Chuveni film Rendezvous : Claude Lelouch

[Vizant]

Ferrari 275GTB ulicama Pariza '78
On an August morning in 1978, French filmmaker Claude Lelouch mounted a gyro-stabilized camera to the bumper of a Ferrari 275 GTB and had a friend, a professional Formula 1 racer, drive at breakneck speed through the heart of Paris. The film was limited for technical reasons to 10 minutes; the course was from Porte Dauphine, through the Louvre, to the Basilica of Sacre Coeur.

No streets were closed, for Lelouch was unable to obtain a permit.

The driver completed the course in about 9 minutes, reaching nearly 140 MPH in some stretches. The footage reveals him running real red lights, nearly hitting real pedestrians, and driving the wrong way up real one-way streets.

Upon showing the film in public for the first time, Lelouch was arrested. He has never revealed the identity of the driver, and the film went underground until a DVD release a few years ago.

http://video.google.com/videoplay?docid ... &q=lelouch

[dfast]

Neverovatno, Ghost rider je mala beba za ovog lika. Zbog tadašnje tehnike snimak ne dočarava u potpunosti brzinu ali zato zvuk i skripa guma u potpunosti. Neverovatna je i prica da je sakrio identitet vozača i pritom bio uhapsen. Odličan video.

[Alfacrazy]

Ovo je apsolutno fantasticno, kakva voznja i kakav video!!!
Da li negde postoji link gde ovo moze da se downloaduje?

[HEMI 426]

ja sam cuo za Randesvouz pre nego sto je izasao na oficijelnom dvd-u. Od kad je snimljen 1976 pa do 2003 postojalo je par kopija filma koje su napravljene kad je original ukraden iz policijske arhive ( pa posle vracen nazad ) i te kopije su se prikazivale po celom svetu ali u underground fazonu. jedan lik mi je pricao da je gledao inserte u spaniji i tako sam cuo za film. ja sam ga skinuo sa emmule, fantasticna kopija ( 9 min - 180 mb ) pa ako nekom treba neka kaze.....

[Viper]

Treba meni rezi na CD pod hitno pa se chujemo da ga preuzmem.

[dfast]

Malo se spekulise o verodostojnosti snimka, ali na sajtu rezisera je i njegova izjava o ovom filmu pa ako neko zna francuski, bilo bi lepo kad bi nam preveo ukratko. http://www.lesfilms13.com/touslesfilms/touslesfilms.htm

Spekulise se o tome da vozilo nije bilo Ferrari 275/GTB nego mercedes i da je zvuk nasnimljen naknadno. Proracunali su rastojanje i na osnovu vremena zakljucili da je prosecna brzina bila oko 104km/h, ali da je na pojedinim delovima isla preko 180km/h.
Isto tako sam Claude Lelouch je ipak priznao da je licno vozio taj auto i da nije bilo nikakvog misterioznog F1 vozaci (Zak Lafite), niti taxiste kako su kruzile price.

http://hypertextbook.com/facts/2005/Rendezvous.shtml

Dobar komentar kako rece: Paris 70' pre air bagova, kondoma, sporih automobila, ruznih zena...

http://www.ruthlessreviews.com/movies/r/rendezvous.html

Sajt na francuskom, http://www.axe-net.be/rdv/presentation.php
na slici se vidi mercedes ali kada i sta, treba prevesti.
Ako zanemarim broj frejmova u sekundi, zbog brzine kamere koja je trebala snimiti 10 min materijala (sa 300metara filma) ostalo je sve uverljivo.
Moze se skinuti 34mb na: http://dvblog.org/cetait-un-rendez-vous ... de-lelouch

[BRABUS]

Imam ovaj film odavno, sad sam ga odgledao jos jednom......strava stvarno

[Nigy]

Sajt na francuskom, http://www.axe-net.be/rdv/presentation.php
na slici se vidi mercedes ali kada i sta, treba prevesti.

Evo grubog prevoda:

It was an Appointment
- All the truth on the short film carried out by Claude Lelouch -

"It was an Appointment", short film carried out in 1976 in sequence shot by Claude Lelouch, appears to cause very many interrogations following the diffusion growing of film on the Net, that some among you discover and that others rediscover with pleasure ?

Who was at the wheel? of which mark was the car? were the streets blocked? ?
All things considered, how was prepared and under which conditions the film could be carried out... So many questions, If can of answers, & This is why I decided to carry out this mini site, & to clear up the mystery.

