Ken Miles Là Ai


The entirety of the races are analogue. It’s really physical, which was the whole point for me. There is still something unique about that which is real.Bạn đang xem: Ken miles là ai

James Mangold



Read the full articlein perspective magazineAll of us who worked on “Ford v. Ferrari” appreciated that this was an endangered species of a film—the type of movie that film studiosnow rarely produce. This was to be an original, period, biopic shot in Southern California, with additional photography in Georgia and France.

Bạn đang xem: Ken miles là ai

Bạn đang xem: Ken miles là ai

It would require the recreation of period settings that spanned the landscapes of Southern California, Michigan, Florida, England, Italy and France, and it would necessitate that we build and rent dozens of priceless 1960s race cars.

The screenplay by Jez and John-Henry Butterworth recounted the true story of visionary car designer Carroll Shelby’s relationship with famed race car driver Ken Miles, and their battle to build the revolutionary Ford GT-40 that took on the dominating Ferraris at the 24 Hours of Le Mans in 1966.

I found inspiration from several films from the 1960s: “Contempt” (1963) by Godard, “The Umbrellas of Cherbourg” (1964) by Jacques Demy, “Grand Prix” (1966) by John Frankenheimer, and “Playtime” (1967) by Jacques Tati.




As I began assembling research photos of sleek race cars and exotic locales, a kaleidoscope of color emerged. I realized that the graphic spectrum of these cars would provide the rudder for the film’s color story.

Central characters in our story were the cars, and recreating them proved to be an enormous challenge, as they could take several months each to manufacture. The actual race cars we sought were collector items worth tens-of-millions, and therefore not viable.

Total vehicle count came to 416 including 34 custom-built race cars (playing as 55), race support trucks and period background types with their makes, colors, and interior details from five different countries! These played in 23 major scenes including four race events and multiple prototype and test runs, factory scenes and showrooms.

Every day yielded new details from historical photographs and interviews with restorers of the original race cars. We cross-checked this against inaccuracies in replicas and other restorations to find confidence in the most authentic appearance.

(Look for the “Gurney Bubble” on the #3 car driven by Dan Gurney/Jerry Grant and #2 car piloted by Amon/McLaren, which is a heightened door bulge to fit Dan Gurney’s 6’-4” frame.)

Near downtown LA, a massive warehouse becameFord’s River Rouge Assembly Plant. 21 Ford Falcons were restored and dressed to portray the various stages of automobile assembly.

The Rouge was the largest assembly line in the world during the 1960s.


Set Designer Rich Romig modelled the set in Rhinoceros, including what would be the VFX set extension. A corridor of mid-management offices was built onto an existing mezzanine, overlooking three practical assembly lines. Extras were trained to install windshields, wheels, and body panels, and also paint parts in a practical spray booth.

James Mangold pushed for an immersive set, so three assembly lines would ultimately be built and dressed with 21 Ford Falcons that were restored and painted with historical automotive paint to match the cool blue color scheme of the Ford scenes.

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“Hear that? That’s the sound of the Ford Motor Company out of business.”

Henry Ford II

During our story, Ford occupies a monolithic building called “the Glass House,” designed in 1955 by Skidmore, Owings & Merril. It was a challege to find a locaiton that felt appropriate to that era.

Henry Ford II’s inner sanctum ultimately came to life inside a wood-paneled executive suite at the Los Angeles Times building in downtown LA.

A reproduction oil painting of Henry Ford overlooked his sweeping office. We provided the requisite well-stocked bar, executive desk with built-in telephone, and plush seating area with nickel-plated floating shelves. A grid of dye-cast models of Ford’s greatest automotive successes decorated the shelves, all in a custom pallet of cool grays and steely blues.

We recreated Ford’s Romeo Test Track at the Porsche Experience Center in Carson where a Neutra-esque control building was built on a small knoll overlooking the test track. The building was designed in AutoDesSys’ form•Z by Set Designer Rob Woodruff and entirely prefabricated in our construction mill in San Fernando.

We also built a period-correct dynamometer lab, where engineers would test Ford’s next generation gigantic V8 engine.

The dynamometer lab was extremely advanced for the mid-1960s, and could accurately simulate the stresses incurred by the GT-40s engine over the course of a 24-hour race.

As a counterpoint to Ford, the Ferrari factory in Maranello, Italy had to be recreated.Southern California, Italian Style

Ferrari’s iconic red-brick gates were replicated in an existing courtyard at the Lanterman Facility in Pomona, with Enzo Ferrari’s office built with a picture window overlooking a courtyard overflowing with olive trees, palms, and lavender.

The factories of Henry Ford and Enzo Ferrari were worlds apart. The signage was designed to reflect each corporate culture. Ferrari’s factory revolved around the sleek world of European racing, and his shop was that of a bespoke craftsman.

Photo by Ozzy Inguanzo

The factories of Henry Ford and Enzo Ferrari were worlds apart, with signage designed to reflect each corporate culture. Ferrari’s factory revolved around the sleek world of European racing, and his shop was that of a bespoke craftsman.

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Concept illustrator Scott Lukowski’s artwork helped sell the location to the filmmaking team. A massive olive tree was dug into the courtyard, encircled by hundreds of Mediterranean lavender bushes.