Quick and Livid 9: Behind the Scenes of the ‘One Shot’ Music Video

We’re standing in an alley simply east of Downtown L.A. between run-down warehouses. A black helicopter is sitting within the parking zone behind a chain-link fence, engine operating. Over the roar of the chopper comes shouting: “Three, two, one, motion!” A vivid orange Dodge Charger Hellcat Widebody comes screaming down the alley, turns, and nails the throttle—drifting by means of an open gate and coming to a cease simply wanting the helo. And …“Lower!”

It’s not the set of Fast 9, the latest movie in the Fast and The Furious mega franchise, nevertheless it feels prefer it, and that’s the purpose. We’re really on the set of the SixTwentySix’s music video manufacturing for “One Shot” by YoungBoy By no means Broke Once more that includes Lil Child—the breakout hit from the official “Highway to Quick 9” mixtape. With the tune impressed by the sequence, it solely made sense for the video to be, too, nevertheless it didn’t begin that manner.

“Once they first approached me for this venture,” director AJ Bleyer mentioned, “they needed it to be very automotive-focused and to have the automobiles signify the 2 artists on the observe. With the Quick 9 tie-in, they needed a road race. Two automobiles, and automobile racing, is hard as a result of you need to keep continuity by means of the capturing and modifying. I additionally didn’t need one automobile to beat the opposite, both, since they embody the artists. However [the concept] doesn’t work if somebody doesn’t win.

“I got here again with a drag racing concept,” he continued, “unlawful road drags like the unique film. Three races: One artist would race a challenger and win, then the opposite artist would race a unique challenger and win. Then the 2 would race one another for the title, however the video would finish with out exhibiting you who received the ultimate race.”



No helicopters, no drifting. The studio, Common, greenlit the plan, and Bleyer started working his contacts for automobiles. Once I first met him years in the past, he was getting his begin by capturing promotional movies for high-end automobile dealerships without spending a dime, simply to construct a portfolio and a shopper checklist. Now, he’s capturing every part from TV commercials to online ad campaigns for companies like Toyota, Aston Martin, Honda, and Infiniti, in addition to non-car initiatives and music movies. He is aware of folks with cool automobiles, and earlier than lengthy he’d locked down a Liberty Stroll GT-R, a Speedkore Demon Carbon Edition, a nitrous-injected Viper ACR, a twin-turbo Lamborghini, and extra.

Then Dodge bought concerned. An official associate of the Quick franchise for the final a number of motion pictures, Dodge had two situations the studio was completely happy to oblige: solely autos constructed by FCA, its dad or mum firm, and no road racing. Company legal professionals get actual itchy about condoning or showing to condone criminal activity. The workforce needed to give you a brand new concept on the spot and settled on the hero, YoungBoy, in a automobile chase with unhealthy guys earlier than making a dramatic helicopter escape, very like within the motion pictures.

Two days later, we’re downtown. Atlantic Data has already launched the one, and it’s blowing up YouTube the way in which solely YoungBoy can. He’s solely out there for at some point, so there’s no time to apply the automobile stunts. Drivers Sergio Peña, a NASCAR Professional Sequence racer, and Tony Snegoff, a stuntman and stunt coordinator with almost 450 credit to his identify, are being thrown into the hearth.

“Having actual stunt drivers is tremendous crucial,” Bleyer mentioned. “You want individuals who know precisely what they’re doing. Driving is loads like intercourse: All males suppose they’re good at it. I would like those who really are.”

There are plenty of pictures to get as we speak, each with YoungBoy and with the stunt drivers. The large one, although, combines each. We’re in that parking zone once more, solely this time there’s a mixture of inventory and modified Dodge merchandise parked in a semicircle, some loaned by Dodge and a few privately owned.

YoungBoy is within the heart of the parking zone, multicolored smoke bombs are going off, and Peña drifts donuts round him with a Challenger Hellcat Widebody whereas he sings. Peña bought one warm-up try and be taught the automobile, then it was go time. Bleyer isn’t even dealing with the motion. His face is buried in a conveyable wi-fi monitor hanging from his neck, watching what the digital camera sees.

Twelve hours after the helicopter shot, we’re standing 30 miles away, within the parking zone of an previous state psychological hospital, now being rented as a studio again lot. Bleyer is seeing the campus for the primary time.

“As soon as we bought on location, I had perhaps an hour and a half to give you a shot checklist,” Bleyer mentioned. “Loads of it was influenced by what we needed to work with. Driving across the again lot gave me concepts about particular pictures we might get. We had a map on an iPad, I made some notes about what we might shoot the place, and we type of made up a lap of the place with the least quantity of gutters and pace bumps.