Information which follows was checked near the organizations revolving around Claude Lelouch & was disseminated on March 20, 2006 on its official site.

Before starting: Convey utilisée for the court métrage It était an Appointment of Claude lelouch
Who said FERRARI?
Who has known as ALPINE?
It is true that the noise is not common to Mercedes...
& Pourtant it is well with it that this short film was carried out.
The photo proof with the support.

One can thus appercevoir the technician occupied to fix the camera on before Mercedes.

What thus proves that the band its A beautiful & indeed added thereafter.

Take the trouble of reading now the maintenance with Claude Lelouch carried out by Yves Alion and Jean Ollé-Laprune for the book "Claude Lelouch, instructions". It tells there of exclusiveness all the details technique, & objectives of Lelouch in the r?isation of this court m?age.

(text drawn from the Official site of Claude Lelouch.)

In which circumstances you did undertake "It was an appointment"?

I had just completed the turning of "If were to be remade". When a film finishes, one carries out "returned". I thus asked my manager which measuring of film it remained us. After inventory, we did not have falls badly, between 3000 and 4000 meters on the whole. Many small rollers of 30 or 50 meters, but also a store of 300 meters, which it was envisaged to return. Me, I wanted to make a short film which we would have placed in first part of film. For a long time I wanted to tell the history of a late type with one return which makes full D?infringements to arrive at L?hour. For me, being per hour is an obsession. I am able to take risks not to be late. I suggested with my operator Jacques Lefrançois, the idea of a sequence shot, the camera accompanying a type which has go to Montmartre with a girl. As it is with flock, it crosses Paris to any pace, by roasting the stops and the red lights.

In does film, the driver take the most direct way?

If Parisian wants to go from the Foch avenue in Montmartre, it is not obliged to pass by the counters of the Louvre...
It will take the avenue of Wagram, of course. But, Mous doubt to you it, I wanted to propose a kind of report at the same time. My problem was to work out a plan which does not exceed ten minutes and which finds its interest at the any end with the girl who arrives on the steps.
I thought of the project. I asked Elie Chouraqui, my assistant at the time, to see which authorizations it would be necessary for us to obtain. We quickly realized that a plan as this one required to block any Paris. It was not the sorrow to even require we were not ready to put in ?uvre the means of a full-length film to carry out a court. I questioned a stuntman: "If I film very early, what I do risk by roasting the red lights? "It explained me that it was of two things one. While arriving at a red light, if there is nobody in the field of vision, the risk is not quite great to pass in force: it would be necessary that for the same moment, the same nut déboule at the same speed. And if there is quelqu?one in the field of vision, it is always possible to slow down. I thus left the postulate that if I roll quickly and that I do not see anything, it is that there is nothing... The only disadvantage major they was the counters of the Louvre. They frightened me because of their absence of visibility. For turning, I asked Chouraqui to settle with a walkie-talkie and to prevent me there at the time when I arrived. If he did not say anything to me, it is that all was well. It is the only true precaution which I took. For the beauty of film, it was necessary really that I do not stop. That I stop with a red light, and the film disappeared. There were nine chances besides out of ten so that we do not arrive at the end.

The camera is fixed at the grill of Mercedes. How the car was equipped?

We hung the camera on the bumper of the car, one 6,9 Mercedes liters. At the interior we were three, attached like mules: myself at the wheel, my machino boss, and my operator boss for if required changing the diaphragm. For the last moment, it was necessary to regulate a slide means. The image was to be with the short-nap cloth of the ground to be even more spectacular. We are in full August. Of course, we had decided to sacrifice film and all to stop with the first danger. We rolled really quickly.

When you say "We rolled quickly" you speak which speed?

