He used this as an advertisement for his DC clothing company at the time which he later sold. Like they did with the first video they released, sort of a blooper real, Gymkhana 2. Banking as much as 51 degrees on some of the turns caused a unique issue for Block regarding some of the stunts scheduled for the video.
Nobody knew how the car was going to react on this one-of-a-kind track until the day of filming when Ken just had to go for it. This is listed as a Part 2, but the Part 1 is just a music video that can be found here. They use what appears to be the same Ford Fiesta used in the previous video although they did change the Livery. Guest starring in this film is another long time friend and at one point Subaru Rally Team member, Travis Pastrana, who brings his dirt bike out to have a little fun.
Late in , the sixth installment of the Gymkhana series was released and this one Block decided to go away from the big fancy productions and go back to the basics with this Grid Style Course. This is also the first time that Ken starts using that awesome blue in his Livery that now is one of the most popular colors. This is a one-of-a-kind masterpiece that has all wheel drive, an hp NASCAR V8 engine that sounds absolutely incredible, fully custom fabricated chassis, driveline, and suspension.
The next location was as quintessentially LA as the famous Hollywood sign. The network of bridges that connect east Los Angeles with Downtown and surround the LA River have shown up in so many major motion pictures. Each has it own unique characteristics, but the 6th Street Bridge was the one chosen for filming.
But why was this one being used instead of the 1st or 4th Street Bridge? The car was eased down into the river to check for clearance and shot position, all the while attention being paid to not disturb the local residents. It was determined that the front lip was just way too low to drift into the river at speed, so for the final shot they removed it. Next up was a few shots on top of the 4th Street Bridge, which provides some great views of Downtown LA and the surrounding areas.
It took multiple takes, but this one gave me a real Steve McQueen vibe. After many circle burners it was pedal to the metal. With all the commotion and loud V8 noises, Magnus Walker, who lives just down the street, wandered onto the bridge to see what was going on. At this point I was feeling the fatigue of shooting for three days straight, not helped by the fact that the call times were getting earlier and earlier. On the third day we met at one of the largest and tallest freeway interchanges in the world — the connect between interstate and the I showed up just in time to catch the mechanics and production crew preparing for the first shot.
Southern California has the busiest freeway network in the world, and even on a Sunday morning the motorways are packed. To close down one of the biggest intersections would be an absolute nightmare in any other city, but since Los Angeles caters to the film industry, the California Highway Patrol helped out immensely. The first trick of the day? Should be easy, right? The purpose of this shot was to produce enough tire smoke to rise through the different columns of highways, till it reached the very top.
When you consider that he would have been driving blind after three donuts, I think Ken did pretty well. Going flat-out on the freeway in reverse? No big deal… Just check out how many levels this highway system has.
The boys from Tempt Media were in charge of getting those big shots with a bird in the sky. I had the pleasure of working with them on the set of Recoil 2. I was actually really looking forward to this next shot when I saw it in the script. Hitting top speed for the first time must have felt so good. Due to its complexity of timing and how dangerous it was, the stunt was reserved for the latter shots. Bascially, as the lowrider was hopping up and down, Ken had to time his donuts perfectly.
Too early and he would hit the side of the lowrider, too late and the lowrider would crush the Mustang. There were some close calls, but then again, nearly every shot for the video had an element of danger to it.
To fuel the smack-talking fire, Ken decided to do some more donuts around the biggest donut in Los Angeles. Cheesy tourist photos aside, it was going to be quite a feat for Ken to pull off the perfect donut, as the space around the shop was very limited.
The best part? They were open for business, so anyone could still walk up to the shop in between takes to order a fresh donut. The fifth and final day of shooting played out at the most iconic location of them all: the one and only Hollywood sign. I took this photo from a closed-off area reserved for movie sets where our base was set up. While it would have been cool enough to have a shot with the sign in the background, drifting above it would be even cooler. Which of course is exactly what Ken did.
This was the very first time this location has been used for anything remotely close to what we were doing, and being the highest point in Los Angeles County it provided some amazing views of the city — even if there was a layer of smog to contend with. Ken came out guns blazing and lit up all four tires with the Los Angeles skyline in the background.
Could it have ended any better than this? The shoot was a success, and we could not have asked for better conditions or shooting locations. What an amazing view. After the smoke cleared we checked out the tire marks.
At one point, Block even alludes the whole process isn't worth it after being beaten down during production and the racing season. And Gymkhana 10 had big shoes to fill after the team agreed Gymkhana 5 set the bar years ago. The fifth installment in the series was the first time a city shut down public roads for Block and the crew to perform wild stunts.
San Francisco even closed down the Bay Bridge. We know officials in Detroit also closed down public roads for Gymkhana Sign up to get the latest performance and luxury automotive news, delivered to your inbox daily! I agree to receive emails from Motor Authority.
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