THE ITALIAN JOB
About The Production
This updated version of
"The Italian Job" pays homage to the first film, but in no way tries
to replicate it. Director F. Gary Gray and producer Donald De Line both contend
that today's audiences will be enjoying a very different film full of all new
and very clever twists.
"I liked a lot of
things about the original," says Gray. "It had great style and
unforgettable performances. But the film that we've made is for modern
audiences, with updated technology."
"The story is
great for today's audience, especially with Gary Gray directing." says
Mark Wahlberg. "He really brings a lot of new elements into the film, and
the script gives it a much larger scope than the original, which, of course, was
an inspiration to us all."
Donald Dc Line points
out that the new film is more of a global adventure. "We start out with the
first heist in Venice. Italy. go into the Italian Alps, move to Philadelphia and
end with the main heist on the streets of Los Angeles," he says. Since it's
called â€˜The Italian Job,' we wanted to give the film a slightly
international flavor, and we definitely wanted to play some of the story in
Shot in Venice as well
as in Canazei, a small city near the center of the majestic Dolomites, the film
uses such landmarks as St. Mark's Square and the Grand Canal to set up the
first heist of the gold that will later be re-stolen in Los Angeles.
challenge was making it through production in the Italian Alps and Venice,"
remembers director Gray. "We had to contend with a number of difficult
factors ranging from the language barrier to weather conditions such as rain,
snow, ice, sub-zero temperatures and high water in the canals. With all these
things stacked against us, we had to pull off some of the most action-intensive
work involving visual and special effects, as well as some pretty extraordinary
stunts, especially the boat chase in the Venice canals."
De Line recalls the
days filming in those canals as being the most challenging of all. "The
whole city of Venice is a historic monument and the people there are very
concerned about damage to their buildings," explains the producer.
"The waves we created in the canals during our boat chase sequence made
city officials very nervous, so they put a lot of restrictions on us in terms of
boat speed, how long we could film and exactly where and when we could
James R. Dyer, who worked closely with Italian line producer Guido Cerasuolo in
organizing the logistics of production, further explains: "There are laws
in Venice that won't allow a watercraft to go over five miles per hour within
certain parameters in and around the city. To do a boat chase. we had to go well
beyond that. So they rewrote the law and the mayor personally signed off on it.
It took tremendous effort and great cooperation from the city, but I think
because we came in with a very respectful attitude toward the original film,
which is very popular there, they helped us out."
Creating the epic
traffic jam in Los Angeles was no easy task either. While there were no language
or weather barriers to contend with. it still took extensive planning to shut
down two blocks of Hollywood Boulevard. right where Mann's Chinese Theater and
the Kodak Theater are located. Not onl
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