“I got here up with 5 pictures I needed to get to make the automobile chase work: below the bridge, blowing previous the bus cease, drifting some corners, shedding the unhealthy guys with a J-turn, and hiding the automobile behind a stack of pallets.”

The primary few pictures have been simple. Bleyer began with the bus cease, the place the automobiles—that orange Charger and the baddies in a blacked-out Challenger Hellcat Widebody—would drift nostril to tail previous a bewildered onlooker. Come down the road, make a 90-degree left, and grasp the again finish out till you’re previous the bus cease and out of the digital camera’s view. They bought it in two takes.

Subsequent, a chase down a divided highway, with the Arm Car, a second-gen Porsche Cayenne V-8 with a Russian Arm moving camera rig mounted to the roof, operating parallel earlier than diving in behind the stunt automobiles, which might proceed below a railroad bridge after which drift round a nook and out of sight.

“There’s an enormous quantity of communication required when capturing with a digital camera automobile,” Bleyer mentioned. “Each automobile must know the place they’re going to start out and the place they’re going to finish. The primary stunt automobile must know the place to start out and finish, the second stunt automobile must know the place to start out and finish, and the digital camera automobile must know the place to start out and finish, they usually can all be elsewhere. Plus, the increase operator within the digital camera automobile must know the place to start out and finish his movement, and so does the digital camera operator. Lots of people and tools have to maneuver in simply the correct manner on the proper time to get the shot.”

Getting a way of Peña and Snegoff’s talents, the stunts began getting tougher. Subsequent it was the identical stunt, however with the digital camera automobile driving straight on the stunt automobiles simply earlier than they drift the nook, lacking them by mere toes. Then it was a 180-degree flip round a stack of pallets and ending with the automobile tight in opposition to a brick wall. There was no alternative automobile if it went mistaken. Lastly, Bleyer had them race right into a roundabout lower than two lanes large, drift three-quarters of the way in which across the circle, then whip the automobiles out an exit and down the road.

“The stunts I requested of them within the morning have been loads tamer and safer than the stunts I used to be asking of them by the tip of the day, as soon as I noticed what they have been able to,” Bleyer mentioned.

“As a result of we couldn’t get the artist for each shoot days,” he mentioned, “I didn’t wish to focus an excessive amount of on the within of the automobile although that may be what places the viewers within the motion. I needed to deal with making the motion of the chase actually punchy so that you don’t discover that we’re not seeing the artist behind the wheel.”

Even with the truncated timeline, even with the change in artistic path on the final minute and even with out time to apply many of the stunts, the workforce bought what they wanted.

“Directing these sorts of initiatives above all is an artwork of being nimble and adapting on the fly,” Bleyer mentioned. “I simply must make govt choices alongside the way in which to deal with the shoot so the editor had sufficient to work with. You must find time for all of the little pictures. You possibly can’t neglect to get the common driving and the shifting and the tach and all these little pictures. However you additionally want these specialty pictures that make it extra cinematic and fascinating to observe. These take time, so you need to price range your time so you may get these on high of all of the must-haves.”

Regardless that this was a big-budget shoot by music video requirements, it nonetheless felt like the exact opposite of a TV, film, or business shoot the place there would’ve been hours of planning and working towards every stunt. Nonetheless, the guerilla fashion has its attraction.

“What’s enjoyable about music movies in comparison with capturing a automobile business is the liberty,” Bleyer mentioned. “The automobile firms and studios are all about security. Not simply palms on the wheel and eyes on the highway. Like, you need to sign earlier than making turns in a automobile chase as a result of that’s the regulation. So on the one hand, you get to actually go over each shot and make a extra polished product, however music movies are much more run and gun, and it makes it extra enjoyable.”

The automobiles are what actually makes the venture for Bleyer, although. Not simply because he’s a passionate automobile man who himself used to daily-drive a Lotus Elise earlier than buying and selling it on an X5 diesel that might haul gear but additionally as a result of capturing automobiles is his true ardour.

“The surrealness of being 16 and making little toy automobile motion pictures with my camcorder,” he remembered, “then spending at some point aiding on the set of the fourth film (Quick & Livid 4)—there’s so many vans and a lot tools—and considering, ‘How might it take this a lot stuff to make a film?’ Then to point out up on this set, for this venture, years later, and be the director simply blows my thoughts.”




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