I walked away with a profound respect for them.
I visualized the movie in my head before I physically shot it. In my head, I saw that the actors would have to block their movements in certain ways, to reach certain lines and do specific things. It was one of those horror things where I would think, what if they want to go left instead of right? What would I have to do with my camera then? Would my editing sequence all fall apart? In music videos shit happens also, like the crane does not work, lights break, the space is too small, and you end up responding and improvising. Same with the actors. By the end of it, I really got a knack for seeing what the actors wanted to do, seeing what space they wanted to live in and figuring how to wrap the camera around them.
MVWire: You implemented a lot of different factors in this movie and made them all fit together neatly. How did you accomplish that?
JK: For the most part the entire movie concerned motorcycle chases, so there was no question in my mind that that was what I had to accomplish. |
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On the other hand, I wanted to make a good movie that I could enjoy myself. I am not a big fan of the Fast and Furious movies, biker boys or any of those vehicle movies. The gist of most of them is vroom, vroom, chase, nitro’s, sweat, etc. In Torque, if you use nitro’s, you lose. Think about it, every time someone pressed that nitro button they lost.
From that point of view, I started deconstructing what I wanted to do in this movie. I said to myself, this is a stupid genre and if I make it stupid, but fun I won’t insult the audience. My objective was not to test the audience’s intelligence, but to test their hearts. There are lots of interesting funny things that I used to flip expectations. For example, the villain is a straightforward White Trash guy on a Harley, what’s more white trashy than the mullet? So I gave him the mullet. |
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