Rise of the Foch avenue, between 150 and 180 km/h. Fields-Élysées with 130 to 150 with a point with 160 km/h on the level of Franklin Roosevelt. Then until the Harmony, as it was well released, I had to go up to 200 km/h. I took the place of the Harmony with 150. On the quays, I crossed the 200 km/h. I took the counters almost normally, i.e. to 80 or 90 km/h. As Chouraqui did not call me, I passed under the counters ?.fond, 100 km/h, because the passage is rather narrow all the same. I did not know that the talkie of Chouraqui was broken down! I knew it only finished turning. Then I went up the avenue of the Opera. The crossroads was blocked by a bus. To avoid slowing down, I had to pass on other side of the roadway, of the cars coming in opposite direction. Place of I' Opéra, not problem! I then took the street of the Antin?Roadway-D towards Clichy. I fell on truck-dustbins which I could exceed only while going up on the pavement. I believed more not to have problems. But while arriving street Lepic, I was blocked by a type which delivered. I took other side, towards paumant Palace, in destruction at the time. I went up the Rocquencourt avenue, which lengthened me enormously. I did not know if it were going sufficiently to remain me of film. I thus took streets in single direction to arrive at Montmartre in times...

You had carried out locations?

I had made the course once, slowly, for determining the passages well. I had the equivalent of 9-10 minutes of film! There remained to me 15 seconds to cut the engine to go down from car and to take the girl in my arms. We had agreed that when I would hoot it would assemble two steps, thus penetrating in the field. The sequence shot could be successful only over these last seconds. I had said myself that if I did not make a success of the first catch, I would not start again. By superstition. If the miracle were to take place, it would take place... And it took place. By forcing nevertheless the destiny, since we roasted eighteen red lights.

How you explain the notoriety of this short film, which became a film worship, which is more than rare fear a short film...

I showed film a little everywhere. It very well was not always accomodated taking into account its lack of obvious civic direction, which I could not dispute. But it also has its faded. When I showed film for the first time in Los Angeles, where the non-observance of the codes of conduct is always strongly sanctioned, the triumph was involved in incredible whistles "It was an appointment" always caused the polemic, but it shows also all that one likes in the cinema. As I like the cinema more than the law... I knew that I held a purple passage. I thought, in all modesty, that there was the possibility of doing one of the most beautiful plans of the history of the cinema. The ten minute old sequence shots are rare, because of the narrowness of the store of the camera. Even Hitchcock in "the Cord" anticipated its changes of film.

You took again this principle of races in various forms.

In "a man and a woman: twenty years already", but it was on a circuit, just like in"Leaving To return". For "the Cat and the Mouse", carried out some time earlier, we had tried out the thing. But turning was concreted with cops in front of and behind. For "It was an appointment", we made a trick of hooligan.

What did you risk?

Initially, an accident! Then, consequences of a turning without authorization. Finally a withdrawal of driving licence. The film is beautiful by its taking risk. If it had as many success and that it lends so much to discussion, it is that it is risky.

You like the short films?

In a certain way, it is more difficult to make a court than a length. Economically it is a nightmare. Artistically, it is necessary to be in essence. When a short film is looked at, it is known immediately if its signatory has future in the cinema. When I saw the short film of Xavier Giannoli for example, I knew that it acted of a true director.

[dfast]

Mercedes 450SEL 6,9L, , i nije bas za potcenjivanje.
Sad gledam tehnicke podatke za njega 550Nm na 3000 obrtaja.

http://www.zwoachzig.de/nl/450sel69.htm

Fenomenalna prica, s obzirom da je prosao pasaz kod Luvra na slepo, i da je sve uspelo iz prve. Jedna rola filma od 10min, bez seckanja.
Devojka na kraju snimka mu je buduca zena . Zaista prica i posao s velikim rizikom, prvo u samom saobracaju mada je birao termin perfektno, avgustovsko jutro kada je najmanji promet i kada je vecina Parizana na odmorima. Osamnaest crvenih svetala i snimak za pamcenje.

[Vizant]

Heh drago mi je da sam vas sve podsetio na ovaj film, ja sam davno chuo za njega al nisam uspeo da ga nadjem!

[Sasha]

...Spekulise se o tome da vozilo nije bilo Ferrari 275/GTB nego mercedes i da je zvuk nasnimljen naknadno.....

Onakav zvuk mercedes moze samo da sanja, tako da je logicno da je(ako je uopste tacno da je bozana u pitanju) nasnimljen zvuk ferrarija... Mada mi sve to "malo kvari sliku" ako je tako...

[starac vujadin]

Pogledao sam, odlicno je, ali je ako je stvarno bio Mercedes, a nasnimljen Ferrari - to mi kvari uzitak. Mislim da je ova varijanta sa nasnimavanjem istinita jer na vise mesta moze da se oseti nelogicno davanje medjugasa i kasno davanje istog....