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Chapter 60: Fresh Ideas
🕑 Added 2024-09-18 14:27:53 +0000 UTCAfter Christmas and New Year, 1993 officially began. The crew of *Speed* finished their brief holiday and resumed filming.
All the studio scenes were completed, and the remaining shots were moved to Highways 105 and 110. Next up were the car chase scenes, which required stunt drivers.
Keanu Reeves, unlike Tom Cruise, wasn't expected to perform these high-speed stunts himself. Even though both actors had comparable looks, asking Keanu to handle the driving would be too much.
Moreover, it was Sandra Bullock's character, Annie, who was driving in the film.
Internal car chase shots had been mostly completed, so the external chase scenes didn't require the main actors to be present; stunt performers were sufficient.
However, the actors still needed to pose for close-up shots.
Gilbert's idea was to mount a high-speed camera on the car to capture the wheels skidding on the ground. Such shots, while overused in Hollywood years later, were considered innovative in 1993. The idea impressed the cameraman, Randolph, greatly.
Charles Roven opposed mounting the expensive high-speed camera on the car, but Gilbert convinced him with some strategic persuasion. The next day, Roven, supporting his back, told Gilbert, "Hey, Gilbert, we can't keep doing this. We've already damaged three cameras this month."
Gilbert, with a half-smile, asked, "Charles, how's your back?"
"It's fine, I'm quite resilient," Roven said as he straightened up, causing his back to crack.
He quickly supported his back, groaning, "Oh, I think my back might be broken."
Of course, his back wasn't broken; he'd just pulled a muscle from the sudden movement.
Kane Wexman chuckled, "Charles, looks like that stripper last night was too much for you, almost broke your back."
"Indeed," Roven said with a reflective look. "Maybe you should try it yourself?"
"No way," Wexman shook his head, "I'm too old for that kind of excitement."
Joking around during work helped ease the atmosphere.
Today, they were filming another major scene: the bus jumping over the bridge. According to Charles Roven's suggestion, this would be more reliable with a model.
But Gilbert preferred practical shots over visual effects whenever possible. He set up two cameras inside the bus and on the side tires, three cameras on the bridge, and one drone for low-altitude shots.
Multiple angles and positions would offer the audience a grand view.
Before filming, Gilbert instructed the crew to carefully check everything to ensure safety and that the cameras wouldn't be exposed.
"Make sure everything is thoroughly checked. I don't want any issues," Gilbert directed the crew loudly.
As the crew was busy, Gilbert boarded the bus and told the stunt driver, "Make sure to drive at least 60 miles per hour for the bus to make the jump. Don't slow down, got it?"
The stunt driver gave an OK hand gesture to indicate understanding.
No matter how thorough the preparation and checks, problems couldn't be entirely ruled out. However, preparation was crucial to minimizing risks.
The shoot went off without a hitch. At Gilbert's signal, the stunt driver drove the bus along the designated path, leaping from the jump ramp on the broken bridge, landing smoothly on the opposite bridge, and speeding away.
Cameras captured the scene faithfully from all angles—underneath, sides, front, back, and the drone.
Sofia Coppola, after witnessing the bus jump, was no longer shocked by Gilbert's antics. Having seen houses explode into the sky, she was no longer impressed by such stunts.
During a break, she told Gilbert, "You don't really understand the art of filmmaking."
Gilbert was taken aback and asked, "Why do you say that?"
Sofia explained, "Your films are either filled with horror elements, explosions, or constant car chases. They don't explore the inner world of the characters."
Gilbert chuckled and replied, "Sofia, exploring the inner world of characters is for independent films. I make commercial movies. I film what the audience wants to see."
Sofia was speechless, realizing the difference in filmmaking philosophies between her and Gilbert.
However, this didn't affect her work with Gilbert. The high salary was needed for her expenses. Sofia still hoped to one day direct her own films like Kathryn Bigelow and be a respected female director.
As *Speed* neared completion, the media finally began reporting on the film, thanks to arrangements by Warner Bros. and Disney.
Despite Gilbert's involvement, Keanu Reeves, still riding the wave from *Bram Stoker's Dracula*, didn't attract enough attention. Fans were more focused on big productions, especially the upcoming *Jurassic Park*.
Gilbert had already discussed with Disney and Warner Bros. to schedule *Speed* for a summer release.
Such commercial blockbusters were best positioned for the summer season. To avoid clashing with *Jurassic Park*, Gilbert learned that Spielberg had scheduled the film for June 11.
Given *Speed*'s production timeline, the film could safely be released in early May, giving it over a month before *Jurassic Park*.
Additionally, during the film's production, Gilbert and Charles Roven discussed marketing strategies.
"I think we should run a trailer during the Super Bowl halftime," Gilbert proposed.
Charles Roven and Kane Wexman looked at each other in shock, clearly taken aback by Gilbert's suggestion.
Seeing their astonished expressions, Gilbert explained, "What's the essence of a movie? It's a product, right?"
When they nodded, Gilbert continued, "Since it's a product that needs viewers to buy tickets, what's wrong with advertising during the Super Bowl? Ads for watches, computers, cars, and even condoms are shown; there's no reason a movie ad shouldn't be."
"Gilbert, you…" Charles Roven was so stunned he couldn't speak for a moment, finally saying, "You're a genius."
"Thanks, everyone says that," Gilbert responded without much joy and asked, "What do you think? Is it feasible?"
Charles Roven and Kane Wexman exchanged glances, and Roven said, "We need to discuss this with the company and see if it's viable."
"Alright, let me know the result soon," Gilbert said.
While the idea was his, the final execution would depend on the film's marketing department.
Super Bowl ad slots were expensive and in high demand, so if they decided to go ahead, they needed to act quickly.
If memory serves, the 1993 Super Bowl halftime show featured pop star Michael Jackson, who brought global attention to the event. The Super Bowl halftime show, often dubbed North America's spring festival, was far more exciting than the increasingly dull New Year's Gala decades later.
The Super Bowl couldn't foresee its future halftime ads being so popular. While current ad rates weren't cheap, they were far from astronomical.
For Gilbert, placing an ad during the Super Bowl seemed highly worthwhile. The attention during the halftime show would be substantial, making the ad slot a great value.
