un homme qui conduit comme un fou parce qu'il est en retard à un rendez-vous.

J'avais eu cette idée un jour où, moi qui suit toujours ponctuel, j'étais dans la même situation. Comme il était vital que j'arrive à l'heure, j'ai traversé Paris à une vitesse hallucinante, brûlant des feux rouges, empruntant des sens interdits, prenant des risques insensés. Comme je suis entrain de le faire en ce moment même. Cinq cent soixante-dix secondes, pas une de plus, c'est le temps que j'ai pour effectuer le trajet porte Dauphine-place du Tertre. Avec deux principaux problèmes techniques. Le premier consiste à coordonner le parcours de la voiture avec l'action des dix dernières secondes, quand Gunilla, ma compagne de l'époque (qui est aussi la mère de ma fille Sarah) s'avancera vers le véhicule qui s'arrêtera devant elle. C'est le bruit du moteur, à mon approche de la place du Tertre, qui l'avertira qu'il est temps de s'avancer jusque dans le champs de la caméra. Le second problème réside dans l'impossibilité d'assurer la sécurité de l'opération. J'ai limité les risques en tournant ce film cascade au mois d'août, à cinq heures trente du matin, au lever du jour. La circulation est donc quasiment inexistante. Je n'ai pu cependant obtenir l'autorisation de bloquer les rues débouchant sur mon parcours. Un véhicule peut donc déboîter devant moi à n'importe quel moment. Si cela se produit, je prie pour avoir le coup d'œil et les réflexes nécessaires pour réagir au quart de seconde. L'étape la plus dangereuse du parcours demeure le passage des guichets du louvre. Il n'y a aucune visibilité à la sortie. Si une voiture surgit à ce moment devant mon capot, la collision sera inévitable. J'ai donc posté mon assistant, Elie Chouraqui, à cet endroit stratégique. Grâce à son talkie-walkie, il me parviendra en cas de danger. J'arrive à la hauteur des guichets du Louvre. Aucun signal de la part de « Chouchou ». Je fonce. Le reste du parcours s'accomplit sans problème. Je ralentis place du Tertre, et Gunilla, avec un chronométrage parfait, s'avance à ma rencontre. Un quart d'heure plus tard, je retrouve Chouraqui, en train de bricoler son « talkie ».

- Qu'est ce qui se passe ? - C'est cette saloperie ! me dit-il en désignant l'appareil. Il est tombé en panne au début de la prise !

J'ai un grand frisson d'angoisse rétrospectif.

Debout dans le bureau du préfet de police, j'ai la sensation d'être un enfant puni. Je m'apprête d'ailleurs à l'être et sévèrement.

D'une voix de procureur, le préfet, qui m'a personnellement convoqué, dresse à mon intention la liste de toutes les infractions que j'ai commises pendant les quelques minutes de tournage de Pour un rendez-vous. Elle est interminable. Quand il a fini, il lève sur moi un œil noir et dit en avançant la main :

- Remettez-moi votre permis de conduire, s'il vous plait. Le moment serait mal choisi pour discuter. Je m'exécute. Le préfet de police s'empare du document, le contemple rêveusement pendant quelques secondes, puis... me le rend avec un large sourire. - Je m'étais engagé à vous le retirer, me dit-il. Mais je n'ai pas précisé pour combien de temps.

Devant ma stupéfaction, il ajoute : - Mes enfants adorent votre petit film ! »

Source :Claude Lelouch

ITINERAIRE

Bd Périphérique · Av Foch · Pl Charles-de-Gaulle · Av des Champs-Elysées · Pl de la Concorde · Quai des Tuileries · Pl du Carrousel · R de Rohan · Av de l'Opéra · Pl de l'Opéra · R Halévy · R de la Chausée d'Antin · Pl d'Estienne d'Orves · R Blanche · R Pigalle · Pl Pigalle · Bd de Clichy · (tournant abandonné à R Lepic) · R Caulaincourt · Av Junot · Pl Marcel Aymé · R Norvins · Pl du Tertre · R Ste-Eleuthère · R Azais · Pl du Parvis du Sacré Cœur
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  #43  
Old 11-08-2005, 07:01 AM
MedMech
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Quote:
Originally Posted by Vronsky
...missed this post until now Clearly THE best posting this year
What a terrific clip, it truely captures the quintessence of sportscar driving: speed & sound. Who cares if it's fake or not Nice to see the Louvre still without Dan Brown's Pyramid. The 'finish' at Sacre Coeur has the most beautiful view over Paris. The only thing missing is six lane roundabout Place d'Etoile, but that's hairsplitting

Any update on the DVD download, Med? Cann't wait to enjoy it in widescreen and Dolby surround.
I've been at 99.4 percent on Bitlord for 2 weeks If it doesn't finish by the end of the week I will be ordering it.
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  #44  
Old 11-08-2005, 08:24 AM
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haha! The only time he slowed down was when he passed that bus on the side of the street.
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  #45  
Old 11-09-2005, 03:42 AM
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Originally Posted by MedMech
I've been at 99.4 percent on Bitlord for 2 weeks If it doesn't finish by the end of the week I will be ordering it.
...DVD's offered on the Internet for 28 USD (23 Euro) aswell

http://www.spiritlevelfilm.webhoster.co.uk/estore.php?src=%2Fshop%2Fcustomer%2Fhome.php%3Fcat%3D248

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