That's the nice thing bout these 'cult' movies. So many different stories wander around the Inet
After some 'googling' I found this one:
someone with the InetAlias: Powertrain replied in a thread on 2002-09-08:
qte...
A V-12 Ferrari 275GTB.
Here's the story of this little gem:
"Pour un rendez-vous"
"I'm driving like Trintignant in 'Un homme et une femme', foot to the
floor, speedometer showing 180, taking all the risks, and more, because
I'm not in the rally at Monte-Carlo but in the centre of Paris. Next to
me, my camera man controls the speed of the camera hooked on to the bumper
of the car. We systematically run all the red lights. Streets and avenues
are coming at a terrifying speed. Future spectators will be glued to their
seats, pressing an imaginary brake pedal.
Because it's a movie I'm filming of course. A movie that will last exactly
the lenght of its filming. Nine minutes and thirty seconds. Nine minutes
and thirty seconds of film is what I had left after making 'Si c'était Ã*
refaire', when the equipment was being returned. Feeling sorry for wasting
this precious 300 meter strip of film, I took the opportunity to realize a
project I had wanted to do for a long time: a movie in one take where the
camera would travel through Paris at great speed, its point of view being
that of a guy driving like a madman because he's late for a rendez-vous.
I got this idea on a day when I, who is always punctual, was in the same
situation. Because it was critical that I be there on time, I crossed
Paris at hallucinating speeds, running the lights, using forbidden lanes,
taking mindless risks. Just as I'm doing now. Five hundred and seventy
seconds, not one second more, this is the time I have to go from Porte
Dauphine to Place du Tertre.
With two main technical problems. The first consisted in coordinating the
car trip with the action in the last 10 seconds, when Gunilla, my
companion (who is also the mother of my daughter Sarah) walks towards the
car that will stop in front of her at last. It's the sound of the engine
as I get closer to Place du Tertre that will warn her that it's time to
move into sight. The second problem was the impossibility to ensure the
safety of the whole operation.
I limited the risks by filming this stunt during the month of August, at
five-thirty in the morning, at dawn. Thus traffic was practically nil,
however I could not get the authorization to block the streets. Any
vehicle could then veer in front of me at any time. If this should happen
I pray that I see it and have the reflexes to react in a fraction of a
second.
The most dangerous part of the trip are the wickets to the Louvre. The
exit is totally blind. If a car appears there in front of my hood, a
collision is inevitable. So there, I strategically placed my assistant,
Elie Chouraqui. Using his walkie-talkie he will warn me of any danger.
I'm approaching the wickets to the Louvre. No warning from Chouchou. I
push on.
The rest of the trip is without problem. I slow down at Place du Tertre,
and Gunilla, with perfect timing, comes to meet me.
A quarter of an hour later I find Chouraqui fiddling with his 'talkie'.
- What're you doing?
- It's this piece of garbage! he says, pointing at the device. It conked
out at the beginning of the take!
I shivered thinking of what might have happened."
Quoted from Claude Lelouch biography by Jean-Philippe Chatrier
..unqte
Don't want to repeat everything as said on this vid in that particular thread here but you can read everythin ghere
http://groups.google.nl/groups?q=OT+...ncis.de&rnum=1